Patrick Mack
Friday night Music Director James Conlon sold Die Entfürhung aus dem Serial to a tony crowd of Angelenos.
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Pick a little, talk a little
Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
Now we find Mariella Devia, a diva held in near mythic regard due to her vocal longevity, with competing videos of two of her performances that were released, literally, on the same day.
How many books have been published about Anna Maria Sofia Cecilia Kalogeropoulou Meneghini Callas, great operatic goddess of the dark arts?
L.A. Opera offered an inspired concert staging of Leonard Bernstein’s musical-comedy bouquet to New York, Wonderful Town.
Sony Classical has now released “Leontyne Price Prima Donna Assoluta” containing nearly her entire operatic oeuvre in a box set.
The characters get right down to work immediately with their foul deeds.
The Teatro di San Carlo in Naples is a pearl itself and this presentation proffers some of the best that company has to offer.
The Hollywood Bowl is truly the preeminent musical venue in Los Angeles.
Los Angeles saw the first U.S. performance of Giacomo Puccini’s snow-dusted weeper in 1897 just a year after the young Toscanini led the prima in Turin.
Giuseppe Verdi was so unhappy with the first production of his Giovanna d’Arco at La Scala in 1845 that he swore an oath to himself that he would never entrust that theatre with a prima again.
There was a general feeling of homecoming in the hall on Friday evening in anticipation of what promised to be a special return visit on many levels.
The revival of Mozart’s The Magic Flute at the Music Center downtown, last seen at LA Opera in 2013, is reason for jubilation for everyone except perhaps the singers engaged.
Ms. Guy goes into detail about what made Sills a “magic” performer, recounting reactions of people across an extraordinarily broad socio-economic spectrum who discovered their love of opera and singing through her.
Gather around while I play Ghost of New Year’s Eve past!
The most recent Egyptian voluptuary of 2006 by our friend Franco has now been replaced by the most singularly spartan production of Verdi’s masterpiece I think I’ve ever seen.
Remember that time you went to the opera and the entire evening was perfection?
Hopefully the assignment of Herman Melville’s endless whaling opus Moby-Dick as compulsory reading for High School students is a thing of the past.
If you had told me 20 years ago that at some point in the future I would have over 550 of the Metropolitan Opera’s performances, audio and video, at my command with the touch of a button I would say my eulogy had just been read and I’d been taken to my reward.
LA Opera opened their 30th season with a pairing of two of their most popular productions, both of which were initially staged by filmmakers not unfamiliar with the vagaries of our industry outpost here in Hollywoodland.
One of the glorious perks of my job, which is selling luxury cruises, is that on a semi-occasional basis I get to sample the wares myself—purely from an educational standpoint, mind you.
You might be surprised, though, when that title turns out to be Show Boat.
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