Tag Archives: Opera
Opera has some of the gutsiest heroines that you don’t want to mess with who have killer arias –anthems as empowering awe-inspiring as your favorite Beyoncé, Alicia Keys, and Katy Perry songs.
Before seeing our upcoming production of Tosca –whose title character is one gutsy heroine – check out our list of music that gets you in that girl power spirit.
Tosca’s Act III aria (“Il tuo sangue o il mio amore”) – Tosca by Giacomo Puccini (opens at LA Opera on April 22)
Tosca will do anything for Cavaradossi, the man she loves – even resort to murder. In Act III, Tosca tells Cavaradossi exactly what she had to do to save his life. It’s one of the most climactic moments in the opera and showcases just how gutsy Tosca can be.
Have you ever wondered – “How’d they do that?” Opera brings stories to life, and the magic you see on stage is often the result of incredible ingenuity on the part of our behind-the-scenes artisans. We’ve rounded up a few of our favorite objects used in productions—old and new, both onstage and off—to give you a glimpse at what’s involved in staging the operas you love.
Can you guess what these objects are for? (The answers are below, but no cheating!)
- The torches we use onstage have a name that references a crucial safety feature. What are these props called?
- Dead Man’s Torch
- Burnless Bunsen
- Touchable Torch
Back in 1984, Los Angeles hosted the Olympics Arts Festival. During the Los Angeles Olympics, the Opera Association co-produced three operas with London’s Royal Opera (Turandot, starring Domingo as Calaf, as well as Peter Grimes and The Magic Flute), which not only helped establish the city as an international arts destination, but also helped raise funds for the soon-to-rise opera company.
So, you could say, LA Opera was born out of the Olympics.
We’re thinking about this history as we prepare to watch tonight’s opening ceremony for the Rio Olympics. But, we’re also thinking of some of the things opera and the Olympics have in common.
The 1984 Olympics is not the only time that opera and the Olympics have collided. Throughout the years, many famous opera singers have sung at various summer and winter olympics, including Plácido Domingo. Remember when he sang alongside Song Zuying in Beijing in 2008?
What do you love about opera in Los Angeles? If you’re reading this, you’ve probably seen an opera. Whether it’s been at the Dorothy Chandler Pavilion or about town, we want to share your love of it with new fans. What is it about operas in Los Angeles that you love? Is it the film-inspired opera productions, or even the various locations you can go to see an opera?
Walk into a room and mention you’re heading to the opera. I bet you’ll get some confused looks and head scratching. For me, the response is typically, “You – an opera fan?” So try it and don’t be surprised if you hear some of these.
But you don’t look like an opera fan, what gives?
What does an opera fan look like? I thought I knew, but when I look around the Dorothy Chandler Pavilion (LA Opera’s home) during a performance, I see all sorts of people. Parents with their teenagers, hipsters on first dates, girlfriends on outings, couples young and old on a regular night out, groups celebrating special milestones, others dressed in costumes to emulate the production. You name it; you’ll see it in the theater and on the red carpet out front.
Share There are three chances left to see La Bohème at LA Opera. This Belle Époque set production has wowed audiences with its doomed love story beautifully sung by Nino Machaidze and Olga Busuioc and Mario Chang and rivetingly conducted … Continue reading
Summer Walters wears a special outfit each time she attends an LA Opera production and shares pictures on Facebook. “My friends see the excitement that envelops me in each photo, so I have introduced quite a few friends to the world [of opera] that I hold so dear,” explains Ms. Walters. “Each time I attend with someone who has never experienced opera, it’s like watching the performance through the wide-eyed wonder of a child. It makes my heart so happy.”
Are you excited to find out what we have in store for our 2016/2017 season? We can’t wait to tell you! That’s why this week, we’re giving you some clues. Get in on the fun and guess what will be on our mainstage in the coming season, which starts this fall.
Just how well do you know opera? (And if you don’t, now’s the time to get excited.) There are two ways that you can guess the 16/17 season this week. Here they are.
Let’s Talk About Icons
Each day this week, we will release an image of an object that symbolizes of one of the operas in the coming season. We’ll roll them out on Facebook, Twitter, Instagram, and Pinterest and they’ll also be added to this post.
Comment below or on any of our “How Well Do You Know Opera” social media posts and guess which production the icon is from. If you guess right, you will be entered to win a special prize.
But that’s not all! All winners will be entered to win a GRAND PRIZE – two tickets to the Plácido Domingo and Renée Fleming concert on March 18.
Let the guessing games begin! In what opera might you see this?
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.
When most people think of October, visions of fall and Halloween come to mind. Here at LA Opera, this October has been “The Month of the American Composer.” Three of our events involved some of the most important American composers of our age – Missy Mazzoli, Philip Glass, and Jake Heggie – working at the height of their powers. To celebrate how vital opera is to our nation culturally, we’ve curated a few articles below where you can learn more about each composer and listen to some of their masterful music.
Jake Heggie, The Man Behind Moby-Dick
Composer Jake Heggie Brings Moby-Dick to the Dorothy Chandler Pavilion – via Los Angeles Magazine
Herman Melville’s Moby-Dick, the classic tale of one man’s pursuit of an elusive white whale, has over the years been turned into films and television miniseries. Now, it has been turned into an opera. Jake Heggie, whose Dead Man Walking was performed earlier this year at the Broad Stage, is the composer of the show, which opens Saturday night at the Dorothy Chandler Pavilion.
Jake Heggie On Why Opera Is Here To Stay – via Los Angeles Times
Don’t tell Jake Heggie that opera is a dying art form. The composer of the opera Dead Man Walking “thinks it’s alive and kicking — he even uses an unprintable term to describe a recent batch of articles declaring that “Opera is dead.” And while his passionate words in defense of the operatic form are convincing, the trajectory of his own career is perhaps his best argument.
Music Monday: Moby-Dick Overture – via LA Opera Blog
This weekend, Moby-Dick opens at LA Opera. Melville’s tale of obsession, the nature of good and evil, and the search for the elusive, titular, white whale is set to an evocative score by famed American composer, Jake Heggie (Dead Man Walking). When Heggie describes tackling the mammoth tale, he speaks of finally finding the music of Moby’s universe in four simple chords. These chords capture the spirit and yearning inherent in Melville’s story and resurface throughout the rest of the score, in a haunting fashion.
Maestro Conlon is very excited about conducting the upcoming production, Moby-Dick, opening October 31st. Check out why he loves Jake Heggie’s opera and why he thinks you should see it too.
Moby-Dick is a classic American tale that’s wonderful to experience live. Yet, to enjoy Moby-Dick fully, take a look behind-the-scenes to see how the production has come together.
Today, National Opera Week kicks off. Running through November 1, National Opera Week is a great opportunity to celebrate opera’s positive impact on communities around the country (and to a larger extent, the world). This got us thinking. What are some of the ways that opera influences community?
It brings us together.
Putting together an operatic production is a feat of epic proportions. Since opera is an amalgamation of several art forms, various artists (singers, designers, writers, even filmmakers) join together for one singular purpose: to bring a story to life.
Yet, opera brings not only artists together. Opera is for all those willing to experience timeless stories, staged theatrically, and sung by the most engaging voices of our time. This can mean a night out in Downtown Los Angeles at the Dorothy Chandler or a date night at Santa Monica Pier for a live HD simulcast at Opera at the Beach.
It educates us about history, society, social responsibility, and just about anything else you can imagine.
Did you know that there’s an opera about Richard Nixon called Nixon in China? Several operas are based on Shakespeare plays and Greek myths that tackle the big themes: love, humanity’s purpose, revenge. There are even short operas based on themes of social responsibility that form the crux of our Opera Camp program. Operas make people think in different ways; they can teach us to see the world through a new lens.
A timeless classic, Moby Dick sits atop just about every literary reading list. You’ve heard of it, you’ve probably read it and if you have a high school freshman, like I do, it’s on their reading list right now.
And as said freshman pointed out, the book is big – really big.
On October 31, Moby Dick – the opera – opens at LA Opera.While reading the novel can seem daunting due to the sheer volume of details, the opera brings the story to life. We’d never recommend you see the opera instead of reading the novel – it’s not a substitute or the Cliffs notes version or anything – but, the opera provides you with a rich and vibrant telling that’s pretty close to the big book. (It really is the perfect way to get the would-be reader excited about the classic tale.)
LA Opera is a family company. Nowhere is this more evident than in the returning singers that spend long stretches of their career gracing the stage at Dorothy Chandler. Greg Fedderly is the epitome of these singers. Throughout the course of LA Opera’s history, Fedderly has been in 63 productions – that’s over 390 performances in 30 years (and counting). This includes Borsa in Rigoletto (1993, 2010), Monostatos in The Magic Flute (1992, 2002, 2009), Red Whiskers in Billy Budd (2014), and many, many more.
In the aftermath of a war that ravaged America, a family clings to their existence; teenaged Lisa holds onto the hope of a better world as her family spirals into the depths of starvation and despair. When a stranger – a man who acts like and thinks of himself as a dog – arrives on her doorstep, they are forced to confront what it means to be human and what they will do to survive.
The above summary may sound like the logline of a post-apocalyptic thriller, but it is not a film.
It’s a multi-media opera.
LA Opera presented Dog Days in June at REDCAT as part of the Off Grand initiative, which brings thrilling contemporary chamber opera to LAO audiences. It was the west coast premiere of the opera, developed and produced by Beth Morrison Projects in New York. Inventive, thrillingly evocative of the human condition, and visceral, Dog Days has garnered a great deal of interest in the burgeoning indie opera scene.
Now, LA Opera and Beth Morrison have joined forces again to present two of Beth Morrison Projects’ (BMP) operas this season at REDCAT: Song from the Uproar and Anatomy Theater. Combining live musical performance and original film, Song from the Uproar (October 8-11), tells the incredible story of Isabelle Eberhardt (1877-1904), a young woman who left her life in Switzerland behind for an unfettered existence in the North African desert. Anatomy Theater follows the astonishing progression of an English murderess: from confession to execution and, ultimately, public dissection before a paying audience of fascinated onlookers. Through the miracle of opera, she sings through it all.
Giacomo Puccini’s Gianni Schicchi and Ruggero Leoncavallo’s Pagliacci are rarely – if ever – done together. The most common pairing for Pagliacci is Pietro Mascagni’s Cavalleria Rusticana, another tragic love triangle of sorts. This season, LA Opera has forgone tradition by staging two gigantic productions together in its season opening double bill. It’s a marriage of comedy and tragedy and a posthumous reconciling for two composers, who fought against each other so fervently, after Puccini premiered La Bohéme (Leoncavallo also completed a version of the Bohéme story).
It’s also a huge undertaking set-wise.
From their view in the house, audience members are not privy to the pure magic that goes on behind the curtain, while they are in the midst of intermission. But with a view from the bridge, it’s possible to see both the production and the set-up.
The bridge is a platform walkway, connecting our second-floor backstage area with lighting equipment. Before you ask, this seat is not open to the public, but it does provide an interesting view of what it takes to stage a sizeable double bill, such as Gianni Schicchi/Pagliacci. Once the curtain falls on the 50-minute Gianni Schicchi, it’s the stage crew’s time to shine. Over the course of the next 30 minutes, Schicchi’s gigantic, 1940s-inspired Florence set is removed and a 1980s-inspired bohemian Pagliacci set takes its place.
Last week during Arts in Education Week, LA Opera teaching artists spent the day working with students on Orpheus, an original youth opera commissioned by LA Opera, written by librettist Matthew Leavitt and composer Nathan Wang, based on the Greek legend of Orpheus and Eurydice. This is part of a program called Secondary In-School Opera, a ten-week performance workshop that provides secondary schools with a team of teaching artists and directors to show students what it takes to perform an opera. Students meet with the artists ten times to work on the opera between August and October with a performance in November – an engaging experience to foster interest in the world of opera.
For more than 20 years, LA Opera has been exploring the magic of opera with schools, teachers and students from kindergarten through college, all over Southern California. Secondary In-School Opera is just one of the many education programs that make LA Opera a teacher’s paradise. Others include Opera Camp, Opera-U, and LA Opera 90012.
From Hey Arnold! to The Simpsons, several cartoons have featured opera . Of these, The Muppet Show most notably included several opera references during its run that introduced younger audiences to the art form. Did you know that Miss Piggy wanted to sing opera? We think Miss Piggy would love our Gianni Schicchi/Pagliacci. Can you picture her singing Lauretta’s aria, “O mio babbino caro?”