Audition notice: Seattle Opera Seeks Dancers and Child Acrobats

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Seattle Opera is committed to racial equity and to dismantling historic barriers of oppression. People of Color are encouraged to apply and audition for all opportunities listed below.

Praise for Cinderella

Miriam Costa-Jackson (Clorinda), Peter Kalman (Don Magnifico), and Maya Gour (Tisbe). Philip Newton photo

"Two exciting casts, a solid score, and staging as speedy as a runaway train: Seattle Opera audiences had a rollicking good time this past weekend with Rossini’s Cinderella."
—The Seattle Times

"It’s the concept and imagination of stage director Lindy Hume which makes this production so delicious, ably abetted by production designer Dan Potra, lighting with some wonderful effects by Matthew Marshall and the choreography of associate stage director Dan Pelzig. Not least are the apt supertitles of Jonathan Dean which caught each nuance of the libretto, which might otherwise have been missed, and frequently gained laughs for themselves."

—Bachtrack  

"Wow. Cinderella was phenomenal. Great show, @SeattleOpera. Beautiful performance and good for plenty of laughs too!"
—@thybeardedbard via Twitter, opening night 

Cinderella: Director's notes

Wallis Giunta as Cinderella in the production directed by Lindy Hume. Photo courtesy of Giunta

By Lindy Hume, Stage Director of Seattle Opera's Upcoming Cinderella 

It’s nearly two hundred years after Rossini, a precociously brilliant 25-year-old celebrity, wrote Cinderella (La Cenerentola) in three weeks. He wrote it over Christmas, and it opened on January 20, 1817. Two centuries later, notwithstanding the speed with which it was written, and the worldwide fame of The Barber of Seville, for me Cinderella, or Goodness Triumphant (the full original title) is his most wonderful creation.

Rossini’s Cinderella not only has a unique place in the history of opera in Australia—my homeland—the story of Cinderella has embedded itself in the Australian psyche, as it has all over the world. The upcoming production you’ll see at Seattle Opera seeks to respect two centuries of this opera’s performance history, while referencing popular contemporary entertainment styles such as the rom-com, the sitcom, and music theater—vernacular styles that speak to today’s audiences.

Cinderella: Ancient Story, Global Tale

The Rough-Face Girl, (1992) retold by Rafe Martin, tells the Cinderella story of a disfigured Algonquin girl who wins the heart of a mysterious being. Illustration by David Shannon.

By Michelle H. Martin, PhD 

[ You can also listen to a conversation on global Cinderella stories between Dr. Martin and Seattle Opera Dramaturg Jonathan Dean on the Seattle Opera podcast ] 

“Fairy tales are more than true—not because they tell us dragons exist but because they tell us dragons can be beaten.”—Neil Gaiman, author

When you hear the name Cinderella, do the lyrics “Bibbidi-bobbidi-boo” come to mind, along with doting mice and a kindly fairy godmother? For many viewers the Disneyfication of this folktale has eclipsed its rich global variations, leaving only a weak and toothless residue of these fascinating age-old stories, some of which would make Disney’s fairy godmother blush.

Cinderella tales, according to folklorist and children’s book writer Judy Sierra, “can be found in more parts of the world, told in more languages and in more different ways than any other folktale.” Estimates range from 350 to over 3,000 variants. The Aarne-Thompson index of tale types identifies two main Cinderella structures: one with a jealous and destructive stepmother, which is most familiar to contemporary audiences; and another featuring a father whose incestuous desire for his daughter after the death of her mother motivates the child to flee.

Jessye Norman: legacy

Matt Campbell—AFP/Getty Images

By Naomi André, Seattle Opera Scholar in Residence 

There are so many things to think about as we celebrate the legacy of Jessye Norman’s life. Her passing this week came as such an unwelcomed shock to me not because of anything I knew about her health, but because as I entered adulthood in the 1980s, Jessye Norman had always been someone I could count on to be there. Many people who know her roles in opera or heard her perform live, know of the velvety, warm sonic soundscape of her voice. But it was much more than just a voice—she embodied a presence for me, and, I suspect, for many others.

DANDINI, WHO ARE YOU?

Wallis Giunta (Cinderella) and Jonathan Michie (Dandini). La Cenerentola, Oper Leipzig © Kirsten Nijhof

By Jonathan Dean 

La Cenerentola is Cinderella...almost. 

Rossini’s opera differs from most of the world’s many Cinderella stories because of a few key features: there is no magic, the traditional evil stepmother and fairy godmother are replaced with male counterparts, and the prince identifies Cinderella thanks to a bracelet, not a slipper. And then, of course, there’s Dandini, the prince’s clever and mischievous servant. He isn’t part of the standard Cinderella-story cast list. What is he doing in this opera? He provides a much-needed reality check; while in real life there are people as virtuous as Cenerentola, or as awful as Magnifico, mostly there are people like Dandini.

Opera’s sensational sisters bring sibling revelry to McCaw Hall

Marina, Miriam and Ginger Costa-Jackson. Photo by Amy Fae 

Seattle Opera presents ‘Three Singing Sisters’ concert featuring Ginger, Marina, and Miriam Costa-Jackson 

One night only: Nov. 2
McCaw Hall
Tickets start at $35

For the Costa-Jackson sisters, singing isn’t just a passion, it’s a family business. Ginger, Marina, and Miriam Costa-Jackson—all recent or upcoming performers with Seattle Opera—are offering a special, one-night-only concert at McCaw Hall on Nov. 2. Audiences can expect an entertaining mix of opera, Broadway, and Neapolitan hits from these glamorous Sicilian-Americans. Each a rising star in her own right, the singers are especially memorable when performing together.

“Technically we have three different voice types: mezzo, full-lyric soprano, and coloratura soprano,” said Ginger Costa-Jackson. “But our different colors and strengths complement each other and create a very natural blend. It’s like a Neapolitan ice cream, except we are Sicilian!"

A message to our community from President Brian Marks

Seattle Opera's civic home, The Opera Center. Sean Airhart photo

Dear Seattle Opera Community,

Before a new arts season ramps up this fall, I want to take a moment to reflect on the past year. As you know, Seattle Opera has a proud history as a change-maker in the arts. It was our founding artistic director Glynn Ross who said in 1969, “We are not custodians of the old order. We are not curators of establishment art. We must be oriented towards the future. It is our business to improve the quality of life. We had better become positive and not just stand by.”

Seattle Opera continues to hold those words true to our daily work fifty years later. We tell stories to celebrate our rich traditions, while speaking to our world today. We use opera to engage in civic dialogue with our diverse community.

Here are a few recent examples of Seattle Opera’s success that I’d love to share with you.

Cinderella lights up the stage with vocal fireworks

Wallis Giunta as Cinderella. Photo courtesy of Opera Leipzig 

When stage director Lindy Hume last worked at Seattle Opera, her powerful Rigoletto sparked important #MeToo conversations with a story intended to be devoid of hope. Next up, she’s bringing something completely different to McCaw Hall—a sparkling fairy tale that families will fall in love with. 

“When Rossini composed his Cinderella (La Cenerentola), the alternative title was Goodness Triumphant,” Hume said. “Cinderella ends in a blaze of optimism, which is sorely needed in these times. This show is joyful, quirky, and led by a feisty heroine whose defining character is her goodness.”

Hume’s upcoming production stars audience favorite Ginger Costa-Jackson (Carmen in Seattle Opera’s 2019 Carmen) alternating with Canadian mezzo-soprano Wallis Giunta (company debut) as the title character. Inspired by the whimsical worlds of Charles Dickens and Tim Burton, Hume sets the familiar classic in and around an emporium filled with multi-level sets, unexpected twists, and Victorian-era costumes, including two jewel-encrusted ball gowns for the heroine. But this fairytale isn’t Disney

Rossini’s original Cinderella

Gertrude Righetti Giorgi (1793-1896) was a contralto and the first to sing the heroine in Rossini’s Cinderella (La Cenerentona). According to Alto: The Voice of Bel Canto by Dan H. Marek, her voice was “full, powerful, and of rare extension, rising from F below the staff to B-flat above it.” Righetti Giorgi had a short career, retiring in 1822 because of ill health, but she created the leading roles in two of the immortal masterpieces of the Italian lyric stage: Rosina in The Barber of Seville and the title role in Cinderella, which premiered on January 25, 1817.

Righetti Giorgi was a spirited advocate for Rossini, and in turn, Rossini appreciated her ideas and strength of character. Righetti Giorgi in fact convinced Rossini to convert an aria that had been written for Count Almaviva in The Barber of Seville into Cinderella’s famous celebration of forgiveness, “Non più mesta” (“No Longer Sad”).

Lindy Hume, Stage Director of Seattle Opera's upcoming Cinderella describes Rossini as a composer who was known to portray dimensional, interesting women: