Search Results for: Pagliacci

Pagliacci Sneak Peek

https://youtu.be/24H_2q_QmDQ

Watch a Sneak Peek of Pagliacci above

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Everything You’ve Ever Wanted To Know About Gianni Schicchi/Pagliacci

https://www.youtube.com/watch?v=p5dq7UzG8gs

Gianni Schicchi and Pagliacci make a fabulous pair for this year’s Season Opening. Blending comedy with tragedy from two wonderful composers, these operas have made an impact both at the Dorothy Chandler Pavilion and at Santa Monica Pier. Have you missed some of the Gianni Schicchi/Pagliacci magic? Have no fear! We’ve collected a bunch of articles and videos for you to check out and see why so many Angelenos (and non-Angelenos alike) are flocking to see this double-bill.

Get To Know Gianni Schicchi/Pagliacci

All Is Bustling On The Opera Front

Weeks before opening night, Dorothy Chandler Pavilion bustles with preparations for the upcoming opera season. As summer draws to a close, props are unpacked and organized, costume fittings occur, large sets are unloaded, and rehearsals are in full swing for Gianni Schicchi and Pagliacci.

A Donkey Named Sue

Making his operatic debut in this month’s upcoming production of Pagliacci is none other than a donkey named Sue (aptly named after the Johnny Cash song, “A Boy Named Sue”). This tough leading animal arrived this week with his handler in tow, who will be a supernumerary in the show.

Music Monday: Pagliacci Prologue

Pagliacci opens not with a love triangle scene between Canio, Nedda, and Silvio, but instead with a clown. This is Tonio, the fool of Canio’s troupe. He emerges and addresses the audience directly—“Si puo, si puo,” asking for indulgence.

5 Favorite Things From This Week’s Gianni Schicchi/Pagliacci Rehearsals

There’s a lot to be said about LA Opera’s opening show, a double bill of Gianni Schicchi and Pagliacci. We’ve been watching rehearsals all week and have compiled a list of a few of our favorite things.

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Schicchi To Pagliacci Changeover

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Pagliacci: Iconic Productions Day 10

“The first time I did Pagliacci, at the Royal Opera House in London, I did it as it had normally been done, turn-of-the-century. Also, at the Met, I did it that way. But then in the early ‘80s, I brought it much closer to us. I set it in the same environment, Southern Italy, but in the early 1940s. That’s the version that Plácido [Domingo] and Teresa Stratas did around the world and also on video and laser disc. But then I thought, why stop in the middle of the road? Let’s do it today.” – Director Franco Zeffirelli on staging his Pagliacci in the present day (then 1996)

Pagliacci, 1996-1997

Plácido Domingo as Canio in Pagliacci (1996); Photo Credit: Ken Howard

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From Allen to Zeffirelli: Gianni Schicchi & Pagliacci on the Silver and Small Screens

Since the July release of Mission: Impossible Rogue Nation, the internet has been ablaze with stories about opera in film. In the movie, Tom Cruise plays spy Ethan Hunt, who thwarts an assassination attempt during a performance of Giacomo Puccini’s Turandot. Rogue Nation is the latest in a long line of films that feature opera performances – utilizing arias to tell a story or illustrate elements of a character’s psyche. Franco Zeffirelli (whose production of Pagliacci returns to LA Opera this Saturday) specialized in making cinematic adaptations of operas in the 1980s, often collaborating with Plácido Domingo and Teresa Stratas. His 1982 adaptations of Cavalleria Rusticana and Pagliacci are particularly stunning.

Two of the most famous arias to be used in film are “O mio babbino caro” from Puccini’s Gianni Schicchi and “Vesti la giubba” from Leoncavallo’s Pagliacci. The former is a persuasive aria, which Lauretta uses to convince her father Gianni Schicchi to stop fighting with the family of Rinuccio, the man she loves, while the latter is sung by Canio in Pagliacci after he discovers his wife’s infidelity. Both arias have been included in a plethora of films and television shows for decades.

Here are a few examples:

“O mio babbino caro” – Gianni Schicchi

A Room with a View (1985) – In the film, Lucy Honeychurch (Helena Bonham Carter) is torn between her fiancé Cecil Vyse (Daniel Day-Lewis) and the free-spirited George Emerson (Julian Sands), after meeting the latter in Florence. “O mio babbino caro” (performed by Kiri Te Kanawa) is the film’s main theme, expressing Lucy’s choice between a light-hearted romance and a passionate romance.

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Music Monday: Pagliacci Prologue

https://www.youtube.com/watch?v=NQxHDPVc-F4

George Gagnidze singing in The Metropolitan Opera Spring Highlights Concert

Pagliacci opens not with a love triangle scene between Canio, Nedda, and Silvio, but instead with a clown. This is Tonio, the fool of Canio’s troupe. He emerges and addresses the audience directly—“Si puo, si puo,” asking for indulgence.

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Making the Case for Gianni Schicchi and Pagliacci: Breaking the Barrier

Schicchi 2008 Image

Gianni Schicchi (2008)

One of the most compelling aspects of these two operas is that each breaks the barrier of the fourth wall, that imaginary boundary between the actors and the audience. With Gianni Schicchi, we make it through the entire opera before this disturbing postscript annuls the cumulative comic impulse. In Pagliacci, the fourth wall is broken at the beginning and at the end of the opera, creating an instability that runs as an undercurrent through the whole piece.

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5 Favorite Things from This Week’s Gianni Schicchi/Pagliacci Rehearsals

Pag Rehearsal

George Gagnidze as Tonio in Pagliacci (2015)

There’s a lot to be said about LA Opera’s opening show, a double bill of Gianni Schicchi and Pagliacci. We’ve been watching rehearsals all week and have compiled a list of a few of our favorite things:

1. You’ll laugh a lot. Gianni Schicchi is hysterical and it’s clear that Plácido Domingo and the whole cast are having a ton of fun playing these characters.

2. If you’re on a low carb diet, stay off the set. There’s spaghetti in both of the one-act shows, and it’s real! Of course we make accommodations for our actors if they have dietary restrictions, but those aren’t rubber prop noodles!

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Making the Case for Gianni Schicchi and Pagliacci: Double Trouble

Alagna as Canio (2005)

Roberto Alagna as Canio in 2005’s Pagliacci

Canio serves as a sort of moral barometer in Pagliacci. Although the tragic clown—smiling on the outside, crying on the inside—is now the stuff of endless parody, we can’t help but sympathize with Canio’s valiant attempts to go on with the show in spite of the devastating realization that Nedda is unfaithful. “Vesti la giubba e la faccia infarina,” laments Canio, “put on the costume and make up your face.” In his naivete, he denied his suspicions about his wife and lashed out at Tonio. We might feel a fleeting sympathy for Tonio were it not for the fact that he is a scheming troublemaker. From his first appearance—“I am the Prologue”—Tonio seems mysterious and intriguing, but he soon proves duplicitous and manipulative. A man who claims to be a literary device cannot be trusted.

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Making the Case for Gianni Schicchi and Pagliacci: Crime and Punishment

Schicchi6p

Gianni Schicchi 2008

Pagliacci is fueled by the crime of passion while Gianni Schicchi is powered by the sin of greed. Pagliacci’s origins were of the most mundane sort, but Gianni Schicchi sprang from a more literary source, one that also had roots in real life. In Canto XXX of The Divine Comedy, Dante and his guide Virgil arrive at the Eighth Circle of Hell, the place of falsifiers and forgers.

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Making the Case for Gianni Schicchi and Pagliacci: Heartache and Heroics

2005 PAGLIACCI

Pagliacci (2005)

Just how much can one man take? Imagine having to don a clown costume while the woman you love poses as a virgin even while she’s having an affair with a local villager. Or how about using nothing but your wits to save a family from losing its legacy—only to be cast into hell? Where is the gratitude? The understanding? Given the extenuating circumstances, can’t we all learn a little about forgiveness?

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Summertime At The Opera: What Are We Up To? — Part II

A few weeks ago, we talked about what our staff is up to during the breezy summer months at LA Opera. With the stage dark until September, the team is hard at work getting things in order for the 2018/19 season.

LA Opera's 2015 production of Pagliacci (Photo: Craig T. Mathew/LA Opera)

LA Opera’s 2015 production of Pagliacci (Photo: Craig T. Mathew/LA Opera)

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Love Our Annual Simulcast? Thank LA County.

LA Opera’s Simulcast is one of our newest and most expansive programs, sharing the first opera of the season with thousands of Angelenos — in three diverse geographic locations and all at the same time.

Through the generous commitment of Los Angeles County and the Board of Supervisors, LA Opera will continue its simulcasts on Sept. 22, 2018 with Verdi’s Don Carlo, live at the Dorothy Chandler Pavilion, and live broadcasts at El Cariso Community Regional Park in Sylmar and at the Santa Monica Pier.

Opera at the Park in Exposition Park (2017)

Opera at the Park in Exposition Park (2017)

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Five Things To Expect At The Plácido Domingo 50th Anniversary Concert

On Nov. 17, LA Opera honors Plácido Domingo 50th Anniversary in Los Angeles with a special concert conducted by Maestro James Conlon. The performance will feature appearances from veterans of both the operatic stage and the big screen, with our very own  LA Opera Orchestra in the pit.

Placido Domingo on the stage of the Dorothy Chandler Pavilion. (Photo: Art Streiber)

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The Generations of Opera: Fostering a New Age of Opera Lovers

With Hollywood as LA Opera’s backyard, there is always something to do. In a place so saturated with both art and entertainment, you could live in the city for a lifetime and always find a new adventure. For children and adults, Los Angeles is a wonderland of entertainment opportunities, and world-class opera is one of them. At LA Opera, parents can expose their kids to unforgettable mainstage productions, as well as programs created especially for children.

Pagliacci (2015); Photo: Craig T. Mathew

The cast of Pagliacci (2015)

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Seven Opera-Themed Halloween Costumes for 2017

This Halloween, don’t settle for a costume that’s stale or subpar. Using LA Opera as your inspiration, find the perfect get-up that’ll both wow the crowd and allow you to stand out!

La Belle et La Bete

La Belle et La Bête

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Domingo Is Still Number One in 30 Years

It is sometimes said among theatergoers that a bad final dress makes for a great opening night. If this is true, does less-than-perfect inaugural performance indicate success for the company as a whole?

When LA Opera opened the 1986/87 season with its first performance of Verdi’s Otello on October 7, 1986, nervous excitement and anticipation clung in the air—and apparently on the curtain as well. As the lights dimmed and conductor Lawrence Foster took his place at the podium, the curtain began to rise, only to malfunction and stick at its halfway point. The show went on and the curtain finally rose upward an instant later. Though many in the audience or behind the scenes must have been shocked, this proved to be only a small glitch in the overall evening. LA Opera has certainly clung to a standard of excellence in the 31 years since then. We’ve experienced ups and downs, but what has remained most constant is Plácido Domingo’s invaluable involvement with the company.

September 1, 2002; Los Angeles, California: USA
Los Angeles Opera
‘The Girl of the Golden West’ Dress Rehearsal
Copyright 2002 Robert Millard/LA Opera
www.MillardPhotos.com

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The “Chill” Diva: Ana Maria Martinez Leads Master Class At USC

Martinez, currently starring in Carmen, worked with four singers from University of Southern California’s Thornton School of Music on Friday afternoon.

An operatic diva is constantly on the go. From rehearsals to coachings to performances, it  can be difficult to balance a professional life with the personal.  Though it is certainly a skill one can stabilize, it’s important not to burn out or to wear all hats at the same time. That’s the message soprano Ana Maria Martinez conveyed to a group of university students on Friday afternoon.

Ana Maria Martinez works with soprano Bianca Orsi and pianist Sky Haneul Lee

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Get To Know Ana María Martínez

Ana María Martínez as Carmen; Photo: Lynn Lane, courtesy of Houston Grand Opera

Ana María Martínez as the title character in Carmen; Photo: Lynn Lane, courtesy of Houston Grand Opera

Twenty Years of Singing in Los Angeles

One of the world’s most acclaimed opera stars, soprano Ana María Martínez first graced the Dorothy Chandler Pavilion stage in 1997 singing Mimi in Puccini’s La Bohème. This was not long after she took a top prize in Plácido Domingo’s Operalia competition. Since then, she has sung five roles in six LA Opera productions—Violetta in La Traviata, Mimi (in two different seasons), Amelia in Simon Boccanegra, Nedda in Pagliacci, and Cio-Cio-San in Madama Butterfly. In September, she will mark her 20th anniversary in L.A. by making another LA Opera role debut as the fiery Carmen in Bizet’s eponymous opera.
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7 LA Opera Stage Costumes You Could Totally Wear To Comic-Con

Are you heading down to San Diego for Comic-Con and looking for something to wear? Here’s a list of opera costumes that will leave you Comic-Con ready.

1. This costume from Grendel looks straight out of Game of Thrones.

Jay Hunter Morris as Unferth in Grendel (2006)

Jay Hunter Morris as Unferth in Grendel (2006)

2. Armored soldiers from Aida — who’s to say these aren’t right out of Game of Thrones or Outlander?

Aida (2005); Photo: Robert Millard

Aida (2005); Photo: Robert Millard

3. Any of the Pagliacci clowns — whether you’re dressing as a riff on the Joker or Harley Quinn from Suicide Squad, or a classic homage to Killer Klowns From Outer Space everyone (meaning no one) loves a creepy clown.

Georgie Gagnidze as Tonio in Pagliacci (2015); Photo: Craig T. Mathew

Georgie Gagnidze as Tonio in Pagliacci (2015); Photo: Craig T. Mathew

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