West Bank Arts Quarter







Fall 2009

STRAVINSKY IN PARIS
Three short operas from Igor Stravinsky's
time in the city of lights:

Le Renard (The Fox) - in English, based on Chaucer
Mavra - in Russian, based on Pushkin
Le Rossignol (The Nightingale) - in French, based on Hans Christian Andersen

Thurs, Nov 19 at 7:30 pm
Fri, Nov 20 at 7:30 pm
Sat, Nov 21 at 7:30 pm
Sun, Nov 22 at 1:30 pm

All three operas will have English supertitles

A trio of short and pithy gems which showcase Stravinsky at his witty and satirical best. Le Renard represents Stravinsky’s take on the fable of the vain Cock who almost succumbs to the wily Vixen Fox before being rescued by the Goat and the Cat. Mavra is one of those ‘lover disguised as cook’ (or whatever!) parodies which perfectly suits Stravinsky’s comic touch. Le Rossignol transforms Hans Christian Andersen’s beloved fairytale into a musical fantasy which brilliantly combines the mystical with exotic baroque caricature to produce a poignant and very moving finale. Stravinsky in Paris offers audiences looking for something different, if not exactly new, an opportunity for a stimulating operatic ‘night out’!

Ted Mann Concert Hall, University of Minnesota West Bank
Tickets: $20 general admission; $10 for U of M students; group rates. Two for one tickets for University students, faculty, and staff. Call 612/624-2345 or click below.

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Spring 2010

W.A. Mozart’sThe Magic Flute (Die Zauberflöte)

Thurs, Apr 15 at 7:30 pm
Fri, Apr 16 at 7:30 pm
Sat, Apr 17 at 7:30 pm
Sun, Apr 18 at 1:30 pm

Text by Emmanuel Schikaneder
The opera will be given in German with English supertitles


What can one say about this treasured and almost iconic operatic masterpiece that has not been said already, countless times over in its more than 200 year performance history? Yet the story of its creation raises almost as many questions as the work itself—this bizarre concoction of singspiel, fairytale and (apparently) masonic ideology. Our production will encourage performers and audiences alike to peer behind the veneer of Mozart’s incontestably sublime melodies and to explore new possibilities of meaning in an opera which goes to the very heart of the values and emotions which underpin human existence.

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