#LAO30Images Roundup

We are in the midst of our 30th Anniversary Season. This is a milestone year for a company that has grown to become the fourth largest opera company in the nation, lauded for both its unique artistic vision and innovation. Earlier this year, we introduced our #LAO30Images series. This year-long photo series, showcases photos from our most engaging productions that portray our extensive visual history. Throughout the season, we’ve been sharing images in batches of 30, based on larger themes.

In case you’ve missed the #LAO30Images fun, check out our year-end roundup.


OTELLO (1986)

Plácido Domingo in Otello (1986); Photo: Frederic Ohringer

Plácido Domingo in Otello (1986); Photo: Frederic Ohringer

“The theme [of Otello] is eternal and current: The Soldier, shoved into peacetime, proves to be defenseless and helpless in the face of the attacks of everyday life, the persecutions of injured vanity. In ancient tragedy, the heroes fell because of the gods. With Shakespeare and Verdi, it is the envy of men which destroys the outsider.” – Götz Friedrich, director of inaugural season opener, Otello.

SALOME (1986)

Maria Ewing and Michael Devlin in Salome (1986); Photo: Frederic Ohringer

Maria Ewing and Michael Devlin in Salome (1986); Photo: Frederic Ohringer

“All the characters in the opera are obsessed, often to the brink of madness. Obsessions make men blind, unable to understand other points of view or to admit the balancing power of reason. And such obsessions finally lead to violence [in Salome]. Salome’s passions lead directly to her death. She is crushed like an infectious insect. We can only approve of her end, while perhaps reflecting that all of us have the possibility of aberrant sexual behavior inside us. It is the obverse of true passion.” – Sir Peter Hall, director of 1986’s Salome


“[There’s] an underlying anger [to Penelope]…her frustration, and at the bottom of everything is fear – what these people could do to her. They’ve had enough of her saying, ‘Just wait a little longer, he’s going to come back.’” – Frederica von Stade’s explorations of her character Penelope in The Return of Ulysses (1997)


“After completing my first opera, Emmeline (1996), a human tragedy, I longed to write something about the inhabitants of a very different world. Fantastic Mr. Fox is an opera for ages five through one hundred and five. I began reading Roald Dahl when I was eight years old, and I have come to relish the unique sense of humor and to know of his compassion for children. And so it is a perfect joy for me to be able to write an opera to Donald Sturrock’s libretto, which sparkles with wit and love and tells a story that has reawakened the child in me.” –Tobias Picker on composing Fantastic Mr. Fox (1998)

Click here to see more of our Iconic Productions.


To celebrate Halloween during our 30th Anniversary Season, we selected 30 haunting LA Opera images. Learn more here about three productions that horror junkies should know about. Other images in this series have been uploaded to our #LAO30Images: Halloween Edition Pinterest Gallery.

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#LAO30Images is a year–long photo series, showcasing the most engaging photos from the company’s history in honor of our 30th Anniversary Season. To see all of our images click here.

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