Tag Archives: 30th Anniversary Season

2015: A Year in Review

It has been a milestone season at LA Opera. During the latter half of our 29th season, we presented some of the most engaging and successful productions in the company’s history: a masterful west coast premiere of The Ghosts of Versailles, an engaging cinematic cross-over opera, Hercules vs. Vampires, and an epic avant-garde opera in Dog Days. Our 30th Anniversary Season has started off with a bang. Plácido Domingo’s 147th role debut as the title character in Gianni Schicchi, double-billed with Pagliacci, a contemporary classic, Moby-Dick, a sold-out run of Song from the Uproar, and a beloved bel canto masterpiece, Norma have all wowed Los Angeles audiences since September. Throughout the year, we’ve also had continued success with various initiatives that promote the arts in the greater Los Angeles Community, including our Cathedral Project and Opera Camp.

Below we’ve gathered a few articles and videos we’ve created throughout the year and additional photos are featured in our 2015: A Year in Review Pinterest gallery.

The Ghosts of Versailles

Take a sneak peek behind-the-scenes at The Ghosts of Versailles set and costumes as well as a preview from the show.

https://www.youtube.com/watch?v=YnoNmpWl4S4

https://www.youtube.com/watch?v=RtwEwuLJ5Y8

https://www.youtube.com/watch?v=97lpIpYVQBU

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The Return of Ulysses: Iconic Productions Day 10

The Return of Ulysses, 1996-1997

Frederica von Stade as Penelope in The Return of Ulysses (1997); Photo Credit: Ken Howard

“[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)

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#LAO30 Images Iconic Productions Day 1: Salome

“All the characters in the opera are obsessed, often to the brink of madness. Obsessions make men blind, unable to understand other points of view or to admit the balancing power of reason. And such obsessions finally lead to violence [in Salome]. Salome’s passions lead directly to her death. She is crushed like an infectious insect. We can only approve of her end, while perhaps reflecting that all of us have the possibility of aberrant sexual behavior inside us. It is the obverse of true passion.”

– Sir Peter Hall, director of 1986’s Salome

Salome, 1986, Photo By Frederic Ohringer

Maria Ewing and Michael Devlin in Salome (1986); Photo Credit: Frederic Ohringer

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Introducing #LAO30Images Project

 

LAO30Images IntroLA 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.

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