Seattle Opera Podcast

A smile full of sunshine comes to Seattle Opera with the return of Donizetti's endearing comedy. The story of The Elixir of Love concerns the adventures of a bottle of Bordeaux; but the music is as sweet and gentle as the lightest possible tiramisù. Seattle Opera Dramaturg Jonathan Dean introduces The Elixir of Love, with musical examples from Seattle Opera's 1998 archival recording, starring Rafael Rojas and Vinson Cole as Nemorino, Jane Giering-De Haan as Adina, Jason Howard as Belcore, and Julian Patrick as Dr. Dulcamara. John DeMain conducted the chorus and orchestra of Seattle Opera.

Together again at Seattle Opera after almost four decades, Mascagni's Cavalleria rusticana and Leoncavallo's Pagliacci comprise Italian opera's most beloved double-bill. Seattle Opera Dramaturg Jonathan Dean introduces Cav/Pag, with musical examples from Seattle Opera's 1990 archival recording of Cavalleria rusticana, conducted by Cal Stewart Kellog with Makvala Kasrashvili as Santuzza, James Hoback as Turridu, Cristiane Young as Lola, and Ron Peo as Alfio; and 2008 archival recording of Pagliacci, with Antonello Palombi as Canio, Nuccia Focile as Nedda, Morgan Smith as Silvio, and Gordon Hawkins as Tonio. Special examples feature Fiorenza Cossotto as Santuzza and Enrico Caruso as Canio.

Naomi André, a professor at the University of Michigan, has been a familiar presence at Seattle Opera for a couple seasons now; she helped us explore racial representation, casting, and what it means to support storytellers of color in 2018, as we were presenting Porgy and Bess, and last spring moderated a Carmen-related forum on "Decolonizing Allure: Women Artists of Color in Conversation." Recently, she joined Seattle Opera as our first-ever Scholar-in-Residence. We're delighted to have Dr. André on our team, and in this podcast she discusses her scholarly work—as well as Beyoncé, the exciting opera scene in today's South Africa, Jessye Norman, and many other topics—with Alejandra Valarino Boyer, Seattle Opera's Director of Programs and Partnerships.

Tchaikovsky's most beloved opera is a breathtaking and unique work about the human heart. Seattle Opera Dramaturg Jonathan Dean introduces Eugene Onegin, with musical examples from Seattle Opera's 2002 archival recording of Eugene Onegin, starring Vladimir Chernov as Onegin, Kurt Streit as Lensky, Helene Schneidermann as Olga, Nuccia Focile in her Seattle Opera debut as Tatyana, and Alexander Anisimov as Prince Gremin. Andreas Mitisek conducted the chorus and orchestra of Seattle Opera. Excerpt of Lensky's aria sung by William Burden at the 2014 Speight Celebration, conducted by Sebastian Lang-Lessing.

Michelle Martin, Beverly Cleary Endowed Professor for Children and Youth Services at UW's Information School, discusses the world's many "Cinderella" stories with Seattle Opera Dramaturg Jonathan Dean. They talk about Cinderellas onstage, on screen, and in the oral tradition; about sweet Disney princesses and plucky heroines (and heroes), wicked and/or ugly step-sisters, mothers who turn into carp, incestuous fathers, mutilated feet, delicious cactus recipes, a prince who's a snake and another who's invisible, and a donkey that poops gold coins. Explore the diverse and amazing world of folk-lore—and modern rewrites—as you prepare for Rossini's wonderful La Cenerentola.

Rossini's La Cenerentola combines the human warmth of the beloved Cinderella story with the wit and sparkle of The Barber of Seville. Seattle Opera Dramaturg Jonathan Dean introduces La Cenerentola with musical examples from Seattle Opera's archival recordings of La Cenerentola: from 1996, with Laura Polvarelli (Cenerentola), Gregory Kunde (Don Ramiro), Robert Orth (Dandini), Jan Opalach (Alidoro), Julian Patrick (Don Magnfico), Louise Marley (Tisbe), and Sally Wolf (Clorinda), conducted by Yves Abel; and from 2013, with Karin Mushegain (Cenerentola), Edgardo Rocha (Ramiro), Brett Polegato (Dandini), Arthur Woodley (Alidoro), Sarah Larsen (Tisbe), Dana Pundt (Clorinda), Patrick Carfizzi (Don Magnifico), conducted by Giacomo Sagripanti. Special example of Kate Lindsey singing Cenerentola's rondo at 2014's Speight Gala conducted by Carlo Montanaro.

This August Seattle Opera presents Lindy Hume's production of RIGOLETTO, originally created for New Zealand Opera in 2012. Designed by Richard Roberts and lit by Jason Morphett, this RIGOLETTO sets the Victor Hugo story which inspired Giuseppe Verdi's amazing music in an uncomfortably recognizable modern world of haves and have-nots, power-hungry men and disadvantaged women.

On July 23, Hume discussed her production with Seattle Opera Dramaturg Jonathan Dean. They talked about the curse, the cruelty of laughter, and what happens when you produce an old-fashioned opera like RIGOLETTO in a post-#MeToo world. Hume shared fascinating insights into RIGOLETTO's female characters, not just Gilda and Maddalena (the archetypal virgin and whore) but also Countess Ceprano, Monterone's daughter, Giovanna the housekeeper, the Duchess, and the Page. This podcast features highlights from their conversation.

Verdi's unflinching tragedy about sexual politics is one of opera's greatest masterpieces. Seattle Opera Dramaturg Jonathan Dean introduces Rigoletto, with musical examples drawn from Seattle Opera's archival recordings of Rigoletto: from 2004 with Frank Lopardo (Duke of Mantua), Norah Amsellem (Gilda), and Kim Josephson (Rigoletto), conducted by Edoardo Mueller; and from 2014 with Francesco Demuro (Duke of Mantua), Jennifer Zetlan (Gilda), Hyung Yun and Marco Vratogna (Rigoletto), Andrea Silvestrelli (Sparafucile), and Sarah Larsen (Maddalena), conducted by Riccardo Frizza. Quartet excerpt from the quartet recorded at Meany Hall in 2013 at the Seattle Opera Young Artists' Program Viva Verdi concert, with Theo Lebow as the Duke, Deborah Nansteel as Maddalena, Dana Pundt as Gilda, and Hunter Enoch as Rigoletto, conducted by Brian Garman.

Come down to the bassment and enjoy the deep sound of the bass and bass-baritone voices with Seattle Opera Dramaturg Jonathan Dean. Basses play dads, priests, kings, old bearded guys, God, and the Devil; they get to be evil, they get to be funny, and they always sing with great authority. Includes a 4-pack bass sampler from BORIS GODUNOV, a taste test of Hagens from GÖTTERDÄMMERUNG, and a buffo bass patter race. Musical examples feature favorite Seattle Opera basses and bass-baritones including Kevin Langan, Richard Best, Peter Rose, Ante Jerkunica, John Relyea, Gabor Andrasy, Nicolas Cavallier, Alexander Anisimov, Arthur Woodley, Eduardo Chama, Shenyang, Ashraf Sewailam, Greer Grimsley, Vladimir Ognovienko, baritone Marius Kwiecien, Alfred Walker, William Wildermann, John Macurdy, Simon Estes, John Del Carlo, Monte Pederson, Kevin Short, and Stephen Milling.

There's a lot going on in a glorious opera like Carmen: principal singers, chorus, orchestra, dancers, actors, costumes, sets, lights, fight scenes, wigs, drama! How on earth does something with so many moving parts manage to make it to the stage? Dacia Clay, of Classical KING FM 98.1 and the terrific Classical Classroom podcast, enjoyed a command performance of the show. She seized the opportunity to interrupt the opera and question the cast and crew about their role in bringing this magnificent beast of an opera to life. Learn all about the story – the one the audience sees and the one behind the stage – in this special Seattle Opera Podcast/Classical Classroom crossover episode.

All music in this episode from Seattle Opera's performances of Carmen. Special thanks to Cellist Meeka Quan DiLorenzo, Director Paul Curran, Chorus Mezzo soprano Susan Salas, Mezzo soprano Ginger Costa-Jackson, Assistant Lighting Designer Connie Yun, Fight Choreographer Geoff Alm, Tenor Scott Quinn, Baritone Rodion Pogossov, Wigmaster Ashlee Naegle, and Conductor Giacomo Sagripanti.

Carmen runs May 4 to 19, 2019 at Seattle Opera! Seattleopera.org/carmen for more info.