Author Archives: Arya Roshanian
On Nov. 2, Verdi’s Nabucco returns to the stage of the Dorothy Chandler Pavilion, with Plácido Domingo in the title role. The vibrant production by director Thaddeus Strassberger pays homage to the opera’s premiere at Milan’s Teatro alla Scala in 1842, featuring costumes elegantly designed by Mattie Ullrich.
Soprano Lauren Michelle did not have an easy road to success. In fact, for many years she struggled to even be heard. But out of all the things this California native has proven, it’s that she’s a hard worker. And her perseverance has finally paid off. She’s not only sung on domestic stages in St. Louis and Washington, D.C., but has traveled all over the world — from Italy to Austria to Wales — singing for the some of the top names in the business.
Her triumphs have now led her to LA Opera, where she is currently covering Leïla in Bizet’s The Pearl Fishers. For the inaugural post for our Cover Story series, which features profiles on the principal covers (or understudies) for our mainstage productions, Michelle had a chance to sit down with the company to discuss the long, winding road that has landed her back on her home turf, and how Maestro Plácido Domingo proved to be her biggest advocate.
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.
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.
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.