Singer

Familial revenge runs deep in Giuseppe Verdi’s towering opera of grand passions stymied at every turn. Music Director Eun Sun Kim continues her Verdi cycle with Il Trovatore, a work of sublime arias, passionate ensembles, and the rousing Anvil Chorus.
Sir David McVicar’s incisive, visceral production, rooted in the haunting imagery of Spanish painter Francisco Goya and the power struggles of the Spanish War of Independence, returns to San Francisco.

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Il Trovatore

War Memorial Opera House

The mighty walls and towering monuments of ancient Egypt once again fill the Met stage, as Verdi’s great spectacle returns. Soprano Latonia Moore—hailed for her performances in Porgy and Bess and Fire Shut Up in My Bones—stars as the Ethiopian princess torn between love and country, sharing the role with rising soprano Michelle Bradley. Mezzo-sopranos Anita Rachvelishvili and Olesya Petrova alternate as Aida’s implacable Egyptian counterpart Amneris, with tenors Brian Jagde and Marcelo Álvarez as the warrior Radamès, the object of both of their affections. Baritones George Gagnidze, Quinn Kelsey, and Luca Salsi portray Aida’s father, Amonasro, and bass-baritone Christian Van Horn is the iron-fisted priest Ramfis. Maestro Paolo Carignani conducts.

Aida

Lincoln Center

David McVicar’s monumental production—created for the Met premiere of the original French version of Verdi’s gripping drama in the 2021–22 season—returns, now sung in Italian and starring an unbeatable cast of dramatic voices.

Don Carlo

All peace is followed by war, behind all happiness awaits disaster. Tragedy also shares this universal view, and in his grand opera “Les Troyens”, Hector Berlioz presents it in the face of two women: Cassandra and Dido lose their personal happiness, as it has no place in the struggle between the peoples and heroes, and ultimately lose their life. In the first part of “The Trojans” the seeress Cassandra proclaims the fall of Troy. Being the only one to do so, none believe her. With her entire people, she falls victim to the Greeks’ stratagem. In the second part, Berlioz puts Dido, Queen of Carthage, at the centre of the piece. Her love for the Trojan hero Aeneas turns to hate when he leaves her to found a new Troy.  Berlioz wrote the libretto loosely based on Vergil’s Aeneid. He went his own way with the music, which was never performed in its entirety while the composer lived, to produce grand opéra, spectacular choirs and ballets, along with new form experiments. Les Troyens remains a challenge for musical theatre to this day, and is indeed one of the monumental conceptual pieces of the previous century.

Anita Rachvelishvili

Mezzo-soprano

Events

Sep 12 - Oct 1, 2023

Il Trovatore · San Francisco Opera

Dec 2, 2022 - May 18, 2023

Aida · The Metropolitan Opera

Nov 3 - Dec 3, 2022

Don Carlo · The Metropolitan Opera

May 9 - Jul 10, 2022

Les Troyens · Bayerische Staatsoper

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