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Performer: Seattle Opera

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SeattleRigoletto

Verdi: Rigoletto
Carlo Montanaro; Lindy Hume; Seattle Opera; Richard [set designer] Roberts; Lester Lynch; Giuseppe Altomare; Madison Leonard

SeattleLa Cenerentola (Cinderella)

Rossini: La Cenerentola (Cinderella)
Gary Thor Wedow; Lindy Hume; Seattle Opera; Dan Potra; Ginger Costa-Jackson; Wallis Giunta

SeattleEugene Onegin

Tchaikovsky: Eugene Onegin
Aleksandar Marković; Tomer Zvulun; Seattle Opera; Erhard Rom; Isabella Bywater; John Michael Moore; Michael Adams

SeattleCharlie Parker's Yardbird

Schnyder: Charlie Parker's Yardbird
Kelly Kuo; Ron Daniels; Seattle Opera; Riccardo Hernandez; Emily Rebholz; Joshua Stewart; Frederick Ballentine

SeattleLa bohème

Puccini: La bohème
Joseph Colaneri; Peter Kazaras; Seattle Opera; Erhard Rom; Martin Pakledinaz; Jonathan Tetelman; Yosep Kang
Latest reviewsSee more...

Costa-Jackson's sultry Carmen in Seattle

Ginger Costa-Jackson (Carmen) © Sunny Martini
Good-time girl, hometown sweetheart, torn-apart lover, smugglers and rivals, familiar songs, a cliffhanger of a tale. 
*****
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Seattle Opera's Porgy and Bess is a vocal and dramatic stunner

Angel Blue (Bess) and Alfred Walker (Porgy) © Philip Newton
Seattle Opera's memorable Porgy and Bess excels with an exceptional cast who performed with utmost sympathy for their roles.
****1
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A visually stunning Aida at Seattle Opera

Gordon Hawkins (Amonasro) and Leah Crocetto (Aida) © Philip Newton
Francesca Zambello's hip-hop graffiti staging of Aida comes to Seattle. 
***11
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Trying to rethink Madama Butterfly at Seattle Opera

Alexey Dolgov (Pinkerton) and Lianna Haroutounian (Cio-Cio-San) © Jacob Lucas
Seattle Opera's visually poetic and refined Madama Butterfly peeks back at Puccini's own first version of the opera, which was arguably more openly critical of the devastation wrought by imperialism. 
***11
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Seattle Opera's Magic Flute as enchanting as ever

Christina Poulitsi (Queen of the Night) © Philip Newton
“Love, love, love… that is the soul of genius,” said Mozart. In no other work does he demonstrate this affirmation more compellingly than in his forever-beloved opera, Die Zauberflöte
***11
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