Behind the Scenes
John Neumeier is director, choreographer, set designer, costume designer and lighting designer for LA Opera’s new production of Orpheus and Eurydice (performed here in its 1774 French revision as Orphée et Eurydice). His staging comes to Los Angeles after performances earlier this season at Lyric Opera of Chicago, and it will be presented next season by a third co-producer, the Hamburg State Opera, featuring the Hamburg Ballet, where Mr. Neumeier is director and chief choreographer. During rehearsals for the Chicago performances, he spoke with Roger Pines, dramaturg of Lyric Opera of Chicago.
One of the aspects that make LA Opera productions so grand is the hardworking staff at our costume shop. Located in between the Fashion District and Boyle Heights in Los Angeles, LA Opera’s Costume Shop not only houses pieces from our current productions, but also contains archived garments from shows throughout our 32-year history.
In anticipation of Candide, here is an exclusive look at what our costumers are working on as we prepare to open on Jan. 27.
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.
A formative part of my training as an opera director and designer was spent at the Accademia Teatro alla Scala. This “temple of opera”—as both a building and a company of artists—has existed largely unchanged since 1776 and has produced hundreds of world premieres, including many of Verdi’s operas.
Over the past 17 years, British filmmaker Penny Woolcock has made a name for herself in the opera world. After directing a film adaptation of John Adams’s The Death of Klinghoffer (which won the Jury Prize at the Brussels European Film Festival and the Prix Italia), Woolcock staged John Adams’ Doctor Atomic at the Metropolitan Opera and the English National Opera. She followed Doctor Atomic with a production of The Pearl Fishers at the English National Opera (ENO) in 2010, which ENO revived last year and which also had a successful run at the Metropolitan Opera. Now, Woolcock has brought The Pearl Fishers to Los Angeles. Before a rehearsal, we sat down with Woolcock to discuss her entry into the opera world and how she brings The Pearl Fishers to life.
You’ve had a successful career in film and television especially with the Tina trilogy, Tina Goes Shopping, Tina Takes a Break and One Mile Away. What drew you to opera?
I love music. When I was a teenager, I lived in Buenos Aires and I used to go the Teatro Colón with a friend. We were so high up, you couldn’t see the stage unless you held the other person’s legs while leaning over the balcony. [laughter] It’s been something I’ve always had a feeling for but I never imagined I would get a chance to direct it.
I’d also really loved John Adams’s music. I remember going into a record shop in Newcastle in 1988 and they were playing Nixon in China. I asked the guy in the store and asked, “What is this? I must have it!” Then, in the late ‘90s, I went to a concert performance of the The Death of Klinghoffer choruses. I was really moved by the way the first two heartbreaking choruses express the claims of two traumatized, dispossessed people over the same piece of land. It brought me to tears and the friend I was with saw that and said, ‘You should make a film of it,’ and I thought, ‘Yes, I should.’ I emailed the head of Channel 4 Music and to my surprise my phone rang immediately and she said, ‘What a fantastic idea!’ I was sort of known for making films about tough inner-city communities, not opera, but she thought that I might invent something different than just filming a staged performance. Then, obviously, I had to see if John Adams would approve. Again, it was one of those right place, right time moments, because he said that he’d always wanted someone to make a movie of one of his operas.
So, I made The Death of Klinghoffer.
We filmed John conducting the London Symphony Orchestra and we recorded the singers in isolation booths at Abbey Road Studios (where The Beatles famously recorded).
Once we had that, we hired a cruise line and sailed across the Mediterranean. We shot the film on location. John’s assistant conductor came with us and was running around behind the camera, conducting the singers as we shot them with a handheld camera. It was quite a magical experience and funnily enough we ended up using over 80% of the live sound in the final mix.
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Share Opera under the stars Yes, it’s fall, but only in Los Angeles can you take advantage of the Southern California weather, grab a blanket and a picnic and experience opera under the stars. This Saturday, you can do just … Continue reading
Share On September 9, we open the 17/18 season with Carmen. If you’ve been following along on Snapchat and Instagram Stories, you’ve seen some of our behind-the-scenes fun: rehearsals, set building, and even flamenco dancing. As we wrap up rehearsals … Continue reading
Rehearsals for our 17/18 season opening production of Carmen are in full swing.
In addition to hearing wonderful singers perform the opera’s many hits like “Habanera,” we get to watch talented dancers tell Carmen’s story through flamenco.
These dancers are led by Spanish choreographer Nuria Castejón, whose career as a dancer (working for acclaimed Ballet Nacional de España and Compania Antonio Gades) evolved into a long-standing career as an opera, theater, and film choreographer. While Castejón has worked on many plays and as Penelope Cruz’s dance advisor on the Pedro Almodóvar film Volver, opera holds a special place in her heart.
“I adore opera,” says Castejón. “My parents were actors and lyric singers. They did a lot of operetta and zarzuela – sometimes even working with Plácido Domingo’s mother.”
Castejón brings this love of opera to every production she choreographs.
This includes classics like The Barber of Seville, Luisa Fernanda (with which she made her LA Opera debut in 2007) and now to Carmen.
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The music of Thumbprint is infused with the sounds of South Asia, melding classical Hindustani music with western classical music.
Kamala Sankaram, who is both the piece’s composer and plays the leading role of Mukhtar Mai, has woven traditional instruments – piano, flute, violins, drums, and what you’d expect in a band – with some that are not often seen in opera.
The sounds that form the musical language of Thumbprint and provide its regional nuances come from the traditional instruments of South Asia.
Harmonium – like an accordion, the harmonium is a small pump organ.
NEWS: We’re thrilled and honored that Mukhtar Mai – whose historic bravery inspired “Thumbprint” – is traveling from Pakistan to witness her story told and join us for the talkbacks after each performance. If you don’t have a ticket yet, this is your chance to be part of this powerful moment.
Thumbprint tracks the extraordinary transformation of Mukhtar Mai. As a young woman in Pakistan, Mai is the victim of a brutal crime meant to destroy her. With incredible courage, Mai reports the crime, brings her perpetrators to justice, and becomes an international champion for women’s rights in Pakistan.
Rather than track Mai’s transformation in a literal fashion – with events happening on stage chronologically – director Rachel Dickstein brings Mai’s story to life in a different way that serves the opera’s impressionistic structure.
“When I first came on to Thumbprint, I was drawn to the impressionistic structure that Kamala and Susan had created,” recalls Dickstein. “Mai’s story does not unfold in a traditional or literal way. Everything that happens is from Mai’s perspective so therefore told through the lens of memory.”
This week we open the final main stage production of LA Opera’s 2016/17 season – Tosca. If you’ve been following along on social media, you’ve seen a host of rehearsals in progress. As the elements come together this week, we thought we’d break it down and show you how an opera comes to life.
GETTING TO KNOW TOSCA
Several weeks ago, we started with studio rehearsals. These are musical and staging rehearsals where the principal cast and the chorus go through the music, sometimes individually, sometimes together, to get a sense of the show’s flow, the acting involved and how the director expects it to all look. These rehearsals are conducted in rehearsal halls with a piano, not on the stage and without many of the main elements of the opera (the orchestra, the lighting, the costumes etc). Each scene is mapped out on the floors with tape so that the cast can rehearse their roles in their proper positions, relevant to each other and the chorus, as well as to the sets and props on stage.
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.
Share Set in the 1920s aboard the Orient Express, The Abduction from the Seraglio features some interesting props to look out for when seeing the show. Here’s a list of our top three favorites – see if you spot them … Continue reading
Since its founding in 1986, LA Opera has become one of Los Angeles’s most influential arts organizations. In 2011 LA Opera’s communications team conducted extensive research in order to better identify the company’s brand and connect with its ever-expanding audience in a new era.
“In order for branding to be effective, it has to be organic,” says Diane Rhodes Bergman, vice president of marketing and communications, who oversaw the research efforts five years ago and continues to spearhead the company’s communications strategy. “It has to start with the people who are most involved with the brand: the board, our staff, and the public we serve. We conducted research with these three groups to identify what LA Opera is at its core, what role the company plays in the Los Angeles community, and what part it will play in the community’s future.”
Through this research and subsequent testing of various brand concepts, LA Opera’s branding began to take form. There were several things that all the groups surveyed connected to LA Opera: the company’s influential presence in the Los Angeles community, the inextricable link to the Dorothy Chandler Pavilion’s decades-long history, innovative productions, and a certain method of storytelling reflective of the city’s edgy (but still beautiful) spirit.
L.A. Opera patrons who rely on supertitles to understand the text of what’s being sung can thank the woman wearing a headset and sitting in a space above the wall chandeliers on the right side of the Dorothy Chandler Pavilion auditorium.
Linda Zoolalian has prepared and cued the supertitles—librettos projected in English on a screen above the proscenium and elsewhere—since 2003. Three years ago, she began cueing supertitles for the Los Angeles Master Chorale as well.
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.
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.
“Macbeth is a comedy if you’re a witch and a tragedy if you’re anyone else.”
The dancing witches in Macbeth are not your pointy hat, black-wearing, broom-flying witches. As the agents that drive the story, they are onstage virtually the entire time, lurking during every sinister choice that Macbeth and Lady Macbeth make in the opera. They move props. They haunt all of the characters and bring them to the darkest moments of their lives. We spoke with the nine women who play the witches about how they bring their hellish characters to life.
It all started at the audition.
While most dance auditions involve an incredible amount of specific movement and counting, the auditions for Macbeth were all about becoming witches.