I have a horrible confession. I’ve always judged the quality of an opera largely on the number of dead characters at the finale.
By Patrick Mack
10 comments
The audience greeted the opening night of Omar with more genuine enthusiasm than I have ever seen at Los Angeles Opera.
By Patrick Mack
LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”
By Patrick Mack
We open in a war room that resembled nothing so much as a parking garage. Amneris’s boudoir was certainly recognizable as such but I’d be hard-pressed to pinpoint the location of the Triumphal Scene other than the inside of a large discothèque.
By Patrick Mack
From the multiple standing ovations, to say nothing of the gentleman in the front row waving the Mexican flag, I can safely say that a very good time was had by all.
By Patrick Mack
Los Angeles Opera’s St. Matthew Passion was by equal parts challenging and hypnotic to watch.
By Patrick Mack
In spite of the fact that Rossini and his librettist Jacopo Ferretti removed all the magical elements from the story, therefore making it far easier to produce, there was more than enough enchantment in the singing, and intermittently in the production to enjoy.
By Patrick Mack
You’d think after nearly 40 years of opera going I’d have seen almost everything.. .twice. Yet I found myself at LA Opera Tuesday night for a special presentation of George Frideric Handel’s Alcina which was my first live experience with one of his operas.
By Patrick Mack
Remember that time you went to the opera and the whole evening was like magic? Saturday night at the Dorothy Chandler Pavilion probably ranks among my greatest nights in the theater and I’m finding the superlatives in my thesaurus inadequate to the task.
By Patrick Mack
Let’s all cast our minds back to March of 2020. Or, better, let’s not.
By Patrick Mack
When LA Opera finally decided to put a toe in the water and mount its first production since the start of the Covid-19 pandemic, it was Igor Stravinsky‘s opera/oratorio Oedipus Rex.
By Patrick Mack
I still remember, and some of it quite vividly, what it was like to experience Achim Freyer‘s intense and groundbreaking Ring production all these years later.
By Patrick Mack
For those of you keeping track at home that’s four substitutions for three roles and the curtain hasn’t even gone up yet.
By Patrick Mack
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
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
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
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
Only in Los Angeles, City of La La, could this season have happened.
By La Cieca
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
I hardly know where to heap my praise first.
By Patrick Mack
