Rufus Wainwright, tortured romantic and one of Seattle's favorite singers, performs solo with piano at Benaroya Hall Sunday, Nov. 8th.

Wainwright's apparent youth (looks 29, is 36) and birdlike figure belie the power of his voice, a rich and bowed-sounding baritone that sinks in further the longer he holds a note. Gay, straight, old and young Seattle fans pack whichever venue he plays.

So far, the self-identifying "popera" star has appeared at The Triple Door, The Moore, The Paramount...our fanciest rooms, save Benaroya (next on the list) and McCaw Hall.

Speaking of, now that he's written an opera and had it staged—"Prima Donna" was put on last July in Manchester—why not start a relationship with Seattle Opera?

"Once you get into the opera world, you're no longer the chooser," he says on the phone, adding he's heard good things about Seattle Opera. "But whoever wants to put it on is certainly welcome to."

Wainwright's 2009 opera followed two albums grander and frillier than anything he'd done before. "Rufus Does Judy at Carnegie Hall" (2006) was a live recreation of a 1961 Judy Garland concert, and "Release the Stars" (2007) fifth in a string of lushly orchestrated pop albums. Now he's doing something different.

"After the opera, Judy Garland, and 'Release the Stars,' I was somewhat overloaded on instruments," he says. "I want to get back to the roots of the craft."

While fan favorites will be played at Benaroya, Wainwright's written most of a new album and wants to try out those songs in concert. They'll be spare, just voice, piano, and maybe guitar, but not simple.

"For this new album, I've chosen to once again torture myself and develop some of the most complicated piano and vocal arrangements ever created, especially to be played at the same time," he says. "I've got to start practicing."

The developing theme of his as-yet unnamed album? The Dark Lady, a Shakespearean subject he's previously composed around with avant-garde stage director Robert Wilson. His concept of the Lady is "this brooding, dissatisfied, somewhat horny wrecking ball that lives in all of us," he says.

Wainwright acknowledged Seattle has a soft spot for him. Last time he was here, solo at The Paramount, he carried the show largely on charm and overflow talent. It was an off night, vocals-wise, but he bantered his way back to good favor. And really, even when Rufus Wainwright has an off night, the singing is often beautiful enough to make one forget to breathe.

He said he has friends in Seattle, and that he's socialized "with all social strata" here, in Capitol Hill and beyond. "I have many, many memories, and only some of them frightening."