Chicago Opera Theater Reveals 2025/26 Season Featuring Chicago Premieres and More

Chicago Opera Theater has unveiled its 2025/26 Season. The season centers around three operas never before seen in Chicago, complemented by Discovery Concerts that have been curated to provide audiences with opportunities to further explore the vast operatic repertoire beyond the most frequently produced works. See the full season here!

2025/26 Season Overview:

Falstaff, ossia Le tre burle

Falstaff, or the Three Tricks
Chicago Premiere - by Antonio Salieri and Carlo Prospero Defranceschi
 December 3, 2025 @ 7:30pm
December 5, 2025 @ 7:30pm
December 7, 2025 @ 3:00pm
The Studebaker Theater
 
Though best known today for his supposed rivalry with Mozart, Antonio Salieri was a prolific and successful composer in his own right. COT honors the 200th Anniversary of Salieri’s death in 1825 with the Chicago premiere of his sparkling comedy, Falstaff, ossia Le tre burle (Falstaff, or The Three Tricks). Librettist Carlo Prospero Defranceschi based his work on the charming anti-hero, Sir John Falstaff, from multiple Shakespeare plays. Premiered in 1799 and inspired by the plot of Shakespeare’s The Merry Wives of Windsor, Falstaff follows the misadventures of the arrogant and bumbling knight as he schemes to seduce two married women — only to be hilariously outwitted by their clever tricks. This comedic tale of human folly, deception, and the triumph of wit over arrogance remains as fresh and funny as ever.
 
COT’s new production of Salieri’s Falstaff will be directed by Robin Guarino and conducted by Christine Brandes, both making their debuts with the company. Internationally acclaimed baritone Stephen Powell – who began his career as a member of the Young Artist Program at Lyric Opera of Chicago - also makes his COT debut in title role, alongside distinguished local artists soprano Vanessa Becerra as Mistress Ford, tenor Andrew Morstein as Master Ford, Tzytle Steinman as Mistress Slender, recent Ryan Center alumni baritone Laureano Quant as Master Slender and soprano Denis Vélez as Betty.
 
“Salieri is often overshadowed by Mozart, due in part to the enduring narrative that he envied and even sought to harm him — a tale popularized by various fictional accounts but unsupported by historical evidence,” explains Edelson. “In reality, Salieri was one of the most respected and successful composers of his time, celebrated for his operatic brilliance and his role as a mentor to other composers, including Beethoven and Schubert. Falstaff is a shining example of his musical and theatrical gifts, showcasing his flair for comedy and his ability to weave captivating music with timeless storytelling. Audiences are sure to enjoy this enchanting blend of Italian opera buffa and Viennese classical elegance, offering a unique perspective on one of Shakespeare’s most beloved characters.”
 

Discovery Concert: Shakespeare Sings

October 19, 2025 @ 3:00pm
The Studebaker Theater
 
While Salieri and Defranceschi were early adaptors of Shakespeare’s plays into operas, the Bard’s works were frequently adapted for the opera stage in the 19th century and continue to be a source of inspiration for opera writers to this day. The Merry Wives of Windsor alone spawned at least three additional operatic adaptations including Otto Nicolai’s Die lustigen Weiber von Windsor (1842), Ralph Vaughan Williams’ Sir John in Love (1929) and the most enduring version, Giuseppe Verdi’s Falstaff (1894). Shakespeare Sings will take audiences on an unforgettable journey through the passion, comedy, tragedy, and romance inspired by the lasting genius of Shakespeare. Featuring a rich tapestry of arias and scenes from operas inspired by the Bard's plays, the concert will showcase both beloved masterpieces and hidden gems from the operatic repertoire that have never been performed in Chicago before, including works by Purcell, Rossini, Nicolai, Thomas, Berlioz, Gounod, Verdi, Hahn, Vaughn Williams, Britten, Barber, Castelnuovo-Tedesco, Hoiby, Adès and more.  Yasuko Oura returns to COT as Music Director and Pianist for this concert.
 

Der Silbersee: A Winter’s Fairy Tale by Kurt Weill and Georg Kaiser

The Silverlake
 March 4, 2026 @ 7:30pm
March 6, 2026 @ 7:30pm
March 8, 2026 @ 3:00pm
The Studebaker Theater
 
Premiered in Germany on February 18, 1933, and promptly banned by the recently elected Nazi party, Der Silbersee (The Silverlake) was composer Kurt Weill’s final theatrical work written before he fled to Paris in March 1933 to escape the rising tide of fascism, eventually immigrating to the United States. A groundbreaking work that stands as both a testament to artistic defiance and a timeless reflection of humanity's struggles and hopes, Der Silbersee is a genre-defying masterpiece that blurs the boundaries between opera, operetta, and musical theater, paving the way for the future of music drama. The narrative tells the poignant story of Severin, a destitute man shot while stealing a pineapple, and Olim, the policeman who wounds him but later nurses him back to health as he seeks redemption. At its heart, this deeply human tale asks a question that resonates deeply today: How can we find reconciliation and hope in a fractured world? Weill’s score —an extraordinary blend of late-Romantic lyricism, sharp modernist edges, and the propulsive energy of popular song — underscores the work’s emotional depth and political urgency, seamlessly shifting between satire, poignancy, and surrealism.
 
The Chicago Premiere production at COT will be directed by Lawrence Edelson and conducted by James Lowe in his COT debut. The cast will feature tenor Curtis Bannister as Severin, and the COT debuts of bass baritone Justin Hopkins as Olim, Ariana Strahl as Fennimore, and tenor Dylan Morrongiello as both The Lottery Agent and Baron Laur. Mezzo soprano Leah Dexter returns to COT as the duplicitous Frau von Luber, and soprano Boya Wei and mezzo soprano Sophia Maekawa are featured as the Shopgirls.

Der Silbersee has a remarkable history. It premiered at three theaters simultaneously – in Leipzig, Erfurt, and Magdeburg. This unusual triple premiere was a calculated effort to maximize its reach during a time of great political uncertainty. Weill and librettist Georg Kaiser aimed to ensure their message reached a broad audience, resisting the political forces already threatening to silence dissent. However, with the Nazi rise to power just weeks before the premieres, Der Silbersee was quickly targeted. The work’s critique of societal injustices, combined with Weill’s Jewish heritage, made it an early casualty of the regime’s oppressive censorship.

Reflecting on Der Silbersee, Edelson shares that “Weill and Kaiser created a daring artistic statement that defied the political climate of their time. The opera’s suppression by the Nazis makes it a powerful reminder of the need to preserve artistic freedom and celebrate creativity that challenges oppression. But reviving Der Silbersee today is not just an act of remembrance; it is a call to action — a reminder that art can illuminate pathways to understanding, compassion, and change. With its stunning music, moving story, and enduring message, Der Silbersee is as relevant now it was in 1933 — a mirror to the past, a reflection of our world today, and a beacon of hope for the future.”

Discovery Concert: In America’s Embrace: Celebrating Immigrant Composers

January 18, 2026 @ 3:00pm
The Studebaker Theater
 
This concert celebrates the extraordinary stories and music of composers who sought refuge in America, escaping persecution in their homelands. This concert will honor the visionary artists who found safety on new shores and transformed the cultural landscape of their adopted home, with music by Kurt Weill, Irving Berlin, Erich Wolfgang Korngold, Paul Hindemith, Bohuslav Martinů, Astor Piazzolla, Bright Sheng, Tania León, Igor Stravinsky, Mario Castelnuovo-Tedesco, and others.  These composers found in America not only safety, but also the opportunity to expand their creative horizons.  This concert is part of the America 250 artistic programming taking place nationwide in 2026 to celebrate the 250th anniversary of the founding of the United States. COT celebrates this milestone by uplifting the profound contributions of immigrant composers and of America’s enduring role as a haven for creative freedom. Laurie Rogers makes her debut with COT as Music Director and Pianist for this special concert.

Vanguard Initiative Events:

The Vanguard Initiative, established in 2018, is COT's fully comprehensive program for composers ready to delve into the world of opera. This immersive two-year residency includes participation in all COT productions, sessions with top industry leaders, extensive study of repertoire and vocal writing, and direct insight into administrative and other behind-the-scenes processes, culminating with the development of a full-length opera commissioned by the company.
 
During the 2025/26 season, COT expands audience access to the creative process by opening the piano/vocal workshop for the seventh opera commissioned through the program. This unique opportunity not only allows audiences to witness the work’s evolution, but to also play a hands-on role in its development.
 
Trusted by Aaron Israel Levin and Marella Martin Koch

What is trust? How is it earned, and how is it shattered? When an accomplished financial advisor is exposed for orchestrating a decades-long fraud, the fallout extends far beyond his clients — it fractures the very foundation of his family. His two daughters struggle to reconcile the man they knew with the crimes he has committed. As the truth unravels, so do their own perceptions of loyalty, morality, and the fragile nature of trust itself. Set against the backdrop of a high-stakes financial scandal, Trusted is an intimate exploration of deception, betrayal, and the emotional toll of broken faith. Through a dynamic score and a taut, contemporary libretto, the opera delves into the complexities of family bonds, the weight of inherited legacies, and the search for redemption in a world where trust—once lost—may never be regained. 
 
Audiences will have two opportunities to experience this compelling new work this season.

Trusted: Vanguard Piano/Vocal Workshop

September 19, 2025 @ 3:00pm
Mary Patricia Gannon Concert Hall – DePaul University
 
One of the most important steps in a new opera’s development is the piano/vocal workshop – the first-time singers bring music and words to life together, before an opera is orchestrated. Audiences are invited behind the curtain to watch Trusted come to life for the first time as COT presents a workshop reading in concert with piano accompaniment, conducted by Lidiya Yankovskaya, followed by a Critical Response session led by Edlis Neeson General Director Lawrence Edelson.
 
Edelson is one of the most sought-after practitioners of Liz Lerman’s Critical Response Process (CRP) in the opera field, having mentored over 60 composers and librettists and supported the development of new works that have been produced by opera companies across the country. Recognized for his expertise, he was invited to contribute to Ms. Lerman’s recent book, Critique is Creative, where he shared insights on applying CRP to the development of new operas.
 
“CRP is an artist-centered feedback process designed to support creative development while maintaining the artists’ agency,” explains Edelson. “Through a structured, facilitated dialogue, audiences engage directly with composers and librettists, offering thoughtful, informed responses that help refine the work without imposing prescriptive critique. This approach ensures that new operas evolve in ways that remain true to the artist’s vision while fostering deeper audience connection and investment in the creative process.”
 
Following the concert reading of the piano/vocal score of Trusted, Edelson will facilitate a conversation between composer Aaron Israel Levin, librettist Marella Koch, and the audience to gather insights, reflections, and questions that can inform the opera’s continued development. This Critical Response Process provides the creative team with valuable perspectives while giving audiences the opportunity to play a meaningful role in the development of the opera, deepening their connection to the artists and their work as it evolves toward its final form.

Trusted: Concert World Premiere