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Season 2010–2011


Fall 2010 new production/ny premiere

bernstein

aoctober quiet place 27–November 21 Strauss

intermezzo october 31–November 20 Spring 2011 Donizetti

The elixir of love March 22–april 9 new production

zorn/SChoenberg/feldman

monodramas March 25–april 8 new production/ny premiere

Schwartz

séance on a wet afternoon april 19–May 1


Welcome Note The 2010-2011 New York City Opera season offers audiences a chance to witness innovative new operatic works, modern takes on traditional repertoire, and a full spectrum of emerging and distinguished singers and composers. These visionary productions include four world, U.S., or New York premieres of operas by New York composers. The first of these monumental new works is Leonard Bernstein’s A Quiet Place, a major piece that pushed the musical and dramatic boundaries of America’s greatest theater composer, yet has never been seen in New York. We also present the world stage premiere of John Zorn’s La Machine de l’être in a new production titled Monodramas, a triple bill of groundbreaking mini-operas. Also included in this triptych is Morton Feldman’s Neither in its U.S. stage premiere. We close the spring with the New York premiere of Séance on a Wet Afternoon, the first opera by acclaimed Broadway and film composer Stephen Schwartz. Championing a new genre of opera, Richard Strauss’s rarely performed domestic comedy Intermezzo focuses on everyday events revealed in a series of short vignettes, which follow the fast paced action in a witty production by director Leon Major. A highlight of every season is the opportunity to feature exciting new talent, and this year is no exception. I am eager for you to hear rising tenor David Lomeli as he makes his City Opera debut, appearing with soprano Stefania Dovhan, who earned rave reviews for her City Opera debut as Donna Anna in last season’s smash hit production of Don Giovanni. The pair perform in our charismatic production of The Elixir of Love, Donizetti’s Italian classic reimagined with American swagger. This season I am thrilled to introduce a new concert series that showcases the broad range of work created by the legendary composers we are celebrating. These star-studded events feature special guest artists including Christine Brewer, Kristin Chenoweth, Raúl Esparza, Lou Reed, Laurie Anderson, and John Zorn. Last season many of our performances played to packed houses. Subscribing now is the only way to secure your seats for these not-to-be-missed presentations. I look forward to seeing you at the David H. Koch Theater. Sincerely,

George Steel General Manager and Artistic Director


new production/ny premiere

bernstein

a quiet place 1984 Never before performed in the city Leonard Bernstein made his own, A Quiet Place is his final and most ambitious achievement for the theater — a quest for the quiet places we all seek. Bernstein was the most restless of men, and in this opera gave expression to what drove him. The work is the story of anxious people adrift in their search of serenity. It is the story of an American family: mother, father, daughter, gay son, all of them wounded by life and by each other — a family whose tensions Bernstein had set up in his short youthful satire Trouble in Tahiti, seen here in second-act flashbacks. It is the story of a composer striving to recapture — and recapturing — the sweeping melodies of his youth within a tougher context. It is the story of opera transforming itself to take note of TV characters, and of those characters finding within themselves an operatic voice. This is not, to be sure, a quiet place. It is a place loud with confusion, with searing and probably misdirected emotion, with failing communication, with exhibitionism, and, at times, with an irresistible power to move. It is ambitious for itself, and for us all. “One of Bernstein’s most impressive scores … the orchestration is as characterful as you could wish – punchy and seductive by turns.” —Gramophone

Dates

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© Charles Ray, courtesy Matthew Marks Gallery, Untitled Sculpture

Performances

Lectures

Wednesday, October 27, 8:00 pm

Friday, November 12, 8:00 pm

Thursday, November 4, 6:00 pm

Saturday, October 30, 8:00 pm

Sunday, November 14, 1:30 pm

Saturday, November 6, 12:00 pm

Thursday, November 4, 8:00 pm

Tuesday, November 16, 7:30 pm

Sunday, November 14, 4:45 pm

Saturday, November 6, 1:30 pm

Sunday, November 21, 1:30 pm

Tuesday, November 16, 6:00 pm

Concert

Lucky to Be Me: The Music of Leonard Bernstein Saturday November 6, 8:00 pm Sunday, November 7, 1:30 pm See page 13 for details.

See page 15 for details.

new production

casting Performed in English with English supertitles

Dede

junior

Sara Jakubiak*

Joshua Hopkins*

Production support provided by The Peter Jay Sharp Foundation, The Andrew W. Mellon Foundation, and Susan Baker and Michael Lynch

dinah

sam

Patricia Risley*

Louis Otey

Composer

Set Designer

Leonard Bernstein

Andrew Lieberman

Librettist

Costume Designer

Stephen Wadsworth

Kaye Voyce*

Conductor

Lighting Designer

Jayce Ogren*

Aaron Black*

production Director

Running Time

young sam

Christopher Alden

3 hours

Christopher Feigum*

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François Dominic Armstrong*

*debut artist

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Strauss

intermezzo 1924 Why can’t an opera be more like modern life? This was the question Richard Strauss had in mind when, in 1918, he composed a new comic opera that would be cinematic, with short scenes, a variety of locations, and real contemporary people — people as real and contemporary as himself. In writing the dialogue, he developed an episode of misunderstanding that had shaken his marriage fifteen years earlier: When his wife Pauline discovered a love note she believed to be addressed to her husband, she immediately started packing, only to discover eventually that the billet-doux was meant for another musician. Strauss had a lot of fun with this in Intermezzo, and with creating a portrait of his quick-tempered but devoted wife. With episodes set on the ski slopes, at a ball, in a city park, and at a card party, as well as in the intimacy of the central couple’s home, the opera provides for a fast-moving and spectacular evening. Strauss’s music has all his customary richness and fervor, spilling over into superb orchestral interludes.



© Carol Rosegg

“To know how much Strauss loved his wife one need only hear the music he wrote for her operatic counterpart … City Opera’s version is a delight.” —The New York Times

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Dates Performances

Lectures

Concert

Sunday, October 31, 1:30 pm

Saturday, November 13, 8:00 pm

Sunday, October 31, 4:45 pm

Friday, November 5, 8:00 pm

Thursday, November 18, 8:00 pm

Tuesday, November 9, 6:00 pm

An Evening with Christine Brewer Thursday, October 28, 7:00 pm

Tuesday, November 9, 7:30 pm

Saturday, November 20, 1:30 pm

Thursday, November 18, 6:00 pm

See page 13 for details.

© Tina Barney, courtesy Janet Borden, Inc., The Brocade Walls

Saturday, November 20, 12:00 pm See page 15 for details.

production Composer and Librettist

Associate stage director

Lighting Designer

Richard Strauss

Beth Greenberg

Mark McCullough

Conductor

Set Designer

Running Time

George Manahan

Andrew Jackness

2 hours 48 minutes

production Director

Costume Designer

Leon Major

Martha Mann

Performed in English with English supertitles

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5


Donizetti

The elixir of love 1832 Love? This is a comedy, but that does not mean that love here is all sweetness. It cries out in these people. It mixes them up. A poor country boy in love with a wealthier young woman decides he can improve his chances not by learning Italian from a language course but instead by downing a potion that a salesman assures him will make him irresistible. The stuff is junk, of course. The boy learns the hard lesson that sex appeal is enhanced not by what comes out of a bottle but by a solid bank account. Still, he gets the girl because she at last recognizes what her own real feelings have been all along. Jonathan Miller’s production aptly and inventively relocates the story to the Americana of the fifties Southwest, with soda jerks, a Ford Fairlane, and a dusty roadside diner. Here Donizetti’s great melodies — “Una furtiva lagrima” and the many more the composer put into his luminous score — seem both stronger and stranger when they spring out of these touching characters, who are trying not only to express themselves but also to understand themselves, to find, through their voices, their hearts. This is the real elixir of love, this music.



© Carol Rosegg

“The year’s most enjoyable new show. It was all done with keen wit and a sense of the piece’s underlying sweetness.” —New York Magazine (December 2006)

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Dates Performances

Lectures

Tuesday, March 22, 7:30 pm

Sunday, April 3, 1:30 pm

Tuesday, March 22, 6:00 pm

Saturday, March 26, 12:00 pm

Thursday, March 24, 8:00 pm

Tuesday, April 5, 7:30 pm

Thursday, March 24, 6:00 pm

Sunday, April 3, 4:15 pm

Saturday, March 26, 1:30 pm

Saturday, April 9, 8:00 pm

See page 15 for details

Friday, April 1, 8:00 pm

© Isaac Julien, Love, 2003

production

casting

Composer

Production

Gaetano Donizetti

Jonathan Miller

Librettist

Set and Costume Designer

Felice Romani

Isabella Bywater

conductor

Running Time

Brad Cohen

2 hours 17 minutes

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Performed in Italian with English supertitles

adina

Production support provided by Emilie Roy Corey. Original production support provided by The Reed Foundation.

nemorino

Stefania Dovhan

David Lomeli*

Dulcamara Marco Nisticó

*debut artist

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new production

zorn/SChoenberg/feldman

monodramas 2007/1924/1977 Three women sing out of their extremity, each of them alone on stage with her demons, and her angels. None of them has a name; they have left all that behind. They exist in worlds apart, each of those worlds the creation of a major musical innovator. In John Zorn’s La Machine de l’être, the soprano’s hair-raising trajectory is inspired by the haunting drawings of theater visionary Antonin Artaud. A sensation at City Opera’s VOX 2007, the piece without words now receives its world stage premiere. The terrified protagonist of Schoenberg’s Erwartung, or Expectation, gropes through a dark forest searching for her lover, only to find that the darkness dwells within her. Written in Vienna in 1909, the piece sets a fragmented monologue by medical student Marie Pappenheim, based on Freud’s classic study of hysteric Anna O., who was a relative of hers. Schoenberg’s freely atonal score registers the shockwaves of fear and the great arcs of desire. In Neither, Morton Feldman works with the only libretto Samuel Beckett ever wrote: just eighty-seven words, hovering in a troubled stillness. The character who sings them is seeking not her lover but herself, as she rotates with the ethereal music through landscapes of memory. This unique work, bringing this trio of extraordinary solo outbursts to a thrilling climax, receives its first staging in the U.S.

Dates

be in the know

Performances

Lectures

Concert

Friday, March 25, 8:00 pm

Thursday, March 31, 8:00 pm

Sunday, March 27, 4:15 pm

Sunday, March 27, 1:30 pm

Saturday, April 2, 1:30 pm

Tuesday, March 29, 6:00 pm

John Zorn & Friends Wednesday, March 30, 8:00 pm

Tuesday, March 29, 7:30 pm

Friday, April 8, 8:00 pm

Thursday, March 31, 6:00 pm

See page 13 for details.

Saturday, April 2, 12:00 pm

© Pipolotti Rist, Homo Sapiens Sapiens

See page 15 for details.

new production Composers

Conductor

John Zorn Arnold Schoenberg Morton Feldman

George Manahan

Librettists Marie Pappenheim Samuel Beckett

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production team To Be Announced

Running Time 2 hours 20 minutes

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La Machine de l’être is performed without text Erwartung is performed in German with English supertitles

Production support provided by The Andrew W. Mellon Foundation

Neither is performed in English with English supertitles

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new production/ny premiere

Schwartz

séance on a wet afternoon 2009 Séance on a Wet Afternoon is the first opera by composer-lyricist Stephen Schwartz, whose previous credits run from Godspell to Wicked. Based on the novel by Mark McShane and the noir movie adaptation of 1964, the plot focuses on Myra, a medium who involves her passive husband in a plot to kidnap the daughter of a neighboring family. The idea is that Myra will then find the girl thanks to psychic communication with the spirit of her own dead son and gain the fame she craves. However, the plot goes awry as her fragile sanity begins to break down. Schwartz’s long experience in musical theater shows in the powerful psychological atmosphere, keen pace, and vivid characterization. Séance is made for fully operatic voices: dramatic soprano, Verdi baritone, lyric tenor, and so on. The action leaps off the stage, the twists and turns of the narrative expressed in the sumptous singing.



© DavidBazemore.com

A “strange – and strangely moving – tale … with an ultimately comforting charm, despite its wicked plot turns.” —Los Angeles Times

Dates

be in the know

Performances

Lectures

concert

Tuesday, April 19, 7:30 pm

Tuesday, April 26, 7:30 pm

Tuesday, April 19, 6:00 pm

Wednesday, April 20, 8:00 pm

Thursday, April 28, 8:00 pm

Saturday, April 23, 12:00 pm

Defying Gravity: The Music of Stephen Schwartz Thursday, April 21, 8:00 pm

Friday, April 22, 8:00 pm

Friday, April 29, 8:00 pm

Sunday, April 24, 4:30 pm

Saturday, April 23, 1:30 pm

Saturday, April 30, 8:00 pm

Thursday, April 28, 6:00 pm

Sunday, April 24, 1:30 pm

Sunday, May 1, 1:30 pm

See page 15 for details.

New production © Dash Snow, Untitled

See page 13 for details.

casting

Composer and Librettist

Set Designer

Running Time

myra foster

Stephen Schwartz

Heidi Ettinger*

2 hours 40 minutes

Lauren Flanigan

Conductor

Costume Designer Alejo Vietti*

Performed in English with English supertitles

Bill foster

George Manahan

production Director

Lighting Designer

Scott Schwartz*

David Lander*

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Kim Josephson*

*debut artist

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12 

© Jeff McCrum


concerts Join City Opera for these spellbinding performances that highlight the musical diversity of the productions and composers showcased this season.

An Evening with Christine Brewer

Thursday, October 28, 7:00 pm One of the world’s most sought-after sopranos, Christine Brewer brings her consummate artistry to a special concert and gala with the New York City Opera Orchestra and Music Director George Manahan. Ms. Brewer sings excerpts from Wagner’s Tristan und Isolde, Puccini’s Turandot, and a selection of Richard Strauss’s most famous lieder.

Lucky to Be Me: The Music of Leonard Bernstein

Saturday, November 6, 8:00 pm Sunday, November 7, 1:30 pm This dynamic concert examines the work of one of America’s most influential composers, including music from the Kaddish Symphony, Mass, Songfest, Wonderful Town, 1600 Pennsylvania Avenue, On the Town, West Side Story, and more.

John Zorn & Friends

Wednesday, March 30, 8:00 pm Avant-garde innovators Laurie Anderson, Lou Reed, Mike Patton, Marc Ribot, Dave Douglas, and Uri Caine perform with experimental music master John Zorn in a series of mind-bending sonic compositions and no-holds-barred improvisations.

Family Opera in Concert: Where the Wild Things Are

Saturday, April 9, 1:30 pm Bring the whole family to a matinee concert and benefit featuring the fantastical opera based on the beloved children’s book by Maurice Sendak. Composed by Oliver Knussen to a libretto by Sendak, this enchanting work tells the tale of a little boy with a wild imagination.

Defying Gravity: The Music of Stephen Schwartz

Thursday, April 21, 8:00 pm The award-winning Broadway and film composer is joined by special guest vocalists for a retrospective of his acclaimed works. Scheduled to appear are stage and screen stars Kristin Chenoweth and Raúl Esparza.

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About the images New York City Opera highlights opera’s modern cultural relevance by pairing the works of six contemporary visual artists with the 2010-2011 season. The images offer a fresh point of view on our rendering of opera’s most archetypal characters and themes.

Kehinde Wiley Portrait of Andries Stilte, 2005 Referencing imagery from the streets of Harlem and other urban centers, Wiley is a master of updating time-honored medium and subject matter. His larger-than-life figures blur the boundaries of traditional and contemporary modes of representation, creating new rules in the context of portraiture and historical painting. His portrait captures perfectly New York City Opera’s role of infusing traditional, grand opera with New York swagger.

charles ray Untitled Sculpture, 1997 At a salvage yard, Ray purchased a vehicle, which had been involved in a fatal crash. Made by pure chance, the form was created by speed and impact, through the collision of material, space, and time. After dismantling the wreckage and casting each piece in fiberglass, he rebuilt it as one would a hobby kit. The color, reminiscent of body shop primer found under a glossy finish, lends a flatness and stillness despite the violence of the incident that produced the original. Haunting and silent, Untitled Sculpture is a frozen memory of a dramatic life changing event, dissected and revealed to the public eye. A Quiet Place examines the impact of a similar catastrophe on the lives of an entire family.

Tina barney The Brocade Walls, 2003 Barney’s photography captures a vanishing world of upper-class Anglo-American life within a closed society, revealing private moments to the viewer, often focusing on the tension between appearance and reality. The Brocade Walls is at once an intimate and candid slice of life. The subjects, like Strauss’s characters, are both distinguished and comical. At the time it was written, Intermezzo exemplified a new genre of opera that celebrated everyday — even bourgeois — scenes like the one captured in amber in Barney’s photograph.

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pipilotti rist Homo Sapiens Sapiens, 2005 Addressing themes of gender and feminine sensibility, Rist’s Homo Sapiens Sapiens captures a young woman in a moment of introspection. She is sprinkled with grass clippings, alluding to her environment and her connection to nature. Although her gaze seems to be cast toward the viewer, her expression shows that she is searching within herself. In much the same way, Monodramas explores realms of the subconscious made visible through the power of these groundbreaking pieces of work.

Isaac julien Love, 2003 Preoccupied with questions of history, memory, and displacement, Julien’s photography and film installations speak to topics of race, class, culture, desire, and memory, either bringing people together or setting them apart. His image evokes the overwhelming force of love, which inspires the timid hero in The Elixir of Love to overcome barriers and win the object of his desire.

dash snow Untitled, 2007 Snow’s photograph suggests a sense of loss, connection with the supernatural, fragments of memory, and hopeful vigilance, all key elements in Séance on a Wet Afternoon. Himself an unschooled, self-made artist obsessed with notoriety, Snow catapulted into the spotlight of the New York art scene with his rebellious antics. Both his body of work and his career reflect a burning desire for recognition shared by the opera’s ambitious psychic.


Enhance your Experience

Lectures Intro to Opera

Artist dialogues

Opera insights

Listening room

Demystify opera with this series of friendly, fun, infopacked discussions with City Opera staff and artists. These talks will introduce you to the basic elements of opera and point out what to look and listen for in the performance that follows.

The directors, conductors, singers, composers, librettists, and designers who create and perform our productions join us for lively, informal conversations led by New York City Opera’s Dramaturg Cori Ellison.

Some of the nation’s leading opera authorities prepare you for an afternoon of extraordinary music theater by guiding you through the specific opera you’re about to attend, offering their musical and dramatic insights, and answering your questions.

Following select Sunday matinees, meet and mingle with fellow opera fans at these cozy listening sessions led by noted record collectors who will spin and comment on their favorite rare and classic recordings of the afternoon’s featured opera and related works.

Intermezzo

A Quiet Place

A Quiet Place

Intermezzo

Tuesday, November 9, 6:00 pm

Thursday, November 4, 6:00 pm

Saturday, November 6, 12:00 pm

Sunday, October 31, 4:45 pm

A Quiet Place

Intermezzo

Intermezzo

A Quiet Place

Tuesday, November 16, 6:00 pm

Thursday, November 18, 6:00 pm

Saturday, November 20, 12:00 pm

Sunday, November 14, 4:45 pm

The Elixir of Love

The Elixir of Love

The Elixir of Love

Monodramas

Tuesday, March 22, 6:00 pm

Thursday, March 24, 6:00 pm

Saturday, March 26, 12:00 pm

Sunday, March 27, 4:15 pm

Monodramas

Monodramas

Monodramas

The Elixir of Love

Tuesday, March 29, 6:00 pm

Thursday, March 31, 6:00 pm

Saturday, April 2, 12:00 pm

Sunday, April 3, 4:15 pm

Séance on a Wet Afternoon

Séance on a Wet Afternoon

Séance on a Wet Afternoon

Séance on a Wet Afternoon

Tuesday, April 19, 6:00 pm

Thursday, April 28, 6:00 pm

Saturday, April 23, 12:00 pm

Sunday, April 24, 4:30 pm

Subscriber Lecture Tickets: $5 (a 50% savings) Patron Lecture Tickets: Call 212.870.4210

Backstage Tours

Big Band Socials

Take a backstage tour and get an insider’s view of the newly renovated theater, as well as the costume shop, backstage, wings, and main stage. Pre-performance tours are given at 12:00 pm on matinee days and 6:00 pm before evening performances. Additional times also available.

Join us for unforgettable evenings of dinner and dancing on the Promenade. Show off your best dance moves to the music of a full swing band after select performances.

Subscriber Tour Tickets: $12 (a 40% savings) Patron Tour Tickets: Call 212.870.4210

Sunday, November 14  following A Quiet Place Sunday, April 3  following The Elixir of Love Subscriber Tickets: $49 (a 30% savings) Includes food, drinks, and a swing dance demonstration

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15


16 

Š Tristan Cook


celebrate with us Fall Gala An evening with christine brewer

Thursday, October 28, 6:00 pm Join us for this spectacular evening featuring a one-night-only concert with Grammy Award-winning soprano Christine Brewer and the New York City Opera Orchestra. The festivities begin with cocktails, followed by the performance, a black-tie dinner, and dancing on the Promenade of the David H. Koch Theater. Prime concert seats will be reserved for Fall Gala guests.

Family Benefit

Saturday, April 9, 1:30 pm Introduce children to the exciting world of opera! Following a matinee performance of Where the Wild Things Are in concert, families will enjoy a festive buffet lunch on the Promenade accompanied by face-painting, dancing, and a make-your-own sundae bar. All proceeds support City Opera’s award-winning education programs.

Spring Gala Defying Gravity: The Music of Stephen Schwartz

Thursday, April 21, 7:00 pm City Opera salutes the hit Broadway composer with a special concert of his works. Scheduled to appear are Kristin Chenoweth and Raúl Esparza. The black-tie gala begins with cocktails on the Promenade, followed by the concert. The evening continues with dinner and dancing. Prime performance seats will be reserved for Spring Gala guests.

Spring Luncheon

Date To Be Announced This elegant event honors those who have made significant contributions to City Opera’s artistic and educational programs. The afternoon features a light lunch accompanied by sparkling performances from City Opera’s acclaimed artists. For more information or to purchase tickets by phone, please call the Special Events office at 212.870.5595.

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subscriber benefits Discounted Tickets Subscribers save up to 20% off single ticket prices.

Access to the Best Seats Subscribers are given access to the best seats in the house. Remember to renew your subscription by April 30, 2010 to receive the same or better seating for your series. As a subscriber, you can also purchase additional single tickets before the general public. You will receive more information with your subscription tickets.

Exchange Privileges Subscribers can easily exchange tickets for other performances. This service is free – and unlimited – for any of your subscription tickets. Subscribers will be responsible for any difference in ticket price.

Exclusive Discounts Subscribers can purchase discounted tickets to our popular pre-performance lectures, backstage tours, and Big Band Socials. As a subscriber, you will also receive a subscriber card entitling you to discounts throughout the season at the Gift and Thrift Shops, as well as various neighborhood restaurants and establishments.

Another Great Reason to Subscribe! Subscribe by April 30, 2010, and be automatically entered to win round-trip air transportation for two (2), anywhere in the continental United States and the Caribbean that American Airlines flies. Go to nycOpera.com/giveaway for complete rules and regulations.

Membership benefits Membership makes all the difference. Enhance your City Opera subscription by becoming a Member. In addition to all of the benefits of being a subscriber, Members enjoy special privileges and insider access, including:   Dress Rehearsal Passes   Members-only Promo Codes for online ticket offers  Behind-the-scenes glimpses of the company with a subscription to City Opera News   Additional discounts to restaurants and local shops   And much more!

Join today for as little as $100 to activate your membership. For more information, visit nycOpera.com/supportus or call the Membership Office at 212.870.5626.

SPECIAL MEMBERSHIP OFFER! Become a Member with your subscription order by April 30, 2010, and receive a City Opera Member Coupon Book with free intermission drink tickets, coupons for local businesses, special offers from the Gift Shop, and more.

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standard series Subscribe and Save up to 20%! Receive priority seating, unlimited ticket exchanges, and more.

Tuesday Nights

Thursday Nights

Friday Nights

Saturday Nights

Intermezzo

A Quiet Place

Intermezzo

A Quiet Place

Tuesday, November 9, 7:30 pm

Thursday, November 4, 8:00 pm

Friday, November 5, 8:00 pm

Saturday, October 30, 8:00 pm

A Quiet Place

Intermezzo

A Quiet Place

Intermezzo

Tuesday, November 16, 7:30 pm

Thursday, November 18, 8:00 pm

Friday, November 12, 8:00 pm

Saturday, November 13, 8:00 pm

The Elixir of Love

The Elixir of Love

The Elixir of Love

Monodramas

Tuesday, March 22, 7:30 pm

Thursday, March 24, 8:00 pm

Friday, April 1, 8:00 pm

Friday, March 25, 8:00 pm*

Monodramas

Monodramas

Monodramas

The Elixir of Love

Tuesday, March 29, 7:30 pm

Thursday, March 31, 8:00 pm

Friday, April 8, 8:00 pm

Saturday, April 9, 8:00 pm

Séance on a Wet Afternoon

Séance on a Wet Afternoon

Séance on a Wet Afternoon

Séance on a Wet Afternoon

Tuesday, April 19, 7:30 pm

Thursday, April 28, 8:00 pm

Friday, April 22, 8:00 pm

Saturday, April 30, 8:00 pm *Please note Friday performance

Saturday Matinees

Sunday Matinees

A Quiet Place

Monodramas

Intermezzo

The Elixir of Love

Saturday, November 6, 1:30 pm

Saturday, April 2, 1:30 pm

Sunday, October 31, 1:30 pm

Sunday, April 3, 1:30 pm

Intermezzo

Séance on a Wet Afternoon

A Quiet Place

Séance on a Wet Afternoon

Saturday, November 20, 1:30 pm

Saturday, April 23, 1:30 pm

Sunday, November 14, 1:30 pm

Sunday, April 24, 1:30 pm

The Elixir of Love

Monodramas

Saturday, March 26, 1:30 pm

Sunday, March 27, 1:30 pm

standard series Prices Add-on Concert Prices (per ticket) Orchestra Concerts*

5 Opera Package Orchestra Premium

$ 560.00

$ 76.50

John Zorn & Friends

$ 55.25

Where the Wild Things Are

$ 42.50

Orchestra Prime

$ 500.00

$ 63.75

$ 42.50

$ 34.00

Orchestra Left, Right, and Rear

$ 300.00

$ 51.00

$ 34.00

$ 25.50

First Ring Center

$ 560.00

$ 76.50

$ 55.25

$ 42.50

First Ring Sides

$ 400.00

$ 63.75

$ 42.50

$ 34.00

Second Ring Center

$ 4 00.00

$ 51.00

$ 34.00

$ 25.50

Second Ring Sides

$ 240.00

$ 51.00

$ 34.00

$ 25.50

Third Ring Center

$ 240.00

$ 38.25

$ 25.50

$ 20.00

Third Ring Sides

$ 160.00

$ 38.25

$ 25.50

$ 20.00

Fourth Ring Center, Row A-B

$ 160.00

$ 25.50

$ 20.00

$ 15.00

Fourth Ring Center, Row C-K/Sides AA

$ 125.00

$ 20.00

$ 20.00

$ 10.00

Fourth Ring Left, Right, and Rear

$ 60.00

$ 12.00

$ 12.00

$

5.00

* Christine Brewer, Leonard Bernstein, and Stephen Schwartz concerts — see p. 13 for details.

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19


create-your-own series Select any three operas or concerts and save up to 10%! Want an even bigger discount? Pick four or more performances and save up to 15%. Either way, you’ll receive all of the benefits of being a subscriber, and a package that fits your preferences.

create-your-own Series TICKET PRICES Choose 4 or More — Save up to 15%

Operas

Orchestra Concerts*

John Zorn & Friends

Where the Wild Things Are

Operas

Orchestra Concerts*

John Zorn & Friends

Where the Wild Things Are

Orchestra Premium

$ 119.00

$ 76.50

$ 55.25

$ 42.50

$ 1 26.00

$ 81.00

$ 58.50

$ 45.00

Orchestra Prime

$ 106.25

$ 63.75

$ 42.50

$ 34.00

$ 112.50

$ 67.50

$ 45.00

$ 36.00

Orchestra Left, Right, and Rear

$ 63.75

$ 51.00

$ 34.00

$ 25.50

$ 67.50

$ 54.00

$ 36.00

$ 27.00

First Ring Center

$ 119.00

$ 76.50

$ 55.25

$ 42.50

$ 1 26.00

$ 81.00

$ 58.50

$ 45.00

First Ring Sides

$ 85.00

$ 63.75

$ 42.50

$ 34.00

$ 90.00

$ 67.50

$ 45.00

$ 36.00

Second Ring Center

$ 85.00

$ 51.00

$ 34.00

$ 25.50

$ 90.00

$ 54.00

$ 36.00

$ 27.00

Second Ring Sides

$ 51.00

$ 51.00

$ 34.00

$ 25.50

$ 54.00

$ 54.00

$ 36.00

$ 27.00

Third Ring Center

$ 51.00

$ 38.25

$ 25.50

$ 20.00

$ 54.00

$ 40.50

$ 27.00

$ 20.00

Third Ring Sides

$ 34.00

$ 38.25

$ 25.50

$ 20.00

$ 36.00

$ 40.50

$ 27.00

$ 20.00

Fourth Ring Center, Row A-B

$ 34.00

$ 25.50

$ 20.00

$ 15.00

$ 36.00

$ 27.00

$ 20.00

$ 15.00

Fourth Ring Center, Row C-K/Sides AA

$ 25.00

$ 20.00

$ 20.00

$ 10.00

$ 25.00

$ 20.00

$ 20.00

$ 10.00

Fourth Ring Left, Right, and Rear

$ 12.00

$ 12.00

$ 12.00

$

$ 12.00

$ 12.00

$ 12.00

$

All prices listed are per ticket. * Christine Brewer, Leonard Bernstein, and Stephen Schwartz concerts — see p. 13 for details.

seating map 4th Ring 3rd Ring 2nd Ring 1st Ring Orchestra premium Orchestra prime Orchestra Left, right, and rear 20

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Fax 212.580.2545 For more information on special wheelchair accommodations, please call the Subscription Department at 212.496.0600. All casts, programs, and prices are subject to change. Latecomers will not be seated until a suitable break in   the performance. Subscribers are not guaranteed the same seats for every performance. No refunds or   cancellations allowed. Please keep a record of the dates of your subscription. Season tickets will be mailed in August. We cannot be held responsible for tickets misdirected by the U.S. Postal Service. Please notify the New York City Opera Subscription Department prior to your first performance if you have not received or have misplaced your tickets. We regret that   we cannot replace tickets or issue refunds for performances you miss.

thank you New York City Opera gratefully acknowledges the following institutions for their leadership support of our 2010-2011 season:   The Horace W. Goldsmith Foundation   Estate of Ruth Klotz   Lincoln Center Corporate Fund   The Andrew W. Mellon Foundation

  Samuel I. Newhouse Foundation, Inc.,

in memory of Theodore and Caroline Newhouse   The Peter Jay Sharp Foundation   The Alice Tully Foundation

New York City Opera also extends its gratitude to our generous Patrons, Director’s Council, and Leadership Council who provide vital annual funding. To learn more about becoming a Patron or Council member, please call 212.870.4210. New York City Opera’s 2010-2011 programming is also made possible, in part, with public and corporate support from:

The David H. Koch Theater is owned by the City of New York and is funded, in part, by the City’s Department   of Cultural Affairs with support from Mayor Michael R. Bloomberg; the New York City Council, including   Council Speaker Christine C. Quinn, Council Member Gale A. Brewer, and Cultural Affairs Committee Chair   James G. Van Bramer; and Cultural Affairs Commissioner Kate D. Levin.

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2010–2011 season calendar monday

tuesday

FALL

wednesday

thursday

friday

saturday

sunday

October 27 8:00 pm

October 28 7:00 pm

October 30 8:00 pm

October 31 1:30 pm

A Quiet Place

Christine Brewer concert

A Quiet Place

INtermezzo

Fall Gala

Listening Room

November 4 8:00 pm

November 5 8:00 pm

A Quiet Place

INtermezzo

Artist Dialogues

November 6 1: 30 pm

November 7 1:30 pm

A Quiet Place

The music of leonard Bernstein

Opera Insights 8:00 pm

The music of leonard Bernstein November 9 7:30 pm

November 12 8:00 pm

November 13 8:00 pm

November 14 1:30 pm

INtermezzo

A Quiet Place

INtermezzo

A Quiet Place

Intro to Opera

spring

Listening Room

November 16 7:30 pm

November 18 8:00 pm

November 20 1: 30 pm

November 21 1:30 pm

A Quiet Place

INtermezzo

INtermezzo

A Quiet Place

Intro to Opera

Artist Dialogues

Opera Insights

March 22 7:30 pm

March 24 8:00 pm

March 25 8:00 pm

March 26 1:30 pm

March 27 1:30 pm

the Elixir of Love

the Elixir of Love

monodramas

the Elixir of Love

monodramas

Intro to Opera

Artist Dialogues

Opera Insights

Listening Room

March 29 7:30 pm

March 30 8:00 pm

March 31 8:00 pm

April 1 8:00 pm

April 2 1:30 pm

April 3 1:30 pm

monodramas

John Zorn & friends

monodramas

the Elixir of Love

monodramas

the Elixir of Love

Opera Insights

Listening Room

Intro to Opera

Artist Dialogues

April 5 7:30 pm

April 8 8:00 pm

April 9 1:30 pm

the Elixir of Love

monodramas

Where the Wild things are Family Benefit 8:00 pm

the Elixir of Love April 19 7:30 pm

April 20 8:00 pm

April 21 8:00 pm

Séance on a wet afternoon

Séance on a wet afternoon

April 22 8:00 pm

April 23 1:30 pm

April 24 1:30 pm

The music of Séance on a stephen schwartz wet afternoon

Séance on a wet afternoon

Séance on a wet afternoon

Intro to Opera

Spring Gala

Opera Insights

Listening Room

April 26 7:30 pm

April 28 8:00 pm

April 29 8:00 pm

April 30 8:00 pm

May 1 1:30 pm

Séance on a wet afternoon

Séance on a wet afternoon

Séance on a wet afternoon

Séance on a wet afternoon

Séance on a wet afternoon

Artist Dialogues

opening nights

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23


2010 - 2011 Season Brochure  

The 2010 - 2011 New York City opera season offers audiences a chance to witness innovative new operatic works, modern takes on traditional r...

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