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Chicago Opera Theater is a company laser-focused on living its values: expanding the tradition of opera as a living art form, producing high-quality works new to Chicago audiences, identifying top-tier casts and creative talent, and following through on commitments to equity and access – behind the scenes, on the stage, and in the audience
The Magic Flute – Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)
The Marriage of Figaro, Italian Le nozze di Figaro, comic opera in four acts by Austrian composer Wolfgang Amadeus Mozart (Italian libretto by Lorenzo Da Ponte), which premiered in Vienna at the Burgtheater on May 1, 1786. Based on Pierre-Augustin Caron de Beaumarchais’s 1784 play Le Mariage de Figaro, Mozart’s work remains a favourite in the operatic repertoire.
libretto by Luigi Illica and Giuseppe Giacosa) that premiered at the Teatro Regio in Turin, Italy, on February 1, 1896. The story, a sweetly tragic romance, was based on the episodic novel Scènes de la vie de bohème (1847–49; “Scenes of Bohemian Life”) by French writer Henri Murger. A success from the beginning, it is one of the most frequently performed of all operas.
Otello, opera in four acts by Italian composer Giuseppe Verdi (Italian libretto by Arrigo Boito) that premiered at La Scala opera house in Milan on February 5, 1887. Based on William Shakespeare’s play Othello, the opera was Verdi’s next-to-last and brought the composer to the peak of his dramatic power.
La traviata, opera in three acts by Italian composer Giuseppe Verdi (libretto in Italian by Francesco Maria Piave) that premiered in Venice at La Fenice opera house on March 6, 1853. Based upon the 1852 play by Alexandre Dumas fils (La Dame aux camélias), the opera marked a large step forward for Verdi in his quest to express dramatic ideas in music. La traviata means “the fallen woman” or “the one who goes astray” and refers to the main character, Violetta Valéry, a courtesan. The opera features some of the most challenging and revered music in the entire soprano repertoire; the aria “Sempre libera” at the end of Act I is especially well known.