Monthly Archives: May 2018
The College Advisory Committee invites graduate and undergraduate students to be a part of Team Opera! They volunteer at events, attend exclusive master classes and backstage tours, all while learning about potential careers in the arts. Committee members input is a vital part of how we plan future college programming at LA Opera. Get to know two of our members below!
Matthew Aucoin, LA Opera’s Artist in Residence, is the composer, librettist and conductor of Crossing. Below are his program notes for his upcoming concert performance of Crossing at the Wallis Annenberg Center for the Performing Arts on May 25 & 26.
When arriving for her interview a few weeks ago on an unusually rainy day in Los Angeles, mezzo-soprano Ginger Costa-Jackson is all smiles. She’s just happy to be in the city, regardless of the weather.
“The apartment that I’m staying at has a rooftop and I can see the Hollywood sign,” said Costa-Jackson. “On my days off, I’ve been laying out and tanning, but I guess not today.”
On May 12, LA Opera saw the return of Mark Lamos’ lavish production of Giuseppe Verdi’s Rigoletto. KXLU has described it as “… a mesmerizing, powerfully sung and acted Rigoletto,” while Broadway World writes that Juan Jesus Rodriguez in the title role “is thunder itself for all three acts. In both singing and acting, he masterfully plays all the agonizing transitions of the character …”
The critics may love this timeless Verdi classic, but what does the public think? Read below for audience reactions to LA Opera’s Rigoletto!
Welcome to the LA Opera Podcast — the place for you to learn all about our productions. On this episode, we’re focusing on Giuseppe Verdi’s timeless opera Rigoletto. Listen below to learn about the plot and the music, and hear from some of our principal cast members, including Lisette Oropesa, Juan Jesús Rodríguez and Arturo Chacón-Cruz, who go into detail about their characters.
Matthew Aucoin, LA Opera’s Artist in Residence, is the conductor of Rigoletto.
Rigoletto is a thunderbolt, a once-in-a-lifetime occurrence—even for Verdi. It’s so familiar to opera audiences, however, that we might forget what an explosive, revolutionary piece it is, much the same way that overexposure to Beethoven’s Ninth Symphony has the tendency to blind us to that piece’s strangeness and messiness. Rigoletto crosses a threshold in operatic history; it contains a kind of quantum leap. It is here that Verdi, whose music had so far wrestled with two seemingly contradictory impulses—his gift for glorious, long-spun melodies in the mold of the bel canto tradition and a keen dramatic instinct that gave his music a rough-edged, distinctly un-bel canto quality—finally united these two tendencies.
Stage Managers have some of the most important jobs in opera. Unlike other types of performing arts, such as musical theater, stage managers in the opera cue almost everything — from paging artists to the stage, to entrances, to sound cues and special effects, stage managers pretty much run the show. It’s an enormous responsibility, one that Chelsea Antrim, Production Stage Manager at LA Opera, feels prepared for every performance.
Giuseppe Verdi’s Rigoletto has been a staple in the standard operatic repertoire since its 1851 premiere, but its road to the stage was anything but smooth. Before you head to LA Opera’s production of Rigoletto on May 12, here are five things you may not already know about Verdi’s artistic process in writing this tour de force!
In a few short weeks, members of the Zarzuela Project will take the stage and sing their hearts out at the El Pueblo Historic Monument, their voices echoing down historic Olvera Street. But how did this group come together in the first place? And what is the Zarzuela Project?
Vengeance. Betrayal. Love. And mercy. These are all ingredients that make for a tantalizing storyline. Opera is known to possess all of these exciting qualities, not to mention impeccable music that matches the fervor of the drama. Mozart’s The Clemency of Titus is no exception — since it’s 1791 premiere in Prague, the opera has since been staged all over the world at nearly all of the top opera houses. It’s not hard to see why — this exciting production deals with how far one person is willing to go for power. And that’s what attracted Arya Roshanian, Content Specialist at LA Opera, to it in the first place.