La Traviata offered a cast of fresh debutantes and an uncommonly strong musical performance that could hardly be bettered.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
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.
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.
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.
I hardly know where to heap my praise first.
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.
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
Los Angeles Opera is the latest company to jump in on that cr-razy trend that sweeping the nation: boring the public to death.
What if you could time travel back to the first run of Giuseppe Verdi’s first great success Nabucco?
Georges Bizet’s Les pêcheurs de perles has been knocking steadily at the door of the standard repertoire now in this country for quite some time.
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
W.C. Fields used to have a funny trope about in show business you should never work with children or animals. To that list should perhaps be added the soprano Anna Netrebko.
Not a few eyebrows arched on social media when L.A. Opera appropriated the hashtag “Fight like a girl” on street level poster adverts all over town for the revival of their 2013 production of Giacomo Puccini’s Tosca.
Saturday night the Los Angeles Opera threw itself a party.
Jacques Offenbach’s Les contes d’Hoffmann has had a bumpy ride to its pride of position in the current French repertoire.
I entered the Dorothy Chandler Pavilion on Saturday night for LA Opera’s 30 year old revival of their production of Salome with a combination of enthusiasm and apprehension.
Friday night Music Director James Conlon sold Die Entfürhung aus dem Serial to a tony crowd of Angelenos.
L.A. Opera offered an inspired concert staging of Leonard Bernstein’s musical-comedy bouquet to New York, Wonderful Town.
Akhnaten, seen at the Los Angeles Opera on November 13 tells the story of the Pharaoh who abandoned traditional Egyptian polytheism.
The characters get right down to work immediately with their foul deeds.
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.
Los Angeles first saw Giacomo Puccini’s Madama Butterfly presented at the Mason Opera House downtown in 1908 by the English Grand Opera Company. Rumors that LA Opera Artistic Director Placido Domingo portrayed Cio-Cio San’s little boy in that production remain unsubstantiated.
