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5 Questions with Joshua Guerrero

Joshua Guerrero as Steve Hubbell in <em>A Streetcar Named Desire</em> (2014); Photo: Robert Millard

Joshua Guerrero as Steve Hubbell in A Streetcar Named Desire (2014); Photo: Robert Millard

Joshua Guerrero didn’t grow up dreaming of a career in opera, and his path towards opera stardom is anything but ordinary. He always loved singing. Yet, it was only after Guerrero joined a choir at the seminary where he studied theology that his opera journey began. After a few years of singing lounge/crooner music (which included a stint as a gondolier on the Las Vegas strip and abroad in Macau), Guerrero moved to Los Angeles to pursue music full-time, enrolling at UCLA. His passion for opera and skilled tenor voice eventually landed him a place in the Domingo-Colburn-Stein Young Artist Program at LA Opera, where he made his mainstage debut as Normanno in Lucia di Lammermoor, soon followed by a return as Steve Hubbell in A Streetcar Named Desire. Guerrero also went on to place second in Plácido Domingo’s worldwide Operalia competition and tackle the important role of Count Almaviva in the west coast premiere of The Ghosts of Versailles.

This Saturday, the charismatic young tenor will make his role debut as Greenhorn, one of the leading characters in Moby-Dick.

Here’s our Joshua Guerrero edition of Questions.

What do you enjoy most about performing opera?

I perform in hopes of providing a vulnerable and honest message that can heal the audience member from whatever is ailing them. They are leaving their reality after all, wanting to take in a new world that will leave an impression on them. It’s kind of like being a modern showman. This is particularly true of opera, because it’s the ultimate combination of all the arts.

https://www.youtube.com/watch?v=pGRiDVHoeNs&feature=player_embedded

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The Season of Epics – The Trojans and Kullervo: Iconic Productions Day 5

What is our personal duty to the state? How can a sense of history move a nation forward?

The 1991-1992 season brought two epic productions to the LA Opera stage: – Hector Berlioz’s The Trojans and Aulis Sallinen’s Kullervo – that ask these questions about personal duty and nationhood.

The Trojan, 1991-1992

The Trojans (1992); Photo Credit: Robert Millard

The Trojans is based on Virgil’s The Aeneid, following the capture of Troy in by the Ancient Greeks as well as the Trojans’ time in Carthage before the forming of Rome. A vast undertaking, The Trojans is a four-hour masterpiece, rarely staged at the time LA Opera put on the production. Director Francesca Zambello discussed its relevance to modern audiences:

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