Did You Know?
LA Opera is no stranger to the impassioned operas of Giuseppe Verdi. In the last six seasons alone, the company has staged five operas written by the Italian composer, from popular favorites including La Traviata, Falstaff and Macbeth, to lesser-known works like The Two Foscari and Nabucco.
Another classic – Rigoletto – returns to the stage on May 12. Here are five things you may not know about LA Opera’s upcoming production of Rigoletto!
LA Opera has a long history of presenting new and unfamiliar contemporary opera on its stage. It is within the company’s mission to “produce world-class opera that preserves, promotes, and advances the art form while embodying the diversity, pioneering spirit, and artistic sensibility unique to Los Angeles”. Under the umbrella of the Contemporary Opera Initiative is Off Grand, a series of performances that take place in venues beyond the mainstage with a focus on experimental chamber work.
Modern and contemporary work is not new to LA Opera audiences. Since its inception, the new and innovative have been an integral part of LA Opera’s history.
The New Yorker‘s Alex Ross recently said of LA Opera, “No American company of LA Opera’s size…is more committed to new and unusual work.”
Myth and Recovery, Music and Rebellion: A Note from Music Director James Conlon on Orpheus and Eurydice
“But Lot’s wife looked back as she lingered behind him, and she became a pillar of salt.”
Genesis 19:17, Luke 17:32
“Then he turned to her. It was too soon; she was still in the cavern. He saw her in the dim light, and he held out his arms to clasp her; but on the instant she was gone.
The Myth of Orpheus and Eurydice (from Edith Hamilton’s Mythology)
The act of looking back, with its rewards and perils, reveals, conceals, mystifies and clarifies. It can be a source of inspiration or of loss and regret. It is an inducement to creativity or a temptation to indulge our regressive tendencies.
The French version of Christoph Willibald Gluck’s Orpheus and Eurydice (Orphée et Eurydice) may have premiered in 1774, but John Neumeier’s take on this classical masterpiece takes a myriad of liberties to update the setting.
On March 10, LA Opera continues its 2017/18 season with Gluck’s heartbreaking opera, in partnership with the Joffrey Ballet. Neumeier’s production has already been hailed as “achingly beautiful” (Chicago Tribune) and “brilliantly reimagined” (Opera News). Not sure of what to expect? Here are a few things you may not already know about LA Opera’s upcoming production of Orpheus and Eurydice.
February is the month of many things; scrambling to find a decent gift for your significant other for Valentine’s Day, praising the heavens for that three-day weekend for Presidents’ Day and — of course — Black History Month. From Jesse Owens’ historic achievements at the 1936 Summer Olympics to Bessie Coleman’s accomplishment of becoming the first Black female pilot in 1922 — achievements by Black individuals throughout American history are abundant.
But what about the opera world? We’ve rounded up six (although there are plenty more!) opera singers who changed the landscape of the art!
Due to its strong financial health and commitment to accountability and transparency, LA Opera is recognized as a 4-star charity by Charity Navigator, America’s largest independent charity evaluator.
“I am thrice homeless, as a native of Bohemia in Austria, as an Austrian among Germans, and as a Jew throughout the world. Everywhere an intruder, never welcomed.”—Gustav Mahler
What does that famous quote have to do with Candide, Voltaire and Leonard Bernstein? This year the world celebrates the Bernstein centenary. For those of us who grew up in New York in the fifties and sixties, he was our inspiration. Looking back at this giant, who seemed to be the embodiment of music—classical, jazz and popular—it is hard to believe that one man could be and do all he was and did: conductor, composer, pianist, lecturer and educator all rolled into one.
One of the greatest works in Western literature, Voltaire’s 1759 satirical novel Candide, or Optimism follows its eponymous hero on a whirlwind tour throughout much of the known world. Bernstein’s 1956 musicalization of the novel followed almost as many twists and turns on its journey from Broadway to the opera house.
On Jan. 27, we resume our 2017-18 season with Bernstein’s masterpiece. Before you go, here is everything you need to know about Candide.
Prior to every performance, LA Opera’s acclaimed Music Director Maestro James Conlon and other scholars of note hold an engaging and informative talk about the opera our audience is about to see. Generously sponsored by The Flora L. Thornton Foundation and The Opera League of Los Angeles, these talks are free of charge to those attending the performance and take place in the Eva and Marc Stern Grand Hall inside the Dorothy Chandler Pavilion.
As LA Opera looks forward to the new year, here’s a recap of our Pre-Show Talks for the beginning of our 2017-18 season!
Opera not only offers transcendence and expands imaginations, but can also educate the public on social issues. LA Opera’s Elementary and Secondary In-School Operas do just that. Students from all over Los Angeles County learned this themselves just a few weeks ago when they performed alongside LA Opera artists in the Secondary In-School Opera (SISO), The White Bird of Poston, composed by Eli Villanueva with libretto by Leslie Stevens. This opera explores themes of service and citizenship, as well as the issues of prejudice, racism and cultural differences.
How do movies and opera relate? To some, a conclusive answer may not be obvious — each art differs exponentially in many aspects. But when you take away the blatant differences, such as the respective emphases on music and the spoken word, there are commonalities that bring the two together. What opera and film share, along with most all performing arts, is the attention to human emotion.
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.
Interested in going out this Halloween weekend but can’t figure out what to do? Join us at the Theatre at ACE Hotel for Cocteau/Glass’ La Belle et la Bête! Our Saturday and Tuesday shows include after-parties at the venue directly following the performance, including a special Costume Contest on the 31st.
Before you go, check out composer Philip Glass’ program notes on re-scoring the Cocteau classic, his relationship with the piece and more.
Continuing their family tradition of encouraging support for LA Opera during the holidays, Paul and Marybelle Musco have announced a matching gift challenge. Any donation received by December 31 will be matched $2 for every $1 donated up to $500,000.
For Paul and Marybelle Musco, supporting opera is an integral part of their lives. As a boy growing up in Rhode Island, Paul’s Italian immigrant parents were opera lovers and insisted that their children gather around the radio for the Metropolitan Opera broadcasts. “I guess it was osmosis, because I came to love opera and it has stayed with me personally ever since,” he recalls.
On October 7, Angelenos experienced a rare treat. We opened George Bizet’s The Pearl Fishers – lesser known than his famous Carmen, but no less stunning for both opera aficionados and newbies. Critics have already been raving about the production, calling it “stunning” (LA Times), “enthralling” (Broadway World) and “eye-dazzling” (LA Daily News).
If the critics’ response isn’t enough, here’s a list of more reasons why The Pearl Fishers is a must-see this fall:
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.
Giuseppe Verdi regarded Nabucco, his third work to reach the stage, as the catalyst that set the rest of his career in motion.
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.
Grammy Award-winner Susan Graham is a legend.
For decades, the mezzo-soprano has been one of opera’s greatest stars. She’s shared her voice with audiences worldwide and mastered an astonishing range of repertoire from classics like the title character in Monteverdi’s The Coronation of Poppea (unforgettable at LA Opera in 2006) to Sister Helen Prejean in Jake Heggie’s Dead Man Walking (a role written for her). This season, she adds another great role to her expanding resume: Artistic Advisor to LA Opera’s Domingo-Colburn-Stein young artists.
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