The Abduction from the Seraglio takes the stage two more time this month. In case you’ve missed the Roaring Twenties, Orient Express, and Mozart fun, we’ve collected a bunch of articles for you to check out below.
Get To Know The Abduction from the Seraglio
Maestro James Conlon, who is celebrating his 10th season as LA Opera’s Richard Seaver Music Director, discusses Mozart’s The Abduction from the Seraglio.
Soprano Patricia Racette’s 2016/17 season features a triple run of Salome, with recent performances for the Metropolitan Opera and Pittsburgh Opera, and now in Los Angeles, where it’s her fifth leading role. (She’ll also reprise the femme fatale for a … Continue reading
LA Opera first presented its provocative production of Salome during its inaugural season in 1986. That iconic production featured a backdrop of hand painted, psychedelic projections envisioned by designer John Bury. Salome returns to LA Opera this month and features new projections that build upon Bury’s original designs and showcase the title character’s mental state throughout the opera.
Bury’s original projections (see below) were abstract and textural, containing a dark color scheme (reds, blues, and purples). Some projections feature shapes that look like bubbles or blood cells, while others create patterns using horizontal lines.
Updated since their original use, the new projections are no longer hand painted. Projection Designer Alisa Lapidus digitized Bury’s projections and used them as the base for the new projections (which are both digital and animated). These new projections reflect director David Paul’s emphasis on Salome’s journey between two worlds – the one she lives in and the one in her head.
On February 12, LA Opera will host its first family day of the season. Tickets to the matinee performance of The Abduction from the Seraglio are half-off for children and teens ages 9 to 17 (as always), and there will be several activities inspired by the Roaring Twenties-set production.
Here are some of the fun activities for families on February 12:
Swing Into the 1920s Spirit with Dance Lessons
From 11:30am-12:40pm, members from MASS Historia will be on hand teaching families how to fox trot like its 1925. There will also be professional demonstrations and dancing open to everyone after the performance in Stern Grand Hall.
Members from the California Art Club, one of the oldest and largest professional arts organizations in the country, will be staged throughout the Dorothy Chandler Pavilion capturing the spirit of family day in paintings and showing families how fun art and opera can be. … Continue reading
It’s time to dig out those flapper costumes and dapper suits! To celebrate our 1920s set production of Mozart’s The Abduction from the Seraglio, we’re inviting you to come to the February 16 performance dressed in your Roaring Twenties best.
Wear A 1920s Costume, Get Free Champagne – Here’s How It Works
- Arrive at the Dorothy Chandler Pavilion in your costume at least 20 minutes prior to the start of the show
- Get your picture taken on our red carpet by our Social Media Team
- Allow us to post on LA Opera social media and/or post on your Social Media accounts and tag us
- Receive a champagne voucher redeemable at any of the bars inside the Dorothy Chandler Pavilion.
- Only one free champagne voucher per person in costume.
- Must be 21 and over to receive a voucher. While supplies last. Valid only on Thur. Feb 16, 2017.
LA Opera’s production of The Abduction from the Seraglio is not a traditional staging of the Mozart treasure. Historically, the 18th-century comedic opera which follows the hero Belmonte as he tries to rescue his love Konstanze from the seraglio (“harem”) of Pasha Selim is set in the Pasha’s grand palace. Our staging, envisioned by director James Robinson, updates the story to the 1920s and sets the action entirely aboard the famed Orient Express, traveling from Istanbul to Paris.
The 1920s was a decade of transition—socially, politically and culturally. The world was still reeling from the Great War and the dissolution of the Ottoman Empire. Grand world changes lend themselves well to the east-meets-west nature of Mozart’s The Abduction from the Seraglio. This opera explores the comedy, not the tragedy, that arises when people from different cultures collide.
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.
While we’re onstage rehearsing for our upcoming productions, our education and community engagement team has been preparing to launch another special program – Open Door Days.
Open Door Days is a light-hearted introduction to the “big ideas” of opera. This new program, which begins today, offers the opportunity to explore opera’s most beloved music and get a behind-the-scenes look at how an opera house works.
This includes learning about supertitles.
Just like we do during our mainstage shows, we help the audience follow the story by translating the sung text into English. During an interactive performance at Open Door Days, our trio of intrepid singers explain and demonstrate how supertitles work during the aria “Votre toast, je peux vous le rendre” from the opera Carmen, more popularly known as The Toreador Song.
It’s that time of year again. The Season of Love. It’s the perfect time to show your romantic side, and nothing says romance like an evening of Mozart or Strauss. Ever thought of surprising the ones you love with the gift of opera on Valentine’s Day? Here’s a list of the most romantic operas to give your significant other the opera experience of a lifetime.
This Mozart treasure is perfect for a fun, romantic evening at the opera. Our production is set in the 1920s and has the feeling of a classic screwball comedy (think Bringing Up Baby). It’s light, it’s funny and it’s perfect for any first – first opera, first date. With two intermissions, there’s time to share some bubbly while enjoying an evening together.
En route from Istanbul to Paris, two beautiful damsels in distress are held captive aboard the luxurious Orient Express by a notorious Ottoman royal. It’s up to their faithful lovers to rescue them before it’s too late! James Conlon conducts a brilliant ensemble of soloists, including bass Morris Robinson as the Pasha’s delightfully nefarious henchman Osmin. Hamish Linklater makes his company debut in the pivotal role of the Pasha Selim.
If you’re looking for a short, but thrilling night at the opera, Salome is the opera to give your loved on Valentine’s Day. Filled with unbridle passion and seduction, this one will give you lots to talk about.
“Tired of being on the heights, I deliberately went to the depths in the search for new sensations. What the paradox was to me in the sphere of thought, perversity became to me in the sphere of passion. Desire, at the end, was a malady, or a madness, or both.”
Oscar Wilde, De Profundis
Arriving on the heels of Mozart’s The Abduction from the Seraglio in our season, it is difficult to compare these totally different works without reflecting on how the world had changed. European civilization was sitting on a fault line when Richard Strauss wrote Salome. Strauss, who placed “the miracle Mozart, immediately after Bach,” could not turn to the latter for operatic prototypes, but found immeasurable inspiration in Mozart’s operas.
This season, James Conlon celebrates ten years as LA Opera’s Richard Seaver Music Director. Throughout the past decade, he has led the orchestra through more than fifty operas, from the great masterpieces of Mozart, Verdi and Wagner to contemporary works like The Ghosts of Versailles and Moby-Dick, and will continue do so for several years to come. On the heels of a contract renewal that will have him at the podium through the 2020/2021 season, we sat down with Maestro Conlon to discuss his life in classical music and what he loves most about opera in Los Angeles.
What inspired you to become a conductor?
It wasn’t a single person but, instead, a series of events that inspired me to become a classical musician. I went to the opera for the first time in 1961. I was 11 and the experience transformed my life within months. I wanted to hear classical music day and night. Soon I was studying piano and violin. I also began singing in the children’s choir of a small New York City opera company. A few years later, I decided I wanted to be a conductor, at which point every career decision I made focused on that goal. At 22, I graduated from The Julliard School and my professional life as a conductor was on its way.
What are the greatest challenges you faced in the field and how did you overcome them?
The greatest challenge I faced when I was starting out was proving myself as a young conductor in both symphonic and operatic institutions. Unlike today’s world, which now welcomes young conductors, it was just the opposite when I started out. I also faced the challenges of both proving myself in Europe as a qualified American conductor (and a young American conductor to boot), and additionally proving myself in the United States, which has historically preferred foreign (mostly European) conductors.
How did I master these challenges? I simply devoted myself to my work: Seriously. Relentlessly. Passionately. At a certain point, conducting ceased to be a career and became a way of life—something that still holds true today.
On January 28, Morris Robinson returns to LA Opera as Osmin in Mozart’s The Abduction from the Seraglio. The talented bass has sung in the world’s greatest opera houses in the last decade, but he did not always dream about a career in opera.
In this edition of our collaboration with Living with A Genius, hear Robinson discuss Osmin and what led him to become an opera singer.
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.
Today is Plácido Domingo’s birthday. To celebrate, here are some articles and images that showcase his work at LA Opera over the years.
Get to know Maestro Domingo by reading the articles below and check out images of Maestro Domingo on our Domingo at LA Opera Pinterest Board.
Rehearsals are in full swing for LA Opera’s Elementary In-School Opera program. This annual five-week residency brings LA Opera teaching artists and staff into 15 elementary schools across the county to rehearse, stage, and perform an opera. While teaching artists are cast as principal roles, the students are cast in ensemble and smaller roles, often getting their first taste of opera and learn about California history along the way.
Pittance Chamber Music, comprised of members of the LA Opera Orchestra, will host their next concert on February 3. Special guest James Conlon will be conducting Pittance Chamber Music in Mozart’s sublime Serenade in B-flat, K.361, known as the “Gran Partita.” As Pittance is a chamber music organization, its ensembles are small and normally don’t require a conductor. However, the size and scope of the “Gran Partita” makes it difficult to put together without one, and it is exciting that Maestro Conlon has agreed to move from the pit to the stage for this concert.
Since LA Opera’s first season in 1986, Los Angeles is not the only place in the world that you can experience one of the company’s productions. Over the years, they’ve been rented and staged by other opera companies, produced during festivals, and even shown on the big screen. LA Opera’s innovative and beloved productions travel the world, sharing the spirit of Los Angeles and a love of opera with people far and wide.
Here are three productions that have traveled the world in recent years.
Salome (1986; 1989; 1998; 2001; 2017)
LA Opera’s iconic production of Strauss’s Salome (which returns to the LA Opera stage February 18) originally premiered during our first season in 1986. Adapted from the scandalous play by Oscar Wilde, Salome is a seductively beautiful tapestry of the subconscious. The princess Salome becomes infatuated by her stepfather’s prisoner, John the Baptist, and she determines to have him…whatever the cost.
This production of Salome is well traveled and has been staged both close to home (at San Diego Opera) across the country (Washington National Opera) and around the world (on tour with the Savonlinna Festival in Finland and as part of the Hong Kong Arts Festival in China).
“Nothing is as ugly as vengeance, whereas the quality of great souls is to be humanely kind and forgive without selfishness.” (Act III, The Abduction from the Seraglio*)
In the final months of his life, Wolfgang Amadeus Mozart completed two operas, written simultaneously in 1791: The Magic Flute, a German Singspiel (“singing play”) alternating musical numbers with spoken dialogue; and La Clemenza di Tito (The Clemency of Titus), an Italian opera seria. He might just as well have given his earlier Singspiel, 1782’s The Abduction from Seraglio, a different title: The Clemency of Pasha Selim. After all, the planned abduction fails to materialize. And of the many issues addressed in this work, the rejection of vengeance and the power of forgiveness are at its center, embodied in the person of Pasha Selim.
Impatient to impress Kaiser Joseph II, one of Europe’s greatest Enlightenment monarchs, Mozart jumped at the opportunity to “lift the national German stage to recognition in music!” He showed that not just he, but German music, could be freed from the virtual monopoly of Italian opera. Taking the popular form of Singspiel, he merges it with Italianate sophistication. This, in time, would lead to The Magic Flute, Beethoven’s Fidelio and the 19th-century German genre of Spieloper (“opera play”).
Mozart was 20 when British historian and man of letters Horace Walpole reiterated in a private letter what was to become his famous epigram: “The world is a comedy to those that think, a tragedy to those that feel.” The highly cultured Walpole might even have heard about the young genius from Salzburg.
Comedies make us think through provoking laughter and humor. Tragedies and melodramas make us feel, and sometimes weep. In the 18th century, Italian opera was compartmentalized: opera buffa made us laugh, opera seria made us think. Most importantly, they both pleased the ear. Mozart clouded this distinction by elevating the level of comic opera to deal with more serious subjects.
The votes are in…Congratulations to our winners!
This past fall, LA Opera hosted a contest for currently enrolled college art and design students in southern California. Students were asked to submit artwork for LA Opera’s spring production of Strauss’s Salome for a chance to be featured on the cover of the show’s performance program and displayed at the home of LA Opera, the Dorothy Chandler Pavilion.
Thanks to the generous support of GRoW @ Annenberg, more than 35 students from 14 different southern California institutions competed for cash prizes and to see their artwork on this season’s Salome program cover. The winners were chosen by a jury, chaired by Gregory Annenberg Weingarten of the Annenberg Foundation and by Regina Weingarten, a member of the LA Opera board of directors. The jury also included Christopher Koelsch, LA Opera President and CEO; Diane Bergman, LA Opera Vice President of Marketing and Communications; Keith Rainville, LA Opera Brand Manager; and Tim Johnson, Film Director at DreamWorks Animation and a member of the LA Opera board of directors. We are pleased to announce our three winners: Marshall Dahlin, David Kwock, and Lauren Moss.
The top submission (see below), by Marshall Dahlin of Cal State Fullerton, was selected for the Salome cover, and earned him a $5,000 prize.
With The Abduction from the Seraglio, Mozart scored the biggest stage success he would enjoy during his lifetime. It premiered in Vienna on July 16, 1782, and, by the fourth performance—according to Mozart himself—the show was “creating such a sensation that they don’t want to see or hear anything else, and the theater is packed full each time.”
Nowadays Abduction ranks among the less frequently encountered of Mozart’s mature stage works. One reason might be that it suffers from what director James Robinson calls “ugly-title syndrome.” Catchy titles, to be sure, can go a long way toward securing recognition for even second-rate works. Robinson adds: “Abduction is underrated in many ways. It’s one of the most unabashedly romantic pieces that Mozart ever wrote. The way he addresses relationships and longing, as well as all the things that accompany love and its potential loss, is so heartfelt. Abduction wears its emotions on its sleeve. And it’s also a wonderfully funny piece.”
The stakes for the success of Abduction were high.
When Mozart started working on his new project in the summer of 1781, he was right in the middle of a period of profound transition—personally as well as professionally. The year had started with the premiere, in Munich, of Idomeneo, an ambitious opera that represented a major artistic leap forward for the composer. A few months after that came a dramatic confrontation with his boss, Count Hieronymus Colloredo, the Prince-Archbishop of Salzburg. Among the many reasons Mozart felt so miserable at Colloredo’s provincial court was the lack of opportunities to write opera, the art form he loved most of all.