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LaVergne Monette, soprano

New Orleans Opera is very proud to present a new interview with soprano LaVergne Monette, the winner of the Lifetime Achievement in Classical Arts Award from the Gambit affiliated, Big Easy Awards. The interview is conducted by Founder and Artistic Director of the award-winning OperaCréole, New Orleans Opera artist and Advisory Board Member, Givonna Joseph, and directed by Dylan Trần.

Ms. LaVergne Monette is a native of New Orleans who has broken racial barriers in opera and has given honor to our city through her international success as an operatic and classical artist and educator.

Givonna Joseph interviews LaVergne Monette, Directed by Dylan Trần

Biographies

LaVergne Monette, soprano

Ms. LaVergne Monette was the 1960 winner of the National Metropolitan Opera Auditions. She also made history by becoming  the first person of color to sing a role with New Orleans Opera. This groundbreaking 1968 production of Carmen included Ms. Monette as Mercedes next to Ruth Falcon as Frasquita. It was staged by Arthur Cosenza and conducted by Knud Anderson. LaVergne Monette would later sing Mercedes, Micaëla, and many other roles, including Mimi in La Boheme at New York City Opera and beyond.

The New York Times said that Ms. Monette possessed “a beautiful voice with tremendous power and warmth”, and the Herald Tribune said this of her performance in the Metropolitan Opera’s concert at Lewisohn Stadium: “LaVergne Monette, a promising newcomer discovered after winning the Met auditions, breezed through the score with her exceptionally fine voice. Only a reprise tumultuously urged and willingly granted brought the evening and highly invigorating season to an end.”

Her parents, Adolph and Flora Mel Monette, made sure she had music in her life from an early age, and brought her to study voice with Nelson Francis privately, which led to her working with him while a student at Xavier University Preparatory High School.

Ms. Monette graduated from Xavier University of Louisiana’s groundbreaking opera program created by Sr. Elise Sisson, SBS,  with whom she studied voice, and sang the title role of Aida (to Nelson Francis’ Radames) and other roles in their historic productions. The great basso of New Orleans heritage, Norman Treigle, came to Xavier to stage their production of Le Nozze di Figaro with Ms. Monette as Countess Almaviva.  She and Norman Treigle would go on to perform together often. 

After attending a summer program at Chatham College in Pittsburgh, PA, Robert Lawrence recommended her to the great diva, renowned soprano Rosa Ponselle, who took her under her wing as a protégée (Ms. Ponselle was herself a protégée of the great Italian tenor Enrico Caruso).

During her time in New York, she would also study with Bert Knapp and perform at New York City Opera with Norman Treigle, Beverly Sills, and Plácido Domingo. Ms. Monette, sponsored by the Metropolitan Opera and Columbia Artists International, distinguished herself by representing the United States as a featured solo artist in a  orchestral and recital tour of Finland and on audition tours of Austria, Germany and Switzerland. 

In addition to roles with the Met and New York City Opera, she sang with Baltimore Opera, Virginia Opera, and Saratoga Opera in Florida. She even sang a role in the 1966 New York City Opera production of The Consul staged by Gian Carlo Menotti himself.

In 1987, she had the honor of being chosen as a soloist for the Papal Mass celebrated at the University of New Orleans during St. Pope John Paul II’s visit.  She also appeared in recitals in the UNICEF Pavillion of the Louisiana World’s Fair in 1984. Ms. Monette was also a featured soloist in recitals at New York’s Town Hall and Carnegie Hall.

Throughout her career, LaVergne Monette has divided her talents between performances and nurturing young artists by teaching voice, performance, acting and world languages all over the U.S.  She taught privately in New York, at Illinois State University, Indiana University at Bloomington, and at Xavier University and Delgado Community College in New Orleans, Louisiana. She also gave back to the community through her work with elementary school children at St. Rita’s Catholic School in New Orleans.

Ms. Monette has also been a champion of New Orleans Creole culture. In 2000, she was featured on Sybil Kein’s CDs Creole Classique Music for a New Orleans Soirée. This CD brought the music of 19th Century New Orleans free composers of color to life, and she was a soloist in Dr. Kein’s CD Songs of Romance.

In retirement, Ms Monette continues to use her beautiful voice singing in Carol Dolliole’s choir at St Augustine Church in Faubourg Tremé, at St. Anthony of Padua with Larry Lydon, organist and member of the New Orleans Opera Chorus, and  at other churches throughout New Orleans. In 2017 she received the “Lift Every Voice” Legacy Award from the National Opera Association. She currently resides in New Orleans and is thankful to God for all her blessings.

Givonna Joseph, OperaCréole 

As Founder and Artistic Director of the award-winning OperaCréole, Ms. Joseph’s research on operatic composers of African descent has been featured in The New YorkerSouthern Living magazine, and on NPR. She was previously honored as a standard bearer of Louisiana culture on Le Grand Tour, a documentary for French TV, and Music Inside Out with Gwen Thompkins.

Her company received The Gambit affiliated Classical Arts Awards in 2018, and 2019. In 2020, The Coalition for African Americans in the Performing Arts (CAAPA) of Washington, D.C. honored them.

Since 2011, the international soloist, along with her daughter, OperaCréole co-founder Aria Mason, has successfully mounted lost operas by composers of color such as Samuel Coleridge Taylor’s Thelma, and Lucien Lambert’s La Flamenca.

In 2018 they created an original opera  The Lions of Reconstruction: From Black Codes to the Ballot Box in honor of New Orleans’ tricentennial.

Ms. Joseph teaches private voice, and specializes in Arts Integration using the science of music, and Creole culture.

She previously served as Education Director for the Louisiana Philharmonic Orchestra, and as a singer, the mezzo-soprano has sung featured roles in many New Orleans Opera productions, and serves on their Advisory Board. She has also performed with Houston Grand Opera, and sang a leading role in Wading Home, which told the story of Hurricane Katrina.

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News

WWNO Interview – The Guild Home Concert

Thank you to WWNO and Diane Mack for this interview with General Director, Clare Burovac and for sharing our news about the 20-21 Season Opening concert!

Click below to listen.

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News

Season’s Greetings!

We hope you’ll enjoy this first ever collection of New Orleans Opera Chorus holiday videos. No one knows better than I do that every season our productions feature many talented soloists who combine their voices to produce a glorious and powerful choral sound. We’re still reminiscing about Joan of Arc, performed in the Mahalia Jackson Theater this past February. This film, however, allows our choristers to shine as individual artists. Given free rein to choose music sacred or secular, a cappella or accompanied, they’ve come up with a true listening feast for all of you!

Several accompany themselves on guitar or piano, and some are singing in their native languages or presenting songs that are culturally significant to them. Others are just indulging in pure fun! I hope this video showcase will allow you to get to know more personally several members of the Opera Chorus. We love what we do, and we cannot wait to be together again onstage.

From all of us, to our treasured opera family, we wish you a safe and happy holiday celebration, and a bright and better new year in 2021!

Carol Rausch, Chorus Master

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Tip Jar

In this season of giving, if you are able to do so, please consider making a special gift to support New Orleans Opera during these difficult times. All donations connected to the chorus holiday video will go directly to supporting our local singers and providing opportunities for them to perform again for you.

To donate, click the Tip Jar button above. Then, after signing in, click the drop down link in Donor Level and choose: Tip Jar! Holiday Chorus Donation.

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News

Bryan Hymel and Irini Kyriakidou

New Orleans Opera is proud to present The Opera Guild Home Concert with Bryan Hymel and Irini Kyriakidou.

This production is generously underwritten with support from Drs. Ranney and Emel Songu Mize.

The concert is now on-demand!

To access your link after purchasing, click Download Tickets on your email confirmation. It may take several minutes to arrive in your in-box. Note to our current 2020-2021 Subscribers: You already have a link reserved for this concert! Call the Box Office if you did not receive your link. (504) 529-3000

World renowned opera stars Bryan Hymel and Irini Kyriakidou programmed this concert of their favorite operatic arias and duets to share with audiences around the world.  Led by Maestro Robert Lyall, and featuring pianist Michael Borowitz and a string quintet from the Louisiana Philharmonic Orchestra, this performance takes place in the uniquely beautiful Guild Home of the New Orleans Opera.  The performance includes selections from Tosca, Romeo and Juliet, and Samson and Delilah, among others.  Join us for an evening of great music, including an exclusive tour of the historic Opera Guild Home and its treasures.

Artists

Robert Lyall, conductor

Irini Kyriakidou, soprano

Bryan Hymel, tenor

Michael Borowitz, piano 

Musicians of the Louisiana Philharmonic Orchestra:

Kurt Munstedt, violin

Byron Tauchi, violin

Bruce Owen, viola

Kent Jensen, cello

David Anderson, bass

Featuring docents from the New Orleans Opera Women’s Guild 

Sonda Stacey, President 

Stephanie Sheridan, Docent Chair 

In order of appearance: 

Elizabeth Viener 

Erin O’Sullivan Fleming, M.D.

Graziella de Ayerdi 

Karen Milanese 

Melissa Gordon 

Ticket information

Please consider making a donation at the time of your purchase in addition to the $20 ticket price to equal the seating level you would have chosen at The Mahalia Jackson Theater for the Performing Arts. For your reference, the pricing levels at the theater are listed below. You support is essential to realize our commitment to keep opera alive in New Orleans. It is through your generosity that we will continue to create beautiful music together.

Thank you for considering this extra gift as this challenging time.

  • Tickets are $20 per link.
  • Purchase your ticket online by clicking the button above or call the Box Office at (504) 529-3000 M-F, 9:00 AM – 4:30 PM.
  • The concert premieres on January 15, 2021 at 7:30 PM and will be available for purchase and to view until February 15, 2021.
  • The link to view will be mailed on Friday, January 15, 2021 – if you purchase after the premiere date the link will be available in your print at home ticket that comes to you with your purchase confirmation.

A message to subscribers: Your link to view this concert is secured with your subscription and will be emailed to you on January 15, 2021. If you are not sure how to view the concert, please email info@neworleansopera.org and someone will call you!

How to watch this program

This recorded production will be available online via YouTube. Please make sure you are able to access this platform before making your purchase. If you cannot watch on January 15, the link you will receive will be active for one month and you may view it at any time during that period. Tickets will be available to purchase until February 15, 2021.

Single Ticket Concert Pricing Levels for Your Donation Reference.

Price Level and Ticket Amount
  • Price Level 1 – $110
  • Price Level 2 – $80
  • Price Level 3 & 4 – $75
  • Price Level 5 – $55
  • Price Level 6 – $37
  • Price Level 7 – $25
Donation
  • $90
  • $60
  • $55
  • $35
  • $17
  • $5

A Sneak Peek

Staff of the New Orleans Opera
Clare Burovac, General Director
Robert Lyall, Artistic Director
Gina Klein, Director of Operations
Keith Christopher, Technical Director
Joanna Sternberg, Director of Development
Sarah McCall, Director of Production
Carol Rausch, Chorus Master/Music Administrator
Janet Wilson, Director of Public Relations & Marketing
Devin Johnson, Patron Services Manager
Jenny Chapman, Support Group Liaison
Dylan Trần, Marketing Coordinator
Emily Barber, COVID Officer

Filmed by Esplanade Studios
Misha Kachkachishvili, Audio Engineer
Jesse Snider, D/P Editor
Travis Marc, Videographer

For more information about the New Orleans Opera Women’s Guild, please contact supportgroupliaision@neworleansopera.org
Singers for the New Orleans Opera are represented by the American Guild of Musical Artists.
All protocols for the making of this film were in full compliance with the City of New Orleans guidelines and regulations.

Copyright New Orleans Opera, 2021
Categories
News

The Musical Journey (so far!) of Dylan Trần

Who is Dylan?

Dylan has many titles with New Orleans Opera! Among them: Chorister, Marketing Coordinator, Filmmaker, and Composer. Grab a cup of coffee, sit back, and enjoy reading about his musical journey…so far.

New Orleans Opera:
Thank you for letting us all get to know you a little better Dylan! Let’s kick it off at the beginning – tell us about your journey to a music filled life?
Dylan:

“In elementary school I was cast as Mowgli in a community theatre production of The Jungle Book. Unfortunately my family, the theatre, and I were all convinced that I was tone deaf. To be fair, I couldn’t match pitch to save my life. They changed half of my singing lines to spoken, gave the other half to other characters, and left me a single singing line: “The bees are buzzing in the trees to make some honey… just for…”, which I butchered at every performance. I was so embarrassed that I totally gave up on any hope of being a musician after that. Years later, however, I discovered My Chemical Romance, Fall Out Boy, Panic! at the Disco, and other pop-punk bands. They ignited something in me and I began saving up money for instruments, teaching myself guitar, piano, whatever I could get my hands on. I remember desperately wanting to learn the drums as a teenager, but we couldn’t afford a drum set. I knew that the local community theatre had a drum set though, so I lied about being able to play and offered my “services” in the orchestra pit for free. When they said yes, I was so excited.

Yes! I’ll get to play a real live drum set! Whelp, I better go learn how to do that…” 

I spent hours every night leading up to the first rehearsal on YouTube, absorbing as much information about drums, drummers, and drumming as I could, practicing on pots and pans, books and boxes, and my own body. When I showed up to that first rehearsal, adjusted the throne, and sat myself behind the drum kit, none were the wiser…

In my experience, teaching yourself drums and guitar is much easier (and much less expensive) than teaching yourself an orchestral instrument, so unfortunately I wasn’t equipped to participate in band or orchestra in high school. I resigned to the choir room and to after school theatre, this time with a bit more vocal facility, where I discovered my love for singing. My affair with opera began shortly after, when I stumbled into an audition for The Magic Flute my freshman year at Loyola, not knowing what opera even was or why this Mozart guy was such a big deal…”

How long have you been working with NOOA? And please tell us about your different roles within the company:

In 2014 I got a text from Carol Rausch asking if I was available to sing in the chorus for NOOA’s Le Nozze di Figaro. My college roommates can confirm, I yelped with excitement. I was 20 years old, a sophomore at Loyola, I had only just discovered (and fallen in love with) what opera even was the year before… and yet here I was with an opportunity to perform with a professional opera company! I’ve been so fortunate ever since to sing comparario roles, sword fight, learn martial arts, ballroom dance, cover roles, etc. all on the Mahalia Jackson Stage. 

One of my personal highlights as a vocalist was in our 2018 production of Terrence Blanchard’s Champion. Not only was it an honor to sing in a production by Blanchard, a living legend, but I found myself in a comprimario role that included a full duet scene with the main character! Our scene ended in a big kiss and I’ll never forget the hooting and hollering of local teens coming from the house during our Student Night Out orchestra dress.

After some time I realized that, while I was gaining valuable experience through performing with Loyola, NOOA, Krewe de Voix, the Marigny Opera House, the LPO, church choirs, and many other performance organizations throughout this amazing city… I wasn’t learning much about the business of music. I knew if I wanted to be successful, I needed to pick up that slack. Serendipitously a marketing internship opened up at NOOA. I applied, worked my butt off, and the next year we negotiated a part-time position. Now I get to work with the amazing staff at NOOA, meet so many wonderful members of our New Orleans community, and share with the world some of the things I love most: music and the people who make it possible.

Do you ever have internal struggles/conflicts while working on both the administrative and artistic side of the the company at the same time?

I try to be thoughtful about working on the administrative and artistic side of things simultaneously. In the ‘19-’20 season I was in the choruses of both Carmen (Bizet) and Joan of Arc (Tchaikovsky), while also “premiering” my staff role as Marketing Coordinator. Balancing my chorus duties with my marketing duties isn’t always the easiest thing to do… in many rehearsals I would be singing high As alongside the other tenors one moment, then I would run off stage to take photos of the principals the next moment. Occasionally I wouldn’t be able to sing with the rest of the chorus for certain passages in rehearsals, so that I could ensure our video/audio gear was recording the content that we needed for promoting these productions. It then becomes even more imperative that I’m doing the sufficient preparation on both ends, to make up for having responsibilities in multiple areas. 

Dualities are in my blood, though. Being of mixed race, having a father who was an immigrant from Viet Nam and a mother who is a Louisiana native, I have been raised having to navigate two cultures and two lived experiences. Even in college I was both a conductor and an ensemble member, both a performer and a composer, spending my afternoons in opera rehearsals before running to bars to play with my rock band in the evening. My family comes from poverty and yet I work in this affluent field. I spend my time studying the folk songs of Pham Duy, the orchestrations of Maurice Ravel, the lyrics of Childish Gambino, etc. While I acknowledge the difficulty of balancing seemingly juxtaposing responsibilities, I have to admit that for me there is a comfortability, even a preference at this point, in existing in and moving between these different worlds. 

And now on to your art! The Song of Songs, tell us about the inspiration for this piece. What has been foremost in your mind about seeing and hearing it with a live audience for the first time?

As soon as the pandemic was on the news, I knew that opera was going to have to adapt. I immediately started brainstorming different ways that these traditional pieces could be adapted to be socially distanced. But then I thought… why try to adapt these traditional works, when you could create new works specifically to be socially distanced? Throughout history composers have adapted their music to meet the needs of the medium in which it was being performed. Why should this be any different?

As for the subject matter, I have always found the Song of Songs to be a deeply beautiful text. During lockdown, when I and many others were forced into quarantined solitude, I found myself longing for the kind of intimacy present in the Song of Songs. I feel that the very intimate language in that text, these things that you would whisper into a lover’s ear from centimeters away, take on a different meeting when your forced to say them from 6ft apart (or, in the case of our AGMA Safety Stipulations, the sing them from 15ft apart). 

The piece is written specifically to meet COVID safety guidelines. There is minimal orchestration (only a cellist and a violinist), only two soloists, and an optional small chorus.

The different singers are socially distanced and the music is written in a way that is conducive to this- taking inspiration from the antiphonal courting practice of the indigenous Hmong people in the mountains of North Vietnam, antiphonal Gregorian chants, and harmonies that very in complexity in relation to the physical closeness of those players. When musicians are in close proximity the harmony is more modulatory, but when the texture is more antiphonal the harmony eases into minimalism to better facilitate a satisfying aural experience. 

Do you have a vision for this piece beyond its recent November 8th debut with our Opera Nouvelle concert at NOMA?

“Every piece you write is practice for the next piece.” I can’t remember who said it, but those are words I live by. The best I can hope for this piece is that it informs my future writing, socially distanced or otherwise. 

That being said, because this piece was meant as a way to make live opera possible in a COVID world, I have sent Song of Songs off to a couple companies around the US for review. I have also sent several excerpts to individual musicians around North America for potential performance and/or recording of the antiphonal a capella duets and solo arias. 

Will you please stay and work in marketing for NOOA even after you are a famous composer?

LOL, who knows what the future holds! All I can say is that I consider myself endlessly fortunate to be a part of this company right now. The staff has been a dream team as we explore new and different ways to share the art of opera, and our community has been so receptive to our efforts. I always feel encouraged by my boss(es) to explore my creativity in every avenue of my interest  and the team is always there to help and support- an absolutely invaluable opportunity in my growth as a professional, an artist, and a person. 

ALSOOOO…

I’m one of the composers on this really cool virtual concert.

White Snake Project has collected stories from essential workers about their experiences working on the front lines – from medical personnel, hospital housekeepers, grocery store workers, delivery people, and others – what they do, how they’ve been coping, their hopes, their fears, their families and their despair – anything they’re moved to write about. They’ve paired their texts with composers to make songs about working in pandemic times so that the rest of us can be safe.

The concert you’ll be attending features LIVE singing by our two singers and LIVE playing by our cellist and pianist as they perform in the safety of their homes. We’re building on technology developed by Jon Robertson, our audio engineer, for Alice in the Pandemic which allows artists to perform live synchronously from remote locations.

Thanks for reading and if you are on our social media accounts, give Dylan a thumbs up or shout out every once in a while!
Categories
News

Three Decembers

New Orleans Opera is partnering with Opera San José!

World-renowned mezzo-soprano Susan Graham leads the cast of Opera San José’s first fully-staged digital production, Jake Heggie’s THREE DECEMBERS, based on Tony Award winning playwright Terrence McNally’s unpublished play, “Some Christmas Letters.” With a brilliant, witty libretto by Gene Scheer and rich, soaring score by Jake Heggie, THREE DECEMBERS is a full-hearted American opera about family – the ones we are born into, and those we create.

  • Tickets are $40 for a link to stream at your convenience.
  • Today through December 31st!
  • Purchase a ticket from this link to support New Orleans Opera!
Categories
Event News

Opera to Geaux

Performance Dates:

December 11, 2020 – December 24, 2020

It’s a great experience to enjoy during the holidays, for birthdays, or to celebrate any special event. A half-hour concert is $350 (includes a tax-deductible donation to New Orleans Opera). Does that sound like a lot? Gather some friends and share the cost (please be mindful of COVID limits, however!)

OR call today to reserve your performance time, (504) 529-3000. Our Opera to Geaux singers are Spencer Reichman, baritone (pictured below), Nicole Heinen, soprano, and Kameron Lopreore, tenor.

Please reserve at least three days prior to the date of your concert. All performances will be subject to availability and certain limits will apply.

Please note: All COVID-19 regulations will need to be observed for the safety and health of both the recipient(s) and the performer including social distancing, masking, etc.

See you in your driveway!

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Adult Education News

Masterclass Monday

Masterclass Monday

New Orleans Opera and Loyola University have a long and rich relationship, with a history of many partnerships, including Masterclasses. We are proud to collaborate again this year in the virtual environment, and we are excited that we can invite you to join us.

Masterclasses play a very important role in the development of a young singer. According to Fred Plotkin, “Masterclasses are one of the most fascinating aspects of the process of taking talented but inexperienced young singers and trying to polish and mold them while allowing them to retain what makes them special.”

New Orleans Opera is grateful to those participating in this Masterclass Series for allowing us a glimpse into the special journey of an opera singer. Join us! Click here for Greer Grimsley’s Masterclass and here for Jane Eaglen’s.

JANE EAGLEN – December 14, 2020

  • 7:00 pm – 9:00 pm CST
  • Sponsored by Loyola University
Students:

Antonio Domino, tenor
Julianna Espinosa, soprano
Julia Tuneberg, soprano
Jeremiah Tyson, tenor

About Jane Eaglen:

Jane Eaglen has enjoyed one of the most formidable reputations in opera for the past two decades. Her performances of roles such as Isolde in Tristan und Isolde, the title roles in Puccini’s Turandot, Bellini’s Norma, and Strauss’s Ariadne auf Naxos, and Brünnhilde in Wagner’s Der Ring des Nibelungen have earned her acclaim on stages of the leading opera houses of the world, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House, Covent Garden, Teatro alla Scala, Vienna State Opera, and l’Opéra National de Paris.

Read more about Jane on her website here.

Jane Eaglen, photo courtesy of New England Conservatory

GREER GRIMSLEY – December 7, 2020

  • 7:00 pm – 9:00 pm CST
  • Sponsored by the New Orleans Opera Association
Students:

Samuel Ater, bass-baritone
Nora Cullinan, soprano
Veronica Samiec, soprano
Alysa Foster, soprano
Garrin Mesa, baritone

About Greer Grimsley:

Greer Grimsley is internationally recognized as an outstanding singing actor and one of the most prominent Wagnerian singers of our day. Continuing his reign as a leading interpreter of the god Wotan, he sang the eminent role once again in the Spring of 2019 for the Metropolitan Opera’s Der Ring des Nibelungen in the reprisal of Robert Lepage’s landmark production from 2013. New Orleans is lucky to have Greer and his family call the city home!

Read more about Greer on his website here.

Courtesy of Loyola University from a previous Masterclass, Carol Rausch, Kameron Lopreore, and Greer Grimsley
View upcoming Loyola Music Events Here.

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News

Diane Mack, Morning Edition Host Interviews Clare

Thank you to WWNO and Diane Mack for sharing our news and for helping us introduce Clare to the City with this informative and charming interview.

Click below to listen.

Categories
News

Season Update from General Director, Clare Burovac

With the winter holidays upon us, New Orleans Opera is continuing to monitor the evolving guidelines for COVID-19, including its restrictions for performing arts organizations in New Orleans.

Given the ongoing uncertainty regarding the safety of large-scale gatherings, it has become clear that adjusting all of our originally planned winter and spring programming is the right decision for our staff, artists, and audience members.

We are incredibly grateful to our entire subscriber and donor community for continuing to support New Orleans Opera. Many opera companies have had to make the difficult decision to close outright for the 2020-2021 season. Because of all of you, we have been able to adapt our artistic programming for these ever-changing times.

Please note the following adjustments to our original program schedule:

Beethoven’s Fidelio, Mozart’s The Magic Flute, and Puccini’s Madama Butterfly have been cancelled.

Digital performances are on the way!

New Orleans Opera will be collaborating with the Louisiana Philharmonic Orchestra for a concert of operatic favorites, to be presented as a streaming event in January through the LPO’s Orpheum Sessions.  All subscribers will have access to this digital concert, as well as a recital filmed at the beautiful Women’s Opera Guild Home in the Garden District, featuring internationally acclaimed tenor Bryan Hymel and soprano Irini Kryiakidou, joined by pianist Michael Borowitz, Artistic Director of Opera Louisiane.

Live performances will continue!

New Orleans Opera will present Gian Carlo Menotti’s well-loved chamber opera The Medium on March 19 and 20.  The City of New Orleans currently does not allow indoor performances, so our production will take place in an outdoor venue to be determined. Tickets will be extremely limited, due to restrictions on outdoor gatherings, but NOOA subscribers will have guaranteed access to these performances.

The Gershwins’ Porgy and Bess will be performed live in concert on April 30 and May 1, venue TBD.  We’ll give you all of the greatest hits from one of America’s best loved operas, while shortening the evening and presenting it outdoors to keep you safe.

Subscribers, please know your subscription to all of these events is secure and the Box Office will be in touch with you soon.

And finally, following the sold-out success of Opera on Tap’s Guild Home concerts in October, we’re planning another Opera on Tap – In our Yard! series in April.  Details regarding dates and programming will be available on our website in early 2021.

There’s nothing we want more than to gather together as a community to enjoy the majesty and beauty of live opera, but until we can do so again, we are wishing you continued good health and happiness. 

We look forward to seeing you and thank you for being part of the New Orleans Opera family!


Sincerely,

Clare Burovac, General Director