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.

CARMEN is probably the most popular opera ever composed. Alas, this masterpiece was the final work of Georges Bizet, who died a few weeks after its dismal world premiere. Seattle Opera Dramaturg Jonathan Dean discusses Bizet's genius and career with Assistant Conductor Phil Kelsey, who also contributes musical examples at the piano. Dean and Kelsey consider THE PEARL FISHERS, LA JOLIE FILLE DE PERTH, DJAMILEH, Bizet's "Chanson d'Avril," and CARMEN, plus operas by Bizet's contemporaries, including LAKMÉ by Léo Délibes and SAMSON ET DALILAH by Camille Saint-Saëns. An extended quote from the Memoirs of Céleste Venard, aka La Mogador, is read by Ginger Costa-Jackson.

Seattle Opera Dramaturg Jonathan Dean introduces the mezzo and contralto voices. With their rich, creamy, dark sounds these lower-voiced ladies play opera's most luscious babes, as well as boys, old women, jealous wives, vengeful goddesses, and loving mothers. Featuring musical examples including Seattle Opera favorites Michelle DeYoung, Helene Schneidermann, Sarah Mattox, Rosemary Alvino, Daniela Sindram, Kate Lindsey, Graciela Araya, Laura Polvarelli, Luretta Bybee, Maria Zifchak, Sarah Larsen, Margaret Gawrysiak, Rosalind Plowright, Marvellee Cariaga, Joyce Castle, Stephanie Blythe, Elena Gabouri, Florence Quivar, Ewa Podles, Sheila Nadler, and Geraldine Decker.

While The (R)evolution of Steve Jobs was astonishing Seattleites at McCaw Hall, 72 young people involved with Seattle Opera's Youth Opera Project performed Odyssey, a new opera for young people, next door. High schoolers Emily Amesquita (Odysseus), Kaitlyn Ochs (the Siren), and Joshua Cummings (Poseidon) discuss both new operas, the one they were in and the one they attended. The passion these bright young people feel for opera suggests an exciting future for this art form.

Grammy-nominated composer Mason Bates is also a bona fide DJ. As DJ Masonic, he brings classical music and electronica together on the dance floor at clubs like San Francisco's Mezzanine. As a composer, he brings the sounds of electronica to classical music in places like the Kennedy Center (where he's composer-in-residence). And so it's fitting that Bates' first opera is about famed Apple tech guru, Steve Jobs. But even for someone as comfortable in multiple musical worlds as Mason Bates, can it really work to tell a decidedly 21st century story using a 400-year-old medium? Turns out, yes. In this special crossover podcast (with Dacia Clay of Classical Classroom), Bates explains why Jobs' story and opera go together like iPhones and jelly. Wait...

There's more to it than jeans and a black mock-turtleneck! Seattle Opera's Costume Director, Susan Davis, discusses how Seattle Opera's artists bring to life Paul Carey's costume designs for The (R)evolution of Steve Jobs with Jonathan Dean. Learn all about quick changes, seam allowance, concealing microphones in wigs, and how 'contemporary' operas can also be 'historical.'

Hear from librettist Mark Campbell, director Kevin Newbury, and star baritone John Moore as Seattle Opera's The (R)evolution of Steve Jobs heads into McCaw Hall for Tech Week. Campbell tells the story of how filling out an online email form led him to a serendipitous meeting with a student of the real Kōbun Chino Otogawa, and Newbury and Moore discuss their work on this exciting opera so far.

Seattle Opera Dramaturg Jonathan Dean introduces the baritone voice, a sound which celebrates the beauty and power of masculinity. In opera, baritones play clowns and kings, urban sophisticates and unlettered innocents; good, bad, and every shade of grey. They win our hearts, melt our hearts, and break our hearts. Featuring musical examples with sweet lyric baritones, proud heroic baritones, snarly dramatic baritones, and many other varieties, including Seattle Opera favorites John Moore, Dale Duesing, Alfonso Antoniozzi, Mariusz Kwiecien, Gordon Hawkins, Richard Stilwell, Will Liverman, David Adam Moore, Vladimir Chernov, Morgan Smith, Christopher Maltman, Julian Patrick, Malcolm Rivers, Andrew Garland, Richard Paul Fink, and Brett Polegato.

Verdi's Rigoletto, Il trovatore, and La traviata transformed the art form of opera and have been ultra-popular for over 150 years. Seattle Opera's Maestro Carlo Montanaro, Assistant Conductor Philip A. Kelsey, General Director Aidan Lang, and Music Librarian Emily Cabaniss discuss with Jonathan Dean Verdi the great composer, great Italian, and great human. Plus, Montanaro shares his perspective from the podium on the magic that makes for a great night of opera.

Seattle Opera Dramaturg Jonathan Dean introduces several different types of tenor, from the agile-voiced, graceful and elegant tenori di grazia, to the heroic and powerful tenori di forza, and all points in between. Includes musical examples featuring many favorite Seattle Opera tenors: Antonello Palombi, Edgardo Rocha, Laurence Brownlee, William Burden, Matthew Polenzani, Ben Heppner, James McCracken, Stefan Vinke, Francesco Demuro, Joseph Calleja, Alasdair Elliott, Peter Kazaras, Marcello Giordani, Neil Shicoff, Russell Thomas, Franco Corelli, and Vinson Cole.

"Men die and governments change, but the songs of La bohème will live forever," wrote Thomas Alva Edison to Giacomo Puccini. Seattle Opera Dramaturg Jonathan Dean introduces La bohème, with musical examples from Seattle Opera's archival recordings of La bohème: from 2007, with Rosario La Spina (Rodolfo) and Nuccia Focile (Mimì), conducted by Vjekoslav Sutej; and from 2013, with Andrew Garland (Schaunard), Arthur Woodley (Colline), Michael Fabiano (Rodolfo), Keith Phares (Marcello), and Jennifer Black (Mimì), conducted by Carlo Montanaro.

A new opera that combines jazz and classical? Charlie Parker's Yardbird is about music, creativity, communication, race and racism, drugs and addiction, and life and death and freedom. Seattle Opera Dramaturg Jonathan Dean introduces this new opera with music by Daniel Schnyder and a libretto by Bridgette A. Wimberly. Musical examples from an Opera Philadelphia performance, starring Lawrence Brownlee as Charlie Parker, Will Liverman as Dizzy Gillespie, Angela Brown as Addie, Emily Pogorelc as Chan, Elena Perroni as Doris, Chrystal E. Williams as Rebecca, and Tamara Mumford as Nica. The Opera Philadelphia orchestra is conducted by Corrado Rovaris.

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.

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.

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.

Why has Carmen been, since 1875, one of the world's most popular operas? Seattle Opera Dramaturg Jonathan Dean introduces this beloved masterpiece with musical examples from Seattle Opera's archival recordings of Carmen: from 1995, with Greer Grimsley as Escamillo (conducted by Steven Sloane); from 2004, with Stephanie Blythe (Carmen) and Paul Charles Clarke (Don José), conducted by George Manahan; and from 2011, with Anita Rachvelishvili (Carmen), Fernando de la Mora (Don José), and Norah Amsellem (Micaëla), conducted by Pier Giorgio Morandi.

Learn more about this fresh, fascinating, and wholly operatic new work, which audiences have been consuming like a new Apple product. Seattle Opera Dramaturg Jonathan Dean introduces The (R)evolution of Steve Jobs, the opera with music by Mason Bates and libretto by Mark Campbell. Musical examples from the new recording of the opera made at Santa Fe Opera, summer 2017, and available from Pentatone records, with Edward Parks (Steve Jobs), Garrett Sorenson (Woz), Jessica E. Jones (Chrisann), Sasha Cooke (Laurene), and Wei Wu (Kōbun), conducted by Michael Christie.

Are you ready for the wildest opera by the person many consider opera's greatest composer? Seattle Opera Dramaturg Jonathan Dean introduces Il trovatore, with musical examples from Seattle Opera's archival recordings of Il trovatore: from 1997, with Carol Vaness (Leonora) and Gegam Grigorian (Manrico), and Gordon Hawkins (Count Di Luna), conducted by Antonello Allemandi; and from 2010, with Malgorzata Walewska (Azucena), Antonello Palombi (Manrico), and Gordon Hawkins (Count Di Luna) conducted by Yves Abel.

Seattle Opera Dramaturg Jonathan Dean leads a tour through the land of soprano, from dazzling coloratura acrobats to fearsome goddesses whose roar sets the opera house aflame. Includes musical examples featuring many favorite Seattle Opera sopranos: Cyndia Sieden, Joan Sutherland, Sarah Coburn, Sally Wolf, Dana Pundt, Jennifer Zetlan, Nuccia Focile, Angel Blue, Alexandra Deshorties, Renee Fleming, Sheri Greenawald, Carol Vaness, Lisa Daltirus, Mary Elizabeth Williams, Marcy Stonikas, Janice Baird and Irmgard Vilsmaier, and Jane Eaglen.

Nitara Dandapani, a clinical social worker and youth mental health therapist with Childhaven, discusses THE TURN OF THE SCREW with Seattle Opera Dramaturg Jonathan Dean. Headquartered in Seattle, Childhaven heals children and families to stop the cycle of abuse and neglect. Dandapani and Dean discuss the attachment issues of Miles and Flora, the history of trauma at Bly, and question many of the choices made in the story of the opera by the Governess. Musical examples from Seattle Opera's recent production, conducted by Constantin Trinks and starring Elizabeth Caballero (the Governess), Maria Zifchak (Mrs. Grose), Forrest Wu (Miles), Soraya Mafi (Flora), and Ben Bliss (Peter Quint).

Seattle Opera Dramaturg Jonathan Dean investigates two voice types infrequently encountered in opera: trebles (boy sopranos and adolescent female sopranos) and countertenors. Features conversation with Seattle Opera coach-accompanist Jay Rozendaal, and musical examples: TURN OF THE SCREW (Rafi Bellamy Plaice and Forrest Wu), LAKMÉ (Harolyn Blackwell), THE MAGIC FLUTE (Johanna Mergener, Emili Rice, and Isabel Woods), HANSEL & GRETEL (Sasha Cooke and Ashley Emerson), SIEGFRIED (Juls Serger and Julianne Gearhart), FALSTAFF (Peter Rose), Freddie Mercury, Colm Wilkinson, and Will Oakland, I PURITANI (Luciano Pavarotti and Lawrence Brownlee), Alessandro Moreschi, GIULIO CESARE (Bryn Terfel, Milijana Mijanovic, and Jochen Kowalski singing "Va, tacito" and Brian Asawa singing "L'empio, sleale, indegno") and A MIDSUMMER NIGHT'S DREAM (Anthony Roth Costanzo).

Seattle Opera General Director Aidan Lang checks in, midway through our run of THE TURN OF THE SCREW, with some nuanced reflections on this enigmatic piece from the point of view of someone born and bred in England. With musical examples featuring Maria Zifchak (Mrs. Grose), Elizabeth Caballero (the Governess), Marcy Stonikas (Miss Jessel), and the orchestra of Seattle Opera conducted by Constantin Trinks.

Meet the cast of Seattle Opera's TURN OF THE SCREW in this downloadable podcast! Singers Marcy Stonikas (Miss Jessel) and Ben Bliss (Peter Quint) introduce themselves and their colleagues: Elizabeth Caballero (the Governess), Maria Zifchak (Mrs. Grose), Rafi Bellamy Plaice and Forrest Wu (Miles), and Soraya Mafi (Flora). Hear brief clips of Caballero as Donna Elvira (in DON GIOVANNI at Seattle Opera), Zifchak as Ragonde (in COUNT ORY at Seattle Opera), Stonikas as Ariadne (in ARIADNE AUF NAXOS at Seattle Opera), and Bliss as Ferrando (in COSÌ FAN TUTTE at Seattle Opera). And a bonus: Wu and Plaice read "The Second Coming" by W. B. Yeats! Plaice's CD "Refiner's Fire" is available at the Seattle Opera gift shop, and online at rafibellamyplaice.bandcamp.com/.

Seattle Opera Dramaturg Jonathan Dean introduces the eerie musical world of Britten's THE TURN OF THE SCREW, with special focus on the opera's theme-and-variation structure. Musical examples from Seattle Opera's 1994 performances, starring Lauren Flanigan (The Governess), Joyce Castle (Mrs. Grose), Fraser Walters and Cyndia Sieden (Miles and Flora), and Linda Pavelka (Miss Jessel) and Peter Kazaras (Peter Quint), conducted by Richard Bradshaw.