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Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” (New York Times) and “equal parts poise, radiance and elegant directness” (Opera News).
Ms. Cooke is sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music. Highlights of her career have included the world premieres of operas by Mark Adamo, Mason Bates, William Bolcom, Laura Kaminsky, Nico Muhly, John Musto and Joby Talbot.
In the 2018/19 season, her operatic engagements include her return to Hansel in Hansel and Gretel with LA Opera and debuts as Eduige in Rodelinda at the Gran Teatre del Liceu and the title role of Orlando with the San Francisco Opera. On the concert stage she makes appearances with the symphony orchestras of Chicago, Houston, Atlanta, Nashville, St. Louis, the National Symphony, Sioux City and a domestic tour with the Cleveland Orchestra and Franz Welser-Möst.
Ms. Cooke has performed with opera companies worldwide including the Metropolitan Opera, Opéra National de Bordeaux, San Francisco Opera, Seattle Opera, Houston Grand Opera, English National Opera, Dallas Opera, Santa Fe Opera and the Israeli Opera. A dedicated recitalist, Ms. Cooke was presented by Young Concert Artists in her widely acclaimed New York and Washington debuts at Carnegie’s Zankel Hall and the Kennedy Center. She has also given recitals at Wigmore Hall, Alice Tully Hall and Carnegie’s Weill Hall among others.
Ms. Cooke’s recordings can be found on the Hyperion, BIS, Chandos, Naxos, Bridge Records, Yarlung, GPR Records and Sono Luminus labels. Most recently her recordings include Sasha Cooke LIVE, a collection of her performances from the Music@Menlo chamber music festival, Mason Bates’ The (R)evolution of Steve Jobs released on Pentatone and upcoming releases of Mahler’s 2nd Symphony with Osmo Vänskä and the Minnesota Orchestra and Berlioz’s Roméo et Juliette with Michael Tilson Thomas and the San Francisco Symphony. Click here to learn more.
Soprano Liv Redpath was a member of LA Opera's young artist program from 2016 through 2019.
During the 2018/19 season, she starred as Gretel in Hansel and Gretel and also performed the role of the Heavenly Voice in Don Carlo. Her appearances in the 2017/18 season included Amour in Orpheus and Eurydice, Frasquita in Carmen, Countess Ceprano in Rigoletto and the Messenger in Crossing.
Her 2016/2017 season at LA Opera was a significant one: aside from making her debut in the company’s season-opening production of Macbeth, she also stepped in for Diana Damrau in performances as Olympia in The Tales of Hoffmann. She was a featured soloist in a gala celebration of the Domingo-Colburn-Stein Young Artist Program’s 10-year anniversary. Further work included a host of collaborative projects with LA Opera Artist-in-Residence Matthew Aucoin.
In the summer of 2018, she performed Zerbinetta in Ariadne auf Naxos in a return to Santa Fe Opera, where she had been a 2017 apprentice artist. Previous summers were spent singing Echo in Ariadne auf Naxos with Opera Theatre of Saint Louis, Héro in Beatrice et Benedict at the Aspen Music Festival, and with Wolf Trap Opera.
She earned her Bachelor of Arts degree in English from Harvard and her Master of Music from the Juilliard School. With the latter institution, she had the eminent distinction of being a Kovner Fellow. Favorite roles at Juilliard include Thérèse in Les Mamelles de Tiresias, the Queen of the Night in The Magic Flute, and the Angel in Handel's La Resurrezione, which was under the baton of William Christie.
Ms. Redpath’s musical versatility is evidenced by her performances of pieces such as Matthew Aucoin’s Nosferatu (a world premiere performed in LA Opera’s Off Grand series), Schoenberg’s String Quartet No. 2 (with Juilliard’s ChamberFest), and Milton Babbitt’s Philomel (with the Focus! Festival). She has received awards from the Metropolitan Opera National Council Auditions, Palm Springs Opera Guild, The Loren L. Zachary Society, and The Licia Albanese Puccini Foundation. She was awarded the Novick Career Advancement Grant and the Richard F. Gold Career Grant from the Juilliard School. (LivRedpath.com)
Susan Graham, one of the world's foremost opera stars, became Artistic Advisor to LA Opera's young artist program in 2017.
Hailed as “an artist to treasure” by the New York Times, she rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. She won a Grammy Award for her collection of Ives songs, and her recital repertoire is so broad that 14 composers from Purcell to Sondheim are represented on her most recent Onyx album, Virgins, Vixens & Viragos.
This distinctly American artist has also been recognized throughout her career as one of the foremost exponents of French vocal music. Although a native of Texas, Ms. Graham was awarded the French government’s prestigious “Chevalier de la Légion d’Honneur,” both for her popularity as a performer in France and in honor of her commitment to French music.
To launch the 2018/19 season, Ms. Graham reunited with Andris Nelsons and the Boston Symphony for performances of Mahler’s Third Symphony in Berlin, Leipzig, Vienna, Lucerne, Paris, and London, at the BBC Proms. Back in the United States, she made her role debut as Humperdinck’s Witch in Doug Fitch’s treatment of Hansel and Gretel at LA Opera and returned to Carnegie Hall for Mozart’s Requiem and Haydn’s Nelson Mass with the Orchestra of St. Luke’s. Further concert engagements see the mezzo reprise her signature interpretations of four great French song cycles: Canteloube’s Chants d’Auvergne with the Sydney Symphony and David Robertson; Chausson’s Poéme de l’amour et de la mer with Florida’s Naples Philharmonic and Andrey Boreyko; Berlioz’s Les nuits d’été with the Houston Symphony and Ludovic Morlot; and the same composer’s La mort de Cléopâtre with the New Zealand Symphony under Edo de Waart. In recital, she sings Mahler and Berlioz at the Santa Fe Chamber Music Festival, while her Schumann-inspired Frauenliebe und -leben: Variations program is the vehicle for dates in the United States and at Australia’s Adelaide Festival.
Last season, she sang Berlioz’s La damnation de Faust with the Boston Symphony under Charles Dutoit. After reprising her star turn in the title role of Susan Stroman’s take on Lehár’s The Merry Widow at the Met, she joined Nathan Gunn for Trouble in Tahiti at Lyric Opera of Chicago to honor the Bernstein centennial. She concluded the operatic season with her title role debut opposite James Morris in Marc Blitzstein’s 1948 opera Regina at Opera Theatre of Saint Louis. Besides rejoining the Boston Symphony for Mahler’s Third Symphony, she sang Ravel’s Shéhérazade at the San Francisco Symphony, graced a gala concert to celebrate Tulsa Opera’s 70th anniversary, and gave solo recitals in Atlanta and St. Louis. In 2016/17, she partnered with Renée Fleming for the San Francisco Symphony’s opening-night gala, and joined Anna Netrebko, Plácido Domingo, and a host of other luminaries to celebrate the Metropolitan Opera’s five decades at its Lincoln Center home.
Among the mezzo’s many honors are Musical America’s Vocalist of the Year and an Opera News Award. Gramophone magazine has dubbed her “America’s favorite mezzo.”
Susan Graham’s earliest operatic successes were in such trouser roles as Cherubino in Mozart’s The Marriage of Figaro. Her technical expertise soon brought mastery of Mozart’s more virtuosic roles, like Sesto in La clemenza di Tito, Idamante in Idomeneo and Cecilio in Lucio Silla, as well as the title roles of Handel’s Ariodante and Xerxes. She went on to triumph in two iconic Richard Strauss mezzo roles, Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos. These brought her to prominence on all the world’s major opera stages, including the Met, Lyric Opera of Chicago, San Francisco Opera, Covent Garden, Paris Opera, La Scala, Bavarian State Opera, Vienna State Opera and the Salzburg Festival, among many others. In addition to creating the role of Sister Helen Prejean at San Francisco Opera, she starred in Washington National Opera’s revival of Dead Man Walking, making her triumphant role debut as the convict’s mother. She also sang the leading ladies in the Met’s world premieres of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and made her Dallas Opera debut as Tina in a new production of The Aspern Papers by Dominick Argento. As Houston Grand Opera’s Lynn Wyatt Great Artist, she starred as Prince Orlofsky in the company’s first staging of Die Fledermaus in 30 years, before heading an all-star cast as Sycorax in the Met’s Baroque pastiche The Enchanted Island and making her rapturously received musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris.
It was in an early Lyon production of Berlioz’s Béatrice et Bénédict that Ms. Graham scored particular raves from the international press, and a triumph in the title role of Massenet’s Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many of its preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust and Massenet’s Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco and beyond. She recently made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series. Graham’s affinity for French repertoire has not been limited to the opera stage, also serving as the foundation for her extensive concert and recital career. Such great cantatas and symphonic song cycles as Berlioz’s La mort de Cléopâtre and Les nuits d’été, Ravel’s Shéhérazade and Chausson’s Poème de l’amour et de la mer provide opportunities for collaborations with the world’s leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris and London Symphony Orchestra.
Ms. Graham recently expanded her distinguished discography with Nonesuch Records’ DVD/Blu-ray release of William Kentridge’s new treatment of Berg’s Lulu, which captures her celebrated role debut as Countess Geschwitz at the Met. She has also recorded all the works described above, as well as appearing on a series of lauded solo albums, including Virgins, Vixens & Viragos on the Onyx label, featuring songs and arias by composers from Purcell to Sondheim; Un frisson français, a program of French song recorded with pianist Malcolm Martineau, also for Onyx; C’est ça la vie, c’est ça l’amour!, an album of 20th-century operetta rarities on Erato; and La Belle Époque, an award-winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical.
Melody Moore made her LAO debut in 2008 as Eve in The Broken Jug and as the First Maid in The Dwarf, returning in 2017 as Tosca and in 2018 as the Mother in Hansel and Gretel.
Soprano Melody Moore is enjoying a thriving career on the world’s leading stages, prompting Opera News to label her “a revelation,” and of her recent sold-out appearance at Carnegie Hall to rave, “As I left the auditorium, I could only think: more of Moore, please.” The current season marks the release of her first solo album entitled An American Song Album with pianist Bradley Moore on Pentatone Records.
In the 2019/20 season, Ms. Moore will make two notable role debuts: her debut as Amneris in a new production of Aida at the Houston Grand Opera and her role and house debut as the Foreign Princess in Rusalka at Cincinnati Opera. Additionally, Ms. Moore will sing Donna Anna in Don Giovanni at Opera Naples, and will conclude her season as Santuzza in Cavalleria Rusticana at Seattle Opera. Concert highlights include her debut with the Houston Symphony Orchestra in Mahler’s Das klagende Lied under the baton of Music Director Andrés Orozco-Estrada, the title role in Strauss’ Salome at Bard College, and a solo recital and masterclass at Lawrence University. In the summer, she sings Vaughan Williams’ Sea Symphony with the Oregon Symphony, led by Carlos Kalmar.
In the 2018/19 season, Ms. Moore returned to Houston Grand Opera to reprise the roles of Senta in the season opening production of The Flying Dutchman led by Music Director Patrick Summers, and Donna Elvira in Don Giovanni in a new production by Kasper Holten, and returned to LA Opera for a role debut as Gertrude (the Mother) in Hansel and Gretel under the baton of Music Director James Conlon. On the concert stage, she debuted with the Dresdner Philharmonie in the roles of Giorgetta in Il Tabarro and Santuzza in Cavalleria Rusticana, both of which were recorded for commercial release by Pentatone Records. Ms. Moore also sang Senta with the Milwaukee Symphony Orchestra, under the baton of Music Director Edo de Waart, and debuted with the Grant Park Music Festival for Delius’ A Mass of Life at the Grant Park Music Festival, and sang the title role in Salome in Daegu, South Korea. Other recording projects included Minnie in The Girl of the Golden West in Cluj, Romania, and the title role in Madama Butterfly in Lisbon, both recorded for commercial release by Pentatone Records.
In the 2017/18 season, Moore made three major role debuts: Elisabetta in Don Carlo at Washington National Opera; the title role in Salome at Florida Grand Opera; and Tatyana in Eugene Onegin at Hawaii Opera Theater, as well as singing her signature roles of Tosca in a return to Opéra de Montréal and for her house debut with Teatro Municipal de Santiago de Chile, and Senta in The Flying Dutchman in a new production by Tomer Zvulun at Atlanta Opera. Her portrayal of Desdemona in a full recording of Verdi’s Otello was released by Pentatone Records.
Recent career highlights include a house and role debut at Seattle Opera in the title role of Janáček’s Kátya Kabanová; appearances with San Francisco Opera in the title role of Tosca, Susan Rescorla in Heart of a Soldier, Mimì in La Bohème, and the Countess in The Marriage of Figaro; Houston Grand Opera as Julie in Show Boat, Marta in the American premiere of Weinberg’s The Passenger, the title role in Carmen, Dorabella in Così fan tutte; Washington National Opera as the title role of Catán’s Florencia en el Amazonas, Phillip Glass’ Appomatox, and in Francesca Zambello’s highly acclaimed production of the Wagner’s full Ring cycle; Opéra de Montréal as Cio-Cio-San in Madama Butterfly; Glimmerglass Festival as Lady Macbeth in Macbeth and Senta in The Flying Dutchman; Lincoln Center Festival in The Passenger; English National Opera as Mimi and as Marguerite in Faust; New York City Opera as Rita Clayton in the New York premiere of Stephen Schwartz’s Séance on a Wet Afternoon and as Regine St. Laurent in Rufus Wainwright’s Prima Donna; and Austin Lyric Opera as Senta in The Flying Dutchman. Additional performances include the title roles of Manon Lescaut at New Orleans Opera, Tosca with the Lyric Opera of Kansas City, Pamina in The Magic Flute at Opéra de Bordeaux; and Donna Elvira in Don Giovanni with the Atlanta Opera and Opera Colorado.
On the concert stage, Ms. Moore has appeared with Atlanta Symphony Orchestra for Bruckner’s Te Deum led by Music Director Donald Runnicles; Bard SummerScape Festival as the title role in Turandot; Bavarian Radio Symphony in performances and recording of excerpts of Gordon Getty’s opera Plump Jack, conducted by Ulf Shirmer and with the New Century Chamber Orchestra conducted by Nadja Salerno-Sonnenberg. She has joined Rufus Wainwright for gala concerts at the Kimmel Center in Philadelphia and at Roy Thomson Hall in Toronto, and has sung Beethoven’s Ninth Symphony with the Madison Symphony and at Festival of the Arts Boca. Her solo recital performances have included a sold-out debut recital at Carnegie Hall and the Collaborative Arts Institute of Chicago, as well a program featuring suppressed music of the Holocaust presented under the auspices of the Atlanta Opera.
A graduate of the Cincinnati Conservatory of Music, Melody Moore is a former Adler Fellow of San Francisco Opera and a participant of the Merola program.
Craig Colclough most recently appeared with LA Opera as the Father in Hansel and Gretel.
His many other appearances with the company include Count Monterone in Rigoletto in 2018, and he will return as Amonasro in Aida in 2021.
Mr. Colclough began the 2019/20 season with his Metropolitan Operadebut as the title role in Macbeth, a role he performed with Belgium’s Opera Vlaanderenin Antwerp in the summer of 2019. He reprises the role of Macbeth with the company again this season, with performances in both Ghent and in Luxembourg, and he returns to Arizona Opera for a role debut as Bishop Dyer in Riders of the Purple Sage. Engagements originally scheduled before the COVID-19 shortened season included a return to LA Opera as Figaro in The Marriage of Figao, and a tour with Gustavo Dudamel and the Mahler Chamber Orchestra to Barcelona, Dortmund, and Luxembourg. The 2020/21 season includes performances with Washington National Opera in the role of Henry Kissinger in Nixon in China and as Kurwenal in Tristan und Isolde with Opera Vlaanderen.
His engagements for the 2018/19 season included debuts with Opera Vlaanderen in Belgium as Count Telramund with Lohengrin and with the Frankfurt Opera as Fra Melitone in La Forza del Destino. In July 2018, he debuted at Covent Garden as Pistola in Falstaff.
Highlights of the previous season include the title role of Falstaff in a new Christoph Waltz production in Belgium, the title role of Don Pasquale for Minnesota Opera, The Ring of Polykrates for Dallas Opera, Donner in Das Rheingold for Arizona Opera and Beethoven’s Ninth Symphony with the LA Philharmonic.
Other recent appearances include Scarpia in Tosca with English National Opera and Canadian Opera Company; Kurwenal in Tristan und Isolde with ENO; Falstaff with Minnesota Opera, Opera Saratoga and Arizona Opera; and Timur in Turandot with Gustavo Dudamel and the Simon Bolivar Symphony Orchestra. He debuted with the LA Philharmonic at the Hollywood Bowl as Doctor Grenvil in La Traviata.
Craig Colclough began his career at LA Opera. After two seasons appearing with the company in various roles, he joined Florida Grand Opera’s Young Artist Studio, and in 2012, became a Filene Young Artist at the Wolf Trap Opera Company. (CraigColclough.com)
Mezzo-soprano Taylor Raven joined LA Opera's young artist program during the 2017/18 season and made her company debut as Vanderdendur in Candide.
Her mainstage appearances during the 2018/19 season include Tebaldo in Don Carlo, the Sandman in Hansel and Gretel and Annio in The Clemency of Titus. Additionally, she was the mezzo-soprano soloist for the world premiere of Joby Talbot's new score for Vampyr at the Theatre at Ace Hotel, and she appeared as Jocabed in the world premiere of Henry Mollicone's Moses at the Cathedral of Our Lady of the Angels. In the summer of 2019, she returned to Wolf Trap Opera Company as a Filene Artist to perform the roles of Rosina in The Barber of Seville and Concepción in Ravel's L’heure espagnole.
Her LAO appearances for the 2019/20 season include the Third Lady in The Magic Flute.
In November 2020, she will make her debut in the title role of Carmen with Opera San José.
In 2018, she appeared with Wolf Trap Opera Company as Gertrude in Romeo et Juliette. Ms. Raven was a Pittburgh Opera Resident Artist in the 2016/17 season, where she performed as Oronte in Handel’s Riccardo Primo and as "Hannah after" in Laura Kaminsky's As One for its Pennsylvania premiere. In 2016, Ms. Raven performed in the Schwabacher Summer Concert with San Francisco Opera's Merola Opera Program. She recently performed the role of Marian Anderson in Deep River: Marian Anderson's Journey with Virginia Opera. As a Young Artist with Central City Opera in 2015, Ms. Raven was seen in scenes from Carmen, Street Scene and The Ballad of Baby Doe.
She earned her Master of Music degree at the University of Colorado-Boulder and her Bachelor of Music degree at the University of North Carolina. In 2015, Ms. Raven won both the Adelaide Bishop Award with Central City Opera and First Place in the Denver Lyric Opera Guild Competition. She won first prize in the 2018 Loren L. Zachary competition and is a recipient of the 2017 Sara Tucker Study Grant from the Richard Tucker Music Foundation.
Soprano Sarah Vautour joined LA Opera's young artist program in 2018.
She made her LA Opera debut as the Dew Fairy in Hansel and Gretel under the baton of James Conlon. Ms. Vautour will return to the LA Opera stage in the 2019/20 season as Papagena in The Magic Flute and as Barbarina in The Marriage of Figaro, and she will cover Musetta in La Bohème. Prior to this, Ms. Vautour joins Teatro Nuovo for their 2019 summer season as a Resident Artist to cover the title role in Bellini’s La Straniera. Additionally, she makes her Cincinnati Symphony Orchestra debut as the soprano soloist in Mahler’s Das klagende Lied with the Cincinnati May Festival Chorus and James Conlon.
Ms. Vautour’s other assignments during the 2018/19 season included covering both the Celestial Voice in Don Carlo and Gretel in Hansel and Gretel, and appearing as Zipporah/Voice of God in the world premiere of Henry Mollicone’s Moses, conducted by James Conlon. She came to LA Opera following a summer as an Apprentice Artist at Des Moines Metro Opera, where she covered Adele in Die Fledermaus.
Sarah Vautour earned her Master of Music from Rice University and a Bachelor of Music from University of Cincinnati’s College-Conservatory of Music. Her notable engagements include the title role in Donizetti’s Maria Stuarda and Morgana in Handel’s Alcina with CCM Opera d’arte, as well as Rose Maurrant in Street Scene with Harrower Summer Opera Workshop. Ms. Vautour made her Aspen Music Festival debut in the role of Mozart and Donna Anna in Stephen Stucky’s The Classical Style, under the baton of Robert Spano. In the 2017/18 season, she appeared under the baton of Thomas Jaber as the soprano soloist in the Poulenc Gloria, and again, later, with the Houston Masterworks Chorus as the soprano soloist in Mendelssohn’s Elijah.
James Conlon has been LA Opera's Richard Seaver Music Director since 2006.
Since his debut that year with La Traviata, he has conducted nearly 60 different operas and over 375 performances to date with the company.
One of today’s most versatile and respected conductors, he has cultivated a vast symphonic, operatic and choral repertoire. He has conducted virtually every major American and European symphony orchestra since his debut with the New York Philharmonic in 1974. He has conducted more than 270 performances at the Metropolitan Opera. Through worldwide touring, an extensive discography and videography, numerous essays and commentaries, frequent television appearances and guest speaking engagements, Mr. Conlon is one of classical music’s most recognized interpreters.
In 2016, he became Principal Conductor of the National Symphony Orchestra of the RAI in Torino. He previously was Music Director of the Ravinia Festival, summer home of the Chicago Symphony (2005-2015), Principal Conductor of the Paris National Opera (1995-2004), General Music Director of the City of Cologne (1989-2002), Music Director of the Rotterdam Philharmonic (1983-91) and Music Director of the Cincinnati May Festival (1979-2016). He has won three Grammy Awards and was awarded France’s Légion d’Honneur.
Also in the U.S. this season, Mr. Conlon continues his commitment to working with young musicians, both at the New World Symphony in Miami Beach (with Pinchas Zukerman as soloist) and at the Music Academy of the West in Santa Barbara, where he conducts Mozart’s The Marriage of Figaro.
Currently in his third season as Principal Conductor of the RAI National Symphony Orchestra, Mr. Conlon focuses on 20th-century Italian composers Giuseppe Martucci, Leone Sinigaglia, and Ottorino Respighi, as well as works by Mahler, Martinů, Mozart, Mussorgsky, Wagner, and Zemlinsky. In addition, he leads the Verdi Requiem, and The Creation by Haydn. Mr. Conlon’s symphonic repertoire this season also includes three Shostakovich symphonies with three different orchestras: No. 7 (“Leningrad”), marking a return to the Gürzenich Orchester in Cologne; No. 9 with RAI National Symphony Orchestra; and No. 12 (“The Year of 1917”) with the Orquesta Sinfonica Nacional de Galicia.
Mr. Conlon focuses on the works of Verdi this season, and conducts over 35 performances of seven works in the span of twelve months, including his 500th performance of the great Italian composer’s music. In addition to conducting Verdi in Los Angeles and Vienna, Mr. Conlon returns to the Wiener Staatsoper, after making his debut with the opera house conducting Mussorgsky’s Khovanshchina in 2015, to lead performances of Falstaff in June 2018 and January 2019, and Macbeth in May 2019. He also leads the Teatro Real (Madrid) premiere of the composer’s Giovanna d’Arco in concert (with Plácido Domingo) and the Messa da Requiem with the RAI National Symphony Orchestra.
Visual artist, designer and director Doug Fitch is the Co-Founder and Artistic Director of Giants Are Small. He has created Giants are Small productions for the New York Philharmonic that include Le Grand Macabre (cited as the top opera of 2010 by The New York Times, New York magazine and Time Out New York), The Cunning Little Vixen (New York magazine’s “Best Classical Event of the Year”), A Dancer’s Dream: Two Works by Stravinsky (screened worldwide); and HK Gruber’s Gloria – A Pig Tale (with forces from The Juilliard School for the NY Phil Biennial). He was the inaugural visiting artist at SUNY, where he created an opera of images, How Did We...? He has created productions of Peter and the Wolf for the LA Philharmonic and Turandot for Santa Fe Opera, and he has directed projects for Canada’s National Arts Centre, Royal Stockholm Philharmonic Orchestra, and Tanglewood. (DouglasFitch.com)
Duane Schuler has achieved national and international acclaim as a theatrical lighting designer.
He has designed for the Metropolitan Opera, Lyric Opera of Chicago, New York City Opera, Salzburg Festival, Deutsche Oper Berlin, Seattle Opera, and American Ballet Theatre. His extensive work with LA Opera includes Simon Boccanegra, Manon, Don Giovanni, The Marriage of Figaro, Ariadne auf Naxos, Rigoletto and Tristan und Isolde. He is a founding partner of the theater planning and architectural lighting design firm Schuler Shook.
An internationally regarded choral conductor, clinician and educator, Fernando Malvar-Ruiz became Artistic Director of the Los Angeles Children's Chorus in 2018.
From 2004 to 2017, he was the Music Director of the American Boychoir, leading some 150 performances and up to five national and international tours annually. He prepared the choir for appearances with the New York Philharmonic, Philadelphia Orchestra, Chicago Symphony Orchestra, Berlin Philharmonic and London Symphony Orchestra, among others. He also conducted the choir on six recordings, led its performances on the Academy Awards and a 9/11 memorial service broadcast globally on CNN, and he was the music director on the film Boychoir, directed by François Girard. He has guest conducted children’s and youth choirs around the globe. He has a master’s degree in choral conducting from Ohio State University and completed the coursework toward a doctoral degree from the University of Illinois.
He made his LA Opera debut preparing the children's chorus for Hansel and Gretel in 2018.
Behind the Curtain: Susan Graham, The Witch in “Hansel and Gretel,” with Brian Lauritzen
Production made possible with generous support from The Okun Family in memory of Milton, and from GRoW @ Annenberg. Susan Graham's appearance made possible by generous support from The Eva and Marc Stern Principal Artists Fund.
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