The IN Series has unveiled its highly anticipated 2026-27 season, promising a compelling lineup of operatic and musical theater productions that will span from the early autumn of 2026 through the summer of 2027. The season is marked by a commitment to both new works and significant revivals, showcasing a diverse array of artistic talent and thematic exploration. This announcement sets the stage for a year of significant cultural engagement in the region, building upon the IN Series’ established reputation for innovative programming and high-caliber performances.<\/p>\n
The 2026-27 season will open with the premiere of The Makado<\/em>, a production scheduled to run from October 10 to October 25, 2026. This new work will feature a notable ensemble cast, including Hayley Abramowitz, Andrew Adelsberger, Melanie Ashkar, Allan Palacios Chan, Teresa Ferrara, Robin McGinness, Cecelia McKinley, Noah Mond, and Hunter Shaner. The production is under the co-direction of Corinne Hayes and Timothy Nelson, with Dana Scott serving as musical director. The premiere of The Makado<\/em> signifies the IN Series’ dedication to fostering new operatic voices and narratives, a crucial element in the evolution of the art form. While specific details regarding the plot or genre of The Makado<\/em> have not been fully disclosed, its positioning as the season opener suggests it will be a significant and attention-grabbing production. The involvement of established directors like Timothy Nelson, known for his insightful and often boundary-pushing interpretations, hints at a potentially thought-provoking and visually striking presentation. Dana Scott’s expertise in musical direction will undoubtedly ensure a polished and impactful sonic landscape.<\/p>\n Following the premiere, the IN Series will present (N)O King(S)<\/em>, running from January 23 to February 7, 2027. This production boasts a cast featuring Maribeth Diggle, Cecelia McKinley, Melissa Wimbish, and Jonathan Woody. Timothy Nelson returns as stage director, with Darren Lin taking the podium as conductor. The choice of title, (N)O King(S)<\/em>, immediately sparks curiosity, suggesting a narrative that may explore themes of power, authority, or perhaps a deconstruction of traditional monarchical narratives. The casting of prominent vocalists like Maribeth Diggle and Jonathan Woody, who have garnered recognition for their diverse stage presence and vocal prowess, indicates a production with significant dramatic and musical weight. Darren Lin’s conducting experience will be vital in shaping the orchestral and vocal performances, likely aiming for a nuanced and compelling interpretation of the score. The mid-season placement of this production allows for a robust build-up of audience anticipation following the initial premiere.<\/p>\n The season will then shift its focus to the Baroque era with a staging of George Frideric Handel’s oratorio Theodora<\/em>. This significant work will be performed from April 10 to April 25, 2027. The cast includes Robin McGinness, Elizabeth Mondragon, Daniel Moody, Oznur Tuluoguo, and Gene Steger. The production’s design is entrusted to set designer Josh Sticklin, and Timothy Nelson will again direct. Geoffrey Silver will serve as chorusmaster, a critical role in the performance of Handel’s choral masterpieces. Theodora<\/em>, with its profound exploration of faith, martyrdom, and resilience, is a challenging yet rewarding work. Handel’s music, known for its dramatic intensity and vocal brilliance, offers a rich palette for both singers and audiences. The IN Series’ decision to stage this oratorio speaks to a broader trend in opera companies to revisit and re-examine foundational works with fresh perspectives. The involvement of Daniel Moody, a countertenor known for his interpretations of Baroque repertoire, is a particular highlight for this production. The collaboration between director Timothy Nelson and chorusmaster Geoffrey Silver will be key to unlocking the full dramatic and spiritual impact of Handel’s score, especially given the significant choral elements inherent in the oratorio.<\/p>\n The season will conclude with The Triumph of F.A.U.V.E.L. \u2013 An Ass!<\/em>, running from June 5 to June 26, 2027. This production is a collaborative effort that includes Marvin Wayne Allen, Joshua Lucas, Luz Nicolas, Dawna Rae Warren, and Mara Yaffee, alongside the early music ensemble ALKEMIE. Timothy Nelson is listed as director, with Ksenya Litvak responsible for the set, costume, and puppet design. This final production appears to be a departure from the more conventional operatic forms, suggesting a more theatrical, perhaps even experimental, approach. The inclusion of an early music ensemble like ALKEMIE points towards a historically informed performance practice, which would be particularly fitting for a work that likely draws inspiration from medieval or Renaissance traditions, given the name "Fauvel." The extended run in June suggests a production designed to attract a broad audience during the warmer months, potentially including families and those seeking a more engaging and perhaps whimsical theatrical experience. Ksenya Litvak’s multifaceted design role\u2014encompassing set, costume, and puppets\u2014indicates a highly integrated and visually rich production.<\/p>\n The announcement of the IN Series’ 2026-27 season comes at a time when the performing arts landscape is continuously adapting to new audience expectations and artistic trends. The inclusion of a new premiere, The Makado<\/em>, underscores a commitment to contemporary operatic creation, which is vital for the long-term health and relevance of the genre. New operas, while often a financial risk, are essential for introducing fresh stories, musical styles, and thematic concerns to audiences, thereby broadening opera’s appeal. The IN Series’ programming strategy appears to balance the allure of new works with the enduring power of established repertoire, offering a well-rounded artistic offering.<\/p>\n The choice to stage Handel’s Theodora<\/em> is particularly noteworthy. While a masterpiece, Theodora<\/em> is less frequently performed than some of Handel’s other oratorios, such as Messiah<\/em>. Its themes of religious persecution and steadfast faith resonate powerfully, and a modern production can offer new insights into these timeless issues. The historical context of Theodora<\/em>, written in 1750, reflects a period of significant religious and social upheaval, and its revival today can serve as a potent commentary on contemporary societal challenges.<\/p>\n Furthermore, the inclusion of (N)O King(S)<\/em> and The Triumph of F.A.U.V.E.L. \u2013 An Ass!<\/em> suggests a willingness on the part of the IN Series to explore more abstract, experimental, or even politically charged narratives. The titles themselves are provocative and invite audiences to consider unconventional interpretations of familiar concepts. The use of puppetry and early music ensembles in The Triumph of F.A.U.V.E.L.<\/em> indicates a desire to push the boundaries of traditional operatic staging and musical presentation, potentially attracting audiences who might not typically engage with classical opera.<\/p>\n The consistent presence of Timothy Nelson as director across multiple productions highlights his significant artistic influence within the IN Series. Nelson is recognized for his ability to bring a fresh and often intellectually engaging perspective to operatic works. His directorial vision is a unifying thread throughout the season, promising a cohesive aesthetic and thematic exploration, even across disparate pieces. The collaboration with various musical directors, conductors, designers, and ensembles demonstrates the IN Series’ capacity to draw upon a wide pool of talent, fostering a dynamic and collaborative artistic environment.<\/p>\n The involvement of Dana Scott, Darren Lin, Geoffrey Silver, and the early music ensemble ALKEMIE, alongside set, costume, and puppet designer Ksenya Litvak, indicates a multidisciplinary approach to production. This collaborative spirit is crucial for creating immersive and impactful theatrical experiences that engage audiences on multiple sensory levels. The IN Series’ ability to attract and retain such a high caliber of artistic collaborators speaks to its growing reputation and its commitment to artistic excellence.<\/p>\n The announcement of the 2026-27 season by the IN Series has several implications for the performing arts community and the wider cultural landscape. Firstly, it reinforces the organization’s position as a significant player in the regional arts scene, capable of mounting ambitious and diverse programming. The commitment to new works is a vital contribution to the development of contemporary opera, potentially nurturing future masterpieces and supporting emerging composers and librettists.<\/p>\n Secondly, the season’s programming reflects a conscious effort to engage with a broad spectrum of audience interests. By juxtaposing a new premiere with a Baroque masterpiece and more experimental productions, the IN Series aims to appeal to both seasoned opera lovers and those new to the art form. This inclusive approach is essential for the continued growth and sustainability of opera.<\/p>\n The success of this season could have a ripple effect, encouraging other arts organizations to embrace similar programming strategies that blend innovation with tradition. The IN Series’ commitment to high-quality production values, coupled with compelling artistic direction, sets a benchmark for operatic performance in the region. As the performing arts continue to evolve, the IN Series’ 2026-27 season stands as a testament to the enduring power and adaptability of opera. The detailed planning evident in the scheduling and the diverse artistic collaborations suggest a season that is not only ambitious in scope but also meticulously crafted for maximum artistic impact and audience engagement. The anticipation for these productions will undoubtedly grow as the 2026-27 season approaches.<\/p>\n","protected":false},"excerpt":{"rendered":" The IN Series has unveiled its highly anticipated 2026-27 season, promising a compelling lineup of operatic and musical theater productions that will span from the early autumn of 2026 through…<\/p>\n","protected":false},"author":2,"featured_media":7597,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[545],"tags":[394,236,598,296,585,2647,297,299,2121,1038,1128,298],"class_list":["post-7598","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-classical-opera","tag-ambitious","tag-announces","tag-baroque","tag-classical","tag-featuring","tag-masterpieces","tag-opera","tag-orchestra","tag-premieres","tag-season","tag-series","tag-symphony"],"_links":{"self":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/7598","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/comments?post=7598"}],"version-history":[{"count":0,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/7598\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media\/7597"}],"wp:attachment":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media?parent=7598"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/categories?post=7598"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/tags?post=7598"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Context and Significance of the Season<\/h3>\n
Artistic Leadership and Collaboration<\/h3>\n
Broader Impact and Future Implications<\/h3>\n