Search Results for: opera camp
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.
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
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.
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.
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
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!
LA Opera has a robust array of programs that get kids, teens, and young adults excited about opera. Several of these programs – Operawise, Opera Prep – bring students to the opera to meet with the company’s talented arts professionals. While these programs offer students the ability to network with people in the arts community, another program – the College Advisory Committee – takes networking to the next level. It offers students the opportunity to gain leadership skills while they help promote a major arts institution.
On August 27, LA Opera’s award-winning Opera for Educators series returns with a day devoted to exploring our season opener, Giuseppe Verdi’s Macbeth. This program explores opera from interdisciplinary points of view with a diverse group of engaging professionals and academics. Teachers gain insight about Macbeth, the history of opera as an art form and as a form of social commentary, as well as learn about opera in general. Opera for Educators is a place for teachers to be inspired by rich content and fall in love with opera, while also discovering how opera can be used to integrate arts into classroom curriculum. Click here for more information and to purchase tickets.
For Keith J. Rainville, what began as a two-week graphic design gig at LA Opera (which he took instead of going to San Diego Comic Con) has morphed into a 13-year career as the company’s in house designer and brand manager. Rainville oversees and creates LA Opera’s marketing materials and has been instrumental in crafting the company’s cinematic style—a look often inspired by his lifelong love of classic film, 1960s television shows, and vintage horror.
“I was a kid in 1970s New England,” says Rainville. “We had a good five month winter and since I couldn’t go outside, I spent my days watching TV. Back then, pre-cable, you were a victim of whatever was on. I was lucky to have really good channels out of Boston that syndicated a lot of old 1960s TV shows. As a kid, I never quite understood what was new and what was old. I thought a ten year old rerun of Lost in Space was just as contemporary as Star Wars,” recalls Rainville. He continues, “My earliest memories of connecting with graphic design and typography were credit sequences for shows like Wild, Wild West and Bewitched. It was a great time for those credit sequences, most of which were animated, and I used to love those more than the shows.”
Those early experiences of watching 1960s TV shows, as well as Japanese monster movies, moody black-and-white Universal and later garishly hued Hammer classic horror films, still inspire Rainville to this day, particularly in his marketing designs for LA Opera’s more outré productions. “If you ever want to look at key art and say, ‘That’s a Keith Rainville design,’ look at our Lohengrin, Hercules vs. Vampires, and Nosferatu campaigns,” says Rainville. Those campaigns (see below) are 1960s inspired, full of loud colors, and eye-catching graphics. Of this, Rainville says, “Marketing is a blunt force instrument. You have to grab people’s collars and get their attention, and nothing does that more than garish color and large graphics.”
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) and has also directed many community productions, including the popular operas staged annually at the Cathedral of Our Lady of the Angels. 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.”
Villanueva caught the opera bug at age 12. At the time, the New York City Opera would tour in Los Angeles, staging a few operas a year. Villanueva performed with the California Boys Choir and through this choir was cast as a member of the children’s chorus in Puccini’s La Bohème. “I got to actually stand next to operas singers, which I thought was the most amazing thing,” recalls Villanueva. He continues, “I truly feel that it’s that experience of being next to an opera singer that really changes a child’s perspective of the whole art form.”
Villanueva’s work with the Education & Community Engagement team focuses on changing people’s perspective of opera.
LA Opera has many programs to make sure that everyone has access to opera for little or no cost. Opera Tales is one of these programs. In partnership with the County of Los Angeles Public Library and with generous support provided by Los Angeles County Supervisors Don Knabe and Hilda Solis, LA Opera brings professional opera singers (or “opera pals”) to libraries around Los Angeles to perform musical moments from the most celebrated operas for families. Next month’s Figaro Opera Tales has the singers recounting tales from the entire Figaro Trilogy (Rossini’s The Barber of Seville, Mozart’s The Marriage of Figaro, and Corigliano’s The Ghosts of Versailles), as told by Pierre Beaumarchais.
LA Opera uses some of the most intriguing vehicles in its productions. From trucks and cars to modes of transportation only imaginable in the arts world, prop vehicles help tell grand opera stories. They are even sometimes rare and built entirely from scratch or refurbished by our technical crew to serve the needs of a production. Take a look at the vehicles we “drive” in our operas in the roundup below.
REPRODUCING A ONE OF A KIND PEUGEOT FOR LA BOHÈME
When the technical department was tasked with sourcing an 1890 Peugeot Type 2 (one of the earliest French motorized vehicles) for La Bohème, they realized how difficult this would be. There were none of these Peugeots anywhere in America, not even in museums. Working from only an 11”x17” photocopied image, a team at Studio Sereno built a fully battery-powered replica of the original model. This vehicle will be seen live when La Bohème opens May 14.
A 1929 ROLLS ROYCE ROARS ONTO STAGE
Our Roaring Twenties-set production of Verdi’s La Traviata features a 1929 Rolls Royce sourced from a private owner. Director Marta Domingo saw a photograph of the elegant car in 2006 and loved it so much, she made it a starring prop in her production. (What better way for glamorous party girl Violetta to arrive than in this stylish vehicle?)
Every season, LA Opera presents multiple mainstage operas. The operas vary season to season, as does the cast. One thing that remains constant is the chorus. Under Resident Conductor Grant Gershon’s direction, the LA Opera Chorus has evolved into one of the nation’s most renowned choirs.
Gershon – a California native – started working as a pianist at LA Opera in its third season (1988). He remained with the company for six seasons, before moving to the Los Angeles Philharmonic. He returned to work with LA Opera in 2007, making his company debut conducting multiple performances of Verdi’s La Traviata in 2009. Additionally, he has worked with the LA Opera Chorus ever since.
When asked what makes the LA Opera chorus unique, Gershon says, “I think that the talent pool in Los Angeles for singers is extraordinary and there’s a long-standing tradition of great solo singing and great ensemble singing in the city. From the beginning, LA Opera has always been able to draw on a really deep pool of talent and on singers who are very well trained and very enthusiastic about singing as an ensemble.” Some choristers have been with the company for over 100 productions; others are just starting their careers as vocalists.
When I was five, my parents bought me a classical kids CD about Mozart’s The Magic Flute. I listened to it all the time and I started to be interested in opera. Then, I saw the full opera on DVD and I have loved opera ever since. I even saw my first live production at LA Opera when I was only seven years old: Gioacchino Rossini’s The Barber of Seville.
Watching all this opera at home and at LA Opera was great, but I really wanted to learn more.
Have you ever wondered what it would be like to sing Carmen? LA Opera is presenting a free concert called Great Opera Concerts on April 10, where you can do just that.
Presented at the Valley Performing Arts Center in Northridge, the concert (which will feature the acclaimed LA Opera Chorus) will begin with Resident Conductor Grant Gershon rehearsing the audience for their sing-along debuts. Music will be provided in the program to the three sing-along sections: “Habanera” and the “Toreador Song” from Georges Bizet’s Carmen, and the “Anvil Chorus” from Giuseppe Verdi’s Il Trovatore.
Sitting in an uncomfortable, red chair, I check LA Opera 90012 participants in for the evening’s performance – Norma. Two fellow Ambassadors and I hand out tickets, but I find myself distracted. I glance at my phone and hope this will make the time go by faster. I’m anxious to see the show.
As soon as we’re dismissed, I seize my black purse and rush to my assigned seat in the theater. I love opera (can you tell?). But this time is different, because I know three of the ensemble members. Two were my teachers and the third is a very dear friend of mine. I can barely suppress the butterflies of excitement in my stomach. I’m thrilled to watch them.
As soon as Norma starts, I’m mesmerized. It’s such a special show. I search for the members I know and manage to pinpoint two of them. It’s at this moment that I start daydreaming, fantasizing about all the rehearsals that go into creating this production. I have been in several smaller opera productions, particularly at Opera Camp, so I have some idea how the process should do. It’s long, grueling, and wickedly fast-paced from the moment a singer receives the score up until the final dress rehearsal. Yet, those rehearsal experiences have been some of the happiest moments of my life. Watching Norma, I think about my own experiences interacting with other campers – teenagers who harbor the same affection I have towards opera – and creating a whole production. We sing together, eat together, and create together.
I find myself missing those days terribly.
Erwin Schrott returns to LA Opera for an extraordinary concert event, Cuba Amiga. Schrott will be joined by an ensemble of outstanding classical and jazz musical friends from around the world, including special guest José Feliciano, the legendary singer and guitarist. Taking the audience on a musical journey through Latin America, Cuba Amiga delivers a thrilling international spectrum of Latin rhythms: bolero, salsa, flamenco, timba, rumba, cha-cha, samba and tango. The performance will take place at 7:30pm on December 12, 2015, at the Dorothy Chandler Pavilion (135 North Grand Avenue, Los Angeles, 90012).
When the LA Opera first presented Rigoletto in 1993, David Young was the second chair bass player in the Los Angeles Chamber Orchestra, the ensemble that played for most performances during the company’s early years. The opera features a prominent solo for the double bass—at the fateful moment when the troubled jester first encounters the assassin Sparafucile—which went to LACO’s longtime principal bassist, Susan Ranney. But by 2000, when the company next offered Rigoletto, Young had become the principal bassist for the LA Opera Orchestra, and it was finally his moment to shine after years of waiting for that rare opportunity. He asked Peter Hemmings, who would soon retire as LA Opera’s general director, if a promotional poster had been made for the production, explaining how much it meant to him. “Of course,” replied Hemmings. “I’ll get you one.”
Hemmings delivered the poster a few days later. Not only was it signed “Best wishes, Peter Hemmings,” it also boasted the signatures of the major stars in the cast. That framed treasure hangs on the wall of Young’s studio today. Hemmings passed away two years later, making his thoughtfulness especially poignant to Young. “Peter Hemmings really cared about everybody,” he says. “He loved this company and he gave his all to our founding years.”
Young’s story is indicative of the atmosphere that Hemmings fostered, with artists, administrators, staff and volunteers all working in close collaboration toward a common goal. Fondly remembered for his warmth, British wit and jovial nature, Hemmings was also greatly respected for his high expectations, imagination and loyalty. With a background that included bringing the Scottish Opera to prominence, he was more than up to the challenge of building a massive opera company—virtually overnight.