Following the world premiere’s “rapturous reception” (The Washington Post), the smash hit of the 2017 Santa Fe Opera season makes its West Coast debut at McCaw Hall! This innovative and crowd-pleasing portrait of Apple’s visionary co-founder “does what opera does best: giving audiences a glimpse into the inner life of its title character” (Marin Independent Journal). Bates’s score dazzles with a glossy mix of lyrical and rhythmic music, combining traditional and electronic instrumentation. Campbell’s compelling, funny, and touching libretto interweaves universal themes of communication and connection, treating its subject with respect and humanity.

Kevin Newbury’s sharp and “visually stunning” (ABQ Journal) staging utilizes state-of-the-art technology to artfully conjure up and skillfully transition between the opera’s 18 scenes. A remarkable example of heightened theatrical imagination.

Following the world premiere’s “rapturous reception” (The Washington Post), the smash hit of the 2017 Santa Fe Opera season makes its West Coast debut at McCaw Hall! This innovative and crowd-pleasing portrait of Apple’s visionary co-founder “does what opera does best: giving audiences a glimpse into the inner life of its title character” (Marin Independent Journal). Bates’s score dazzles with a glossy mix of lyrical and rhythmic music, combining traditional and electronic instrumentation. Campbell’s compelling, funny, and touching libretto interweaves universal themes of communication and connection, treating its subject with respect and humanity.

Kevin Newbury’s sharp and “visually stunning” (ABQ Journal) staging utilizes state-of-the-art technology to artfully conjure up and skillfully transition between the opera’s 18 scenes. A remarkable example of heightened theatrical imagination.

Following the world premiere’s “rapturous reception” (The Washington Post), the smash hit of the 2017 Santa Fe Opera season makes its West Coast debut at McCaw Hall! This innovative and crowd-pleasing portrait of Apple’s visionary co-founder “does what opera does best: giving audiences a glimpse into the inner life of its title character” (Marin Independent Journal). Bates’s score dazzles with a glossy mix of lyrical and rhythmic music, combining traditional and electronic instrumentation. Campbell’s compelling, funny, and touching libretto interweaves universal themes of communication and connection, treating its subject with respect and humanity.

Kevin Newbury’s sharp and “visually stunning” (ABQ Journal) staging utilizes state-of-the-art technology to artfully conjure up and skillfully transition between the opera’s 18 scenes. A remarkable example of heightened theatrical imagination.

Copland – Fanfare for the Common Man
Rossini – Overture to La gazza ladra
Grieg – Peer Gynt: Suite No. 2
III. Peer Gynt’s Homecoming
IV. Solveig’s Song
Johann Strauss Jr. – Tritsh-Tratsch Polka
Mason Bates – Mothership
Dvořák – Symphony No. 9 in E Minor, “From the New World”
IV. Allegro con fuoco
Alan Menken – Overture to Beauty and the Beast
Arturo Márquez – Conga del Fuego

From the Highlands to Appalachia, Future Folk explores the modern intersection of folk traditions and classical music in this unique pairing of two visionary voices. Scottish folk singer-songwriter Kenny Anderson, known as King Creosote, performs a solo set on guitar and accordion, including songs from his latest album Astronaut Meets Appleman. Pulitzer Prize-winner Caroline Shaw offers several works for string quartet, including the folk-inspired By and By, which she’ll perform with The Dover Quartet. The ensemble begins a three-year residency at the Kennedy Center in October.

For Future Folk, our Atrium transforms into an immersive club environment with general admission, lounge chairs, and high-top tables. This performance is standing room only.

Patricia Cornett, conductor

STRAUSS  Vienna Philharmonic Fanfare
HOLST  Hammersmith: Prelude & Scherzo, op. 52
DAUGHERTY  Lost Vegas
BATES  Rusty Air in Carolina
IVES/THURSTON  The Alcotts
IVES/SINCLAIR  Country Band March