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University Opera Theatre 

University Opera Theatre presents one fully-staged operatic production each semester. Under the direction of Professor David Walsh, this ensemble has won notable prizes and has produced singers who now perform on major stages across the US and Europe. University Opera Theatre provides students with the opportunity to be involved in all aspects of fully staged opera productions. Admission is by audition only.

SPRING 2019
Four Acts From Grand Opera

April 11 Performance of University Opera Theatre's Four Acts From Grand Opera Cancelled Due to Inclement Weather

Due to inclement weather conditions, and for the safety of students, faculty, staff, and patrons the University of Minnesota School of Music has decided to cancel tonight's (4/11) production of University Opera Theatre's Four Acts From Grand Opera at Ted Mann Concert Hall.

Ticket holders for this evening's performance are encouraged to exchange their ticket(s) for another performance of Four Acts From Grand Opera. Tickets can also be donated to the School of Music or refunded.

Please contact U of M Tickets and Events at 612-624-2345 to exchange to another performance, or to request that your ticket value be donated, or to request a refund. U of M Tickets and Events is open 10 am to 5 pm, Monday through Friday.

University Opera Theatre presents Four Acts from Grand Opera 
Jeffrey Madison, director. Mark Russell Smith, conductor.

University Opera Theatre students perform Act III of Verdi’s La Traviata, Act III of Giacomo Puccini’s La Boheme, excerpts from Act II of Ludwig van Beethoven’s Fidelio, and Presentation of the Rose and Final Trio and Duet from Richard Strauss’s Der Rosenkavalier.

Opera, the most ambitious collaborative dramatic art form, has recently entered its fifth century of existence. In that time, opera’s true gift has been the ability to lift the heroes of Greek and Norse mythology to monumental heights while conversely capturing the tender moment of the first kiss between peasant lovers. University Opera Theatre proudly pays tribute to the golden age of opera with selections from, Verdi’s La Traviata, Puccini’s La Bohéme, Der Rosenkavalier by Richard Strauss, and a look at the bridge to the Romantic period with Beethoven’s Fidelio. The spring production is a celebration of opera as it traces the history of Western art and philosophy while standing poised to reflect the future of modern musical drama.

Pre-opera lobby discussion begins 45 minutes before each performance.

Friday, April 12 at 7:30 pm       
Saturday, April 13 at 7:30 pm
Sunday, April 14 at 1:30 pm

Ted Mann Concert Hall

$20 advance adults; $25 adults week of performance
$5 students & children
$15 for U of M Faculty, alumni, retirees, and staff.
tickets.umn.edu or 612-624-2345

Buy Tickets
 

University Opera Theatre and Arbeit Opera Theatre present Menotti’s The Consul 
Music & Libretto by Gian Carlo Menotti. David Radamés Toro, director. Lara Bolton, music director. Jennifer Mack, choreographer. Kelly Turpin, founder and executive director of Arbeit Opera Theatre. Ho-Yin Kwok, conductor.
Performance featuring students accompanied by piano. Presented by University Opera Theatre & Arbeit Opera Theatre.

This riveting American political drama earned the 1950 Pulitzer Prize for music. 

The Consul is a story of immigration, centering around a young family trying to flee their totalitarian country. Their requests for a visa are continuously denied by a Bureaucracy which only sees socio and political standing.

A government raid on a secret meeting forces political activist John Sorel to abandon his family and flee the country. In hope of ensuring his safety his wife, Magda Sorel appeals to the consulate of a neighboring country to provide their family sanctuary. There she meets The Secretary, gatekeeper of the Consul and purveyor of paperwork, whose adherence to bureaucracy obstructs the hopes of immigrants seeking asylum. As the months pass, long waits at the consulate and frequent visits from the police cause the Sorel family’s wellbeing to deteriorate and Magda’s mental health to unravel. Having lost seemingly everything, she must decide how to flee political strife and find peace. 

Cast
Mary Kate Hubbard as Magda Sorel  
Will Bryan as John Sorel                                          
Mikalia Bradberry as Mother
Ji Lu as Police Agent
Rosemary Joyce as Secretary                                           
Tanner VanderKrabben as Mr. Kofner                                           
Sarah Howes as Foreign Woman                                 
Jiyeon Hwang as Anna Gomez                                      
Lauren Bird as Vera Boronel                                     
Wesley Frye as Magician                                            
Sullie Ojala Helmbolt as Assan 
Annie Mercado as Soprano on Recording        

Pre-opera lobby discussion begins 45 minutes before each performance

Wednesday, March 13, 2019 at 7:30 pm
Thursday, March 14, 2019 at 7:30 pm

Ted Mann Concert Hall
 

FALL 2018
University Opera Theatre presents Benjamin Britten's Albert Herring 
Libretto by Eric Crozier. Christina Baldwin and Jennifer Baldwin Peden, directors. Mark Russell Smith, conductor. Sung in English.  

In 1947, on the heels of his widely acclaimed serious opera, The Rape of Lucretia, Benjamin Britten decided to abruptly pivot and aim for an even more challenging project by writing his first comedy. The source material for Albert Herring was Guy de Maupassant’s novella Le Rosier de Madame Husson and Britten’s librettist, Eric Crozier, cleverly suggested adapting the storyline and location to a place resembling Suffolk, Britten’s childhood home. Whether your hometown is in the Midwest, the Far East, or in Britten’s comic village—every town tends to share this universal and quirky cast of characters. There is a pact that is unwittingly signed when you live in a small community. It is an agreement to be a player in the routines and games of the dominant members and to observe the pageants, hazings, and ceremonies with the greatest respect (and private disdain). Our Albert Herring is full of nostalgia for a condition we have all endured—biding our time with the rules and mores of our clan until we have the strength or stupidity to rebel. But it’s Britten’s loving attention to musically illuminating the absurd as well as the deeply heartfelt feelings of these odd souls that set the stage for the best comedic payoffs.

Pre-opera lobby discussion begins 45 minutes before each performance.

Thursday, November 15 at 7:30 pm
Friday. November 16 at 7:30 pm
Saturday, November 17 at 7:30 pm
Sunday, November 18 at 1:30 pm

Ted Mann Concert Hall
 

University Opera Theatre Photos

  • Group of women in purple dresses singing together in Lady in the Dark
    Kurt Weill’s Lady in the Dark (Spring 2016), photo by Les Koob
  • Woman in a wedding dress singing on a podium with several women surrounding her
    Kurt Weill’s Lady in the Dark (Spring 2016), photo by Les Koob
  • Ringleader man on a red bucket with several people dancing around him
    Kurt Weill’s Lady in the Dark (Spring 2016), photo by Les Koob
  • Several people with their arms up in a circus setting
    Kurt Weill’s Lady in the Dark (Spring 2016), photo by Les Koob
  • One woman singing with her arms out and a man standing behind her with his arms crossed
    Kurt Weill’s Lady in the Dark (Spring 2016), photo by Les Koob
  • A woman singing on a stage with a cross in the background
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • Woman pointing a gun at onlookers while singing
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • Group of people singing with violin player in the center on stairs
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • One kneeling man and a woman singing
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • Several people watching a man sing on a set of stairs
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • Man kneeling and a woman on a stage turning away from him
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • A man fallen in front of a cross with a woman holding him
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • People dancing on stage with a cross in the background
    Carlisle Floyd’s Susannah (Fall 2015), photo by Les Koob
  • Group of people in Victorian dress singing
    W.A. Mozart's Le Nozze di Figaro (Spring 2016), photo by Les Koob
  • Woman dressed as a maid singing with an elderly woman in Victorian dress
    W.A. Mozart's Le Nozze di Figaro (Spring 2016), photo by Les Koob
  • Several people in Victorian dress exiting a door
    W.A. Mozart's Le Nozze di Figaro (Spring 2016), photo by Les Koob
  • A woman holding a gun and a sword with two men in suits next to her
    W.A. Mozart's Le Nozze di Figaro (Spring 2016), photo by Les Koob
  • A man and a woman getting married with onlookers in Victorian dress
    W.A. Mozart's Le Nozze di Figaro (Spring 2016), photo by Les Koob
  • Four people on stage with dark lighting singing
    W.A. Mozart's Le Nozze di Figaro (Spring 2016), photo by Les Koob
  • A vixen (woman dressed as a fox) tied up to a tree stump
    Leoš Janáček’s The Cunning Little Vixen (Fall 2014), photo by Les Koob
  • A family of foxes talking
    Leoš Janáček’s The Cunning Little Vixen (Fall 2014), photo by Les Koob
  • Fox woman fighting with two men
    Leoš Janáček’s The Cunning Little Vixen (Fall 2014), photo by Les Koob
  • Fox woman hunting hens
    Leoš Janáček’s The Cunning Little Vixen (Fall 2014), photo by Les Koob
  • Vixen standing triumphantly after killing chickens
    Leoš Janáček’s The Cunning Little Vixen (Fall 2014), photo by Les Koob
  • Group of women in purple dresses singing together in Lady in the Dark
  • Woman in a wedding dress singing on a podium with several women surrounding her
  • Ringleader man on a red bucket with several people dancing around him
  • Several people with their arms up in a circus setting
  • One woman singing with her arms out and a man standing behind her with his arms crossed
  • A woman singing on a stage with a cross in the background
  • Woman pointing a gun at onlookers while singing
  • Group of people singing with violin player in the center on stairs
  • One kneeling man and a woman singing
  • Several people watching a man sing on a set of stairs
  • Man kneeling and a woman on a stage turning away from him
  • A man fallen in front of a cross with a woman holding him
  • People dancing on stage with a cross in the background
  • Group of people in Victorian dress singing
  • Woman dressed as a maid singing with an elderly woman in Victorian dress
  • Several people in Victorian dress exiting a door
  • A woman holding a gun and a sword with two men in suits next to her
  • A man and a woman getting married with onlookers in Victorian dress
  • Four people on stage with dark lighting singing
  • A vixen (woman dressed as a fox) tied up to a tree stump
  • A family of foxes talking
  • Fox woman fighting with two men
  • Fox woman hunting hens
  • Vixen standing triumphantly after killing chickens


About the Director

David Walsh Portrait
David Walsh, associate professor of opera, is the director of University Opera Theatre. After graduating in political science and economics, he studied theatre science at the University of Toronto. His career has taken him to such opera houses as the Paris Opera (Fidelio: Ozawa, Behrens, Vickers), the Royal Opera House, London, and the Netherlands Opera, Amsterdam. He has been a resident stage director with Scottish Opera, Frankfurt Opera, and Deutsche Oper am Rhein in Düsseldorf. Walsh has directed opera in North America, Europe, China, Japan, and Israel. With a professional career spanning more than 25 years and two continents, Walsh has successfully combined the artistic flair expected of a director and teacher with the organizational and management abilities required of an administrator.


Past Opera Theatre Seasons

  • Spring 2018: Jacques Offenbach’s Orpheus in the Underworld 
  • Fall 2017: W.A. Mozart’s Idomeneo
  • Spring 2017: Giacomo Puccini’s Suor Angelica and Gianni Schicchi
  • Fall 2016: Benjamin Britten’s The Rape of Lucretia
  • Spring 2016: Kurt Weill's Lady in the Dark
  • Fall 2015: Carlisle Floyd's Susannah
  • Spring 2015: WA Mozart's Le Nozze di Figaro
  • Fall 2014: Georges Bizet's La Tragedie de Carmen
  • Spring 2014: Leoš Janáček’s The Cunning Little Vixen (The Adventures of Vixen Sharp Ears)
  • Fall 2013: Bedřich Smetana’s The Bartered Bride
  • Spring 2013: Benjamin Britten’s A Midsummer Nights Dream
  • Fall 2012: Giuseppe Verdi's Falstaff
  • Spring 2012: Robert Aldridge's Parables
  • Fall 2011: WA Mozart's Così fan tutte
  • Spring 2011: Johann Strauss's Die Fledermaus
  • Fall 2010: Robert Aldridge's Elmer Gantry
  • Spring 2010: WA Mozart's Die Zauberflöte
  • Fall 2009: Stravinsky in Paris: Le Renard (The Fox), Mavra, and Le Rossignol
  • Spring 2009: Leoš Janáček's Jenůfa
  • Fall 2008: Benjamin Britten's Rape of Lucretia
  • Spring 2008: Claudio Monteverdi's The Coronation of Poppea
  • Fall 2007: Kurt Weill's The Seven Deadly Sins and Giacomo Puccini's Suor Angelica
  • Spring 2007: Kurt Weill's Street Scene
  • Fall 2006: WA Mozart's Le nozze di Figaro
  • Spring 2006: Giacomo Puccini's La Bohéme
  • Fall 2005: Benjamin Britten's The Turn of the Screw
  • Spring 2005: WA Mozart's Don Giovanni
  • Fall 2004: Francis Poulenc's La Voix Humaine and Giacomo Puccini's Gianni Schicchi
  • Spring 2004: Jacques Offenbach's The Tales of Hoffman
  • Fall 2003: Benjamin Britten's Albert Herring
  • Spring 2003: Conrad Susa's The Dangerous Liaisons
  • Fall 2002: Richard Strauss's Ariadne auf Naxos

Learn more about the Vocal Arts at the University of Minnesota.