Seattle Opera 2007/08 Season Brochure

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S E A S O N

Opera...

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PALM BEACH OPERA, 2005, STEVEN CARAS PHOTO

...is where your hear t belongs

The Flying Dutchman Wagner

Iphigenia in Tauris Gluck

Pagliacci Leoncavallo

Tosca Puccini

I Puritani Bellini

Photo courtesy of San Francisco Opera, Larry Merkle photo

Ref resh your soul

...with a full season of Seat tle Opera masterpieces and experience the many languages of love.

Each time the cur tain rises, your hear t will skip a beat. Fall in love with the spectacular sets

and costumes, vivid emotions, and gripping stories.

the stage, you won’t miss a thing.

And with English captions projected above

Step into the “warm, inviting, and superbly intimate” (San

Francisco Chronicle) surroundings of Marion Oliver McCaw Hall.

It ’s time you arrived at the

most richly rewarding per formances in Seat tle. To reser ve your choice of seats, subscribe today.

The Flying Dutchman 4, 8, 11, 14, 17, 19m, 22, 25

August 2007

The Dutchman: GREER GRIMSLE Y Senta: JANE E AGLEN Daland: DANIEL SUMEGI * Erik: JAY HUNTER MORRIS Mary: LURE T TA BYBEE Steersman: JASON COLLINS* † Conductor: ASHER FISCH Stage Director:

SEATTLE OPERA REVIVAL

TH E

F LY I N G

DU TC H MA N

AUGUST 4, 8, 11, 14, 17, 19M, 22, 25, 2007 MUSIC AND LIBRETTO BY RICHARD WAGNER SUNG IN GERMAN WITH ENGLISH CAPTIONS PERFORMANCE RUNS 3 HOURS, 25 MINUTES, WITH 2 INTERMISSIONS EVENINGS: 7:30 P.M. MATINEE: 2:00 P.M.

STEPHEN WADSWORTH

Y E A R N I NG

PE TER K ACZOROWSKI

Chorusmaster: BE TH KIRCHHOFF English Captions: JONATHAN DE AN

Sets and costumes built by Ron Scherl photo

SE AT TLE OPER A

The Dutchman from Seattle Opera’s 1989 production.

VOCAL PRAISE Fans are looking forward

to the “dominating force” (Pittsburgh Post-Gazette) of Greer Grimsley’s Dutchman, Jane Eaglen’s “vital and strong” (San Francisco Chronicle) Senta, and the “power and nuance” (MusicWeb) of Daniel Sumegi as Daland.

Plus, International Wagner Competition winner Jason Collins returns in his mainstage debut as the Steersman.

*Company debut 2006 International Wagner Competition Winner †

Jane Eaglen’s performances are made possible by generous financial support from the James and Sherry Raisbeck Singers’ Endowment.

Seattle Opera’s 1989 production of The Flying Dutchman.

Ron Scherl photo

Season images © Rosanne Olson

may just convince you that you can smell crisp sea air, while the Seattle Opera Chorus gets a full workout in the Spinning Chorus, Sailors Chorus (Norwegians, of course), and Ghosts Chorus. Director Stephen Wadsworth is known for his remarkable stagings of “three-dimensional characters and the inherent drama of their connections and conflicts” (Seattle Weekly).

DUNYA R AMICOVA

Lighting Designer:

A wild, romantic fable, Wagner’s immortal tale opens with a stormy orchestra and blood-red sails. A cursed sea captain, who can be redeemed only by true love, sets foot on land every seven years to search for a bride. Will the young girl Senta save the Dutchman or condemn him to sail eternally?

WOW FACTOR The nautical sets

Set Designer: THOMAS LYNCH Costume Designer:

SO U LS

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Iphigenia in Tauris 13, 14m, 17, 20, 21m, 24, 26, 27

October 2007

Iphigenia: NUCCIA FOCILE/

NEW PRODUCTION

I P H I G E N I A

I N

MARIE PLE T TE †

TA U R I S

Pylades: WILLIAM BURDEN Orestes: BRE T T POLEGATO Thoas: PHILLIP JOLL Conductor: GARY THOR WEDOW Stage Director:

OCTOBER 13, 14M, 17, 20, 21M, 24, 26, 27, 2007 MUSIC BY CHRISTOPH WILLIBALD GLUCK LIBRETTO BY FRANÇOIS GUILLARD SUNG IN FRENCH WITH ENGLISH CAPTIONS PERFORMANCE RUNS 2 HOURS, 25 MINUTES, WITH 1 INTERMISSION EVENINGS: 7:30 P.M. MATINEES: 2:00 P.M.

DE S P E R AT E

STEPHEN WADSWORTH

Set Designer: THOMAS LYNCH Costume Designer: MARTIN PAKLEDINA Z

C HOICE S

Lighting Designer: PE TER K ACZOROWSKI

Agonizing decisions, dark family secrets, and longing for home fuel this 1779 opera, based on the Greek tale. When captive priestess Iphigenia is ordered to sacrifice one of the pair of Greeks newly stranded on Tauris, she has no idea one is her long-lost brother Orestes—still tormented by the Furies for killing his mother.

English Captions: JONATHAN DE AN

Co-production with THE ME TROPOLITAN OPER A

Sets and costumes built by SE AT TLE OPER A †

Performing October 14, 21, and 26

Nuccia Focile’s performances are made possible by generous financial support from the James and Sherry Raisbeck Singers’ Endowment.

WOW FACTOR Seattle audiences are

Chris Bennion photo

the first to see this inaugural Seattle Opera and Metropolitan Opera coproduction of Gluck’s passionate and musically thrilling work. Director Stephen Wadsworth returns with the design team from his recent “downto-the-last-detail, drop-dead-gorgeous” Rodelinda at the Met, where Tom Lynch’s set “almost [stole] the show” (New York Magazine). Conductor Gary Thor Wedow summons up the “tragic grandeur in Gluck’s astonishing score” (New York Times).

baritone Brett Polegato’s “valiant poignancy” (San Francisco Chronicle) as the tormented Orestes and, as Iphigenia, soprano Nuccia Focile—“a vocal force thoroughly committed and convincing in its power” (San Francisco Classical Voice).

Nuccia Focile

Rozarri Lynch photo

VOCAL PRAISE Highlights include

Brett Polegato

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Pagliacci 12, 13m, 16, 19, 20m, 23, 25, 26

January 2008

Canio: ANTONELLO PALOMBI/

BELOVED CLASSIC

JOHN UHLENHOPP †

PAG L IACCI

Nedda: NUCCIA FOCILE/ E VA BATORI †

JANUARY 12, 13M, 16, 19, 20M, 23, 25, 26, 2008 MUSIC AND LIBRETTO BY RUGGERO LEONCAVALLO SUNG IN ITALIAN WITH ENGLISH CAPTIONS PERFORMANCE RUNS 2 HOURS WITH 1 INTERMISSION EVENINGS: 7:30 P.M. MATINEES: 2:00 P.M.

Tonio: GORDON HAWKINS/ MARK HOLL AND* †

J E A LO U S

Silvio: MORGAN SMITH ‡ Beppe: DOUG JONES Conductor: DE AN WILLIAMSON Stage Director: BERNARD UZ AN Set Designer: BERNARD UZ AN

M I N D S

WITH CL AUDE GIR ARD

Costume Designer: CYNTHIA SAVAGE Lighting Designer: DONALD THOMAS English Captions: JONATHAN DE AN Sets by OPÉR A DE MONTRÉ AL Costumes built by SE AT TLE OPER A

A group of traveling actors wanders into the wilds of seduction and obsession.

The sweet taste of secret romance and the sting of jealousy lead to a fatal love triangle. When the beautiful Nedda’s heart strays, her husband Canio, who plays the clown in their troupe, takes his deadly rage to the stage.

*Company debut †

Performing January 13, 20, and 25

‡

Former Seattle Opera Young Artist

Antonello Palombi’s performances are made possible by generous financial support from the James and Sherry Raisbeck Singers’ Endowment.

WOW FACTOR Always one of the

Karen Almond photo

top operas performed in the U.S., Pagliacci’s action is driven by the score’s churning waves of tortured emotion. French director Bernard Uzan’s knack for “provocative and persuasive” (Seattle PI) stagings unites with Dean Williamson’s “deft and sure” (Opera News) conducting.

VOCAL PRAISE A tenor showcase,

Antonello Palombi

Pagliacci marks the returns of the Italian Antonello Palombi (from The Girl of the Golden West) and his “rich and full, remarkably resonant yet limpid” (Seattle P-I) tenor voice, and John Uhlenhopp, with his “strong dramatic skills” (The Seattle Times). Nuccia Focile delivers the full scope of her vocal and dramatic ability, spinning 180 degrees from Iphigenia to Nedda.

Opéra de Montréal production of Pagliacci

Yves Renaud photos

Opéra de Montréal production of Pagliacci

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Tosca Feb 23, 24m, 27, 29, Mar 1, 2m, 5, 8, 9m

February/March 2008

Floria Tosca: LISA DALTIRUS*/

OPERA FAVORITE

MICHELE C APALBO* †

TO SC A

Mario Cavaradossi:

FEBRUARY 23, 24M, 27, 29, MARCH 1, 2M, 5, 8, 9M, 2008 MUSIC BY GIACOMO PUCCINI LIBRETTO BY LUIGI ILLICA & GIUSEPPE GIACOSA SUNG IN ITALIAN WITH ENGLISH CAPTIONS PERFORMANCE RUNS 2 HOURS, 40 MINUTES, WITH 2 INTERMISSIONS EVENINGS: 7:30 P.M. MATINEES: 2:00 P.M.

FATA L

PA S S ION

Tosca’s gut-wrenching tension and desperate beauty are electrifying. Famed opera diva Tosca wants Cavaradossi, an artist and political firebrand, to turn away from revolution for the sake of their love. Menacing chief of police Scarpia just wants Tosca. It’s a larger-than-life battle of wills, and love may not be the only casualty.

VOCAL PRAISE When the New York

Times gushes about you like this— “Imperious, her eyes ablaze, the very image of Tosca, [Lisa Daltirus] exuded an intangible electricity”—you’re the hot ticket. Her Cavaradossi is Frank Porretta, who is “proving to be the real thing: a spinto tenor with a top that’s secure—right up to Cavaradossi’s B-flat” (Variety). Greer Grimsley’s portrayal of Scarpia evokes a “hair-raising degree of self-satisfied evil” (Detroit News).

WOW FACTOR Puccini’s music is a

thrilling rollercoaster ride—and the showstopper aria “Vissi d’arte” always delivers goosebumps. The “stunningly painted sets are realistic reproductions” (San Francisco Classical Voice) of the locales in Rome where the action unfolds. Acclaimed for his “powers of invention” (Seattle P-I), director Chris Alexander provides a fresh take on Tosca’s twists and turns.

FR ANK PORRE T TA III*/ BR ANDON JOVANOVICH* † ‡

Baron Scarpia: GREER GRIMSLE Y/ GARY SIMPSON †

Spoletta: STE VEN COLE Cesare Angelotti: JASON GR ANT * Conductor: VJEKOSL AV SUTE J Stage Director: CHRIS ALE X ANDER

Set Designer: THIERRY BOSQUE T Costume Designer: THIERRY BOSQUE T

Lighting Designer: CONNIE YUN English Captions: JONATHAN DE AN

Sets and costumes by SAN FR ANCISCO OPER A *Company debut Performing February 24 and 29; March 2 and 9 †

‡

Former Seattle Opera Young Artist

Frank Porretta’s performances are made possible by generous financial support from the James and Sherry Raisbeck Singers’ Endowment.

Gary Smith photo

Photo courtesy of The Minnesota Opera, Michal Daniel photo

Lisa Daltirus

From 2000/01 season, Tosca.

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I Puritani 3, 4m, 7, 10, 11m, 14, 16, 17

May 2008

Elvira: NOR AH AMSELLEM/

SEATTLE OPERA PREMIERE

I

EGLISE GUTIÉRREZ* †

P U R I TA N I

Arturo: L AWRENCE BROWNLEE ‡ / JOHN OSBORN †

MAY 3, 4M, 7, 10, 11M, 14, 16, 17, 2008 MUSIC BY VINCENZO BELLINI LIBRETTO BY COUNT CARLO PEPOLI SUNG IN ITALIAN WITH ENGLISH CAPTIONS PERFORMANCE RUNS 3 HOURS, 30 MINUTES, WITH 2 INTERMISSIONS EVENINGS: 7:30 P.M. MATINEES: 2:00 P.M.

STA R - C R O S S E D

Riccardo: MARIUSZ K WIECIEN/ MORGAN SMITH † ‡

Giorgio: JOHN RELYE A/ DENIS SEDOV †

Enrichetta: FENLON L AMB* ‡ Conductor: EDOARDO MÜLLER Stage Director: LINDA BROVSK Y Set Designer:

LOV ER S

ROBERT A . DAHLSTROM

Drift away on Bellini’s rivers of endless melody. This Romeo and Juliet—Elvira and Arturo—are not just separated by a family feud, but by a civil war.

When it looks like her fiancé Arturo has abandoned her, Elvira goes mad.

One of the greatest bel canto operas ever composed, I Puritani captures the volatile influences of young love: soaring heights and unhinging lows.

Costume Designer: PE TER J. HALL English Captions: JONATHAN DE AN

Sets built by SE AT TLE OPER A Costumes by THE ME TROPOLITAN OPER A

Steven Caras photo

*Company debut

WOW FACTOR Seattle Opera

unveils new set designs by Robert A. Dahlstrom—whose sets for The Tales of Hoffmann in 2005 were “a treat for the eye” (Seattle Times)—and lavish costumes by the Met’s Peter J. Hall.

Edoardo Müller’s “stylish” conducting (New York Times) and Linda Brovsky’s “imaginative” (Seattle Times) staging make another perfect match.

†

Performing May 4, 11, and 16

‡

Former Seattle Opera Young Artist

Lawrence Brownlee’s performances are made possible by generous financial support from the James and Sherry Raisbeck Singers’ Endowment.

Elvira and Arturo from I Puritani

the stage in two casts. French “upand-coming soprano” (Opera Today) Norah Amsellem and the “remarkable young tenor” (Opera Today) Lawrence Brownlee, especially, make an Elvira and Arturo to rave about.

VOCAL PRAISE The string of aria

Norah Amsellem

after gorgeous aria requires one of opera’s most remarkable quartets of singers. Eight young opera stars take

Rozarii Lynch photos

Lawrence Brownlee

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Bill Mohn photo

Life calls for celebration.

Subscribe and join Seattle Opera at McCaw Hall.

OPER A’S RICH, REWARDING EXPERIENCES mean you feel a buzz, inside Marion Oliver McCaw Hall and out.

Arriving via the promenade, you pass glimmers from the choreographed light installation, reflecting off the water below.

Through the window, you see dining couples filling Café Impromptu.

Inside, you lean over the balcony to watch the colors dance. At intermissions, wine pours and conversations hum in the five-story Grand Lobby. You chat over coffee and dessert in the café. Flutes of champagne sparkle.

In the darkness of McCaw Hall, you watch as desire comes to life. While the stage reveals the heart’s landscape, amazing acoustics channel the orchestra’s power right to your seat. You feel the emotions resonating in each singer’s voice: yearning, desperation, jealousy, delight, devotion.

FOR THE CURIOUS, there are the Overtures to the Opera previews, where Perry Lorenzo or Jonathan Dean discuss the music, the story, and the background of the opera. After the performance, you can stroll down to the Q&A hosted by General Director Speight Jenkins to share your reactions.

Rozarii Lynch photo

Rozarii Lynch photo

As you leave, you realize—you can’t wait to come back to this party. Luckily, you have an engraved invitation: your subscription. Reserve your place for the season everyone will be talking about.

Subscribe today.

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Choose all applicable.

Become a Seattle Opera Donor and Enjoy These Great Benefits Every donor benefit is carefully planned to enhance your opera experience and bring you closer to Seattle Opera.

Combine your Preferred Seating donation with a gift to the Annual Fund today to increase your contribution and move up to a higher donor level. If you have any questions or would like more detailed information on these or other donor levels, please contact donor.services@seattleopera.org or call 206.676.5593. A partial list of benefits follows. Please note: some restrictions apply on tickets and discounts.

Then call 206.389.7676 or 800.426.1619.

Order online at www.seattleopera.org.

SAVE ON YOUR SEATS While securing your favorite seats for the season, you pay less (up to 12%) compared to single-ticket prices for your series and seating area.

SET YOUR OWN PAYMENT PL AN At your request, we can bill installments to your credit card over as many as four months.

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RUBY FIRST TIER • $1,500-$2,499

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AMETHYST SECOND TIER • $1,000-$1,499

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RESERVED PARKING In the Mercer Garage, with a covered walkway to McCaw Hall. Pre-pay with the order form that arrives with your tickets.

AMETHYST FIRST TIER • $750-$999

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TOPAZ SECOND TIER • $500-$749

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TOPAZ FIRST TIER • $350-$499

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Annual Education Newsletter Passes to Overtures to the Opera Final Dress Rehearsal invitation 10% discount at Amusements 20% discount on purchase of four single tickets, plus...

PEARL SECOND TIER • $150-$349

• Donors-only pre-season reading and listening list prepared by Perry Lorenzo • Ovation Card—discounts to area restaurants and businesses, plus...

PEARL FIRST TIER • $75-$149

Bill Mohn photo

• Subscription to Seattle Opera Magazine • Opportunity for advance single-ticket purchase These benefits apply for all gifts made prior to April 30, 2007.

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2007/08 Featured Artists

Notes by General Director Speight Jenkins NOR AH AMSELLEM

LISA DALTIRUS

Last at Seattle Opera: Rigoletto, 2004

Seattle Opera debut

Elvira, I Puritani

“Great Gilda in ’04, a lyric soprano star”

Floria Tosca, Tosca “A new, thrilling full-bodied lyric soprano”

EVA BATORI

JANE EAGLEN

Last at Seattle Opera: Girl of the Golden West, 2004

Last at Seattle Opera: Die Fledermaus, 2006

“Fragility masking power, hot acting, and great range”

“One of the leading Wagner sopranos of the world”

L AWRENCE BROWNLEE

NUCCIA FOCILE

Nedda, Pagliacci

Arturo, I Puritani

Last at Seattle Opera: Italian Girl in Algiers, 2006 “Former Seattle Opera young artist, great bel canto tenor”

WILLIAM BURDEN

Pylades, Iphigenia in Tauris Last at Seattle Opera: Italian Girl in Algiers, 2006 “A great stage personality and brilliant lyric tenor”

Senta, Flying Dutchman

Iphigenia, Iphigenia in Tauris; Nedda, Pagliacci Last at Seattle Opera: Eugene Onegin, 2002 “Internationally acclaimed, versatile lyric soprano from Sicily”

GREER GRIMSLEY

The Dutchman, Flying Dutchman; Baron Scarpia, Tosca Last at Seattle Opera: The Ring, 2005 “A heroic baritone, master of many operatic styles”

MICHELE CAPALBO

EGLISE GUTIÉRREZ

Seattle Opera debut

Seattle Opera debut

“An acclaimed lyric soprano, with Tosca as her trademark”

“Cuban soprano, recent hit in New York”

Floria Tosca, Tosca

Elvira, I Puritani

GORDON HAWKINS

BRET T POLEGATO

Last at Seattle Opera: Macbeth, 2006

Last at Seattle Opera: End of the Affair, 2005

“Noble Verdi baritone, once a professional athlete”

“An elegant baritone, specializing in French and contemporary”

BR ANDON JOVANOVICH

FR ANK PORRET TA III

Seattle Opera debut

Seattle Opera debut

“Former Seattle Young Artist, acclaimed tenor abroad”

“Full lyric tenor with success at many of the great opera houses”

MARIUSZ KWIECIEN

JOHN RELYEA

Last at Seattle Opera: Don Giovanni, 2007

Last at Seattle Opera: Tales of Hoffmann, 2005

“Polish lyric baritone, popular all over the world”

“American bass, equally good in comedy, drama, or fantasy”

JOHN OSBORN

DENIS SEDOV

Last at Seattle Opera: Magic Flute, 1999

Last at Seattle Opera: Marriage of Figaro, 1997

“Exciting bel canto tenor, works all over U.S.”

“Russian bass specializing in bel canto and comedy”

ANTONELLO PALOMBI

MORGAN SMITH

Tonio, Pagliacci

Mario Cavaradossi, Tosca

Riccardo, I Puritani

Arturo, I Puritani

Canio, Pagliacci

Last at Seattle Opera: Girl of the Golden West, 2004 “A true Italian dramatic tenor”

Orestes, Iphigenia in Tauris

Mario Cavaradossi, Tosca

Giorgio, I Puritani

Giorgio, I Puritani

Silvio, Pagliacci; Riccardo, I Puritani Last at Seattle Opera: Don Giovanni, 2007 “Former Seattle Opera young artist, seductive baritone”

Seattle Opera.

Where desire comes to life.

Subscribe Today The Flying Dutchman Wagner

Iphigenia in Tauris Gluck

Pagliacci

Leoncavallo

Tosca Puccini

I Puritani Bellini

W W W . S E A T T L E O P E R A . O R G 2 0 6 . 3 8 9 . 7 6 7 6

photo Š Rosanne Olson

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8 0 0 . 4 2 6 . 1 6 1 9