Tag Archives: 2017/2018
Matthew Aucoin, LA Opera’s Artist in Residence, is the composer, librettist and conductor of Crossing. Below are his program notes for his upcoming concert performance of Crossing at the Wallis Annenberg Center for the Performing Arts on May 25 & 26.
When arriving for her interview a few weeks ago on an unusually rainy day in Los Angeles, mezzo-soprano Ginger Costa-Jackson is all smiles. She’s just happy to be in the city, regardless of the weather.
“The apartment that I’m staying at has a rooftop and I can see the Hollywood sign,” said Costa-Jackson. “On my days off, I’ve been laying out and tanning, but I guess not today.”
On May 12, LA Opera saw the return of Mark Lamos’ lavish production of Giuseppe Verdi’s Rigoletto. KXLU has described it as “… a mesmerizing, powerfully sung and acted Rigoletto,” while Broadway World writes that Juan Jesus Rodriguez in the title role “is thunder itself for all three acts. In both singing and acting, he masterfully plays all the agonizing transitions of the character …”
The critics may love this timeless Verdi classic, but what does the public think? Read below for audience reactions to LA Opera’s Rigoletto!
Welcome to the LA Opera Podcast — the place for you to learn all about our productions. On this episode, we’re focusing on Giuseppe Verdi’s timeless opera Rigoletto. Listen below to learn about the plot and the music, and hear from some of our principal cast members, including Lisette Oropesa, Juan Jesús Rodríguez and Arturo Chacón-Cruz, who go into detail about their characters.
Matthew Aucoin, LA Opera’s Artist in Residence, is the conductor of Rigoletto.
Rigoletto is a thunderbolt, a once-in-a-lifetime occurrence—even for Verdi. It’s so familiar to opera audiences, however, that we might forget what an explosive, revolutionary piece it is, much the same way that overexposure to Beethoven’s Ninth Symphony has the tendency to blind us to that piece’s strangeness and messiness. Rigoletto crosses a threshold in operatic history; it contains a kind of quantum leap. It is here that Verdi, whose music had so far wrestled with two seemingly contradictory impulses—his gift for glorious, long-spun melodies in the mold of the bel canto tradition and a keen dramatic instinct that gave his music a rough-edged, distinctly un-bel canto quality—finally united these two tendencies.
Stage Managers have some of the most important jobs in opera. Unlike other types of performing arts, such as musical theater, stage managers in the opera cue almost everything — from paging artists to the stage, to entrances, to sound cues and special effects, stage managers pretty much run the show. It’s an enormous responsibility, one that Chelsea Antrim, Production Stage Manager at LA Opera, feels prepared for every performance.
Giuseppe Verdi’s Rigoletto has been a staple in the standard operatic repertoire since its 1851 premiere, but its road to the stage was anything but smooth. Before you head to LA Opera’s production of Rigoletto on May 12, here are five things you may not already know about Verdi’s artistic process in writing this tour de force!
In a few short weeks, members of the Zarzuela Project will take the stage and sing their hearts out at the El Pueblo Historic Monument, their voices echoing down historic Olvera Street. But how did this group come together in the first place? And what is the Zarzuela Project?
Audra McDonald is an artist that transcends all genres. From the stage to television to the movie screen, there isn’t much she hasn’t already done. And with an Emmy Award, two Grammy Awards and a record-setting six Tony Awards, it’s safe to say she’s already established herself as an icon.
Although mezzo-soprano Taylor Raven has only been a member of LA Opera’s Domingo-Colburn-Stein Young Artist Program for a year, she’s already made her company debut as the Vanderdendur in Candide. As the treacherous ship captain who double crosses Candide, she chewed up the stage. Later this month, she appears with Artist in Residence Matthew Aucoin and the other Domingo-Colburn-Stein YAPs on-tour in “Verdi: Bel Canto and Beyond.”
Three Southern California college students were selected as the winners of LA Opera’s Rigoletto art contest.
Thanks to the generous support of GRoW @ Annenberg, a philanthropic initiative of the Annenberg Foundation, local college students were invited to create original artwork inspired by the company’s upcoming production of Giuseppe Verdi’s Rigoletto, which opens on May 12. Students from 18 different southern California colleges submitted a total of 53 entries in a competition to see their artwork appear on the Rigoletto program cover and displayed at the Dorothy Chandler Pavilion.
One of the aspects that make LA Opera productions so grand is the hardworking staff at our costume shop. Located 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.
Mark Lamos’ opulent production of Verdi’s Rigoletto contains intricate and vividly colored costumes designed by Constance Hoffman. In anticipation for LA Opera’s upcoming production of this Verdi masterpiece, here is an exclusive look at what our costumers are working on as we prepare to open on May 12!
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!
Timed to coincide with LA Opera’s production of Verdi’s classic Rigoletto, this concert program focuses on the emergence of Verdi, Italy’s quintessential composer, out of the bel canto greats that preceded him. This concert features LA Opera’s Domingo-Colburn-Stein Young Artists, with music and program arranged by LA Opera Artist-In-Residence Matthew Aucoin.
John Neumeier’s haunting new production of Gluck’s Orpheus and Eurydice has been been called “exquisite” (LA Times) and “an achingly beautiful dream of a show” (Chicago Tribune). But what does the public think? Check out what audiences are saying about LA Opera’s Orpheus and Eurydice!
Stephen Fry — English actor, screenwriter, author, playwright, journalist, poet, comedian, television presenter, and film director — will join Maestro James Conlon for a conversation about the Orpheus & Eurydice myth throughout literature and music.
The conversation is free to anyone who attends the matinee performance on Sunday, March 25 and will take place directly after the performance.
If you need tickets for the performance, click here.