Seattle Opera Unveils 2020/21 Season

Photos: © Philip Newton; © Philip Newton; © Faye Fox; © Bree Anne Clowdus; © Philip Newton; © Philip Newton; © Elise Bakketun

Seattle Opera has just unveiled its 2020/21 season—a year that highlights opera’s rich past, and its bold, diverse future. Audiences will be treated to beloved classics Tosca and Don Giovanni, as well as a contemporary work Flight, inspired by the true story of stateless refugee Mehran Karimi Nasseri, who was stranded for 18 years and forced to live in the Charles de Gaulle airport. The romantic comedy The Elixir of Love and the double-bill Cavalleria rusticana & Pagliacci will all be performed for the first time in decades.

The journey here, the journey ahead

Seattle Opera General Director Christina Scheppelmann. Photo by Philip Newton.

By Christina Scheppelmann

I took the long road to Seattle. It began in Hamburg, Germany, weaving through far flung places like Barcelona, Washington D.C., and Muscat. As a woman, in an industry where decisions remain too often dominated by men, it took determination and strength and there were many obstacles along the path that brought me to this place and position. After a busy first month here I wanted now to briefly share how I intend to lead, lifting up, supporting and encouraging those still struggling down that same road.

Like many women in my generation, I felt enormous pressure to adapt in a man’s world.  When I was entering the workforce, I saw how men set the rules and doled out punishments for those who didn’t conform to their standards, in all industries, not just opera. Advancement only took place on their terms.  It was necessary to project toughness.  There are many parts of that experience that I hope today’s young professionals will never ever have to face.

I am now privileged enough to enjoy the chance to reflect and rededicate myself to what remains to be changed in our operatic system.  There is a lot we must do.  One of the reasons I wanted to come to Seattle, to this company, was out of a belief that this is a city with an enormous hunger and ability to catalyze that change. For example, through its racial equity work and programming to serve people of all backgrounds statewide, Seattle Opera is building a future that better represents us all. This is the kind of work—the kind of legacy—that matters to me as a leader, and as a human being. 

Christina Scheppelmann answers your questions

Christina Scheppelmann, General Director of Seattle Opera. Photo by Philip Newton

Last week was Christina Scheppelmann’s first week on the job as General Director of Seattle Opera. We asked our fans on Twitter, Instagram and Facebook to leave a comment with your questions for Christina. This week, she answers—below! 

Many audience members have expressed a desire to see more Wagner and the Ring! What are your thoughts on this?
C.S.: I, too, am a great fan of both Wagner and the Ring. Wagner, in some form or another, will be a part of Seattle Opera’s future. To do any Ring cycle at the level that Seattle audiences are accustomed requires a great deal of generosity and philanthropy from our community in advance. I would only offer a Ring cycle if I felt confident that it could be world-class. We have to be financially responsible when embarking on a Ring cycle; we owe this to our supporters, audiences, and our staff. We will do a Ring when there’s no danger of it taking us off-course financially. As our nonprofit organization continues to move toward long-term sustainability, I will gain a better sense of what is feasible, and when.

What are your thoughts on commissioning local and regional composers?
C.S.: Developing and hiring local artists has always been important to me. At Washington National Opera, for example, I created the American Opera Initiative, which provides opportunities and mentorship opportunities for young composers and librettists. I would love to continue nurturing the next generation of opera composers and librettists at Seattle Opera. Our Tagney Jones Hall in the Opera Center is the perfect venue for presenting first works by Washingtonians. Just give me a little time to start this.

Incoming General Director Q&A

Photo by Christian Machio

Meet Seattle Opera’s future General Director—Christina Scheppelmann. Beginning in summer 2019, Scheppelmann will become the company’s fourth leader in 56 years. She replaces Aidan Lang, who departs for Welsh National Opera at the end of the 2018/19 season. Born in Germany and fluent in five languages, Scheppelmann is currently the artistic leader of Gran Teatre del Liceu, Barcelona’s 172-year-old company that annually produces more than 130 performances in opera, classical music concerts, and dance. 

What are some of your proudest artistic achievements? 
For one, creating Washington National Opera’s American Opera Initiative. Now going on its eighth season, the program offers young composers and librettists a developmental forum in which to bridge the gap between conservatory training and full-length commissions. I think it’s a useful contribution to the future of opera.

Meet the next leader of Seattle Opera

Christian Machio

Christina Scheppelmann will become Seattle Opera’s fourth General Director in the company’s 56-year history. Beginning in August 2019, she replaces Aidan Lang, who will become General Director of Welsh National Opera following the end of the 2018/19 season.

“When we reached out to luminaries in the opera world, Christina Scheppelmann’s name kept coming up from all angles as being someone we needed to talk to,” said John Nesholm, Chairman of the Seattle Opera Board and Co-Chair of the Search Committee. “She brings incredible experience and knowledge of singers, directors, and productions from three continents.”