A Conversation with Denyce Graves, who plays Maria in Washington National Opera’s Porgy and Bess

Nicole Lacroix: Thank you, Denyce Graves, for “chatting” with us on WETA Classical’s Classical Score blog. The more I researched Porgy and Bess, an opera I thought I knew well (I can sing all the hits), the more I realized how miraculous the Gershwins®’ masterpiece is, and how it truly speaks to our own time.  

I was at the Kennedy Center recently for WNO’s presentation of The (R)evolution of Steve Jobs and spent some time in the Hall of States browsing the Hidden Voices Exhibit, The Women of Porgy and Bess: an Evolving Perspective, curated by Dr. Karen M. Bryan under the auspices of the Denyce Graves Foundation. This in-depth exhibit complements WNO’s production of Porgy and Bess. I was especially intrigued to see how the women’s roles have grown and evolved since the opera’s 1935 premiere. Your role of Maria, for example—how has she grown over the decades?  

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Denyce Graves: This is my second production of Porgy and Bess singing the role of Maria. The Met’s production (2019-2021) was my first and directed by James Robinson. While doing the Met’s production many singers told me that they had done Francesca Zambello’s production which we’re currently doing here at WNO and how much they enjoyed it, especially the hurricane scene (which is very dramatic). 

In the Met’s production, my Maria was a bit sexier and flirtatious- she was still in the role of matriarch for Catfish Row but had a naughty streak when people weren’t looking. There was a scene with the crab man for example when she lifted her skirt, showed her leg and invited him into her home. 

Our current production has Maria as much more the mother earth type. She smokes a pipe (which I love) and has premonitions. She still has a naughtiness to her but is much more true to herself in this production. 

Many of the portrayals and “versions of Maria” are influenced by the production's concepts but the foundational and basic characterizations remain. 

She is probably the oldest person in Catfish Row- probably served as midwife for many of the inhabitants. She, like many others from this community, believes in superstitions and elements of folk magic. 

She represents strength and pragmatism and is an anchor in the community. 

Francesca’s production is updated from the 1930’s to the 1950’s which shows a different perspective on the characters in a contemporary context. 

It’s designed by Peter J. Davison and is urban. A depiction of industrial squalor.  

NL: You have a delicious aria against Sportin’ Life. Is it fun to sing?  

DG: That moment is more of a spoken moment than aria- it's hard actually to speak that and be heard over the orchestra- I try to pitch it high so that it cuts and reaches. It's a fun moment and you see Maria’s “takes no prisoners” attitude and fierce protection of Catfish Row, of her business and community. 

NL: Another star turn for Maria is in the final trio with Serena and Porgy as he prepares to go looking for Bess in New York. How do you see this? Hope? Foolish optimism?    

DG: I LOVE this moment actually. 

It comes at the very end of the opera. 

Maria is very pragmatic in this trio but eventually before Porgy leaves, realizes that she can’t do anything but bless him and allow him his own choice. 

She thinks it’s foolish of him but recognizes that he has his own path. 

NL: Gershwin said: “I’d like to write of a melting pot of a blend of native and immigrant strains—a music Black, White, Eastern and Western. I’d like to catch the rhythms of these interfusing... peoples to show them clashing, blending... to achieve out of this diversity an artistic unity. I’d especially like to blend the humor of it with the tragedy of it.” Perhaps this is what appeals so much to us in the opera: the variety of music styles...folk, blues, jazz, Yiddish, love scenes out of Puccini, strong characters, irrepressible dances, fabulous choruses. Do you agree that he achieved a uniquely American opera? Blending the soaring music with the dark side of life?  

DG: I DO agree that this is very much an American opera woven with many musical styles and glorious melodies. 

NL: Now in 2025, what do you think the social impact of Porgy and Bess is?  I think we get seduced by the music—nobody leaves Porgy without humming at least one tune—but  we don’t “necessarily” think about the plot which is just as relevant now as it was in the 1930’s. Gambling, prostitution, drinking, drugs, fights, rape, murder, natural disasters, illness, racism, orphans are still with us today.  

DG: Yes Porgy and Bess is complicated. It sits at a place of art, race, and American identity. As an opera, it certainly remains a landmark in the canon—but it continues to provoke questions about representation, authorship, and cultural legacy. 

What we do see happening that we never saw before are Black directors, designers and conductors telling this story and I am delighted to see this. 

NL: What opportunities does the opera offer to Black singers and what dangers does it represent that they will be typecast?   

DG: This has always been the concern for Black artists. 

While I know many who have toured Porgy and Bess all over and bought their homes and paid for their children’s college educations--most artists feel that it's a trap that they want to avoid. 

NL: What projects is the Denyce Graves Foundation looking forward to?  

DG:

• We currently have our exhibit in the Kennedy Center, and we are so proud of that- this is our second one. The first was on Mary Cardwell Dawson and great hidden figures 

• We are preparing for our summer immersive for our new Shared Voices cohort of singers at The Wethersfield Estate and Garden in June. 

• We are folding in a Musical Theater component into our Shared Voices program 

• We are preparing for our symposium at Morehouse this year in September  

• We are preparing for our big annual Gala on October 6 

• We are preparing for the roll out of our Generational Voices program 

• We roll out a new calendar every year of hidden figures and under recognized artists and we collaborate with high school artists 

• We have so many activities and collaborations for next season-  

NL: What’s next for Denyce Graves.     

DG: Waow- How much time do you have? 

• I am stage directing a lot 

• I just finished “Loving vs Virginia” and now have Treemonisha in front of me next season at WNO and then The Medium in Charlotte 

• I am doing a lot of speaking engagements - Delivering the Commencement address at UCLA, 

Also 

• Speaking at the ASAE conference  

• Also singing engagements back at The Met next season 

• Working on developing the conservatory at Chautauqua  

• Still teaching at Juilliard and Peabody and working with the next generation of singers 

The Gershwins®’ Porgy and Bess  
Kennedy Center Opera House May 23-31   

Cast includes: 
Brittany Renee 
Alyson Cambridge 
Michael Sumuel 
Reginald Smith, Jr. 
Viviana Goodwin 
Amber R. Monroe 
Denyce Graves 
Chauncey Packer 
Kenneth Kellogg 
Norman Garrett 
Benjamin Taylor 

Washington National Opera Orchestra 
Washington National Opera Chorus 
Washington National Opera Corps of Dancers 
Kwamé Ryan, conductor 
Francesca Zambello, director 

More information at Kennedy-Center.org