Tag Archives: Brenton Ryan
Share Set in the 1920s aboard the Orient Express, The Abduction from the Seraglio features some interesting props to look out for when seeing the show. Here’s a list of our top three favorites – see if you spot them … Continue reading
Plácido Domingo has a passion for discovering talent. He’s not just the world’s most legendary opera singer; he’s also a champion for new young artists. In 1993, Maestro Domingo established Operalia, an international vocal competition created to find and help launch the careers of today’s most promising young opera singers. Over the years, Operalia has done just that, launching the careers of some of the most talked about artists of our time.
This year’s competition wrapped up last night (you can watch the final round here), and those of us in Los Angeles, who have been following along all week, watched and cheered from our homes. Through the magic of live stream, we watched the final announcements from Guadalajara, Mexico. You could probably hear the cheering from the stage in Guadalajara when two of our very own young artists won top prizes (accompanied by Nino Sanikidze, Head Coach in the Young Artist Program).
- Nicolas Brownlee, a current member of LA Opera’s Domingo-Colburn-Stein Young Artist Program, won “The Don Plácido Domingo Ferrer Prize of Zarzuela.” Brownlee has been in six different productions at LA Opera to date, most recently as Coline in La Bohème. He will make his Metropolitan Opera debut this coming season, in addition to performing several roles in Los Angeles, including Angelotti in Tosca next spring.
- Brenton Ryan, an alumnus of LA Opera’s Domingo-Colburn-Stein Young Artist Program, won the Birgit Nilsson Prize. You can catch Ryan as Pedrillo in The Abduction from the Seraglio in our upcoming season, a role he debuted at the Metropolitan Opera this past spring.
There is usually a pretty standard way of rehearsing opera. The director has a concept for the production – a vision that has been in play with designers and production staff years ahead of the first rehearsal. When singers do arrive, they spend time with the director, reaching a compromise on character choices, and perfecting their knowledge of the music. Sometimes bits of music are cut out; other times bits of music are added. This whole process starts in rehearsal rooms then moves onto stage within a matter of weeks.
The rehearsal process for The Magic Flute is entirely different.
Our production of Mozart’s The Magic Flute is inspired by the silent film (and early “talkie”) era and is comprised entirely of projected film. Singers stand on stage or on platforms that are 9ft high off the ground, 18” in diameter, and attached to a giant wall. Animated video (in the style of Max Fleischer cartoons or the classic Disney “Skeleton Dance”) is projected onto the wall behind the singers. The singers cannot see what’s behind them, despite the fact that they interact with the animation projected (at one point an animated bird lands on Pamina’s hand).
In a regular opera, there’s some forgiveness, the orchestra, the staging, pretty much everything can adjust in real time. For this opera – there’s none of that.
The required precision means that all character decisions for the singer have already been made by the director (and there are no bits of music being added or taken out). As the film designs and animations are already set, there’s no room for compromise.
Singers also have an added job in rehearsal. They must learn highly choreographed movement that cannot be altered during a performance. If, for example, Monostatos is going to be pulling a dog’s leash at this point in the projection and at this point in the music, his hand has to be in that exact spot for it to look like he’s interacting with the animation. To hit their marks, singers practice with the set and projections as soon as possible, as opposed to only when they arrive on stage for tech rehearsals. They also must rehearse in the dark for the projections to be seen.
It’s not only the singers that are learning the show earlier in the process. The staging staff and crew are learning and planning for highly choreographed work. This show has one stage manager and three assistant stage managers (“ASMs”). The stage manager calls the majority of the 666 cues in the show from a secluded area front of house. That’s 2-3 times as many as there are in most other shows. And, unlike other shows, 25% of the cues are visual instead of the usual 5%. The stage manager must be able to see the projections and know the show well enough to call a cue on time or ahead of time to prepare cast and crew.
When James Conlon became LA Opera’s Richard Seaver Music Director in 2006, one of the first initiatives he brought to the company was the Cathedral Project. A partnership between LA Opera and the Cathedral of Our Lady of the Angels, the Cathedral Project brings community singers and musicians together with LA Opera artists to present an opera to the public. For the past decade, it has been a key feature of the company’s community engagement and an opera that performers, teaching artists, and audience members look forward to each year. Mr. Conlon, who conducts these performances every year, is “thrilled that Los Angeles families have responded to community productions with so much enthusiasm and appreciation.”
Last night, LA Opera opened its doors to hundreds of people excited to learn about opera and see what all the brilliant fuss is about. This Newcomer Event allowed guests a sneak-peak into the world of opera, including a costume and wig exhibit, props demonstration, photo booth, and a tour of the Founders Circle (with a view of the Pagliacci set on stage). After mingling with LA Opera staff and discovering more about our upcoming productions, guests were treated to performances from three of our young artists: Kihun Yoon (currently singing the role of the Notary in Gianni Schicchi), Brenton Ryan (currently singing Beppe in Pagliacci) and Summer Hassan (who’ll appear as the Second Lady in this season’s The Magic Flute).
The Domingo-Colburn-Stein Young Artist’s emergence began 19 years ago, when his family moved from St. Louis to Sedalia, Missouri, and his mother and stepfather thrust their nine-year-old onto the community stage as a way to gain confidence and make friends.