Tag Archives: Gianni Schicchi
Since LA Opera’s first season in 1986, Los Angeles is not the only place in the world that you can experience one of the company’s productions. Over the years, they’ve been rented and staged by other opera companies, produced during festivals, and even shown on the big screen. LA Opera’s innovative and beloved productions travel the world, sharing the spirit of Los Angeles and a love of opera with people far and wide.
Here are three productions that have traveled the world in recent years.
Salome (1986; 1989; 1998; 2001; 2017)
LA Opera’s iconic production of Strauss’s Salome (which returns to the LA Opera stage February 18) originally premiered during our first season in 1986. Adapted from the scandalous play by Oscar Wilde, Salome is a seductively beautiful tapestry of the subconscious. The princess Salome becomes infatuated by her stepfather’s prisoner, John the Baptist, and she determines to have him…whatever the cost.
This production of Salome is well traveled and has been staged both close to home (at San Diego Opera) across the country (Washington National Opera) and around the world (on tour with the Savonlinna Festival in Finland and as part of the Hong Kong Arts Festival in China).
SUPERNUMERARY (20 Scrabble points) – Latin – A supernumerary is opera’s version of an extra. Supernumeraries have no dialogue and are directed to create a believable scene, when the environment calls for large groups of people. But they’re actors or artists in their own right. What would Gianni Schicchi have been like without the lively corpse played by Momo Casablanca? What would the Pagliacci circus be like without dozens of attentive audience members? Can you imagine the cinematic beauty of Paris in La Boheme without several spirited supernumeraries showcasing the quintessential Parisian “joie de vivre?”
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.
It has been a milestone season at LA Opera. During the latter half of our 29th season, we presented some of the most engaging and successful productions in the company’s history: a masterful west coast premiere of The Ghosts of Versailles, an engaging cinematic cross-over opera, Hercules vs. Vampires, and an epic avant-garde opera in Dog Days. Our 30th Anniversary Season has started off with a bang. Plácido Domingo’s 147th role debut as the title character in Gianni Schicchi, double-billed with Pagliacci, a contemporary classic, Moby-Dick, a sold-out run of Song from the Uproar, and a beloved bel canto masterpiece, Norma have all wowed Los Angeles audiences since September. Throughout the year, we’ve also had continued success with various initiatives that promote the arts in the greater Los Angeles Community, including our Cathedral Project and Opera Camp.
Below we’ve gathered a few articles and videos we’ve created throughout the year and additional photos are featured in our 2015: A Year in Review Pinterest gallery.
Take a sneak peek behind-the-scenes at The Ghosts of Versailles set and costumes as well as a preview from the show.
There are thousands of great operas to experience, but figuring out where to begin can be a little intimidating. However, opera newbies might be surprised to learn that they’re more familiar with opera than they think. Ever seen an episode of Looney Tunes or Tom and Jerry? Many television shows, Broadway productions and even films are based on or inspired by some of the most popular operas to ever hit the stage.
Here’s a list of ten operas that would be great for any opera newbie to check out, most of which can be seen at LA Opera this season.
Moby-Dick – It’s a classic read and will be a classic opera performance for any newbie to watch. Sung in English, Moby-Dick is easier to follow musically and newbies will also be wowed by set designer Robert Brill’s creations, which bring the high seas to life on stage. Read more about a unique stage prop called a cyc, and the Moby-Dick ship set here.
La Boheme – For the Broadway junkies out there, this is the opera that sparked the musical Rent. It also served as the inspiration for Moulin Rouge (along with La Traviata) making the plot familiar and easy to follow for first-timers.
Aida – The elaborate costumes and set design give any opera newbie enough incentive to watch this beautiful opera. The story takes place in Egypt and focuses around the enslaved Ethiopian princess, Aida. The large pyramid sets and Egyptian attire, much like Pagliacci, show how much planning and work goes into making one of these shows come to life.
Madame Butterfly – Madame Butterfly is a romantic tragedy with an easy to follow story line and gorgeous music. The set is simple, beautiful and elegant and is sure to impress anyone who sees.
The Barber of Seville – Opera fan or not, there’s a good chance you’ve heard of The Barber of Seville. With famous tunes (check out this overture) and a few good laughs, it’s sure to be a lively performance and a great show for opera newbies.
Santa Monica Pier is one of Los Angeles’ largest tourist attractions. Groups of people flock west to experience the beach, ride the ferris wheel, and pose in front of the sign signaling the end of Route 66. This past Saturday, tourists and Angelenos alike came to Santa Monica for one reason: opera.
LA Opera hosted its second annual, live HD simulcast called Opera at the Beach on Saturday. This year, an estimated 4,000 people were treated to performances of Giacomo Puccini’s Gianni Schicchi and Ruggero Leoncavallo’s Pagliacci. People arrived early to claim their spot in front of the large screen, participate in opera trivia, and listen to music from LA Opera’s upcoming season, including Beth Morrison Projects’ Song from the Uproar and Jake Heggie’s Moby-Dick. Guests who purchased tickets to the Wine Terrace, sponsored by Los Angeles magazine enjoyed tasting various wines and meeting the wineries responsible for creating some of the best drinks southern California has to offer.
The cast of Gianni Schicchi Says “Hello,’ to Audience Members at Santa Monica Pier
Gianni Schicchi and Pagliacci make a fabulous pair for this year’s Season Opening. Blending comedy with tragedy from two wonderful composers, these operas have made an impact both at the Dorothy Chandler Pavilion and at Santa Monica Pier. Have you missed some of the Gianni Schicchi/Pagliacci magic? Have no fear! We’ve collected a bunch of articles and videos for you to check out and see why so many Angelenos (and non-Angelenos alike) are flocking to see this double-bill.
Get To Know Gianni Schicchi/Pagliacci
Weeks before opening night, Dorothy Chandler Pavilion bustles with preparations for the upcoming opera season. As summer draws to a close, props are unpacked and organized, costume fittings occur, large sets are unloaded, and rehearsals are in full swing for Gianni Schicchi and Pagliacci.
Making his operatic debut in this month’s upcoming production of Pagliacci is none other than a donkey named Sue (aptly named after the Johnny Cash song, “A Boy Named Sue”). This tough leading animal arrived this week with his handler in tow, who will be a supernumerary in the show.
Pagliacci opens not with a love triangle scene between Canio, Nedda, and Silvio, but instead with a clown. This is Tonio, the fool of Canio’s troupe. He emerges and addresses the audience directly—“Si puo, si puo,” asking for indulgence.
There’s a lot to be said about LA Opera’s opening show, a double bill of Gianni Schicchi and Pagliacci. We’ve been watching rehearsals all week and have compiled a list of a few of our favorite things.
Get a Sneak Peek of the hysterical Gianni Schicchi above
LA Opera is a family company. Nowhere is this more evident than in the returning singers that spend long stretches of their career gracing the stage at Dorothy Chandler. Greg Fedderly is the epitome of these singers. Throughout the course of LA Opera’s history, Fedderly has been in 63 productions – that’s over 390 performances in 30 years (and counting). This includes Borsa in Rigoletto (1993, 2010), Monostatos in The Magic Flute (1992, 2002, 2009), Red Whiskers in Billy Budd (2014), and many, many more.
Of the many stars hustling around the stage in Gianni Schicchi – the frenetic first half of a double bill with Pagliacci – there’s only one cast member who remains on stage the whole time. That’s character actor Momo Casablanca, who portrays the significant role of Buoso Donati in Puccini’s comedic opera. The opera centers on Buoso’s greedy relatives, waiting to see what he has left them in his will. That’s right – Buoso Donati is already deceased when the curtain rises.
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.
From Hey Arnold! to The Simpsons, several cartoons have featured opera . Of these, The Muppet Show most notably included several opera references during its run that introduced younger audiences to the art form. Did you know that Miss Piggy wanted to sing opera? We think Miss Piggy would love our Gianni Schicchi/Pagliacci. Can you picture her singing Lauretta’s aria, “O mio babbino caro?”
One of the busiest stars currently gracing the LA Opera stage in Gianni Schicchi is only 10. The triple-threat (actor, singer, dancer) plays Gherardino, the son of one of the scheming Donati family members. Besides being in his debut at the opera this season, Isaiah is also an avid YouTuber with his own channel and he’s been featured in several commercials, including ABC Mouse. Check out his latest cover of Justin Bieber’s “What Do You Mean?”
In 1986, Marie Rogers was an opera enthusiast excited that Los Angeles was finally getting its own resident opera company. She taught in LA’s public school system at the time and couldn’t wait to spend a night at the opera watching Plácido Domingo in Otello. But she couldn’t find anyone to go with her.
So Marie went alone – and loved every second of it. The show made a great impression on her and she wanted to be a part of it. Act I had a children’s chorus and Marie thought to herself, “There has to be a studio teacher for those kids.”
Since the July release of Mission: Impossible – Rogue Nation, the internet has been ablaze with stories about opera in film. In the movie, Tom Cruise plays spy Ethan Hunt, who thwarts an assassination attempt during a performance of Giacomo Puccini’s Turandot. Rogue Nation is the latest in a long line of films that feature opera performances – utilizing arias to tell a story or illustrate elements of a character’s psyche. Franco Zeffirelli (whose production of Pagliacci returns to LA Opera this Saturday) specialized in making cinematic adaptations of operas in the 1980s, often collaborating with Plácido Domingo and Teresa Stratas. His 1982 adaptations of Cavalleria Rusticana and Pagliacci are particularly stunning.
Two of the most famous arias to be used in film are “O mio babbino caro” from Puccini’s Gianni Schicchi and “Vesti la giubba” from Leoncavallo’s Pagliacci. The former is a persuasive aria, which Lauretta uses to convince her father Gianni Schicchi to stop fighting with the family of Rinuccio, the man she loves, while the latter is sung by Canio in Pagliacci after he discovers his wife’s infidelity. Both arias have been included in a plethora of films and television shows for decades.
Here are a few examples:
“O mio babbino caro” – Gianni Schicchi
A Room with a View (1985) – In the film, Lucy Honeychurch (Helena Bonham Carter) is torn between her fiancé Cecil Vyse (Daniel Day-Lewis) and the free-spirited George Emerson (Julian Sands), after meeting the latter in Florence. “O mio babbino caro” (performed by Kiri Te Kanawa) is the film’s main theme, expressing Lucy’s choice between a light-hearted romance and a passionate romance.