Favorite musical highlights from upcoming operas of Seattle Opera's 16/17 season: Verdi's LA TRAVIATA (January 2017), Janáček’s KATYA KABANOVA (Feb/March 2017), Mozart's MAGIC FLUTE (May 2017).

2017 Season Highlights

In Act 2 of Gian Carlo Menotti’s “The Consul,” the magician Nika Magadoff (Alex Mansoori) hypnotizes everyone in the consulate and makes them dance: 
Oh, what a lovely ballroom this is...
the floor shines with precious marble.
Look how the light falls bright and clear 
from twenty crystal chandeliers.
Look at the crimson walls, hung with golden mirrors. 
Ah, listen:  the music has begun.
Ah! How you'd love to dance with your loved one...
But where is he? But where is she?
There, there he is!  He's bowing to you.
Look, there she is...bow to her.
What are you waiting for?
The floor is empty, the music sweet...
the dance is on.
Carlo Montanaro conducts the orchestra of Seattle Opera. Elise Bakketun, photo
Seattle Opera, The Consul, Menotti, Carlo Montanaro, Alex Mansoori


THE CONSUL: ALEX MANSOORI as Nika Magadoff

In Act Two of Gilbert & Sullivan’s THE PIRATES OF PENZANCE the pirates plan to storm Major-General Stanley’s house in the middle of the night, unaware that a crowd of policemen, relentlessly imitating trumpets to embolden themselves, are waiting to ambush and arrest them. After failing to be as quiet as they claim, the pirates sing one of Sullivan’s most beloved tunes—actually, Sullivan’s copyright piracy of Verdi’s “Anvil Chorus” from IL TROVATORE. Francesco Milioto conducted the chorus & orchestra of The Atlanta Opera in Atlanta in 2021. Music provided by The Atlanta Opera Film Studio.

PIRATES: With cat-like tread,
Upon our prey we steal; 
In silence dread,
Our cautious way we feel.
No sound at all,
We never speak a word, 
A fly’s foot-fall
Would be distinctly heard.
POLICE: (Tarantara, tarantara!)
PIRATES: So stealthily the pirate creeps,
While all the household soundly sleeps. 
Come, friends, who plough the sea,
Truce to navigation; 
Take another station;
Let’s vary piracee 
With a little burglaree!

PIRATES: “With cat-like tread”

The Queen of the Night sings one of the most familiar and popular arias ever written for coloratura soprano in Act Two of Mozart’s “Magic Flute.” Furious that her daughter (plus boyfriend) have turned against her, this power-hungry monster does her best to manipulate the princess with fearsome words and music: “The vengeance of hell boils in my heart. Flames of death and despair burn around me! Unless you make Sarastro suffer the pangs of death, you are no longer my daughter. Be cast off forever! Be forsaken forever! Let all bonds of nature be shattered forever—unless you kill Sarastro. Hear, gods of vengeance: hear a mother's vow!” Greek-born soprano Christina Poulitsi makes her Seattle Opera debut in this role, with the Seattle Opera orchestra conducted by Julia Jones. Photo by Philip Newton.

CHRISTINA POULITSI as The Queen of the Night

Mozart’s beloved overture to “The Magic Flute” features a lively fugue subject, brilliantly deployed across the full orchestra. Julia Jones conducts Seattle Opera's 2017 production of this masterwork.

THE MAGIC FLUTE Overture: Main Theme

In Act 3 of “La traviata,” Alfredo comforts the dying Violetta with a fantasy of leaving Paris together, retiring to the country so Violetta can regain her health and their happiness and love can flower once more. At Seattle Opera in 2009, Francesco Demuro sang Alfredo to Eglise Guttierez’s Violetta, with the orchestra conducted by Brian Garman. Photo by Rozarii Lynch.

“Parigi, o cara” from LA TRAVIATA

One of Verdi’s most infectious melodies, the toast from the first act of “La traviata” celebrates the glittering, superficial merriment of the Paris demimonde. Stefano Ranzani conducts Corinne Winters as Violetta, Joshua Dennis as Alfredo, and the chorus and orchestra of Seattle Opera. Photo by Philip Newton.

Violetta's Toast (“Libiamo nei lieti calici”) from LA TRAVIATA

Act Two of KATYA KABANOVA concludes with some of the most tender, romantic music in all Janáček. Kudrjas (Joshua Kohl) summons Boris (Scott Quinn) and Katya back from the riverbank, where they have been making love, then sings a sweet little duet of farewell with his girlfriend Varvara (Maya Lahyani). Oliver von Dohnanyi conducts the orchestra of Seattle Opera. 
Photo by Philip Newton

KATYA KABANOVA: Love Scene Climax

Join me as I sit down with Emily Cabiness, librarian and archivist for the Seattle Opera. We discuss the art of opera, through both process and product. How does it stay relevant in contemporary life? What kind of collaborative work does it take to put on a production? What does a librarian do for an opera company? How does music help us express the otherwise ineffable? 

A funny, engaging, and emotional chat with a good friend of the show.

(Disclaimer: Emily participated in this discussion outside of her official duties with the Seattle Opera. As such, all of her opinions are her own, and do not necessarily reflect the views of the Seattle Opera or any affiliated staff or artists!)

For more information about the Seattle Opera, including upcoming shows and events, visit https://www.seattleopera.org/ 

For those interested in listening to Emily’s scene selections further, please see the recorded versions below:

Mozart’s The Marriage of Figaro - “Pace Pace Mio Dolce Tesoro” - https://open.spotify.com/track/3EQrqvdRO7VMWSPKSlCdSe

Wager’s The Valkyrie - “War Es So Schmählich”
https://open.spotify.com/track/68CZHU1J4F89quxGwQOQGn

All clips and music used under Creative Commons and Fair Use policies.

Ping: Opera With Emily

Founded in 1963, Seattle Opera is a leading American opera company. The company presents the classics of the European repertoire as well as new works of American opera. Frequent productions of Wagner's RING, beginning in 1975, established the company's worldwide reputation. Seattle Opera usually presents five opera productions each year.

KATYA KABANOVA: Love Scene Climax

Seattle Opera

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