What we’re researching and eyeing as we go into the month of auditions… Alpha by composer for lack of a better organizational tool.
Argento Postcard from Morocco
(it’s been 25 years…)
Auber Le Philtre
(The Elixir of Love one year before Donizetti)
Bizet Le Docteur Miracle & Poulenc Les mamelles de Tiresias
(an amazing French double bill?)
Cimarosa Amor rende sagace
(“Love Makes You Shrewd” from the composer of Il matrimonio segreto)
Galuppi Il mondo alla roversa
(an upside-down world where women are in charge…)
Gluck L’ile de Merlin
(where wealthy women are required to marry poor men, all lawyers are honest,
and married couples are always faithful)
Handel Hercules
(strictly an oratorio, but occasionally staged)
Handel Semele
(on the baroque wish list for a while)
Haydn La vera constanza
(I’m in love with the recording but am still waiting on the score)
Keiser The Fortunes of King Croesus
(last done at Minnesota opera: I discovered Keiser during our 2006 Telemann Orpheus)
Mozart Die Entführung aus dem Serail
(maybe not right after Zaide, but could be irresistible if the right singers are out there)
Nicolai Merry Wives of Windsor
(never before at WT: I worked on it 25 years ago and adored it)
Offenbach Tales of Hoffmann
(at The Barns?…. am I relaxing my no-orchestra-reduction principles?…)
Purcell Dido and Aeneas
(it’s been 22 years)
Scarlatti Il trionfo dell’onore
(Scarlatti’s only comedy)
Verdi Falstaff
(and I say again… in The Barns?)
Wolf-Ferrari Le donne curiose
(chamber opera from 1903; can’t figure out where it’s been done in the US since the Met in 1912)
There have been seasons when none of our 3 operas came from the short list, so don’t get too excited :)
Add Comment