2010 - 2011 Season Brochure

Season 2010–2011

Fall 2010

Spring 2011

bernstein

a quiet placeoctober 27–November 21

october 31–November 20

Strauss

intermezzo

new production/ny premiere

March 22–april 9

Donizetti

The elixir of love

april 19–May 1

Schwartz

séance on a wet afternoon


March 25–april 8

zorn/SChoenberg/feldman

monodramas

new production

The 2010-2011 New York City Opera season offers audiences a chance to witness innovative new operatic works, modern takes on traditional repertoire, and a full spectrum of emerging and distinguished singers and composers.

These visionary productions include four world, U.S., or New York premieres of operas by New York composers. The first of these monumental new works is Leonard Bernstein’s A Quiet Place, a major piece that pushed the musical and dramatic boundaries of America’s greatest theater composer, yet has never been seen in New York. We also present the world stage premiere of John Zorn’s La Machine de l’être in a new production titled Monodramas, a triple bill of groundbreaking mini-operas. Also included in this triptych is Morton Feldman’s Neither in its U.S. stage premiere. We close the spring with the New York premiere of Séance on a Wet Afternoon, the first opera by acclaimed Broadway and film composer Stephen Schwartz.

Championing a new genre of opera, Richard Strauss’s rarely performed domestic comedy Intermezzo focuses on everyday events revealed in a series of short vignettes, which follow the fast paced action in a witty production by director Leon Major.

A highlight of every season is the opportunity to feature exciting new talent, and this year is no exception. I am eager for you to hear rising tenor David Lomeli as he makes his City Opera debut, appearing with soprano Stefania Dovhan, who earned rave reviews for her City Opera debut as Donna Anna in last season’s smash hit production of Don Giovanni. The pair perform in our charismatic production of The Elixir of Love, Donizetti’s Italian classic reimagined with American swagger.

This season I am thrilled to introduce a new concert series that showcases the broad range of work created by the legendary composers we are celebrating. These star-studded events feature special guest artists including Christine Brewer, Kristin Chenoweth, Raúl Esparza, Lou Reed, Laurie Anderson, and John Zorn. Last season many of our performances played to packed houses. Subscribing now is the only way to secure your seats for these not-to-be-missed presentations. I look forward to seeing you at the David H. Koch Theater.

Sincerely,

Welcome Note

George SteelGeneral Manager and Artistic Director

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bernstein

1984a quiet placeNever before performed in the city Leonard Bernstein made his own, A Quiet Place is his final and most ambitious achievement for the theater — a quest for the quiet places we all seek.

Bernstein was the most restless of men, and in this opera gave expression to what drove him. The work is the story of anxious people adrift in their search of serenity. It is the story of an American family: mother, father, daughter, gay son, all of them wounded by life and by each other — a family whose tensions Bernstein had set up in his short youthful satire Trouble in Tahiti, seen here in second-act flashbacks. It is the story of a composer striving to recapture — and recapturing — the sweeping melodies of his youth within a tougher context. It is the story of opera transforming itself to take note of TV characters, and of those characters finding within themselves an operatic voice.

This is not, to be sure, a quiet place. It is a place loud with confusion, with searing and probably misdirected emotion, with failing communication, with exhibitionism, and, at times, with an irresistible power to move. It is ambitious for itself, and for us all.

“ One of Bernstein’s most impressive scores … the orchestration is as characterful as you could wish – punchy and seductive by turns.” —Gramophone

PerformancesWednesday, October 27, 8:00 pm

Saturday, October 30, 8:00 pm

Thursday, November 4, 8:00 pm

Saturday, November 6, 1:30 pm

Composer Leonard Bernstein

Librettist Stephen Wadsworth

Conductor Jayce Ogren*

production Director Christopher Alden

Set Designer Andrew Lieberman

Costume Designer Kaye Voyce*

Lighting DesignerAaron Black*

Running Time 3 hours

Performed in English with English supertitles

Production support provided by The Peter Jay Sharp Foundation, The Andrew W. Mellon Foundation, and Susan Baker and Michael Lynch

LecturesThursday, November 4, 6:00 pm


Sunday, November 14, 4:45 pm

Tuesday, November 16, 6:00 pm

See page 15 for details.

Concert

SaturdayNovember 6, 8:00 pmSunday, November 7, 1:30 pm


Dates

new production casting

be in the know

Friday, November 12, 8:00 pm





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Lucky to Be Me: The Music of Leonard Bernstein

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juniorJoshua Hopkins*

samLouis Otey

DedeSara Jakubiak*

dinahPatricia Risley*

FrançoisDominic Armstrong*

young samChristopher Feigum* *debut artist


Strauss

intermezzo1924

PerformancesSunday, October 31, 1:30 pm

Friday, November 5, 8:00 pm


Composer and Librettist Richard Strauss

Conductor George Manahan

production Director Leon Major

Associate stage directorBeth Greenberg

Set Designer Andrew Jackness

Costume Designer Martha Mann

Lighting Designer Mark McCullough

Running Time 2 hours 48 minutes


LecturesSunday, October 31, 4:45 pm





ConcertAn Evening with Christine BrewerThursday, October 28, 7:00 pm


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Why can’t an opera be more like modern life? This was the question Richard Strauss had in mind when, in 1918, he composed a new comic opera that would be cinematic, with short scenes, a variety of locations, and real contemporary people — people as real and contemporary as himself.

In writing the dialogue, he developed an episode of misunderstanding that had shaken his marriage fifteen years earlier: When his wife Pauline discovered a love note she believed to be addressed to her husband, she immediately started packing, only to discover eventually that the billet-doux was meant for another musician. Strauss had a lot of fun with this in Intermezzo, and with creating a portrait of his quick-tempered but devoted wife.

With episodes set on the ski slopes, at a ball, in a city park, and at a card party, as well as in the intimacy of the central couple’s home, the opera provides for a fast-moving and spectacular evening. Strauss’s music has all his customary richness and fervor, spilling over into superb orchestral interludes.

“ To know how much Strauss loved his wife one need only hear the music he wrote for her operatic counterpart … City Opera’s version is a delight.” —The New York Times


Donizetti

The elixir of loveLove? This is a comedy, but that does not mean that love here is all sweetness. It cries out in these people. It mixes them up. A poor country boy in love with a wealthier young woman decides he can improve his chances not by learning Italian from a language course but instead by downing a potion that a salesman assures him will make him irresistible. The stuff is junk, of course. The boy learns the hard lesson that sex appeal is enhanced not by what comes out of a bottle but by a solid bank account. Still, he gets the girl because she at last recognizes what her own real feelings have been all along.

Jonathan Miller’s production aptly and inventively relocates the story to the Americana of the fifties Southwest, with soda jerks, a Ford Fairlane, and a dusty roadside diner. Here Donizetti’s great melodies — “Una furtiva lagrima” and the many more the composer put into his luminous score — seem both stronger and stranger when they spring out of these touching characters, who are trying not only to express themselves but also to understand themselves, to find, through their voices, their hearts. This is the real elixir of love, this music.

“ The year’s most enjoyable new show. It was all done with keen wit and a sense of the piece’s underlying sweetness.” —New York Magazine (December 2006)

PerformancesTuesday, March 22, 7:30 pm

Thursday, March 24, 8:00 pm

Saturday, March 26, 1:30 pm

Friday, April 1, 8:00 pm

Composer Gaetano Donizetti

Librettist Felice Romani

conductorBrad Cohen

Production Jonathan Miller

Set and Costume Designer Isabella Bywater


Performed in Italian with English supertitles

Production support provided by Emilie Roy Corey. Original production support provided by The Reed Foundation.

LecturesTuesday, March 22, 6:00 pm


Saturday, March 26, 12:00 pm

Sunday, April 3, 4:15 pm

See page 15 for details

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Tuesday, April 5, 7:30 pm

Saturday, April 9, 8:00 pm

casting

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zorn/SChoenberg/feldman

monodramasThree women sing out of their extremity, each of them alone on stage with her demons, and her angels. None of them has a name; they have left all that behind. They exist in worlds apart, each of those worlds the creation of a major musical innovator.

In John Zorn’s La Machine de l’être, the soprano’s hair-raising trajectory is inspired by the haunting drawings of theater visionary Antonin Artaud. A sensation at City Opera’s VOX 2007, the piece without words now receives its world stage premiere.

The terrified protagonist of Schoenberg’s Erwartung, or Expectation, gropes through a dark forest searching for her lover, only to find that the darkness dwells within her. Written in Vienna in 1909, the piece sets a fragmented monologue by medical student Marie Pappenheim, based on Freud’s classic study of hysteric Anna O., who was a relative of hers. Schoenberg’s freely atonal score registers the shockwaves of fear and the great arcs of desire.

In Neither, Morton Feldman works with the only libretto Samuel Beckett ever wrote: just eighty-seven words, hovering in a troubled stillness. The character who sings them is seeking not her lover but herself, as she rotates with the ethereal music through landscapes of memory. This unique work, bringing this trio of extraordinary solo outbursts to a thrilling climax, receives its first staging in the U.S.

PerformancesFriday, March 25, 8:00 pm

Sunday, March 27, 1:30 pm

Tuesday, March 29, 7:30 pm

Composers John ZornArnold SchoenbergMorton Feldman

Librettists Marie PappenheimSamuel Beckett


production team To Be Announced


La Machine de l’être is performed without text

Erwartung is performed in German with English supertitles

Neither is performed in English with English supertitles

Production support provided by The Andrew W. Mellon Foundation

LecturesSunday, March 27, 4:15 pm

Tuesday, March 29, 6:00 pm




ConcertJohn Zorn & FriendsWednesday, March 30, 8:00 pm


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Schwartz

séance on a wet afternoon2009

PerformancesTuesday, April 19, 7:30 pm

Wednesday, April 20, 8:00 pm




Composer and Librettist Stephen Schwartz


production Director Scott Schwartz*

Set Designer Heidi Ettinger*

Costume Designer Alejo Vietti*

Lighting Designer David Lander*



LecturesTuesday, April 19, 6:00 pm



Thursday, April 28, 6:00 pm


concertDefying Gravity: The Music of Stephen SchwartzThursday, April 21, 8:00 pm


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Bill fosterKim Josephson*

Tuesday, April 26, 7:30 pm

Thursday, April 28, 8:00 pm



Sunday, May 1, 1:30 pm

Séance on a Wet Afternoon is the first opera by composer-lyricist Stephen Schwartz, whose previous credits run from Godspell to Wicked. Based on the novel by Mark McShane and the noir movie adaptation of 1964, the plot focuses on Myra, a medium who involves her passive husband in a plot to kidnap the daughter of a neighboring family. The idea is that Myra will then find the girl thanks to psychic communication with the spirit of her own dead son and gain the fame she craves. However, the plot goes awry as her fragile sanity begins to break down.

Schwartz’s long experience in musical theater shows in the powerful psychological atmosphere, keen pace, and vivid characterization. Séance is made for fully operatic voices: dramatic soprano, Verdi baritone, lyric tenor, and so on. The action leaps off the stage, the twists and turns of the narrative expressed in the sumptous singing.

A “strange – and strangely moving – tale … with an ultimately comforting charm, despite its wicked plot turns.” —Los Angeles Times


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concertsJoin City Opera for these spellbinding performances that highlight the musical diversity of the productions and composers showcased this season.

An Evening with Christine BrewerThursday, October 28, 7:00 pmOne of the world’s most sought-after sopranos, Christine Brewer brings her consummate artistry to a special concert and gala with the New York City Opera Orchestra and Music Director George Manahan. Ms. Brewer sings excerpts from Wagner’s Tristan und Isolde, Puccini’s Turandot, and a selection of Richard Strauss’s most famous lieder.

Lucky to Be Me: The Music of Leonard BernsteinSaturday, November 6, 8:00 pmSunday, November 7, 1:30 pmThis dynamic concert examines the work of one of America’s most influential composers, including music from the Kaddish Symphony, Mass, Songfest, Wonderful Town, 1600 Pennsylvania Avenue, On the Town, West Side Story, and more.

John Zorn & FriendsWednesday, March 30, 8:00 pmAvant-garde innovators Laurie Anderson, Lou Reed, Mike Patton, Marc Ribot, Dave Douglas, and Uri Caine perform with experimental music master John Zorn in a series of mind-bending sonic compositions and no-holds-barred improvisations.

Family Opera in Concert: Where the Wild Things AreSaturday, April 9, 1:30 pmBring the whole family to a matinee concert and benefit featuring the fantastical opera based on the beloved children’s book by Maurice Sendak. Composed by Oliver Knussen to a libretto by Sendak, this enchanting work tells the tale of a little boy with a wild imagination.

Defying Gravity: The Music of Stephen SchwartzThursday, April 21, 8:00 pmThe award-winning Broadway and film composer is joined by special guest vocalists for a retrospective of his acclaimed works. Scheduled to appear are stage and screen stars Kristin Chenoweth and Raúl Esparza.

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About the images

charles rayUntitled Sculpture, 1997At a salvage yard, Ray purchased a vehicle, which had been involved in a fatal crash. Made by pure chance, the form was created by speed and impact, through the collision of material, space, and time. After dismantling the wreckage and casting each piece in fiberglass, he rebuilt it as one would a hobby kit. The color, reminiscent of body shop primer found under a glossy finish, lends a flatness and stillness despite the violence of the incident that produced the original. Haunting and silent, Untitled Sculpture is a frozen memory of a dramatic life changing event, dissected and revealed to the public eye. A Quiet Place examines the impact of a similar catastrophe on the lives of an entire family.

Isaac julienLove, 2003Preoccupied with questions of history, memory, and displacement, Julien’s photography and film installations speak to topics of race, class, culture, desire, and memory, either bringing people together or setting them apart. His image evokes the overwhelming force of love, which inspires the timid hero in The Elixir of Love to overcome barriers and win the object of his desire.

dash snowUntitled, 2007Snow’s photograph suggests a sense of loss, connection with the supernatural, fragments of memory, and hopeful vigilance, all key elements in Séance on a Wet Afternoon. Himself an unschooled, self-made artist obsessed with notoriety, Snow catapulted into the spotlight of the New York art scene with his rebellious antics. Both his body of work and his career reflect a burning desire for recognition shared by the opera’s ambitious psychic.

Tina barneyThe Brocade Walls, 2003Barney’s photography captures a vanishing world of upper-class Anglo-American life within a closed society, revealing private moments to the viewer, often focusing on the tension between appearance and reality. The Brocade Walls is at once an intimate and candid slice of life. The subjects, like Strauss’s characters, are both distinguished and comical. At the time it was written, Intermezzo exemplified a new genre of opera that celebrated everyday — even bourgeois — scenes like the one captured in amber in Barney’s photograph.

pipilotti ristHomo Sapiens Sapiens, 2005Addressing themes of gender and feminine sensibility, Rist’s Homo Sapiens Sapiens captures a young woman in a moment of introspection. She is sprinkled with grass clippings, alluding to her environment and her connection to nature. Although her gaze seems to be cast toward the viewer, her expression shows that she is searching within herself. In much the same way, Monodramas explores realms of the subconscious made visible through the power of these groundbreaking pieces of work.

Kehinde WileyPortrait of Andries Stilte, 2005Referencing imagery from the streets of Harlem and other urban centers, Wiley is a master of updating time-honored medium and subject matter. His larger-than-life figures blur the boundaries of traditional and contemporary modes of representation, creating new rules in the context of portraiture and historical painting. His portrait captures perfectly New York City Opera’s role of infusing traditional, grand opera with New York swagger.

New York City Opera highlights opera’s modern cultural relevance by pairing the works of six contemporary visual artists with the 2010-2011 season. The images offer a fresh point of view on our rendering of opera’s most archetypal characters and themes.


Intro to OperaDemystify opera with this series of friendly, fun, info-packed discussions with City Opera staff and artists. These talks will introduce you to the basic elements of opera and point out what to look and listen for in the performance that follows.

IntermezzoTuesday, November 9, 6:00 pm

A Quiet PlaceTuesday, November 16, 6:00 pm

The Elixir of LoveTuesday, March 22, 6:00 pm

MonodramasTuesday, March 29, 6:00 pm

Séance on a Wet AfternoonTuesday, April 19, 6:00 pm

Artist dialoguesThe directors, conductors, singers, composers, librettists, and designers who create and perform our productions join us for lively, informal conversations led by New York City Opera’s Dramaturg Cori Ellison.

A Quiet PlaceThursday, November 4, 6:00 pm

IntermezzoThursday, November 18, 6:00 pm

The Elixir of LoveThursday, March 24, 6:00 pm

MonodramasThursday, March 31, 6:00 pm

Séance on a Wet AfternoonThursday, April 28, 6:00 pm

Opera insightsSome of the nation’s leading opera authorities prepare you for an afternoon of extraordinary music theater by guiding you through the specific opera you’re about to attend, offering their musical and dramatic insights, and answering your questions.

A Quiet PlaceSaturday, November 6, 12:00 pm

IntermezzoSaturday, November 20, 12:00 pm

The Elixir of LoveSaturday, March 26, 12:00 pm

MonodramasSaturday, April 2, 12:00 pm

Séance on a Wet AfternoonSaturday, April 23, 12:00 pm

Listening roomFollowing select Sunday matinees, meet and mingle with fellow opera fans at these cozy listening sessions led by noted record collectors who will spin and comment on their favorite rare and classic recordings of the afternoon’s featured opera and related works.

IntermezzoSunday, October 31, 4:45 pm

A Quiet PlaceSunday, November 14, 4:45 pm

MonodramasSunday, March 27, 4:15 pm

The Elixir of LoveSunday, April 3, 4:15 pm

Séance on a Wet AfternoonSunday, April 24, 4:30 pm

Enhance your Experience

Subscriber Lecture Tickets: $5 (a 50% savings)Patron Lecture Tickets: Call 212.870.4210

Lectures

Backstage Tours Big Band SocialsTake a backstage tour and get an insider’s view of the newly renovated theater, as well as the costume shop, backstage, wings, and main stage. Pre-performance tours are given at 12:00 pm on matinee days and 6:00 pm before evening performances. Additional times also available.

Subscriber Tour Tickets: $12 (a 40% savings)Patron Tour Tickets: Call 212.870.4210

Join us for unforgettable evenings of dinner and dancing on the Promenade. Show off your best dance moves to the music of a full swing band after select performances.

Sunday, November 14 following A Quiet Place

Sunday, April 3 following The Elixir of Love

Subscriber Tickets: $49 (a 30% savings)Includes food, drinks, and a swing dance demonstration

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Fall Gala An evening with christine brewerThursday, October 28, 6:00 pmJoin us for this spectacular evening featuring a one-night-only concert with Grammy Award-winning soprano Christine Brewer and the New York City Opera Orchestra. The festivities begin with cocktails, followed by the performance, a black-tie dinner, and dancing on the Promenade of the David H. Koch Theater. Prime concert seats will be reserved for Fall Gala guests.

Family BenefitSaturday, April 9, 1:30 pmIntroduce children to the exciting world of opera! Following a matinee performance of Where the Wild Things Are in concert, families will enjoy a festive buffet lunch on the Promenade accompanied by face-painting, dancing, and a make-your-own sundae bar. All proceeds support City Opera’s award-winning education programs.

Spring Gala Defying Gravity: The Music of Stephen SchwartzThursday, April 21, 7:00 pmCity Opera salutes the hit Broadway composer with a special concert of his works. Scheduled to appear are Kristin Chenoweth and Raúl Esparza. The black-tie gala begins with cocktails on the Promenade, followed by the concert. The evening continues with dinner and dancing. Prime performance seats will be reserved for Spring Gala guests.

Spring LuncheonDate To Be Announced This elegant event honors those who have made significant contributions to City Opera’s artistic and educational programs. The afternoon features a light lunch accompanied by sparkling performances from City Opera’s acclaimed artists.

For more information or to purchase tickets by phone, please call the Special Events office at 212.870.5595.

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subscriber benefits

Membership benefitsMembership makes all the difference.

Enhance your City Opera subscription by becoming a Member. In addition to all of the benefits of being a subscriber, Members enjoy special privileges and insider access, including:

Dress Rehearsal Passes Members-only Promo Codes for online ticket offers Behind-the-scenes glimpses of the company with a subscription to City Opera News Additional discounts to restaurants and local shops And much more!

Join today for as little as $100 to activate your membership.

For more information, visit nycOpera.com/supportus or call the Membership Office at 212.870.5626.

Discounted TicketsSubscribers save up to 20% off single ticket prices.

Access to the Best SeatsSubscribers are given access to the best seats in the house. Remember to renew your subscription by April 30, 2010 to receive the same or better seating for your series.

As a subscriber, you can also purchase additional single tickets before the general public. You will receive more information with your subscription tickets.

Exchange PrivilegesSubscribers can easily exchange tickets for other performances. This service is free – and unlimited – for any of your subscription tickets. Subscribers will be responsible for any difference in ticket price.

Exclusive DiscountsSubscribers can purchase discounted tickets to our popular pre-performance lectures, backstage tours, and Big Band Socials.

As a subscriber, you will also receive a subscriber card entitling you to discounts throughout the season at the Gift and Thrift Shops, as well as various neighborhood restaurants and establishments.

SPECIAL MEMBERSHIP OFFER!Become a Member with your subscription order by April 30, 2010, and receive a City Opera Member Coupon Book with free intermission drink tickets, coupons for local businesses, special offers from the Gift Shop, and more.

Another Great Reason to Subscribe!Subscribe by April 30, 2010, and be automatically entered to win round-trip air transportation for two (2), anywhere in the continental United States and the Caribbean that American Airlines flies. Go to nycOpera.com/giveaway for complete rules and regulations.


standard seriesSubscribe and Save up to 20%! Receive priority seating, unlimited ticket exchanges, and more.

standard series Prices

5 Opera Package

Add-on Concert Prices (per ticket)

Orchestra Concerts*

John Zorn & Friends

Where the Wild Things Are

Orchestra Premium $ 560.00 $ 76.50 $ 55.25 $ 42.50

Orchestra Prime $ 500.00 $ 63.75 $ 42.50 $ 34.00

Orchestra Left, Right, and Rear $ 300.00 $ 51.00 $ 34.00 $ 25.50

First Ring Center $ 560.00 $ 76.50 $ 55.25 $ 42.50

First Ring Sides $ 400.00 $ 63.75 $ 42.50 $ 34.00

Second Ring Center $ 400.00 $ 51.00 $ 34.00 $ 25.50

Second Ring Sides $ 240.00 $ 51.00 $ 34.00 $ 25.50

Third Ring Center $ 240.00 $ 38.25 $ 25.50 $ 20.00

Third Ring Sides $ 160.00 $ 38.25 $ 25.50 $ 20.00

Fourth Ring Center, Row A-B $ 160.00 $ 25.50 $ 20.00 $ 15.00

Fourth Ring Center, Row C-K/Sides AA $ 125.00 $ 20.00 $ 20.00 $ 10.00

Fourth Ring Left, Right, and Rear $ 60.00 $ 12.00 $ 12.00 $ 5.00

* Christine Brewer, Leonard Bernstein, and Stephen Schwartz concerts — see p. 13 for details.

Tuesday Nights

IntermezzoTuesday, November 9, 7:30 pm

A Quiet PlaceTuesday, November 16, 7:30 pm

The Elixir of LoveTuesday, March 22, 7:30 pm

MonodramasTuesday, March 29, 7:30 pm

Séance on a Wet AfternoonTuesday, April 19, 7:30 pm

Saturday Nights

A Quiet PlaceSaturday, October 30, 8:00 pm


MonodramasFriday, March 25, 8:00 pm*

The Elixir of LoveSaturday, April 9, 8:00 pm


*Please note Friday performance

Sunday Matinees

IntermezzoSunday, October 31, 1:30 pm

A Quiet PlaceSunday, November 14, 1:30 pm

MonodramasSunday, March 27, 1:30 pm

The Elixir of LoveSunday, April 3, 1:30 pm

Séance on a Wet AfternoonSunday, April 24, 1:30 pm

Saturday Matinees

A Quiet PlaceSaturday, November 6, 1:30 pm


The Elixir of LoveSaturday, March 26, 1:30 pm

MonodramasSaturday, April 2, 1:30 pm


Thursday Nights

A Quiet Place Thursday, November 4, 8:00 pm

IntermezzoThursday, November 18, 8:00 pm

The Elixir of LoveThursday, March 24, 8:00 pm

MonodramasThursday, March 31, 8:00 pm

Séance on a Wet AfternoonThursday, April 28, 8:00 pm

Friday Nights

IntermezzoFriday, November 5, 8:00 pm

A Quiet PlaceFriday, November 12, 8:00 pm

The Elixir of LoveFriday, April 1, 8:00 pm

MonodramasFriday, April 8, 8:00 pm

Séance on a Wet AfternoonFriday, April 22, 8:00 pm

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create-your-own series

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Select any three operas or concerts and save up to 10%! Want an even bigger discount? Pick four or more performances and save up to 15%. Either way, you’ll receive all of the benefits of being a subscriber, and a package that fits your preferences.

create-your-own Series TICKET PRICES

4th Ring

3rd Ring

2nd Ring

1st Ring

Orchestra premium

Orchestra prime

Orchestra Left, right, and rear

Choose 4 or More — Save up to 15% Choose 3 — Save up to 10%

OperasOrchestra Concerts*

John Zorn & Friends

Where the Wild Things Are Operas

Orchestra Concerts*

John Zorn & Friends

Where the Wild Things Are

Orchestra Premium $ 119.00 $ 76.50 $ 55.25 $ 42.50 $ 126.00 $ 81.00 $ 58.50 $ 45.00

Orchestra Prime $ 106.25 $ 63.75 $ 42.50 $ 34.00 $ 112.50 $ 67.50 $ 45.00 $ 36.00

Orchestra Left, Right, and Rear $ 63.75 $ 51.00 $ 34.00 $ 25.50 $ 67.50 $ 54.00 $ 36.00 $ 27.00

First Ring Center $ 119.00 $ 76.50 $ 55.25 $ 42.50 $ 126.00 $ 81.00 $ 58.50 $ 45.00

First Ring Sides $ 85.00 $ 63.75 $ 42.50 $ 34.00 $ 90.00 $ 67.50 $ 45.00 $ 36.00

Second Ring Center $ 85.00 $ 51.00 $ 34.00 $ 25.50 $ 90.00 $ 54.00 $ 36.00 $ 27.00

Second Ring Sides $ 51.00 $ 51.00 $ 34.00 $ 25.50 $ 54.00 $ 54.00 $ 36.00 $ 27.00

Third Ring Center $ 51.00 $ 38.25 $ 25.50 $ 20.00 $ 54.00 $ 40.50 $ 27.00 $ 20.00

Third Ring Sides $ 34.00 $ 38.25 $ 25.50 $ 20.00 $ 36.00 $ 40.50 $ 27.00 $ 20.00

Fourth Ring Center, Row A-B $ 34.00 $ 25.50 $ 20.00 $ 15.00 $ 36.00 $ 27.00 $ 20.00 $ 15.00

Fourth Ring Center, Row C-K/Sides AA $ 25.00 $ 20.00 $ 20.00 $ 10.00 $ 25.00 $ 20.00 $ 20.00 $ 10.00

Fourth Ring Left, Right, and Rear $ 12.00 $ 12.00 $ 12.00 $ 5.00 $ 12.00 $ 12.00 $ 12.00 $ 5.00

All prices listed are per ticket.

* Christine Brewer, Leonard Bernstein, and Stephen Schwartz concerts — see p. 13 for details.


How to order

thank you

The Horace W. Goldsmith Foundation Estate of Ruth Klotz Lincoln Center Corporate Fund The Andrew W. Mellon Foundation

New York City Opera also extends its gratitude to our generous Patrons, Director’s Council, and Leadership Council who provide vital annual funding. To learn more about becoming a Patron or Council member, please call 212.870.4210.

New York City Opera’s 2010-2011 programming is also made possible, in part, with public and corporate support from:

New York City Opera gratefully acknowledges the following institutions for their leadership support of our 2010-2011 season:

Samuel I. Newhouse Foundation, Inc., in memory of Theodore and Caroline Newhouse

The Peter Jay Sharp Foundation The Alice Tully Foundation

All casts, programs, and prices are subject to change. Latecomers will not be seated until a suitable break in the performance. Subscribers are not guaranteed the same seats for every performance. No refunds or cancellations allowed.

Please keep a record of the dates of your subscription. Season tickets will be mailed in August. We cannot be held responsible for tickets misdirected by the U.S. Postal Service. Please notify the New York City Opera Subscription Department prior to your first performance if you have not received or have misplaced your tickets. We regret that we cannot replace tickets or issue refunds for performances you miss.

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Phone 212.496.0600Mon-Fri, 10am–5pmGroup Sales 212.870.5618

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MailFill out the order form and mail to:New York City Opera Subscription DepartmentDavid H. Koch Theater20 Lincoln CenterNew York, NY 10023

For more information on special wheelchair accommodations, please call the Subscription Department at 212.496.0600.

The David H. Koch Theater is owned by the City of New York and is funded, in part, by the City’s Department of Cultural Affairs with support from Mayor Michael R. Bloomberg; the New York City Council, including Council Speaker Christine C. Quinn, Council Member Gale A. Brewer, and Cultural Affairs Committee Chair James G. Van Bramer; and Cultural Affairs Commissioner Kate D. Levin.

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2010–2011 season calendar

opening nights

monday tuesday wednesday thursday friday saturday sunday

FALL

spring

October 27 8:00 pm

A Quiet Place

March 30 8:00 pm

John Zorn & friends

November 4 8:00 pm

A Quiet PlaceArtist Dialogues

November 18 8:00 pm

INtermezzoArtist Dialogues

March 24 8:00 pm

the Elixir of LoveArtist Dialogues

March 31 8:00 pm

monodramasArtist Dialogues

November 6 1: 30 pm

A Quiet PlaceOpera Insights

8:00 pm

The music of leonard Bernstein

November 13 8:00 pm

INtermezzo

November 20 1: 30 pm

INtermezzoOpera Insights

March 26 1:30 pm

the Elixir of LoveOpera Insights

March 25 8:00 pm

monodramas

April 1 8:00 pm

the Elixir of Love

April 8 8:00 pm

monodramas

April 3 1:30 pm

the Elixir of LoveListening Room

April 2 1:30 pm

monodramasOpera Insights

November 7 1:30 pm

The music of leonard Bernstein

November 14 1:30 pm

A Quiet PlaceListening Room

November 21 1:30 pm

A Quiet Place

March 27 1:30 pm

monodramasListening Room

October 28 7:00 pm

Christine Brewer concertFall Gala

October 30 8:00 pm

A Quiet Place

October 31 1:30 pm

INtermezzoListening Room

November 5 8:00 pm

INtermezzo

November 12 8:00 pm

A Quiet Place

November 9 7:30 pm

INtermezzoIntro to Opera

November 16 7:30 pm

A Quiet PlaceIntro to Opera

March 22 7:30 pm

the Elixir of LoveIntro to Opera

March 29 7:30 pm

monodramasIntro to Opera

April 5 7:30 pm

the Elixir of Love

April 19 7:30 pm

Séance on a wet afternoonIntro to Opera

April 26 7:30 pm

Séance on a wet afternoon

April 20 8:00 pm


April 22 8:00 pm


April 29 8:00 pm


April 23 1:30 pm

Séance on a wet afternoonOpera Insights

April 30 8:00 pm


April 24 1:30 pm

Séance on a wet afternoonListening Room

May 1 1:30 pm


April 21 8:00 pm

The music ofstephen schwartzSpring Gala

April 28 8:00 pm

Séance on a wet afternoonArtist Dialogues

April 9 1:30 pm

Where the Wild things are Family Benefit

8:00 pm

the Elixir of Love

2010 - 2011 Season Brochure

Documents

Transcript of 2010 - 2011 Season Brochure