Search Results for: boheme
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 by … Continue reading
For more than 20 years, members of the prestigious Los Angeles Children’s Chorus (LACC) have starred in productions at LA Opera. From playing precocious characters in the world premiere of Tobias Picker’s Fantastic Mr. Fox (1998) to singing alongside the pros in Benjamin Britten’s Billy Budd, LACC children have shared their enthusiasm and vocal gifts with artists, staff and audiences. The latest collaboration between LA Opera and LACC is Puccini’s La Bohème.
In this opera, 14 singers make up the children’s chorus. Some of these children have been in other productions and others are new to the world of opera. What they all share is an excitement about singing and opera that is infectious and wonderful to see.
Today, the kids are gathered in the lobby, chatting excitedly, because they will soon be on stage rehearsing with the pros. When asked what their favorite parts of rehearsals and being in the opera are, several hands shoot up. “I love hearing the power of their voices and knowing that all these people are watching us,” says Soren Ryssdal (12). His fellow choir members nod their heads in agreement. Of staging, Sydney Brakeley (10) says, “I like being able to know where I am going just by hearing the music.” With a big grin on her face, Anika Erickson (13) age adds, “We also have fake siblings.” All the kids laugh.
Speranza Scappucci is one of opera’s rising conducting stars. Since making her debut in 2012 conducting Mozart’s Così fan tutte at the Yale Opera, Scappucci has conducted around the world, including at Finnish National Opera, Washington National Opera and Scottish Opera. She did not always know that her destiny was to conduct.
This month, Scappucci makes her LA Opera debut conducting six performances of Puccini’s La Bohème. It’s a piece that Scappucci knows really well (she coached the piece for 20 years), but that does not stop her from finding new things in Puccini’s masterpiece. Scappucci discovers these new things by extensively revisiting the score, as if it’s the first time she’s approaching it.
Born and raised in Rome, Scappucci moved to New York at age 20 to study piano at The Juilliard School. She received a master’s at Juilliard in collaborative piano and went on to brilliant career as a coach and assistant conductor. For 15 years, Scappucci was a familiar face in the world’s top opera houses, coaching both rising stars and famous opera singers, and also working as an assistant conductor for some of the world’s most renowned conductors – Riccardo Muti, Zubin Mehta, Seiji Ozawa, Daniele Gatti, and James Levine.
In May 2012, Peter Kazaras sat in the Dorothy Chandler Pavilion, surrounded by his UCLA students, observing a dress rehearsal of Puccini’s La Bohème at LA Opera. During a break, Kazaras asked his students, “When is this production set?” The students hesitated. He continued, “Where is the production set?” They responded, “Paris!” Yet, they still couldn’t determine the time period. Kazaras smiled, pointing out the half-formed Eiffel Tower structure in the background of Act I. He watched the lightbulbs go off, as his students suddenly realized that it must be set in the 1880s, when the Eiffel Tower was under construction. It was in this moment that all Kazaras’s teachings about the importance of design came full circle for his students. Kazaras beamed with pride.
Four years later, Kazaras once again comes face to face with this production – this time in the director’s chair.
Kazaras, who has recently directed La Bohème at both Washington National Opera and Dallas Opera, knows the piece well. However, LA Opera’s production, originally conceived by film director Herbert Ross in 1993, presents its own set of challenges. “It’s like being given a legal brief that you have to study thoroughly so that you can really understand the facts,” says Kazaras, alluding to his earlier profession as a lawyer. This is because Kazaras has inherited some key elements of the production (ie. set, props and costumes) Ross. Kazaras’s challenge is working with Ross’s gigantic and impressive set, while still adding his own directorial stamp on the show.
“Having worked in many art forms, I find opera is the most challenging of all, because it is a fusion of all the arts.” – Herbert Ross (Steel Magnolias, The Turning Point) on his first operatic directing experience staging La Bohème at LA Opera in 1992.
Have you heard the news yet? LA Opera has officially announced its 2019/20 season. And boy is it a good one. From world premieres to company favorites — not to mention the 154th role debut for Plácido Domingo — the 34th season has something for everyone. Don’t believe us? Scroll down for some of the most exciting highlights from LA Opera’s 19/20 season!
Ana María Martínez is an artist that likes to draw outside of the lines. In her two decades as a professional singer, the repertoire she sings is an eclectic mix that ranges across multiple eras of opera. From roles like Carmen to Cio-Cio San in Madama Butterfly, Martínez’s breadth of work as a singer is enhanced by her superb acting skills.
Soprano Summer Hassan graduated from LA Opera’s Domingo-Colburn-Stein Young Artist program last year, but she’s kept in touch with us since she’s departed from Los Angeles. Fresh off-the-heels of her performances as Virginia Otis in LA Opera’s recent production of Gordon Getty’s Scare Pair: Usher House/The Canterville Ghost, Hassan is heading back home to Philadelphia before embarking on one of the most exciting endeavors of her career: competing in Plácido Domingo’s Operalia competition.
Plácido Domingo, LA Opera’s Eli and Edythe Broad General Director, announced today that he has chosen the performers who will join LA Opera’s Domingo-Colburn-Stein Young Artist Program in the 2018/19 season. The artists were chosen from 650 applicants, 200 live auditions and, ultimately, 28 final candidates.
The following is a post from longtime supporter and Life Trustee, Alicia Garcia Clark. Along with her husband Ed Clark, they founded Hispanics for LA Opera and funded productions such as Florencia en el Amazonas, La Bohème, and Il Postino. Ed and Alicia Clark are so devoted to LA Opera that they have included the company in their estate plans.
In September, LA Opera opens its 2018-19 season! The exciting lineup includes both world and company premieres, as well as works regularly seen on the stage of the Dorothy Chandler Pavilion. Can’t wait until then? Here are five highlights to look forward to next fall!
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.
On October 7, Angelenos experienced a rare treat. We opened George Bizet’s The Pearl Fishers – lesser known than his famous Carmen, but no less stunning for both opera aficionados and newbies. Critics have already been raving about the production, calling it “stunning” (LA Times), “enthralling” (Broadway World) and “eye-dazzling” (LA Daily News).
If the critics’ response isn’t enough, here’s a list of more reasons why The Pearl Fishers is a must-see this fall:
Soprano Nino Machaidze is no stranger to LA Opera. With six productions already under her belt, she considers the stage of the Dorothy Chandler Pavilion as her “second home.” This Saturday, Machaidze returns to LA Opera to sing Leïla in Bizet’s seldom-performed The Pearl Fishers (Les pêcheurs de perles) under the baton of Maestro Plácido Domingo, alongside tenor Javier Camarena and baritone Alfredo Daza.
Since “graduating” from our Domingo-Colburn-Stein Young Artist Program in 2014, soprano Amanda Woodbury has become one of opera’s rising stars. She’s sung Musetta in La bohème here at LA Opera, Konstanze in The Abduction from the Seraglio at Dayton Opera and Des Moines Metro Opera, and multiple roles at the Metropolitan Opera, including a star turn as Juliette in Roméo et Juliette and Leïla in The Pearl Fishers. Now, Woodbury returns to sing Micaëla in Carmen, the role with which she made her professional here in 2013.
Before our last orchestra tech, we caught up with Woodbury to discuss how she fell into opera and how her performance of Micaëla has evolved.
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Shawnet Sweets, our resident opera junkie is at it again.
In addition to work and all her other adventures, Shawnet is a camper. During a recent critter-interrupted camping trip, Shawnet discovered that some of her favorite arias startled and shooed her uninvited visitors away. Those visitors were bears.
Just in time for the final weekend of summer, she’s shared her “Bear-Scare Aria Playlist” with us.
Forget the traditional banging of pots and pans. If you’re headed to the wilderness to cap off the summer this Labor Day Weekend, be sure to take these tunes along. You’ll enjoy them and it might keep those pesky bears away.
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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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Did you know that LA Opera is a non-profit?
Many people don’t realize that most arts organizations are non-profits, built to help people find common ground and an emotional connection.
LA Opera is no different. We strive to bring opera to everyone, because we know how opera’s unique combination of classical music, storytelling, and visual arts, when simultaneously shared with hundreds upon hundreds of people, can be awe-inspiring.
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Georges Bizet’s last opera has struck deeply into the soul of Western Civilization.
Its music is universally loved and its meaning constantly analyzed, debated and reinterpreted. As a protagonist, Carmen is unique. Contrary to many mythological characters who served as operatic subjects, she transcended her stage existence and then evolved into an archetype, a popular and modern myth. Unlike Don Juan, Faust and numerous Greek, Roman and Nordic mythological characters adapted for the opera stage, Carmen had little prehistory. But like Mozart’s Don Giovanni, her obvious male counterpart, she became immortal thanks to the genius of a composer. The protagonist of a short story by Prosper Mérimée, she was perfectly realized the moment Bizet set her to music.
Who is Carmen and what does she represent?
Ask a dozen opera lovers, and there will be a dozen answers. Evil temptress, femme fatale, erotic demon, 19th-century Eve for some; victim of racism, gender inequality and social injustice, symbol of emancipation and feminine empowerment for others.
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