Baruch Performing Arts Center’s theater is buzzing with activity; people are scurrying above me on catwalks focusing lights and drills buzz on the stage as the production crew assemble the set for Encompass New Opera Theatre’s production of A Wake or A Wedding, a new comic opera by Richard Pearson Thomas. Amid this flurry, I meet up with Nancy Rhodes, a charming and vivacious powerhouse in the world of opera and Artistic Director/Founder of Encompass. We retreat to a quiet place in the theater’s lobby and begin our chat.

What was the catalyst or inspiration for starting Encompass Opera 38 years ago?

Encompass started as a result of my collaboration with the great composer Virgil Thomson, widely known as the father of American 20th-century opera. It was 1974, I was 22, a NYU Tisch graduate and I was going to direct in New York his opera, The Mother of Us All (libretto by Gertrude Stein), about the life of Susan B. Anthony. Virgil, who at the time was 82, lived at the Chelsea Hotel, where we met to talk and we just hit it off. Introducing me to the aesthetics and music of the era between the two world wars, he also told me it wasn’t easy for American opera composers to get their work seen here, it was easier to get produced in Europe. After working together, he bestowed upon me the mantle of American opera and Encompass New Opera Theatre was born. Virgil was my muse and inspiration and he opened doors. Our first Encompass production was The Mother of Us All in 1975 and three years down the road we will be doing a production of Thomson’s Lord Byron. Although he passed away in 1989, he is still very much a part of our vision of creating, developing and producing contemporary opera as well as revivals of important American and international composers that have included Copland’s The Tender Land and Regina by Marc Blitzstein.

Tell me a little bit about your work as a librettist and director and what kind of work you are drawn to?

As a librettist, I like to explore and illuminate what it is to be human right now, the interconnectedness of our existence and how that is reflected in social and political aspects of the world; but always with a compelling story attached. I have a deep interest in quantum physics, metaphysics and shamanism, which is reflected in a new full length opera I wrote with composer John David Earnest titled The Theory of Everything. As a director I like to work in many styles, but always rooted in character and a story the audience can hang on to. A Wake or A Wedding is a farce, which is great fun.

With the demise of NYC Opera and recently Florida Grand Opera, what is your secret for longevity in an era when opera companies are struggling to fill seats and pay bills?

It’s always a struggle and doesn’t get any easier. But there’s no turning back, we just have to do it. That’s what Virgil Thomson taught me – go forth, set a vibration and just do. I am also so fortunate to have the great Sheldon Harnick as a mentor; he opens doors. We stay with our mission not to compete with big opera like the Met, our focus is more chamber sized and operas are sung in English. My “secret” is probably that I am inspired by all the artists and music and it keeps me going. We’re part of the New York Opera Alliance and share resources and do programs in nontraditional spaces like Poisson Rouge that may bring in different audiences.

Have you encountered any challenges being a woman in a leadership role in the opera world?

There are always challenges but I’m still here! I contribute to equality by being a giver of opportunities to talented women. Our current musical director/conductor is a woman, Mara Waldman.

How do you develop new work? What new projects are you looking forward to?

Part of our mission is to widen the recognition of American composers, dramatists, singers and musicians. We have a program called New American Opera Previews: From Page to Stage where 30 minutes of a new opera is presented as a work in progress at Manhattan School of Music. It’s a wonderful developing ground. Earlier this year we started a new series, Paradigm Shifts, a pairing of new films from around the world with live musical performances that bridge indigenous cultures and celebrate people protecting our planet. In addition to producing Virgil Thomson’s Lord Byron, in the spring we are doing the world premiere of Anna Christie based on O’Neill’s play, with libretto by Cabaret’s Joe Masteroff and music by Edward Thomas.

Do you ever sleep? What about fun?

Well, I am usually answering emails at 3am! I like to swim and be in nature when I can. I am renewed by nature and by my passion for opera.

For schedule, ticketing and further information about Encompass New Opera Theatre, visit www.encompassopera.org