Opera New York
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“Black Lives have mattered to the New York City Opera since its inception in 1943. As ‘The People's Opera’ we were formed to serve ALL people, regardless of race. We serve a diverse audience and have employed diversity in casting and programming for over 75 years.'
We are proud of our long history of diversity and inclusion that goes back to NYCO’s founding as “The People’s Opera” 76 years ago and continues to this day.
Just as there is no room for racism in the opera house, there is no room for it in the world.
The New York City Opera, along with the rest of the world, is on lock-down.
But this will pass. And when it does the arts will lead the charge to recovery.
Soon you will hear more from us and the City Opera will be singing again.
Please join us in thanking those who are risking their lives to save ours.
Stay safe and healthy!
Michael Capasso and the entire New York City Opera Family.
Opera New York 2019
One of our most essential singers arrived for a rare New York recital in February at Zankel Hall. Read More
With a new — though, as you’ll see, not entirely new — production of Leonard Bernstein’s “Candide” that opened on Friday at the Rose Theater at Jazz at Lincoln Center, the company may finally have, to quote the show, “the best of all possible worlds.” Read More
Michael Capasso, General Director, New York City Opera, says “I am delighted to present Hopper's Wife as the first work in our multi-season series of chamber operas. I was introduced to this fascinating opera when it was in development twenty years ago, and feel it is the ideal piece to launch this new series. Stewart Wallace and Michael Korie have a distinguished history with City Opera, and we are thrilled to be presenting their groundbreaking work. This production also marks the beginning of an exciting co-production relationship with Chicago Opera Theater and Long Beach Opera.” Read More
The reorganized company, which began its first, abbreviated season last month with a consciously old-fashioned production of Puccini’s “Tosca” as a nod to the first work City Opera performed in 1944, chose “Florencia” and two other contemporary pieces to round out the season.
It will present the East Coast premiere of “Hopper’s Wife” — a 1997 chamber opera by Stewart Wallace that imagines a marriage between the painter Edward Hopper and the gossip columnist Hedda Hopper — at Harlem Stage from April 28 through May 1.
And on March 16 it will inaugurate a new concert series at the Appel Room in Jazz at Lincoln Center with the premiere of David Hertzberg’s “Sunday Morning”. Read More
More than two years after it ran out of money and had to shut down midseason, the cultural institution known as “the people’s opera” won approval of its plan to exit bankruptcy and re-launch performances under the control of an organization headed by hedge-fund manager Roy Niederhoffer.
Judge Sean Lane of the U.S. Bankruptcy Court in Manhattan approved the opera’s plan Tuesday afternoon, saying he was happy to confirm the plan of “a beloved and important cultural institution.” Read More
The venerable opera company — which filed for bankruptcy protection in 2013 after a series of missteps left it unable to put on its season — will soon be revived in a different form under a reorganization plan confirmed Tuesday by Judge Sean H. Lane of United States Bankruptcy Court in Manhattan.
The group taking over the company, NYCO Renaissance, hopes to use the City Opera name by next week, when it plans to present Puccini’s “Tosca” on Jan. 20-24 at the Rose Theater at Jazz at Lincoln Center. If all goes smoothly, company officials said, they hope their new “Tosca” can be billed a co-production of NYCO Renaissance and City Opera. The plan calls for putting on annual seasons. Read More
Six Performances January 20-24, 2016 at
Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall
NYCO Renaissance pays tribute to New York City Opera with six performances of a new production of Tosca, January 20–24, 2016 at Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, New York City.
Giacomo Puccini’s three-act melodrama with its vivid Roman tableaux—the Church of Sant’Andrea della Valle, the Palazzo Farnese, and Castel Sant’Angelo—comes to brilliant life in this staging, based on Adolf Hohenstein’s striking set and costume designs for the original production that premiered at Rome’s Teatro Costanzi in 1900. For the first time outside of Italy, American audiences will be able to take in Hohenstein’s majestic Roman setting, produced with the documentary resources and cooperation of the Archivio Storico Ricordi in Milan. John Farrell serves as associate stage designer and Ildikó Debrezceni as associate costume designer. Director Lev Pugliese, making his American debut, directs the production. Read More
Gene Kaufman, an architect and one of the suitors who has been vying to reorganize and take control of City Opera, withdrew as part of a negotiated settlement that calls for granting his group $300,000, according to a court filing. The move made it almost certain that the next chapter in the company’s history would be written by NYCO Renaissance, a group backed by Roy G. Niederhoffer, an investment manager who served on the old City Opera board. Read More
Two years after the company known as “the people’s opera” shut down, its bankruptcy case will move forward with a plan to pay creditors and hand control of the opera to an organization headed by hedge-fund manager Roy Niederhoffer, a former City Opera board member. Read More
“In a tribute to the history of City Opera, it was my idea from the very beginning that the relaunch of City Opera should be with ‘Tosca,’” Michael Capasso, the nascent company’s general director, said in an interview. His concept has changed a bit: The group originally hoped to mount a lavish production by Franco Zeffirelli but now plans to use a historical, more economical one based on the designs Adolf Hohenstein created for the opera’s premiere in 1900 in Rome. Read More
The group — which is called NYCO Renaissance and is led by Roy G. Niederhoffer, an investment manager, and Michael Capasso, an opera producer — was joined by the official committee of unsecured creditors in the case, in a proposal to reorganize City Opera that was filed late Monday in United States Bankruptcy Court for the Southern District of New York. The filing said that their plan was “in the best interests of the debtor’s estate and creditors.” Read More