L'Italo-Americano

THURSDAY, SEPTEMBER 7, 2017 www.italoamericano.org 32 L'Italo-Americano I n 1975, just a dozen years after its founding, Seattle Opera created an international sensation when it staged the complete production of Richard Wagner's "Ring" in the six-day cycle prescribed by the compos- er. This landmark accomplish- ment stood the opera world on its ears. Producing the complete operatic masterpiece was seldom seen outside Germany, and it had been almost forty years since the last time a full "Ring" cycle was presented in the U.S, in 1939's New York. Yet, for the follow- ing nine years, from 1975 to 1984, Seattle Opera produced a "Ring" cycle each summer, with one cast singing in German and one in English. Glynn Ross, Seattle Opera's founding director, was the per- s on res pons ible fo r putting Seattle on the international opera map. Described as everything from energetic and adventurous to "a hip hucks ter," Ros s changed the very face of opera in the U.S. in many ways. But putting Seattle Opera on the map w as not a one-man show. Ross was assisted along the way by his Italian-born wife, Angelamaria Solimene Ross, known to family and friends as Gio. The daughter of a well-known lawyer and a concert pianist, Gio was born in Naples in 1917. She attended Naples' Academy of Fine Art, a university-level art school and one of the oldest in Europe, where she studied studio art and art history. She later taught classes there, as well. Gio met her husband-to-be on the island of Ischia where Glynn was serving with the U.S. Army and running a res t camp for American military personnel. After the war, Glynn stayed on in Italy to become the s tage director at the great Neapolitan opera house, the Teatro San Carlo. Ross worked at the theater in Naples for two years—the first American to direct in a major Italian opera house. A year later, the couple married and moved to America. For nearly two decades, the Ross family moved frequently while Glynn took on directing positions with various opera companies , includ ing thos e bas ed in S an F rancis co, Los A ngeles , F ort Worth, N ew Orleans and Philadelphia. During this time, Gio put her artistic background to good use. She painted scenery, selected accessories such as canes, jewel- ry and masks for the singers to wear, and revamped or created original costumes that would make powerful visual statements on stage. "S he knew cos tuming through her training in art," said her daughter Melanie Ross, who also spent most of her career at Seattle Opera, recently leaving her position as director of artis- tic operations . "M y mother knew what styles and colors were appropriate for a certain era and which ones would bring an historical period to life. Plus she could fit a costume beauti- fully." A t one point, the family returned to N aples and the Teatro San Carlo, where Glynn reprised his role as stage direc- tor. But a 1963 phone call from Albert Foster, then president of the newly created Seattle Opera, changed the direction of their lives and that of the arts commu- nity in Seattle. Glynn was asked to direct Seattle Opera and the family moved to the Northwest. Gio balanced family life—the couple had four children: daugh- ters M elanie, S tephanie and Claudia and son Tony—with the opera's costume shop. "Gio did the hard work of creating and running the costume shop," said Speight Jenkins, who succeeded G lynn Ros s in 1983 as the Opera's general director. "She started it off on the exact right footing, consistently, indeed brilliantly, disguising how little money she had to work with!" In addition to her talents as a gifted cos tumer, G io w as a warm and gracious host and an exceptional cook. In 1968, the Seattle Times featured her recipe for ricotta cheese cake, calling it "a delicious light-as-a-feather entrée." "She did a lot of hostessing of singers, donors, board mem- bers, members of the media," said Melanie Ross. "She could put together a phenomenal din- ner on a moment's notice, often RITA CIPALLA Gio Solimene Ross: The first First Lady of Seattle Opera with what she had on hand. As kids, we all learned to help out. We poured punch, we dried the dishes, and along the way, we probably picked up some social skills." Clo thing and acces s ories remained a huge part of Gio's life. She was always beautifully dressed, accessorizing her outfits with large dramatic pieces of jewelry. Necklaces were a par- ticular favorite. "My mother was extremely elegant in how she carried her- self, how she dressed and how she decorated our home," said her daughter Melanie. "She had s uch an eye for beauty. S he made our home elegant and expens ive-looking jus t w ith things she would find around town. It is one of her many tal- ents that I wish I had inherited!" In her later years, Gio went back to school to study art, tak- ing up painting again in her 70s for her personal pleasure. After her husband's death in 2005, she remained in the family home until her death in 2015 at the age of 98. "She gave the last half-centu- ry of her life to Seattle Opera," said Jenkins. "I was exposed to her charm, her perception, her know ledge of opera and her brains. She was a very wise and bright individual w ho con- tributed tremendously to opera and to the artis tic s cene in Seattle." Although Gio Ross' contribu- tions to Seattle's artistic commu- nity were many, she is perhaps best remembered for her gra- ciousness, elegance and staying true to her Italian heritage. "She was a true Neapolitan and lived every day as an Italian," said her daughter. "S he s how ed us unparalleled w armth and humanity, but we also experi- enced our fair share of decibels in our hous ehold. S he w as demonstrative and affectionate, loving and artistic. She was truly her own person." An elegant and stylish woman throughout her life, Gio Ross was always beautifully dressed with an eye for unusual jewelry. (Brandon Patoc) SEATTLE ITALIAN COMMUNITY Gio Ross and her husband Glynn, Seattle Opera's founding director, attend an opening at McCaw Hall. (Seattle Opera)

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