Johanna Banks Chase is more than just a soprano with an ear for opera. A former nurse and respiratory therapist, Banks Chase serves on the board of the Charlottesville Symphony, is active in the community, and plays tennis avidly. A grandmother of two, she recently presented a unique musical program to Charlottesville schools which highlighted African-American composers.

On June 27 she brings her talents to the Music at Twilight series at Ash Lawn, accompanied by the Mt. Zion Baptist Church Choir.

Her portion of the concert will include a cross-section of music that few have been exposed to before. And that is her aim-"to present a variety of songs that will appeal, enhance, and teach." In addition to singing traditional spirituals in a classical arrangement, with a classical voice, Banks Chase will also be singing 20th century art songs by African-American composers.

The Mt. Zion Church Choir, led by conductor Jonathan Spivey, will present the second set, a program of African-American music. In addition to his conducting, Spivey is the pianist for Black Voices at UVa and works as the choral teacher at Charlottesville High School. The choir will be joined by Barbara Edwards for several of the pieces.

Since Banks Chase sang in the Mt. Zion choir as a teenager, she feels fortunate to be able to perform with them again. "I think this is going to be something very special," she said. "Ash Lawn is a wonderful asset here. I'm hoping that this program will pull out a different segment of the community, so they can see what it's like. Because just going to the opera, and sitting on the grounds, and having dinner, is one of the most wonderful evenings you can possibly have."

In discussing her choice of songs, Banks Chase spoke about public misconceptions about African-American music. "Most people think of the contribution of black music as spirituals, gospel, ragtime, or whatever. They don't go into the other part of the spectrum." That spectrum includes opera, which she has performed in local schools, and 20th century art songs, which she will be performing at Ash Lawn. Many of these were written in a "minor or discordant key" and are quite different from the classical style. She has tried to pick songs which have meaningful poetry and music which "though it may sound different to the ear, is still pleasing to it."

Although Banks Chase sings a variety of material, she believes almost all African-American music is rooted in spirituals. "Just about any type of black music is going to have some feeling of a spiritual in it-maybe in the cadence, or the meter," said Banks Chase. "Maybe there's a call and response. Most of the 20th century composers have said that listening to spirituals in church was an inspiration to them."

Although she has sung all her life, Banks Chase didn't begin studying music with sustained seriousness until about eight years ago. Her second husband encouraged her to pursue her love of music. After singing at Ash Lawn for three years, she began voice training with Edmund Najara at UVa, then continued with InDal Choi at James Madison University. "Choi really put me through my paces," she recalls.

Now 50, she appreciates the rewards of a career as a singer in a way that she couldn't as a teenager. "When I started studying music seriously, I was ready for it."

For now, Banks Chase has her upcoming Ash Lawn performance to prepare for. Thinking of the summer air and the festive crowds and the dinners on the lawn, she recalls another Ash Lawn trademark-the peacocks which roam the grounds. "The first time I ever went to Ash Lawn, there was a wonderful harpsichordist and soprano. The harpsichordist would play, and everyone was silent. Then the soprano would start to sing, and "caw, caw, caw!" the peacocks would start from the trees." She shook her head. "But the girl never lost her cool."

Banks Chase surely would do the same-just keep right on singing.