Patrick Mack
Patrick Mack starting listening to opera as a teenager to the total bewilderment of his rock and roll mother. He sang leading roles in the opera departments of Santa Monica College and UCLA and for two years in the Baltimore Symphony Chorus. In 2003 he joined the tenor section of The Verdi Chorus which has been giving young singers paid performance opportunities for over 30 years. He has served on their Board of
Directors since 2012 and handles their publicity, marketing, and Facebook page. Patrick is a luxury cruise consultant with All-Travel in
Los Angeles and was honored as one of the Top 25 Travel Agents in the country in 2015 by Travel Agent Magazine. Having weaned himself from an
early age on the musical opinions of Andrew Porter in the New Yorker, he has been wielding the critics pen on Parterre.com since 2011.
His singing of the national anthem has never failed to impress those standing closest to him at any public event he attends.
A special program note for Saturday night’s performance of Matthew Aucoin’s new opera Eurydice pointed to a rare convergence of three MacArthur Grant fellows in its creation and staging.
By Patrick Mack
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Opera Lafayette Presents a Unique ‘Leonore’
Beethoven’s Leonore, the centerpiece of Opera Lafayette’s 25th-anniversary season, will be heard in a way no one has had the opportunity to imagine it since 1805. Conductor and musicologist Will Crutchfield has completed a score based on Beethoven’s extensive sketches for this performance. Monday, March 2.
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
By Patrick Mack
On a new Opus Arte video, Ermonela Jaho is at the absolute peak of her powers both vocally and interpretively.
By Patrick Mack
Sunday evening Los Angeles Opera presented tenor Javier Camarena in recital to a wildly enthusiastic audience from the stage of the Dorothy Chandler Pavilion.
By Patrick Mack
An opera company presenting a Broadway musical that centers around a woman of a certain age travelling to Italy with her young daughter might seem more a vehicle for a great diva of a certain age.
By Patrick Mack
I’m certain I wasn’t the only one thrilled to bits to see LA Opera’s production of La Bohème finally retired after 26 years and seven mountings.
By Patrick Mack
L’Italiana in Algeri‘s appearance at the Salzburg Festival should be no surprise since Ceciila Bartoli has been the intendant of the Whitsun Festival extension at Salzburg since 2012.
By Patrick Mack
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
By Patrick Mack
Michael Fabiano is a boss. This is a fact.
By Patrick Mack
La Traviata offered a cast of fresh debutantes and an uncommonly strong musical performance that could hardly be bettered.
By Patrick Mack
As you can imagine, oaths are sworn, curses are flung with avidity, and a mysterious shepherd sings a tune of foreboding from a distant mountain gorge just when you’d expect it.
By Patrick Mack
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
By Patrick Mack
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
By Patrick Mack
The Albanian soprano Ermonela Jaho is surely the reason that Covent Garden has made a commercial release of this “Live to Cinemas” relay from March of 2017.
By Patrick Mack
I hardly know where to heap my praise first.
By Patrick Mack
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
By Patrick Mack
The career of our beloved Renée Fleming deserves to continue… by whatever means necessary.
By Patrick Mack
Orfeo’s latest edition is a 1978 performance of Lucia di Lammermoor with a very estimable cast that on its surface may seem a tad mundane but the extensive liner notes (with performance photos) tell the story of why it held such magic.
By Patrick Mack
Well here we are, beloveds, still swathed in the warm glow of the Leonard Bernstein centennial. Box sets abound like bunnies in a hutch.
By Patrick Mack
I have a confession to make. I have been taking Rigoletto for granted.
By Patrick Mack
The Verdi Chorus celebrated their 35th anniversary with their spring concert weekend entitled The Force of Destiny last Saturday night and Sunday afternoon.
By Patrick Mack
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
By Patrick Mack
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
By Patrick Mack
The arrival of a new recording of Giuseppe Verdi’s Otello into the catalogue, to say nothing of a new tenor capable of singing Otello, is generally cause for hosannas all around in operatic circles.
By Patrick Mack
