Top 4 Most Impressive Sets

Whether they're realistic or fanciful, literal or abstract, naturalistic or architectural, sets are an important element in creating the world of a particular opera. Here are just a few of our favorite scenic designs from recent productions:

#1: Natural beauty in the Ring

Top Photo © Elise Bakketun | Left Photo © Elise Bakketun | Right Photo © Alan Abastro

Top 4 Costumes

Opera transports the audience to worlds far away from the everyday, and costumes play a big role in creating that on-stage magic. Here are just a few of our favorite outfits from recent productions:

#1: The glam rock-inspired noblemen from Count Ory

© Jacob Lucas

Praise for Count Ory

Seattle Opera presents The Wicked Adventures of Count Ory. Jacob Lucas photo

THE SEATTLE TIMES - Melinda Bargreen
Read: Count Ory bubbles with vibrant visuals, sensational singing
“Fast-paced and fun!”

“Frothy, fast-paced, and irresistibly funny: Count Ory may go down in history as Seattle Opera’s most uproarious season-opener ever. The opening weekend had opera patrons asking each other, ‘Why don’t companies produce this work more often?’”

“…[presented] with a tongue-in-cheek storybook ambiance that was met with wild enthusiasm in the audience.”

Sarah Coburn (Countess Adèle), Hanna Hipp (Isolier) and Lawrence Brownlee (Count Ory). Philip Newton photo

“Australian stage director Lindy Hume kept the action continually on the boil, while Dan Potra’s ingenious designs provided an ever-changing set with elements that revolve, slide, open, and close constantly into new forms, all beautifully lighted by Duane Schuler…much to the delight of operagoers."

“The over-the-top costumes (which, like the set, were built by Seattle Opera) seem to draw inspiration from Liberace or Elton John, with a side of Monty Python: there are wild colors, frills and spangles, as well as codpieces in remarkable dimensions."

Patrick Carfizzi (The Tutor) with members of the Seattle Opera Chorus. Philip Newton photo

“All the entertaining visuals are the backdrop to some spectacular singing.”

“The ensemble work was terrific."

“Giacomo Sagripanti’s conducting kept the fast-paced score galloping along, while attentively supporting the singers. A hearty ‘Bravi’ to his fleet-fingered orchestra.”

SEATTLE WEEKLY – Gavin Borchert
Read: Seattle Opera’s Spicy Comedy Is Second to Nun

“Dan Potra’s ingenious set design [is] full of smart visual play."

Sarah Coburn (Countess Adèle) with Hanna Hipp (Isolier) and members of the Seattle Opera chorus. Philip Newton photo

THE STRANGER – Rebecca Brown
Read: Giacomo Rossini’s Gender Fluid Count Ory Explores Lust and Sex at Seattle Opera

“Seattle Opera’s new production of Rossini’s final comic opera is about the fluidity of gender, how we often don’t look like who we are, the vicissitudes of lust, and the lengths people go to get in the sack with someone.”

“The sets and costumes make this production."

Barry Banks and members of the Seattle Opera Chorus. Jacob Lucas photo

“…terrific soprano Sarah Coburn…”

“Seattle Opera favorite tenor Lawrence Brownlee is hilarious as the Count, the hermit, and the female Ory disguises himself as in Act II.”

“In this world, where time can slip forward and back through the centuries and gender is only as fixed as the clothes you wear, everyone ends up in harmony together."

Hanna Hipp (Isolier) with sets by Dan Potra. Philip Newton photo

SEATTLE POST-INTELLIGENCER – Alice Kaderlan
Read: A Rollicking Night at the Opera

“At its best, opera should be total theater, not just first-rate singing and music but also top-notch acting, staging, and movement. By this or any other standard, Count Ory is a winner. From the opening moments to the rollicking closing scene, Ory is a nonstop hoot.”

“…so much frivolity and fun!”

“…the entire cast was in terrific voice.”

“Conductor Giacomo Sagripanti kept the orchestra going at sometimes-breakneck speed while everyone, onstage and off, seemed to be having the time of their lives."

Lawrence Brownlee (Count Ory), center; Rodion Pogossov (left) and members of the Seattle Opera Chorus. Philip Newton photo

The Wicked Adventures of Count Ory
Aug. 6, 7, 10, 13, 17, 19, & 20, 2016
Tickets & info: seattleopera.org/ory
#SeattleOpera

Count Ory: History of a Dirty Joke

Some Rossini comedies are G-rated. The Barber of Seville, La Cenerentola, and The Italian Girl in Algiers are great operas for little kids. (Enjoy music from our productions of these shows on SOUNDCLOUD.) Not only are those three full of zany humor; their music is extremely accessible to young people, full of catchy tunes, dazzling pyrotechnics, and—most importantly for young listeners—propulsive rhythms. These three operas also teach important lessons. The stories reward characters who display loyalty, perseverance, humility, and quick thinking, whereas characters who are bossy, cruel, selfish, or vain get punished by the great scourge of comedy: laughter. And in Rossini’s Italian comedies, all the characters—even the villains—always live happily ever after.

Count Ory marches to a different drumbeat. Written in French, this sex-obsessed opera really isn’t for little kids.