Tag Archives: Ana Maria Martinez
Ana María Martínez is an artist that likes to draw outside of the lines. In her two decades as a professional singer, the repertoire she sings is an eclectic mix that ranges across multiple eras of opera. From roles like Carmen to Cio-Cio San in Madama Butterfly, Martínez’s breadth of work as a singer is enhanced by her superb acting skills.
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.
Share On September 9, we open the 17/18 season with Carmen. If you’ve been following along on Snapchat and Instagram Stories, you’ve seen some of our behind-the-scenes fun: rehearsals, set building, and even flamenco dancing. As we wrap up rehearsals … Continue reading
In just a few short weeks – on September 9, we’ll kick off our 17/18 season with Carmen. It’s one of the greatest operas – filled with passion and drama and promises to thrill opera-lovers and newbies alike.
Wondering why you should see it? Wonder no more. We’ve rounded up just a few reasons why it’s a must-see.
You know the music.
Whether it’s in a commercial or your favorite TV show, chances are you’ve probably heard one or all three of those pieces from Carmen. Knowing the tune or words to a song makes every live experience that much better – be it a concert or musical theater. Opera is no different. And since you know these songs – you’ll love this show.
Check out the use of “Habanera” in the Pixar film Up.
Twenty Years of Singing in Los Angeles
One of the world’s most acclaimed opera stars, soprano Ana María Martínez first graced the Dorothy Chandler Pavilion stage in 1997 singing Mimi in Puccini’s La Bohème. This was not long after she took a top prize in Plácido Domingo’s Operalia competition. Since then, she has sung five roles in six LA Opera productions—Violetta in La Traviata, Mimi (in two different seasons), Amelia in Simon Boccanegra, Nedda in Pagliacci, and Cio-Cio-San in Madama Butterfly. In September, she will mark her 20th anniversary in L.A. by making another LA Opera role debut as the fiery Carmen in Bizet’s eponymous opera.
… Continue reading
Currently in its second year, LA Opera’s Cast to Class program brings opera singers into schools and students to the opera house. Opera singers travel to schools around Los Angeles County speaking to students about their craft, and then those same students attend a mainstage performance at the Dorothy Chandler Pavilion and see the singer in action. The goal of the program—as with all of our education and community initiatives—is to break down the barriers between opera and the community.
However, in the past two years other, somewhat unexpected and beautiful results, has emerged.
Behind every member of LA Opera’s Domingo-Colburn-Stein Young Artist Program is an entire team of coaches and staff helping each individual become the best performer they can be. Nino Sanikidze is the program’s head coach. In her role she wears many hats from coach and mentor to accompanist and administrator. It’s also a role where Sanikidze can bring to life her passion for music collaboration, working with singers, and nurturing the next generation of great artists.
Sanikidze grew up in the Republic of Georgia, where she says “it is very cultural for everyone to study music.” “You turn five years old and you learn to play piano, guitar, violin, or whatever. Of course, not everyone becomes a musician, but you start to appreciate music. My friends from music school, who are now doctors, lawyers, and scientists, still appreciate and are very educated in music.”
After originally thinking that she would become a physician, Sanikidze eventually pursued multiple degrees in music both in Georgia and then here in the United States, including a Doctor of Musical Arts in Collaborative Piano from the University of Maryland, College Park. It was during the latter that she auditioned for and received a place in the Domingo-Cafritz Young Artist Program at Washington National Opera, where she worked closely with that company’s general director at the time, Plácido Domingo.
It was Domingo, who asked Sanikidze to move to Los Angeles to help with the company’s new young artist program. For Sanikidze, it was a no brainer. She had freelanced at LA Opera in the years before and really enjoyed the collegial spirit at the company.
Madame Butterfly takes flight one last time on April 3, wowing audiences with amazing voices and interesting staging. In case you’ve missed the Madame Butterfly love these past few weeks, we’ve collected a bunch of articles and a video for you to check out and see why Madame Butterfly is a Puccini masterpiece.
Get To Know Madame Butterfly
“The Humming Chorus” is a rare moment of peace in the tragic love story that is Puccini’s Madame Butterfly. In the scene, Butterfly does not sing or move for three minutes. She holds a silent vigil, waiting for Pinkerton (her American husband) to return, while an off-stage chorus sings wordlessly. “The Humming Chorus” carries an enormous amount of emotional weight, highlighted in LA Opera’s current production by director Lee Blakeley’s novel take on which character the scene belongs to.
“The Humming Chorus” is a rare moment of peace in the tragic love story that is Puccini’s Madame Butterfly. In the scene, Butterfly does not sing or move for three minutes. She holds a silent vigil, waiting for Pinkerton (her American husband) to return, while an off-stage chorus sings. “The Humming Chorus” is a scene that carries an enormous amount of emotional weight, highlighted in LA Opera’s current production by director Lee Blakeley’s novel take on which character the scene belongs to.
For Blakeley, whether he is directing theater or opera, it is all about storytelling. When he signed on to direct this production of Puccini’s Madame Butterfly, he went back to basics. His primary job in the early stages of directing was to answer the question, “What do you strip away to find the essential truth of the piece?” He knew the first thing he had to do was rid himself of any preconceived notions of what the opera could be, which can be difficult with such a familiar work as Butterfly. With a blank sheet of paper and the libretto, he listened to Puccini’s music, while working through the text.
Blakeley came to understand that the essential truth – or theme – of Madame Butterfly is “loyalty in the face of adversity.” That singular theme informed all of Blakeley’s directorial choices for this production, whether it was the decisions he preplanned (for example, updating the setting to 1904, the year the opera premiered) or choices he “discovered along the way,” while working with singers.
There are some pieces of music that instantly make the hair on your arms stand up – or give you goosebumps – or both. It’s usually the ones that break your heart while they’re at it. In the opera world, arias are the go-to heartbreakers. You’ve heard them, from Violetta’s final aria (Verdi’s La Traviata) to “Il dolce suono” (Donizetti’s Lucia di Lammermoor). Why? An aria – like a monologue in a play or a solo song in a musical – is the truest expression of a character’s desires and soul; it’s an outpouring of emotion. They’re usually sung when a character is most vulnerable.
LA Opera ushered in the new millennium with astounding vitality. Now led by Plácido Domingo as artistic director, the young company was poised to build upon the remarkable growth that had marked its first 14 years under the direction of Peter Hemmings. While the 2000/01 season had largely been planned in advance by the now-retired Hemmings, Domingo’s impact was big, bold and immediate.
To open the 2000/01 season, Plácido Domingo conducted the company premiere of Aida, Verdi’s grandest opera, featuring a high-powered cast: soprano Deborah Voigt as Aida, tenor Johan Botha as Radames and bass-baritone Simon Estes as Amonasro, all making their LA Opera debuts. Just days later, Domingo held a press conference to announce his ambitious future plans, which represented nothing less than a radical rethinking of what LA Opera could be. He envisioned fashioning LA Opera into an opera company that would push the artistic boundaries of the medium, bringing it squarely into the popular culture of Los Angeles in the new millennium. His plans included a multi-season collaboration with the dynamic leader of the Kirov Opera, conductor Valery Gergiev; an enormous expansion of the company’s repertoire to emphasize new operas and works not previously presented in Los Angeles; and even a new production of Wagner’s epic Ring cycle, the first ever created in Los Angeles. Domingo’s star power would not only attract the most prominent singers, directors and designers of the time, it would also inspire a new wave of funding, through initiatives such as the Domingo’s Angels, essential to realize his plans. At Domingo’s side was a man who shared his artistic ambition: Kent Nagano, newly announced as LA Opera’s first-ever principal conductor, a position he would take up the following summer.
LA Opera’s partnership with Valery Gergiev had begun on the evening before that remarkable press conference. To expand upon the repertoire planned by Hemmings, Domingo had added a remarkable series of Wagner concerts, showcasing the Kirov Orchestra and its celebrated conductor in their first performances in Los Angeles. It was also the first time for L.A. audiences to experience Domingo singing Wagner, as the concert featured Act One of Die Walküre and Act Three of Parsifal. The soloists included Linda Watson, who would become the company’s Wagnerian soprano of choice for the next decade, and a young soprano on the verge of superstardom, Anna Netrebko.
The cast of Gianni Schicchi Says “Hello,’ to Audience Members at Santa Monica Pier
“What a costume designer does is a cross between magic and camouflage.”
Today, LA Opera’s two-story costume shop in Downtown LA is filled with racks of costumes for the upcoming season. There are rows of colorful pieces for Ruggero Leoncavallo’s Pagliacci right next to Grecian-inspired items for Vincenzo Bellini’s Norma and 19th-century sailors’ clothing for Jake Heggie’s Moby-Dick. It’s a striking clash of styles and time periods. I’m at first overwhelmed by the sheer volume of costumes for these productions and how they do not even begin to encompass the company’s extensive inventory. Yet, as a first time visitor, it’s also thrilling to be surrounded by creations that are a crucial part of creating the operatic characters seen on stage.