LA Opera is a non-profit organization dedicated to the greater good. We rely on generous contributions to produce the world-class opera you see on the stage, around the county and through our many education and community engagement programs. By becoming a member of the Friends of LA Opera with a tax-deductible contribution, you’re helping us share opera with the Los Angeles community – and receiving several benefits along the way, such as the ones listed below.
The Dorothy Chandler Pavilion is not the only place in Los Angeles where you can experience an LA Opera production. You can see our productions at REDCAT, inside the Cathedral of Our Lady of the Angels, and even at Santa Monica Pier. LA Opera has many programs and initiatives that bring opera to various locations in the county and make sure everyone has access to opera.
In partnership with the County of Los Angeles Public Library and with generous support provided by former Los Angeles County Supervisor Don Knabe (4th district) and Supervisor Hilda Solis (1st district), LA Opera brings professional opera singers to libraries around Los Angeles to perform musical moments from the most celebrated operas for families. Next month’s Puccini Opera Tales has the singers recounting tales from The Girl of the Golden West, Gianni Schicchi, and Turandot, as told by Giacomo Puccini himself.
Brian Kellow wasn’t always an opera lover. One fateful performance of The Tales of Hoffmann changed his mind. He shares his story below.
A favorite topic among opera lovers is the Great Conversion Moment—the performance at which the key mysteriously turned, and opera became something more than an outpouring of beautiful melody and instead became something we began to understand on a gut level, something we began to crave.
LA Opera is hosting a special concert on April 1 and here are some reasons why this concert is not-to-be-missed.
Domingo, Domingo, Domingo
When Plácido Domingo is your general director, you get the benefits of his artistic vision, his influence and his talent. For this one-night only concert, Maestro Domingo has brought together some of the worlds most acclaimed opera singers – Sondra Radvanovsky, Diana Damrau and Nicolas Testé. He’s also invited back many celebrated alumni of the Domingo-Colburn-Stein Young Artist program, including Joshua Guerrero, So Young Park and Brenton Ryan. They’ll sing together and alongside the very talented artists currently in the distinguished program. And as if singing weren’t enough, when he’s not singing, he’ll conduct the LA Opera Orchestra. (When he is singing, Resident Conductor Grant Gershon will take the reins.)
The world of opera is filled with famous duets – some romantic, some reflective, some heroic. Here’s what we’re excited about: Plácido Domingo and Sondra Radvanovsky singing the recognition scene from Simon Boccanegra and the beloved Merry Widow duet (“Lippen schweigen”); Domingo joining with tenor Joshua Guerrero for the gorgeous Pearl Fishers duet; as well as Diana Damrau and Nicolas Testé performing the seductive “Là ci darem la mano” from Don Giovanni. … Continue reading
Every company has an oracle. He/she is the person who has been at the company a while, knows just about everything and is willing to share it with you. They know a lot yet don’t make you feel bad that you might not; and, they have a way of educating while entertaining and guiding you to be as passionate about something as they are.
At LA Opera – that’s Mark Lyons. Mark is the Associate Director of Communications and Publications. Mark has been with LA Opera since 2003 and when we say he knows just about everything there is to know about opera, it’s because he’s been in it and around it his entire adult life.
When James Conlon became LA Opera’s Richard Seaver Music Director in 2006, one of the first initiatives he brought to the company was the Cathedral Project. A partnership between LA Opera and the Cathedral of Our Lady of the Angels, the Cathedral Project brings community singers and musicians together with LA Opera artists to present an opera to the public. For over a decade, it has been a key feature of the company’s community engagement and an opera that performers, teaching artists, and audience members look forward to each year. Conlon, who conducts these performances every year, is “thrilled that Los Angeles families have responded to community productions with so much enthusiasm and appreciation.” … Continue reading
E.T.A. Hoffmann (1776-1822), who in homage to Mozart changed his third name to that of Amadeus, was a writer, music critic, painter, graphic artist and lawyer—a man of many talents who lacked the most important gift of all: how to find happiness.
When Hoffmann was two years old, his father abandoned his mother, who returned to live with her parents. He was surrounded by a depressed mother who was always sick, an unmarried aunt and a retired uncle—this was hardly an ideal environment for a happy childhood. A restless boy, he grew up rebellious and nonconformist. To escape this oppressive reality, Hoffmann developed an enormous fantasy life, from which he fashioned his own surreal world. He became an extraordinary exponent of supernatural, bizarre and almost diabolical tales.
Though very successful as a writer, he never overcame the frustration of not being the musician he had dreamed of becoming. Nor was he ever successful in finding the stability he searched so much for in his private life. A very unstable man, he always fell in love with the wrong woman at the wrong time, knocking on the forbidden doors of madness, alcohol or artificial paradises.
If E.T.A. Hoffmann were alive today, he’d be on The Bachelor. He’d be meeting the wrong women, falling for them, and ultimately having his heart broken. EVERY TIME.
While it sounds like he’s a brooding artist with a dark soul – he’s really just a drunk guy at a tavern tripping out on his lost loves.
Over the course of his short life, Hoffmann falls for three women…and each failed love story he shares transports you to a world of whimsy, deception or magic spells.
(Check out The Tales of Hoffmann movie below to get a taste of the magic the opera inspires.)
Rather than three sheets to the wind – Hoffmann tells three tales.
The tradition of opening one’s home up to visitors, welcoming them in to explore and discover and become a part of the intimate environment, has been an evolving part of community living for centuries. Open house history dates back at least as far as biblical times and exists in many cultural and religious customs. From weddings to wakes, royalty to presidents, realtors to school teachers, these communal celebrations are an opportunity to welcome guests into your space and share something—knowledge, experience, camaraderie.
In honor of this grandest and oldest of traditions, LA Opera is opening its home and welcoming all to join us in a day of fun and function. On Sunday, March 26, we are offering free activities for all ages and all levels of opera awareness. Come visit the Dorothy Chandler Pavilion between 10 am and 6 pm for interactive experiences, creative workshops, professional performances, behind the scenes tours and unique presentations. Discover the glamorous décor and rich history of this house. You’re invited to come meet the opera and get to know the great people who inhabit this space.
James Conlon’s remarkable work with the LA Opera Orchestra has elevated LA Opera’s artistry to a new level of excellence. He has also brought lost works to life through the Recovered Voices project and, working closely with Plácido Domingo, has contributed enormously to developing a love for opera in our city.
From convening, citywide festivals to packing the Eva and Marc Stern Grand Hall during his pre-performance talks, Mr. Conlon has become one of the most visible advocates for classical music in Los Angeles.
This season, Maestro Conlon celebrates his tenth anniversary as LA Opera’s Richard Seaver Music Director, and he recently extended his contract to the 2020/2021 season.
LA Opera invites you to celebrate Maestro Conlon’s achievements by supporting the James Conlon Tenth Anniversary Initiative, which will provide critical funds to support new programing and further enhance our acclaimed orchestra.
Additionally, we’ve curated some articles, videos, and a podcast below to help you get to know Maestro Conlon and illustrate why he has become a beloved figure in the cultural life of Los Angeles.
Salome is one of the most challenging operas to play. Musicians are tasked with a score that pushes the limits of what’s considered playable for an orchestra. LA Opera Orchestra Principal Bassoonist William May had a further challenge. In less than a year, May learned a rare instrument to play in Salome – the heckelphone.
She fell in love with music at the age of seven. Now, Zanaida Robles is an established singer, conductor, composer, and music instructor. As an LA Opera teaching artist, she’s bringing her experience and love for the music to work by inspiring the next generation of opera lovers.
Hispanics for LA Opera was launched in February 1992 at the request of Peter Hemmings, then general director of LA Opera, with the enthusiastic support of Plácido Domingo. They were interested in engaging this vibrant, growing segment of the Los Angeles community education and welcoming them to the opera. Hemmings reached out to LA Opera subscribers and patrons Alicia and Ed Clark, who stepped forward to lead this effort by founding HLAO. Their leadership initiated an effort that has been an integral source of support for building the understanding and awareness of the operatic art form in Hispanic communities throughout Los Angeles.
Over the past 25 years, HLAO volunteers have enthusiastically promoted opera throughout the Hispanic community, encouraging attendance at performances and coordinating social activities that offer opportunities to learn more about the art form while getting to know other opera enthusiasts. They have enjoyed a large measure of success. In 1992, Hispanic attendees at LA Opera performances made up just 1% of the overall audience; today that figure is more than 14%. This is more than a tenfold increase!
In addition to promoting opera throughout the Hispanic community, HLAO hosts the annual Plácido Domingo Awards. This special event honors great Hispanic opera artists and civic leaders for their community service and support of the mission of HLAO. Over the years, a number of legendary artists have been the recipients of the award including Ramón Vargas, Ana María Martínez, Erwin Schrott, Juan Diego Flórez, Rolando Villazón, Suzanna Guzmán and Ailyn Pérez.
The story of Salome has inspired artists, filmmakers, and opera composers for centuries. Some adapted the original Biblical story – and scandalous Oscar Wilde play – while others have utilized elements from the tale of Salome to inform their own story. Nowhere does Salome’s story come to life more than in opera and on the silver screen.
To celebrate Salome in film and in opera, American Cinematheque and LA Opera have joined forces to present a special evening at the Aero Theater in Santa Monica. First, there will be a screening of the famous 1953 film version of Salome starring Rita Hayworth. While the film takes liberties with the Biblical story, it is a perfect example of film epics in the “glory days of technicolor” and required viewing for both Salome and film enthusiasts. Following the screening, Maestro James Conlon (who conducts Salome at LA Opera starting on February 18) and actor Stephen Fry (who portrayed Oscar Wilde in the 1997 biopic) will discuss the importance of Salome in film and opera. All attendees will automatically be entered to win a pair of tickets to LA Opera’s production of Salome.
Before attending the evening at the Aero, get in the mood. We’ve pulled together a few films to watch and music from the opera.
Set in the 1920s aboard the Orient Express, The Abduction from the Seraglio features some interesting props to look out for when seeing the show. Here’s a list of our top three favorites – see if you spot them while … Continue reading
When Anthony and Marta Richardson each bought tickets to a performance of LA Opera’s Simon Boccanegra in 2012, they had no idea they would end up finding love at the opera.
Before they ever met, Anthony and Marta were both frequent opera-goers. Marta, a teacher at the time (she’s now an elementary school principal at Palos Verdes Peninsula Unified School District), saw her first performance at LA Opera in 1997 and had since invited representatives of the Music Center and the LA Opera to speak to her students about opera and music. Anthony – an actor/singer turned financial consultant – had also attended shows at LA Opera since the late 1990s, even volunteering with the Opera League of Los Angeles. His assignment – shuffling artists from LAX to the Dorothy Chandler Pavilion.
In March 2012, Anthony had tickets to see Simon Boccanegra.
“I had never seen Plácido Domingo perform before and was very excited,” says Anthony.
When his friend canceled, Anthony decided to have dinner at Nick & Stef’s Steakhouse, thinking he might meet someone to whom he could give his extra ticket.
“When I got to the steakhouse, I spotted Marta and her friend at the bar and strategically sat next to them,” recalls Anthony. Marta replies jokingly, “That’s how men operate.”
From the bonnet à la Figaro (an 18th-century fashion inspired by the hero of The Barber of Seville and The Marriage of Figaro), to the 1920s costumes in LA Opera’s The Abduction from the Seraglio, opera and fashion have always influenced each other. To celebrate the inextricable link between opera and fashion, LA Opera has partnered with FIDM Museum at the Fashion Institute of Design & Merchandising in downtown Los Angeles and inspired an exhibition called “Exotica: Fashion & Costume of the 1920s.”
This is the second time that LA Opera productions have inspired an exhibition at FIDM. In March 2015, FIDM Museum presented “Opulent Art: 18th-Century Dress.” This exhibition featured a rare original 18th-century Figaro costume worn during performances of The Marriage of Figaro. The exhibition also coincided with the company’s Figaro Unbound initiative (presented in connection with the company’s “Figaro Trilogy”: Corigliano’s The Ghosts of Versailles, Rossini’s The Barber of Seville and Mozart’s The Marriage of Figaro.
This time, “Exotica: Fashion & Costume of the 1920s” explores how films set in exotic locales influenced the fashion of the day. This exhibition is inspired by LA Opera’s production of The Abduction from the Seraglio, which is set in the Roaring Twenties on the famous Orient Express, traveling from Istanbul to Paris.
Surrounded by a giant Orient Express structure, various “exotic” clothing is displayed as if on a platform about to board the train. Several of the pieces are not so different from what the characters in The Abduction from the Seraglio might wear on their journey around the world, also reflecting the “east meets west” nature of the opera – and of Hollywood cinema in the 1920s (see The Sheik or The Thief of Baghdad).