Tag Archives: LAO30
When the LA Opera first presented Rigoletto in 1993, David Young was the second chair bass player in the Los Angeles Chamber Orchestra, the ensemble that played for most performances during the company’s early years. The opera features a prominent solo for the double bass—at the fateful moment when the troubled jester first encounters the assassin Sparafucile—which went to LACO’s longtime principal bassist, Susan Ranney. But by 2000, when the company next offered Rigoletto, Young had become the principal bassist for the LA Opera Orchestra, and it was finally his moment to shine after years of waiting for that rare opportunity. He asked Peter Hemmings, who would soon retire as LA Opera’s general director, if a promotional poster had been made for the production, explaining how much it meant to him. “Of course,” replied Hemmings. “I’ll get you one.”
Hemmings delivered the poster a few days later. Not only was it signed “Best wishes, Peter Hemmings,” it also boasted the signatures of the major stars in the cast. That framed treasure hangs on the wall of Young’s studio today. Hemmings passed away two years later, making his thoughtfulness especially poignant to Young. “Peter Hemmings really cared about everybody,” he says. “He loved this company and he gave his all to our founding years.”
Young’s story is indicative of the atmosphere that Hemmings fostered, with artists, administrators, staff and volunteers all working in close collaboration toward a common goal. Fondly remembered for his warmth, British wit and jovial nature, Hemmings was also greatly respected for his high expectations, imagination and loyalty. With a background that included bringing the Scottish Opera to prominence, he was more than up to the challenge of building a massive opera company—virtually overnight.