Tag Archives: 2017/2018
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.
Joffrey dancer Victoria Jaiani knows a thing or two about ballet — she’s been training in the art since age 10. Since joining the Joffrey Ballet in 2003, she’s gone on to perform roles such as Giselle (Giselle), Juliet (Romeo and Juliet), Terpsichore (Apollo) and many more.
Though she’s well-seasoned in ballet, Jaiani is new to the world of opera. Currently appearing in Orpheus and Eurydice, she had the opportunity to answer our questions on working with opera singers, as well as her insight on the daily life of a ballerina.
On March 10, LA Opera premieres John Neumeier’s new staging of Gluck’s Orpheus and Eurydice in partnership with The Joffrey Ballet. Coincidentally, the Joffrey also opens its production of Krzysztof Pastor’s “critically-acclaimed” re-telling of Romeo & Juliet the same week at The Music Center.
For a lyric-coloratura soprano like Lisette Oropesa, it can be easy to be pigeonholed into the many mistreated ingenue roles that dominate the repertoire. But Oropesa has broken that mold. At only 34 years old, she already has a wide array of repertoire. From Baroque to bel canto to new music, she has sung it all.
This season, Oropesa returns to the Dorothy Chandler Pavilion stage in two back-to-back roles. On March 10, she makes her role debut as Eurydice in John Neumeier’s new staging of Gluck’s Orpheus and Eurydice. In May, she assumes the role of Gilda in the first three performances of Verdi’s Rigoletto.
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.
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.
Soprano Erin Morley takes her job as a performer very seriously. That’s why she spends so much time dissecting the roles she sings to get to their true grit. Even an operetta like Candide, which is seemingly whimsical and lighthearted, has plenty of dark themes at its core that are relatable in today’s society.
On March 16 and 17, LA Opera Education Department mounts the return of Jonah and the Whale, an opera for audiences of all ages by composer Jack Perla and librettist Velina Hasu Houston. Following in the tradition of previous Cathedral Project productions, Jonah and the Whale features professional opera singers in the leading roles and members of the LA Opera Orchestra, performing along with a large group of community-based performers drawn from schools, churches, choirs and orchestras from every part of Los Angeles.
Interested in attending? Here for five elements of the upcoming production that make it worth seeing! You can purchase tickets by clicking here.
On January 27, we opened the second half of our 2017/18 season with Leonard Bernstein’s comedic operetta Candide. Interested in attending and want to know what people thought? Read below to read just some of the many audience reactions from the show!
*DEADLINE EXTENDED* TO MARCH 25 AT 11:59 P.M.
LA Opera is hosting a contest for currently enrolled college students in Southern California!
You are invited to submit artwork for LA Opera’s spring production of Verdi’s Rigoletto! The winning submission will be featured on the cover of the show’s performance program and displayed at the home of LA Opera, the Dorothy Chandler Pavilion.
Renowned director Francesca Zambello brings her fanciful production of Candide to Los Angeles for the first time. First seen at the Glimmerglass Festival in 2015, with subsequent performances in Bordeaux and Toulouse, Zambello’s staging has been praised by Opera Today as “likely the best of all possible Candides.” And though the production is new to the company, Zambello is no stranger to Los Angeles: this is her seventh production with LA Opera.
“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 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.
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.
On Jan. 27, LA Opera returns for the second half of its 2017-18 season with Leonard Bernstein’s classic operetta Candide. With the premiere only weeks away, here are five highlights to look forward to in the lavish production.
On Nov. 19, we wrapped up our last production of the year with Verdi’s Nabucco. Though we’ll be taking a brief hiatus from the stage until the new year, there is still much to be excited about in the second half of our season! With both company premieres and established revivals underway, there is something for everyone — especially if you have folks to shop for.
Can’t wait until January to get your opera fix? We can’t either. Here are five reasons to look forward to the rest of our season!
We’ve just announced the 2017/2018 season and it’s all about the new. Five of the six mainstage productions are new to Los Angeles and two of them are company premieres. There will also be two major concerts – the first celebrating the 50th anniversary of Plácido Domingo’s first appearance at the Dorothy Chandler Pavilion and the second featuring Audra McDonald.
Can’t wait for the excitement to begin? Take a look below and get to know all the 17/18 season has in store for Los Angeles.
(presented at the Dorothy Chandler Pavilion)
Ana María Martínez returns as the famous opera femme fatale in Carmen
(Sep 9–Oct 1, 2017; production new to L.A.) — Georges Bizet
James Conlon conducts a cast that also features Alexander Vinogradov as Escamillo and Amanda Woodbury as Micaëla. The production is directed and choreographed by Rob Ashford, winner of Tony, Emmy and Olivier Awards.
After seeing Carmen, experience The Pearl Fishers another Bizet gem
(Oct 7–28, 2017; company premiere) — Georges Bizet
Plácido Domingo and Grant Gershon will each conduct performances of a rarely performed treasure, directed by Penny Woolcock. Nino Machaidze returns as Leïla, her seventh leading role in Los Angeles, with superstar tenor Javier Camarena making his company debut as Nadir. The cast also includes Alfredo Daza as Zurga and Nicholas Brownlee as Nourabad.
Plácido Domingo and James Conlon unite for Nabucco
(Oct 14–Nov 19, 2017; production new to L.A.) — Giuseppe Verdi
Plácido Domingo sings the title role of the monumental opera that made Verdi famous, conducted by James Conlon. Directed by Thaddeus Strassberger, the production also features Liudmyla Monastyrska in her LAO debut as Abigaille, with Morris Robinson as Zaccaria, Mario Chang as Ismaele and Nancy Fabiola Herrera as Fenena.