2017 – 2018 AUTUMN
Pagliacci
Ruggero Leoncavallo
L’enfant et les sortilèges Maurice Ravel
Cavalleria rusticana Pietro Mascagni
Trial by Jury Gilbert & Sullivan
Osud
Leoš Janácˇek
Trouble in Tahiti Leonard Bernstein
WINTER
Madama Butterfly Giacomo Puccini
Un ballo in maschera Giuseppe Verdi
Don Giovanni Wolfgang Amadeus Mozart
SPRING
Salome
Richard Strauss
Kiss Me, Kate Cole Porter
For Everyone Richard Mantle Gereral Director
The coming guiding year principle is an of especially our new main exciting stage season timeis into the create life of the Opera broadest North. Not only range of musical, do we present theatrical five brand and – new above main all – emotional stage productions, experiences we for alsoeveryone. welcome to the We will Company be doingour ournew utmost Music notDirector, only to Aleksandar welcome in those Markovic, who already who joins share us as our Richardfor passion Farnes opera, steps butdown also –after and twelve crucially illustrious – to open our years doors at the wide helm. to those who have yet to discover it. As I write these words, rehearsals are in full swing By presenting for Richard’s six short finaloperas performances in our autumn as Music Directorrather season in complete than three cycles standard-length of the Opera North works Ring. we areSo able there to explore could hardly the boundless be a morevariety fitting way of opera for Aleksandar – from the to ‘slice begin of life’ his tenure realismhere that than with gripped Italian a great opera workinby the Richard last decade Strauss, of the 19th century a composer in Pagliacci who, perhaps and Cavalleria more thanrusticana; any to other, the mold-breaking embraced the Wagnerian adventuresexample in form in and his th content operas whilst that characterized fashioning anthe idiom earlyall20 his century own. It in is highly fourteen contrasting years since works we by lastJanáček performed and Der Ravel; Rosenkavalier, to the lighter endsoofitthe is with repertoire great relish with that British weand lookAmerican forward to works Aleksandar’s of musical debut theatre performances by Gilbert & Sullivan in his new andpost Leonard this autumn. Bernstein. Each of these pieces packs all the power of a It complete is even longer operatic – some experience twentyinto years a compact, – since the approachable Company last form. staged Britten’s Billy Budd. We have, I believe, assembled a truly exceptional cast To bring for this Opera newNorth’s production The Little of a work Greats that, tofor the some, stage we ranks welcome as Britten’s a highly greatest versatile achievement ensemble for of singers, the stage. most Completing of whom the already autumn haveseason a strong is relationship a double bill with of two the Company, of Puccini’sand one-act a talented Trittico and resourceful operas: acreative revivalteam of ourled 2004 by Annabel production of Arden Il tabarro, and Charles originally Edwards. partThe of our spirit legendary of The ‘Eight Little Greats Little Greats’ will also season, be manifested paired with in the a new production wider work of of Suor the Company, Angelica. from Both an are ‘Operatic’ works that season offer in the best Howard of Puccini Assembly in compact Room inform. Leeds to our extensive education and community activity, including a series of family matinee performances in Leeds and on tour. The winter season features three operas that all in their very different ways explore the fatal consequences of transgressive passion. At the centre of the season is our first ever production of Verdi’s middle-period masterpiece Un ballo
in maschera, Opera is all about which thesets telling the conflicting of great stories demands about of lovelife, andamplified duty in a by politically-charged some of the mostcontext. powerful Tim Albery’s music production, ever written. which So is it’sconducted no surprise by that fairy-tales, Opera North’s former which Music embody Director our deepest Richard fears, joys andwill Farnes, desires, doubtless have provided resonate anew fertileinterritory our own for opera composers. extraordinarily febrileWe times. felt that Completing it wouldthe be fascinating winter season to bring is a classic together revival three of tales Madama from contrasting Butterfly, Puccini’s European devastating traditionstragedy in a single of love season: from betrayed, andRussia, Alessandro Rimsky-Korsakov’s Talevi’s insightful The Snow of production Maiden; Don Giovanni, from Germany, which revels in the Humperdinck’s dizzying whirl ofHansel comedyand and drama Gretel; that is the and fromofItaly, essence Mozart’s Rossini’s greatversion dramma of Cinderella. giocoso. All three are presented in new productions which Music will share Director basic Aleksandar elements of Markovic a highly adaptable conducts Don set; and Giovanni. all three It’s creative a measure teams of will, the passion in theirand dedication different ways, withutilise whichmodern Aleksandar stagehas technology immersed himself to bring in thethe tales lifeto oflife thefor Company audiences since today. his appointment The adaptability lastof summer the design thatalso he will enables conduct no us to fewer offerthan Saturday five productions matinee performances this year: as well as of Cinderella, Don Giovanni, as well three as operas specialin schools’ The Little performances Greats season and, of Hansel in theand spring Gretel of 2018, as part Richard of Strauss’s an extensive Salome. education Aleksandar and was community especially engagement keen to programme programme Salome in Leeds because anditon is, tour. in his words a ‘work which is perfect for introducing A new pioneering audiences aspect to theofsheer Opera thrill, North’s sensuality, work over the andpast emotional decadeintensity has beenofitsopera’. dramatic As aconcert complete performances contrast, the season of several concludes large-scale with works, a revival of culminating our critically-acclaimed in our complete production cycles of ofthe one of Ring the great in 2016. classics We of continue American to mine musical thiscomedy, rich seam of Cole work Porter’s in 2017 Kiss with Me, a concert Kate. staging of Puccini’s mighty last opera Turandot, which Aleksandar Markovic All in all, it’s conducts a season to close that demonstrates the season. both opera’s rich diversity and the indomitable Such company a rich spirit and which diverseisprogramme at the heart is ofonly sustainable everything we through do. I do thehope continued you’ll join investment us as of often ArtsasCouncil you canEngland in the year andahead. Leeds City Council, the generosity of our individual and corporate supporters, and, of course, the passion and adventurous spirit of our audiences. Please join us as often as you can in the year ahead as we embark on the next enthralling chapter in the Opera North story.
September – November
The Little Greats Short operas. Huge emotions.
Music
New production
Libretto
Pagliacci
Ruggero Leoncavallo Ruggero Leoncavallo First performance
Milan, 1892
Cast includes: Nedda Elin Pritchard Canio Peter Auty Tonio Richard Burkhard Beppe Joseph Shovelton Silvio Phillip Rhodes Conductor Aleksandar Markovic Director Charles Edwards Set Designer Charles Edwards Costume Designer Gabrielle Dalton Lighting Designer Charles Edwards
Lasts approximately 1 hour 15 mins Sung in Italian with English titles
Clowns
This unashamedly over the top masterpiece marks the point in Leoncavallo’s career when his talents as both librettist and composer fully matched each other. In Pagliacci, he carves ‘a bleeding slice of life’ out of the unlikely story of a jealous husband, his unfaithful wife, her young lover, and a troupe of theatrical players. The immediacy of the characters and the intensity of their emotions packed into such a short space of time make Pagliacci an elementally exciting experience. It includes some of the most justly famous music ever written for an Italian opera, including the heartbroken Canio’s ‘show must go on’ aria ‘Vesti la giubba’. This brand new production is directed and designed by Charles Edwards as the curtainraiser for Opera North’s The Little Greats.
Music
Maurice Ravel Libretto
Colette First performance
Monte Carlo, 1925
New production
L’enfant et les sortilèges The Child and the Magic Spells
Cast includes: The Child Wallis Giunta His mother / Chinese cup / Squirrel Ann Taylor Fire / Nightingale / Princess
Fflur Wyn Grandfather Clock / Tom Cat
Quirijn de Lang Armchair / Tree John Savournin Tea Pot / Tree Frog / Arithmetic
John Graham-Hall Louis XV Chair / Female Cat / Owl
Katie Bray Conductor Aleksandar Markovic Director Annabel Arden Set Designer Charles Edwards Costume Designer Hannah Clark Lighting Designer Charles Edwards Choreographer Theo Clinkard
Lasts approximately 45 mins Sung in French with English titles
Ravel’s darkly brilliant opera sets Colette’s magical words to an extraordinary, bewitching musical score to create a haunting lyric fantasy. A naughty child assaults everything in his room (including the cat) after he is told off by his mother for not doing his homework. Gradually, the objects – furniture, clocks, crockery – come to life around him. Out in the garden, events take an even more disturbing turn, when all the trees and animals rebuke him for the injuries he has done them in the past. Can the child redeem himself? Colette’s text celebrates the wonders of childhood, but doesn’t shy away from its tensions and anxieties. Ravel’s music is eclectic in its influences, yet sewn together by a master craftsman to create a seamless whole. Together, words and music create a work that is enchanting, amusing, and, in its final moments, deeply touching.
Music
Pietro Mascagni Libretto
Giovanni Targioni-Tozzetti and Guido Menasci First performance
Rome, 1890
Cast: Santuzza Giselle Allen Lola Katie Bray Turiddù Jonathan Stoughton Alfio Phillip Rhodes Lucia Rosalind Plowright Conductor Tobias Ringborg Director Karolina Sofulak Set Designer Charles Edwards Costume Designer Gabrielle Dalton Lighting Designer Charles Edwards
Lasts approximately 1 hour 15 mins Sung in Italian with English titles
New production
Cavalleria rusticana Opera’s most celebrated overnight success, Cavalleria rusticana spearheaded the verismo movement (whose leading lights included Leoncavallo and Puccini) which demonstrated that ordinary people can have opera-sized emotions too. Turiddù and Lola were once lovers; but when he left to join the army, Lola married another man. Although Turridù finds consolation in the arms of Santuzza, his obsessive passion for Lola still burns fiercely. Thus the stage is set for a tale of faithlessness, jealousy and violence, set in a rural community where the church maintains an iron grip on the souls of its people. Mascagni displays a masterly control of pacing in this, his first opera, conveying a taut, gritty drama through a succession of gorgeously lyrical melodies. With a score that includes the famous Easter Hymn and Intermezzo, Cavalleria rusticana remains for many the very essence of Italian opera.
Music
New production
Libretto
Trial by Jury
Arthur Sullivan W. S. Gilbert First performance
London, 1875
Cast includes: The Learned Judge Jeremy Peaker The Plaintiff Amy Freston The Defendant Nicholas Watts Counsel for the Plaintiff
Claire Pascoe Usher Richard Mosley-Evans Conductor Oliver Rundell Director John Savournin Set Designer Charles Edwards Costume Designer Gabrielle Dalton Lighting Designer Charles Edwards
Lasts approximately 45 mins Sung in English
An instant hit from the moment that it was first performed in London in 1875, Gilbert & Sullivan’s first operetta launched the partnership that was to take British musical theatre by storm during the subsequent two decades. Trial by Jury centres on a legal case brought by the glamorous Angelina against her intended husband Edwin, who jilts her when he comes to the ghastly realization before their wedding that she bores him intensely. Every ounce of comic potential is mined from a ludicrous plot which is taken perfectly seriously by everyone caught up in it. With its brilliantly witty comedy numbers and a superb mock-operatic ensemble, Trial by Jury pokes fun at the British establishment, in the shape of the legal system, and gently mocks English manners and mores. It is a distillation of Gilbert & Sullivan’s comic genius, bearing all the hallmarks of the great run of Savoy Operas that was to follow.
Music
New production
Libretto
Osud
Leoš Janácˇek Leoš Janácˇek and Fedora Bartošová First performance
Destiny
Brno, 1934 (composed 1903-5; revised 1906, 1907)
Cast includes: Míla Valková Giselle Allen Živný John Graham-Hall Míla’s Mother Rosalind Plowright Dr. Suda Peter Auty Lhotský Richard Burkhard Konečký Dean Robinson Miss Stuhlá Ann Taylor Conductor Aleksandar Markovic Director Annabel Arden Set Designer Charles Edwards Costume Designer Hannah Clark Lighting Designer Charles Edwards
Lasts approximately 1 hour 20 mins Sung in English with English titles
Osud was spurred by a chance meeting in a Moravian spa town in 1903 between Janáček and a woman who complained to him that she had been unflatteringly portrayed in an opera by another composer a few years earlier. Infatuated with the woman, and determined to present her in a rosier light, Janáček set to work on his own opera. Janáček’s original outline for Osud subsequently underwent many adjustments. What finally emerged was the story of a composer, Živný, who has written an autobiographical opera about his obsessive, tormented love for Míla, with whom he has a young son. The last act is unfinished, however: Živný’s opera cannot be concluded until its story has been lived. Despite the opera’s concision, the score of Osud has an expansive lyricism that glows with what Janáček’s biographer John Tyrrell describes as ‘some of his most incandescent music’.
Music
Leonard Bernstein Libretto
Leonard Bernstein First performance
Waltham, Massachusetts, 1952
Cast: Sam Quirijn de Lang Dinah Wallis Giunta Trio Fflur Wyn
Joseph Shovelton Nicholas Butterfield Conductor Tobias Ringborg Director Matthew Eberhardt Set Designer Charles Edwards Costume Designer Hannah Clark Lighting Designer Charles Edwards
Lasts approximately 45 mins Sung in English
New production
Trouble in Tahiti The American Dream turns suffocatingly sour in Bernstein’s unsparing examination of a marriage falling apart in 1950s suburbia. Sam and Dinah appear to have the perfect life in their ‘little white house’. But their growing failure to connect exposes a mutual feeling that they are trapped in a life that has turned into a lie. Sam escapes to the hyper-masculine, winor-lose world of work and handball tournaments at the gym, while Dinah loses herself in the movies, where the hit picture of the day is the ominously titled Trouble in Tahiti. A jazz trio provides an ironic gloss on the story, pointing up the stark contrast between the unreal fantasy of domestic bliss peddled by the ad-men and the painful truth of Sam and Dinah’s lives. Bernstein’s score for this, his deeply touching first opera, is heavily influenced by the syncopated rhythms of jazz and by the distinctive American vernacular of Hollywood and Broadway.
January – March
Fatal Passions
Music
Giacomo Puccini Libretto
Giuseppe Giacosa and Luigi Illica First performance
Madama Butterfly
Milan, 1904
Cast includes: Cio-Cio-San Anne Sophie Duprels Pinkerton Merunas Vitulskis Sharpless Peter Savidge Suzuki Ann Taylor Goro Joseph Shovelton Kate Pinkerton Katie Bird Bonze Dean Robinson Prince Yamadori
Christopher Nairne Conductor Martin Pickard Director Tim Albery Set Designer Hildegard Bechtler Costume Designer Ana Jebens Lighting Designer Peter Mumford
Lasts approximately 2 hours 30 mins Sung in Italian with English titles
This moving story of innocent love crushed amidst the mutual incomprehension of two utterly different cultures resonates more strongly than ever in today’s world. Opera North’s production of Puccini’s masterpiece has met with universal acclaim for its combination of beauty and unflinching emotional truthfulness: ‘Opera North’s terrific new Madama Butterfly reduced me to jelly and forcefully reminded me that this is a work of consummate theatrical genius – Puccini’s masterpiece, and one of the defining artworks of the 20th century.’ Rupert Christiansen, Daily Telegraph, 2007 ‘As for Anne Sophie Duprels, returning to the title role, it would be hard to find, or even imagine, a more thoroughly committed rendering of it. … All the singers are thoroughly integrated into Tim Albery’s thoughtful, intelligent and entirely unsentimental production. … He is surely one of the best opera directors around just now.’ Anthony Arblaster, The Independent, 2011
Music
Giuseppe Verdi Libretto
Antonio Somma First performance
Rome, 1859
New production
Un ballo in maschera A Masked Ball
Cast includes: King Gustavus Rafael Rojas Anckarstroem Phillip Rhodes Amelia Adrienn Miksch Ulrika Arvidson Patricia Bardon Oscar Tereza Gevorgyan Count Ribbing Dean Robinson Count Horn John Savournin Christian Richard Mosley-Evans Conductor Richard Farnes Director Tim Albery Set and Costume Designer
Hannah Clark Lighting Designer Thomas C. Hase
Lasts approximately 2 hours 45 mins Sung in Italian with English titles Supported by a generous gift from The Liz and Terry Bramall Foundation Supported by the Friends of Opera North
From an actual historical event – the assassination of King Gustavus of Sweden in 1792 – Verdi weaves a timeless tale of power, passion and political plotting, at the heart of which is a tragic love triangle. Gustavo loves Amelia, wife of his most loyal ally Anckarstroem. Although the King eventually decides that duty must conquer love, it is too late to prevent Anckarstroem from joining a conspiracy against his life. Verdi displays all his mastery of his art in this, the most operatic of operas. Dramatic arias jostle with tense ensembles and rousing choruses, and at the heart of the piece is one of Verdi’s most impassioned love duets. Former Music Director Richard Farnes returns to the Company for the first time since he led Opera North’s legendary Ring cycle in 2016 to conduct a new production by Tim Albery that promises to be a highlight of the season.
Music
Wolfgang Amadeus Mozart Libretto
Lorenzo da Ponte
Don Giovanni
First performance
Prague, 1787
Cast: Don Giovanni William Dazeley Leporello Alastair Miles Donna Anna Jennifer Davis Don Ottavio Nicholas Watts Donna Elvira Elizabeth Atherton Zerlina Kathryn Rudge Masetto Ross McInroy Commendatore James Platt Conductor Aleksandar Markovic Director Alessandro Talevi Set and Costume Designer
Madeleine Boyd Lighting Designer Matthew Haskins Choreographer Victoria Newlyn
Lasts approximately 3 hours Sung in Italian with English titles
As he seduces his way across Europe, bedding 1003 women in Spain alone, Don Giovanni’s hedonism is a challenge not only to human morality, but also to God. Broad comedy rubs up against tense drama in Da Ponte’s libretto, and the beauty and terror of Mozart’s score are evidence of a supreme musical dramatist at the height of his powers, divinely (and perhaps diabolically) inspired. Alessandro Talevi’s eclectic, time-travelling production brings fresh insights to this, Mozart’s darkest, craziest, opera. ‘Director Alessandro Talevi’s imagination, wit and audacity meant that Don Giovanni, which has just launched Opera North’s new season, was a huge success. The production was enthralling throughout …’ Richard Willcocks, Bachtrack, 2012 ‘ … the younger elements of the first-night audience clearly relished the breezy sensationalism of [Talevi’s] concept and applauded the undeniable bravado of its execution without reservations.’ Rupert Christiansen, Daily Telegraph, 2012
April – May
Salome / Kiss Me, Kate
Music
Concert staging
Libretto
Salome
Richard Strauss Richard Strauss, after Oscar Wilde First performance
Dresden, 1905
Cast includes: Salome Jennifer Holloway Herodias Katarina Karneus Jokanaan Robert Hayward Conductor Aleksandar Markovic
Last approximately 1 hour 45 mins Sung in German with English titles
Salome is opera at its most extreme. Concentrated into just 100 intense minutes, there is no let-up in its power and intoxication. From the seductive ‘Dance of the Seven Veils’ to the explosive vocal parts, the violent sensuality of the score illustrates every moment of the story with unflinching vividness, illuminating the darkest corners of a world that has lost all moral compass. Music Director Aleksandar Markovic, who has a special affinity for the music of Richard Strauss, conducts a new concert staging of a work that caused an outrage when it was first performed in 1905, and which, more than a century later, has lost none of its power to shock. ‘Aleksandar Markovic … never puts a foot wrong. His reading is both idiomatic and refreshingly individual.’ Mark Valencia, WhatsOnStage, on Der Rosenkavalier, 2016
Music
Cole Porter Libretto
Sam and Bella Spewack
Kiss Me, Kate
First performance
New York, 1948
Conductor James Holmes Director Jo Davies Set and Costume Designer
Colin Richmond Lighting Designer Ben Cracknell Choreographer Will Tuckett
Lasts approximately 3 hours Sung in English A co-production with Welsh National Opera
Time to brush up your Shakespeare with Opera North’s critically-acclaimed production of a classic American musical comedy … Set on and off stage during the production of a musical version of The Taming of the Shrew, Kiss Me, Kate is a deliciously witty confection. Graced with what is probably Cole Porter’s richest, most accomplished theatrical score, it is studded with gems as various as ‘So in Love’, ‘Wunderbar’, ‘Always True to You in My Fashion’ and ‘Too Darn Hot’. ‘Great performances and superb orchestral playing make Jo Davies’ sparkling production so hot it’s practically a fire-risk.’ Alfred Hickling, The Guardian, 2015 ‘Opera North gives this masterpiece the works in the most musically satisfying version of Porter’s show I’ve seen.’ Mark Shenton, The Stage, 2015 ‘The triumphant marriage of Shakespeare and Porter is matched in the current production by that between the operatic and musical stages.’ Michael Arditti, Sunday Express, 2015
Performance Diary September – November 2017 Leeds Grand Theatre Sat 16 Sep Sat 16 Sep
7.15pm 9.00pm
Pagliacci L’enfant et les sortilèges
Fri 13 Oct Fri 13 Oct
7.15pm 8.30pm
Trouble in Tahiti Trial by Jury
Sat 23 Sep 7.15pm Sat 23 Sep 9.00pm
Pagliacci L’enfant et les sortilèges
Wed 27 Sep 7.15pm Wed 27 Sep 9.00pm
Cavalleria rusticana Trial by Jury
Sat 14 Oct Sat 14 Oct Sat 14 Oct
2.15pm 7.15pm 9.00pm
Trouble in Tahiti Osud Cavalleria rusticana
Fri 29 Sep Fri 29 Sep
7.15pm 8.30pm
Sat 30 Sep 7.15pm Sat 30 Sep 9.00pm Sat 7 Oct Sat 7 Oct Sat 7 Oct
2.15pm 7.15pm 9.00pm
Trial by Jury L’enfant et les sortilèges Pagliacci Cavalleria rusticana L’enfant et les sortilèges Cavalleria rusticana Trial by Jury
Wed 11 Oct 7.15pm Wed 11 Oct 9.00pm
Osud Trouble in Tahiti
Thu 12 Oct 7.15pm Thu 12 Oct 9.00pm
Pagliacci Cavalleria rusticana
Wed 18 Oct 7.15pm Wed 18 Oct 9.00pm
Pagliacci Osud
Thu 19 Oct 7.15pm Thu 19 Oct 9.00pm
Cavalleria rusticana Trouble in Tahiti
Fri 20 Oct 7.15pm Fri 20 Oct 9.00pm
Osud L’enfant et les sortilèges
Sat 21 Oct 2.15pm Sat 21 Oct 3.30pm Sat 21 Oct 7.15pm Sat 21 Oct 9.00pm
Trouble in Tahiti Trial by Jury Pagliacci Cavalleria rusticana
Hull New Theatre
Theatre Royal Newcastle
Thu 26 Oct 7.15pm
Pagliacci / Cavalleria rusticana
Wed 8 Nov 7.15pm
Pagliacci / Cavalleria rusticana
Fri 27 Oct 7.15pm
Trouble in Tahiti / Trial by Jury
Thu 9 Nov 7.15pm
L’enfant et les sortilèges / Osud
Sat 28 Oct 2.15pm Sat 28 Oct 7.15pm
L’enfant et les sortilèges Pagliacci / Cavalleria rusticana
Fri 10 Nov 7.15pm
Trouble in Tahiti / Trial by Jury
Sat 11 Nov 2.15pm Sat 11 Nov 7.15pm
L’enfant et les sortilèges Pagliacci / Cavalleria rusticana
Theatre Royal Nottingham
The Lowry, Salford Quays
Wed 1 Nov 7.15pm
Pagliacci / Cavalleria rusticana
Wed 15 Nov 7.15pm
Pagliacci / Cavalleria rusticana
Thu 2 Nov 7.15pm
L’enfant et les sortilèges / Osud
Thu 16 Nov 7.15pm
L’enfant et les sortilèges / Osud
Fri 3 Nov 7.15pm
Trouble in Tahiti / Trial by Jury
Fri 17 Nov 7.15pm
Trouble in Tahiti / Trial by Jury
Sat 4 Nov 2.15pm Sat 4 Nov 7.15pm
L’enfant et les sortilèges Pagliacci / Cavalleria rusticana
Sat 18 Nov 2.15pm Sat 18 Nov 7.15pm
L’enfant et les sortilèges Pagliacci / Cavalleria rusticana
Performance Diary January – March 2018 The Lowry, Salford Quays
Leeds Grand Theatre Fri 19 Jan 7.30pm Sun 28 Jan 4.00pm Wed 31 Jan 7.30pm 7.00pm Sat 3 Feb Sat 10 Feb 7.00pm Fri 16 Feb 7.30pm Sat 17 Feb 7.00pm Tue 20 Feb 7.30pm Wed 21 Feb 7.00pm Thu 22 Feb 7.00pm Fri 23 Feb 7.00pm Sat 24 Feb 7.30pm Tue 27 Feb 7.00pm Wed 28 Feb 7.30pm Thu 1 Mar 7.00pm Fri 2 Mar 7.00pm Sat 3 Mar 7.00pm
Madama Butterfly Madama Butterfly Madama Butterfly Un ballo in maschera Un ballo in maschera Madama Butterfly Don Giovanni Madama Butterfly Don Giovanni Un ballo in maschera Don Giovanni Madama Butterfly Un ballo in maschera Madama Butterfly Don Giovanni Un ballo in maschera Don Giovanni
Tue 6 Mar 7.30pm Wed 7 Mar 7.00pm Thu 8 Mar 7.30pm Fri 9 Mar 7.00pm Sat 10 Mar 7.00pm
Madama Butterfly Don Giovanni Madama Butterfly Don Giovanni Un ballo in maschera
Theatre Royal Nottingham Tue 13 Mar 7.30pm Wed 14 Mar 7.00pm Thu 15 Mar 7.30pm Fri 16 Mar 7.00pm Sat 17 Mar 7.00pm
Madama Butterfly Don Giovanni Madama Butterfly Don Giovanni Un ballo in maschera
Theatre Royal Newcastle Tue 20 Mar 7.30pm Wed 21 Mar 7.00pm Thu 22 Mar 7.30pm Fri 23 Mar 7.00pm Sat 24 Mar 7.00pm
Madama Butterfly Don Giovanni Madama Butterfly Don Giovanni Un ballo in maschera
Performance Diary April – May 2018 Leeds Town Hall Thu 19 Apr 7.30pm Sun 22 Apr 4.00pm Wed 25 Apr 7.30pm
Leeds Grand Theatre Salome Salome Salome
Usher Hall, Edinburgh Sat 28 Apr 7.30pm
Salome
Warwick Arts Centre Thu 3 May 7.30pm
Salome
Liverpool Philharmonic Hall Thu 10 May 7.30pm
Salome
Wed 23 May 7.15pm Kiss Me, Kate Thu 24 May 2.15pm Kiss Me, Kate Thu 24 May 7.15pm Kiss Me, Kate Fri 25 May 7.15pm Kiss Me, Kate Sat 26 May 2.15pm Kiss Me, Kate Sat 26 May 7.15pm Kiss Me, Kate
How to book Visit operanorth.co.uk Season Packages From: 27 February
Public booking
From: 27 February – Hull 17 March – Newcastle, Nottingham, Salford 27 March – Leeds
Images
All photographs by Yorkshire-based photographer Tom Arber, taken during rehearsals for Opera North’s Autumn 2016 season. The information in this brochure is published in good faith, and is correct at the time of going to print (February 2017), but changes may occasionally be necessary. In the event of unforeseen circumstances, Opera North reserves the right to change casts or performances.
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