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Past Events

Opera responds to the Pulse Night Club Tragedy with a benefit concert that supports the vital infrastructure that supports diversity and understanding in our community. Opera Orlando has coordinated a concert featuring some of the art form’s brightest national stars supported by professional musicians from throughout Florida. Internationally-renowned David Charles Abell will conduct and legendary baritone Sherrill Milnes will be one of the evening’s hosts. Tickets are $25-$125 and go on sale August 19th. Opera Orlando will be joined by the Orlando Ballet and several opera companies from across the state including Opera Tampa, Opera Naples, St. Petersburg Opera, Sarasota Opera, First Coast Opera, and others. Pulitzer Prize winners Paul Moravec and Mark Campbell will also be presenting a new vocal work at this concert.

Artists include sopranos Ana Maria Martinez, Sarah Joy Miller, and Cecilia Violetta Lopez, Mezzo-Soprano Jennifer Johnson Cano, tenors Chad Johnson and Javier Abreu, and baritones Mark Walters and Davis Gaines, all joined by an over 50 piece orchestra from across greater Central Florida and a 150 voice mass chorus put together by opera companies from across the state.

Program to include works by Wolf, Granados, Dvořák, Gurney, Britten, Howells, Vaughan Williams and Jonathan Dove

New York Philharmonic
Bramwell Tovey, conductor
Javier Perianes, piano
Jennifer Johnson Cano, mezzo-soprano

MASSENET: Ballet Music from Le Cid
FALLA: Nights in the Garden of Spain
FALLA: The Three-Cornered Hat

Javier Perianes has fast become one of Europe’s most sought-after pianists, rendering sweeping passions with virtuoso flair. These qualities take center stage in a dramatic evening evoking Spanish country scenes and French dances through flamboyant rhythms, sensuous allusion, and shimmering wit.

Tragédie opéra in three acts
Libretto by Pierre Louis Moline after Ranieri de’ Calzabigi’s Italian libretto
First performance of French Edition: Paris, Académie Royale de Musique, August 2, 1774
Sung in French with English supertitles above the stage

Driven by love and wracked with grief and uncertainty, Orphée descends into the underworld on a heroic mission to return his beloved to the land of the living. His passionate music wins their freedom, but the true test has just begun. Based on the Greek myth of Orpheus, this vivid, theatrical production promises a visual spectacular as it takes us on a quest through a series of worlds ranging from the sinister to the pastoral. Focusing on simple, dramatic effect, Gluck’s beautiful music gives a unique glimpse of an approach that changed the nature of opera when it was first seen 250 years ago. From one moment full of fury, the next clear and pure, this music is full of emotion. Orphée et Eurydice will become the earliest composition we have ever performed and mark the Company’s first foray into ‘early music’.

Tragédie opéra in three acts
Libretto by Pierre Louis Moline after Ranieri de’ Calzabigi’s Italian libretto
First performance of French Edition: Paris, Académie Royale de Musique, August 2, 1774
Sung in French with English supertitles above the stage

Driven by love and wracked with grief and uncertainty, Orphée descends into the underworld on a heroic mission to return his beloved to the land of the living. His passionate music wins their freedom, but the true test has just begun. Based on the Greek myth of Orpheus, this vivid, theatrical production promises a visual spectacular as it takes us on a quest through a series of worlds ranging from the sinister to the pastoral. Focusing on simple, dramatic effect, Gluck’s beautiful music gives a unique glimpse of an approach that changed the nature of opera when it was first seen 250 years ago. From one moment full of fury, the next clear and pure, this music is full of emotion. Orphée et Eurydice will become the earliest composition we have ever performed and mark the Company’s first foray into ‘early music’.

Tragédie opéra in three acts
Libretto by Pierre Louis Moline after Ranieri de’ Calzabigi’s Italian libretto
First performance of French Edition: Paris, Académie Royale de Musique, August 2, 1774
Sung in French with English supertitles above the stage

Driven by love and wracked with grief and uncertainty, Orphée descends into the underworld on a heroic mission to return his beloved to the land of the living. His passionate music wins their freedom, but the true test has just begun. Based on the Greek myth of Orpheus, this vivid, theatrical production promises a visual spectacular as it takes us on a quest through a series of worlds ranging from the sinister to the pastoral. Focusing on simple, dramatic effect, Gluck’s beautiful music gives a unique glimpse of an approach that changed the nature of opera when it was first seen 250 years ago. From one moment full of fury, the next clear and pure, this music is full of emotion. Orphée et Eurydice will become the earliest composition we have ever performed and mark the Company’s first foray into ‘early music’.

Tragédie opéra in three acts
Libretto by Pierre Louis Moline after Ranieri de’ Calzabigi’s Italian libretto
First performance of French Edition: Paris, Académie Royale de Musique, August 2, 1774
Sung in French with English supertitles above the stage

Driven by love and wracked with grief and uncertainty, Orphée descends into the underworld on a heroic mission to return his beloved to the land of the living. His passionate music wins their freedom, but the true test has just begun. Based on the Greek myth of Orpheus, this vivid, theatrical production promises a visual spectacular as it takes us on a quest through a series of worlds ranging from the sinister to the pastoral. Focusing on simple, dramatic effect, Gluck’s beautiful music gives a unique glimpse of an approach that changed the nature of opera when it was first seen 250 years ago. From one moment full of fury, the next clear and pure, this music is full of emotion. Orphée et Eurydice will become the earliest composition we have ever performed and mark the Company’s first foray into ‘early music’.

SEASON FINALE: BEETHOVEN’S NINTH
June 16-19, 2016
Helzberg Hall | Kauffman Center

Michael Stern, conductor
Kansas City Symphony Chorus
Charles Bruffy, chorus dierctor
Celena Shafer, soprano
Jennifer Johnson Cano, mezzo-soprano
Robert Watson, tenor
Dashon Burton, bass-baritone

BEETHOVEN Calm Sea and Prosperous Voyage
SHOSTAKOVICH Symphony No. 2
BEETHOVEN Symphony No. 9

The grand finale of the season features three majestic works for chorus and orchestra. Beethoven maintained a lifelong admiration for the great German poet, Goethe. Calm Sea and Prosperous Voyage is a setting of two Goethe poems that journey from hushed mystery to triumph. Shostakovich wrote his youthful Symphony No. 2, “To October,” to celebrate the 10th anniversary of the Russian Revolution. Beethoven’s epic final Symphony, culminating in the composer’s revolutionary and inspirational setting of Schiller’s “Ode to Joy,” caps the season in glorious, heavenly sounds. 

SEASON FINALE: BEETHOVEN’S NINTH
June 16-19, 2016
Helzberg Hall | Kauffman Center

Michael Stern, conductor
Kansas City Symphony Chorus
Charles Bruffy, chorus dierctor
Celena Shafer, soprano
Jennifer Johnson Cano, mezzo-soprano
Robert Watson, tenor
Dashon Burton, bass-baritone

BEETHOVEN Calm Sea and Prosperous Voyage
SHOSTAKOVICH Symphony No. 2
BEETHOVEN Symphony No. 9

The grand finale of the season features three majestic works for chorus and orchestra. Beethoven maintained a lifelong admiration for the great German poet, Goethe. Calm Sea and Prosperous Voyage is a setting of two Goethe poems that journey from hushed mystery to triumph. Shostakovich wrote his youthful Symphony No. 2, “To October,” to celebrate the 10th anniversary of the Russian Revolution. Beethoven’s epic final Symphony, culminating in the composer’s revolutionary and inspirational setting of Schiller’s “Ode to Joy,” caps the season in glorious, heavenly sounds. 

SEASON FINALE: BEETHOVEN’S NINTH
June 16-19, 2016
Helzberg Hall | Kauffman Center

Michael Stern, conductor
Kansas City Symphony Chorus
Charles Bruffy, chorus dierctor
Celena Shafer, soprano
Jennifer Johnson Cano, mezzo-soprano
Robert Watson, tenor
Dashon Burton, bass-baritone

BEETHOVEN Calm Sea and Prosperous Voyage
SHOSTAKOVICH Symphony No. 2
BEETHOVEN Symphony No. 9

The grand finale of the season features three majestic works for chorus and orchestra. Beethoven maintained a lifelong admiration for the great German poet, Goethe. Calm Sea and Prosperous Voyage is a setting of two Goethe poems that journey from hushed mystery to triumph. Shostakovich wrote his youthful Symphony No. 2, “To October,” to celebrate the 10th anniversary of the Russian Revolution. Beethoven’s epic final Symphony, culminating in the composer’s revolutionary and inspirational setting of Schiller’s “Ode to Joy,” caps the season in glorious, heavenly sounds. 

SEASON FINALE: BEETHOVEN’S NINTH
June 16-19, 2016
Helzberg Hall | Kauffman Center

Michael Stern, conductor
Kansas City Symphony Chorus
Charles Bruffy, chorus dierctor
Celena Shafer, soprano
Jennifer Johnson Cano, mezzo-soprano
Robert Watson, tenor
Dashon Burton, bass-baritone

BEETHOVEN Calm Sea and Prosperous Voyage
SHOSTAKOVICH Symphony No. 2
BEETHOVEN Symphony No. 9

The grand finale of the season features three majestic works for chorus and orchestra. Beethoven maintained a lifelong admiration for the great German poet, Goethe. Calm Sea and Prosperous Voyage is a setting of two Goethe poems that journey from hushed mystery to triumph. Shostakovich wrote his youthful Symphony No. 2, “To October,” to celebrate the 10th anniversary of the Russian Revolution. Beethoven’s epic final Symphony, culminating in the composer’s revolutionary and inspirational setting of Schiller’s “Ode to Joy,” caps the season in glorious, heavenly sounds. 

Program to include works by Hugo Wolf, Jonathon Dove, Enrique Granados, and Leonard Bernstein

The Met season opens with Verdi’s masterful Otello, inspired by Shakespeare’s play and matching it in tragic intensity. Director Bartlett Sher probes the Moor’s dramatic downfall with an outstanding cast: tenor Aleksandrs Antonenko plays the doomed Otello; new soprano star Sonya Yoncheva sings Desdemona, Otello’s innocent wife and victim; and baritone Željko Lucic plays the evil Iago, who masterminds Otello’s demise. Dynamic maestro Yannick Nézet-Séguin conducts.

The Met season opens with Verdi’s masterful Otello, inspired by Shakespeare’s play and matching it in tragic intensity. Director Bartlett Sher probes the Moor’s dramatic downfall with an outstanding cast: tenor Aleksandrs Antonenko plays the doomed Otello; new soprano star Sonya Yoncheva sings Desdemona, Otello’s innocent wife and victim; and baritone Željko Lucic plays the evil Iago, who masterminds Otello’s demise. Dynamic maestro Yannick Nézet-Séguin conducts.

The Met season opens with Verdi’s masterful Otello, inspired by Shakespeare’s play and matching it in tragic intensity. Director Bartlett Sher probes the Moor’s dramatic downfall with an outstanding cast: tenor Aleksandrs Antonenko plays the doomed Otello; new soprano star Sonya Yoncheva sings Desdemona, Otello’s innocent wife and victim; and baritone Željko Lucic plays the evil Iago, who masterminds Otello’s demise. Dynamic maestro Yannick Nézet-Séguin conducts.

Schumann Märchenerzählungen (Fairy Tales) for Clarinet, Viola, and Piano, Op. 132 (1853)

Klughardt Schilflieder, Five Fantasy Pieces for Oboe, Viola, and Piano, Op. 28 (1872)

Jacob Suite for Eight Violas (1976)

Tower New Work for Viola (CMS Commission, World Premiere) (2015)

Brahms Zwei Gesänge for Voice, Viola, and Piano, Op. 91 (1884)

Turina Escena andaluza for Viola, String Quartet, and Piano, Op. 7 (1912)

Kreisler Syncopation for Viola, Cello, and Piano (1924)

Kreisler Marche Miniature Viennoise for Viola, Cello, and Piano (1924)

Various Selected works for Viola and Gypsy Ensemble

The Met season opens with Verdi’s masterful Otello, inspired by Shakespeare’s play and matching it in tragic intensity. Director Bartlett Sher probes the Moor’s dramatic downfall with an outstanding cast: tenor Aleksandrs Antonenko plays the doomed Otello; new soprano star Sonya Yoncheva sings Desdemona, Otello’s innocent wife and victim; and baritone Željko Lucic plays the evil Iago, who masterminds Otello’s demise. Dynamic maestro Yannick Nézet-Séguin conducts.

The Met season opens with Verdi’s masterful Otello, inspired by Shakespeare’s play and matching it in tragic intensity. Director Bartlett Sher probes the Moor’s dramatic downfall with an outstanding cast: tenor Aleksandrs Antonenko plays the doomed Otello; new soprano star Sonya Yoncheva sings Desdemona, Otello’s innocent wife and victim; and baritone Željko Lucic plays the evil Iago, who masterminds Otello’s demise. Dynamic maestro Yannick Nézet-Séguin conducts.

Leave New York behind and be transported to the lush and harmonious world of the British Isles. Vaughan Williams' splendid Serenade to Music sets the tone for this sumptuous program of music and texts from across the pond. Other highlights include Parry's stirring Jerusalem ("And did those feet in ancient times") and his grand anthem Blest Pair of Sirens. Works by Holst will feature the shimmering Ave Maria for women's chorus in 8 parts, and the inspiring hymn "I vow to thee my country" from The Planets. Excerpts from oratorios by Elgar and others will evoke the British Empire at its peak. And to mark the 400th anniversary of the death of Shakespeare, we will be performing the three winning pieces of the Sorel Medallion, each work composed on texts by the great Bard of Avon.