Tag Archives: Rigoletto
When arriving for her interview a few weeks ago on an unusually rainy day in Los Angeles, mezzo-soprano Ginger Costa-Jackson is all smiles. She’s just happy to be in the city, regardless of the weather.
“The apartment that I’m staying at has a rooftop and I can see the Hollywood sign,” said Costa-Jackson. “On my days off, I’ve been laying out and tanning, but I guess not today.”
On May 12, LA Opera saw the return of Mark Lamos’ lavish production of Giuseppe Verdi’s Rigoletto. KXLU has described it as “… a mesmerizing, powerfully sung and acted Rigoletto,” while Broadway World writes that Juan Jesus Rodriguez in the title role “is thunder itself for all three acts. In both singing and acting, he masterfully plays all the agonizing transitions of the character …”
The critics may love this timeless Verdi classic, but what does the public think? Read below for audience reactions to LA Opera’s Rigoletto!
Welcome to the LA Opera Podcast — the place for you to learn all about our productions. On this episode, we’re focusing on Giuseppe Verdi’s timeless opera Rigoletto. Listen below to learn about the plot and the music, and hear from some of our principal cast members, including Lisette Oropesa, Juan Jesús Rodríguez and Arturo Chacón-Cruz, who go into detail about their characters.
Matthew Aucoin, LA Opera’s Artist in Residence, is the conductor of Rigoletto.
Rigoletto is a thunderbolt, a once-in-a-lifetime occurrence—even for Verdi. It’s so familiar to opera audiences, however, that we might forget what an explosive, revolutionary piece it is, much the same way that overexposure to Beethoven’s Ninth Symphony has the tendency to blind us to that piece’s strangeness and messiness. Rigoletto crosses a threshold in operatic history; it contains a kind of quantum leap. It is here that Verdi, whose music had so far wrestled with two seemingly contradictory impulses—his gift for glorious, long-spun melodies in the mold of the bel canto tradition and a keen dramatic instinct that gave his music a rough-edged, distinctly un-bel canto quality—finally united these two tendencies.
Stage Managers have some of the most important jobs in opera. Unlike other types of performing arts, such as musical theater, stage managers in the opera cue almost everything — from paging artists to the stage, to entrances, to sound cues and special effects, stage managers pretty much run the show. It’s an enormous responsibility, one that Chelsea Antrim, Production Stage Manager at LA Opera, feels prepared for every performance.
Giuseppe Verdi’s Rigoletto has been a staple in the standard operatic repertoire since its 1851 premiere, but its road to the stage was anything but smooth. Before you head to LA Opera’s production of Rigoletto on May 12, here are five things you may not already know about Verdi’s artistic process in writing this tour de force!
Three Southern California college students were selected as the winners of LA Opera’s Rigoletto art contest.
Thanks to the generous support of GRoW @ Annenberg, a philanthropic initiative of the Annenberg Foundation, local college students were invited to create original artwork inspired by the company’s upcoming production of Giuseppe Verdi’s Rigoletto, which opens on May 12. Students from 18 different southern California colleges submitted a total of 53 entries in a competition to see their artwork appear on the Rigoletto program cover and displayed at the Dorothy Chandler Pavilion.
One of the aspects that make LA Opera productions so grand is the hardworking staff at our costume shop. Located between the Fashion District and Boyle Heights in Los Angeles, LA Opera’s Costume Shop not only houses pieces from our current productions, but also contains archived garments from shows throughout our 32-year history.
Mark Lamos’ opulent production of Verdi’s Rigoletto contains intricate and vividly colored costumes designed by Constance Hoffman. In anticipation for LA Opera’s upcoming production of this Verdi masterpiece, here is an exclusive look at what our costumers are working on as we prepare to open on May 12!
LA Opera is no stranger to the impassioned operas of Giuseppe Verdi. In the last six seasons alone, the company has staged five operas written by the Italian composer, from popular favorites including La Traviata, Falstaff and Macbeth, to lesser-known works like The Two Foscari and Nabucco.
Another classic – Rigoletto – returns to the stage on May 12. Here are five things you may not know about LA Opera’s upcoming production of Rigoletto!
*DEADLINE EXTENDED* TO MARCH 25 AT 11:59 P.M.
LA Opera is hosting a contest for currently enrolled college students in Southern California!
You are invited to submit artwork for LA Opera’s spring production of Verdi’s Rigoletto! The winning submission will be featured on the cover of the show’s performance program and displayed at the home of LA Opera, the Dorothy Chandler Pavilion.
Soprano Liv Redpath may have her sights set on a singing career, but opera isn’t her only passion. This member of the Domingo-Colburn-Stein Young Artist Program is keen on maintaining a myriad of interests beyond the stage, most notably her love of literature.
On Nov. 19, we wrapped up our last production of the year with Verdi’s Nabucco. Though we’ll be taking a brief hiatus from the stage until the new year, there is still much to be excited about in the second half of our season! With both company premieres and established revivals underway, there is something for everyone — especially if you have folks to shop for.
Can’t wait until January to get your opera fix? We can’t either. Here are five reasons to look forward to the rest of our season!
You’ve read the rave reviews, watched the season trailer, and seen your friends’ Instagrams at the Dorothy Chandler Pavilion. Now, you want to experience a night at the opera. The only problem is – there are a lot of choices and you don’t know which opera to see first.
We’re here to help. Below are a few great starter operas, some of which are coming to LA Opera this season.
There’s a reason why everybody loves Carmen. It’s about an independent, wild, and fierce woman from the south of Spain, who has no shortage of admirers. This realistic, action-packed story has become one of the most popular operas in the world. That’s because of its Spanish flair, grand music, and tragic love triangle. Also, whether you’re a Westworld fan or you like The Muppets, we know you’ve heard the music from Carmen before (“Habanera”).
You’re already familiar with Carmen, so why not make it your first opera experience this September?
LA Opera’s 2017/2018 season opens September 9
Our 2016/17 season may have come to an end, but 2017/18 is just around the corner. Next season has something for everyone from the classic gems to the avant-garde. Get to know the season below and don’t forget to buy your tickets early for the best seats.
CARMEN (September 9-October 1)
On September 9, we open with Georges Bizet’s Carmen. Ana María Martínez stars as opera’s most famous femme fatale. Nobody—not even a lover—can tame Carmen, who bursts into life onstage with an intoxicating whirl of thrilling choreography, vivid orchestrations and heart-stopping drama. Bizet’s unforgettable score is an endless parade of one great melody after the other, from the languid allure of Carmen’s sensual songs to the macho boasts of the dashing bullfighter.
THE PEARL FISHERS (October 7-28)
A beautifully detailed staging, complete with stunning special effects, brings a rare and exotic story to life. Soprano Nino Machaidze, one of LA Opera’s favorite leading ladies, returns as a veiled priestess with a hidden past, pursued by two lifelong friends and romantic rivals. The complicated triangle pushes forbidden love into a final struggle for life and death, until a nearly forgotten secret saves the day. Internationally acclaimed tenor Javier Camarena makes his company debut as Nadir.
The ravishing score, an early treasure by the composer of Carmen, features a rapturous duet for the two rivals that has become one of opera’s all-time greatest hits.
We’ve just announced the 2017/2018 season and it’s all about the new. Five of the six mainstage productions are new to Los Angeles and two of them are company premieres. There will also be two major concerts – the first celebrating the 50th anniversary of Plácido Domingo’s first appearance at the Dorothy Chandler Pavilion and the second featuring Audra McDonald.
Can’t wait for the excitement to begin? Take a look below and get to know all the 17/18 season has in store for Los Angeles.
(presented at the Dorothy Chandler Pavilion)
Ana María Martínez returns as the famous opera femme fatale in Carmen
(Sep 9–Oct 1, 2017; production new to L.A.) — Georges Bizet
James Conlon conducts a cast that also features Alexander Vinogradov as Escamillo and Amanda Woodbury as Micaëla. The production is directed and choreographed by Rob Ashford, winner of Tony, Emmy and Olivier Awards.
After seeing Carmen, experience The Pearl Fishers another Bizet gem
(Oct 7–28, 2017; company premiere) — Georges Bizet
Plácido Domingo and Grant Gershon will each conduct performances of a rarely performed treasure, directed by Penny Woolcock. Nino Machaidze returns as Leïla, her seventh leading role in Los Angeles, with superstar tenor Javier Camarena making his company debut as Nadir. The cast also includes Alfredo Daza as Zurga and Nicholas Brownlee as Nourabad.
Plácido Domingo and James Conlon unite for Nabucco
(Oct 14–Nov 19, 2017; production new to L.A.) — Giuseppe Verdi
Plácido Domingo sings the title role of the monumental opera that made Verdi famous, conducted by James Conlon. Directed by Thaddeus Strassberger, the production also features Liudmyla Monastyrska in her LAO debut as Abigaille, with Morris Robinson as Zaccaria, Mario Chang as Ismaele and Nancy Fabiola Herrera as Fenena.
“Everyone cried out at the idea of putting a hunchback on the stage; well, there you are. I was very happy to write Rigoletto…and it is my best opera.” – Giuseppe Verdi, July 26, 1852
Giuseppe Verdi’s Rigoletto is Victor Hugo’s play Le roi s’amuse on steroids. Verdi’s music energizes the story’s tragic drama, a father-daughter tale that ends unhappily. In the opera, the title character is a court jester to the womanizing Duke of Mantua, who openly mocks his social superiors in order to please the Duke. One day, he mocks the wrong man – the Count Monterone, whose daughter has been seduced and discarded by the Duke. The Count warns him never to make light of a father’s grief, a threat which haunts Rigoletto, as he is father to the beautiful Gilda, whom he keeps secluded from eyes of lecherous men like the Duke. When Gilda falls in love with the Duke, Rigoletto decides to have him murdered, but his plans go awry and Gilda ends up dying as a result.
Rigoletto’s most famous aria is the Duke’s Act IV show of callousness in the form of “La donna e mobile” (women are fickle), an unforgettable tune that returns—to heart wrenching effect—at the very end of the opera. The main point of the aria? Women are flighty and untrue, but men still need their love. (Warning: This may change your perspective on your favorite pasta commercial.)
Plácido Domingo as Rigoletto and Vittorio Grigolo as The Duke
When the LA Opera first presented Rigoletto in 1993, David Young was the second chair bass player in the Los Angeles Chamber Orchestra, the ensemble that played for most performances during the company’s early years. The opera features a prominent solo for the double bass—at the fateful moment when the troubled jester first encounters the assassin Sparafucile—which went to LACO’s longtime principal bassist, Susan Ranney. But by 2000, when the company next offered Rigoletto, Young had become the principal bassist for the LA Opera Orchestra, and it was finally his moment to shine after years of waiting for that rare opportunity. He asked Peter Hemmings, who would soon retire as LA Opera’s general director, if a promotional poster had been made for the production, explaining how much it meant to him. “Of course,” replied Hemmings. “I’ll get you one.”
Hemmings delivered the poster a few days later. Not only was it signed “Best wishes, Peter Hemmings,” it also boasted the signatures of the major stars in the cast. That framed treasure hangs on the wall of Young’s studio today. Hemmings passed away two years later, making his thoughtfulness especially poignant to Young. “Peter Hemmings really cared about everybody,” he says. “He loved this company and he gave his all to our founding years.”
Young’s story is indicative of the atmosphere that Hemmings fostered, with artists, administrators, staff and volunteers all working in close collaboration toward a common goal. Fondly remembered for his warmth, British wit and jovial nature, Hemmings was also greatly respected for his high expectations, imagination and loyalty. With a background that included bringing the Scottish Opera to prominence, he was more than up to the challenge of building a massive opera company—virtually overnight.