Search Results for: opera camp

Why I Love Opera Camp

Maurissa Dawson (left) with Holocaust survivor Peter Daniels (right)

Maurissa Dawson (left) with Holocaust survivor Peter Daniels (right)

Spring, 2016.

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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Opera Camp Encourages Children and Teens to Express Themselves through Music and Drama

Opera Camp 2017

Opera Camp 2017

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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What is Opera Camp?

An Innovative Summer Camp

Opera Camp 2017

Opera Camp 2017

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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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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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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What do Burning Man and LA Opera have in common?

What do Burning Man and LA Opera have in common?

Anabel Romero.

Anabel Romero

Anabel Romero

Romero is LA Opera’s Community Engagement Coordinator. She helps oversee the company’s Opera Camp and Cathedral Project programs that share opera with the Greater Los Angeles community.

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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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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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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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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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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Who Networks at the Opera? College Students.

Member of the 15/16 season College Advisory Committee

Member of the 15/16 season College Advisory Committee

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.

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Opera For Educators Kicks Off With A Macbeth Seminar

Plácido Domingo and a group of teachers during Teacherpalooza (2015)

Plácido Domingo and a group of teachers during Teacherpalooza (2015)

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.

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Keith Rainville Brings His Brand of 60s Film Aesthetic to the Opera

Keith Rainville at LA Opera

Keith J. Rainville at LA Opera

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.”

Key art for Lohengrin (2010) and Nosferatu (2016) designed by

Key art for Lohengrin (2010) and Nosferatu (2016) designed by Keith J. Rainville

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Eli Villanueva and LA Opera Boost Children’s Confidence Through the Arts

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) 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.”

A Young Eli in the Boy's Choir

A Young Eli Villanueva in the Boy’s Choir

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.

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LA Opera Goes On Tour with Figaro Opera Tales

Leroy Villanueva and Ashley Faatoalia in Figaro Opera Tales; Photo: Jennifer Babcock

Leroy Villanueva and Ashley Faatoalia in Figaro Opera Tales; Photo: Jennifer Babcock

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.

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Top Gear: Opera Edition

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

Peugeot Before and After; Photo: Studio Sereno

Peugeot Before and After; Photo: Studio Sereno

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

Nino Machaidze as Violetta, making a grand entrance at her own party in Verdi's La Traviata (2014); Photo: Craig T. Mathew

Nino Machaidze as Violetta, making a grand entrance at her own party in  La Traviata (2014); Photo: Craig T. Mathew

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?)

 

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