Search Results for: salome
Salome is one of the most challenging operas to play. Musicians are tasked with a score that pushes the limits of what’s considered playable for an orchestra. LA Opera Orchestra Principal Bassoonist William May had a further challenge. In less than a year, May learned a rare instrument to play in Salome – the heckelphone.
The story of Salome has inspired artists, filmmakers, and opera composers for centuries. Some adapted the original Biblical story – and scandalous Oscar Wilde play – while others have utilized elements from the tale of Salome to inform their own story. Nowhere does Salome’s story come to life more than in opera and on the silver screen.
To celebrate Salome in film and in opera, American Cinematheque and LA Opera have joined forces to present a special evening at the Aero Theater in Santa Monica. First, there will be a screening of the famous 1953 film version of Salome starring Rita Hayworth. While the film takes liberties with the Biblical story, it is a perfect example of film epics in the “glory days of technicolor” and required viewing for both Salome and film enthusiasts. Following the screening, Maestro James Conlon (who conducts Salome at LA Opera starting on February 18) and actor Stephen Fry (who portrayed Oscar Wilde in the 1997 biopic) will discuss the importance of Salome in film and opera. All attendees will automatically be entered to win a pair of tickets to LA Opera’s production of Salome.
Before attending the evening at the Aero, get in the mood. We’ve pulled together a few films to watch and music from the opera.
Soprano Patricia Racette’s 2016/17 season features a triple run of Salome, with recent performances for the Metropolitan Opera and Pittsburgh Opera, and now in Los Angeles, where it’s her fifth leading role. (She’ll also reprise the femme fatale for a … Continue reading
LA Opera first presented its provocative production of Salome during its inaugural season in 1986. That iconic production featured a backdrop of hand painted, psychedelic projections envisioned by designer John Bury. Salome returns to LA Opera this month and features new projections that build upon Bury’s original designs and showcase the title character’s mental state throughout the opera.
Bury’s original projections (see below) were abstract and textural, containing a dark color scheme (reds, blues, and purples). Some projections feature shapes that look like bubbles or blood cells, while others create patterns using horizontal lines.
Updated since their original use, the new projections are no longer hand painted. Projection Designer Alisa Lapidus digitized Bury’s projections and used them as the base for the new projections (which are both digital and animated). These new projections reflect director David Paul’s emphasis on Salome’s journey between two worlds – the one she lives in and the one in her head.
Salome the virgin vamp has had her ups and downs—from the opera stage to burlesque, from fine art to novelty songs like “When Miss Patricia Salome Did Her Funny Little Oo-La-Pa-Lome.” And who can forget Gloria Swanson in Sunset Boulevard, finally ready for her close-up, descending the staircase as the delusional Norma Desmond playing Salome? So many Salomes—one can only draw back the veils, one at a time, in order to get at the truth.
Unveiling Salome’s Origins
The mythical origins of Salome reach back to the ancient fertility figure Ishtar who performed a Welcome Dance to celebrate the renewal of nature. In classical times, this fertility figure became Demeter who gave humanity agriculture and her daughter Persephone who personified vegetation, withdrawing into the earth after the harvest only to return again in the spring. Most of us know the biblical Salome, whose name is similar to the Hebrew word for peace, “shalom,” and who appears in the books of Mark and Matthew, a beautiful virgin dancing to appease the lust of Herod.
But there was also a real Salome, born about 15 AD and married first to a Palestine governor and later to a ruler in Asia Minor. She also appears in the histories of Flavius Josephus, who was the first to name her as the daughter of Herodias, a detail retained by Seneca, Livy, and Plutarch.
Unveiling the Artful Salome
From these origins, we can already see a number of themes emerging: mysterious femininity, sexual power, a mixture of the earthy and the mystical. Interest in Salome grew as Europeans encountered other cultures through conquest or exploration, especially following Napoleon’s campaigns in Egypt and Syria. A fascination with the orient spread throughout Europe in architecture, painting and the decorative arts. This orientalism (a controversial but useful term) also flowered in literature. The appearance in the late eighteenth century of the French translation of One Thousand and One Nights was followed by English versions in the nineteenth century, some bowdlerized for Victorian readers, some with all the juicy bits. It is easy to imagine Salome as the naughty cousin of Scheherazade, the resourceful and imaginative narrator of Nights who kept herself from being beheaded by entertaining the king with fascinating tales.
“Tired of being on the heights, I deliberately went to the depths in the search for new sensations. What the paradox was to me in the sphere of thought, perversity became to me in the sphere of passion. Desire, at the end, was a malady, or a madness, or both.”
Oscar Wilde, De Profundis
Arriving on the heels of Mozart’s The Abduction from the Seraglio in our season, it is difficult to compare these totally different works without reflecting on how the world had changed. European civilization was sitting on a fault line when Richard Strauss wrote Salome. Strauss, who placed “the miracle Mozart, immediately after Bach,” could not turn to the latter for operatic prototypes, but found immeasurable inspiration in Mozart’s operas.
The votes are in…Congratulations to our winners!
This past fall, LA Opera hosted a contest for currently enrolled college art and design students in southern California. Students were asked to submit artwork for LA Opera’s spring production of Strauss’s Salome for a chance to be featured on the cover of the show’s performance program and displayed at the home of LA Opera, the Dorothy Chandler Pavilion.
Thanks to the generous support of GRoW @ Annenberg, more than 35 students from 14 different southern California institutions competed for cash prizes and to see their artwork on this season’s Salome program cover. The winners were chosen by a jury, chaired by Gregory Annenberg Weingarten of the Annenberg Foundation and by Regina Weingarten, a member of the LA Opera board of directors. The jury also included Christopher Koelsch, LA Opera President and CEO; Diane Bergman, LA Opera Vice President of Marketing and Communications; Keith Rainville, LA Opera Brand Manager; and Tim Johnson, Film Director at DreamWorks Animation and a member of the LA Opera board of directors. We are pleased to announce our three winners: Marshall Dahlin, David Kwock, and Lauren Moss.
The top submission (see below), by Marshall Dahlin of Cal State Fullerton, was selected for the Salome cover, and earned him a $5,000 prize.
“All the characters in the opera are obsessed, often to the brink of madness. Obsessions make men blind, unable to understand other points of view or to admit the balancing power of reason. And such obsessions finally lead to violence [in Salome]. Salome’s passions lead directly to her death. She is crushed like an infectious insect. We can only approve of her end, while perhaps reflecting that all of us have the possibility of aberrant sexual behavior inside us. It is the obverse of true passion.”
– Sir Peter Hall, director of 1986’s Salome
The peerless stage director Sir Peter Hall (November 22, 1930 – September 11, 2017) was the founder of the Royal Shakespeare Company, a former director of the National Theatre in London, and had a thriving career in the world’s greatest … Continue reading
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.
… Continue reading
Patrick Blackwell has always wanted to sing. His mother was an avid opera-goer and Blackwell grew up in the shadow of the Kennedy Center in Washington, D.C. His passion for singing led him to Duke Ellington School of the Arts and later Julliard. As a professional singer, he’s traveled the world performing and in recent years has made a home for himself at LA Opera.
On May 6, Patrick Blackwell stars as Noah in Benjamin Britten’s Noah’s Flood. As part of our Cathedral Project and presented at the Cathedral of Our Lady of the Angels, Noah’s Flood brings together opera professionals with members of the Los Angeles community for an opera experience unlike any other. This is Blackwell’s first time performing an opera at the Cathedral and it’s an experience the bass-baritone is looking forward to.
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.
For the past few weeks, our props, costumes, and wig/makeup teams – the same people who created a scarily realistic head of the John the Baptist for Salome – have been working on their latest bit of opera magic. They’re not just creating a head, but an entire body to look like one of the characters in Tosca.
That character? Cesare Angelotti.
Angelotti (played in our production by Nicholas Brownlee) is an escaped political prisoner given sanctuary by the opera’s hero, Mario Cavaradossi (Russell Thomas). While Angelotti evades capture for most the opera, he’s ultimately cornered by Scarpia’s thugs. In our production, Angelotti’s corpse is hung by the neck. When this happens, the singer is replaced by a “stunt double,” or in other words, a mannequin that’s dressed and styled to resemble the singer.
Making the body double is a multi-tiered process that starts with sourcing the dummy.
Properties Coordinator Lisa Coto sources the dummy. We started with an articulated dummy used for search and rescue and CPR training. Coto chose this dummy, because it’s well-made. It’s a heavy dummy (60lbs) and the limbs dangle like a real person; in other words, it’s very lifelike.
After Coto sources the dummy, she delivers it to Costume Design Manager Jeannique Prospere. Prospere and her team make sure that the dummy’s costumes match Angelotti’s costume – an off-white, striped prison uniform, with blue/grey pants and jacket. Since Angelotti has been in prison, it’s not enough for the team to replicate the costumes. They also must distress, age, and dye the costume to make it look like the dummy has suffered the same trauma as the live character of Angelotti.
Brian Michael Moore has lived a fuller life in 24 years than most people do in a lifetime — in barely a quarter of a century, the young tenor has beaten cancer twice, lived in multiple states and has shared the stage with some of the world’s most esteemed musicians. Currently in his first season as a Domingo-Colburn-Stein Young Artist, Moore has already been seen in the company’s productions of Wonderful Town and Salome. This month and next, he’s playing Nathanaël in Offenbach’s The Tales of Hoffmann and sharing the stage with opera superstars Vittorio Grigolo and Diana Damrau.
Prior to his time in Los Angeles, the Cincinnati native attributes his musical beginnings to his parents, who enrolled him in piano lessons as a small child. Though neither of them “were that musical,” as Moore states, classical music was a big part of his childhood development. While balancing school and sports, his first taste of the limelight came in the seventh grade, after he was cast in the ensemble of his school’s production of Oliver! — however, the opportunity was over for him before it even began.
“I was never told when rehearsals would start or where they were, so I just never showed up,” Moore laughs. “And then they performed it and I thought ‘Well, I guess I could have been in that.’”
Though his stage career began rocky, Moore eventually became serious about pursuing singing professionally. He participated in his school’s musical the following year, singing in the Barbershop Quartet in “The Music Man.” And after taking the advice from his middle school musical director, he began taking formal voice lessons the summer before he entered high school, where he was first exposed to classical singing.
Together again – LA Opera Music Director, James Conlon and Patricia Racette (Salome) will host a special CD signing.
When: Thursday, March 16, 2017 – immediately following the performance
Where: Dorothy Chandler Pavilion – Grand Avenue Lobby
James Conlon’s remarkable work with the LA Opera Orchestra has elevated LA Opera’s artistry to a new level of excellence. He has also brought lost works to life through the Recovered Voices project and, working closely with Plácido Domingo, has contributed enormously to developing a love for opera in our city.
From convening, citywide festivals to packing the Eva and Marc Stern Grand Hall during his pre-performance talks, Mr. Conlon has become one of the most visible advocates for classical music in Los Angeles.
This season, Maestro Conlon celebrates his tenth anniversary as LA Opera’s Richard Seaver Music Director, and he recently extended his contract to the 2020/2021 season.
LA Opera invites you to celebrate Maestro Conlon’s achievements by supporting the James Conlon Tenth Anniversary Initiative, which will provide critical funds to support new programing and further enhance our acclaimed orchestra.
Additionally, we’ve curated some articles, videos, and a podcast below to help you get to know Maestro Conlon and illustrate why he has become a beloved figure in the cultural life of Los Angeles.
It’s Oscars time and we are all waiting with baited breath to see whether La La Land takes home best picture. We’re also excited to see the glamorous looks stars don on the red carpet – some of which could totally be pulled straight from the opera stage.
It’s that time of year again. The Season of Love. It’s the perfect time to show your romantic side, and nothing says romance like an evening of Mozart or Strauss. Ever thought of surprising the ones you love with the gift of opera on Valentine’s Day? Here’s a list of the most romantic operas to give your significant other the opera experience of a lifetime.
This Mozart treasure is perfect for a fun, romantic evening at the opera. Our production is set in the 1920s and has the feeling of a classic screwball comedy (think Bringing Up Baby). It’s light, it’s funny and it’s perfect for any first – first opera, first date. With two intermissions, there’s time to share some bubbly while enjoying an evening together.
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! James Conlon conducts a brilliant ensemble of soloists, including bass Morris Robinson as the Pasha’s delightfully nefarious henchman Osmin. Hamish Linklater makes his company debut in the pivotal role of the Pasha Selim.
If you’re looking for a short, but thrilling night at the opera, Salome is the opera to give your loved on Valentine’s Day. Filled with unbridle passion and seduction, this one will give you lots to talk about.
Since LA Opera’s first season in 1986, Los Angeles is not the only place in the world that you can experience one of the company’s productions. Over the years, they’ve been rented and staged by other opera companies, produced during festivals, and even shown on the big screen. LA Opera’s innovative and beloved productions travel the world, sharing the spirit of Los Angeles and a love of opera with people far and wide.
Here are three productions that have traveled the world in recent years.
Salome (1986; 1989; 1998; 2001; 2017)
LA Opera’s iconic production of Strauss’s Salome (which returns to the LA Opera stage February 18) originally premiered during our first season in 1986. Adapted from the scandalous play by Oscar Wilde, Salome is a seductively beautiful tapestry of the subconscious. The princess Salome becomes infatuated by her stepfather’s prisoner, John the Baptist, and she determines to have him…whatever the cost.
This production of Salome is well traveled and has been staged both close to home (at San Diego Opera) across the country (Washington National Opera) and around the world (on tour with the Savonlinna Festival in Finland and as part of the Hong Kong Arts Festival in China).
Joshua Winograde, the company’s senior director of artistic planning, has been living out his dream at LA Opera. For the past decade, he has developed the company’s celebrated Domingo-Colburn-Stein Young Artist Program and played an instrumental role in championing the company’s artistic vision. It has been an incredible journey for Winograde, whose long history with LA Opera began when he fell in love with opera as a teenager.
As a teenager, Winograde took summer classes at UCLA. There he met an exchange student from Japan who introduced him to Kathleen Battle’s recordings. “I had never heard anything like her. I was totally unaware that a human voice was capable of doing anything like that,” recalls Winograde. After hearing Battle’s voice, he became even more interested in singing and performing. He joined choirs and took advantage of every opportunity to see productions at LA Opera.
“Tara Colburn, one of the founders of LA Opera, was the mother of a friend of mine in high school. My friend didn’t like to go to the opera, so I was his mom’s date,” Winograde jokes.
After growing up at the LA Opera, Winograde pursued a career as a singer. He received both undergraduate and graduate degrees from the Julliard School and embarked on a professional career as a bass-baritone (including time as a young artist at Houston Grand Opera). However, as Winograde’s career took off, he started dreaming of a different career path.
“I couldn’t shake this peripheral vision of a career producing opera,” says Winograde.
Winograde followed his heart and switched to a career in management, working with young artists at Wolf Trap Opera Company and Julliard. One year later, LA Opera came knocking.