Because three is the magic number, Houston Grand Opera‘s production of Puccini’s seldom-seen work Il trittico is an absolute blast of a good time and confirms the phrase that thrice is nice! Embodying three human emotional elements of revenge, passion, and comedy, this trio of one-act operas will leave you in wonder at its brilliance in performance and design. 

Giacomo Puccini‘s Il Trittico (The Triptych) is a collection of three one-act operas premiering first at the Metropolitan Opera in 1918, the trio includes Il tabarro (The Cloak), a dark verismo drama set on a Parisian barge where jealousy and despair end in murder; Suor Angelica, a poignant and spiritual tale of a nun who learns of her child’s death and seeks redemption through a final act of faith; and Gianni Schicchi, a lively comic opera about greed and cunning, in which a clever trickster outsmarts a family squabbling over an inheritance. Together, these three distinct stories form a rich panorama of human experience, showcasing Puccini’s masterful range as both composer and storyteller.

There is a remarkable quartet of operatic stars in this production, each delivering performances that reveal both their dramatic instincts and extraordinary vocal technique. Making her Houston Grand Opera debut, soprano Corinne Winters commands attention as the lead female across all three one-acts. As Giorgetta in Il Tabarro, Winters captivates as a woman desperate for love and affection after the death of her child. When her character’s passion for her husband’s employee emerges, her acting prowess is entirely on display, leaving audiences moved by the raw vulnerability she conveys. Vocally, Winters soars in Suor Angelica, where her portrayal of the title character reaches its emotional and technical peak. Her death scene, rendered with exquisite tonal beauty, elicits genuine goosebumps in HGO’s Wortham Theater Center.

The male half of this stellar quartet, tenor Arturo Chacón-Cruz and bass-baritone Ryan McKinny, bring their own blend of charisma and skill to the stage. While absent from Suor Angelica, Chacón-Cruz dazzles in Il Tabarro and Gianni Schicchi, displaying a combination of dramatic intensity and comedic flair that engages both the eyes and ears. McKinny, meanwhile, continues to demonstrate the breadth of his artistry, confirming Houston audiences’ admiration for the versatile performer. Both men leave a lasting impression, and one can only hope they return for future productions to grace Space City audiences once again.

The ultimate standout is none other than Jamie Barton. An alumnus of HGO’s prestigious Butler Studio, Barton has long established herself as an internationally acclaimed soprano, celebrated for her commanding voice and emotional depth. Yet what truly sets her apart in Il Trittico is not only the sheer beauty and power of her instrument but her remarkable ability to disappear completely into each of her characters. She doesn’t simply perform them, she embodies them, infusing every phrase with lived-in feeling and psychological nuance. Barton’s innate dramatic instincts and vocal mastery make her performances among the most compelling currently gracing a Houston stage, a seamless blend of technical excellence and raw, human storytelling that lingers long after the final curtain. Under the masterful baton of Patrick Summers, Il Trittico unfolds with a seamless blend of precision and passion. 

At the podium, Patrick Summers leads the Houston Grand Opera Orchestra with the kind of assurance and sensitivity that only comes from a deep familiarity with Puccini’s world. As both Artistic and Music Director, Summers draws out the full spectrum of the composer’s lush orchestration, shaping Il Trittico with remarkable precision and dramatic intuition. Each of the three operas receives its own distinct atmosphere—Il Tabarro simmering with brooding tension, Suor Angelica glowing with spiritual poignancy, and Gianni Schicchi sparkling with brisk comic energy. Summers keeps the pacing taut yet fluid, allowing the music’s emotional contours to emerge organically. Under his baton, the orchestra plays with warmth, clarity, and a sense of storytelling that elevates the production into something truly cohesive and unforgettable.

The design team for HGO’s Il Trittico brings Puccini’s contrasting worlds vividly to life, creating a visual experience as compelling as the music itself. Scenic design by Allen Moyer deftly navigates the dark, moody streets of Il Tabarro, the ethereal, almost otherworldly interiors of Suor Angelica, and the bustling, comic chaos of Gianni Schicchi, providing each opera with a distinct sense of place and tone. Costumes from Bruno Schwengl are equally evocative, from the textured, working-class realism of Il Tabarro to the luminous, almost saintly garments of Suor Angelica, and the clever, period-infused humor of Gianni Schicchi. Marcus Doshi‘s lighting design further heightens the emotional landscape, accentuating both the intimacy and the grandeur of Puccini’s score. Together, the design team crafts a production that is visually rich, dramatically precise, and ideally in step with the emotional arcs of the music and story.

Ultimately, Houston Grand Opera‘s Il Trittico is a triumph in every sense, a production that combines vocal brilliance, dramatic intensity, and visual splendor. From the haunting tension of Il Tabarro to the spiritual beauty of Suor Angelica and the rollicking humor of Gianni Schicchi, every element, from the singers and orchestra to the meticulous design, works in perfect harmony. Under Patrick Summers’ assured direction, the music breathes and the stories resonate. At the same time, performers like Corinne Winters, Jamie Barton, Arturo Chacón-Cruz, and Ryan McKinny bring Puccini’s characters vividly to life. With its masterful blend of technical excellence, emotional depth, and theatrical flair, HGO’s Il Trittico is not only a feast for the senses but a reminder of why opera continues to captivate, enchant, and move audiences in Houston and beyond.

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