Tag Archives: Joshua Guerrero
Tenor Joshua Guerrero has lived more lives in his 30s than most people do in 80 years. He spent his early years split between two cities, worked a plethora of jobs in different fields before he eventually pursued opera as his main career. The former Domingo-Colburn-Stein Young Artist has since sung at opera houses all over the world, including English National Opera, The Glyndebourne Festival and, most recently, Santa Fe Opera. Though his innate talent and hard work has led him to where he is today, he credits much of his success to his time at LA Opera.
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.
Joshua and his sister, Gloria were not always opera fans. The closest to opera they came was watching Andrea Bocelli specials on PBS as kids. It was not until adulthood that they both fell in love with the art form and found a home at LA Opera – Joshua as an up and coming tenor and Gloria as a rising star in the costume shop.
“I got into opera later in life and Gloria was a huge part of it,” says Joshua, who led an eclectic pre-opera life that included studying theology and a stint as a gondolier on the Las Vegas strip and abroad in Macau.
Joshua was always a singer, and adds, “We’re close and she was really the only family member who saw the whole process of becoming a singer.”
As Gloria saw Joshua pursuing a career in opera, she decided to pursue her dream of studying fashion.
Watch an epic battle of Man vs. Whale, Moby-Dick Edition, above
Get a sneak peek of Jake Heggie’s Moby-Dick above
Moby-Dick sets sail for one last time today, wowing audiences with masterful staging. In case you’ve missed the Moby-Dick love these past few weeks, check out a few of the below articles and see why Moby-Dick is a classic American opera everyone should experience.
Watch the best of Moby-Dick above
Watch the Moby-Dick set come to life above
Moby-Dick sets sail for one last time today, wowing audiences with masterful staging. In case you’ve missed the Moby-Dick love these past few weeks, we’ve collected a bunch of articles and videos for you to check out and see why Moby-Dick is a classic American opera everyone should experience.
Get To Know Moby-Dick
In this edition of questions, learn more about Jay Hunter Morris, the man behind Captain Ahab.
Musa Ngqungwana’s life has always been filled with music. Growing up in Port Elizabeth and later Cape Town, Ngqungwana’s culture was infused with music. There were songs sung at births, weddings, celebrations, songs sung at death, and even gender specific songs sung perhaps to a sweetheart. With the advent of Christian culture and dogma introduced by the British missionaries in early 20th Century South Africa, a huge choral movement swept through the nation and a slew of community choirs and plays opened up. By the time Ngqungwana was born, it had become customary to have community choirs and neighborhood plays. It was at middle school that a young Ngqungwana joined the choir to be close to a girl he loved at the time. While Ngqungwana says he “failed miserably” to win the girl’s affections, the choir stole his heart and he kept singing in the years to come.
Joshua Guerrero didn’t grow up dreaming of a career in opera, and his path towards opera stardom is anything but ordinary. He always loved singing. Yet, it was only after Guerrero joined a choir at the seminary where he studied theology that his opera journey began.
Throughout his career, baritone Morgan Smith has portrayed everything from traditional roles (Escamillo in Carmen at Vancouver Opera) to exciting new contemporary work (Lassiter in Craig Bohmler’s upcoming Riders of the Purple Sage at Arizona Opera).
This is the perfect opera to get the would-be reader – intimidated by the sheer size of Melville’s book – a rich, live experience of the Moby-Dick story.
Melville’s tale of obsession, the nature of good and evil, and the search for the elusive, titular, white whale is set to an evocative score by famed American composer, Jake Heggie (Dead Man Walking). When Heggie describes tackling the mammoth tale, he speaks of finally finding the music of Moby’s universe in four simple chords. These chords capture the spirit and yearning inherent in Melville’s story and resurface throughout the rest of the score, in a haunting fashion.
Recreating a ship on stage can take many forms. A ship can be represented by actors physically moving their bodies to form a boat on stage, or it can be a giant prop that the story’s action revolves around. An image of a ship can even be projected on a scrim on stage to represent what’s not physically on stage. In Robert Brill’s grand set design for Moby-Dick, the ship consumes the entire stage. The Pequod, as the whaling ship is called, can be seen from various sides depending on the act and there are multiple parts to make this ship seem very real to singers and audience members alike.
Maestro Conlon is very excited about conducting the upcoming production, Moby-Dick, opening October 31st. Check out why he loves Jake Heggie’s opera and why he thinks you should see it too.
Moby-Dick Highlights Reel
Joshua Guerrero didn’t grow up dreaming of a career in opera, and his path towards opera stardom is anything but ordinary. He always loved singing. Yet, it was only after Guerrero joined a choir at the seminary where he studied theology that his opera journey began. After a few years of singing lounge/crooner music (which included a stint as a gondolier on the Las Vegas strip and abroad in Macau), Guerrero moved to Los Angeles to pursue music full-time, enrolling at UCLA. His passion for opera and skilled tenor voice eventually landed him a place in the Domingo-Colburn-Stein Young Artist Program at LA Opera, where he made his mainstage debut as Normanno in Lucia di Lammermoor, soon followed by a return as Steve Hubbell in A Streetcar Named Desire. Guerrero also went on to place second in Plácido Domingo’s worldwide Operalia competition and tackle the important role of Count Almaviva in the west coast premiere of The Ghosts of Versailles.
This Saturday, the charismatic young tenor will make his role debut as Greenhorn, one of the leading characters in Moby-Dick.
Here’s our Joshua Guerrero edition of Questions.
What do you enjoy most about performing opera?
I perform in hopes of providing a vulnerable and honest message that can heal the audience member from whatever is ailing them. They are leaving their reality after all, wanting to take in a new world that will leave an impression on them. It’s kind of like being a modern showman. This is particularly true of opera, because it’s the ultimate combination of all the arts.