My vision may have been slightly blurry at the end.
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James Conlon conducts a raved about performance from Los Angeles earlier this spring featuring Angela Meade, Russell Thomas, Guanqun Yu, and Morris Robinson
James Conlon conducts an eclectic double bill of William Grant Still and Alexander Zemlinsky featuring Nicole Heaston, Norman Garrett, Chaz’men Williams-Ali, Rodrick Dixon, Erica Petrocelli, Kristinn Sigmundsson, and Emily Magee recorded in Los Angeles last spring
She can’t put her foot on the gas the way she used to but there’s still plenty of fuel in that tank.
I have a confession and you may need to sit down for it: Andrew Lloyd Webber’s Evita was one of the gateway drugs to my eventual opera fandom.
When my press invite came for the Book of Mountains and Seas, the collaboration between Chinese born contemporary composer Huang Ruo, the vocal ensemble Ars Nova Copenhagen, and master puppeteer and production designer Basil Twist, I was in.
Oh, La traviata, how do I love thee? Let me count the recordings.
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
Despite this being the first full-length opera for Gabriela Lena Frank, there’s no lack of experience across the creative team which, along with favorable reviews for the production, contributed to high levels of anticipation.
I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.
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.
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