Tag Archives: La Traviata
Before he ever conceived of a career in opera, renowned tenor Arturo Chacón-Cruz still spent most of his week singing. While studying engineering in his hometown of Hermosillo, Mexico, Chacón-Cruz sang with local trios, mariachis, and even as the lead singer serenading women for other men who were proposing. He was so passionate about singing that his mother signed him up for a voice lesson with an opera coach. At first, Chacón-Cruz protested, but the 15 minutes he spent with his first coach changed the course of his entire life.
“I told my mother, ‘Nobody likes opera. It’s so antiquated,’ but like a good son, I went to the lesson. The teacher – Jesus Li Cecilio – had me wait and I heard him working with another student. I thought, ‘This isn’t so bad.’ Then it was my turn and after hearing me sing for a few minutes, Li Cecilio said that I have a future in opera,” says Chacón-Cruz. He continues, “Those 15 minutes turned into the rest of my life and I couldn’t be happier.” … Continue reading
LA Opera uses some of the most intriguing vehicles in its productions. From trucks and cars to modes of transportation only imaginable in the arts world, prop vehicles help tell grand opera stories. They are even sometimes rare and built entirely from scratch or refurbished by our technical crew to serve the needs of a production. Take a look at the vehicles we “drive” in our operas in the roundup below.
REPRODUCING A ONE OF A KIND PEUGEOT FOR LA BOHÈME
When the technical department was tasked with sourcing an 1890 Peugeot Type 2 (one of the earliest French motorized vehicles) for La Bohème, they realized how difficult this would be. There were none of these Peugeots anywhere in America, not even in museums. Working from only an 11”x17” photocopied image, a team at Studio Sereno built a fully battery-powered replica of the original model. This vehicle will be seen live when La Bohème opens May 14.
A 1929 ROLLS ROYCE ROARS ONTO STAGE
Our Roaring Twenties-set production of Verdi’s La Traviata features a 1929 Rolls Royce sourced from a private owner. Director Marta Domingo saw a photograph of the elegant car in 2006 and loved it so much, she made it a starring prop in her production. (What better way for glamorous party girl Violetta to arrive than in this stylish vehicle?)
December 1971. While studying abroad at Stanford in Salamanca, I met a beautiful woman and her family. They loved opera; I had never seen one. They were leaving for Vienna and I for Venice and Switzerland. But, I knew that I had to see this woman again. We agreed to meet on New Year’s Eve at 7:30pm outside the Vienna Opera House.
December 30, 1971. After traveling through the Swiss Alps, I took the night train scheduled to arrive in Vienna in the morning of the 31st. I hoped to spend time with her during the day, exploring Vienna, before seeing the opera. But it was not meant to be! I had a Guatemalan passport and did not know that I needed a visa to enter Austria. Around midnight on the 30th, near Lichtenstein, the Austrian police ordered me to get off the train. They told me I could get a visa in the nearby principality of Lichtenstein in the morning. Unfortunately, the Austrian police said that the next train would get me to Vienna only on the 31st in the evening. There was nothing there, but a small closed train station. It was the middle of winter in the Swiss Alps, freezing, and I had nowhere to go. I slept on a bench with my down sleeping bag zipped to my nose. All I could think of was this beautiful woman. I knew I had to get to Vienna to see her. In the morning I took the first bus to Lichtenstein and go a visa from the Austrian consulate. I told his secretary my story about caring for this beautiful woman. She gets excited and drives me to the station in her VW bug. I jump out of her car, grab my pack, jump on the train as it’s leaving, and hear her yelling behind me “Remember the people of Lichtenstein!”
New Year’s Eve, 1971. I arrive at the Vienna Opera House well past 7:30pm. I try to buy a ticket, but the person at the box office looks me up and down, calls her manager, who promptly tells me that I can’t go to the opera looking like that. I have hair down to my shoulders. I’m wearing jeans and a bush jacket. I’m carrying a backpack. I’ve been on a train all day and I spent the night on a bench outdoors at an abandoned train station in the dead of winter in the middle of the Swiss Alps. I understand his concern, but I’m not going to let the protocol of the Vienna Opera House stop me from meeting up with this woman. He lets me in and I see my first opera, Verdi’s La Traviata, and I reunite with the beautiful woman once more.
CABALETTA (13 Scrabble points) – Italian – A cabaletta is a feature of Italian opera common in the first half of the 19th century. The fast, final section of a two-part aria, a cabaletta is animated, lively, and memorable. Think the end of the first act of Verdi’s La Traviata, when Violetta sings “Sempre libera.” Listen to Maria Callas’ rendition below.
Can’t get enough of cabalettas? Stay tuned for our upcoming 2016/2017 season announcement on January 26; you may be pleasantly surprised.