Tag Archives: Cavalleria Rusticana
Today, Plácido Domingo turns 75. The legendary singer has wowed audiences onstage for more than fifty years, with his emotionally connected acting talent and the remarkable timbre of his voice. He’s been described as “the King of Opera,” “a true renaissance man in music” and “the greatest operatic artist of modern times.” Domingo has also dedicated his life to sharing his passion for opera with the world. He does so greatly through his work as LA Opera’s Eli and Edythe Broad General Director. His love of the art form shows every time he’s in town and walks around the offices, greeting employees, before singing in and/or conducting an opera here. Domingo was also instrumental to the founding of LA Opera in 1986. (Check out my first installment of The Staging of an Opera Company to learn more.)
In September of last year, I was busy writing an article about opera in film, when I heard the news that Plácido Domingo had arrived on-site. I had yet to meet the famous opera legend, who was about to grace the stage in Gianni Schicchi and conduct Pagliacci, opening our current season. Wondering when I would get to speak to the General Director (who has helmed the company since 2001), I began to listen to my favorite Domingo tunes, including his spectacular Turiddu in Pietro Mascagni’s Cavalleria Rusticana. In a moment that can only be described as operatic, Maestro Domingo walked into our office right as his voice sounded through my headphones in a duet from Act I, “Turiddu, ascolta!” That’s when I met Plácido Domingo.
A lot of people at LA Opera – and I’m sure around the world – have similarly wonderful Plácido Domingo stories. He’s just that awesome.
To celebrate Maestro Domingo’s birthday, we have dedicated this edition of our #LAO30Images series to him. Check out our #LAO30Images: Domingo at LA Opera Pinterest Board to see all 30 images of Domingo on the LA Opera stage.
When it’s freezing out—or cold by Los Angeles standards—it’s the perfect time to relax by the fire with a glass of wine or some hot cocoa and listen to music. For some, that music is Plácido Domingo’s “My Christmas” album; some prefer to buckle down for a little smooth, Kenny G jazz (his latest Brazilian Nights album is a favorite of mine). Other people—like my father—prefer winding down to Puccini’s Madame Butterfly, sung by Maria Callas and Nicolai Gedda. The next time you’re staying in for the night, consider listening to one of these operas instead, with the lights dimmed, and your favorite beverage. You might find yourself a lover of opera by the evening’s end!
The Tales of Hoffmann – Jacques Offenbach
Returning this season, The Tales of Hoffmann is a perfect opera to listen to by the fire (inspiring, in fact!). It follows the story of poet E.T.A. Hoffmann, whose boozy recollections of the women he has loved and lost. Hoffmann recounts the stories of the fascinating women who captured his heart—wind-up doll Olympia, conniving Giulietta, fragile Antonia and elusive Stella. Hoffmann’s doomed pursuit of romance, foiled by sinister figures of darkness at every turn, ultimately lead him to a poet’s artistic salvation.
Listen To: Act IV: “Belle Nuit, o nuit d’amour”
Giacomo Puccini’s Gianni Schicchi and Ruggero Leoncavallo’s Pagliacci are rarely – if ever – done together. The most common pairing for Pagliacci is Pietro Mascagni’s Cavalleria Rusticana, another tragic love triangle of sorts. This season, LA Opera has forgone tradition by staging two gigantic productions together in its season opening double bill. It’s a marriage of comedy and tragedy and a posthumous reconciling for two composers, who fought against each other so fervently, after Puccini premiered La Bohéme (Leoncavallo also completed a version of the Bohéme story).
It’s also a huge undertaking set-wise.
From their view in the house, audience members are not privy to the pure magic that goes on behind the curtain, while they are in the midst of intermission. But with a view from the bridge, it’s possible to see both the production and the set-up.
The bridge is a platform walkway, connecting our second-floor backstage area with lighting equipment. Before you ask, this seat is not open to the public, but it does provide an interesting view of what it takes to stage a sizeable double bill, such as Gianni Schicchi/Pagliacci. Once the curtain falls on the 50-minute Gianni Schicchi, it’s the stage crew’s time to shine. Over the course of the next 30 minutes, Schicchi’s gigantic, 1940s-inspired Florence set is removed and a 1980s-inspired bohemian Pagliacci set takes its place.
“The first time I did Pagliacci, at the Royal Opera House in London, I did it as it had normally been done, turn-of-the-century. Also, at the Met, I did it that way. But then in the early ‘80s, I brought it much closer to us. I set it in the same environment, Southern Italy, but in the early 1940s. That’s the version that Plácido [Domingo] and Teresa Stratas did around the world and also on video and laser disc. But then I thought, why stop in the middle of the road? Let’s do it today.” – Director Franco Zeffirelli on staging his Pagliacci in the present day (then 1996)