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Seattle opera la boheme 202111/10/2022 Set in the company’s intimate glass-box theater, audiences will have a front-row seat to the action as Orpheus descends into the underworld to rescue his beloved wife Eurydice. 12–30, 2022, at Tagney Jones Hall, The Opera Center) will blur the line between fantasy and reality. #Seattle opera la boheme 2021 full#For the full cast and creative team list-and to purchase tickets-go to /boheme.Ĭhristoph Willibald Gluck’s Orpheus and Eurydice (Jan. An audience favorite for more than a century, this tale of young Bohemians who dedicate their lives to art and love is told through Giacomo Puccini’s lush, romantic score. Performers include Ginger Costa-Jackson ( Carmen ‘19, Cinderella ‘19), John Moore ( Eugene Onegin ‘20, The (R)evolution of Steve Jobs ‘19), Brandie Sutton ( Porgy and Bess ‘18), Michael Chioldi, Theo Hoffman, Barry Johnson, Yosep Kang, Federico De Michelis, Ashraf Sewailam, Talise Trevigne, Eugene Villanueva, and Kang Wang. 16–30, 2021, at McCaw Hall) featuring Seattle Opera favorites, debuts, and artists who had been scheduled to sing in the cancelled 2020 bohème. This season begins with a long-awaited La bohème (Oct. More information is available at /brownlee. A regular at the Metropolitan Opera, Teatro alla Scala, and Royal Opera House Covent Garden, Brownlee’s versatile “instrument of great beauty and expression” (NPR Music) elicits standing ovations whether he’s performing Rossini or Donizetti, or works from his song-cycle on African American identity. In addition to mainstage productions, the company will offer a special, one-night-only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall). Eugene Villanueva (company debut), and Barry Johnson rounded out the cast as Schaunard and Alcindoro–Benoît, respectively, supporting the principals with strong portrayals.Lawrence Brownlee. His poignant, vocally lovely rendition of “Vecchia zimarra” was touchingly imbued with both deep emotion and resignation. Familiar to Seattle audiences, Ashraf Sewaillam brought a special combination of insight and physical comedy to the role of Colline. Vocally strong, dramatically and comically spirited, Costa-Jackson is the whole package, and as usual she lit up the stage in every attention-grabbing moment. The scene-stealing performances of soprano Ginger Costa-Jackson have won over Seattle audiences in her portrayals of such heroines as Carmen and Cenerentola and her rendition of Musetta was no exception. His voice is lush, consistent from top to bottom, and his energetic acting heightened the characterization of the frustrated artist. Watching and listening to Moore is always a treat. A familiar and admired presence in such operas as The (R)evolution of Steve Jobs and Eugene Onegin, John Moore brought his lustrous baritone to the role of Marcello.
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