Company premiere! A new production of Mozart’s rarely performed final masterpiece.
"James Conlon… never fails to provide a sublime reading of Mozart."
Revenge and romance set Rome on fire! The most powerful civilization in the world falls vulnerable to the machinations of power players seeking glory.
Russell Thomas stars as the imperiled leader whose generosity and compassion point the way to a brighter future. A gorgeous new production, directed and designed by Thaddeus Strassberger (Nabucco, 2017) is conducted by James Conlon.
Read the synopsis
Synopsis
Place and time: Rome, the Year of the Consulship of Titus and Vespasianus (A.D. 79)
Act I
Vitellia, daughter of the late emperor Vitellius (who had been brutally executed by Titus's father), had hoped that her position in Roman court society would be cemented if Titus would take her as a bride, but he has instead chosen Berenice, a Jewish princess, to be his consort. Enraged by this rejection, she conspires with Sesto, a young nobleman with whom she is having a sexual affair, to murder him, even though Titus is one of Sesto’s dearest friends. But when Annio, another of Sesto’s friends, arrives with the sudden news that Titus has sent Berenice back to Jerusalem, Vitellia quickly tells Sesto to delay carrying out her wishes, hoping Titus will have come to his senses and choose her as his Empress. Sesto questions why he would let his sexual desire for a woman overpower his brotherly love for his friend the Emperor.
Annio then further shares the news that he has asked Servilia, Sesto’s sister, to marry him and that she has accepted. Sesto is delighted that Annio has found love in such a beautiful and kind soul. Annio needs only Titus’s approval for the wedding plans to move forward.
In the Temple of Jupiter, the people gather to hail their beloved leader. Priests and priestesses consecrate the golden tributes that have been collected from the Roman provinces. Publio, Titus’s Chief Counsellor, advises that the gold should be used to build a monument to the greatness of Titus. Considering the recent disaster in Pompeii, where many thousands have had their homes and livelihoods destroyed by a volcanic eruption, Titus instead orders that the tax revenues should be used to provide humanitarian aid to the victims of the natural disaster.
As the people recede, Sesto seizes the moment to ask Titus if he will allow Annio to marry his sister Servilia. But before he can do so, Titus announces his intention to marry Servilia himself—he, too, finds her beauty, charm and wit to be irresistible. Annio is heartbroken, but quickly decides to not reveal himself as a rival suitor, instead believing that the most loving thing to do is to release her from her pledge so that she may ascend the throne and live life in splendor as Empress of Rome. Titus, unaware that this happy news has left Annio heartbroken, invites Sesto to join him for a light meal as he extols the virtues of compassion and looking after the welfare of others. Sesto squirms, knowing that his own loyalty has been under stress from Vitellia’s manipulations.
The scene cuts to Annio and Servilia meeting—he reveals to her that he can no longer call her “his love” but must instead refer to her as “his Empress.” She flatly refuses to accept the invitation of Titus’s proposal, saying that her heart lies only with her first love and that she is willing to sacrifice any superficial glory for the depths of true love.
Later that afternoon in the Throne Room, Publio presents Titus with a list of people accused of conspiring against him. Titus dismisses this as palace intrigue and proclaims that he doesn’t feel threatened at all, but rather feels sorry for his enemies who do not appreciate his benevolent character. Servilia interrupts them, imploring that Titus not choose her as his bride. Even though she is truly honored, she explains that her first love is Annio—while she will ultimately respect the Emperor’s wishes, she thinks he should know the situation before proceeding. Titus is delighted by her honesty, saying that he wishes everyone who surrounded his throne would be so transparent in their feelings.
Vitellia arrives expecting to find Titus on the throne, but instead discovers Servilia there. Servilia, released from Titus’s bonds, tells Vitellia that there may still be hope that Titus will choose her. Vitellia assumes that Servilia is mocking her and is enraged at this seemingly double humiliation. When Sesto arrives to find out what has happened, Vitellia doubles down on her quest for revenge against Titus. Sesto, whose loyalty is impossibly divided, ultimately agrees to carry out the murderous plot against his best friend; Vitellia’s powers of manipulation over him are simply too strong to resist. Sesto runs off, determined to set fire to the capital and assassinate Titus during the ensuing chaos.
Publio and Annio have both been searching for Vitellia to bring her the news that Titus would like to marry Vitellia after all! Wanting to run after Sesto and once again call off the horrific attack that is about to be unleashed, she is instead frozen by fear and panic, which is mistaken for astonishment and joy by those around her.
Meanwhile, Sesto seeks refuge in the temple, imploring the gods to give him a sign about how to proceed. Just when he decides that he cannot carry out the murderous plot, he realizes it is too late—the plans he had made with the other conspirators have already been put into place, and Rome is on fire!
As terror rages in the streets, news arrives that Titus has been seen murdered in the streets. Sesto nearly confesses to the crime but remains quiet at Vitellia’s urging. All of Rome mourns the destruction of their great city and their revered leader.
Act II
As Rome lies in smoldering ruins, Annio arrives with news that Titus is, in fact, unharmed. Sesto admits his role in the assassination attempt and that he must immediately flee Rome. Annio says it would be better to confess the crime and ask for clemency. Vitellia appears and gives the opposite advice; selfishly, she fears that if Sesto confesses his crime that he will also implicate her in the conspiracy, clearly ruining her chances of ascending the throne, and probably much worse.
Publio interrupts them and arrests Sesto, saying that the man who was killed wasn’t Titus but was instead a fellow conspirator Lentulo, who has implicated Sesto in the conspiracy.
As Vitellia laments her fate, Annio and Servilia remind her that she is soon to ascend the throne. A gnawing sense of guilt is ripping her apart—how can she marry the man she tried to murder? As Vitellia bursts into tears, Servilia says that tears are useless if they aren’t backed up by some actions that truly show remorse.
News has spread among the people of Rome that Titus has survived. They pay homage to him, for which he is most grateful.
Titus is anxious to know the outcome of the trial of Sesto, certain that his friend will be found innocent of any wrongdoing. Publio warns that those who are the most faithful find betrayal impossible to believe. Annio pleads for mercy on Sesto’s behalf, appealing to Titus’s long-time devotion to his best friend. Titus is unable to bring himself to the point of signing Sesto’s death warrant.
Sesto is brought before Titus, who tries to find a way to pardon Sesto somehow. But Sesto, believing himself worthy of punishment, refuses to show remorse. Sesto is afraid if he reveals any more, he risks everything. Titus even asks Sesto to address him as his friend, not his Emperor, hoping for honesty and openness. Sesto refuses, and instead asks for one last kiss, before he is lead to his public execution.
Titus grapples with his conflicting emotions. His ideal world is one of mercy and forgiveness, yet he feels compelled to seek revenge for the way his most beloved friend has turned against him. This deceit and treachery are as hurtful as any sword could be. Finding his inner moral strength, Titus resolves that as Emperor he doesn’t have to follow anyone’s orders. He can do what he knows deeply in his heart and mind is right. He refuses to sign the death warrant and recommits to his ideals that clemency, brotherhood and forgiveness must be the guiding principles of his empire.
Vitellia struggles under the weight of her hidden guilt. She feels compelled to reveal her role in the conspiracy, yet she grapples with the fallout from the confession. She will never be loved again, never marry, and never become Empress.
Meanwhile, the people gather for the display of public execution. It’s a festive atmosphere—they have endured so much and are eager to witness the gruesome executions that mark the end of their suffering. In the preamble to Titus’s verdict, it appears as if he is about to confirm Sesto’s imminent death. At the very last moment, Vitellia loudly confesses her role in the crimes. She believes herself to be the guiltiest of them all, for even though she did not actually carry out any of the violence, she was the mastermind behind the entire plot.
Astonished at this revelation, Titus muses that anyone would think the stars were conspiring against him to bring out the worst of his character. His inner moral compass can weather these storms, however. His deep, steadfast belief in the power of clemency to resolve human conflicts can withstand anything. Sesto, relieved to be pardoned, reaffirms his friendship. Titus asks the gods to cut short his days if ever the welfare of Rome stops being his primary concern.
Synopsis by Thaddeus Strassberger
Cast
- Titus
- Russell Thomas
- Vitellia
- Guanqun Yu
- Sesto
- Elizabeth DeShong
- Servilia
- Janai Brugger
- Annio
- Taylor Raven
- Publio
- James Creswell
Russell Thomas
Titus
With a “heroically shining tone of exceptional clarity and precision” (Opera Magazine) and “gorgeously burnished power” (New York Times), American tenor Russell Thomas uses his signature elegance and intensity to create vivid character portrayals on the world’s most important stages.
The 2018/19 season features Mr. Thomas’s hotly anticipated stage debut in Verdi’s iconic Otello, to be seen at the Canadian Opera Company after concert performances with the Los Angeles Philharmonic and Atlanta Symphony Orchestra. He sings Manrico in Il Trovatore at the Bavarian State Opera and Lyric Opera of Chicago, makes his role debut as Roberto Devereux at San Francisco Opera, and brings his celebrated Titus in The Clemency of Titus to LA Opera. On the concert stage, he joins the World Orchestra for Peace in Beethoven’s Symphony No. 9 at the BBC Proms, and performs Mahler’s Das Lied von der Erde with the Dallas Symphony Orchestra. He closes his season by reuniting with conductor Teodor Currentzis and director Peter Sellars for a new Idomeneo at the Salzburger Festspiele.
Mr. Thomas has enjoyed a string of operatic triumphs in recent seasons, including performances as Don Carlo at Washington National Opera and Deutsche Oper Berlin; Cavaradossi in Tosca at LA Opera and with the Los Angeles Philharmonic; and Pollione in Norma at Lyric Opera of Chicago, San Francisco Opera, LA Opera, Canadian Opera Company, and Palau de les Arts Reina Sofia. He has debuted as Florestan in Fidelio at Cincinnati Opera, as Stiffelio at Oper Frankfurt, and as Turiddu in Cavalleria Rusticana at Deutsche Oper Berlin. Mr. Thomas has sung Rodolfo in La Bohème at the Metropolitan Opera, Loge in Das Rheingold with the New York Philharmonic, Adorno in Simon Boccanegra at the Royal Opera House Covent Garden, and Ismaele in Nabucco at the Metropolitan Opera and Seattle Opera. His portrayal of the title character in the new Peter Sellars production of The Clemency of Titus at the Salzburg Festival and Dutch National Opera drew praise from the The New Yorker, which noted, “Thomas’s penetrating tenor, which has lately acquired richness and heft, anchored the evening.”
Future seasons include appearances in Berlin, London, Toronto, Chicago, Houston, New York, and Washington, D.C.
Learn more at RussellThomasTenor.com.
Guanqun Yu
Vitellia
Guanqun Yu is one of the leading sopranos of the younger generation and appears regularly at first class opera houses worldwide.
In the 2018/19 season, Ms. Yu will sing Mimi in La Bohème at the Opernhaus Zürich, Micaela in Carmen and Donna Anna in Don Giovanni at the Metropolitan Opera, concert performances as Lucrezia in The Two Foscari in Munich and Budapest, Leonora in Il Trovatore at Teatro Comunale Bologna, Vitellia in The Clemency of Titus in Los Angeles and Desdemona in Otello at the Deutsche Oper Berlin.
She will return to LA Opera in 2020 as the Countess in The Marriage of Figaro. She previously appeared with the company in 2015, performing the roles of Rosina in The Ghosts of Versailles and the Countess in The Marriage of Figaro.
Important engagements in Ms. Yu’s 2017/18 season included Lucrezia in concert performances of The Two Foscari at the Salzburg Festival, Amelia in Simon Boccanegra at the Hamburg State Opera, and Mimi at the Bavarian State Opera. She also sang Elettra in Idomeneo as well as Liu in Turandot and Micaela at the Opernhaus Zürich, and she returned to New York as Liù, while concerts brought her to Scandinavia and Germany.
Born and educated in China, Ms. Yu sang such roles as Pamina in The Magic Flute and Gilda in Rigoletto during her studies in Shandong and Shanghai, during which time she also participated in concerts at important events. She first became known outside of China by winning the first prize at the famous Belvedere Singing Competition. In 2008, Ms. Yu became a member of the opera studio at Teatro Comunale di Bologna. In 2012, she was a winner of Operalia.
Elizabeth DeShong
Sesto
During the 2018/19 season, Elizabeth DeShong will sing Adalgisa in Norma with the North Carolina Opera, tour Europe and the United States with The English Concert performing Juno in Handel's Semele, sing Sesto in The Clemency of Titus with LA Opera, and perform the title role in Handel's Rinaldo at the Glyndebourne Festival.
In addition, Ms. DeShong will give a recital for Vocal Arts DC at the Kennedy Center, sing John Adams' The Gospel According to the Other Mary with the Accademia Nazionale di Santa Cecilia with the composer conducting, and sing Handel's Messiah with the San Francisco Symphony and the Houston Symphony.
In the previous season, Ms. DeShong returned to both the Washington National Opera to sing Ruggiero in Alcina, and the Metropolitan Opera for Arsace in Semiramide. In concert she performed Mendelssohn’s Elijah with Music of the Baroque, and made her debut with the Chicago Symphony Orchestra in Schubert’s Mass No. 6, and the world premiere of Three Lisel Mueller Settings by Maxwell Raimi, both conducted by Riccardo Muti. On the European platform, Ms. DeShong returned to the Glyndebourne Festival to perform Suzuki in Madama Butterfly, made her debut with the Accademia Nazionale di Santa Cecilia and at the Proms in Bernstein's Symphony No. 1 ("Jeremiah"), under Antonio Pappano, and portrayed Hansel in a concert version of Hansel and Gretel conducted by Andrew Davis at the Edinburgh International Festival.
During the 2016/17 season, Ms. DeShong returned to the Lyric Opera of Chicago to sing Adalgisa in Norma, and made her Royal Opera and Bavarian State Opera debuts as Suzuki in Madama Butterfly. In concert she performed the Beethoven Symphony No. 9 with the Baltimore Symphony, the Verdi Requiem with the Royal Scottish National Orchestra, and the Mahler Symphony No. 2 with the Oregon Symphony.
She has performed extensively throughout the world with such companies as the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Canadian Opera Company, English National Opera, Vienna State Opera, Opéra National de Bordeaux, the Glyndebourne Festival, and Aix-en-Provence.
She made her LA Opera debut in 2015 as Rosina in The Barber of Seville.
Janai Brugger
Servilia
From: Darien, Illinois. LA Opera: Barbarina in The Marriage of Figaro (2010, debut) with subsequent roles including Musetta in La Bohème (2012, 2016), Pamina in The Magic Flute (2013) and Servilia in The Clemency of Titus (2019). She is an alumna of the Domingo-Colburn-Stein Young Artist Program.
A 2012 winner of Operalia and of the Metropolitan Opera National Council Auditions, she recently performed Ilia in Idomeneo with Lyric Opera of Chicago and Clara in Porgy and Bess with the Metropolitan Opera, Dutch National Opera and Cincinnati Opera, where she also performed Susanna in The Marriage of Figaro.
Her Metropolitan Opera appearances have included Liu in Turandot, Helena in The Enchanted Island, Jemmy in William Tell, Pamina in The Magic Flute and Micaela in Carmen.
Her appearances for the 2020/21 season include Musetta in La Bohème with San Francisco Opera, Mimi in La Bohème with Washington National Opera, Anne Truelove in The Rake's Progress with Lyric Opera of Chicago, and a return to LA Opera as Zerlina in Don Giovanni.
Last season, Ms. Brugger returned to the Royal Opera House Covent Garden for revival performances of Pamina in The Magic Flute. She revived the role of Liù in Turandot at Lyric Opera of Chicago, and at Palm Beach Opera she added the role of Susanna to her repertoire, finishing the season at Dutch National Opera as Servillia.
Taylor Raven
Annio
Mezzo-soprano Taylor Raven joined LA Opera's Domingo-Colburn-Stein Young Artist Program during the 2017/18 season.
She made her company debut as the pirate 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 will appear as Jocabed in the world premiere of Henry Mollicone's Moses at the Cathedral of Our Lady of the Angels.
This summer, she will return to Wolf Trap Opera Company as a 2019 Filene Artist to perform the roles of Rosina in The Barber of Seville and Concepción in Ravel's L’heure espagnole. In 2018, she appeared with Wolf Trap Opera Company as Gertrude in Romeo et Juliette. Ms. Raven was a Pittsburgh Opera Resident Artist in the 2016/17 season, where she performed as Oronte in Handel’s Riccardo Primo and "Hannah after" in Laura Kaminsky's As One for its Pennsylvania premiere. In the summer of 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.
While earning her Master of Music degree at the University of Colorado-Boulder, her roles included Angelina in La Cenerentola, Ottavia in The Coronation of Poppea, Ruth in The Pirates of Penzance and the Witch in Hansel and Gretel. Ms. Raven earned her Bachelor of Music degree at the University of North Carolina, where she performed as Annio in La Clemenza di Tito, Martha in Dream Lovers and the Voice of Antonia's Mother in The Tales of Hoffmann. 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.
James Creswell
Publio
American bass James Creswell has established himself as one of the leading basses of his generation.
Born in Seattle, he graduated from Yale University and his early career included apprenticeships with LA Opera and San Francisco Opera until moving to Germany as a soloist with the Komische Opera Berlin.
Earlier this season, he made his Metropolitan Opera debut as Ashby in The Girl of the Golden West at the Metropolitan Opera and performed Phorbas in Oedipe for Dutch National Opera. Upcoming engagements include Frére Laurent in Roméo et Juliette and Dr. Bartolo in The Marriage of Figaro with San Francisco Opera, Sarastro in The Magic Flute with Scottish Opera, and Oroveso in Norma for Oper Frankfurt.
Mr. Creswell has appeared at the Dutch National Opera, Teatro Real Madrid, Bilbao Opera, Teatro dell’Opera di Roma, San Francisco Opera, LA Opera, Staatsoper Berlin, Oper Frankfurt, Theater an der Wien, Opéra de Bordeaux, Angers-Nantes Opéra, English National Opera, Welsh National Opera, Opera North, Scottish Opera, Edinburgh International Festival, Nederlandse Reisopera, Tallinn Festival, Ravinia Festival and Bergen International Festival.
Creative Team
- Conductor
- James Conlon
- Director / Scenery
- Thaddeus Strassberger
- Costumes
- Mattie Ullrich
- Lighting
- JAX Messenger
- Projections
- Greg Emetaz
- Chorus
- Jeremy Frank
James Conlon
Conductor
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.
Learn more at JamesConlon.com.
Thaddeus Strassberger
Director / Scenery
Thaddeus Strassberger has directed LAO productions of The Clemency of Titus, Nabucco and The Two Foscari.
He recently created new productions of The Tales of Hoffmann in Innsbruck, Martinů’s The Greek Passion at Ekaterinburg Opera, Rubinstein’s The Demon at Bard Summerscape and Carmen with The Danish National Opera. His acclaimed staging of Nabucco, first seen at Washington National Opera, has also been presented in Minneapolis, Philadelphia, Miami and Montreal. Other highlights include The Two Foscari and the world premiere of Glare for the Royal Opera House Covent Garden; the world premiere of David T. Little’s JFK, a co-production with Fort Worth and Montreal; the Russian premieres of The Passenger and of Satyagraha, which won a Golden Mask Award for Best Production, at the Ekaterinburg Opera and the Bolshoi Opera; and The Marriage of Figaro, The Rape of Lucretia and Don Giovanni for the Norwegian Opera. (TStrassberger.com)
Mattie Ullrich
Costumes
Recent opera productions include Pelléas et Mélisande for the Cincinnati Symphony Orchestra, Giulio Cesare in Tel Aviv, the world premiere of David T. Little and Royce Vavrek’s JFK in Montreal and Fort Worth, Satyagraha in Ekaterinburg and Moscow, Don Giovanni in Oslo, The Two Foscari in Vienna, Valencia and at Covent Garden, The Oresteia for Bard Summerscape, Cavalli’s Eliogabalo for Gotham Chamber Opera, Nabucco in Washington DC, Montreal, Miami and Philadelphia, and Lucia di Lammermoor in San Francisco. She previously designed the costumes for LA Opera's recently productions of Nabucco and The Two Foscari. Off-Broadway credits include The Starry Messenger with Matthew Broderick, The Pride directed by Joe Mantello, Fault Lines directed by David Schwimmer, Things We Want directed by Ethan Hawke and Bad Dates starring Julie White at Playwrights Horizons. Film projects include Year of the Fish (Sundance), Shoplifting Chanel and the multi-festival award-winning short Sovereignty. (MattieUllrich.com)
JAX Messenger
Lighting
JAX Messenger maintains a successful career as a lighting professional. He has lit productions for such companies as Opera Philadelphia (The Wake World), Curtis Institute of Music (Dr Atomic, Impressions of Pelléas), the Canadian Opera Company (Pyramus and Thisbe), Boston Lyric Opera (In the Penal Colony), Bard SummerScape (Oresteia, The Wreckers, The Turandot Project), R. B. Schlather’s exhibition (Alcina, Orlando, The House Taken Over), Adam H Weinert (MONUMENT), Wanda Culture Industry Group (Princess Butterfly), Les Ballets Trockadero de Monte Carlo (Laurencia, Waltzpurgisnacht, Majisimas), Merola Opera (The Barber of Seville, Transformations) The Washington Ballet (Sleeping Beauty, Fluctuating Hemlines, Shostakovich Concerto, Don Quixote), the San Francisco Opera (Requiem, The Elixir of Love for Families). As a lighting supervisor he has produced tours for Black Grace Dance, the Washington Ballet and Les Ballets Trockadero de Monte Carlo in hundreds of venues around the world. (JAXMessenger.com)
Greg Emetaz
Projections
Greg Emetaz has designed video and projections for Jimmy López’s Bel Canto at Lyric Opera of Chicago, Werther at Boston Lyric Opera, Terence Blanchard’s Champion at Washington National Opera and several productions for Opera Theatre of Saint Louis, including John Adams’ The Death of Klinghoffer, Peter Ash’s The Golden Ticket and Huang Ruo’s An American Soldier. Later this year, he will design Norma at Utah Opera and Terence Blanchard’s Fire Shut Up in my Bones for Opera Theatre of Saint Louis. As a filmmaker, he is the writer and director of the horror-comedy feature Camp Wedding and the award-winning shorts Bowes Academy, Death by Omelette and Spell Claire. He is also the director of the web series Do It Yourselfie: Songs for Millennials and numerous music videos and commercials. (MinorApocalypse.com)
Jeremy Frank
Chorus
Jeremy Frank is associate chorus master and a faculty member of the Domingo-Colburn-Stein Young Artist Program.
He prepared the LA Opera Chorus for the 2017 Plácido Domingo 50th Anniversary Concert and for the 2019 production of The Clemency of Titus. An alumnus of the training programs at Houston Grand Opera and San Francisco Opera, he regularly works with Wolf Trap Opera Company and prepared Seattle Opera’s 2013 Ring cycle. He has assisted in the preparation of operas and vocal chamber music at the LA Philharmonic. As a pianist, he has appeared in recital with Eric Owens, Brandon Jovanovich, Rodell Rosel, Dolora Zajick, Kate Lindsey, Sondra Radvanovsky and Susan Graham. He accompanied Joyce DiDonato at the 54th Grammy Awards, the first time the ceremony featured a performance by a classical singer. He is a member of the faculty at USC and has been a guest faculty member for young artist programs at Utah Opera and Seattle Opera. (JeremyMFrank.com)
Approximate running time: two hours, 40 minutes, including one intermission.
New production; company premiere
Production made possible with generous support from:
The Carol and Warner Henry Production Fund for Mozart Operas
GRoW @ Annenberg
The Emanuel Treitel Senior Citizen Fund
The Clemency of Titus Tickets
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