Praise for Figaro

Nuccia Focile (Susanna) and Shenyang (Figaro) in Seattle Opera's The Marriage of Figaro. Philip Newton photo 

"Fast-moving, spontaneous, and cheeky, this is a show with comic verve, but it’s also a show that makes you think. Probing these issues and doing justice to the great Mozartean score requires a terrific ensemble cast, and Seattle Opera has put together two of them." - The Seattle Times

"It's a delightfully engaging take on familiar Figaro: crisp, vividly paced, spiced with youthful charm, visually handsome and original – and culminating in a luminously staged ensemble that does justice to Mozart's vision of reconciliation." - Bachtrack 

"The opening-night show on Saturday boasted the dashing, resonant Figaro of Chinese star Shenyang..." - The Seattle Times 

Karin Mushegain (Cherubino). Philip Newton photo

"Karin Mushegain delivered a charming, imaginatively sung Cherubino," - Bachtrack 

"Lang kept the action in constant motion as his singers fearlessly fondled, threw themselves at each other and traded sexual innuendos ... Lang and his cast’s focus on emotional realism meant the characters were refreshingly three-dimensional, landing some wonderfully poignant moments." -  Queen Anne & Magnolia News

"Vocally, no performance surpasses Bernarda Bobro’s captivating 'Dove sono.' The Countess’ Act 3 lament presents a notorious test that even the loftiest divas approach with trepidation. (A few years back, at her Benaroya Hall recital, soprano Renée Fleming solicited audience suggestions for encores; when someone called out 'Dove sono!', she responded, with a wry half-smile, 'You sing it.') Frighteningly difficult in its simplicity, it’s a tune so clear and pure it exposes the slightest imperfection. Of which there were none thanks to Bobro’s soprano, silvery and fluent—think liquid mercury." - Seattle Weekly 

The Seattle Opera Chorus in The Marriage of Figaro. Philip Newton photo

"The outstanding performances of (this) cast came from the aristo couple. Morgan Smith's warm-voiced Almaviva was intensely likeable and obviously still in love with his wife but frustrated by his inability to control the chaos around him... including that caused by his own libido." - Bachtrack 

"[Nuccia] Focile’s Susanna was both spontaneous and polished in every detail." - The Seattle Times

"All the cast looked great in Elizabeth Whiting’s imaginative clothes, which combined frock coats and denim with high-tops." - The Seattle Times

Caitlin Lynch (Countess Almaviva), Laura Tatulescu (Susanna) and Elizabeth Pojanowski (Cherubino). Philip Newton photo 

"Laura Tatulescu’s feisty Susanna and John Moore’s complex Count were standouts, but keeping right up with them were Caitlin Lynch’s warm-voiced Countess, Aubrey Allicock’s mellifluous and funny Figaro, and Elizabeth Pojanowski’s ardent Cherubino." - The Seattle Times 

"Jonathan Dean’s translated captions, wittily updated, added an extra punch to the dialogue. The chorus, whisked on and off the stage for brief vignettes, sang with spirit." - The Seattle Times 

Caitlin Lunch (Countess Almaviva and John Moore). Photo by Jacob Lucas 

"Philip Kelsey’s fortepiano continuo — just the right instrument, too, a wonderful Anton Walter replica — cleverly knit together the recitatives, arias, and orchestral tuttis into a seamless whole." - The Seattle Times

"Another big plus came from Gary Thor Wedow's alert, vividly shaped conducting. From the Overture he set a tone for sprightly, flexible tempi that were vividly in sync with Lang's stage sensibility. Wedow allowed us to revel in the variety of Mozart's score, from lightning flashes of wit to Sturm und Drang fulminations." - Bachtrack 

"Among the minor roles, Steven Cole as Basilio, an intriguer, makes the biggest impact, bringing him a brilliant character voice, a delicious nasality somewhere between an oboe and Paul Lynde." - Seattle Weekly 

Steven Cole (Don Basilio). Photo by Philip Newton 

Meet Our Singers: STEVEN COLE, Spalanzani

Steven Cole is unique. This phenomenally talented performer has been galvanizing the stage of Seattle Opera—and many others of the opera houses of the world—for 25 years. You can’t take your eyes off him when he’s in a scene, and no matter which character he is playing, his performance always has surprises in store. Something of an Offenbach specialist, Cole tells us about returning to be part of our award-winning production of The Tales of Hoffmann.

You did this production when it was new, in 2005. What do you remember about that show?
It was a lot of fun. Vinson Cole was a celebrated Hoffmann who brought great poetry to the role. Chris Alexander was full of fun ideas. We laughed a lot during the rehearsals.

Unlike many of the characters in Hoffmann, your character, Spalanzani, only appears in one scene. How do you make an impact in such a brief role?
Well, it is Offenbach who has done all the work. I just follow his road signs.

Steven Cole (Spalanzani) in Les contes d'Hoffmann, 2005
Rozarii Lynch, photo

Is Spalanzani like any other role you perform?
All my roles in Offenbach remind me of Spalanzani! I’ve sung the Caissier in Les Brigands (Paris Opéra), Prince Paul in La Grande Duchesse de Gérolstein (Nice Opéra), Ménélas in La belle Hèlene (Nantes and Strasbourg), Toby in Robinson Crusoe (Houston Grand Opera), John Styx in Orphée aux enfers (Lyon, Genève, and an EMI recording). And in Lausanne, Marseille, Toronto, Edmonton, Cincinnati, and San Francisco I’ve sung the four valets in Tales of Hoffmann. Seattle is the only place I’ve sung Spalanzani.

Steven Cole (Nick) with Morgan Smith (Sonora) in La fanciulla del West, 2004
Rozarii Lynch, photo

Do you have a favorite experience with contemporary opera?
I do cherish wonderful memories of singing Ligeti’s Le Grand Macabre in Salzburg, London, and Paris, with the composer present. That was exciting.

How do you balance the demands of your career with family?
I have always been thrilled to be single. But I honor and respect my colleagues who juggle marriage, children, and travel.

Steven Cole (Spalanzani) and Keith Jamison (Cochenille) rehearsing Les contes d'Hoffmann
Alan Alabastro, photo

Tell us a bit about your history with Seattle Opera.
I’ve sung Goro in two productions of Madama Butterfly, and this is my second Spalanzani in Hoffmann in Seattle. I was here for Dialogues of the Carmelites and War and Peace in 1990, and also La fanciulla del West (2004) and Tosca (2008).

What has Speight meant to your career?
My respect for Speight is enormous. He has made Seattle Opera a brilliant company: he set the tone, and the tone is healthy and happy. I have always had a wonderful experience working here.

Gary Simpson (Scarpia) menaces Steven Cole (Spoletta) in Tosca, 2008
Rozarii Lynch, photo

Do you have a favorite Speight anecdote?
I always loved Speight bringing his mother to rehearsals and performances. She was always fabulously outfitted!

Steven Cole (Spalanzani) at Les contes d'Hoffmann rehearsal
Alan Alabastro, photo

Where is your favorite place in the world to sing?
I don’t have one. It’s easier to sing in American than Europe; for example, one is paid after every performance in America, whereas in Europe it takes months. I always look forward to Barcelona, Paris, San Francisco, and Seattle: Water. Food. Markets.