I read somewhere that Giuseppe Verdi’s La Traviata is currently the most performed, ergo most popular, opera in the world today. It bodes well for the art form that something as musically complex is ranked as number one although I’m certain more than a few sopranos have had a say in it as well. It’s so popular, in fact that Los Angeles Opera actually boasts two productions of Verdi’s three-hanky weeper.
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LA Opera presented Plácido Domingo in Manuel Penella’s seminal zarzuela El Gato Montés Saturday night at the Dorothy Chandler Pavilion at the Music Center downtown. Read more »
My guess is that I was introduced to Mozart’s final opera seria, La Clemenza di Tito, the same way that most of us were via the release by Deutsche Grammophon of Jean-Pierre Ponnelle’s film version which immortalized his famous Salzburg production. By the time I got around to seeing it (on Laserdisc, remember those?) I was already familiar with M. Ponnelle’s production style with the crumbling edifices and ersatz 18th century costumes. Read more »
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Only in Los Angeles, City of La La, could this season have happened.
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.
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.
I have a confession to make. I have been taking Rigoletto for granted.
Cher Public