Praise for The Magic Flute

Nian Wang, Jacqueline Piccolino, and Jenni Bank (Three Ladies) with Andrew Stenson (Tamino). Philip Newton photo

"Mozart would have loved it (Seattle Opera's production of The Magic Flute)."
- Bachtrack 

"A brilliant collaboration between the forces of design, direction and music."

- The Seattle Times

"Colorful, imaginative, fun, thoroughly delightful, not to be missed."

- Seattle Gay News

"Zandra Rhodes’ colorful, imaginative costumes light up the stage." 

- City Arts 

"There’s a new conductor in the orchestra pit — the excellent Julia Jones, in her company debut — who gracefully supports the singers while crisply illuminating the score with all of its humor and pathos." - The Seattle Times

Christina Poulitsi (Queen of the Night). Philip Newton photo

"It’s always exciting when the Queen of the Night steps forward for her two killer arias, and Christina Poulitsi proved more than capable of Mozart’s stratospheric vocal challenges. She sang with uncanny power and accuracy right up to the high F’s, which were stunningly good; Poulitsi also is a powerful actress who knows how to use her voice as a weapon." - The Seattle Times

"Adorable animals! Equally adorable children with green hair! A queen clothed in the night sky! Three Spirits riding around on scooters and wearing curly orange wigs, shiny silver shorts, and winged high-top sneakers! Temple guards in iridescent disco armor! A blue meanie who can dance! What could be better?"- Seattle Gay News

Rhino designed by Zandra Rhodes. Philip Newton photo

"The 2011 production sparkles even more this time around thanks to a few minor changes by director Chris Alexander, the hilarious updating of several captions by Jonathan Dean and the crisp conducting of Julia Jones." - Seattle P.I. 

"Jonathan Dean’s wonderfully colloquial projected captions have a few witty new twists." 

- The Seattle Times

"Kudos to all who collaborated to create the fabulous menagerie of animals, a sheer delight to see."

- City Arts 

Isabel Woods, Johanna Mergener, and Emili Rice (The Three Spirits). Philip Newton photo

"Local young artists, many of whom have participated in Seattle Opera’s education and community engagement programs, were cast as The Three Spirits and Papageno and Papagena’s children. The Three Spirits, played by Johanna Mergener, Emili Rice and Isabel Woods are quite skilled, in their roles and absolutely delightful as they ride on kick scooters and sprinkle glitter on the principles. The younger children playing Papageno and Papagena’s 'chicks' are simply adorable." - UW Daily News 

"Andrew Stenson, already a veteran of such SO productions as The Daughter of the Regiment and Orphée, brought a sweet presence to the role of Tamino. His commitment projected Tamino's principled resolve winningly, both vocally and in his characterization." - Bachtrack 

"Lauren Snouffer proved the ideal Pamina: crystal clear voice, consistent from top to bottom and completely at ease, even fearless, in the high notes." - Bachtrack 

Lauren Snouffer (Pamina). 

"John Moore demonstrated his ability to be equally comfortable as the lovable Papageno as he was in his Seattle debut role of Count Almaviva in The Marriage of Figaro. His voice was vigorous, and his uninhibited characterization was engaging. Amanda Opuszynski sparkled as Moore’s feminine fantasy partner, Papagena. Her ringing tones balanced Moore’s robust sound, and their chemistry together was indeed magical." - Bachtrack 

"Craig Verm’s Papageno (was) a particular delight."- Seattle P.I. 

"At the other end of the sonic spectrum, the resonant, resounding bass Ante Jerkunica made Sarastro’s arias among the production’s high points."

- The Seattle Times

Randall Bills (Tamino) and Amanda Forsythe (Pamina). Philip Newton photo

"Taking over on Sunday were Randall Bills, a first-rate tenor who illuminated Tamino’s nobility and ardor, and Amanda Forsythe, a Pamina of lyrical delicacy and vocal subtlety. Craig Verm was an adroitly funny and vocally nimble Papageno." - The Seattle Times

"The visual team of set designers Robert Dahlstrom and Robert Schaub, lighting designer Duane Schuler, and costumer Zandra Rhodes create a wondrous Technicolor world full of fancy and glitz."

- Seattle P.I. 

"In the relatively small role of Monostatos (the blue meanie), Rodell Rosel commanded the audience's attention whenever he appeared, cavorting and dancing around the stage with villainous glee. What a performer!" - Seattle Gay News

Rodell Rosel (Monostatos). Jacob Lucas photo

"The Three Ladies (Jacqueline Piccolino, Nian Wang, and Jenni Blank) were sly and sexy, and sang with exquisite harmony."- Seattle Gay News

"All this adds to the great group of singing actors gathered together by Seattle Opera general director Aidan Lang, who has a worldwide knowledge of singers to draw on. For this he has picked not only international stars...but also graduates of Seattle Opera’s Young Artists’ program...Lang has an unerring ear for matching the right voices to the opera, and makes sure all voices in a production are of equal merit for what they are singing. " - City Arts 

Amanda Opuszynski (Papageno), John Moore (Papageno) and their baby chicks. Philip Newton photo

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The (R)evolution of Steve Jobs comes to Seattle Opera in 2019

Co-commissioned by:
Seattle Opera, Santa Fe Opera, San Francisco Opera,
with support from Cal Performances

A new artistic collaboration between Seattle Opera and three partner organizations will result in a world-premiere inspired by the late Steve Jobs, visionary co-founder of Apple and Pixar. The (R)evolution of Steve Jobs will first play at Santa Fe Opera in July 2017 before coming to Seattle Opera for its west coast premiere during the 2018/19 season.

This highly-anticipated performance represents a new direction for Seattle Opera, with many collaborations planned for the next two years. Partnerships between artists and multiple opera companies allow for the creation of the same beloved art but in a way that’s more financially sustainable. From grand opera at McCaw Hall to chamber pieces performed in the community, Seattle Opera will continue to be involved in projects that push the art form to new heights, and in new directions said Seattle Opera General Director Aidan Lang.

“(R)evolution tells the story of a man who was brilliant, yet unknowable as he led a cultural transformation in the digital age,” Lang said. “It’s an honor for us to be working with Santa Fe Opera and San Francisco Opera to create a work that illuminates a side of Steve Jobs we’ve never seen before.”

Jobs led a binary life — magnetic and unapproachable, empathetic and cruel, meditative and restless. He helped people connect all while building a firewall around his own emotions.

“(Composer) Mason Bates’ new opera is a deeply layered, moving portrayal of a man grappling with the complex priorities of life, family, and work,” said San Francisco Opera General Director Matthew Shilvock. “Like all great operas, I have been so impressed by how it speaks to the universality of the human condition. This is not just an opera about one man. It is an opera about all of us.”

The story takes off at a critical moment in the CEO’s life and circles back to examine the people and experiences that shaped him the most: his father’s mentorship, his devotion to Buddhism, his relationships, his rise and fall as a mogul, and finally his marriage to Laurene Jobs, who showed him the power of human connection.

Making his Seattle Opera debut is composer Mason Bates, a master at combining traditional symphony orchestra with electronic sounds. Joining Bates on the creative team are several Seattle veterans: Librettist Mark Campbell, of the famous Silent Night, who made his Seattle Opera debut with As One (2016), and Kevin Newbury, director of stage and screen who returns following Mary Stuart (2016).

In the spirit of Jobs’ innovation in the tech industry, this production promises to push boundaries. Victoria “Vita” Tzykun, the production’s scenic designer, says the products and experiences that Jobs dreamed up defied expectations and provided a sense of wonder.

“Capturing that sense of wonder is very important to us in this production," said Tzykun, who made her Seattle Opera debut with Semele (2015). “In order to provide that for modern audiences, we are harnessing cutting-edge technology, and fusing it with traditional stagecraft in a way that will create a world that has not yet been seen on an operatic stage.”

The (R)evolution of Steve Jobs
Music by Mason Bates
Libretto by Mark Campbell
In English with English captions
Marion Oliver McCaw Hall
Performance dates TBA; 2018/19 Season

Premiere: July 22, 2017 at Santa Fe Opera
Seattle Opera Premiere

Commissioned by Seattle Opera, Santa Fe Opera, and San Francisco Opera with support from Cal Performances. Co-production with Seattle Opera, San Francisco Opera, and The Indiana University Jacobs School of Music.

Creative Team:
Director Kevin Newbury
Scenic Design Victoria “Vita” Tzykun
Costume Design Paul Carey*
Lighting Design Japhy Weideman*
Video Design 59 Productions*

* Company Debut