Music by Giuseppe Verdi
Libretto by Francesco Maria Piave
Conducted by Yves Abel

Chorus Master & Cover Conductor Bruce Stasyna

Making jokes is what Rigoletto does for a living, serving as court jester to the predatory Duke of Mantua. But the joke may be on him when one of his jests enrages Count Monterone, the father of the Duke’s latest victim, unleashing a curse with dangerous consequences for Rigoletto and his beautiful daughter Gilda.

Packed with spectacular arias like “La donna è mobile,” “Caro nome,” and the stunning quartet “Bella figlia dell’amore,” Verdi’s sublime tale of betrayal, sacrifice, and revenge will hold you spellbound from start to finish.

Music by Giuseppe Verdi
Libretto by Francesco Maria Piave
Conducted by Yves Abel

Chorus Master & Cover Conductor Bruce Stasyna

Making jokes is what Rigoletto does for a living, serving as court jester to the predatory Duke of Mantua. But the joke may be on him when one of his jests enrages Count Monterone, the father of the Duke’s latest victim, unleashing a curse with dangerous consequences for Rigoletto and his beautiful daughter Gilda.

Packed with spectacular arias like “La donna è mobile,” “Caro nome,” and the stunning quartet “Bella figlia dell’amore,” Verdi’s sublime tale of betrayal, sacrifice, and revenge will hold you spellbound from start to finish.

Music by Giuseppe Verdi
Libretto by Francesco Maria Piave
Conducted by Yves Abel

Chorus Master & Cover Conductor Bruce Stasyna

Making jokes is what Rigoletto does for a living, serving as court jester to the predatory Duke of Mantua. But the joke may be on him when one of his jests enrages Count Monterone, the father of the Duke’s latest victim, unleashing a curse with dangerous consequences for Rigoletto and his beautiful daughter Gilda.

Packed with spectacular arias like “La donna è mobile,” “Caro nome,” and the stunning quartet “Bella figlia dell’amore,” Verdi’s sublime tale of betrayal, sacrifice, and revenge will hold you spellbound from start to finish.

Music and libretto by Carlisle Floyd
Conducted by Yves Abel
Directed by Patricia Racette

Chorus Master & Cover Conductor Bruce Stasyna

Eighteen-year-old Susannah Polk lives with her brother Sam in the woods outside a Tennessee mountain town. When local churchmen spot her bathing in an isolated creek, she becomes the target of gossip, accusations, and worse.

Carlisle Floyd transplants the biblical “Susannah and the Elders” to the Appalachian backwoods in this modern classic: a riveting tale of sex, corruption, and hypocrisy with a folk-inspired score and the beloved aria “Ain’t it a pretty night?” Floyd’s centenary is the perfect time to experience the opera Gramophone calls “an important work within modern American opera” and Opera Today dubs the “operatic equivalent of Arthur Miller’s The Crucible.”

Music and libretto by Carlisle Floyd
Conducted by Yves Abel
Directed by Patricia Racette

Chorus Master & Cover Conductor Bruce Stasyna

Eighteen-year-old Susannah Polk lives with her brother Sam in the woods outside a Tennessee mountain town. When local churchmen spot her bathing in an isolated creek, she becomes the target of gossip, accusations, and worse.

Carlisle Floyd transplants the biblical “Susannah and the Elders” to the Appalachian backwoods in this modern classic: a riveting tale of sex, corruption, and hypocrisy with a folk-inspired score and the beloved aria “Ain’t it a pretty night?” Floyd’s centenary is the perfect time to experience the opera Gramophone calls “an important work within modern American opera” and Opera Today dubs the “operatic equivalent of Arthur Miller’s The Crucible.”

Music and libretto by Carlisle Floyd
Conducted by Yves Abel
Directed by Patricia Racette

Chorus Master & Cover Conductor Bruce Stasyna

Eighteen-year-old Susannah Polk lives with her brother Sam in the woods outside a Tennessee mountain town. When local churchmen spot her bathing in an isolated creek, she becomes the target of gossip, accusations, and worse.

Carlisle Floyd transplants the biblical “Susannah and the Elders” to the Appalachian backwoods in this modern classic: a riveting tale of sex, corruption, and hypocrisy with a folk-inspired score and the beloved aria “Ain’t it a pretty night?” Floyd’s centenary is the perfect time to experience the opera Gramophone calls “an important work within modern American opera” and Opera Today dubs the “operatic equivalent of Arthur Miller’s The Crucible.”