Performance dates: February 8, 13, 16, 19, 22 & 27

ABOUT THE PRODUCTION

In his futile search for the meaning of life, the aging scholar Faust enters into a bargain with the devil: Méphistophélès buys his soul and promises him eternal youth and love. Faust falls in love with Marguerite but soon leaves her. After she kills their child, Marguerite descends into madness, but emerges from her encounter with Faust as the morally superior.

Of the numerous musical settings of the most famous subject in German literary history, the opera by the Frenchman Charles Gounod is probably the best known. In the 19th century, French opera developed a great fondness for German subjects, but often took a very free approach to adapting them into librettos. Indeed, the successful French librettist duo Michel Carré and Jules Barbier – authors of the text for Les Contes d'Hoffmann – transformed the original into a highly effective opera with a distinctive dramatic use of contrasts: drinking scenes are juxtaposed with intimate ballads, soldiers' choirs with supplications in church services. Thanks not least to its timeless arias, Gounod's Faust has become the most successful French opera after Georges Bizet's Carmen .

Musical direction Nathalie Stutzmann

Staging Lotte the Bear

Faust Jonathan Tetelman

Mephistopheles Kyle Ketelsen

Marguerite Olga Kulchynska

Performance dates: March 20 & 22

ABOUT THE PRODUCTION

A Playboy. A Father’s Curse. Revenge.

Revenge is a dish best served cold. Unfortunately, Rigoletto, jester in the court of the Duke, sets his vengeful plan in place while still burning with rage toward his employer. The Duke has taken advantage of Rigoletto’s innocent daughter, and now, Rigoletto has decided that for his transgressions, the Duke must die. A father’s love burns hot.

Performance dates: May 17 & 24

ABOUT THE PRODUCTION

An excellent ensemble of soloists shines in our concert performance of Der Rosenkavalier – because Strauss' opera is a celebration of singing! Julia Kleiter is in demand internationally, and her Marschallin was acclaimed by audiences at the Vienna State Opera and the Lindenoper Berlin. Canadian mezzo-soprano Emily D'Angelo was the first singer to win all four main prizes at the Operalia competition, and she is making her mark at the Met, in Vienna, Munich, Paris and Covent Garden. The icing on the cake: Jonathan Tetelman in the short but dreaded role of the Italian singer. The very best!