Upcoming Events

Does opera make enough space for people of color? What makes music “Black?” If jazz is Black American music, then why is every university jazz department run by white people? What difference can music make in the face of state violence? Does the sound of my voice matter and what do I sound like to others? In this book club we explore these questions and the history, politics, power, and policies that make music. This event examines music, its construction, and its impact through the lenses of race, gender, ability, sexuality, and class. Hosted by Hallie Q. Brown Community Center in partnership with Black Garnet Books and Birchbark Books, these discussions are led by Minnesota Opera’s Dr. Allison Lewis. Together we will engage in both fiction, non-fiction, and sound as we ask questions about the role music plays in liberation and how our own musical practices define our own identities.

UPCOMING SELECTIONS

November 15: Hungry Listening: Resonant Theory for Indigenous Sound Studies by Dylan Robinson

December 13: South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene by Samantha Ege

January 17: Loving Music Till It Hurts by William Cheng

February 21: Black Opera: History, Power, Engagement by Naomi Andre

Does opera make enough space for people of color? What makes music “Black?” If jazz is Black American music, then why is every university jazz department run by white people? What difference can music make in the face of state violence? Does the sound of my voice matter and what do I sound like to others? In this book club we explore these questions and the history, politics, power, and policies that make music. This event examines music, its construction, and its impact through the lenses of race, gender, ability, sexuality, and class. Hosted by Hallie Q. Brown Community Center in partnership with Black Garnet Books and Birchbark Books, these discussions are led by Minnesota Opera’s Dr. Allison Lewis. Together we will engage in both fiction, non-fiction, and sound as we ask questions about the role music plays in liberation and how our own musical practices define our own identities.

UPCOMING SELECTIONS

November 15: Hungry Listening: Resonant Theory for Indigenous Sound Studies by Dylan Robinson

December 13: South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene by Samantha Ege

January 17: Loving Music Till It Hurts by William Cheng

February 21: Black Opera: History, Power, Engagement by Naomi Andre

Join us for NOOMA, an interactive vocal circus where audiences and performers co-create a playful world of shared music-making. NOOMA was co-commissioned by Carnegie Hall, MN Opera, and San Francisco Opera and is designed to support early linguistic development and key social skills. NOOMA is best for children 0-2, but older siblings are welcome! 

No cost or registration necessary.

This recital highlights the legacy of Black composers, establishing how their music and mentorship for future generations reflected the time and has led us to where classical music is today. Furthermore, this no-cost event will highlight the history of Black classical musicianship throughout the Twin Cities and Rondo community. This event will include performances from Walker West’s Kamoinge Strings Ensemble, Walker West alumni, Minnesota Opera singers, and possibly MNOP’s Youth Opera Studio singers. This event will include a catered reception after the performance.  

Who was Florence Price, beyond the music?

Following its acclaimed world premiere at Minnesota Opera in January 2026, My Name is Florence returns for two special encore concert performances featuring the full original cast, MN Opera Orchestra, and MN Opera Chorus. Experience this beautiful and moving new work in the Ordway Concert Hall. The performances will be captured live and produced by Lexicon Classics.

Composer Dominick Argento co-founded the Center Opera Company in 1963, now known as Minnesota Opera. 2027 is the centenary of his birth and Minnesota Opera celebrates his music and legacy.

Mezzo-soprano Abi Levis and pianist Peter Walsh will perform Argento’s timely and hilarious Miss Manners on Music, alongside the virtuosic cycle Casa Guidi. They will also perform a set of French songs by Gounod, Poulenc, and Bizet, and a set of English songs by Bolcom, Barab, Berg, and New Works Initiative composer B.E. Boykin.

Does opera make enough space for people of color? What makes music “Black?” If jazz is Black American music, then why is every university jazz department run by white people? What difference can music make in the face of state violence? Does the sound of my voice matter and what do I sound like to others? In this book club we explore these questions and the history, politics, power, and policies that make music. This event examines music, its construction, and its impact through the lenses of race, gender, ability, sexuality, and class. Hosted by Hallie Q. Brown Community Center in partnership with Black Garnet Books and Birchbark Books, these discussions are led by Minnesota Opera’s Dr. Allison Lewis. Together we will engage in both fiction, non-fiction, and sound as we ask questions about the role music plays in liberation and how our own musical practices define our own identities.

UPCOMING SELECTIONS

November 15: Hungry Listening: Resonant Theory for Indigenous Sound Studies by Dylan Robinson

December 13: South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene by Samantha Ege

January 17: Loving Music Till It Hurts by William Cheng

February 21: Black Opera: History, Power, Engagement by Naomi Andre

Minnesota Opera continues to celebrate the music of Dominick Argento at the centenary of his birth and his legacy both as a co-founder of the Center Opera Company in 1963, now known as Minnesota Opera, and educator for the next generation of composers.

A prolific composer in his own right, Argento’s musical influence extends beyond his own works to those of his students, many of whom also chose to make Minnesota their home. Led by Chorus Director Celeste Marie Johnson, the Minnesota Opera Chorus celebrates their compositions alongside Argento’s, featuring music by Libby Larsen, David Evan Thomas, Juliana Hall, and Stephen Paulus. Many of the poets on the program are also native Minnesotans, and their words help paint the landscape that holds a unique place in these composers’ hearts.

Does opera make enough space for people of color? What makes music “Black?” If jazz is Black American music, then why is every university jazz department run by white people? What difference can music make in the face of state violence? Does the sound of my voice matter and what do I sound like to others? In this book club we explore these questions and the history, politics, power, and policies that make music. This event examines music, its construction, and its impact through the lenses of race, gender, ability, sexuality, and class. Hosted by Hallie Q. Brown Community Center in partnership with Black Garnet Books and Birchbark Books, these discussions are led by Minnesota Opera’s Dr. Allison Lewis. Together we will engage in both fiction, non-fiction, and sound as we ask questions about the role music plays in liberation and how our own musical practices define our own identities.

UPCOMING SELECTIONS

November 15: Hungry Listening: Resonant Theory for Indigenous Sound Studies by Dylan Robinson

December 13: South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene by Samantha Ege

January 17: Loving Music Till It Hurts by William Cheng

February 21: Black Opera: History, Power, Engagement by Naomi Andre

Attend a Student Dress Rehearsal and see students experience the power, beauty and thrill of live opera. Every production is fully staged with singers and orchestra.

Ariodante
Event: March 11 | Register by: March 4

Falstaff
Event: May 6 | Register by April 29

Arrive by 10am for the optional pre-show talk!

No cost, registration required.

Join us 60 minutes prior to each show for a free, fun, and informative half-hour session which includes an overview of the characters and music, historical and cultural context for the opera and highlights to watch for during the show. 
 
No cost or registration necessary. A ticket to the performance of Ariodante is required to enter the Ordway.

Jealousy. Treachery. True love put to the test.

Prince Ariodante is set to marry his beloved Ginevra until scheming rivals threaten their joy. Deceptions abound and honor is called into question—will betrayal and shame consume the happy couple, or will truth and love prevail? From aching, heart-rending laments to dazzling displays of vocal virtuosity, Handel’s score traces a journey from devotion to heartbreak and back again.

Sung in Italian with English captions projected above the stage.

Baritone Octavio Moreno (Cruzar la Cara de la Luna) will perform a specially curated concert of songs by Carlos Guastavino and María Grever with Mario Antonio Marra (Head of Music, Director of Resident Artist Program) at the piano.

Argentine composer Carlos Guastavino wrote around 150 songs for voice and piano, each reflecting his love of popular musical idioms and folksong and dances. While he wrote instrumental music extensively, singers in particular were drawn to his melodic writing and the heart so readily accessible in his music.

Mexican composer María Grever wrote over 800 songs, many of which became popular in both Latin America and the United States, and many of which marry her love of American jazz with Mexico’s rich musical traditions. Her 1934 hit “Cuando vuelva a tu lado” (later transliterated to “What a difference a day makes”) enshrined her artistic legacy and her compositions have been performed by vocal legends ranging from Enrico Caruso and Frank Sinatra to Aretha Franklin and Gloria Estefan.

Sopranos Alicia Gianni & Kelley Kimball reunite with pianist and Minnesota Opera VP, Artistic Joseph Li for an evening of jazz and cabaret songs for the final MNOP+ concert of the 2026-2027 season, singing everything from original tunes by Alicia Gianni to beloved standards by Irving Berlin, Cole Porter, and many others.

Joseph Li first met sopranos Alicia Gianni and Kelley Kimball as professional opera singers in Houston, TX – only later to discover a decades-long bond over applying their years of classical training to performing dozens of jazz and cabaret music concerts together at venues ranging from Houston Grand Opera and MATCH Houston to Sugar Hill Studios and Ovations Nightclub.

Join us 60 minutes prior to each show for a free, fun, and informative half-hour session which includes an overview of the characters and music, historical and cultural context for the opera and highlights to watch for during the show. 
 
No cost or registration necessary. A ticket to the performance of Falstaff is required to enter the Ordway.

Everything in the world is a jest.

Enter Sir John Falstaff, whose predilections toward excess lead him into the delusional pursuit of not one, but two married women. Thus ensues a tangled web of plots and counterplots, full of hilarious misunderstandings, as more and more parties are swept into the pandemonium. A cinematic score from an operatic legend imbues this feel-good comedy with warmth and buoyancy.

Sung in Italian with English captions projected above the stage.

Subscription dates: May 8, 9, 13, & 15, 2027