Seattle Opera has unveiled the new 2017/18 season with news of new venues and bilingual performances for elementary-school students. There will be collaboration with ACT Theatre and Seattle Symphony leaders. There will be performances at Georgetown Steam Plant and even free outdoor events. Looks like a great season! Get more ticket info here.
“We want to present opera in a way that reflects our time and place—so naturally, representing the diverse people of our region is important to us,” said General Director Aidan Lang. “Whether it’s Verdi or Mozart on our mainstage, or an opera with Muslim or LGBTQ characters presented in our community—opera speaks to the experience of being human which we share. This is why it’s crucial to reduce historic barriers that have made our art form, at times, inaccessible.”
From the Seattle Opera:
The mainstage season at McCaw Hall kicks off with Puccini’s famous Madame Butterfly, Aug. 5-19, 2017. Stage director Kate Cherry’s “sublime, visually fantastic, must-see” show (stuff.co.nz) stars Lianna Haroutounian and Alexia Voulgaridou who each make company debuts as Cio-Cio-San. The performance also includes Seattle debuts for Alexey Dolgov and Dominick Chenes (Pinkerton); and the return of Weston Hurt (Sharpless), RenéeRapier (Suzuki), and Maestro Carlo Montanaro. This tragic tale of a reckless American naval officer and a trusting geisha he purchased as a temporary bride includes some of Puccini’s most famous music such as the radiant “Flower Duet,” Butterfly’s poignant arias, and a rapturous love song for the ages.
Inspired by true events, Butterfly is an often painful reminder of racial and cultural injustice found throughout America’s history. Thus, An American Dream, a story depicting the incarceration of Japanese Americans, will provide an essential second perspective for Butterfly audiences a month later in September, 2017. By showing these pieces in tandem, Seattle Opera seeks to emphasize Puccini’s intentional criticism of American attitudes toward Japan; such attitudes would later scar our own Pacific Northwest history during World War II.
The mainstage season continues with another new-to-Seattle production: The Barber of Seville (Rossini), Oct. 14-28, 2017. Stage Director Lindy Hume returns following smash hit The Wicked Adventures of Count Ory (2016) to delight audiences with colorful sets and costumes inspired by the seductive and playful spirit of southern Spain. This “riotously funny” (The Australian) prequel to The Marriage of Figaro includes the company debut of soprano Sofia Fomina (Rosina). Also featured are Matthew Grills and Andrew Owens (Almaviva); John Moore and Will Liverman (Figaro); Kevin Glavin (Dr. Bartolo); Daniel Sumegi (Basilio); and Margaret Gawrysiak (Berta). MaestroGiacomo Sagripanti returns to conduct.
In the New Year, Così fan tutte (Mozart) returns Jan. 13-27, 2018. Last seen in 2006, Jonathan Miller’s acclaimed modern-dress production may be “the funniest and most dramatically successful show Seattle Opera has ever staged” (The Seattle Times). This account of two buddies who test the faithfulness of their fiancées includes company debuts by Marina Costa-Jackson, Marjukka Tepponen (Fiordiligi); Ben Bliss, Tuomas Katajala (Ferrando); Ginger Costa-Jackson (Dorabella); Michael Adams (Guglielmo); and Maestro Paul Daniel. Returning artists include Hanna Hipp (Dorabella); Craig Verm (Guglielmo); Laura Tatulescu (Despina); and Kevin Burdette (Don Alfonso).
New to Seattle Opera is Hector Berlioz’s Beatrice and Benedict—a unique Seattle Opera premiere created through artistic collaborations. Seattle Symphony Orchestra MaestroLudovic Morlot and ACT Artistic Director John Langs make debuts as conductor and stage director, respectively for this performance, which runs Feb. 24-March 10, 2018. Based on Much Ado About Nothing, this work will kick off a city-wide event, Seattle Celebrates Shakespeare.
“This is a unique and unprecedented opportunity for three different arts organizations to create something fresh and engaging,” said Langs, who, working with Aidan Lang and Seattle Opera DramaturgJonathan Dean, will make these English-language performances faithful to Shakespeare. “It’s a beautiful story in an epic setting at a time when the world needs a bittersweet romance and joy.”
In the role of Beatrice, Daniela Mack makes her company debut, sharing the role with Hanna Hipp. Alek Shrader and Andrew Owens return to sing Benedict. The performance also includes Laura Tatulescu (Hero), Avery Amereau (Ursule), Kevin Burdette (Somarone), Craig Verm (Claudio) and Daniel Sumegi (Don Pedro).
The mainstage season concludes with Verdi’s magnificent Aida. Acclaimed creative team Francesca Zambello and Michael Yeargan oversee a visually imposing production with hieroglyphic projections by noted graffiti artist RETNA and evocative choreography by in-demand visionary Jessica Lang. This high-stakes love triangle between an Ethiopian princess, a military commander, and the Pharaoh’s formidable daughter includes performances by Leah Crocetto in her company debut as Aida—a role shared with Alexandra LoBianco. Additional company debuts include Milijana Nikolic and Elena Gabouri as Amneris; as well as Brian Jagde and David Pomeroy as Radames. Returning artists include Gordon Hawkins, Alfred Walker (Amonasro); Daniel Sumegi (Ramfis); and Maestro John Fiore.
Seattle Opera Ticket Information: Subscriptions on sale now. Five-opera renewal and new subscription ticket prices: $225 to 3,915.* Seattle Opera Ticket Office: 206.389.7676 or 800.426.1619. Online orders: seattleopera.org/subscribe2017. Mainstage performances take place at Marion Oliver McCaw Hall, 321 Mercer Street. Evening performances begin at 7:30 p.m., with Sunday matinees at 2:00 p.m. *Prices include a $3-per-ticket facility fee and (in some locations) a preferred seating donation. Young professionals ages 21-39 who join BRAVO! and students under 18 save 50 percent on tickets.
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