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Blog entries posted during 2011


Castronovo as Roméo

Nino Machaidze and Charles Castronovo in "Roméo et Juliette" (photo by Robert Millard)

On Saturday, tenor Vittorio Grigolo warned us that he had a bad cold and might not be able to sing the role of Roméo at the next day’s performance of Roméo et Juliette. Saturday also happened to be the evening of the “Placido Domingo & Friends 25th Anniversary Gala.” One of the guest performers was tenor Charles Castronovo, a longtime LA Opera favorite who had created the title role in last season’s world premiere of Il Postino. We asked him if he would consider staying an extra day in Los Angeles, just in case, and he agreed. Sadly, Grigolo was indeed forced to cancel on his doctor’s orders, but we now had another world-class tenor, who had performed Roméo earlier this year in Dallas, ready to go on. With just two hours to learn the staging and the tricky fight scene, and with fantastic onstage assistance from Nino Machaidze as Juliette, Castronovo gave a beautiful, heroic performance that stunned our audience. We are grateful for his appearance and congratulate him on a job well done!


Machaidze/Grigolo CD signing on Nov. 26

Photo by Robert Millard

After the final performance of Romeo et Juliette on Saturday, November 26, soprano Nino Machaidze and tenor Vittorio Grigolo will participate in a 60-minute CD signing. Merchandise will be available for sale in the lobby Opera Shop. The signing will take place in the lobby of the Dorothy Chandler Pavilion, on the Grand Avenue side of the theater. (The signing will begin after the artists have had sufficient time to change after the performance.) For tickets to that performance, please click here . For tickets to any of the three remaining performances of Romeo et Juliette, please click here .


Gounod and Shakespeare: Masters of Music and Words

By Basil De Pinto

Early and late in his career, Shakespeare wrote about all-consuming passion. Romeo and Juliet is a domestic drama about the reckless, headstrong love of teenagers; Antony and Cleopatra deals with a world-weary historical couple whose romance plays out on a vast stage and alters the course of history. Although the later play is a far superior work of art, the story of the children of fair Verona is the one that has captured the hearts of millions through the ages, and has inspired retelling in every conceivable form: spoken theater, ballet, film, the Broadway musical, symphonic treatment and, many times over, in opera.

Although he wrote a good deal of music, Charles Gounod is primarily remembered for Faust, his operatic treatment of the great classic of German literature. The Germans thought little of his effort and always refer to his opera as Margarete, the woman Faust seduces (Gretchen in Goethe’s original). Eight years after Faust, in 1867, and with several more operas to his credit, Gounod brought out Roméo et Juliette, a work of outstanding musical and dramatic power. It deserves its own place in the operatic pantheon.

The music of an opera has to begin with a text, a story, an idea that gives a composer the impulse to expand and amplify beyond verbal limits to the fullness of dramatic communication that we call musical theater. (In Italy, the home of opera, the whole operatic project is called simply il teatro.) The librettists for Roméo, Barbier and Carré, were experienced at adapting literary texts for operatic use, having already served Gounod and other composers in that capacity. Naturally enough, they had to pare down Shakespeare’s text to a manageable size and they did a good, workmanlike job which is more than a sketch, if less than a literary masterpiece. But it served the purpose of stimulating Gounod to writing music of extraordinary romantic and dramatic scope.

The process by which a play of some thousands of lines is reduced to proportions suitable for an opera is instructive; the challenge consists of maintaining the basic outlines of the story as well as the overall concept of the original. Inevitably there will be compromises involving characters and situations; omissions will be necessary and may seem fatal to those familiar with the play. For example, the first scene takes place at the Capulets’ ball, omitting much of the exposition which serves to delineate the character of Shakespeare’s Romeo. But, as in the play, there is a prologue, here sung by the chorus, which does indicate the nature of the dispute between the two houses.

A major change and stumbling block might seem the survival of Roméo in the last scene so that the two lovers can sing their final duet. But in one of Shakespeare’s supreme works, Desdemona revives briefly after Othello has strangled her, and no one seems to be troubled by that. The willing suspension of disbelief sets in as soon as we accept three walls on any stage, and continues unabated.

Barbier and Carré are surely to be commended for the large elements in Roméo that correspond to Shakespeare’s unfolding of the plot and which give the opera its essential dramatic structure: the ball in the opening scene, the balcony scene, Roméo’s duel with Tybalt and his condemnation to exile, the lovers’ parting, and the final scene in the tomb. Each of these segments is clothed in music of outstanding dramatic quality and, at times, of musical genius. The major characters come across as fully believable persons of the drama, and the central idea of the star-crossed lovers is amply presented: when hatred and violence are given their head, love is destroyed and tragedy ensues.

As in the play, the prologue presents the basic outline of the story and the music adds its unique descriptive and suggestive element. At the start, the orchestra led by the brass depicts the raging conflict of the opposing families, but then we hear the love theme which will recur so affectingly at key moments later in the opera.

Roméo enters with his friends and we recognize his sensitive, almost timid unwillingness to arouse the hostility of his hosts, as contrasted with the brash behavior of Mercutio. What really matters in this scene is the vivacity of Juliette revealed in her famous Waltz Song and the ensuing duet when the lovers first meet. The French text of the duet has none of the incomparable grace of the sonnet Shakespeare gives them, but the music has its own charm and easily establishes the powerful attraction that draws them together. There is no suggestion of raging hormones in this music; it is a depiction of tentative exploration, of gradual dawning of completely new emotion. These two are little more than children and they are happily embarking on a voyage of discovery, completely oblivious of its final tragic ending.

The balcony scene begins with an orchestral prelude that evokes the lush warmth of the Italian night; the strings weave a delicious web of yearning that prepares us for Roméo’s apostrophe to the night and the stars. Juliette for him is the brilliant sun that puts the stars to shame. In this version we miss Shakespeare’s wonderful trope:

Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.

But the ardent lyricism of Roméo’s music makes up for it; small wonder that this is one of the arias that every tenor dreams of singing, and inevitably it brings down the house.

The love duet portrays the advance from their first meeting to a rapid, tempestuous passion that leads to the promise of marriage and the eager longing for the night to end and bring the longed for union of the following day. The scene ends as it began, with Roméo alone, imagining Juliette sleeping like a child and praying that the soft night breezes will whisper in her ear his goodnight kiss. He sings almost the whole text on a single note, while the orchestra weaves around him a web of rich chromatic sound, and with him fades to silence at his final words, “ce baiser” — this kiss.

This wedding before Friar Laurence is quickly dispatched and the quiet romanticism of the balcony scene gives way to the violent uproar of the duel between Roméo and Tybalt and the ensuing decree of Roméo’s exile. The librettists have combined several elements of the play: after Roméo kills Tybalt he does not flee as in Shakespeare but remains to hear the Duke’s decree of exile. The librettists insert here the cry Shakespeare wrote for the Nurse at discovering the seemingly dead Juliet —“Most lamentable day, most woeful day” — and it becomes the central text of the great concertato scene that follows: “Ah, jour de deuil, et d’horreur, et d’alarmes.” Roméo begins it solo and it is taken up by the whole ensemble with a powerful orchestral accompaniment. This is one of those concepts in opera that often baffle those accustomed only to spoken theater. How can a large group of singers declaim all at once and make sense of the various sentiments they want to convey? With this great music, the composer gives an outstanding example of the value of this dramatic convention. Everyone concerned laments what has happened: the cause of Roméo’s outburst is the Duke’s decree of Roméo’s exile; the blame lies not only with Roméo but with the two warring houses which have brought grief on the whole city. In a masterful stroke the composer has combined the personal tragedy of the two lovers with the terrible social effect of their families’ mutual hatred.

Two great scenes remain for the star-crossed lovers, the first in Juliette’s bed chamber. They sing in gentle tones of the sweetness of their wedding night. The music reprises the sounds of the balcony scene with all its lyrical charm. It is developed into a full throated cry for both until Roméo interrupts in alarm. In Shakespeare the scene begins with Juliet’s rebuke,

Wilt thou be gone? It is not yet near day.
It was the nightingale, and not the lark
That pierced the fearful hollow of thine ear.

The librettists have turned this into words that admirably mimic the English and moves Gounod to one of his most inspired musical inventions. “Non, c’est de pas le jour…” Juliette begins, then repeats her plea to Roméo to stay; he relents and in his turn he sings Juliette’s impassioned “non, ce n’est pas le jour.” It is a melody of extraordinary dramatic power that combines passionate longing and a desperate denial of the reality that with the coming of day all the lovers’ hopes will be dashed by exile, death and the destructive power of hate that will separate them forever. The music at this point is a culmination of everything the opera wishes to convey; its importance will be confirmed in the final, tomb scene.

After Roméo leaves, Juliette has an aria, once routinely cut, now happily restored, which admirably depicts the development of her character. Friar Laurence enters and gives her the potion which will simulate her death. She sings, “Amour, ranime mon courage” — o love, strengthen my resolve. She is afraid, but willing to do anything that will rejoin her to Roméo. The music here is no longer that of the carefree girl singing her waltz song. Young still in years but grown into the stature of a woman matured by suffering, Juliette has become a tragic heroine whose voice reflects both the height and the depth of her final state.

As in the play, everything goes wrong and Roméo believes that his beloved is really dead. The tomb scene in the opera eliminates all characters except the two lovers. Gounod has concentrated in these final moments all his powers of melodic invention and deeply felt sympathy for these two people. The music suggests that the composer really loves these characters and feels the sadness of their cruel end. Every page of the music is suffused with dramatic cogency that plumbs the depths of longing and sorrow that all of us sense in the needless death of the young: longing to avert catastrophe and the clear understanding that we cannot.

Two moments stand out in the exchanges between the two in this final scene. Roméo’s words, “le rêve était trop beau,” our dream was all too fair, is clothed in music that achingly expresses the combination of hope and sorrow that have almost been the definition of the love of Romeo and Juliet. The other moment, even more poignant, is the recollection of that other parting when both of them desperately tried to stave off the pain of separation, “Non, non, ce n’est pas le jour” — it is not the day and the sound of the lark; it is the nightingale, protector of our love. That melody, so touching when first heard in the bedroom scene, returns now with a searing urgency that marks the composer not only as a canny dramatist but also as a deeply humane observer of lost love.

Critical judgments have their place. Shakespeare’s Romeo and Juliet is an early play and has the flaws of a writer not yet at the top of his game; the reliance on chance to advance the plot, e.g., Friar Laurence’s letter going astray, is not a good dramatic device. But if the play is a flawed work it is nevertheless the work of a genius who would grow astronomically in very short order. Gounod was a conservative composer, bound by the strict rules of 19th-century romantic sensibility, yet he had a profound sense of the power of passionate love and found the musical means to give it glorious life.

At the end of the play the Duke laments that “never was a story of more woe / than this of Juliet and her Romeo.” Both the master of words and the master of music have assured that the story will never be forgotten.

Basil De Pinto, who writes frequently for LA Opera, has also written for the opera companies of Washington, D.C., Seattle, Atlanta and Fort Worth.


Are you a College Student who Loves Opera? LA Opera Wants You On Board!

Education University Internships

LA Opera is excited to announce the recent formation of its College Advisory Committee. Working closely with LA Opera staff, this savvy group of students will not only help shape the company’s future college programming, but act as ambassadors for opera on their campus.

College Advisory Committee members will have access to exclusive behind-the-scenes experiences, as well as other opportunities for professional development.

LA Opera will be hosting an Information Night for interested college students on Wednesday, November 16 from 7:00pm – 8:00pm at the Dorothy Chandler Pavilion. Refreshments will be provided. To ensure complimentary parking, please RSVP to educom@laopera.org or (213) 972-3157.


Meet Emmy Rossum

LA Opera is honored to welcome Emmy Rossum as the Honorary Gala Chair for ARIA’s White Night Season Opening Celebration on September 17! Emmy began her theatrical career with the Metropolitan Opera’s children’s chorus when she was just seven years old. During her years there, she trained in stagecraft and classical vocal technique, and performed in more than 20 different operas in five different languages. In 2007, she recorded her first album for Geffen records, “Inside Out,” which showcased her classically trained voice as the primary instrument as well as her stellar songwriting ability. She’s currently in the studio working on her second album.

Her performance in her first film, Songcatcher, earned her an Independent Spirit Award nomination for Best Debut Performance. Four years later in 2004, her starring performance as Christine in The Phantom of the Opera earned her a Golden Globe Award nomination, as well as the National Board of Review’s Best Female Breakthrough Performance Award and the Broadcast Film Critics Association’s Best Young Actress Award in 2005.

She is currently starring in Showtime’s dark comedy series Shameless, which revolves around the Gallaghers, a working-class Chicago clan dealing with the recession. The mother is not present, and the alcoholic patriarch (played by William H. Macy) usually ends up passed out on the living room floor, so their smart but unpredictable 18-year-old daughter, Fiona (Emmy Rossum), is tasked with keeping her five younger brothers and sisters on the straight and narrow.

Most recently in film, she starred opposite Zach Gilford in the indie-drama Dare. Other past film credits include Dragonball, Poseidon, The Day After Tomorrow with Jake Gyllenhaal, and the Clint Eastwood-directed drama Mystic River. Her television credits include guest-starring appearances on Law and Order and The Practice. And you can see Emmy on the small screen again in January, when Shameless returns to Showtime for its second season.

Emmy is hosting the ARIA’s White Night Season Opening Celebration on Saturday, September 17, immediately following our sensational performance of Eugene Onegin, a compelling and gorgeous Russian romantic drama. We’re so excited to have her join the festivities, and we hope that you will join Emmy and ARIA for Opening Night! Click HERE for more info about ARIA and HERE for tickets to Eugene Onegin .

Emmy Rossum links:


Emmy Rossum is Honorary Gala Chair for ARIA’s Opening Night Celebration

We are thrilled to announce that Emmy Rossum , co-star of the edgy Showtime series Shameless and a lovely lyric soprano as well (did you see her in The Phantom of the Opera ?), will be ARIA’s Honorary Gala Chair for the opening night of our season!

That’s just one of the big moves that ARIA, our group for Young Professionals, is making this year. Instead of a being relegated to the kids’ table, ARIA is joining the grown-ups at the White Night Season Opening Gala after-party. It’s shaping up to be a spectacular evening of dancing, Russian-themed food and drinks, champagne and fabulousness! Will you be there? And who are YOU wearing?

Click HERE for information about ARIA and the White Night Season Opening Gala, and click HERE to get your Eugene Onegin tickets!


Rehearsals are underway!

Photo by Robert Millard

With the first two productions of the season now in rehearsal, there’s a lot going on around here. Here are two of the stars of “Eugene Onegin,” Ekaterina Semenchuk (Olga) and Dalibor Jenis (Onegin), ready to get to work!

Today is a fairly typical day: costume fittings (and a couple of wig fittings) for the “Onegin” principals all morning, followed by an afternoon run-through of Act 1, then an evening choreography rehearsal with the principals and dancers for the Act 2 ball scene. The “Cosi” principals have a staging rehearsal this afternoon, and another staging rehearsal tonight when they’ll be joined by the chorus and supers. Despina (Roxana Constantinescu) also has a costume fitting. There are vocal coachings for some of the young artists who are covering leading roles. Like we said: a fairly typical day!


Tales from the Costume Shop

Fur hats for "Eugene Onegin" (photo by Robert Millard)

Our costume shop is always full of fascinating things to see and equally fascinating, highly skilled artisans. Here’s a great interview with one of them, Hallie Dufresne, our Senior Craftsperson, who has created fur hats for Eugene Onegin, baroque confections for Prince Poppycock, and more masks for the Ring cycle than anyone could possibly have imagined. Click here to read it.


An Insider’s Guide to the Costume Sale

Do the clothes really “make” the man or does the man make the clothes? We literally made these costumes in the LA Opera costume shop, and now we are giving you the chance to let them “make” you.*

With Halloween fast approaching, you may be in the market for a unique costume. Why not make yours a one-of-a-kind handcrafted piece from the LA Opera costume sale ? We will have many different pieces ranging from whole costumes and accessories to shoes, wigs, masks, and more.

In fact, you might like yours so much, why not just make it a general “holiday costume”? Make holiday parties extra special for your family and friends this season and really give them something to talk about when you arrive dressed like you stepped out of the stage of the Dorothy Chandler Pavilion. You may even choose to make it a year-round costume. Maybe your idea of “casual Fridays” means an entire outfit from Turandot rather than just plain old khakis. We will have a variety of pieces ranging from the modern to the fantastical. It could be the perfect way to add a little “pomp and circumstance” to your everyday life.

Come turn heads and be a part of LA Opera history!

Sale will be held Sunday, October 9, from 11am to 4pm or until we sell out.

* Note: costumes do not affect your ability to sing. It may be best to leave the arias and the drama to the professionals.


Raves for Così fan tutte

There are only three more chances to see one of the most delightful Mozart productions you are ever likely to see! The critics have weighed in on our Così fan tutte , and they loved what they saw and heard (click on the links to access the full reviews).

“Sexy, red-blooded…something special. The young cast of this Così is cause for celebration.” ( LA Times , Mark Swed)

“This Così fan tutte is vocal dynamite… The orchestra delivered a world class Mozart performance… great singing, superb musicianship, and first-class comedic acting chops.” ( Out West Arts , Brian Holt)

“Smart, elegant and cohesive; all the components are top quality… James Conlon’s conducting is par excellence. Nothing can top this Così fan tutte . A ‘must see.’” ( ConcertoNet , Christie Grimstad)

“Fantastically entertaining… we are hard-pressed to imagine a more perfect apotheosis of Mozart’s exuberantly cynical opera… If you’re at all inclined to go see Così fan tutte—anywhere, ever—this is the one not to miss.” ( LAist , Lyle Zimskind)


Only three more performances of “Romeo et Juliette”!

Nino Machaidze as Juliette (photo: Robert Millard)

Sweet sorrow indeed…there are only three more chances to see the magical pairing of Nino Machaidze and Vittorio Grigolo in Gounod’s enchanting Romeo et Juliette…and one of those performances is nearly sold out! Click here for tickets. The next performance is Thursday, November 17 at 7:30pm. We’re ready for you!


"Romeo" Live On KUSC Tonight

Photo by Robert Millard

Tune in tonight (Wednesday, November 9) for a special live broadcast of Romeo et Juliette on Classical KUSC. “LA Opera on Air” begins at 7:30pm, hosted by Duff Murphy and Gail Eichenthal, along with special pre-show and intermission guests. You can listen live on 91.5fm or via online streaming on www.kusc.org.


The reviews are in!

Nino Machaidze as Juliette and Vittorio Grigolo as Romeo. (Photo: Robert Millard)

“Los Angeles Opera has done it again…a brand new dazzling dream couple for opera…[Vittorio Grigolo] was commanding vocally and theatrically…there is plenty of opportunity for passion, and Grigolo had a ready supply. He jumped up balconies, leaped around the stage and poured his heart out…[Nino Machaidze] was smoldering Sunday, and Grigolo never seemed to get enough of that either… She made her “Waltz Song,” the opera’s most famous number, sparkle. But a seductively dark poignancy suited her best.” Mark Swed, LA Times

“Vittorio Grigolo in his L.A. Opera debut is delivering an extravagant and yet utterly heartfelt Romeo that recalls the young John Barrymore…Machaidze’s steely soprano weaves nicely with Grigolo’s fine-grained tenor…she matches his emotionalism note for note.”
Robert Hofler, Variety

“Any performance of the opera rises or falls primarily on the qualities of the two lead singers. Both here are knockouts.” Lyle Zimskind, LAist
[Machaidze and Grigolo] “deliver two very exciting performances that alongside Judge’s tight, visually interesting production ensure that no one in the audience will be going home disappointed…an opportunity to see these two stars working together on a local stage should not be passed by.”

Brian Holt, Out West Arts

“It is perhaps several degrees more sensational than the first time…Vittorio Grigolo and Nino Machaidze, both of them – to put it mildly – [were] sensational in their parts. Machaidze sings gorgeously and makes a thoroughly believable heroine (and, yes, we all know Shakespeare’s Juliet was really 13 or something), while Grigolo seems born to play Roméo.” David Gregson, Opera West

“[Nino Machaidze's] talent is unsurpassed: charisma, beauty, comic ability, acting, gorgeous and memorable strong voice. She is the perfect Juliette…Vittorio Grigolo…has the vocal chops to keep up with Nino, as well as the looks and bravado on stage. This coupling is another compelling reason not to miss this production.” Georja Urmano & Gerald Everett Jones, LA Splash

“Vittorio Grigolo and Nino Machaidze [are] young novas who can galvanize stage action, sing to the heavens and look unspeakably gorgeous while they’re at it. Needless to say, these two wowed the opening night audience…For her part, the Georgian soprano’s cheek would shame the stars shining in the sky. Whether leaning down, yearningly, from her balcony or flying around the courtyard to rendez-vous with Romeo, this Juliette defined the smitten girl who would rather die than live without her lover…[Grigolo] is the real lyric-tenor thing, the possessor of a bright, full voice with rounded tone that can sound quite good in the French repertory.”
Donna Perlmutter, blogdowntown


“Romeo et Juliette” opens

Vittorio Grigolo and Nino Machaidze in "Romeo et Juliette." (Photo: Robert Millard)

One of our season’s most anticipated productions, Romeo et Juliette, has returned to our stage, running through November 26. Click here for tickets…they’re going quickly, so don’t miss out. Best availability is for Wednesday, November 9, at 7:30pm!


Handling Fees waived today!

Nino Machaidze as Juliette and Vittorio Grigolo as Romeo (Photo by Robert Millard)

Today only (Friday, November 4), we’ll waive your handling fees if you purchase tickets to the November 6 (Sunday) or the November 9 (Wednesday) performances of Roméo et Juliette. Just click here and enter PROMO CODE 18126, or call Audience Services at (213) 972-8001. This is a must-see production, and tickets are going fast. Don’t miss out!




Updated Open House schedule

On Saturday, November 5, we’re throwing open the doors of the Dorothy Chandler Pavilion for a full day of fun, free activities for the whole family. Our first Open House will pack tons of performances and activities into just one day, from 9:30am to 5pm. For starters: two free concerts featuring Plácido Domingo! Here’s our schedule for the day…hope to see you there!

Classical KUSC 91.5fm Live Broadcast of “The Opera Show”

9am to noon, Main Lobby (Grand Avenue side)

Meet host Duff Murphy as he broadcasts his entertaining weekly program for the first-time live from the Dorothy Chandler Pavilion.  Stop by and say hello to Duff and several other KUSC on-air personalities as he plays music and interviews LA Opera artists and other guests.

The Prospector
10am and 3pm, Eva and Marc Stern Grand Hall
Two performances of the 30-minute children’s opera by composer Lee Holdridge and librettist Richard Sparks, inspired by Puccini’s The Girl of the Golden West. The opera is geared toward children aged 4 to 10 and their families.

Art Workshops for Children
10:30am to 2:45pm, Eva and Marc Stern Grand Hall (Hope Street side)
Two different hands-on art workshops will be offered throughout the day to children ages 4 to 10.  Using opera as inspiration, children can make their own opera-themed finger puppets or decorate a postcard to send to a loved one.

Costume Presentations
10:30am and 3:30pm, 3rd Floor Lobby (Hope Street side)
Get a 20-minute, up-close look at the elaborate costumes seen on our stage. During the morning presentation, Head of Wardrobe Janine Allen will dress a mannequin in the Infanta’s costume from Zemlinsky’s The Dwarf (designed by Linda Cho), explaining all the underpinnings needed to create the look: corset, pantaloons, petticoats and, finally, the elaborate gown. Wigmaster Darren K. Jinks will also demonstrate how elaborate hair effects are created for the stage. The afternoon demonstration will be given by Senior Draper John Bishop, using a mannequin and muslin to illustrate how fabric is draped on a form to create costume shapes, and by Senior Craft Artisan Hallie Dufresne, who will demonstrate how special costume elements are constructed.

Scenic, Prop and Sound Presentations
10:30am and 3:30pm, 3rd Floor Lobby (Grand Avenue side)
Join Technical Director Jeff Kleeman and his staff for a 20-minute demonstration of the numerous complex scenic elements that transform the stage into a magical world. Our behind-the-scenes experts will explain how sets are built and reveal the secrets behind special effects like the steaming spaghetti pot
from The Turk in Italy, Musetta’s breakaway pottery from La Bohème, the “light sabers” from the Ring cycle, and the wind machine from The Barber of Seville and Rigoletto.

Young Artist Concerts Featuring Plácido Domingo and James Conlon
11am and 12:45pm, Main Auditorium, advance tickets available

Conductors Plácido Domingo and James Conlon share the podium for two concerts with the LA Opera Orchestra, featuring soloists from the Domingo-Thornton Young Artist Program in excerpts from favorite operas. Mr. Domingo will also perform as a singer at both concerts. Seating is available on a first-come, first-served basis; free tickets can be reserved in advance at www.laopera.org to insure admission. There will be a live simulcast in the downstairs Green Room for overflow audiences.

Post-Concert Q&A with Plácido Domingo and James Conlon
11:45am and 1:30pm, Main Auditorium

What is it like to perform in the world’s great opera houses? Find out in two post-concert roundtable discussions with Plácido Domingo and James Conlon.

Sing Out Loud
11:45am and 1:30pm, Founders Room, ticket required (limited availability)
Sing Out Loud
is a 30-minute, interactive introduction to opera for children and their families, featuring some of opera’s “greatest hits.” The performance is geared toward children aged 4 to 10 and their families. The Founders Room is located on the Hope Street side of the theater, one floor above the main level. Free tickets should be reserved in advance at www.laopera.org. (There will be a standby line for any available spots.)

Screening: La Damnation de Faust
1:30pm, Downstairs Green Room

LA Opera’s 2003 production of Berlioz’s grand-scaled masterpiece, featuring Paul Groves, Samuel Ramey and Denyce Graves, in a one-of-a-kind staging conducted by Kent Nagano and staged by director/designer Achim Freyer.

Meet the Artists: Plácido Domingo and James Conlon
2pm, East  Lobby (Grand Avenue side)

Plácido Domingo and James Conlon will be available to autograph programs, CDs and DVDs. Items will be available for purchase in the main lobby’s Opera Shop, and attendees are also invited to bring their own favorite items for signing.

Backstage Tours
2pm and 3:30pm, ticket required (limited availability)

Take a closer look at the sets and costumes for Roméo et Juliette with 45-minute guided backstage tours. Tours will begin in the lobby near Doors 1 and 2 into the auditorium (Hope Street side). (There will be a standby line for any available spots.)

Screening: La Traviata
4pm, Downstairs Green Room

LA Opera’s 2006 production of Verdi’s beloved tragedy, starring Renée Fleming and Rolando Villazón, in a sumptuous production conducted by James Conlon and directed by Marta Domingo.

Scenery and Prop Display
All day, 3rd Floor Lobby (Grand Avenue side)

See how the designer’s vision makes it to the stage through set models and designers’ renderings for productions of Il Postino (designed by Riccardo Hernandez), Il Trittico (designed by Santo Loquasto) and The Broken Jug and The Dwarf (designed by Ralph Funicello). Attendees can also handle actual props used onstage during performances.

Costume and Wig Displays
All day, 3rd Floor Lobby (Hope Street side)

Clothes may make the man, but highly detailed costumes and wigs help singers make magic. Some of our best will be on display throughout the day, including several costumes from LA Opera’s 2008 production of Zemlinsky’s The Dwarf, designed by Linda Cho, as well as costumes designed by Constance Hoffman for LA Opera’s 2006 world premiere of Goldenthal’s Grendel, including the massive Dragon attire worn by Denyce Graves. Additionally, attendees can watch a highly skilled artisan from the wig department creating a hairpiece from scratch.

LA Opera History Video Project
All day, 4th Floor Lobby (Hope Street side)

Step into our video booth and share your LA Opera story. What was your first opera?  What is the one performance you will never forget? Who are your favorite performers?  Your reminiscences will become part of LA Opera’s permanent history.

Historic Photo Gallery
All day, 4th Floor Lobby (Grand Avenue side)

A display of photos from the early years of the Dorothy Chandler Pavilion and LA Opera to the present day, including many behind-the-scenes photos.

Welcome Booths
All day, Main Lobby

Hosted by the Opera League of Los Angeles and Hispanics for Los Angeles Opera


In celebration of Halloween…

I’m what you’d call a lifelong horror geek, and this time of the year my DVD and Blu-ray decks overheat with the likes of The Abominable Dr. Phibes and The Texas Chainsaw Massacre. Drive-in fare like The Killer Shrews and War of the Colossal Beast are personal faves from a childhood reared on WLVI Boston’s Creature Double Feature, and I’ve literally worn out a VHS of the long out-of-print The Incredible Melting Man.

But let me tell you something… the video collection can’t compete with some of the LIVE eerie effects, creepy costumes and monster moments this company has put on stage in the past decade. Here are a few highlights:

Denyce Graves is haunted by puppets and projections in DUKE BLUEBEARD'S CASTLE (2002)

From La Damnation de Faust in 2002 to The Turn of the Screw just last season, I’ve been treated to all sorts of ghostly images and visitors from the underworld, all in grand operatic scale. I’m not all that into ghost movies, but huge skull-headed spectral puppets live on stage are absolutely breathtaking.

The massive reaper from DON CARLO (2006), which looked like it stood over eight feet, was way more intimidating in person than anything portrayed on screen in LORD OF THE RINGS.

The statue-come-to-life in DON GIOVANNI (03 and 07) is downright zombie-like, as are the lost souls who drag him to the Underworld soon after.

2010's THE TURN OF THE SCREW featured both classic-style specters and nightmares right out of modern Japanese cinema.

The scares don’t stop at haunting spirits, we’ve put some pretty astounding MONSTERS on the stage, too.

In my opinion, LAO's 1990 production of WHERE THE WILD THINGS ARE had better practical costumes than the expensive digital creations of the recent film.

The Douglas Fitch-designed woodland creatures from HANSEL AND GRETEL (2006) were either whimsical or downright creepy, depending on how you felt about the electronic 'screen' eyes.

Despite their colorful execution, fairytale creations can be as scary as circus clowns are to some of us (and isn’t Pagliacci just a step away from being a slasher movie anyway?), but the nightmarish creatures of Julie Taymor’s Grendel left no room for interpretation. They were unnervingly inhuman and grotesquely asymmetrical.

These primitive abominations spawn the more man-like Grendel. The monster-as-protagonist was not only more humanoid, he was the most human character in the opera. It’s a widely popular theme in monster movies, going back to King Kong and Boris Karloff’s child-like monster in Frankenstein in the 1930s. We’re the creature. The marginalized, misfits and misunderstood of the world relate to the lagoon monsters and transformed un-men spurned by damsels in distress and hostile villagers alike.

Of course, the more singing a creature has to do, the more free the face has to be. Denyce Graves’ dragon, with three supporting vocalists as the tail, was actually more of a traditional opera costume.

But no one… and I mean NO ONE… did more heroic above-and-beyond singing in a monster suit than Daniel Okulitch in 2008's The Fly!

David Cronenberg’s first foray into opera was technically a reinterpretation of his landmark 1986 film, but it had a firm foot in the 1958 original as well. The Fly is an evolution of the familiar mad scientist theme, but with a more sympathetic lead. Seth Brundle isn’t a hand-gnashing madman cackling like a lunatic in his ominous lab. He’s brilliant, he’s onto something big, and in a very human moment of weakness and impatience makes a small mistake with unimaginably profound consequences. (Hmm, sounds like opera, doesn’t it?) All he tries to do from there is get back to being human, but the paths he takes go more and more wrong until the ultimate tragic conclusion.

Two latex-based creature suits, created by Mark Rappaport/Creature Effects, turned baritone into beast in The Fly. The first being simple lab clothes with lumpy semi-insectoid arms and head attached. This half-way creature look (lovingly referred to as “pants monsters” by the fan community) evoked the classic dirt-cheap B-movies of the 50s and 60s – The Hideous Sun Demon coming immediately to mind.

The stage-two transformation was a full-body suit. Now as any monster movie buff knows, all full-body suits harken back to The Creature from the Black Lagoon, and the opera’s costume did its pedigree proud. But this suit had some special needs no movie gear ever had to deal with: the wearer had to sing in it. And sing suspended upside down from a scaffolding!

The Fly ended with a cinema-quality puppet/suit emerging from a smoking piece of retro lab tech. The man succumbed to monster, and the monster met its end, returning the Dorothy Chandler Pavilion stage to the relative tranquility of crazed knife-wielding lovers and bloody political intrigue.

And while I fully realize it is not The Fly, but Butterfly that keeps us open, as a monster movie buff I’m honored to have been here to see some amazing live stuff on stage.

Keith J. Rainville
LA Opera Brand Manager and graphic designer
(Creature from the Black Lagoon figure on desk)



Tenor Ben Bliss on “Whitney”

Photo by Kenneth Dolin

Ben Bliss, one of the newest members of the Domingo-Thornton Young Artist Program, will make his Company debut in just a few weeks as Benvolio in Romeo et Juliette. But he makes his NBC primetime debut tomorrow night, with a guest appearance on the new sitcom Whitney. He’ll even sing! Tune in Thursday at 9:30pm, when lead characters Whitney and Alex compete to see who can be more romantic.

Official show site


Stephen Costello interview

Stephen Costello, who’ll be our Rodolfo at the end of the season, recently sat down for an interview with “The Huffington Post.” Click here to read it.


Revenge of the LA Opera Costume Shop Sale – The Recap

Several hundred people started lining up along Alameda Street in downtown LA early Sunday morning to ensure first dibs at our “Revenge of the LA Opera Costume Shop Sale.” From complete costumes to masks, wigs, accessories and plumed hats, opera lovers, families with tots in tow, Halloween fans, theater fanatics and young designers poured through the racks hoping to find that right one-of-a-kind item.

Potential buyers arrived dressed very LA casual, but quickly transformed into the Grand Duchess of Gerolstein or a Chinese warrior from legendary times as they squeezed themselves into the stage couture. “We have a killer neighborhood costume party and this outfit is going to rock this year,” said Burbank property manager Deirdre Baird whose husband Tom was attired in full Turandot peasant attire. Longtime subscriber Nancy Colman-Frank along with daughter Melissa Holritz and granddaughter also scored big with multiple items including Timor’s shackles from Turandot and a worn fisherman’s outer coat. “We wanted to be a bleak Peter Grimes family this year,” Melissa said as she pointed to her young daughter wearing a darkly veiled brimmed hat. “This sale is brilliant.”

For several hours, shoppers wandered the racks wearing bird costumes, gladiator-style helmets and face masks while trying on numerous outfits. Criminal defense attorney Leslie Anne Boyce used the Costume Shop’s glass windows as fitting room mirror as she assessed the strapped black evening gown fitted with petite white wired feathers on top. “I’m thinking more of New Year’s Eve with this dress,” she said.

Carol Levin and daughter Laura stopped by on the way to the final Eugene Onegin matinee performance hoping to snag a quick item. “Do you think Dad would wear this to a Renaissance Faire?” asked budding designer Laura as she held up a darkly colored medieval frock.

As the racks of clothing were consolidated to a remaining few, Costume Shop production assistants Stephanie Cytron and Sondra Veldy sighed, “I love this sale. People get to see the amazing work, the attention to detail, and the choices that go into every piece of clothing. This is what we do!”


Memories of Opening Night: Carol F. Henry

We asked Carol F. Henry, one of the founders of LA Opera and the current President of the Board, for her memories of LA Opera’s inaugural performance of Otello on October 7, 1986.

Warner and I were so thrilled to be there on October 7, 1986, and to be a part of what even then I knew would be the beginning of a major international opera company. We had Placido with us from the beginning, coupled with the experience and wisdom of Peter Hemmings, so we knew we were going to be among the winners on the world stage. I never doubted it.  We were seated in the Founders Circle and I was somewhat horrified when the curtain stuck, probably more horrified then than I would be now. Today it’s just a glitch; but then I most likely feared it was an omen.

But what did I wear? Probably the same long white dress I wore to the opening of the Dorothy Chandler Pavilion in 1964. It still fit, it was the only long dress I still had after three pregnancies, and times were tight enough then that a new gown would have been out of the question. And I loved it!


Memories of Opening Night: Bernard A. Greenberg

We asked Bernard A. Greenberg, one of the founders of LA Opera and the current chairman of the Executive Committee, for his memories  of LA Opera’s inaugural performance of Otello on October 7, 1986.

As I recall, we were sitting in the middle downstairs around the 10th to 12th row. When the curtain got stuck, I thought “Oh, no! This is not happening!” But then it was over so quickly. Little did I think at that time that we would be constantly reminded of this mishap “courtesy” of [former LA Times critic] Martin Bernheimer.

The one thing I most remember from that night is that the production was a triumph and, finances aside, we were finally, solidly on our way towards establishing a real producing company.

Given our myriad of problems, I sometimes marvel that we are still here. But, notwithstanding the adage that embarking on the presentation of opera creates its own opera, looking back over our 25 years, plus the many years that led up to our October 7, 1986 opening, I am very satisfied and extraordinarily pleased to have been part of this adventure.

By Bernard A. Greenberg

Do you have a special LA Opera memory that you’d like to share? We’d love to hear from you. Send us your reminiscences to press@laopera.org


Memories of Opening Night: Alice Coulombe

We asked Alice Steere Coulombe, one of the founders and a life trustee of LA Opera, for her memories  of LA Opera’s inaugural performance of Otello on October 7, 1986.

Joe and I were there, sitting in the Founders Circle. I remember that I wore a beautiful, beaded Indian silk dress. I also had real brown hair. [When the curtain was momentarily stuck on its way up] I thought, “Why don’t they stop and start again?” But they couldn’t because it was being broadcast live. It really only lasted seconds—no harm done—but it felt like a lifetime.

Joe Looking back over the last 25 years, I have an unladylike sense of pride, and many happy memories. All our Pasadena opera friends were convinced that Lorraine Saunders and I had accomplished this all by ourselves, so we had lovely coverage in the local paper.

There were volunteers everywhere. One of my kids was working on proofreading the supertitles at rehearsals. I remember a real blooper one night. Jane Hemmings and I had come together, and we were sitting in the Founders laughing. My daughter Madeleine told me when she got home that she knew we were up there laughing, even though she could not see or hear us. And she was furious!

By Alice Steere Coulombe

Do you have a special LA Opera memory that you’d like to share? We’d love to hear from you. Send us your reminiscences to press@laopera.org


Happy birthday to us!

It’s our birthday! 25 years ago TODAY, LA Opera inaugurated its very first season with a landmark production of Otello starring Placido Domingo. It was a remarkable beginning, and our journey over the last quarter-century has been truly astounding. For that, we have YOU, our incredibly devoted audiences, to thank.


It’s a bird! It’s a…um, a plane?

Photo by Allison Achauer

Actually I’m not completely sure what that second one is, but it’s pretty fabulous, and I think I want to buy it.

The LA Opera Costume Shop is literally gearing up for the upcoming costume sale this Sunday, October 9. Today, four of our costume staff—Jennifer, Laina, Hallie and Heather—paid a visit to KCAL 9 News at 2 wearing some of the pieces that will be a part of the sale. The costumes were so spectacular and elaborate that Hallie said that she felt like she was part of old-time Hollywood. It was inspirational to the rest of us in the shop. The wheels are turning…maybe a “Ladies of the Costume Shop” calendar is in order?

By Pamela Walt

Click here for more info on the costume shop sale.


Gran Venta del Taller de Vestuario

Otra vez viene la temporada de Halloween, una locura que a todos les encanta celebrar. Estan a tiempo con la Gran Venta del Taller de Vestuario de La Opera de Los Angeles que vamos a tener en nuestro edificio el dia 9 de octubre desde las 11 de la mañana hasta las 4 de la tarde o antes si se acaba TODO. Y aqui les doy un muestra de las muchas cosas que vamos a vender… Si tu quieres ser unas de la personas que quiere un disfraz de las muchas produciones del pasado nuestras puertas abren a las 11, los esperamos!


Costume Shop Sale!

On Sunday, October 9, just in time for Halloween, LA Opera will clear out its overstuffed costume racks with its second ever costume sale: “Revenge of the LA Opera Costume Shop Sale!” Trick-or-treating connoisseurs looking to stand out in a crowd of Snookis, Charlie Sheens and Captain Americas will have the opportunity to snag one-of-a-kind items that have been seen on the stage of the Dorothy Chandler Pavilion. Prices range from $20 for individual accessories including masks, wigs, military items, plumed hats, belts and shoes, to $300 for complete costumes.

The sale will take place in the Costume Shop’s parking lot, 330 South Alameda Street, Los Angeles CA 90013. Street parking is available, and there will be secured pay parking in the Little Tokyo Galleria parking structure, directly across the street from the sale at 333 South Alameda.

The gates will open to the general public at 11am. Customers who have bought tickets to LA Opera’s November production of Roméo et Juliette can show their tickets at the gate for early entry beginning at 10am; each ticket shown will admit one person. The sale will continue until 4pm or until the stock is sold out (whichever comes first). Cash or credit cards will be accepted.




Food stands are back!

Coming to Eugene Onegin or Così fan tutte? Come hungry! We’ve teamed up with the Patina Restaurant Group to present a new outdoor dining option at the southeast corner of the Music Center Plaza (inspired by the huge success of our Ring cycle beer garden).

For Eugene Onegin, enjoy Russian-inspired grilled beef “shaslyk” skewers with Anaheim chili and sweet onion relish. For the set-in-Naples Così fan tutte, you can savor grilled Italian sausage, olive salad and a roasted garlic asiago roll. There will be an assortment of beverages available for purchase as well.

You can even beat the crowds by pre-ordering before the show for intermission dining. Food stands will be available for every performance except the Saturday, September 24 performance of Così.



Another Opening, Another Show

The curtain has risen on the 2011/12 with a fantastic performance of Eugene Onegin. How about some Mozart to keep the celebration going? Cosi fan tutte opens tomorrow at 2pm. If you can’t be here with us in the theater, join us at home by listening to our live radio broadcast at KUSC 91.5 fm (or online at www.kusc.org).


We’re number one!

With our season opening this weekend, we’re #1 on the “Los Angeles Downtown News” list of top five things to do this weekend. Click here for your weekend entertainment to-do list.


Ten Questions for Aleksandra Kurzak

When our Fiordiligi, Aleksandra Kurzak, took on the Out West Arts questionnaire, we found out that she was destined from birth to be an opera singer. Click here to find out why.

Photo by Andrzej Swietlik




Joy for “Gioia!”

 

There’s a terrific review at Parterre Box for soprano Aleksandra Kurzak’s solo CD debut. (She’s our Fiordiligi in Cosi fan tutte.)

 

“By any measure, this disc is a feast of great singing…a triumphant offering from an artist whom I believe to be most important vocal discovery of the past five years.” Click here to read the full review.



Meet Alexander Prior

Alexander Prior has been commissioned to compose LA Opera’s new opera for families, Jonah and the Whale, which will have its world premiere  in March 2012 at the Cathedral of Our Lady of the Angels, conducted by James Conlon. The fast-rising, London-based composer/conductor has had a number of high-profile engagements with major orchestras and ensembles around the world in recent season. You can check out excerpts from a number of his works at his website: www.alexprior.co.uk.

“It is such a privilege to be collaborating with one of the world’s great opera companies and one of the world’s most inspirational and outstanding conductors on Jonah and the Whale,” says Mr. Prior. “When Maestro Conlon initially approached me with his idea, it spoke to me directly and immediately. I have long had the idea of an all-encompassing opera like this in the back of my head, and now I have a most amazing opportunity to fulfill it. I am really enjoying my collaboration with librettist Velina Hasu Houston as we create a way to involve everyone present at the performance, drawing them into the music and hopefully touching their hearts. I hope that this will offer a wonderful opportunity for people from all walks of life to experience opera and I’m so happy to share my music with the people of Los Angeles. One of the major themes of this opera is the great power of love, both from God and between humans, and how it can overcome great obstacles and distances to reunite. It is my hope that this just might become a work that will come to mean something special to children, and to those of all ages and backgrounds, for many years to come.”

A remarkable young talent, Mr. Prior was born in London in 1992 of English and Russian parentage. (Interesting trivia: he is the great-grandson of renowned theater director and reformer Konstantin Stanislavski.) He graduated with distinction from the St. Petersburg Conservatory, where he studied composition and conducting. He was a prize winner in the 2008 International Prokofiev Composers Competition during which his Concerto for Piano and Orchestra No. 2, Northern Dances, was performed by the State Academic Symphony Orchestra of St. Petersburg.

Other performances of his works include his opera-ballet The Jungle Book at the Kremlin in Moscow, his Quadruple Concerto with the Northern Sinfonia and Royal Philharmonic, the symphonic poem Stalin’s March by the City of London Sinfonia, The Prince’s Feast by the National Symphony Orchestra at the Barbican, conducted by the composer, and Svyatogor’s Quest by the Sitkovetsky Piano Trio at London’s Wigmore Hall. In 2008, following successful performances in St. Petersburg, the Rossica Choir toured the UK with performances of his choral cycle Sounds of the Homeland and parts of his All Night Vigil. The St. Petersburg Concert Society commissioned his choral symphony based on Gogol’s Diaries of a Madman, which was premiered in the Smolniy Cathedral in 2009, with the composer conducting the St. Petersburg State Symphony Orchestra.

Most recently, in August 2011, he conducted the world premiere of his Triple Concerto, entitled That which must forever remain unspoken, with the City Chamber Orchestra of Hong Kong. In April 2012, he will conduct the world premiere of his 6th Symphony with the Dallas Symphony Orchestra, commissioned by the Fluor Corporation.

In his career as a conductor, Mr. Prior has performed with the Royal Philharmonic, Seattle Symphony, National Symphony Orchestra (U.K.), Northern Sinfonia and St. Petersburg State Academic Symphony. Conducting engagements for the 2011/12 season include performances with the German Chamber Orchestra, Norwegian Radio Orchestra, Royal Danish Opera Orchestra and Helsingborg Symphony.

“I feel that Alexander Prior, an extremely gifted and prodigious young composer, is the right person to realize this project,” says James Conlon, who will conduct the world premiere of Jonah and the Whale. “His collaboration with one of Los Angeles’ most talented writers, Velina Hasu Houston, should prove rewarding for all of us who are devoted to bringing the classical arts closer to everyone in greater Los Angeles.”


LA Opera Commissions “Jonah and the Whale”

Alexander Prior, the composer of "Jonah and the Whale"

LA Opera has had enormous success with its annual productions at the Cathedral  of Our Lady of the Angels, bringing together Angelenos of all ages for community performances of Britten’s Noye’s Fludde, Handel’s Judas Maccabaeus and The Festival Play of Daniel. This spring, we’ll offering something completely new, the world premiere of a delightful work commissioned by LA Opera, Jonah and the Whale, by composer Alexander Prior and librettist Velina Hasu Houston. Conducted by LA Opera’s Richard Seaver Music Director, James Conlon, Jonah and the Whale will be performed at the Cathedral on March 16 and 17, 2012. The production will be directed by Eli Villanueva. Tickets to Jonah and the Whale will be free to the public and will become available at the beginning of the year.

Alexander Prior was born in London in 1992 of English and Russian parentage. The fast-rising composer/conductor recently conducted the world premiere of his Triple Concerto, entitled That which must forever remain unspoken, with the City Chamber Orchestra of Hong Kong, and he will conduct the world premiere of his 6th Symphony with the Dallas Symphony Orchestra in April 2012. He graduated with distinction from the St. Petersburg Conservatory, where he studied composition and conducting. “One of the major themes of this opera is the great power of love, both from God and between humans, and how it can overcome great obstacles and distances to reunite,” said Mr. Prior. “It is my hope that this just might become a work that will come to mean something special to children, and to those of all ages and backgrounds, for many years to come.”

Librettist Velina Hasu Houston is an internationally acclaimed, Los Angeles-based playwright of over 20 plays as well as a published poet and essayist, and screenwriter.

Click here for the full announcement.

For more information on the composer and librettist, please visit www.alexprior.co.uk or www.velinahasuhouston.com.


Love and its Discontents

By Basil De Pinto

Of the three operas which Mozart made from librettos by Lorenzo da Ponte, Così fan tutte has always been the most problematic. It has neither the sheer musical grandeur of Don Giovanni nor the expansive humanity of The Marriage of Figaro. It shares their comic element — it alone is called an opera buffa — but until recently it has not rated highly in audience appreciation. Happily that has changed, and in our day not only music critics but the public at large have taken it to their hearts. And rightly so.

What bothered people in the past? Certainly not the music, which is typical of the fully mature Mozart. By the time Così appeared in 1790, the composer had finished his last three masterful symphonies and quantities of chamber music and concert arias. He was at the height of his powers with, among other masterpieces, The Magic Flute, La Clemenza di Tito and the Requiem still to come. But the libretto of Così aroused a good deal of Victorian prudery; infidelity in love and partner swapping raised self-righteous hackles in 19th century society. In our time, the title itself (translatable as “women are all alike”) sent out feminist alarums with the suggestion of the intrinsic flightiness of female emotion. Of course we can counter that with abundant evidence of the wanderlust of the male of the species.

Then there is the question of the theatrical form: can such matters be adequately treated by an opera buffa? We know well enough that descriptive tags in Mozart can be deceptive. Don Giovanni’s “dramma giocoso” tries to have it both ways; Figaro is just “an opera in four acts,” although it was well known that its source was Beaumarchais’ comedy of the same name. But in both cases there are serious undertones that do not merely supplement the comic aspects but are woven intrinsically into them. So in Così: the genre is plainly comedy, with a basically amusing plot and many hilarious moments. Add to that elements like Fiordiligi’s almost camp parody of opera seria in “Come scoglio” and there is no doubt that we are firmly planted in the Shakespearean world of “What fools these mortals be.”

But the real point of the story lies elsewhere. The central tenet of the opera is the need to discard illusion and embrace the reality of human weakness — not to extol it but to live with it courageously. When the opera begins, the two sets of lovers are absolutely convinced that nothing could mar the purity of devotion that unites them. Don Alfonso claims to think otherwise and challenges Ferrando and Guglielmo to test the claim of total fidelity. To prove that their ladies cannot be unfaithful, the two lovers engage in the nasty plot devised by Alfonso and Despina, and Fiordiligi and Dorabella eventually fall, if ever so briefly, into the trap laid for them.

So there is a purposeful ambiguity that founds and sustains the flow of events and the actions of the characters. The two men say that they believe in the firm commitment of their ladies, but they still agree to put them to the test. Are they as sure as they claim to be or is there a hidden uncertainty they cannot admit? We have to be alert not only to what is going on, but to what is suggested, what is concealed behind what is revealed. The initial wager is an apparently cynical claim by Alfonso that all women are easily misled, emotionally undependable. The two young men make no ideological disclaimers, they just insist that such a statement could never be true of the women they love. Already we may suspect that neither party to the claim is fully devoid of illusion: both Alfonso’s broad generalization and the indignant reply of the lovers are open to question. Basic knowledge of human nature would incline the listener to say, wait a minute — how about some balance here.

But that would stop the opera before it has hardly begun. Illusion has to be nourished on all sides, and cynicism must have its say. The outcome is so wonderful because both sides in the dispute will have to play out their designs, there will be dissatisfaction and disappointment all round, and the conclusion will refuse to tie up the whole thing in a neat package, but will force the recognition that reality is always the only if not the best thing we have.

This is quite a bit to chew on but it is not enough; it only touches the surface of the opera. The only way to plumb its depths is to immerse ourselves in Mozart’s scintillating and highly expressive music, which is the living soul of Così. The music is able to act as a hidden commentator on the action. When the surface shows a comic face, the music often tells us that something else is going on. An apparent calm may well disguise turmoil underneath. For Mozart has not simply alternated cleverness and frolicking with hidden gravity, but actually reveals two things at once, through both the voices and the orchestra.

Take the Act 1 quintet for the lovers and Alfonso, “Di scrivermi ogni giorno,” (Swear you’ll write me every day). The two couples about to part sing in meltingly lyric tones; the melody pulsates with romantic ardor as the singers attest to the unbreakable bond that unites them. This is music of deeply felt passion and it is easy to be swept up in its sweet sorrow. But along with it we hear Alfonso’s aside, “Io crepo se non rido” (we’d say, “I’m cracking up here”). He knows that the whole thing is a ruse of his invention. The orchestra betrays his self-satisfied cackle with short, tripping notes that contrast with the suave, lilting flow of the lovers’ music.

Mozart also knows how to provide contrast between the purely comic scenes and moments of contemplative calm. As the engine of the plot is accelerating and the two men are warming to their task, Ferrando pauses to sing “Un aura amorosa” (The breath of love will feed our souls), surely one of the composer’s most meltingly lyric tenor arias, rivaling if it does not surpass, the tenderness of Don Ottavio’s “Dalla sua pace” and Tamino’s portrait aria.

There is considerable contrast, too, between Fiordiligi’s high flown “Come scoglio” and her second act “Per pietà” in which she acknowledges her infidelity. Again there are big jumps from high to low, suggesting that the same basic character is in play, but the whole tone of the aria is one of a more gentle and placid frame of mind, an attempt to approach honest self-recognition.

To return to the central puzzle of the plot: will the ladies stand firm in their commitment to their lovers or will they be seduced by the disguise the men have put on to test them?

Ferrando and Guglielmo twice play on the soft hearts of Fiordiligi and Dorabella, claiming that they are so smitten with love that they are going to die if they are rejected. In the first act, poison (and a fake cure by the wily Despina) is the ploy, and in the second act the men need nothing more than the power of their amorous persuasion. Things begin to move very fast towards the end, so that the bounds of credibility are somewhat strained. First a phony marriage contract signed by the women; the return of Ferrando and Guglielmo sans disguises; horror of both couples at the breach of faith; and a hasty reconciliation followed by general rejoicing.

To tell the truth, the music at this point may be more of a hindrance than a help. As in any Mozart finale, the score is brilliant, sparkling and makes a total claim on the attention. But we have to ask, how do the couples finally pair off, as it was in the beginning or are they newly conformed? There seems to be no definitive answer. What’s really important is declared by Alfonso in his final words: I deceived you so that you would be undeceived, so that you will be “più saggi ormai” — wiser in the future. Wisdom, therefore, is the goal towards which the whole action of the opera is aimed.

This is a focal point in much of Mozart’s work for the stage. In that sublime moment at the end of Figaro when the Countess bends down to her faithless husband and pronounces her words of forgiveness, what do we see but an overflowing wisdom that comes from a truly magnanimous heart. The Magic Flute as a whole, but especially in Sarastro’s two great arias, is an expression of the search for the truth and goodness that constitute the highest human wisdom. In Così, the conventions of opera buffa veil but never obscure the central contention of the work, that illusion is the enemy of true happiness, and that love is worthless unless grounded in reality.

For all the fun there is to be enjoyed in this opera, we are never far from pain. The men, in tricking their loved ones, know that if they are successful, they face irreparable loss. The women, battling the lower angels of their nature, struggle with forces they know can overcome them. But the end of this struggle is the beginning of wisdom. What the couples want is total love, complete fidelity; they have to face the reality of human beings who cannot give them exactly what they want. Will the men collapse in despair, will the women die of shame — or will they listen to Despina who says at one point: “Così fan tutti” — men are just the same. Don’t look for a romantic ideal that doesn’t exist; everybody bears the same burden. We have to carry the load with and for one another.

Once again the famous question: do the couples rejoin their original partners or not? If we are all alike, what would be the point of switching partners? This is not to suggest a cold, calculating resignation, but a mature willingness to face our common weakness and support one another with love, the true love all concerned were looking for in the first place. Maturity comes from wisdom, which recognizes the basic flaws in our human makeup and the struggle we must constantly maintain to live with it.

The music of the finale crowns these sentiments without, even at the end, making definitive declarations — a good idea considering what has happened and the people involved. The women swear in the sweetest of tones to be faithful and the men promise vigorously not to test them again. And everybody joins in the concluding peroration: always look at the bright side of things and, in the sturdy tones of Enlightenment philosophy, let reason be your guide. The result, bella pace (lovely peace) will be your reward. The music for these words manages to convey both suavity and fierceness together, and the inevitably bright allegro brings things to a close.

Both Mozart and Da Ponte are supreme realists. They have clothed their vision of life and of human behavior in the bright colors of comedy. They know that to be at play, like the characters in this opera, is a deep human need and also a great achievement. After them came the flood of 19th-century romanticism, another high-water mark in the annals of art, but of another stripe; Beethoven and Wagner could never be called playful. They also dealt with love and its discontents, but in a very different way.

Mozart’s genius was his power to look at the serious, even tragic aspects of life and clothe them in the raiment of joy. If, as Auden says, “In the real world…no love is totally innocent,” Mozart’s reply is: even so, it is redeemed by sincere good will and the honesty of self-renewal. There is no ideal solution, only the joyful, peace-filled embrace of the real.

Basil De Pinto has written for the opera companies of Los Angeles, Washington, D.C., Seattle, Atlanta and Fort Worth.


The Dark Side of the Age of Reason

By James Kincaid

Twist it how you will, Così fan tutte is a squirm-inducing opera. It’s been suggested that one is best served by blocking out the lyrics, blinding oneself to the supertitles. Short of that, we seem to be faced with a bitter fable that asks us to regard as comically satisfying a set of humiliations and betrayals,  set up to illustrate the universal truth that women are faithless and stupid.

So challenging is Così fan tutte [Women Are Like That] that, after some initial success, it all but disappeared from opera houses for 200 years. American opera houses were the most resistant, avoiding this collaboration of Mozart and Da Ponte until 1927. Mozart’s first biographer, Niemetschek, called it “a trashy text.” Later composers were even harsher: Beethoven called it “immoral” and Wagner dismissed it as “unworthy.”

How do we understand such fury? One way is to mount our usual high horse: those Romantics and Victorians were unable to understand the opera as we do. Claiming to be more sophisticated and insightful than a whole century is a dangerous game to play, but it may be a game worth playing, for all that. The 19th century was not very well attuned to comedy of any sort, much less the worldly, pragmatic comedy that Così fan tutte sets out. Reacting as the century did to the cold rationalism of the Enlightenment, they pressed idealistic figurings of human capacity as far as they could be stretched. An opera which ridicules such idealism could not sit well with an age so hell-bent on perfection, and this opera may be more attractive to us battered 21st-century sorts when it is urging us to take the world as we find it, live in it, fluff up our own pillows and make others comfortable too.

This atmosphere of easy tolerance can be emphasized in some productions, especially if Don Alfonso is made more avuncular and whimsical than cynical when he pointedly swears not “by heaven” but “by earth.” It is “earth” which rules here in Così, a warm ac-ceptance of things and a willingness not to calculate too closely others’ wrongs. In that vein, it makes us think of golden comedies of accommodation, of Shakespeare’s romances, of Groucho and Mae West. It’s not a small thing when such glorious music allows us to laugh at our limitations, flightiness, and deep frailty.

Yes, but the flightiness, frailty, the ready capacity to betray, the mindless selfishness we may possibly be cajoled into welcoming into our hearts is, in Così, pretty much confined to women. “Tutte” is feminine, after all, and to be “like that” means, apparently, to be capable to vowing eternal love to one person in the morning and to another in the after-noon.

How do we escape the feeling that we are wallowing in the darkest side of the Enlightenment, that Age of Reason which almost always denied that faculty to women? This dark misogyny amounted sometimes almost to sadism, as in the fierce comments of Diderot and Voltaire and the milder but no less certain ones of Thomas Jefferson and, memorably, Benjamin Franklin, who wrote “When women cease to be handsome they study to be good.” As Così concludes, the women are unmasked, humiliated and left to pick up what crumbs they can.

And what is left at the end? We may not even know who marries whom. It is here, in this strangely poised, open ending that we may find a way out of our dilemma, explain to ourselves the great pleasure we have experienced in Così fan tutte. After all, the men have been instigators in the betrayal and have found it as easy as the women to change partners. Does it, then, matter if the final couplings are the original ones or the alliances that spring up (and seem somewhat deeper) with “the Albanians”? Recent productions have made different choices about the marriage pairings, and some have been content to have all four young people laughingly part with no hard feelings, but also no commitments, no marriages, no idealistic pledges to feel tomorrow what we think we feel today.

That may be cynical or it may be liberating: Così fan all of us.

James Kincaid is Aerol Arnold Professor in the Department of English at the University of Southern California.


James Conlon: Lessons from the School for Lovers

Errare humanum est… (To err is human)

“Così fan tutte le belle…non c’e alcuna novita” (That is the way all the beautiful women do it, there is nothing new), exclaims Don Basilio, when he discovers the apparently unfaithful Susanna alone in her room with the young page Cherubino, in the first act of The Marriage of Figaro. 

It is pointless to ask who is the best composer, or painter or sculptor. There is no “top ten” in art. At best we can imagine an arc at the highest levels of accomplishment rather than the point of a pyramid. But were I forced to choose one composer above the rest, it would be Wolfgang Amadeus Mozart (1756-1791). There is none better. Beyond the perfection of his music, there is an intangible, mysterious cosmic dimension. He intuited laws of the universe and human nature. His operas portray humanity in all its foibles. He wrote with an understanding of the human heart that defies explanation as and transcends the age in which he lived.

Mozart’s collaboration with Lorenzo Da Ponte (born in Vittorio Veneto in 1749; died and buried in New York City in 1838) produced three Italian operas which are, in order of their composition: The Marriage of Figaro, 1786 (drawn from a French five-act play by Pierre-Augustin Caron de Beaumarchais); Don Giovanni, 1787 (based on multiple sources of the Don Juan myth); and finally Così fan tutte, 1790, whose sources are diverse and ambiguous. Together, these three operas bring to life the battle of the sexes more vividly than any comparable set of works.

Among its many virtues, the trilogy contains sharp satiric elements. Satire is “a sort of glass, wherein beholders do generally discover everybody’s face but their own…” wrote Jonathan Swift. I wonder if the same can be said for the creators of those satires. Does Mozart see himself in this imbroglio? Or is it possible to infer a moral standpoint from which Mozart structured his works? Can we say what were his beliefs, his politics or his value system? Can one deduce any of this from the many personalities in his operas? It is no more possible to do that anymore than it is to derive a personality profile of Shakespeare, the man, from his works. Knowing the person behind the art is interesting, but not relevant when we experience the work.

Although each of these Da Ponte operas is a universe unto itself, the three are interconnected. In Figaro and Giovanni, the men fare poorly, the women much better. That balance is redressed in Così. Subtitled La scuola degli amanti, “The School of (for) Lovers,” it is a rich (and serious) comedy which questions women’s fidelity, after the male bashing in the two previous operas.

What does the title—which defies easy translation—signify? Così (thus); fan, the poetic form for fanno (they do); tutte, the feminine plural (all women). What do they do? It. What is it? We shall see. (Please note that the last letter makes more than an iota of difference: it means ALL WOMEN. The masculine and collective plural is tutti, which would mean “all men” or “all men and women.”)

Do the women in Così look as bad as the men in Figaro and Don Giovanni? If one were to survey opera enthusiasts’ opinions of each character, there would be as many perspectives as respondents. Passionate and contentious opinions would emerge as each character—Figaro, Don Giovanni, Don Alfonso, the Countess, Donna Elvira, Zerlina, Fiordiligi and Dorabella—could serve as a Rorschach test for opera lovers everywhere.

In Figaro, the men show themselves to be self-centered. The Count is arrogant, petulant, jealous and manipulative, all in the service of maintaining le droit de seigneur (a nobleman’s presumed “right” to spend the wedding night with any bride in his dominion). Figaro, despite his celebrated shrewd mind, lags behind the curve of events. They both are out-smarted by their virtuous women. The young Cherubino, charming as he might be, is nothing more than a Count in training. Don Basilio, a corrupt intriguant and Don Bartolo, pompous and vengeful, fill out this masculine rogue’s gallery. The Countess is the most evolved figure. In her act of forgiveness, she elevates the comedy to the sublime. Susanna, representing the servant class, is a dynamo, loyal to both the Countess and to her fiancé Figaro, even when his behavior doesn’t merit respect.

Don Giovanni’s misdeeds are fathomless, epic. They require divine intervention, and he is suitably sent to eternal damnation. The story of this mythical character continues the critique of the male. The other men—Don Ottavio, Masetto and Leporello—are weak or victimized. None is heroic or a positive male image. The women, far more complex, are portrayed in a more favorable light. Donna Elvira is the most evolved, showing a capacity for love, sensuous and passionate, fiery and strong, and ultimately capable of forgiveness and devotion.

What will we learn in Così’s School for Lovers from its professor, Don Alfonso? We learn that women, too, are unfaithful. Or is there more to the story? By hatching an intricate plan to prove to the young men that their fiancées are imperfect, does Alfonso open a Pandora’s Box? Or does he merely lay bare a reality, allowing the four young lovers to marry with a levelheaded understanding of human nature? Are the women as culpable as Giovanni or the Count? Are the men wholly innocent victims of a scheming mentor and their women’s flightiness? Is Così a complete departure from the earlier operas in turning the tables on the women?

No. In deceiving their fiancées, the young men, masquerading as exotic visitors, are duplicitous. When they realize that they are in competition with each other to prove their seductive prowess, the boys redouble their efforts. Is Don Alfonso motivated by generosity or cynicism? Does he revel in destroying their illusions? Is he an avuncular therapist, positive and practical disciple of Swift’s aphorism: “Blessed is he who expects nothing… for he shall never be disappointed”?

In the epilogue, the moral is drawn: “Happy is the man who looks on the bright side of things, and lets himself be guided by reason. That which makes others weep, will make him laugh, and amidst the terrestrial whirlwinds, he will find a beautiful calm.”

In the end, don’t the women do what Mozart’s men have been doing all along? Why shouldn’t they, asks Despina, the sisters’ servant and Don Alfonso’s accomplice. Dorabella, the more lighthearted and sensuous sister, gives in to this erotic adventure more readily. But is she any less loveable than Cherubino? Fiordiligi, far more serious and passionate, resists longer and suffers before she surrenders to her new feelings. She has emotional depth, like the Countess and Donna Elvira. Is Despina, in encouraging the sisters to carpe diem, any different from Leporello, who helps his master’s conquests for the price of a daily meal? What about Barbarina, the gardener’s daughter in Figaro, who, at a tender age, has already learned to use her feminine charms to obtain what she wants from the Count? And Zerlina, who sets a speed record in falling for Don Giovanni on the morning of her wedding?

The list of could go on. Neither the men nor the women are completely innocent in any of these operas. Mozart eschews moral judgments and presents his characters for our delight and recognition, accepting them all as a part of the universe. Mozart and Da Ponte, like Swift’s looking glass, show the behavior of others, not for condemnation, but for instruction. And we will be wiser when we see ourselves in this marvelous and motley troupe of characters. Mozart, by peering into the microscope, holds up the mirror to us as well.

Mozart envelops each character in his sublime music with acceptance and affection. The rhythmic dynamism, the transcendent harmony and lyricism, the sensuous, evocative voices of the orchestra, the perfectly structured architecture of his music provide equilibrium encircling the characters and their tumultuous emotions. He takes them apart, but then puts them, us—and the universe—back together again.

His music lives in an idealized Enlightenment world, but is equally at home in the real world of human passions and imperfections. The battle of the sexes can never be won, nor can a lasting cease-fire be expected. Vive la différence! It has always been that way; there is nothing new, as Don Basilio told us.

At the end, Don Alfonso says to the boys, and all of us: “Everyone accuses women, but I excuse them, if a thousand times a day they change their love. Some call it a vice and others a habit, but to me it seems a necessity of the heart. The lover who, in the end, finds himself disappointed, should not condemn the error of others, but rather, his very own; Inasmuch as women young and old, beautiful and ugly……”

And, leaving his sentence incomplete and his thoughts to the imagination, he adds: “Repeat with me: Così fan tutte.” Or rather, implies Mozart: “Così fan tuttinon c’e alcuna novita!”

James Conlon, the conductor of Così fan tutti, is LA Opera’s Richard Seaver Music Director.


Salvatore Licitra (1968-2011)

Opera has lost one of its brightest stars, tenor Salvatore Licitra, who died at the age of 43 on September 5 after suffering head and chest injuries in a scooter accident in Sicily on August 27. Los Angeles audiences were fortunate to experience his artistry in three productions. His LA Opera debut came in 2005 as an impassioned Cavaradossi in Tosca (top left), and he returned the following season to sing the title role in Don Carlo (center). His final LA Opera appearance came in 2008 as a powerhouse Luigi in Il Tabarro (right), the dramatic opening chapter of Puccini’s Il Trittico.

“The untimely passing of Salvatore Licitra is a great tragedy for those of us who knew and loved him, and a terrible loss for opera lovers around the world,” said Placido Domingo. “Not only was he was one of today’s finest Italian dramatic tenors—a truly rare breed—he was an absolute joy to work with, a man who never took his enormous gifts for granted. I will treasure the memories of his wonderful performances at LA Opera and elsewhere, with great sadness to have lost such an artist in his prime, and profound sorrow to have lost a treasured friend and colleague.”

After notable early successes in Italy at the Arena di Verona and at La Scala, he had an international breakthrough at the Metropolitan Opera in 2002 when he was flown in on short notice to substitute for Luciano Pavarotti as Cavaradossi, singing not only to a sold-out house expecting to see Pavarotti in what was to have been his farewell operatic performance, but also to some 3,000 people watching a live transmission on the Lincoln Center Plaza. He was instantly welcomed to the major stages of the world as one of the rare tenors who excelled in the dramatic Italian repertoire of Verdi and Puccini. His final operatic performance was as Cavaradossi, in a Ravinia Festival performance of Tosca under the baton of James Conlon.

“It is very difficult to discuss Salvatore Licitra’s untimely death,” said Mr. Conlon. “I met him before his rapid rise to prominence, and I delighted in news of his successes all over the world. He sang with me twice at LA Opera (Don Carlo and Il Tabarro), as well as at the Met, the Cincinnati May Festival and at the Ravinia Festival. It was there that, on July 30, we collaborated in a concert performance of Tosca, together with the Chicago Symphony Orchestra. It was to be his final performance. It is hard to believe that the very young man and friend who stood near me that night, will never perform again. I was always confident that, with his magnificent natural endowment, he would grow into greatness, but his tragic death cruelly prevented him from fulfilling his ultimate potential. His genuine warmth, generosity and capacity for friendship were his trademarks, and for those of us who were close to him, this is a moment of great sadness.”

We will never forget his thrilling performances, his clarion voice and his generous, outgoing personality. He was a delightful colleague, liked by everyone, whom we will miss greatly. Our hearts go out to his family, his loved ones and his many fans around the world.

Click here for more information on the life and career of Salvatore Licitra.

(Photos by Robert Millard for LA Opera)


Eugene Onegin: Duty, Absurdity and the Everyday

By James Kincaid

Tchaikovsky tells us he was, at first, alarmed at the idea of turning Pushkin’s beloved masterpiece Eugene Onegin into an opera. Luckily for us, he soon saw in that poetic narrative a chance to escape “Egyptian princesses, pharaohs, poisonings and stilted effects of all kinds.” Here, in a simple story of domestic screw-ups, the great composer also spotted a chance to “convey through music everyday simple, universally human emotions, far removed from everything tragic or theatrical.”

Fully aware of the risks he was taking in abandoning tried and true dramatic formulae, Tchaikovsky insisted what he had done was not an opera at all, simply “lyric scenes.” “The opera,” he said, “will, of course, be without any strong dramatic action; but on the other hand it will have an interesting everyday aspect to it.” Such low-mimetic realism, he also figured, would guarantee a flop: “it is insufficiently lively and interesting to be to the public’s liking.” So convinced was he that he had a loser on his hands, he trusted this “opera without any prospects” to the students at the Moscow Conservatory for its debut in 1879.

Now this not-quite-an-opera is part of the standard repertoire and much loved. Nor did it take long to establish itself: 1881 at the Bolshoi, Prague in 1888, and, settling matters for all time, a triumphant 1892 performance in Berlin, conducted by Gustav Mahler. The always modest Tchaikovsky attributed the success altogether to Mahler, clinging to the notion that his work was nothing more than a small thing suited to production in homes or small concert halls.

Not that everyone was thrilled at the time. Some disliked any meddling with this iconic Russian work. Some, more pointedly, disliked the particular meddling Tchaikovsky had done: Turgenev wrote to Tolstoy, praising the music (as all have since) but disdaining the story: “What a libretto!”

What a libretto, indeed! The form of the narrative circles round a central irony of missed opportunities caused by characters whose motives, if one can call them that, are derived from trashy novels or passing winds. Upright people still regard Eugene Onegin as an opera teaching us the importance of Duty, which it may well. Tatiana can easily be seen as the central character and her actions as exemplary of mature and responsible being in the world. Having thrown herself into a tempestuous but ridiculously artificial passion for Onegin in her youth, she later sees that what counts is not passion — there is no sign that she connects to old, grizzled Prince Gremin in that way — but moral rectitude, being true to one’s pledges. There is a little of this even in Pushkin’s tricky and poised poem. “Complete moral independence is taking control over all lusts,” he said.

Doubtless true but, speaking only for myself, I find opera most pleasing when it is willing to invade the lust area a little and ease up on the iron moralisms. Duty makes me think of Mother at her worst, of George S. Patton (“duty is the essence of manhood”) and Robert E. Lee (“duty is the most sublime word in our language”), and calls up a longing for Oscar Wilde (“our duty… is to revive the old art of lying”), Shaw (“when a stupid man is doing something he is ashamed of, he always declares that it is his duty”) and Albert Camus (“our only duty is to love”).

Speaking of Camus, there is the chance we may take this opera not as a Victorian paean to dull responsibility but as a relentless portrayal of an absurd man. After all, Eugene Onegin, though central to the action, seems hardly ever present to us and, even less, to himself. Tatiana steals the first act from him, Lensky the second, and Gremin the third. Onegin postures, causes lots of damage, but never makes contact with a real motive or cause. More than Prufrock, he is the Hollow Man. He rejects love, kills his friend, does a poor imitation of Byron, and then is abandoned, as lost as ever. And why? He has done none of this for any reason, his murder of his friend making Meursault’s shooting of the Arab in Camus’ The Stranger seem deeply motivated. Worse, Onegin is not even the victim of any external forces. We’ve known Oedipus, and Gene here is no Oedipus, not even a Willy Loman. Just what we tough post-modernists recognize and thrill to: he’s so like us.

James Kincaid is Aerol Arnold Professor in the Department of English at the University of Southern California.


KCSN to Preview 2011/12 Season on Sunday night

Tune in at 8pm this Sunday evening (August 28), when our new season will be featured on KCSN’s “The Opera House with Bill Toutant.” Bill’s guest will be LA Opera’s Christopher Koelsch, stopping by to discuss the season and play musical highlights from each of the operas. Bill will be giving away two pairs of tickets to the opening night of the season (Eugene Onegin at 7:30pm on September 17) and also to the September 24 performance of Cosi fan tutte. You can listen to KCSN Classical on an HD radio at 88.5 HD2 or via web streaming at KCSNClassical.org, as well as on mobile devices.


Three Singers Join Domingo-Thornton Young Artist Program for 2011/12 Season

This season, LA Opera welcomes three new singers to the Domingo-Thornton Young Artist Program. Bass Erik Anstine (left) will perform the Captain in Eugene Onegin and Frère Jean in Roméo et Juliette, and cover roles in Eugene Onegin, Così fan tutte and Roméo et Juliette. He recently appeared in The Magic Flute and Porgy and Bess with Seattle Opera, after two seasons there as a young artist.

Tenor Ben Bliss (center) performs Benvolio in Roméo et Juliette and Parpignol in La Bohème, also covering the title role in Albert Herring. He studied at Chapman University’s Dodge College of Film and Media Arts, minoring in vocal performance and performing Albert Herring and Tamino in The Magic Flute at the Chapman Conservatory of Music. After working in television production at Paramount Studios for three years, he recently decided to pursue singing full-time.

Mezzo-soprano Renée Rapier (right) will cover Dorabella in Così fan tutte and Stéphano in Roméo et Juliette. Last season she was a participant in San Francisco Opera’s prestigious Merola Opera Program, where she recently performed Rosina in The Barber of Seville,  and she has been a studio artist with Chautauqua Opera.

These new additions to the roster join several singers returning for their second seasons in the Domingo-Thornton Young Artist Program: sopranos Janai Brugger, Tracy Cox and Valentina Fleer; tenor Alexey Sayapin; and baritone Museop Kim.