Leonard Bernstein’s West Side Story launched LA Opera’s 40th Anniversary Season with extraordinary force, becoming both an artistic statement and a box-office phenomenon. In Francesca Zambello’s vibrant production, choreographed by Joshua Bergasse, the work’s theatrical immediacy met the full sweep of Bernstein’s symphonic imagination, shaped with urgency and depth by James Conlon in one of the defining performances of his final season as Music Director. Soprano Gabriella Reyes made a luminous company debut as Maria opposite tenor Duke Kim’s ardent Tony, with Amanda Castro’s fiery Anita, Yurel Echezarreta’s magnetic Bernardo, Taylor Harley’s high-voltage Riff, and David Prottas’s commanding Action completing a cast that brought new vitality to a classic portrait of love, violence, and longing in New York City. Audiences responded with exceptional enthusiasm, making West Side Story one of the season’s clearest demonstrations of opera’s power to meet a broad public with scale, sophistication, and emotional immediacy.

Puccini’s La Bohème served as the season’s emotional anchor: a beloved repertory work renewed through intimate storytelling, richly expressive music-making, and the deep bench of artists connected to LA Opera’s own history. Resident Conductor Lina González-Granados led the LA Opera Orchestra with warmth and elegance, allowing Puccini’s score to unfold with both sweep and tenderness, while director Brenna Corner emphasized the youthful spontaneity and quiet heartbreak at the opera’s center. Domingo-Colburn-Stein Young Artist Program graduate Janai Brugger made a deeply affecting role debut as Mimì, joined by Oreste Cosimo in his accomplished house debut as Rodolfo. Gihoon Kim brought both swagger and sensitivity to Marcello, Erica Petrocelli sparkled as Musetta, William Guanbo Su offered a resonant Colline, Emmett O’Hanlon charmed as Schaunard, and Rod Gilfry brought theatrical wit to Benoit and Alcindoro. Together, the production affirmed the enduring power of familiar works when entrusted to artists capable of revealing them anew.

Philip Glass’ Akhnaten became one of the defining triumphs of the season, proving that artistic boldness and audience demand can move powerfully together. In Phelim McDermott’s acclaimed production, the opera’s ritualized beauty, hypnotic visual language, and immersive theatricality transformed the Dorothy Chandler Pavilion into a space of awe and concentration. Conductor Dalia Stasevska brought precision, momentum, and luminous control to Glass’ shimmering score, while countertenor John Holiday delivered a riveting performance in the title role, embodying the visionary pharaoh with haunting lyricism and magnetic stillness. So Young Park brought regal authority and vocal brilliance to Queen Tye, Sun-Ly Pierce made a striking company debut as Nefertiti, and Zachary James offered commanding presence as Amenhotep. Supported by a remarkable ensemble that included current and former Domingo-Colburn-Stein Young Artists, Akhnaten emerged not simply as a contemporary repertory success, but as a landmark example of LA Opera’s ability to turn ambitious work into a galvanizing cultural event.

Verdi’s Falstaff offered a fitting late-season tribute to James Conlon’s artistry: a work of wit, humanity, and supreme musical craft conducted with buoyancy, clarity, and affectionate detail. In Verdi’s final masterpiece, comedy becomes a form of wisdom, and this production captured both the sparkle of the score and the generosity of spirit beneath its farce. Baritone Craig Colclough brought exuberant charisma to the title role, joined by Nicole Heaston’s sharp-witted Alice Ford, Ernesto Petti’s impressive company debut as Ford, and Deanna Breiwick’s dazzling Nannetta. Anthony León and Sarah Saturnino, both Domingo-Colburn-Stein Young Artist Program graduates, brought lyric elegance and charm to Fenton and Meg Page, while Hyona Kim infused Dame Quickly with rich comic authority. With current Young Artists Yuntong Han, Vinícius Costa, and Nathan Bowles adding to the ensemble vitality, director Shawna Lucey shaped a Falstaff that felt both effervescent and deeply humane: a celebration of music, mischief, and the wisdom of letting the world laugh.

Mozart’s The Magic Flute closed the mainstage season with a spirit of wonder, generosity, and renewal.  Barrie Kosky’s wildly inventive production, with its silent-film-inspired animation, theatrical wit, and storybook imagination, once again proved the opera’s extraordinary power to welcome audiences of all ages without sacrificing musical or dramatic sophistication. In James Conlon’s final Mozart opera as LA  Opera Music Director, the score emerged with elegance, sparkle, and unmistakable affection. Tenor Miles Mykkanen made a distinguished company debut as Tamino opposite Sydney Mancasola’s luminous Pamina, while Aigul Khismatullina electrified audiences as the Queen of the Night and Kwangchul Youn brought sonorous depth to Sarastro. Kyle Miller charmed in his Los Angeles debut as Papageno, joined by Diana Newman, Meridian Prall, Zhengyi Bai, and a strong cohort of Domingo-Colburn-Stein Young Artists. With humor, theatrical imagination, and broad audience appeal, The Magic Flute became a joyful culmination of the season and another clear sign of renewed public enthusiasm for LA Opera’s work.

BEN BLISS: Ben Bliss's recital at The Wallis, with pianist Bryan Wagorn, was a warmly received showcase for one of today’s leading Mozarteans, a former Domingo-Colburn-Stein Young Artist. The tenor's relaxed and jovial stage presence created an inviting atmosphere that connected naturally with the audience.

JUAN DIEGO FLÓREZ: returned in February with pianist Vincenzo Scalera to perform songs by bel canto composers, arias by Puccini, Massenet, and Gounod, and zarzuela favorites. Flórez described the program as a reflection of his career to date, and it showed — each section felt considered and personal.

PATTI LUPONE: brought her Matters of the Heart tour to the DCP in February, with more than two dozen love songs ranging from Broadway favorites to contemporary pop. LuPone has a knack for choosing songs that suit her voice and knowing how to sell them, and the crowd responded in kind.

NADINE SIERRA:   Nadine Sierra's recital at Zipper Hall was a sold-out triumph. Her intoxicating voice brought warmth and elegance to a program that ranged from bel canto favorites to beloved Spanish and Latin American songs, accompanied by pianist Bryan Wagorn. The evening left audiences thoroughly captivated.

LES TALENS LYRIQUES:   The Paris-based ensemble, under the baton of founder Christophe Rousset, was joined by countertenor Key'mon Murrah for Handelian Heroes at Zipper Hall. The program illuminated the emotional depth and brilliance of Handel’s music, creating an immersive and emotionally charged concert experience.

On April 24, 2026, LA Opera celebrated James Conlon with a gala farewell concert at the DCP, marking the close of his remarkable 20-year tenure as the company's Richard Seaver Music Director. Maestro Conlon used the occasion to shine a light on what had been missed during his era — most notably Verdi's La Forza del Destino, one of two mature Verdi operas the company never staged, with excerpts from the third and fourth acts making up the first half of the program. After intermission came the Act 2 finale of Mozart's The Marriage of Figaro and excerpts from the conclusion of Wagner's Die Meistersinger, with the overarching theme of the evening being redemption.

An on-stage gala followed, raising more than $1.3 million in support of LA Opera’s artistic and community initiatives, ensuring that Maestro Conlon’s legacy will continue to inspire future generations.

Our 2025 presentation of the 1925 silent classic The Phantom of the Opera with live orchestra was a hauntingly beautiful and flawlessly performed event. Marking the 10th iteration of the company’s annual Halloween concert, the production paired the landmark film with Roy Budd’s lush and romantic score to stunning effect. Held at The United Theater on Broadway, the evening showcased the exceptional artistry of the LA Opera Orchestra under the direction of acclaimed conductor Frank Strobel. Internationally recognized for his work at the intersection of film and music, Strobel brought remarkable precision and dramatic energy to the performance. The result was an immersive gothic experience that captivated audiences and highlighted LA Opera’s continued commitment to innovative and memorable programming. As always, the Spanish-Gothic architecture of the theater enhanced the spooky season ambiance.

LA Opera, BMP, and The Wallis celebrated a major success with the world premiere of Sarah Kirkland Snider’s Hildegard. Marking LA Opera’s 17th collaboration with the groundbreaking Beth Morrison Projects, the production demonstrated the continued success of this innovative artistic partnership. The four-performance run at The Wallis was exceptionally well received, drawing enthusiastic audiences and critical praise. As both composer and librettist, Snider created an evocative opera exploring Hildegard’s struggle for independence with emotional depth and richly textured music. The Los Angeles Times praised the work as an alluring and layered “narrative outline.” Hildegard stands as a powerful example of bold and innovative contemporary opera.