Did You Know?
Summer is a peaceful time on the LA Opera stage — but though the stage is quiet, the offices remain abuzz! With the house empty for the next two and a half months, we use this time wisely to prepare for next season’s productions.
Mark Your Calendars. We’re presenting a free, live simulcast of Verdi’s Don Carlo starring Plácido Domingo and conducted by James Conlon, will be broadcast live in high-definition from the Dorothy Chandler Pavilion to the big screen at El Cariso Community Regional Park in Sylmar, Saturday, Sept. 22, 2018.
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 two 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 with a live broadcast at El Cariso Community Regional Park in Sylmar.
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!
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.