Rhoda Levine, pioneering opera director, dies at 93
Rhoda Levine, a pioneering opera director who broke barriers for women in the field beginning in the 1970s and was celebrated for her clear, compelling interpretations of both classical works and bold world premieres, died on Jan. 6 at her Manhattan home. She was 93. Her nephew, Jonathan Levine, announced her passing.
A member of the first generation of American directors to bring genuine theatrical acting into opera, Levine emphasized that singers must perform as actors, striving for realism in an art form often defined by stylization. At New York City Opera, Netherlands Opera, and other companies, she staged productions ranging from Mozart’s “The Marriage of Figaro” to Alban Berg’s “Lulu,” as well as contemporary works such as Mark Adamo’s “Little Women.” She is particularly remembered for premiering Viktor Ullmann’s “Der Kaiser von Atlantis,” an anti-Hitler opera composed in Theresienstadt, and Anthony Davis’s “X: The Life and Times of Malcolm X,” both considered milestones of 20th-century opera.
Levine’s approach, described as lucid and direct, was rooted in political and social awareness. “She was a trailblazer,” said Francesca Zambello, artistic director of Washington National Opera. “She was a political artist, and she brought an element that had social commentary rooted in it.” Her 1975 staging of “Der Kaiser von Atlantis” at Netherlands Opera brought voice to Ullmann and his librettist, Peter Kien, both murdered at Auschwitz. Similarly, her work on “X” focused on ideology and narrative rather than elaborate vocal or visual spectacle. Critics praised her ability to keep complex productions coherent, noting her productions were busy but never confusing.
Born Rhoda Jane Levine in Manhattan on June 15, 1932, she grew up in Queens in a politically engaged household; her father, George Levine, was a civil rights lawyer, and her mother, Madeline (Stein) Levine, taught early childhood education at New York University. She studied drama and dance at Bard College, graduating in 1953, and trained with Martha Graham before transitioning from dance to choreography when she was told her height limited her prospects. Her choreography work, including projects at the Festival of the Two Worlds in Spoleto, Italy, caught the attention of director Luchino Visconti and launched her international career.
Highlights of her later career included the American stage premiere of Janacek’s “From the House of the Dead” at City Opera in 1990, the South African premiere of “Porgy and Bess” in 1996, an acclaimed staging of Scott Joplin’s “Treemonisha” in 2000, and the premiere of Davis’s “Wakonda’s Dream” at Opera Omaha in 2007. She also wrote the libretto for Luciano Berio’s “Opus Number Zoo” and authored seven children’s books, several illustrated by Edward Gorey. Levine taught at the Manhattan School of Music from 1992 to 2019, among other institutions, and emphasized connecting with audiences on a human level.
“Clarity is all,” she once said. “Whether the audience likes it or not, whatever your intention is, you must deliver that intention to them. That’s your job as an actor, an actress or as a musician. You hope you’re clear.” Her work and influence left a lasting mark on opera, expanding both the art form and opportunities for women in the field. She leaves no immediate survivors.
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