Nick Chelton

The presentations, filmed live in high-definition at the War Memorial Opera House, will be viewable on demand for free with registration at sfopera.com on the first streaming date starting at 10 am (PDT) and expiring at 11:59 pm the following day.

San Francisco Opera will present Donizetti's Lucia di Lammermoor on Sunday, October 25, 2020 at 6 PM at Fort Mason Flix Drive-In. This one-night-only opportunity to witness opera on the 40' X 20' LED screen at the Marina District drive-in and enjoy snacks from Off the Grid food trucks will feature the Company's 2008 performance of Lucia di Lammermoor starring French soprano Natalie Dessay.

Houston Grand Opera (HGO) will present performances of Mozart's The Magic Flute at Miller Outdoor Theatre tonight, May 22, and tomorrow, May 23, at 8 p.m.

Houston Grand Opera (HGO) will present performances of Mozart's The Magic Flute at The Cynthia Woods Mitchell Pavilion in The Woodlands today, May 15, at 8 p.m. and at Miller Outdoor Theatre today, May 22, and Saturday, May 23, at 8 p.m. The Magic Flute matches a comic yet wise fairy tale with some of the most stunningly beautiful music ever written. HGO's performances on the outdoor stages offer free admission and access for new audiences to experience the acclaimed production, which the company presented to full houses earlier this season.

Houston Grand Opera (HGO) will present performances of Mozart's The Magic Flute at The Cynthia Woods Mitchell Pavilion in The Woodlands on Friday, May 15, at 8 p.m. and at Miller Outdoor Theatre on Friday, May 22, and Saturday, May 23, at 8 p.m. The Magic Flute matches a comic yet wise fairy tale with some of the most stunningly beautiful music ever written. HGO's performances on the outdoor stages offer free admission and access for new audiences to experience the acclaimed production, which the company presented to full houses earlier this season.

Houston Grand Opera's 2014–15 season, the company's 60th anniversary season, includes the world premiere of A Christmas Carol by Iain Bell—the company's 55th new commission —from award-winning Dickens authority Simon Callow; the continuation of HGO's first Ring cycle, with the American premiere of La Fura dels Baus's groundbreaking take on Die Walküre; the American premieres of Sir Nicholas Hytner's The Magic Flute and Lee Blakeley's Sweeney Todd; a 60th Anniversary Gala Concert featuring mezzo-soprano (and HGO Studio alumna) Joyce DiDonato; and a host of career-shaping role debuts that speak to Patrick Summers's gift for casting. Together with the company's first presentation of John Cox'sOtello, and the returns of Göran Järvefelt's beloved Così fan tutte and Michael Grandage's hit staging of Madame Butterfly, these rich offerings serve once again to illustrate some of the ways that HGO—still the only opera company with two Grammys, two Emmys, and a Tony—epitomizes “one model of what a forward-looking opera company could be” (Greg Sandow, Arts Journal).

Houston Grand Opera capped a financially and artistically successful 2013–14 season by presenting Mieczyslaw Weinberg's The Passenger —the Polish-Jewish composer's long-suppressed Holocaust opera—to wide acclaim at New York's Park Avenue Armory as part of the Lincoln Center Festival, July 10–13. Earlier this year, HGO gave the American premiere of the work in Houston with the same cast. There was special praise for the production and performances, conducted by HGO Artistic and Music Director Patrick Summers. New York magazine described David Pountney's staging as “a multi-story set so vivid you can practically smell the machine oil and coal smoke,” while the Financial Times said: “The production, imported from Houston, is imposing in every way.” The New York Times called the cast “flawless,” adding: “The conductor, Patrick Summers, drew a surging, textured, richly detailed performance of this challenging score (lasting three hours) from the inspired musicians of the Houston Grand Opera.” WQXR's Operavore summed up the import of the performances: “The Passenger shows how a Holocaust opera can hold the stage while examining important, complex issues—and could certainly point the way for future composers to deal with such important but delicate subject matter.”