Tag Archives: 30 Days of Iconic LAO Productions
LA Opera’s 2013/14 season was one of the company’s most memorable in recent years. While there were many stellar productions, three stand out as iconic: Philip Glass’s Einstein on the Beach, Mozart’s The Magic Flute, and Jules Massenet’s Thaїs. The first two are examples of the progressive programming that LA Opera is known for, while the latter is exemplary of how well the company produces traditional operatic repertory.
Einstein on the Beach radically redefines what audiences might expect from opera, theater, or performance art. Director Robert Wilson reflected on his experiences of Glass’s radical work:
“Here, it’s a work where you go and you can get lost. That’s the idea. It’s like a good novel. You don’t have to understand anything. I went to the revival at BAM [Brooklyn Academy of Music] some years ago, and I was there for the opening, and then I went back a week later, and walked down the aisle. There was an empty seat, and I sat down, in the empty seat on the aisle, and Arthur Miller was sitting next to me. And after about 20 minutes he turned to me, and he didn’t know who I was, and he said, “What do you think about this?” I said, “I don’t know, what do you think?” And he said, “You know, I don’t get it.” I said, “You know, I don’t get it either.”
Following the progressive staging of Einstein on the Beach, LA Opera presented a truly inspiring production of Mozart’s The Magic Flute (which returns this month). Staged entirely with projections inspired by the roaring twenties, this Magic Flute reimagined Mozart’s opera, giving it a wildly successful cinematic twist. Suzanne Andrade and Paul Barritt (co-founders of the London theater company, 1927) envisioned an inspiring production in collaboration with Barrie Kosky of Komische Oper Berlin. (Read more about their Magic Flute here.)
“[There’s] an underlying anger [to Penelope]…her frustration, and at the bottom of everything is fear – what these people could do to her. They’ve had enough of her saying, ‘Just wait a little longer, he’s going to come back.’” – Frederica von Stade’s explorations of her character Penelope in The Return of Ulysses (1997)
“The theme [of Otello] is eternal and current: The Soldier, shoved into peacetime, proves to be defenseless and helpless in the face of the attacks of everyday life, the persecutions of injured vanity. In ancient tragedy, the heroes fell because of the gods. With Shakespeare and Verdi, it is the envy of men which destroys the outsider.” – Götz Friedrich, director of inaugural season opener, Otello.
LA Opera is turning 30. This is a huge milestone year for a company that has grown to become the fourth largest opera company in the nation, lauded for both its unique artistic vision and operatic innovation. In honor of our 30th Anniversary Season, we are introducing our #LAO30Images Project. This is a year-long photo series, showcasing photos from our most engaging productions that portray our extensive visual history.
Throughout the year, we will share images in bulks of 30, either all 30 images in one day, or 30 images scattered through the season.