Tag Archives: Patricia Racette
Together again – LA Opera Music Director, James Conlon and Patricia Racette (Salome) will host a special CD signing.
When: Thursday, March 16, 2017 – immediately following the performance
Where: Dorothy Chandler Pavilion – Grand Avenue Lobby
Share Soprano Patricia Racette’s 2016/17 season features a triple run of Salome, with recent performances for the Metropolitan Opera and Pittsburgh Opera, and now in Los Angeles, where it’s her fifth leading role. (She’ll also reprise the femme fatale for … Continue reading
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.
We’re all about Puccini these days with Madame Butterfly opening next month and La Boheme in May. Those two are arguably his most celebrated, but have you experienced the intriguing show that is La Rondine? Starkly different from the dramatic operas with which Puccini made his mark on the musical world, La Rondine is a comic opera that strives to bridge the gap between Puccini’s vision of opera and more lighthearted operetta (a difficult thing to do during the grim World War I time period in which it premiered). Although it differs from standard Puccini repertoire, it’s still a must listen before diving in to our very Puccini spring.
One of the most elaborate productions LA Opera has staged in recent years was John Corigliano’s The Ghosts of Versailles, directed by Tony Award winning director Darko Tresnjak (who returns to stage a new production of Macbeth in September). The story follows the ghost of Marie Antoinette (Patricia Racette), who while trapped in the spirit world, bitterly reflects on her final suffering. Her favorite playwright tries to entertain the melancholy queen with the continuing adventures of his beloved characters from The Barber of Seville and The Marriage of Figaro. But sneaky Figaro refuses to play by the script, breaking free from the opera-within-the-opera in a surprise bid for a better life. The opera turns history on its head as love attempts to alter the course of destiny.
With many different worlds to incorporated into Tresnjak and costume designer Linda Cho’s overall vision, The Ghosts of Versailles was a complex, multi-layered, and rewarding show to style.
Darren K. Jinks and Brandi Strona – masters of their wig and makeup crafts – took on styling Ghosts of Versailles and succeeded to dramatic effect (both are nominated for tomorrow’s Make-Up Artists and Hair Stylists Guild Awards).
Most operas require hair and makeup styling from one era or “world.” Take La Boheme, for example. Our production sets the action completely in 1880s Paris and so the singers’ hair and makeup reflects that time period. The Ghosts of Versailles is another beast entirely. It’s a show comprised of four distinct worlds: The Ghost World, The Figaro World, The Turkish World, and The French Revolution World. Thus, With the help of an expanded team (10 principal hair/makeup artists and 13 additional hair/makeup artists for chorus members) Jinks and Strona created (and managed during show dates) 47 principal wigs, 55 chorus and supernumerary wigs, 41 sets of facial hair, and several different makeup looks for the show’s 82 cast members (including principal artists, dancers, and supernumeraries). Productions normally have half the number of wigs and makeup looks needed for Ghosts.
Like any other art form, hair/makeup styling starts as a concept and there’s a great deal of planning involved. Since it’s such a feat to stage an opera, the production staff normally plans for new productions at least one or two years in advance. Such was the case with The Ghosts of Versailles. Styling ideas for Ghosts began 12 to 18 months before the show opened, with additional dramaturgical work occurring during the three to four months before the show. The extensive dramaturgy (ie. historical research) included watching films set during the time period for ideas (Tresnjak and Cho were inspired by film such as Sofia Coppola’s Marie Antoinette and Stephen Frear’s Dangerous Liaisons) as well as researching the French Revolution era to come up with hair/makeup styling that not only theatrical, but also matched period norms.
These norms differed based on the worlds. Here’s a breakdown of some of each world’s hair and makeup style.
We’ve finally announced the 2016/2017 season and it’s going to be a big one. There are six mainstage operas, a semi-staged concert, and stellar off-grand productions to enjoy starting September 17.
Can’t wait for the excitement to begin? Take a look below and get to know all the 16/17 season has in store for Los Angeles.
Plácido Domingo and James Conlon unite to open season with Verdi’s Macbeth
The season opens with a new production of Verdi’s Macbeth (September 17 through October 16, 2016), starring Plácido Domingo in the title role and conducted by James Conlon. Ekaterina Semenchuk will perform the role of the treacherous Lady Macbeth. LA Opera’s first production of Macbeth since 1987 will be staged by Darko Tresnjak, director of the 2015 hit The Ghosts of Versailles.