Over a 13 month period, I have reviewed or am scheduled to review all seven of Mozart’s major operas. The reviews included the Lyric Opera of Chicago production of Mozart’s “Idomeneo” [see Review: Matthew Polenzani Stars in Jean-Pierre Ponnelle “World Treasure” Production of Mozart’s “Idomeneo” – Lyric Opera, Chicago, November 2, 2018] and the Los Angeles Opera production of Mozart’s “Clemenza di Tito” [see Review: Ovations for L. A. Opera’s “Clemency of Titus”: Impressive Singing, Stylish New Production] and the Houston Grand Opera production of Mozart’s “Don Giovanni” [See Review: Outstanding Cast for “Don Giovanni” in Kasper Holten’s Vibrantly Visual Production – Houston Grand Opera, April 27, 2019] and the following four operas:
Cosi fan Tutte (Mozart), Santa Fe Opera, July 13, 17, 26, August 1 and 5, 2019
Director R. B. Schlather makes his Santa Fe Opera debut with a new production of Mozart’s “Cosi fan Tutte”, conducted by Maestro Harry Bicket.
Amanda Majeski stars as Fiordiligi, Emily D’Angelo as Fiordiligi’s sister Dorabella and Tracy Dahl is Despina.
[Below: the men and women of “Cosi fan Tutte”, from left to right Don Alfonso (Rod Gilfry), Ferrando (Ben Bliss), Guglielmo (Jarrett Ott), Despina (Tracy Dahl), Fiordiligi (Amanda Majeski) and Dorabella (Emily D’Angelo); edited image, based on a Ken Howard photograph, courtesy of the Santa Fe Opera..]
Ben Bliss is Ferrando, Jarrett Ott is Guglielmo, with Rod Gilfry is Don Alfonso for four of the performances, with Dale Travis taking on the role on the night of July 17th.
The Scenic Design is that of Paul Tate Depoo III, the costumes are by Terese Wadden, with Jax Messenger designing the lighting.
[For my performance review, see: Review: “Cosi Fan Tutte” – World Class Singing, Deconstructed Staging – Santa Fe Opera, July 26, 2019.]
Abduction from the Seraglio – Die Entfuhrung aus dem Serail (Mozart), Lyric Opera of Kansas City, September 21, 25, 27, and 29, 2019
Kathryn Lewek is Konstanze, Rachele Gilmore is Blonde and Ben Bliss is Belmonte in Alison Moritz’ production of Mozart’s “Abduction from the Seraglio”, conducted by Maestro Michael Christie. Matt Boehler performs the role of Osmin and Joseph Leppek is Pedrillo.
[Below: A scene from Hollywood’s Seraglio Bar in Alison Moritz’ production of “Abduction from the Seraglio”; edited image, based on a Karli Cadel photograph, courtesy of the Lyric Opera of Kansas City.
The production, whose sets are by Steven C. Kemp, transforms the opera’s action to the Hollywood 1930s era nightclub.
[For my performance review, see: Review: Kathryn Lewek Leads Strong Cast for “Abduction from the Seraglio” – Lyric Opera of Kansas City, September 27, 2019.]
The Marriage of Figaro – Le Nozze di Figaro (Mozart), San Francisco Opera, October 11, 13(m), 16, 19, 22, 25, 27(m) and November 1, 2019.
Director Michael Cavanagh and designer Erhard Rom create an ambitious new production of Mozart’s “Marriage of Figaro” for the San Francisco Opera, which envisions a house that survives a couple of centuries, first occupied by the Almavivas in “Figaro”, in later years is the home for the sisters in “Cosi fan Tutte”, that finally becomes the possession of Don Giovanni.
[Below: Figaro (Michael Sumuel, left) and Susanna (Jeanine De Bique, right) of Mozart’s “Marriage of Figaro”; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]
Bass-baritone Michael Sumuel is Figaro; Jeanine De Bique is Susanna. Levente Molnár and Jennifer Davis are the Count and Countess Almaviva. Serena Malfi is Cherubino. (Each of these principals, except for Sumuel, are making San Francisco Opera debuts.) Returning in the character comic roles are James Creswell (Bartolo), Greg Fedderly (Basilio), Catherine Cook (Marcellina) and Brenton Ryan (Curzio.) Maestro Henrik Nánási conducts.
[For my performance review, see: Review: Strong Cast, Arresting New Production for “Marriage of Figaro” – San Francisco Opera, October 13, 2019.]
The Magic Flute – Die Zauberflote (Mozart), Los Angeles Opera, November 16, 21, 23, December 1(m), 12 and 15(m), 2019.
Barrie Kosky’s “silent screen” fantasy production of Mozart’s final opera from Berlin’s Komische Opera was a hit of Los Angeles Opera’s 2013 season. [See my review at Outrageously Inventive, Unceasingly Entertaining – Kosky/Andrade /Barritt’s Silent Movie “Magic Flute” Wows L. A. – Los Angeles Opera, November 23, 2013.]
Zuzana Markova is Pamina, Theo Hoffman is Papageno, with Bogdan Volkov and Joshua Wheeker sharing the role of Tamino.
[Below: Sarastro (Ildebrando d’Arcangelo, top left in red circle) scolds Monostatos (Frederick Ballentine, top right); edited image, based on a Cory Weaver photograph, courtesy of the Los Angeles Opera.
Ildebrando d’Arcangelo is Sarastro, So Young Park is the Queen of the Night, Frederick Ballentine is Monostatos and Sarah Vautour is Papagena. The ladies include Erica Petrocelli and Taylor Raven. Michael J. Hawk is the Speaker. Maestro James Conlon conducts the first four performances, Maestro Grant Gershon the last two. Barrie Kosky and Suzanne Andrade are co-directors. Paul Barritt designed the imaginative animation.
[For my performance review, see: Review: A Youthful Cast Excels in Los Angeles Opera “Magic Flute” – December 1, 2019.]
This list is supplementary to previous lists in this “Quests and Anticipations” series of selected operas being performed through July, 2020:
Bizet’s “Carmen” at the San Francisco Opera, Gounod’s “Romeo et Juliette” at the San Francisco Opera and Sarasota Opera, and Debussy’s “Pelleas et Melisande” at the Los Angeles Opera. [See In Quest of French Operatic Masterpieces – June, 2019-May 2020.]
Puccini’s “La Boheme” at the Los Angeles Opera, Puccini’s “Manon Lescaut” at the San Francisco Opera and “La Boheme” and Catalani’s “La Wally” at the Sarasota Opera. [See In Quest of 1890s Italian Verismo Operas – September 2019 – March 2020.]
Handel’s “Orlando” at the San Francisco Opera, Handel’s “Semele” at the Opera Philadelphia, Handel’s “Saul” at the Houston Grand Opera and Handel’s “Partenope” at the San Francisco Opera [See In Quest of Handel Operas – June 2019-July 2020.]
Penella’s “El Gato Montes” at the Los Angeles Opera, Kern’s “Show Boat” at the Glimmerglass Festival and Britten’s “Billy Budd” at the Central City Opera [See In Quest of Varied Operatic Repertory – February-August 2019.]
O’Regan’s “The Phoenix” at the Houston Grand Opera; and Corigliani’s “The Ghosts of Versailles” and Tesori’s “Blue” at the Glimmerglass Festival [See In Quest of 21st Century American Operas – November, 2018 – August, 2019.]
Dvorak’s “Rusalka” at the San Francisco Opera and “The Thirteenth Child” at the Santa Fe Opera [See In Quest of Operas Based on Myths and Fairy Tales – November 2018 – August 2019.]
Verdi’s “Falstaff” at The Dallas Opera, and Bizet’s “The Pearl Fishers” and Janacek’s “Jenufa” at the Santa Fe Opera [See In Quest of Less Often Performed Repertory Operas – October 2018 – August 2019.]
Puccini’s “La Boheme” at the Santa Fe Opera and Verdi’s “La Traviata” at the Glimmerglass Festival [See In Quest of Italian Opera Favorites, October 2018-August 2019.]
Mozart’s “Don Giovanni” at the Houston Grand Opera [See In Quest of Mozart Operas (October 2018-April 2019)].