Our 2013 Ring, Now on CD!

Wagner-lovers of the world, rejoice!

We’re giddy with excitement to announce Seattle Opera’s first-ever live audio recording: our fantastic Der Ring des Nibelungen from last summer.

Everyone seems to agree that our 2013 Ring was one for the history books.

General Director Speight Jenkins (who steps down this August after three decades at his post) felt the production was some of the company's best work. “By every measure: voices, orchestra, drama, audience excitement, I truly feel that the 2013 production was the best Ring I produced in my 31 years with the company," he said.

The press agreed.

Opera News said the 2013 production was “better than ever,” and according to Seattle Weekly it was “the company’s strongest performance yet of the epic." The Seattle Times wrote: “Powerful singing, compelling drama, and a surging, urgent orchestra lifted this Ring into the realm of legend: This is a production people will be talking about for a long time to come.”

Speight is thrilled that the recording will, in a way, preserve this memorable show. He explained that the state-of-the-art technology used in recording the 2013 production does justice to what audiences heard in McCaw Hall.

“Traditional microphones can compress or distort the huge voices required in Wagner operas," he said. "We were blessed to use a remarkable, specially-calibrated custom microphone made available by Meyer Sound, one that captures dramatic voices as the theater audience hears them.”

The 14-CD box set of this live recording includes a 54-page booklet featuring full-color production photos, essays, and artist biographies, as well as four separate libretti of the four operas in the original German with Stewart Spencer’s English translation.

The entire package is available for pre-sale exclusively at seattleopera.org/RingCD starting June 25, and retails for $150. If you want to support Seattle Opera, please pre-order! Your Ring CD set will be shipped in August. The commercial release, including for iTunes, is set for September 9. The iTunes release will be mastered for iTunes and offered as an interactive LP with bonus visuals and content.

Conducted by the great Asher Fisch, the recording stars Greer Grimsley, Alwyn Mellor, Stefan Vinke, Stephanie Blythe, Stuart Skelton, Margaret Jane Wray, Richard Paul Fink, Daniel Sumegi, Andrea Silvestrelli, Dennis Petersen, and many others, and features the Seattle Symphony and the Seattle Opera Chorus.

Backstage at last summer's Ring: Rick Fisher, Asher Fisch, Speight Jenkins, Matthew Sutton, and Evans Mirageas
Alan Alabastro, photo

Evans Mirageas, Artistic Director of Cincinnati Opera, produced the recording. Mirageas said that being asked to assist Speight Jenkins, the technical team, and all the artists associated with Seattle Opera in this project was a dream come true.

"From my fervid teenage Wagnerian obsessive days of listening to the (then still new) Solti Ring on London/Decca, I have loved this Mount Everest of opera," said Mirageas. "While I never met the legendary Decca producer John Culshaw whose masterwork was the Solti recording, I was his successor at Decca as the head of artists and repertoire but one. I inherited from his protégé Ray Minshull the small brass dragon that was Culshaw’s talisman throughout the Ring recording years. I kept it nearby in this past year or recording and post-production. It has been a privilege and a joy to be a happy Nibelung in this enterprise.”

Evans Mirageas and Fafnerino
Evans Mirageas, photo

This Ring recording was made possible with the cooperation of Seattle Opera’s collective bargaining unions: American Guild of Musical Artists AFL-CIO; IATSE Local 15, 488 and 887; and the Seattle Symphony and Opera Players’ Organization, a chapter of the International Guild of Symphony, Opera, and Ballet Musicians. Seattle Opera would like to thank executive producers David J. and Linda A. Cornfield for their belief in this project. Recorded live at Marion Oliver McCaw Hall, August 2013, by Matthew Sutton & Rick Fisher; edited, mixed and mastered at RFI Mastering by Matthew Sutton and Rick Fisher. The 2013 Ring was made possible by the Valhalla Sponsor, Nesholm Family Foundation / John F. and Laurel Nesholm; the Festival Sponsor, Lufthansa; with additional support by the Carol Franc Buck Foundation.

50 Years of Seattle Opera – Now Available Online!

This year, Seattle Opera turned 50. While you might think that makes us over-the-hill, we’re still just a kid among the world’s great opera companies.

Our half-a-century has certainly been a wild ride. We started--back in the days of the Seattle World’s Fair and the creation of Seattle Center--as a gleam in the eye of the ambitious Seattleites who saw that their city could become a major world metropolis. Our first General Director, Glynn Ross, used crazy PR stunts and outrageous marketing tactics (including, but not limited to, skywriting, grocery store billboards, and bumper stickers with slogans such as “Get A-head with Salome”) to grab people's attention and get them in the door; he then majorly delivered the goods, with world superstars such as Joan Sutherland, Franco Corelli, and Beverly Sills singing here regularly when Seattle Opera was only a few years old. The ambitious Ross then began presenting new American operas, vigorous education and outreach programs, and genre-bending works such as the world premiere of The Who’s Tommy (in 1971, at the Moore Theatre) or Mantra, a combination of kinetic sculpture, dance, classical music, and a psychedelic light show, which toured the state in 1969 thanks to Washington’s Cultural Enrichment Program.

Glynn Ross

Nowadays, for many people worldwide, Seattle Opera means Wagner’s Ring. (For instance, when the Seattle Seahawks won the Super Bowl, the New York Times included a mention of our Ring in its profile of the city.) Of course, we present all kinds of works on the McCaw Hall stage; but at the heart of what we do is this epic masterpiece, which we first presented in 1975 thanks to Glynn Ross’s ambition and infectious optimism. At the time, it was a Jack-and-the-Beanstalk story: a small opera company, barely ten years old and geographically about as far from the opera centers of the world as you can get, took on the biggest challenge in all of opera—and did it justice?! Ross believed that if he built it, they would come; and so they did. They came from all over the world. For every summer. For a decade.

Glynn Ross publicizing Seattle Opera's first Ring
Dale Wittner, photo

Glynn Ross and Seattle Opera parted ways in 1983, and the new General Director, Speight Jenkins, was asked by the board to refresh both the company and its Ring. Jenkins made a number of changes. Instead of offering operas sung in English, as Ross had done (in addition to the original languages), Jenkins was an early adopter of supertitles. A firm believer in opera as theater, Jenkins brought exciting new directors and the latest European trends in staging to Seattle--for example, he discarded Ross’s old “storybook” Ring for a new, visually stunning Brechtian production, set in a world of nineteenth-century theatrical imagination. Instead of doing the Ring every summer, he moved to presenting it every fourth summer, opening up room for other vast productions (such as 1989’s Meistersinger or 1990’s War and Peace). His innovations re-invigorated the company, and, thanks to his high artistic standards, opera lovers around the world began associating Seattle Opera with the utmost in quality.

Speight Jenkins

All this history and much more--premieres of operas such as Of Mice and Men, Black Widow, and Amelia; our productions of all Wagner’s major operas; our fantastic Young Artists Program, launched in 1998 by Education Director Perry Lorenzo; and the people who made it all happen--is extensively chronicled at our special 50th Anniversary mini-site, www.seattleopera50.com. This site is our historical archive. It hosts thousands of photos, audio and video clips, fun stories from behind the scenes, and every program (cover and cast page) since day 1. It’s a resource, not just for remembering and learning about Seattle Opera, but for the art form in general. We hope you, our beloved audience, will comment and share your own memories on these digital pages. Without an audience, we would cease to exist: YOU ARE Seattle Opera.

In addition to this ever-expanding site, you’ll soon have another way to view our company’s history through photos, text and programs. A beautiful coffee-table book, 50 Years of Seattle Opera, written by Melinda Bargreen is in the works. Stay tuned! And thank you for being a part of Seattle Opera’s story.