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.
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.
Ever wonder where your favorite LA Opera artists go when the season is over? Well, they travel the world! From Santa Fe to Salzburg, these singers have a busy summer ahead performing on stages around the globe. Read below to see where some of them are traveling before returning to Los Angeles!
It’s no secret that we’re passionate about opera. Here at LA Opera, we want as many people as possible to experience this remarkable art form. We invite scores of school children into free performances and provide specially priced tickets for community groups at every mainstage performance. We also travel to schools and teach children to perform an opera for their community.
If you keep on the pulse of arts and entertainment (and of course you do, you’re on the LA Opera blog 😉) we’re sure you’ve noticed an influx of horror movies hit the theatres, scary TV shows on the small screen and a few spooky events crop up around the Los Angeles area. Why has the horror genre seen such a resurgence, and a summer one at that?! We like to think it has something to do the fact that horror is one of the only genres that elicits a physical response — a cold sweat, a yelp, a scream, a cry for help in the middle of the night when you’ve thought you’ve just seen a ghost.
Sure, you could go to the beach and dine al fresco all summer long, but really — this is California and you can do that all year long, so why not do something a bit out of the ordinary and get your spook on this summer? Here are five creepy things to do in LA this summer.
Opera and literature have long been paired together. The early operas of Monteverdi, Vivaldi and Handel were primarily, if not exclusively, based on tales derived from Greek mythology. As opera expanded outside of the royal court and into the public following the classical period in the mid-18th century, so did the story lines — librettists and composers began finding inspiration outside of mythology, but still within the written word.
On June 22, LA Opera stages the LA premiere of Gordon Getty’s double-bill Usher House and The Canterville Ghost. Labelled quirkily as the “Scare Pair,” both operas take inspiration from 19th century works of literature.
LA Opera is just a few days from the Los Angeles premiere of Gordon Getty’s Scare Pair: Usher House/The Canterville Ghost. This Off Grand presentation is the last production of the 2017/18 season. In anticipation for the performances, here are five things you may not already know about the production!
Through the combined efforts of community venues and LA Opera, the public has access to opera throughout Los Angeles County, with recitals tailored to each individual community. Performances take place at a variety of spaces including libraries, museums, hospitals, community centers, senior centers and outdoor venues.
Read about LA Opera artist Ashley Faatoalia’s experience singing at a previous concert at City of Hope, in anticipation of an upcoming concert on June 15.
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 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!
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.