Verdi's "Un Giorno di Regno" Brought to Life at Seattle Opera

Seattle Opera YAP to Present Donizetti's "Don Pasquale"

 
Read more about the production by clicking here.

Seattle Opera's "Attila" Concept Stirs Up One Canadian

Machine Gun Hun: John Relyea

"A late contender for the title of most yawn-inducing operatic news announcement of the year: 'Production sets barbarian invasion in today's war-torn world.' The work is Verdi's Attila and the run, opening Jan. 14, is at the Seattle Opera. Could there be a more predictable theatrical tactic? Ubiquitous in Europe, modern-dress productions are now depressingly common in North America. Far from bold and innovative, they are ham and eggs, the usual thing. A new production of a 19th-century opera set in the time actually specified by the librettist: This would be the extraordinary choice today. There was a time when companies could argue in favour of updating and other directorial displacement on the grounds that standard stagings of standard repertoire had begun to look tired. But Attila is an early Verdi opera, seldom performed. This is its Seattle Opera premiere. There is no old-fashioned, iconic look from which to depart. Of course, the Seattle Attila could be a good show in spite of the utterly conventional decision to place it in 'today's war-torn world.' Former Opéra de Montréal general director Bernard Uzan directs. John Relyea, a Canadian bass-baritone, takes the title role. Advance publicity photos show our 21st-century Hun holding a machine gun. Not that updating is the only eye-rolling cliché that can be passed off in the opera house as innovation. The much-written about Canadian director Robert Carsen has summoned some dandies for his season-opening new production of Don Giovanni at La Scala." [Source]

Seattle Opera "Porgy and Bess" Showcases Two Young Singers

Mary Elizabeth Williams as Serena with Gordon
Hawkins as Porgy. (Photo: Elise Bakketun/Seattle Opera)

"Porgy is a treasure trove of magnificent music, a compendium of one great number after another. Its status as an opera has always been more a complicated proposition. Discussions about where exactly it fits in the repertoire, not to mention its generic implications, are ultimately unsatisfactory: it is what it is, and the occasional lurches in tone from rather conventional old-school opera to Broadway show are part of its fabric. In a way, Seattle Opera’s production doesn’t particularly try to smooth over these inconsistencies. The show-tune idiom associated with Sportin’ Life’s two big numbers (excellently sung, acted, and danced by tenor Jermaine Smith) are frankly treated as star turns. Alto Gwendolyn Brown’s Maria knowingly achieves considerable theatrical effect with her small character role. Leads Gordon Hawkins as Porgy and Lisa Daltirus as Bess embody a more classical sensibility, and a rather refined one at that. Soprano Daltirus brings stature and a sophisticated musical delivery to a role

Click here for special interview
with Mary Elizabeth Williams.

that swings from near-caricature to gritty realism. Baritone Hawkins, a SO favourite, has a warm, rich sound, and very considerable finesse; on opening night, his sensitive restraint was tarnished by occasional balance issues between singer and brass-heavy orchestra. In subordinate roles, baritone Michael Redding was a virile and effective Crown, with lots of requisite swagger and a ringing sound. Porgy’s second scene proved a fine showcase for soprano Mary Elizabeth Williams, who demonstrated that Gershwin (and librettist Dubose Heyward’s) rather one-dimensional characters are nonetheless capable of surprising psychological depth. Her 'Since my man’s gone now' was raw but astonishingly moving—one of the highlights of a solid, and solidly entertaining, revival of a (the?) great American classic." [Source]

Donovan Singletary as Jake.
(Photo: Elise Bakketun)

"Blue's opening number of 'Summertime' sets the tone perfectly with her soaring voice and only sets up the tragedy even more for when Daltirus reprises it later in the show. And [Donovan] Singletary and Blue are stunning as they portray the new hope of this run down town. Smith and Redding as the villains of the piece are each deliciously despicable in their own way. Redding with his sultry lowness and Smith with his conniving temptations and snake like physicality. Brown tends to steal every scene she's in with her grand, take no prisoners attitude. And Williams' rendition of 'My Man is Gone Now' at the funeral brought the entire house to tears. But the show is called Porgy and Bess and the title characters do not get overshadowed at all by the stellar supporting cast. Hawkins quiet strength is the perfect compliment for Daltirus' broken innocence and the two create the perfect aching chemistry for these heartbreaking lovers. Now you may have noticed I haven't said much about the vocal quality of the performers. Well, that's

Click here for a special interview
with Donovan Singletary.

because it all goes without saying as every single person in the show, from principle to chorus, delivers soul shaking vocal performances. This is made even more awe inspiring as none of the performers are miked. Yes, you heard me. In the grand McCaw Hall, there is no amplification so these amazing singers are literally belting to the rafters. Yes the supertitles are still there as with foreign language operas so we're sure to get every word of the story. But for us jaded musical theater aficionados, listening to real voices able to do what they did is a genuine treat. The production is near flawless." [Source]

Seattle Opera Continues Wagnerian Legacy into 2014

Greer Grimsley as Wotan at Seattle Opera
(Photo: Rozarii Lynch/Seattle Opera)

"Seattle Opera, also known as America's House of Wagner, brings back its popular production of the composer's Ring cycle in 2013. It's the same production that premiered in 2001, but with a few cast changes. Alwyn Mellor, as Brünnhilde, and Stefan Vinke, as Siegfried, will make their company debuts in 2013. The 2013 Ring will be the ninth and final cycle overseen by Seattle Opera General Director Speight Jenkins. He plans to retire in September, 2014. The cast includes: Asher Fisch (Conductor); Stephen Wadsworth (Director); Alwyn Mellor* (Brünnhilde), Stefan Vinke* (Siegfried), Greer Grimsley (Wotan), Stephanie Blythe (Fricka), Stuart Skelton (Siegmund), Margaret Jane Wray (Sieglinde), Richard Paul Fink (Alberich). *Seattle Opera debut

Wagnerians Greer Grimsley and Stephanie Blythe (Photo: Rozarii Lynch/Seattle Opera)

Tickets to the 2013 Ring will be available in fall 2012. Seattle Opera also announced a production of Die Meistersinger von Nürnberg in August, 2014. Not seen in Seattle for 25 years, it is Wagner’s only comedy. The cast will be announced next year." [Source]

Seattle Opera Young Artists Presenting "Don Giovanni"

The Don himself, David Krohn, discusses his big role.

Watch a video about the upcoming performances of Don Giovanni featuring David Krohn in the title role. Peter Kazaras, stage director, narrates the video discussing ideas about the production, talks about the costume designer Candace Frank making her Seattle Opera debut and there is rehearsal footage of all the singers performing their roles along with short interviews with several of them. Maestro Brian Garman conducts. Performances take place April 1, 3, 7 & 9. The full cast listing: Don Giovanni: David Krohn; Donna Anna: Marcy Stonikas; Donna Elvira: Amanda Opuszynski; Don Ottavio: Andrew Stenson*/Eric Neuville†; Leporello: Erik Anstine; Zerlina: Jacqueline Bezek^; Commendatore/Masetto: Adrian Rosas
* On April 1 and 9 only/† On April 3 and 7 only/^ Jacqueline Bezek is a Guest Artist
[Source, Source]

Seattle Opera Promotion Could Get Bloody

(Photo: Warner Bros.)

Hopefully the barbers taking part in this promotion will incorporate their skills when matched with speed, otherwise there may be a nick (or two).

"Things may get hairy at McCaw Hall on Saturday, when Seattle Opera hosts "The Barber of Seattle" competitions — a riff on its upcoming production of Rossini's The Barber of Seville. In one of the afternoon's contests baritone David Adam Moore, who will sing the role of Figaro in the Sunday & Friday performances of Barber, will sing while real