Faces of the Opera
Soprano Melody Moore believes in female empowerment — perhaps that’s why she’s so drawn to the Lady Macbeths and Floria Toscas of the operatic stage. Luckily, these are the types of roles she’s been polishing since her earliest days as a budding singer, meticulously analyzing each and every leading lady throughout her development. But Moore is all grown up now, and on May 13 she once again steps into the title role of Puccini’s Tosca at LA Opera, under the baton of Maestro Grant Gershon.
With her fifth production of Puccini’s masterpiece underway, Moore doesn’t let repetition affect her artistic integrity. In her own words, it’s a role that changes as she matures, and her understanding of the character has zig-zagged across the mood board.
Patrick Blackwell has always wanted to sing. His mother was an avid opera-goer and Blackwell grew up in the shadow of the Kennedy Center in Washington, D.C. His passion for singing led him to Duke Ellington School of the Arts and later Julliard. As a professional singer, he’s traveled the world performing and in recent years has made a home for himself at LA Opera.
On May 6, Patrick Blackwell stars as Noah in Benjamin Britten’s Noah’s Flood. As part of our Cathedral Project and presented at the Cathedral of Our Lady of the Angels, Noah’s Flood brings together opera professionals with members of the Los Angeles community for an opera experience unlike any other. This is Blackwell’s first time performing an opera at the Cathedral and it’s an experience the bass-baritone is looking forward to.
Baritone Ambrogio Maestri may be a sinister villain on stage as Scarpia in Tosca, but he’s quite the opposite off stage.
A large, booming man, Maestri who comes in at 6 foot, 5 inches tall, he towers over the parishioners, his victims, and the doomed lovers, Cavaradossi and Tosca. Maestri, who plays Scarpia through the end of the month, has sung the role many times and developed the role over the years. In Maestri’s interpretation, Scarpia is stoic and still, believing that such a powerful man would command the room and force others to move about him, responding to his orders and will. The effect is a Scarpia that is completely in control and with an evil essence that makes Rome quake.
But, the evil Scarpia couldn’t be further from who Maestri really is.
Ruby Hanan has worked part-time as a Telefund caller for LA Opera for the past 12 years. For 10 of those years she has also been a donor to the organization.
What inspires Ruby to not only give her time but also contribute to LA Opera?
Mezzo-soprano Kate Lindsey had two passions growing up: soccer and singing. Though a series of life events eventually led her to pursue classical music, her time spent as the only girl on sports teams worked in her favor, carrying over lessons from her time as “one of the boys” into her celebrated career. On April 15, Lindsey finishes another run of her signature role, Nicklausse, in LA Opera’s production of Offenbach’s The Tales of Hoffmann, alongside Vittorio Grigolo and Diana Damrau.
Though opera-goers have established Lindsey as one of today’s leading interpreters of trouser roles, she never set out wanting to become a singer — instead, she feels that music found her, and that’s ultimately what drew her in.
Tara Colburn, born Tarasenka Pankiv in Zagreb, Croatia, grew up surrounded by music and the arts. She studied piano with her concert pianist mother and her grandfather was director of the Zagreb Conservatory. A lifelong supporter of the arts, Ms. Colburn served as an active board member of LA Opera since the company’s founding year in 1986. She was one of the company’s most dedicated supporters for nearly two decades before her death in 2003. She established the Tarasenka Pankiv Fund through a bequest (a directive in her will) that continues to support LA Opera productions, including the upcoming presentation of Tosca.
Since 1997, Hispanics for LA Opera (HLAO) has hosted the Plácido Domingo Awards. The awards ceremony – which honors distinguished Hispanic opera artists and others who have contributed to the success of HLAO – was held last night at the home of the LA Opera, the Dorothy Chandler Pavilion in the Eva and Marc Stern Grand Hall. In addition to honoring this year’s winners – Rafa Sardina and Joshua Guerrero – the awards also celebrated the 25th Anniversary of HLAO.
Brian Michael Moore has lived a fuller life in 24 years than most people do in a lifetime — in barely a quarter of a century, the young tenor has beaten cancer twice, lived in multiple states and has shared the stage with some of the world’s most esteemed musicians. Currently in his first season as a Domingo-Colburn-Stein Young Artist, Moore has already been seen in the company’s productions of Wonderful Town and Salome. This month and next, he’s playing Nathanaël in Offenbach’s The Tales of Hoffmann and sharing the stage with opera superstars Vittorio Grigolo and Diana Damrau.
Prior to his time in Los Angeles, the Cincinnati native attributes his musical beginnings to his parents, who enrolled him in piano lessons as a small child. Though neither of them “were that musical,” as Moore states, classical music was a big part of his childhood development. While balancing school and sports, his first taste of the limelight came in the seventh grade, after he was cast in the ensemble of his school’s production of Oliver! — however, the opportunity was over for him before it even began.
“I was never told when rehearsals would start or where they were, so I just never showed up,” Moore laughs. “And then they performed it and I thought ‘Well, I guess I could have been in that.’”
Though his stage career began rocky, Moore eventually became serious about pursuing singing professionally. He participated in his school’s musical the following year, singing in the Barbershop Quartet in “The Music Man.” And after taking the advice from his middle school musical director, he began taking formal voice lessons the summer before he entered high school, where he was first exposed to classical singing.
Carmen. Manon. Pagliacci. Name almost any opera and George Sterne has probably performed in it. The current production of The Tales of Hoffmann marks the LA Opera Chorus member’s 150th production with the company – a milestone that no other chorister has yet to achieve. … Continue reading
Every company has an oracle. He/she is the person who has been at the company a while, knows just about everything and is willing to share it with you. They know a lot yet don’t make you feel bad that you might not; and, they have a way of educating while entertaining and guiding you to be as passionate about something as they are.
At LA Opera – that’s Mark Lyons. Mark is the Associate Director of Communications and Publications. Mark has been with LA Opera since 2003 and when we say he knows just about everything there is to know about opera, it’s because he’s been in it and around it his entire adult life.
Salome is one of the most challenging operas to play. Musicians are tasked with a score that pushes the limits of what’s considered playable for an orchestra. LA Opera Orchestra Principal Bassoonist William May had a further challenge. In less than a year, May learned a rare instrument to play in Salome – the heckelphone.
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.
When Anthony and Marta Richardson each bought tickets to a performance of LA Opera’s Simon Boccanegra in 2012, they had no idea they would end up finding love at the opera.
Before they ever met, Anthony and Marta were both frequent opera-goers. Marta, a teacher at the time (she’s now an elementary school principal at Palos Verdes Peninsula Unified School District), saw her first performance at LA Opera in 1997 and had since invited representatives of the Music Center and the LA Opera to speak to her students about opera and music. Anthony – an actor/singer turned financial consultant – had also attended shows at LA Opera since the late 1990s, even volunteering with the Opera League of Los Angeles. His assignment – shuffling artists from LAX to the Dorothy Chandler Pavilion.
In March 2012, Anthony had tickets to see Simon Boccanegra.
“I had never seen Plácido Domingo perform before and was very excited,” says Anthony.
When his friend canceled, Anthony decided to have dinner at Nick & Stef’s Steakhouse, thinking he might meet someone to whom he could give his extra ticket.
“When I got to the steakhouse, I spotted Marta and her friend at the bar and strategically sat next to them,” recalls Anthony. Marta replies jokingly, “That’s how men operate.”
Steve McGinty is a computer software engineer, who spends his days providing technical support to commercial users of mainframe products. Outside of work, Mr. McGinty has a passion for opera, which has long been an important part of his life.
“Once a person has been exposed to opera, it can have a tremendous impact on their life,” says Mr. McGinty.
Mr. McGinty has been a season subscriber at LA Opera for many years and generously supports the company through annual contributions.
Share 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 … Continue reading
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.
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.
The story of how David Washburn found the trumpet has become a family legend.
David’s father, an engineering professor, played cornet. He eventually gave that cornet to a friend. One evening, while the Washburns were visiting this friend, someone brought out the cornet. Little David gave it a go. After one lesson, his father’s friend exclaimed: “You’d better get him a trumpet!”
Christopher Koelsch, LA Opera’s President and Chief Executive Officer, is either astonishingly modest or tremendously reverential to those who have gone before him… or both.
Mr. Koelsch is this year’s recipient of the Opera League’s Peter Hemmings Award – given to individuals “who have made significant contributions to the development of opera in the greater Los Angeles area.” He speaks of the achievements of LA Opera in his four years at the helm as little more than the naturalension of ideas and programs put forth by his predecessors – and by “the incredible team we have here.”