Search Results for: camp
I’d been refreshing my email constantly for days on end, anxiously waiting for the email holding my fate. I auditioned for Opera Camp about a month earlier, and had been waiting for the results ever since. I’d found out about the program when I’d auditioned for Noah’s Flood months before. Patience however, was slowly edging its way out of my grasp. Then, suddenly I saw it:
Congratulations! We would like to inform you that you have been accepted and cast for our 16/17 Opera Camp!!!!
And so it began.
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UPDATE: Maestro James Conlon will be conducting both performances of Brundibár.
One of our beloved Opera Camp’s teaching artists, Judy Johnson, started performing at the age of eight. She sang in church, studied voice in high school and college, and then worked as an actress in Los Angeles. In 2014, she loved her life as an actress, but realized something was missing. After a life spent performing, Johnson wanted to give back to her community in another way.
That desire combined with her love of opera led her to become an LA Opera teaching artist.
Her first role with LA Opera was as Assistant Director for last year’s Opera Camp production of Then I Stood Up. Her enthusiasm for the work and her passion for teaching our campers shines through.
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An Innovative Summer Camp
For the past 17 years, we’ve hosted Opera Camp. It is a two-week immersive program where students aged 9-17 experience all aspects of opera production, guided by LA Opera artists. They are coached in singing, movement and learn about staging, scenic and prop design, and stage management.
Our campers have arrived this week. They’ve been rehearsing and exploring the Dorothy Chandler Pavilion.
But, our campers are also learning about something else.
Opera Camp connects campers to the past and to today’s toughest issues. It brings context to headlines and shows students their potential to impact the world.
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Chaya Forman and Luz Duran love to sing. Chaya used to sing with the National Children’s Chorus, while Luz loves singing pop songs and can easily break into a rendition of Alicia Keyes’ “Girl On Fire.” They’re also both rising seventh graders and will spend two weeks of their summer at LA Opera’s Opera Camp, rehearsing and performing Then I Stood Up, a youth opera about the contributions of young people to the Civil Rights Movement.
It’s also their first year in the camp and they’re loving the experience so far. We spoke with the girls to get a sense of what life is like for a first year camper.
Envision yourself on stage. You’re in character, singing a role you love, and connecting with hundreds of audience members. You’ve worked hard for this moment and it’s more wonderful than you could have ever imagined. It also doesn’t feel like work, because you’ve enjoyed every minute.
This is how I feel every year during LA Opera’s summer youth program, Opera Camp. It’s some of the most rewarding “work” I’ve had the pleasure of doing. This year, I will participate in the camp for the fourth time, for which I am immensely grateful. Over the past few years, I have learned so much from amazing teaching artists and directors (particularly Eli Villanueva, Leslie Stevens, and Karen Hogle Brown) and even Maestro James Conlon.
The camp only lasts two weeks, but it is an intense two weeks. It never ceases to astound me how quickly the camp passes and how much I learn in such a short period of time. Few words can do justice to how working with Eli, Leslie, Karen, and all of the other magnificent performers and teaching artists enhance my (and other kids) knowledge of acting, singing, performance, and an artist’s responsibility. Whether through the lyrics of Hans Krása in Brundibár—in which, in 2011, I played “Little Joe,” a young man, who seeks out aid from unwilling adults to save his ailing mother—or Then I Stood Up—in which, this year, I will play the role of Pastor Jim—LA Opera always makes sure we learn both about performing and the history behind each opera.
Nine-year old Flora White is a born storyteller. She wrote a poem entitled, “The Butterfly in Winter,” and gave a copy to each of her fellow campers prior to this weekend’s first performance of Then I Stood Up: A Civil Rights Cycle.
Jesus and Diego Lopez (17 and 10, respectively) wanted nothing to do with classical music. When their mother, Beatriz Zaragoza, played classical music in the car, the boys complained. This all changed when the family discovered LA Opera’s Zarzuela Project.
With the Community Opera Choruses Network, LA Opera engages people from around LA County (with a concentrated focus on East LA) to explore opera. The Zarzuela Project is a key component of this network. Led by a team of LA Opera teaching artists, the project accepts all ages and weekly rehearsals are held at Salesian High School in East LA. Fernandez’s students rehearse various Zarzuelas and perform them at partner venues around the community. It is a project that is very dear to LA Opera General Director Plácido Domingo, whose parents were both Zarzuela singers.
Today’s headlines are filled with stories of inequality, injustice and hate. Understanding our role in changing the world can be daunting. Through its annual Opera Camp program, LA Opera is teaching kids 9 – 17 how every action counts.
For the the past 15 years, LA Opera has hosted Opera Camp, a two-week immersive program where campers learn about opera – the artistry, the production, the skills – and prepares them to perform one. Every year, between 50 and 60 children and teens participate in the camp. … Continue reading
Did you know that LA Opera is a non-profit?
Many people don’t realize that most arts organizations are non-profits, built to help people find common ground and an emotional connection.
LA Opera is no different. We strive to bring opera to everyone, because we know how opera’s unique combination of classical music, storytelling, and visual arts, when simultaneously shared with hundreds upon hundreds of people, can be awe-inspiring.
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What do Burning Man and LA Opera have in common?
When she’s not leading campers or community members in opera productions at LA Opera, Romero is a co-founder and co-artistic director of aLma.MaddR, a Los Angeles-based interdisciplinary arts collective. The collective’s latest project is a sound installation for an international collaboration called Aluna that will be staged at this year’s Burning Man.
These two gigs aren’t mutually exclusive.
Romero shares that one actually informs the other in the way she makes art. Her community outreach work has helped Romero understand how to use art to connect diverse communities.
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LA Opera establishes six-year paid internship
When most people think of interns, they think of enthusiastic college juniors and seniors experiencing the office environment for the first time before being thrust into the workforce. At LA Opera, we do hire college interns – but we also hire high school interns through an innovative new program meant to forge the next generation of diverse arts leaders: LA Opera Leadership Academy.
LA Opera Leadership Academy is not your ordinary internship.
Why? It can last six years.
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LA Opera President and CEO Christopher Koelsch participated in discussions at the inaugural Classical Evolution/Revolution Conference about how companies can find and keep new audiences for music.
The panel also included Yael Greenberg, Music Consultant, Kickstarter, and was moderated by Graham Parker, President of Universal Music Classics, USA.
On April 21, LA Opera is hosting a master class for undergraduate and graduate students taught by Eli Villanueva, LA Opera’s resident stage director for education and community engagement. Five students from different schools across Los Angeles – chosen from LA Opera’s College Advisory Committee – will sing and Villanueva will coach them on performance and musicality. Students are encouraged to sign-up for the master class to learn the secrets behind compelling storytelling, musicality, and crafting a personalized approach to opera performance.
Master classes are held at the Dorothy Chandler Pavilion and on college campuses and offer students the chance to connect with the artists that make the opera magic happen. Students watch these professionals work and see firsthand what it takes to pursue careers in the arts – and in opera, specifically.
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.
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
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.
Salome the virgin vamp has had her ups and downs—from the opera stage to burlesque, from fine art to novelty songs like “When Miss Patricia Salome Did Her Funny Little Oo-La-Pa-Lome.” And who can forget Gloria Swanson in Sunset Boulevard, finally ready for her close-up, descending the staircase as the delusional Norma Desmond playing Salome? So many Salomes—one can only draw back the veils, one at a time, in order to get at the truth.
Unveiling Salome’s Origins
The mythical origins of Salome reach back to the ancient fertility figure Ishtar who performed a Welcome Dance to celebrate the renewal of nature. In classical times, this fertility figure became Demeter who gave humanity agriculture and her daughter Persephone who personified vegetation, withdrawing into the earth after the harvest only to return again in the spring. Most of us know the biblical Salome, whose name is similar to the Hebrew word for peace, “shalom,” and who appears in the books of Mark and Matthew, a beautiful virgin dancing to appease the lust of Herod.
But there was also a real Salome, born about 15 AD and married first to a Palestine governor and later to a ruler in Asia Minor. She also appears in the histories of Flavius Josephus, who was the first to name her as the daughter of Herodias, a detail retained by Seneca, Livy, and Plutarch.
Unveiling the Artful Salome
From these origins, we can already see a number of themes emerging: mysterious femininity, sexual power, a mixture of the earthy and the mystical. Interest in Salome grew as Europeans encountered other cultures through conquest or exploration, especially following Napoleon’s campaigns in Egypt and Syria. A fascination with the orient spread throughout Europe in architecture, painting and the decorative arts. This orientalism (a controversial but useful term) also flowered in literature. The appearance in the late eighteenth century of the French translation of One Thousand and One Nights was followed by English versions in the nineteenth century, some bowdlerized for Victorian readers, some with all the juicy bits. It is easy to imagine Salome as the naughty cousin of Scheherazade, the resourceful and imaginative narrator of Nights who kept herself from being beheaded by entertaining the king with fascinating tales.
We’ve just announced the 2017/2018 season and it’s all about the new. Five of the six mainstage productions are new to Los Angeles and two of them are company premieres. There will also be two major concerts – the first celebrating the 50th anniversary of Plácido Domingo’s first appearance at the Dorothy Chandler Pavilion and the second featuring Audra McDonald.
Can’t wait for the excitement to begin? Take a look below and get to know all the 17/18 season has in store for Los Angeles.
(presented at the Dorothy Chandler Pavilion)
Ana María Martínez returns as the famous opera femme fatale in Carmen
(Sep 9–Oct 1, 2017; production new to L.A.) — Georges Bizet
James Conlon conducts a cast that also features Alexander Vinogradov as Escamillo and Amanda Woodbury as Micaëla. The production is directed and choreographed by Rob Ashford, winner of Tony, Emmy and Olivier Awards.
After seeing Carmen, experience The Pearl Fishers another Bizet gem
(Oct 7–28, 2017; company premiere) — Georges Bizet
Plácido Domingo and Grant Gershon will each conduct performances of a rarely performed treasure, directed by Penny Woolcock. Nino Machaidze returns as Leïla, her seventh leading role in Los Angeles, with superstar tenor Javier Camarena making his company debut as Nadir. The cast also includes Alfredo Daza as Zurga and Nicholas Brownlee as Nourabad.
Plácido Domingo and James Conlon unite for Nabucco
(Oct 14–Nov 19, 2017; production new to L.A.) — Giuseppe Verdi
Plácido Domingo sings the title role of the monumental opera that made Verdi famous, conducted by James Conlon. Directed by Thaddeus Strassberger, the production also features Liudmyla Monastyrska in her LAO debut as Abigaille, with Morris Robinson as Zaccaria, Mario Chang as Ismaele and Nancy Fabiola Herrera as Fenena.
As a nonprofit, everything we do—on stage and throughout the community—is made possible by the generosity of supporters like you, who value the impact the performing arts have on the cultural fabric of Los Angeles.
When you make a tax-deductible donation by this Saturday, December 31, you will be entered for a chance to win:
- Two tickets to Anna Netrebko and Yusif Eyvazov in Concert on May 4, 2017
- Verismo, Anna Netrebko’s new album, on compact disc
A donation of any amount will help LA Opera and enter you for a chance to win this exciting giveaway. But hurry, this opportunity ends soon!
The following is a personal story from Clemence Yi, an 8th grade student, who has participated in LA Opera’s education programs. As a non-profit organization, LA Opera relies on donations from individuals like you to fund programs that introduce students like Clemence to opera and ensure the art form thrives for generations to come.
Help make programs like these possible. Visit LAOpera.org/Donate