New York City Opera is shuffling its way to a zombie resurrection, but opera in the Twin Cities is going through a renaissance. Here’s what’s in store for 2016:

January

• Antonín Dvořák’s Rusalka (Minnesota Opera)
  Ordway Center for the Performing Arts, 1/23 @ 7:30 PM, 1/28 @ 7:30 PM, 1/30 @ 7:30 PM, 1/31 @ 2 PM

February

• Pauline Viardot’s Cendrillon (Garden of Song Opera)
  The Baroque Room, 2/19 @ 7 PM, 2/21 @ 3 PM

March

• Giacomo Puccini’s Tosca (Minnesota Opera)
  Ordway Center for the Performing Arts, 3/12 @ 7:30 PM, 3/13 @ 2 PM, 3/17 @ 7:30 PM, 3/18 @ 7:30 PM, 3/19 @ 7:30 PM, 3/20 @ 7:30 PM, 3/24 @ 7:30 PM, 3/26 @ 7:30 PM
• Virgil Thomson’s Four Saints in Three Acts (VocalEssence)
  Goodale Theater at The Cowles Center, 3/19 @ 8 PM, 3/20 @ 4 PM

April

• No mainstage performances scheduled. Operaphiles going through withdrawal will have to console themselves with visiting Opera on Tap‘s monthly dinner recital at Honey Restaurant (2nd Sunday every month, 6 PM dinner, 6:30 PM performance).

May

• Paul Moravec & Mark Campbell’s The Shining (Minnesota Opera)
  Ordway Center for the Performing Arts, 5/7 @ 7:30 PM, 5/12 @ 7:30 PM, 5/14 @ 7:30 PM, 5/15 @ 2 PM

June

• Giuseppe Verdi’s Rigoletto (Really Spicy Opera)
  Capri Theater, 6/3 @ 7:30 PM, 6/4 @ 7:30 PM, 6/5 @ 2 PM

The University of Minnesota’s University Opera Theatre explores the sounds of the Kurt Weil musical Lady in the Dark in April. Skylark Opera, which delighted audiences last year with a rare performance of Puccini’s La Rondine, is similarly exploring the musical theater works of Comden & Green and Noël Coward in June.

Does your organization have an opera performance scheduled in the first half of 2016 that you would like to add to this listing? Contact the Twin Cities Arts Reader at twincitiesarts@gmail.com.

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Twin Cities Arts Reader

The Twin Cities Arts Reader is an arts and lifestyles magazine whose coverage examines arts and selected activities in the state of Minnesota and across the country. It provides Minnesota's largest source of in-depth, critical theatre coverage, and reaches more than 600,000 readers per year.

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