About five years ago I saw Turandot here and I've been a fan ever since. I grant I am not a highly knowledgeable attendee. I love theatre, and I know much more about theatre than I am ever likely to know on opera. In a few of the past five years, I got the three opera season tickets ( you can also do four and five opera tickets) and I can honestly say I have not seen a bad show. The productions of The Magic Flute and Turandot were among my favorites. The modern opera, Dead Man Walking was simply amazing. It's great how you can pre order drinks and desserts for intermission, and seating is comfortable and reasonably spacious. For parking be prepared to walk a few blocks and to drop anyone needing assistance at the front door. The Ordway is of course surrounded by good places to eat and drink pre and post performance. I am unsure how I feel about their "Tempo" club, which offers steeply reduced B and below seat to those 45 and under and special events. It is supposedly to attract younger patrons as Opera fans but I think it carries its age range beyond students and the truly young in an unreasonable way. Opportunities for the "old" to save are mostly around poorer season tickets, it seems unbalanced and designed to attract prettier audience members. That said, if you are 45 or under and interested in trying opera, it's another incentive I grant. If you want to start slow on opera get yourself tickets to a modern opera like this seasons "The Fix", make sure to reserve that drink/desert for intermission and enjoy. It's a nice night out. read more

Minnesota Opera - My great seat for Silent Night. Loved it! - Performing Arts Near Me - Minneapolis, Minnesota

I got ticket to see a opera here couple weeks ago with my boyfriend who has always wanted to go. I purchased them online and sent by mail. Easy. No one told me that going too the opera you dress up like your going to the Oscars hahaha I just went with jeans heels and my northface same for my boyfriend minus the heels. Everyone looked so fancy we looked like were going to the bar Anyways we go to our seats and omg the seats are for like tiny ppl no room to move. My boyfriend was like wtf I cant let my friends get crushed down there. And the seats are so close to one another its a lil awkward. Other than that the show was great it was not in english subtitles were up on a lil screen so it was aannoying to look and read and look back at the actors I think it was in german. Lasted 2 hour long I couldnt feel my butt haha I am making it sound awful but really its not we are going back but prepared this time we will dress up like we millionaires and we will bring a butt pillow Good place to take a date my tickets were 25 each and the view is not bad at all. read more

Minnesota Opera - Performing Arts Near Me - Minneapolis, Minnesota

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Silent Night was beautifully performed by vocalists and orchestra. The story line is so relevant today as it was 100 years + ago. Stop the fighting, if, for only one night and perhaps, just perhaps, the fighting will end forever. To think that such a beautiful opera was first developed and performed here in, St. Paul. The Minnesota Opera is a magnificent performing arts company. I have been to operas all over the world and nothing can best what we have right here in Minnesota. Bravo, Brava, Minnesota Opera. read more

Beware: Customer service uses frustrated, underemployed MFAs with major attitude.

Beautiful, fabulous, amazing performances. I've seen Carmen, La Boheme, and Turandot. All 3 Operas were done so incredibly well, I was very impressed. La Boheme was my absolute favorite, as they portrayed it so beautifully and fluid. I am excited to see The Marriage of Figaro this coming Fall. I have heard many wonderful reviews of this opera. I would recommend anyone to see the opera here in MN. we are very fortunate in MN to be able to have these very skilled and talented opera performers in so many classic operas and for a reasonable price. read more

The Minnesota Opera is the state's resident opera company, with all performances staged at the Ordway Center in St. Paul. Five productions comprise the opera house's season, with the first in late September, and the last running through April and May. Dale Johnson, the Minnesota Opera's Artistic Director, has won some acclaim nationally for the opera house's eclectic programming. While the season typically features two beloved warhorses--such as La Bohème or Carmen--the remaining three productions explore obscure, lesser known works from the bel canto repertoire (a 19th century sub-genre that celebrates ornate singing and vocal agility), as well as works by contemporary American masters over the last three decades. In offering such a diverse program, the Minnesota Opera seems keen on pleasing multiple audiences: the opera aficionado, for whom the charms of bel canto are likeliest to appeal, and the novice, likely to be seduced by Puccini, Verdi or Mozart. Contemporary works (such as last year's much hyped staging of Pinocchio) are a hit or miss; musically they tend to lack traits many of us adore about opera, such as histrionic plots, showstopping arias and gorgeous period costumes. At the same time, contemporary pieces are crafted with a sense of realism often lacking in operatic standards (the incestuous Wagnerian storylines reach great heights of sublime absurdity). Audiences at a Minnesota Opera production resemble those at other local classical music events: older (55 seems to be the median age), White and wealthy. Still, a small cadre of younger opera queens and students of voice are always present, offering us a glimmer of hope that refined musical tastes can survive in an age of Miley Cyrus and American Idol. Sartorially, Minnesota Opera goers are comparatively informal; business wear and cocktail dresses are the norm, rather than the suits and gowns often seen at the elite opera houses, such as the Met or Lyric Opera. The occasional khaki or jean-wearing buffoon makes an appearance, but this is Minnesota, after all. In terms of seating, first row balcony boxes are the best (and priciest), and the first 10 or so rows on the main floor are the worst, acoustically and physically (you'll have to stretch your head and neck up to read the translated libretto above the stage). Rush tickets are available, but not when La Traviata or Madama Butterfly are on stage. read more

I have been deeply impressed by almost everything I have seen here in the past few years. Don Giovanni in '05 was superbly done and last year I died a little for Faust with the delectable Kyle Ketelsen (anything he is in, I will have to go to). Salome was pretty darn amazing too. I like that they bring in the the best of the best from the Opera scene and really work to make unique and often unorthodox interpretations of classics. Changing a setting can make an old favorite either abhorrent or awesome, but I like to see what the Artistic Director is going to concoct next. Someday, when I make lots of money, I will have a subscription, which really does save money in the long-run if you really love opera, but for now, I will content myself to one show a year. Next season, watch for La Traviata, the MUST see opera of all time. If you only hit one show, I'm banking that this is it. read more

The Minnesota Opera is a company inspired by bel canto ("beautiful singing") operas, the ideal upon which Italian opera is based. Bel canto values emphasize intense emotional expression supported by exquisite technique and can be seen in the selections of the opera's that they choose. They are one of the only opera companies in the country that operates with a balanced budget, and has performed new works every year. From "The Adventures of Pinocchio", "Wuthering Heights", the award winning "Silent Night", the MN Opera knows how to put together a show. As someone who loves the theater, singing, music, and drama, the MN Opera knows how to pick some of the best operas. Something that people forget is that opera was originally created for the masses. The story lines are not stuffy and a lot of them have inspired many major movies and musicals that people love (Moulin Rouge, Rent. . just to name a few). If you are under 40, there is a program called Tempo that is an awesome program to try opera out. You get tickets for 80% off the original price, get to go to a free after party with drink specials and free food on opening night, and you get to meet people like you. What could be better?? If you haven't seen an opera, I suggest you do. I will be there, so come find me and we can hang. read more

Minnesota Opera performs at the Ordway in St. Paul. I love opera as a classical art and Minnesota opera does a fantastic job, I am so happy to have this option in Minnesota. Apart from the quality of performance, the Minnesota Opera is probably the last place in Minnesota to attend a formal performance where gentlemen still wear tuxedos and ladies wear evening gowns. Sadly, even this has changed over the past few years. I've seen more jeans and casual manners which some would see as good, but I do not. I think it's good to still have a certain amount of decorum for certain events. So bring out your finest and attend a show, you won't be disappointed unless you truly do not appreciate classical music. read more

Cassanova's Homecoming. I won free tickets to the Opera on Tuesday night. I was so excited. I've always wanted to go again but the cost is too steep for my budget. This was a perfect opportunity to see it and for FREE that fits my budget perfectly. Well I'm glad I didn't pay. I'm sure it's the traditionalist who prefer the lack of microphones but I was in the 20th row in the Orchestra section and I couldn't hear 50% of the lines. I didn't feel they sang most of the lines anyway they more spoke them in rhythm. I didn't find the voices overly pleasing and the young boys voice was awful. Which I know seems cruel to say he's just a young lad, but come on with the talent we must have in this city though couldn't find a boy under 12 with a better set of pipes? I'm a fan of stage productions and how colorful and inter changeable they can be. Making a small space span the globe in 2 hours. This stage was interesting but I didn't understand the need for eyeballs on all the walls. Though the lab scene was very colorful the boat scene and the basic green kitchen were my favorite parts of the set. Overall I was disappointed and wouldn't recommend it to anyone. Maybe I'm the wrong crowd for the opera. I am definitely a Broadway fan and have seen many great shows at the Ordway. This sadly will be my last visit for opera. read more

Used to be great, but not so much anymore. La boheme 3 or 4 years ago was the last good thing they've done. It's like they're allergic to talent. read more

Very variable, from a very well done Manon to the most appallingly horrible Magic Flute. Manon: traditional stage, Kelly Kaduce as Manon. All singers did a good job. No embellishments needed to hide poor singing and/or acting. Turandot: Kaduce stole the show. Chorus sounded good. Hamlet: irrational staging, nervous smoking on stage (why was this necessary?), mediocre voices bad acting, only Gertrude was plausible either vocally or acting. And Hamlet's wriggling over Ophelia's coffin in a very odd manner...? Magic Flute. fairly decent signing, staging that had the Queen of the Night (as a giant spider) in the flies so you could not hear her singing her aria! About 1/3rd of the music was cut out. A non-musical, anime loving friend loved it. The anime ending gave me a headache.Production was was more interested in the odd staging than the voices. NEVER again. MN Opera uses modernizations and gimmicks to hide poor singing and/or acting far too frequently. read more

I appreciate that other people may not enjoy opera. But this site is meant to review the Minnesota Opera as a whole... Not necessarily what you may consider one person with a bad voice, or how people dressed. If you are not a fan of opera, your bad review is not helpful to those looking for a good operatic experience. read more

Silent Night: A Night of Silenced Warfare Review by Marie G. Cooney Twice in my life, I have experienced the rare opportunity of witnessing the birth of a new opera, both by Minnesota Opera at the Ordway in St. Paul, MN. The first was the "futuristic" yet all too real and horrifying Handmaid's Tale. As a professional stagehand, I was afforded the rare opportunity to experience every performance. Even the professional actors and chorus could not hide their raw emotions and tears. The future was both too clear, and yet not quite here. Although it caused nightmares among many, it was worth the artistry of telling the tale. I think the days the planes stopped flying after 9/11 is the closest most of us have to experiencing the eerie and unexpected silence in the air, when nobody knows what will happen next. Silent Night is the second world premiere I have seen by the Minnesota Opera at the Ordway. This time, I was an audience member, carried into the past to the time of hand-to-hand combat, during WWI, during the time when soldiers might see the humanity in the faces of the enemy they were called upon to shoot. I had heard the story about the Christmas Eve of 1914, when soldiers dropped their arms, a truce was called, and brother to brother met in the middle of the battle field. It was never clear to me if it were a nice story, wishful thinking, or the truth of the miracle of peace made present among us during one of the most horrific wars the world has known. Silent Night is based on true experiences that happened along the frontlines at various places. Each country threatened court martial of the participants, but to do so would make the acts of insubordination known to the public and decrease the morale of the fighting men. Therefore the participants were punished by separation from each other in hopes that the story would die with their deaths. The historically documented facts survived throughout various countries in letters sent home, diaries, and front pages articles written in small town and large city papers. Books have been written, and now an opera. I commend all of the performers on brilliant singing and phenomenal acting. Individual hearts and armies were torn by divided feelings about the truces.The Christmas Eve wasn't the only truce during WWI. At various times, the officers agreed on truces so the dead could be retrieved and buried. This opera clearly portrayed the horrors of war between human beings, torn by personal choices, individual expectations, forced service, allegiance to home and country, hopes of glory, and desires for peace. One thing of note is the remembrance of the roles of women in this opera, even though only two women were actually on stage. The obvious is Christmas being the time to remember the intimacy of Mother and Child, whether or not one believes in the divinity of Christ. The second is that the opera begins as an opera within an opera, when the performance is interrupted to share that war has been declared by Germany, Nikolaus Sprink, performed by William Burden, is taken off the stage to go to war, and Anna Sorensen, performed by Karin Wolverton, is left behind. The third is two brothers from Scotland, performed by John Robert Lindsey and Michael Nyby, who go to war. Letters continue to their mother, thanking her for the gifts she sends, and both names are signed, although only one son survives. The fourth is the French Lieutenant Audebert, performed by Liam Bonner, whose loyalty is torn between service to his men and country and the desire to be with his pregnant wife, performed by Angela Mortellaro. Finally, the role of opera singer, Anna Serensen, is beautifully created to show the dichotomy of Christmas being celebrated with all its trimming as she arranges for Nikolaus Sprink to be released from the frontlines in order to perform one day and for them to be together for one night. The dramatic tension is heightened when he insists on returning to the frontline, because he has promised his men that he will sing for them on Christmas and because it may be the last Christmas for many of them. Silent Night is based on the screenplay by Christian Carion for the movie Joyeux Noel. Creating the opera Silent Night was the vision of Dale Johnson, MN Opera's Artistic Director, as brought to fruition by Kevin Puts, score, and Mark Campbell, libretto. Although I was first completely saddened by the choice to not include the Christmas carol, Silent Night, which I was looking forward to hearing in multiple languages, I think I have a better understanding of that artistic choice. By the absence of the song, one is left with the reality that Silent Night, the opera, is more about the night the skies were silent than about any particular faith, nationality, or culture. The opera is about the horrors of war and the desire for peace among all. Tickets are available through http://www.mnopera.org/ or by calling 612-333-6669. read more

I recently enjoyed a performance of "Silent Night" at the Ordway. Complete with narration about the era of European political upheavals that ushered in this conflict, the performance also featured original clothing, flags and documents from the period on display. It was a true multi-media tour de force. The presenters clearly didn't forget the importance of human life in the midst of mechanized slaughter. In addition, the thoughtful insights into the human drama of WWI were immediate and realistic. The mood of this work helped to set the stage for the Greatest Generation's deep reverence for human traditions and constructive growth, amid the dehumanization of economic carnage left by the Depression. It seems that the human race is buoyant, flexible and adaptable when facing serious personal tragedy. (As John McRae's poem goes, "In Flanders fields, the poppies blow/Between the crosses, row on row, that mark our place./And in the sky the larks, still bravely singing, fly ... scarce heard amid the guns below./And now we lie in Flanders Fields ... ." ) The hope of the larks still augurs certain possibilities for humankind. There really was no triumph in World War I. The program states that it set the stage for the bitter retaliation of a disgruntled young man known as Adolph Hitler. Yet the individual stories resonate fully in this beautifully sung drama of life's tragic ironies and constant striving for love. The level of musical achievement among the cast was fully captured in the direction, staging and choreographing of this work. This allowed everyone to perform to the full level of his or her considerable talents. Finally, the set design was a clear rival of even the most skilled cinematographer, appealing to modern audiences steeped in the use of digitized visual effects. The audience was polite and thoughtful, and the very courteous usher team even stood for patrons as they passed to leave the theater. All in all, a worthy performance from beginning to end, and an experience that will enrich my understanding of a time and an era both poignant and instructive. read more

The Minnesota Opera is amazing. I have been to numerous performances and they have always been stellar. For the 2011/2012 season I decided to get season tickets. The season started with Mozart's Così fan tutte and the Minnesota Opera put on a fantastic production. The staging, as always, was very well done and the performance itself was the best I have seen from the Minnesota Opera. It was a wonderful evening with a terrific cast! I am very much looking forward to the remaining operas this season, which include Lucia di Lammermoor and Madame Butterfly. If they are even half as good as the production of Cosi, I will be extremely happy. read more

I also reviewed the Venue they perform in, The Ordway Theater in St. Paul. However, this is a review for their performance of "The Magic Flute" which I saw during the last season and a strong endorsement for the MN Opera upcoming 2015-2016 season which is full of exciting performances. I have become a first time season subscriber and I have see the Met play when I was a youth, performances in Europe, South Korea and in China...but I feel incredibly blessed that we have a superb company right here at home. Even if you 'don't like Opera' there is a lot of new talent coming up that should be supported giving a modern twist, like with Stephen King's "The Shining". Opera is entered a new age where music and modern stories are merging together, a very exciting time to see more new pieces and blended with classics for a variety that is sure to give you an experience in music that goes beyond. read more

We saw The Magic Flute. The horns kept coming in late, the singjng was okay but not big voices, but the biggest problem was the movie show production. I'm sure it was very appealing to people who prefer television to opera or actual life, but I don't go to the opera to watch a video. I could have had the same experience watching a film of the opera. All in all, it was meh. read more

Minnesota Opera opened its 2011-12 season with a glorious new production of Mozart's Cosi Fan Tutti. Mozart's masterpiece, having long been neglected by Minnesota Opera, was given a production one could only dream of experiencing With traditional set and costumes of the Mozartian Era ( designer Alexander Dodge, Costumes by Alejo Vietti )the action moved seamlessly from scene to scene punctuated by the warm, colorful southern Mediterranean lighting of Marcus Dillard. The slightly raked set consisted of traditional white floor to ceiling wood shuttered door/panels framed in cove molding with the framework suggesting house and gardens and allowing for seamless transition from scene to scene. The stage floor, in green Astroturf suggested a lawn. However, panels in the floor allowed it to separate and allow a miniature galleon to cross from stage left to stage right as the men departed. It also afforded a wading pool in the garden scenes. A simple, elegant, beautifully lit set that was a pleasure to look at the entire evening. The director, Peter Rothstein specializes in Musical Theatre and is founder of the local theatre company Latte Da, Although there were ample comedic touches, he balanced the comedic, romantic and bittersweet elements of the plot to a tee. At times I felt he kept the stage too "busy" and at times I felt the action on stage did not represent the text. For example, during Fernando's solo after being rejected by Fiordiligi, (Ah! Io veggio quell'anima bella) a cadre of red rose toting male supers marched across the sage to present him with the flowers. I found it distracting when the music being sung is so beautiful and conveys the mood and sentiment exactly. One other incident, with (come scoglio), Fiordiligi is seated at a card table and playing cards the entire aria. This just did not make sense to me. Those were my only two quibbles. The singers were young, attractive, excellent actors and most importantly had the vocal technique to do justice to Mozart. Jacquelyn Wagner a rising young American soprano as Fiordiligi as beautifully matched vocally with Jennifer Holloway as Dorabella. They opened their entrance scene frocked in lovely pastel gowns atop swings in the garden, the two and fro matching the delicious harmonies in their so evenly matched voices. Our dashing heroes, John Tessier as Ferrando and Matthew Worth as Guglielmo made for a handsome dashing pair as they dueled with table knives in the 1st scene. The sweet lyricism of Mr. Tessie's tenor was matched firmly but the bright firm baritone of Mr. Worth. Despina, Angela Mortellaro, a young apprentice with the company, nearly stole the show. At one point she was able to sing and puff on a cigar at the same time while aping the Notary. Lastly, Daniel Mobbs, our Don Alfonso. Not an old fussbudget but a worldly man of his time who knew what he was doing form beginning to end. Manipulating the characters as marionettes so to speak. Indeed he would appear on a catwalk above the stage at time to observe the action below ala deus ex machina. The conductor Christopher Frankin provided the right balance in the pit and tempi that never lagged. Overall, a night at the opera which proved that one can indeed achieve near operatic perfection. In the works of the Pioneer Press reviewer " Cosi Fantastic"! JockDoc read more

By the end of the astonishing world premiere performance of "Silent Night", Kevin Puts' (composer) and Mark Campbell's (librettist) new opera about the Christmas Eve truce during World War I, I had tears pouring down my face, wrung out from a breath-taking, funny, heart-wrenching, transcendent performance of a powerful piece. The sets and lighting, staging and costumes contributed to a diamond of a work. Thank you, MN Opera, and all the supporters who make commissioning new work possible! read more