Tag Archives: Tosca
Thousands of people just like you come to LA Opera each year to experience the magnificence that can only be found in opera. Through world-class staging and bold experimentation, opera has something for everyone, regardless of age, musical preferences or means. Here are some of the opera experiences you can give as gifts to your friends and family this holiday season.
Hop on Mozart’s Orient Express with The Abduction from the Seraglio
If you’re a fan of screwball comedies, this is the opera for you. Updated to the Roaring Twenties, this riotous staging marries the brilliance of Mozart’s comic gem with the flair of a classic Hollywood comedy. En route from Istanbul to Paris, two beautiful damsels in distress are held captive aboard the luxurious Orient Express by a notorious Ottoman royal. It’s up to their faithful lovers to rescue them before it’s too late!
PARLANDO (11 Scrabble points) – Italian – Parlando literally means “in speaking style” and refers to the moment when singers used technique to bring singing close to speaking. In other words, singers will sound like they are speaking, but using the rhythm and/or inflections used for singing. A famous example of this is mid-way through the famous aria, “Vissi d’arte” from Puccini’s Tosca (which returns next season starring Sondra Radvanovsky). See a video of Radvanovsky performing the aria below. At first, she sings along with the melody, but soon diverts (around the 1:15 minute mark) from the melody into a section where she’s singing in the style of speech (as if she converses with herself).
Looking forward to our upcoming 16/17 season’s revival of Tosca starring Sondra Radvanovsky? We’ve collected a couple articles for you to read before seeing the show next year.
Opera is all about love. Passionate Love. Unrequited Love. Betrayed Love. Desperate Love. You-name-it love. With Valentine’s Day just around the corner, it’s the perfect time to find out what kind of opera valentine you are.
The Storybook Romantic
You’re the kind of person, who appreciates storybook romance, even if it ends in tragedy. For you, it’s all Puccini, Verdi, and Mozart all the time. You can get down with the unrequited romance just as much as you can love the fantastical loves that conquer all.
Best Opera Next Up at LAO: Madame Butterfly
The Cinema Siren
You live and breathe film and love it when opera productions are inspired by your favorite movies or film eras (or when films use or are inspired by opera). Operatic love is like a good Classic Hollywood film; whether it ends happily or tragically, the love is always spectacular.
Best Opera Next Up at LAO: The Magic Flute
We’ve finally announced the 2016/2017 season and it’s going to be a big one. There are six mainstage operas, a semi-staged concert, and stellar off-grand productions to enjoy starting September 17.
Can’t wait for the excitement to begin? Take a look below and get to know all the 16/17 season has in store for Los Angeles.
Plácido Domingo and James Conlon unite to open season with Verdi’s Macbeth
The season opens with a new production of Verdi’s Macbeth (September 17 through October 16, 2016), starring Plácido Domingo in the title role and conducted by James Conlon. Ekaterina Semenchuk will perform the role of the treacherous Lady Macbeth. LA Opera’s first production of Macbeth since 1987 will be staged by Darko Tresnjak, director of the 2015 hit The Ghosts of Versailles.
Jay Hunter Morris first appeared in Los Angeles in 1994 at the Mark Taper Forum in Terrence McNally’s Master Class, with Zoe Caldwell portraying Maria Callas. There, as the character Anthony Candolini, he sang the aria from Tosca, “Recondita armonia”. He first sang it (as scripted) somewhat affectedly (and was marked down), but then repeated it with such purity of feeling that his mentor, overcome with emotion, admitted, “I have never really listened to it before.” An enduring memory of Morris’ is that of him, with Ms. Caldwell on his arm, regularly patronizing (what was then) Otto’s Restaurant after performances and schmoozing with the likes of Jack Lemmon and Walter Matthau.
Moving ahead to 2005, Mr. Morris, in the role of Mario Cavaradossi, sang not only that aria, but the entire opera for LAO’s student matinee performances of Tosca, also covering that role for the regular performances. Interestingly enough, Morris had never sung the complete opera until he returned here for that revival of this LAO favorite.
For the 2005 stagings, Jay Hunter, mindful of the operatic lore associated with various on-stage anomalous happenings during performances of Tosca (the springy trampoline, the suicidal firing squad, etc.), took whatever precautions he could think of to assure that nothing untoward would happen to him. In Tosca the firing squad is typically composed of six to eight supers. In LAO’s production, some of the firing squad fire loud blanks; the rest fire wads of material that go, “Poof!” Jay Hunter recognized that, given the close quarters separating Cavaradossi from the Firing Squad and observing the high exit velocity of the Poofing material, reasoned that, if the Poofing material hit him below the waist, there was a finite possibility of an accidental impact transmogrifying him (at least on a temporary basis) from voice type tenor to that of countertenor. So, during rehearsals, Jay Hunter gave firm instructions to his Firing Squad, “Aim high, fellas!”
Watching opera often also means reading supertitles – translations of opera text projected on a screen high enough for the whole audience to see. It’s a debated subject. Are supertitles needed or antiquated? While you’ll enjoy the opera whether you speak the language being sung or not, supertitles help you follow along.
Linda Zoolalian knows this well. A fan of opera since she saw a production of La Bohème as a teenager, Zoolalian runs supertitles for LA Opera (a position she has held since 2003). Working supertitles has strengthened her belief that the marriage between voice and text is vital to effect emotion in audience members.