Search Results for: camp

All About That Opera Camp

Luz Duran (left) and Chaya Forman (right) during a break from Opera Camp 2016

Luz Duran (left) and Chaya Forman (right) during a break from Opera Camp 2016

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.

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Opera Camp Never Gets Old

Samuel Bindschadler

Samuel Bindschadler

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.

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A Camper’s Words

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.

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From Zarzuela to Opera Camp

Jesus, Beatrice, and Diego in Zarzuela garb

Jesus, Beatrice, and Diego in Zarzuela garb

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.

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It’s Not Sleep Away Camp, It’s Opera Camp!

Katie and Annie Lee rehearse “Everything Breathes” from <em>The White Bird of Poston</em>. They are led here (off-camera) by teaching artists Leslie Stevens and Charlie Kim.

Katie and Annie Lee rehearse “Everything Breathes” from The White Bird of Poston. They are led here (off-camera) by teaching artists Leslie Stevens and Charlie Kim.

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

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The Internship of a Lifetime

Robert Rivera and Maya Ordoñez after meeting with LA Opera's Chief Financial Officer Faith Raiguel

Robert Rivera and Maya Ordoñez after meeting with LA Opera’s Chief Financial Officer Faith Raiguel

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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WATCH: Christopher Koelsch Talks Bringing New Audiences To LA Opera

Christopher Koeslch (left), Graham Parker (center), Yael Greenberg (right)

Christopher Koeslch (left), Graham Parker (center), Yael Greenberg (right)

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.

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Master Your Opera Skills

Eli Villanueva

Eli Villanueva

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.

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LA Opera Goes on Tour with Puccini Opera Tales

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.

Puccini Opera Tales

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.

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Britten at the Cathedral

Noah's Flood (2015); Photo: Ben Gibbs

Noah’s Flood (2015); Photo: Ben Gibbs

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

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Zanaida Robles Inspires Students Through Opera

Zanaida Robles working with students during Opera Camp (2016)

Zanaida Robles working with students during Opera Camp (2016); Photo: Gennia Cui

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.

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Beyond Salome’s Veils

Patricia Racette as the title character in Salome (2015) at Opera San Antonio; Photo: Karen Almond

Patricia Racette as the title character in Salome (2015) at Opera San Antonio; Photo: Karen Almond

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.

"Salome in the Graden" by Gustave Moreau

“Salome in the Graden” by Gustave Moreau

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.

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Get To Know the 2017/2018 Season

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.

MAINSTAGE PRODUCTIONS
(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.

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Ends Soon! Your Chance To Win Tickets to Netrebko and Eyvazov In Concert

Anna Netrebko and Yusif Eyvazov

Anna Netrebko and Yusif Eyvazov

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!

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GIVING TUESDAY: MY OPERA EXPERIENCE

 

Giving Tuesday: My Opera Experience

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

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GIVING TUESDAY: BOOSTING CHILDREN’S CONFIDENCE THROUGH THE ARTS

Giving Tuesday - Boosting Confidence

Tomorrow is Giving Tuesday, a nationwide day of giving back. As a non-profit organization, LA Opera relies on donations from individuals like you to share the power of the performing arts within our community.

LA Opera’s Education and Community Engagement programs touch the lives of more than 140,000 Angelenos annually. Below is a story of some of the young lives being affected.

Help make programs like these possible. Visit LAOpera.org/Donate

Eli Villanueva

Eli Villanueva

For the past fifteen years, Eli Villanueva has worked with LA Opera’s Education and Community Engagement team to bring opera to the Los Angeles Community. An accomplished performer, stage director, and composer, Villanueva has performed in and composed several works for the company’s various education programs (Opera Camp, Opera Tales, and In-School Opera).

Through his work, Villanueva strives to impact how children see the world and offer them the same excitement he had when he first “caught the opera bug.”

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Hear Matthew Aucoin’s Thoughts on Akhnaten

Matthew Aucoin (right) and Summer Hassan (left); Photo: Ben Gibbs

Matthew Aucoin (right) and Summer Hassan (left); Photo: Ben Gibbs

This fall has been very busy for Matthew Aucoin – LA Opera’s new artist-in-residence. Not only did he compose, conduct, curate and perform in October’s wildly popular Nosferatu: A Symphony of Horror (held at The Theater at Ace Hotel), he also made his LA Opera mainstage debut conducting Philip Glass’s Akhnaten. In the below excerpt of a podcast hosted by Living with A Genius’s Omar Crook, Aucoin talks about how he tackled the challenging Glass opera.

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Your Chance To Win Tickets To Anna Netrebko and Yusif Eyvazov In Concert

Anna Netrebko and Yusif Eyvazov

Anna Netrebko and Yusif Eyvazov

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.

… Continue reading

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LA Opera Performs Operas…In Secondary Schools

Secondary-In-School Opera

Secondary-In-School Opera

Teens and opera – there’s a connection there. You might think that teenagers in Los Angeles would never think about it or avoid it, assuming it’s old fashioned and boring. But, LA Opera is challenging that narrative by bringing opera directly to Los Angeles’ secondary school students.

Every year LA Opera’s Education and Community Engagement’s program, Secondary In-School Opera (SISO), offers an original opera specifically commissioned for middle and high school students. On as many as 10 campuses across all five Los Angeles districts, students work together as an ensemble to build critical music and performance skills, under the direction of professional teaching artists from LA Opera. During one class period a week, for ten weeks each fall they put together an opera. On performance day a truck rolls up to the campus with sets, costumes, technical equipment, and more. Students are joined by several professional opera singers and orchestra members for their final dress rehearsal and a stirring performance for their peers, parents and special invited guests.

If bringing this art form to students was all SISO offered, it would be amazing.

But wait, there’s more!

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Feed This Girl

Amelia Hemmings as a Scottish Refugee in Macbeth (2016); Photo: Karen Almond

Amelia Hemmings as a Scottish Refugee in Macbeth (2016); Photo: Karen Almond

Thirty years after its founding, the opera legacy first established by Peter Hemmings lives on – literally.

Amelia Hemmings

Amelia Hemmings

That sweet, albeit heartbreaking and starved face you’ll see at the center of the Scottish Refugee’s chorus in Act IV is Amelia Hemmings, granddaughter of the late Hemmings.

By day, Amelia is your regular 7th grader. Besides singing, dancing and performing, she loves baking mini cupcakes (plain vanilla especially) and crafts (she even has her own glue gun). But then again, she might not be so regular after all. In LA Opera’s last two seasons, she’s been in several productions, carrying on the family’s opera tradition. (Her older brother Rory made his LA Opera solo debut as the Cabin Boy in Billy Budd in 2014 and has also appeared in several other productions.)

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