Tag Archives: Moby-Dick

Seven Opera-Themed Halloween Costumes for 2017

This Halloween, don’t settle for a costume that’s stale or subpar. Using LA Opera as your inspiration, find the perfect get-up that’ll both wow the crowd and allow you to stand out!

La Belle et La Bete

La Belle et La Bête

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6 American Operas to Listen to on July 4

These operas capture the American spirit and explore its history. When planning your Fourth of July festivities, add opera to your menu with your burgers and fireworks to celebrate our nation’s independence.

Porgy & Bess

Marietta Simpson (left) as Maria and Indira Mahajan (right) as Bess in Porgy and Bess (2007); Photo: Robert Millard

Marietta Simpson (left) as Maria and Indira Mahajan (right) as Bess in Porgy and Bess (2007); Photo: Robert Millard

Last performed by LAO in 2007, George Gershwin’s iconic work is the epitome of American opera. Set in 1912 South Carolina, the plot follows the story of street beggar Porgy, who seeks to rescue Bess from the clutches of her brutal lover and drug dealer. Heavily influenced by jazz, blues and spirituals, the score is a perfect summertime listen. You may even already be familiar with the iconic piece thanks to recordings by Billie Holiday, Louis Armstrong, Ella Fitzgerald, Billy Stewart and countless other recording artists of all genres, which made its most famous song, “Summertime,” a pop culture phenomenon.

Little Women

http://www.youtube.com/watch?v=D8mlHHIEHTg

Composer-librettist Mark Adamo turned Louisa May Alcott’s classic tale of four sisters growing up in post-Civil War New England into a contemporary American operatic masterpiece.  Premiered in 1998 in Houston with mezzo-soprano Joyce DiDonato (LAO’s dazzling 2009 Rosina in The Barber of Seville) in the leading role of Meg, it has rapidly become one of the most frequently performed operas of our time.

A Streetcar Named Desire

A Streetcar Named Desire (2014); Photo: Robert Millard

A Streetcar Named Desire (2014); Photo: Robert Millard

Based on the very operatic Tennessee Williams play, André Previn’s A Streetcar Named Desire begins with Blanche DuBois’ arrival in 1940s New Orleans. Clinging to a masquerade of Southern grace, she moves into her sister’s cramped apartment, creating all the wrong kinds of sparks with her crude brother-in-law. When dark truths about Blanche’s past begin to emerge, her world comes apart at the seams in a spiral of violence and madness. LAO’s 2014 performances starred Renée Fleming, who created the role of Blanche at the opera’s 1995 San Francisco premiere.

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2015: A Year in Review

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.

The Ghosts of Versailles

Take a sneak peek behind-the-scenes at The Ghosts of Versailles set and costumes as well as a preview from the show.

https://www.youtube.com/watch?v=YnoNmpWl4S4

https://www.youtube.com/watch?v=RtwEwuLJ5Y8

https://www.youtube.com/watch?v=97lpIpYVQBU

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Man vs. Whale

https://www.youtube.com/watch?v=onK0Byi1UIY

Watch an epic battle of Man vs. Whale, Moby-Dick Edition, above

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Moby-Dick Sneak Peek

https://www.youtube.com/watch?v=9phSfg89GFw

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.

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Moby-Dick Highlights Reel

https://www.youtube.com/watch?v=EykR_ympqjg

Watch the best of Moby-Dick above

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Moby-Dick Timelapse

https://www.youtube.com/watch?v=kPoh_LgAPwc

Watch the Moby-Dick set come to life above

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Everything You’ve Ever Wanted To Know About Moby-Dick

https://www.youtube.com/watch?v=cd-Z4-3Ip_Q

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

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

7 Questions with Jay Hunter Morris

In this edition of questions, learn more about Jay Hunter Morris, the man behind Captain Ahab.

Talking Life, Opera, and Moby-Dick with Musa Ngqungwana

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.

5 Questions with Joshua Guerrero

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.

Morgan Smith on Starbuck and Contemporary Opera

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).

Moby-Dick: No Book Report Required

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.

Music Monday: Moby-Dick Overture

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.

Ship Anatomy: Moby-Dick Edition

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.

James Conlon Invites You To Moby-Dick

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.

Whale Watching

Moby-Dick Highlights Reel

https://www.youtube.com/watch?v=EykR_ympqjg

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Morgan Smith on Starbuck and Contemporary Opera

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). In 2010, Smith originated the role of Starbuck in Heggie’s wildly popular Moby-Dick at Dallas Opera. He has subsequently portrayed Starbuck at San Diego Opera, San Francisco Opera, and is currently taking on the role here in Los Angeles.

Morgan Smith as Starbuck in Moby-Dick (2015)

Morgan Smith as Starbuck in Moby-Dick (2015)

Starbuck is an interesting beast to tackle. According to Smith, throughout the opera, Starbuck seems to be the only character within Captain Ahab’s close circle with “a deep, gut feeling that something’s amiss.” This does not prevent the character from sinking into some of the madness that grips Ahab. This makes it even more interesting for Smith to portray Starbuck, because he can really get into the character’s levels. At first, Starbuck is this strong, family man, whose morality is heavily tested to the point where he considers murdering Ahab to spare his men from a whale of a fate. “We see Starbuck pulled away from the person he wants to be, pulled away from his identity,” says Smith.

https://www.youtube.com/watch?v=EykR_ympqjg

This role hits close to home for Smith. Starbuck often sings about his wife Mary and his son waiting for him at home. It’s their memory (and the notion of providing for them) that keeps Starbuck going. When Smith originated the role, Starbuck’s connection to family was already personal. All these years later, it’s even more personal as Smith is now a married father of six. He truly relishes his role as a husband and father, something he brings to the role of Starbuck.

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Win Big with LA Opera & In the Heart of the Sea

Unless you’ve been living under a rock this past year, you’ve probably heard that the great Ron Howard is releasing his next film, In the Heart of the Sea, on December 11. You probably also know that it stars Chris Hemsworth, Cillian Murphy, and Brendan Gleeson, and that it’s based on a true story of a whaling ship terrorized by a giant sperm whale in 1820. But, did you know that this story inspired Herman Melville to write Moby-Dick?

To celebrate LA Opera’s current production of Moby-Dick and Warner Bros.’ upcoming In the Heart of the Sea, here’s a sweepstakes and a giveaway you can’t miss!

WIN A TRIP TO THE PREMIERE IN NEW YORK CITY

Enter for a chance to win a trip for two to the official red carpet premiere of Warner Bros.’ In the Heart of the Sea in New York City.

Sweepstakes Grand Prize winner will receive:

  • Roundtrip Airfare for 2 to New York City
  • 2 Nights Accommodation at the luxurious Viceroy Hotel, New York.
  • 2 Tickets to the Official Red Carpet Premiere of In the Heart of the Sea

TO ENTER sweepstakes click here

For more information on the movie click here

https://www.youtube.com/watch?v=8L4KvJv_O-c

For official rules click here

NO PURCHASE NECESSARY, must be a California US resident 18 years or older, void where prohibited, ends 11/30/2015.
In the Heart of the Sea
© 2015 Warner Bros. Entertainment Inc. All rights reserved.

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James Conlon Talks Moby-Dick

James Conlon; Photo: Chester Higgins

As the Richard Seaver Music Director at LA Opera, James Conlon has been a driving force within the company since his arrival in the fall of 2006. His wealth of musical expertise and passion has led him to successfully conduct a plethora of productions, including Jake Heggie’s Moby-Dick. We spoke with Conlon about Moby-Dick and why the production has what the Los Angeles Times deems “staying power.

What about Jake Heggie’s score drove you to want to conduct Moby-Dick

It is very important that we continue to present operas by contemporary American composers here at LA Opera. It was in that spirit this already highly successful opera was chosen. I threw myself into it as is my custom and have found the effort very rewarding.

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015)

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015)

How is it different conducting a contemporary versus a traditional operatic score?

The only thing that is different is the musical content. The preparation, the rehearsing, the reflection, as well as the physical, emotional, and intellectual engagement is the same for all music, regardless of the genre, the period in which the work was written, and the culture out of which it was born.

What do you think makes Heggie and Sheer’s adaptation so powerful?  

Both are masters of their craft and they have succeeded in an impossible task, which was to select out from this massive novel the necessary parts to create a coherent, dramatic musical entity.

https://www.youtube.com/watch?v=dPXajVAABvw

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Community Educator Bill Green on Moby-Dick

Imagine that we lived during the time of Verdi, Puccini, Mozart, Wagner, and the other great composers of the classical repertoire and we could hear them share their thoughts and feelings during the final rehearsals of their operas before opening night. Thanks to today’s technology, we have the opportunity to hear composers, directors, artists and production team members share their thoughts about new operas being created right now.

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015)

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015)

I am a volunteer Community Educator for LA Opera, traveling through Southern California talking opera to civic and social organizations, philanthropic groups, and schools. One of the best parts of volunteering is that we get to do our own research and write our own talks about Opera. For the company’s current production, Moby-Dick, I thoroughly enjoyed learning not only about Melville’s classic (did you know that American artist Rockwell Kent designed cover images for the 1930 edition of the novel?), but also learning more about Jake Heggie’s adaptation. Heggie is a young contemporary American composer who has created a great new opera based on the book that has been praised as “the great American novel”—no simple task. He has given many interviews describing his approach to presenting the story in operatic form, and many are available on-line. In Heggie’s interviews, he explains the choices he made in composing music for the various parts of the story, the arc of the music from the start of the first act to the dramatic conclusion of the opera, the music he chose to create for each of the main characters, and other insights into the work.

https://www.youtube.com/watch?v=NNbqu-snJZk

Many opera lovers today approach contemporary opera with trepidation, preferring the familiar stories and music from operas they have been exposed to for years. The resources now available on the internet can help make contemporary opera more approachable, by providing insight into new operas by the composers, directors, and performers into the music. LA Opera’s current production of Heggie’s Moby-Dick offers you a chance to see a great production of an epic American opera, and the internet can provide you with a wealth of information you can review before you head to the opera house to enhance your experience.

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Moby-Dick by the Numbers

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

Moby-Dick is an epic production with some pretty impressive numbers to back it. The Moby-Dick set weighs approximately 95,000 pounds. This number includes the masts, rope, sails and cyc (what’s a cyc, you may ask, find out here) – all of which come together on the Dorothy Chandler Pavilion stage to form the Pequod. The Pequod’s masts on stage are 36 feet tall, towering over the opera stage, making the ship come to life (click here to learn more about the anatomy of the Pequod).

https://www.youtube.com/watch?v=EykR_ympqjg

Everyone knows the Pequod wouldn’t be complete without 1 fiery cauldron to render whale blubber. Speaking of whale blubber, there are 85 pounds of fabricated whale blubber used in the production of Moby-Dick. There’s no whale blubber without harpoons and other weapons the crew aboard the Pequod use to hunt.

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Talking Life, Opera, and Moby-Dick with Musa Ngqungwana

Musa Ngqungwana as Queequeg in Moby-Dick (2015); Photo: Craig T. Mathew

Musa Ngqungwana as Queequeg in Moby-Dick (2015); Photo: Craig T. Mathew

“By faith I shall learn this music and by faith I shall execute it.”

– Musa Ngqungwana

This past Saturday, bass-baritone Musa Ngqungwana made his LA Opera debut as Queequeg in Moby-Dick. With his sincere portrayal of this pivotal character, the South African born Ngqungwana adds another role to his list of operatic achievements that include being a Grand Finals Winner in the 2013 Metropolitan Opera National Council Auditions, as well as playing Colline in La Boheme (Washington National Opera) and Zuniga in Carmen (Norwegian National Opera).

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.

https://www.youtube.com/watch?v=dLsbe8RfXEs

Musa Ngqungwana singing Riez, allez, riez du pauvre ideologue from Massenet’s Don Quichotte at WQXR presents The Metropolitan Opera National Council Award Winners

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The Month of the American Composer

Composer of Operas

Jake Heggie

When most people think of October, visions of fall and Halloween come to mind. Here at LA Opera, this October has been “The Month of the American Composer.” Three of our events involved some of the most important American composers of our age – Missy Mazzoli, Philip Glass, and Jake Heggie – working at the height of their powers. To celebrate how vital opera is to our nation culturally, we’ve curated a few articles below where you can learn more about each composer and listen to some of their masterful music.

Jake Heggie, The Man Behind Moby-Dick

Composer Jake Heggie Brings Moby-Dick to the Dorothy Chandler Pavilion – via Los Angeles Magazine

Herman Melville’s Moby-Dick, the classic tale of one man’s pursuit of an elusive white whale, has over the years been turned into films and television miniseries. Now, it has been turned into an opera. Jake Heggie, whose Dead Man Walking was performed earlier this year at the Broad Stage, is the composer of the show, which opens Saturday night at the Dorothy Chandler Pavilion.

Jake Heggie On Why Opera Is Here To Stay – via Los Angeles Times

Don’t tell Jake Heggie that opera is a dying art form. The composer of the opera Dead Man Walking “thinks it’s alive and kicking — he even uses an unprintable term to describe a recent batch of articles declaring that “Opera is dead.” And while his passionate words in defense of the operatic form are convincing, the trajectory of his own career is perhaps his best argument.

Music Monday: Moby-Dick Overture – via LA Opera Blog

This weekend, Moby-Dick opens at LA Opera. 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.

https://www.youtube.com/watch?v=cd-Z4-3Ip_Q

 For tickets to Moby-Dick, click here.  … Continue reading

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5 Questions with Joshua Guerrero

Joshua Guerrero as Steve Hubbell in <em>A Streetcar Named Desire</em> (2014); Photo: Robert Millard

Joshua Guerrero as Steve Hubbell in A Streetcar Named Desire (2014); Photo: Robert Millard

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.

https://www.youtube.com/watch?v=pGRiDVHoeNs&feature=player_embedded

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What To Wear To Opera

The cast of Norma (2015); Photo: Ken Howard

The cast of Norma (2015); Photo: Ken Howard

It’s finally the night.

Opera night.

After spending some time researching and reading about which opera to see first, you’ve snagged some tickets and are thrilled to be attending your first opera. But there’s one more thing to figure out before big night out…

Patti Lupone as Samira in <em>The Ghosts of Versailles</em> (2015); Photo: Craig T. Mathew

Patti Lupone as Samira in The Ghosts of Versailles (2015); Photo: Craig T. Mathew

What to wear?

A casual sundress? A nice suit? A Lady Gaga-inspired dress made of meat? Swim trunks and sandals? What’s appropriate and what’s not?

Opera fashion can be as wild and crazy as Paris Fashion Week, or Kirsten Dunst’s outfits in Marie Antoinette, but it can also be a more casual affair. It’s an event impossible to overdress for and also the best place to catch somewhat of a fashion show for free.

There’s really no wrong way to dress for the opera (excluding meat dresses and swim trunks). It’s all about what the opera-goer feels comfortable wearing when it’s all boiled down. A great tip for opera newbies would be to dress up the first time to attend a performance. Don’t go over the top and drop a lot of money on an outfit you won’t wear again, but do throw on a nice dress or suit. It’s not every day you get the chance to dress to impress. Take advantage of it! After experiencing a performance or two and having a chance to see the wide array of outfits worn, then make the call about going a bit more casual (if preferred) for the next trip to the opera.

Another great way to determine what to wear would be figuring out which night or day the show falls on. Opening and weekend night performances are usually the dressiest nights. They’re a great opportunity to whip out more formal dresses with big statement pieces and spiffy suits with the most tasteful of bowties. Weekday and matinee performances are generally where you’ll see more casually dressed opera-goers in business casual or jeans and a nice blouse or button-up.

Check out our What To Wear To Opera Board on Pinterest for style ideas.

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James Conlon Invites You To Moby-Dick

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

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.

https://www.youtube.com/watch?v=dPXajVAABvw

Moby-Dick is a classic American tale that’s wonderful to experience live. Yet, to enjoy Moby-Dick fully, take a look behind-the-scenes to see how the production has come together.

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Opera: A Community Treasure

Today, National Opera Week kicks off. Running through November 1, National Opera Week is a great opportunity to celebrate opera’s positive impact on communities around the country (and to a larger extent, the world). This got us thinking. What are some of the ways that opera influences community?

It brings us together.

Craig 2

Guests enjoy Gianni Schicchi (2015) at Opera at the Beach

Putting together an operatic production is a feat of epic proportions. Since opera is an amalgamation of several art forms, various artists (singers, designers, writers, even filmmakers) join together for one singular purpose: to bring a story to life.

Yet, opera brings not only artists together. Opera is for all those willing to experience timeless stories, staged theatrically, and sung by the most engaging voices of our time. This can mean a night out in Downtown Los Angeles at the Dorothy Chandler or a date night at Santa Monica Pier for a live HD simulcast at Opera at the Beach.

It educates us about history, society, social responsibility, and just about anything else you can imagine.

 The cast of Nixon in China (1990); Photo Credit: Frederic Ohringer

The cast of Nixon in China (1990)

Did you know that there’s an opera about Richard Nixon called Nixon in China? Several operas are based on Shakespeare plays and Greek myths that tackle the big themes: love, humanity’s purpose, revenge. There are even short operas based on themes of social responsibility that form the crux of our Opera Camp program. Operas make people think in different ways; they can teach us to see the world through a new lens.

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#TBT: Jay Hunter Morris in Grendel

Before he captained the Pequod, Jay Hunter Morris debuted at LA Opera as Unferth—singing in Old English—in the world premiere of Grendel by composer Elliot Goldenthal and director Julie Taymor. The warrior Unferth tries to best the monster Grendel, but falls short of his heroic expectations (which serves as a source of comic relief in the opera) and is mocked for his shortcomings. Based on the novel of the same name by John Gardner, the opera follows the story of the titular monster and his war against the humans that shunned him. He gobbles up his enemies throughout the show, in attempt to reconcile his idealized view of humanity with the realities of “modern man.” The opera is a fable with very real world connections.

Jay Hunter Morris as Unferth in Grendel (2006)

Jay Hunter Morris as Unferth in Grendel (2006)

Jay Hunter Morris will play Captain Ahab in our upcoming production, Moby-Dick. For more information and to purchase tickets, click here. To find out more about our current season, check out our website.

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