Arts Seattle Opera 2008/2009 Productions & Photos
posted by January 3 at 13:29 PM
onSeattle Opera sent over the official press release on their 2008/2009 season, of which I gave a preview yesterday (updated with more cast info). It was a lot of text, but now I can give some visuals to get you hyped and answer some questions we had about the productions. Click any of the photos, as they may have larger popups with a detailed view. UPDATE: Seattle Opera has the season up on their site now; you can take “Visual Tours” for each of the operas.
The 1992 Aïda will not be revived or revamped. Instead, a traditional production from Tony award winner Michael Yeargan that had its debut at San Diego in 1996 and was seen there in 2001 but still looks sharp and fresh:
Photos © 1996 Ken Howard, San Diego Opera.
More photos and spec sheet at the San Diego Opera Scenic Studio page.
The Stranger’s “The Score” columnist Chris DeLaurenti says in the comments “I hope the Bluebeard/Ewartung double bill is the Robert Lepage production that was so dazzling in Vancouver back in ‘99.” You’re in luck, Chris. The acclaimed production, originally for Toronto Canadian Opera Company, has travelled extensively since its premiere in 1992. Stage director François Racine, who has worked the production in every one of its previous appearances and will be Seattle’s director, told La Scena a bit about the production’s inspiration and concept:
The success of this production comes from the brilliant way it blends together the expressionist sense of emotional breakdown with powerful visual images. Michael Levine… designed this huge frame around the set that suggests a painting by Klimt.[…]
The space of Bluebeard is very closed and dark, giving a powerful sense of physical claustrophobia, with the doors just providing a glimpse of what is outside. Erwartung, by contrast, is a very open space, with just one wall, and a lot of light, but the piece still conveys a sense of mental claustrophobia. The woman’s hallucinations encroach upon her. This theme of enclosure, physical in the first, internal in the second, is very important to the production.
Photos 1995 © Michael Cooper, Canadian Opera Company.
Intrigued? Me too. Elektra and Pearl Fishers under the cut:
The 2008/2009 production of Elektra was also originally conceived for the Canadian Opera Company, in 1996. The single set consists of stone courtyard interior with various lit portals and windows that open as the story necessitates. During the final scene:
When the curtain's down, we see a projection on black taffeta of some stone-carved Greek lettering, alternatingly inverted. I can't tell if it says anything, though.
Told ya so about the dudes' being scantily clad in The Pearl Fishers. Here are William Burden and Nathan Gunn in the Philadelphia production that's coming here:
Photo by Katharine Elliott.
Alas, our performances will not feature Nathan Gunn, but Burden'll be there, and uh, David Adam Moore (below, left) will do just fine:
William Burden photo © 2004 Kelly & Massa Photography, Courtesy Opera Company of Philadelphia.
Tons more sketches, production and backstage photos, and production info here. Check out the oversized statue head and hand and those dreamy Ceylon backdrops.
Comments
When are they going to do a production of "The Wall?" Now that's something I could get behind.
They did another opera laser show in December. I wonder if anyone at Seattle Opera knows how to get stoned.
Just wanted to say thanks for the great opera coverage. Never seen it get any room on the slog or much room in the paper. I'm all for it!
Hi, John. Thanks for the thanks. I plan on posting more frequently about opera. Granted, it's hard to find room for it anywhere because it only seems appropriate when it's relevant to Seattle.
But over the past couple seasons, Seattle Opera has been getting really good at what they do. Generally better singers, definitely better productions, more activity, great outreach and education. They deserve lots of attention right now.
I saw the Canadian Opera Company Bluebeard/Ewartung when it was in Edmonton last year (or was it two years ago), and it was sooooo cool. And cool is not usually an adjective I would usually associate with opera. Don't miss it.
Comments Closed
In order to combat spam, we are no longer accepting comments on this post (or any post more than 14 days old).