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With The Abduction from the Seraglio, Mozart scored the biggest stage success he would enjoy during his lifetime. It premiered in Vienna on July 16, 1782, and, by the fourth performance—according to Mozart himself—the show was “creating such a sensation that they don’t want to see or hear anything else, and the theater is packed full each time.”
Nowadays Abduction ranks among the less frequently encountered of Mozart’s mature stage works. One reason might be that it suffers from what director James Robinson calls “ugly-title syndrome.” Catchy titles, to be sure, can go a long way toward securing recognition for even second-rate works. Robinson adds: “Abduction is underrated in many ways. It’s one of the most unabashedly romantic pieces that Mozart ever wrote. The way he addresses relationships and longing, as well as all the things that accompany love and its potential loss, is so heartfelt. Abduction wears its emotions on its sleeve. And it’s also a wonderfully funny piece.”
The stakes for the success of Abduction were high.
When Mozart started working on his new project in the summer of 1781, he was right in the middle of a period of profound transition—personally as well as professionally. The year had started with the premiere, in Munich, of Idomeneo, an ambitious opera that represented a major artistic leap forward for the composer. A few months after that came a dramatic confrontation with his boss, Count Hieronymus Colloredo, the Prince-Archbishop of Salzburg. Among the many reasons Mozart felt so miserable at Colloredo’s provincial court was the lack of opportunities to write opera, the art form he loved most of all.
For the past 11 seasons, LA Opera has been honored to work with the Cathedral of Our Lady of the Angels in downtown Los Angeles to present free, large-scale community performances including Noah’s Flood, Judas Maccabaeus and The Festival Play of Daniel under the baton of James Conlon. These community opera performances include singers, actors and orchestra members from the community, performing alongside professional singers and orchestra members from LA Opera.
This season, LA Opera is reviving its successful production of Noah’s Flood (Noye’s Fludde). Conducted by James Conlon.
Noah’s Flood will be performed at the Cathedral of Our Lady of the Angels on Saturday, May 6, 2017 at 4:00pm and 7:30pm.
Here’s a list of things you might not know about our production of Noah’s Flood.
Ever since last season’s production of Mozart’s The Magic Flute, we’ve been eagerly waiting to stage another one of Mozart’s work at LA Opera. Next month, we get to do just that! Mozart’s The Abduction from the Seraglio opens on January 28 and here are five reasons to see this riotous opera.
Did we mention that it’s Mozart?
Mozart’s effervescent score is sure to thrill audiences—even though Emperor Joseph II asked that Mozart cut a few notes from the piece when it was first presented to him. (Check out that moment and the finale of Abduction as depicted in the Miloš Forman biopic Amadeus below.)
Wonderful Town opens on Friday, December 2nd, and we’ve been watching rehearsals all week. Here are some things we thought might surprise you.
1. Long before Carrie Bradshaw lived in Greenwich Village, Ruth and Eileen Sherwood, played by Faith Prince and Nikki M. James, sought out to find fame and fortune in the big city. Greenwich Village is the backdrop for Wonderful Town.
2. One guy can play lots of parts. Roger Bart, serves as the narrator of Wonderful Town, but he also serves as the Tour Guide, Speedy Valenti – the nightclub owner, Chick Clark – the sharp newspaper guy and others too. … Continue reading
Thousands of people just like you come to LA Opera each year to experience the magnificence that can only be found in opera. Through world-class staging and bold experimentation, opera has something for everyone, regardless of age, musical preferences or means. Here are some of the opera experiences you can give as gifts to your friends and family this holiday season.
Hop on Mozart’s Orient Express with The Abduction from the Seraglio
If you’re a fan of screwball comedies, this is the opera for you. Updated to the Roaring Twenties, this riotous staging marries the brilliance of Mozart’s comic gem with the flair of a classic Hollywood comedy. 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!
You can learn a lot about the 1930s from Wonderful Town. When aspiring reporter Ruth interviews a group of Brazilian cadets near the end of Act One, her topics were only two decades in the past for the show’s first audiences in 1953. Today, however, many of her references to Depression-era American culture have grown obscure. Here’s a quick guide to some of them.
“What do you think of the NRA? TVA?”
Nope, not the National Rifle Association. The National Recovery Administration and the Tennessee Valley Authority were part of Franklin Delano Roosevelt’s “New Deal” to help the country recover from the Great Depression. The NRA was designed to promote recovery by establishing a code system of fair competition for industries; it was declared unconstitutional in 1935. The TVA was one of the largest New Deal projects, created to build dams, reservoirs and electrical stations. It brought affordable power and jobs to millions in an impoverished, rural region.
“What do you think of Charles G. Dawes? Warden Lawes?”
Dawes was Calvin Coolidge’s vice president from 1925 to 1929. He had shared a Nobel Peace Prize in 1925 for his work on the Dawes Plan, designed to provide economic relief to Germany after the first World War. He was the American ambassador to the United Kingdom from 1929 to 1932, then served as chairman of the board of City National Bank from 1932 until his death in 1951.
As warden of Sing Sing from 1920 to 1941, the progressive reformer Lewis E. Lawes modernized the overcrowded and crumbling prison. He famously organized basketball and football games for his “boys,” with his wife and three daughters watching in the bleachers, seated with the inmates.
“Good neighbors, remember our policy”
Part of President Franklin Delano Roosevelt’s first inaugural address in 1933, the Good Neighbor Policy was a pledge that the U.S. would treat Latin American nations with respect. With a goal of increasing trade with these nations, this new policy marked a departure from earlier administrations’ interventionism in Latin American foreign and domestic affairs.
Director Phelim McDermott’s staging of Akhnaten is anything but ordinary. By instructing the singers and cast members to move slowly through the world of Akhnaten, McDermott creates an atmosphere that is hypnotic. It’s difficult to look away from such intensity, which is not unlike the intense intimacy you get from a film close-up. He further captures the pharaoh’s world through abstract use of juggling and a set greatly influenced by ancient Egyptian hieroglyphics discovered by Egyptologists in the 1920s.
While McDermott is now comfortable in staging Philip Glass (Akhnaten is his third Glass production), directing Glass was not always on his to-do list.
In the below excerpt of a podcast hosted by Living with A Genius’s Omar Crook, McDermott discusses how he came to direct Akhnaten and his vision for the show.
For years, the version of New York City that Leonard Bernstein and Betty Comden and Adolph Green created in Wonderful Town really was the New York that many people around the country believed existed. It was a place where everyone was a lot smarter, a lot tougher, and moved a lot faster than other Americans did. Wonderful Town depicted New Yorkers with a wised-up wit, an unapologetic brashness (with a beating heart underneath), and battle scars from years of surviving life in the city—characters we came to believe were very much like the creators themselves.
On November 5th, Akhnaten opened and audiences got a taste of the complicated set that brings ancient Egypt to life in the opera. Envisioned by set designer Tom Pye (in conjunction with director Phelim McDermott), the Akhnaten set takes 2-Dimensional hieroglyphics and brings them into 3-Dimensional staging.
The reproduced hieroglyphic image above (also the first ever recorded image of juggling) serves as the inspiration for the juggling in this opening funeral scene of Akhnaten and for the three-tiered structure that makes up the set (see second image above).
In the week leading up to the opening of Akhnaten, director Phelim McDermott watches singers rehearse a scene from Act III. In the scene, Akhnaten (Anthony Roth Costanzo) and Nefertiti (J’Nai Bridges) dwell in an insular world of their own creation with their six daughters. The only thing that connects them is a lengthy blue fabric that they all handle throughout the scene as crowds gather restlessly outside the gates and letters arrive expressing increasing concern about Akhnaten’s self-imposed isolation. From his directorial perch, McDermott suddenly rises and holds up a white sheet of paper with a single handwritten word on it: SLOWER. In response, all the singers’ movements become hauntingly slower. The adjustment is mesmerizing and in tune with the atmosphere McDermott has created for Akhnaten
For Akhnaten, McDermott utilizes the movement qualities of renowned theater practitioner Michael Chekhov. The entire opera is staged in this way with all the cast members moving slowly, exploring the narrative moment to moment, and moving through visually stunning tableaus. The simplicity and flow is meant to entrance audience members, allowing them to get lost in this tale of a revolutionary pharaoh.
Akhnaten is McDermott’s third Philip Glass production (following Satyagraha and The Perfect American at English National Opera) and the director is a proponent of playing with rhythm and movement on stage.
“Doing things slowly is the most effective way of experiencing a Philip Glass opera, because the whole piece sits on a psychological level. Singers move to express what they feel in a single moment, not unlike what they do when they have an aria and sing about what it feels like to be in love for five minutes,” says McDermott.
Ted Hearne’s The Source is not your typical opera. The Source is about how we deal with the massive amounts of classified information leaked by Chelsea Manning and released by WikiLeaks in 2010. The piece allows audience members to experience this information not by watching the news or sitting in front of a computer where they may become distracted, but instead, through the all-encompassing magic of opera. The Source is not staged in the way you would expect and it is not a biography of Chelsea Manning’s life – choices that director Daniel Fish championed from the beginning.
Witches. Cauldrons. Prophesies. Runes. Our production of Macbeth is the stuff nightmares are made of – in the very best and haunting way. When it comes to props, director Darko Tresjnak wanted objects capable of truly terrifying and also intriguing an audience.
Here’s our list of 5 Macbeth props that will keep you up at night.
Bloody Head in a Burlap Sack
The nightmare-inducing props start at the very beginning of Macbeth, when messengers from King Duncan present Macbeth and Banquo with the head of the executed Thane of Cawdor in a bloody burlap sack. (Macbeth gets the dead man’s title, following the prophecy of the witches.)
(spoiler alert!), Macbeth and Lady Macbeth murder King Duncan in the first act so that Macbeth can seize the throne. During the second scene, Duncan’s body is brought out on a golden bier, very slowly, to emphasize the gore. While a white sheet is placed over the corpse, it is clear that Duncan’s throat has been slashed, and the Special FX blood ensures that his body appears freshly killed.
Macbeth and Lady Macbeth present these skulls to the audience at the end of the opera – creepily representing their doomed fate. Flashes of light illuminate these two props and they are the last thing seen as the curtain falls – a haunting image not easily forgotten.
Many opera goers may not realize how much costume design is involved in telling a production’s story. Award-winning costume designer Kevin Pollard shared some interesting tidbits about how costume creation plays a role in informing the audience and moving the story forward in this season’s Akhnaten.
Most of what the world understands about the ancient Egyptian royals is theory, based on hieroglyphics and artifacts that captured the world’s attention in the 1920s, when Tutankhamen’s tomb was discovered. Pollard sought to find an innovative way of interpreting ancient Egypt while maintaining the awe of viewing a new world, never before seen. He has, through costume design, intricately woven together a simultaneous sense of history and the transition of time, as well as the struggles of both the royal family and their subjects.
Pollard’s costume design is an amalgam of worlds colliding – from ancient Egypt, to colonialism, to the present day – layered together. He began by focusing on the chorus. He started with a 1920s style but appearing partially mummified, rotted, and caked in mud and dried earth, as though the characters had been entombed for a long time. Topped with animal headdresses, depicting the ancient polytheistic gods, Pollard captures a world caught between its buried past and emerging future. The production’s jugglers tie into the same earthy feel, as the desert itself, with their color palette and fabric design representing the dry, cracked landscape.
Hundreds of thousands classified military documents don’t exactly sound like ideal fodder for an opera libretto, but on October 19 LA Opera and Beth Morrison Projects will present the west coast premiere of Ted Hearne’s The Source, drawn from the U.S. Department of Defense cables released by WikiLeaks in 2010 and the story of the U.S. Army private who leaked them. It is the season’s first foray into staging operas tackling contemporary themes (followed by Kamala Sankaram’s Thumbprint in the spring).
“Be guided by this, there are three roles in this opera and three roles only: Lady Macbeth, Macbeth and the chorus of the Witches.”—Giuseppe Verdi
In 1847, Giuseppe Verdi stood the world of Italian opera on its head when he wrote his tenth opera in seven years. (He would later refer to that grueling period as his “years in the galley.”) This was no routine work. In writing Macbeth, he made a major leap into the future—his future, Italian opera’s future, our future. It would take half a century for the logical consequence of Macbeth to be fully drawn, and even then it would take another 50 or 60 years before its significance was recognized.
With this opera, Verdi began the long process of dismantling the forms he inherited from Rossini and the bel canto period. In so doing, he irrevocably transformed Italian opera. Dramatic coherence became dominant. It is in Macbeth that he stipulates, with an insistence and virulence beyond what he had demonstrated in the past, what the singers must do to serve the drama. He no longer accepts the status quo, neither in the comportment of the singers, who must now act with their voices as well as their bodies, nor in the overall form of the music. Verdi chooses musical forms that fit the dramatic situation. The opera is not a series of formulaic scenes designed to showcase the vocal prowess of the performers, but a concentrated distillation of the dramatic essence. As he instructed baritone Felice Varesi, his first Macbeth: “I will not cease to recommend that you study the dramatic situations and the words: the music will follow on its own.”
Opera Camp is one of our favorite parts about summer at LA Opera. Watching more than 50 talented kids rehearse and perform opera in just two weeks never ceases to astound us. But, this year’s camp was extra special, because we premiered Eli Villanueva and Leslie Stevens’ Then I Stood Up, a youth opera honoring the contributions of young people to the Civil Rights Movement. From day one, kids not only engaged with opera, but also with civil rights history, in a way that connects past with the present, and brings people together through the power of opera.
While we loved everything about this year’s Opera Camp, here are some moments that really made this year’s program the best yet.
On the heels of another successful collaboration with anatomy theater, LA Opera and Beth Morrison Projects are hard at work on two operas, ripped straight from the headlines, making their west coast premieres next season. They are Ted Hearne’s The Source and Kamala Sankaram’s Thumbprint.
In October, LA Opera presents The Source, which follows the story of Chelsea (formerly Bradley) Manning, a U.S. Army soldier who leaked hundreds of thousands of classified documents to WikiLeaks in 2010. It explores the many identities of the army private – adrift adolescent, emboldened whistleblower, and traitor to her country – amidst the media hysteria following the leak.
Hearne’s and director Daniel Fish’s work is a contemporary masterpiece, showcasing what opera in the digital age can truly be.
Last week, David Lang’s anatomy theater had its world premiere at REDCAT as part of LA Opera’s Off Grand series. The grisly and intense work has garnered a great deal of acclaim not only for the edginess of the production (with a staged public execution followed by a dissection), but also for the questions it raises about the nature of evil and where evil truly lives within each of us. If you’ve missed the anatomy theater love these past couple weeks, we’ve collected a bunch of articles and videos for you to get a sense of what makes the show so visceral.
Get To Know anatomy theater
Based on actual 18th-century texts, anatomy theater follows the story of Sarah Osborne, an English murderess, who is tried, executed, and publicly dissected before a paying audience of fascinated onlookers. Gritty, emotional, and inventive, the opera features several villainous characters, but none more vulnerable than Osborne, who is masterfully brought to life (and death) by mezzo-soprano Peabody Southwell.
Bass-baritone Robert Osborne is a veteran performer of contemporary opera, known for tackling challenging roles from the title character in Harry Partch’s Oedipus to François Mignon in the Robert Wilson-directed Zinnias. Currently, he performs the role of Baron Peel, the anatomist, in the world premiere of David Lang’s anatomy theater. During rehearsals, we sat down with Osborne to discuss his work in anatomy theater and what makes Baron Peel tick.
The 15/16 season may have come to an end, but the halls of LA Opera are still abuzz with staff and artists working on the upcoming 16/17 season. Auditions are being held for supernumeraries in season opener Macbeth and the show’s set is also currently being built at Studio Sereno. Preparations for other productions and events for the fall are also underway. Can’t wait? Neither can we. See what all the excitement’s about below.
Plácido Domingo and James Conlon unite to kick off the season with Verdi’s Macbeth
The season opens with a new production of Verdi’s Macbeth (September 17 through October 16, 2016), starring Plácido Domingo in the title role and conducted by James Conlon. Ekaterina Semenchuk will perform the role of the treacherous Lady Macbeth. LA Opera’s first production of Macbeth since 1987 will be staged by Darko Tresnjak, director of the 2015 hit The Ghosts of Versailles.