LA Phil's 'Fidelio' Is an Opera Hit for the Deaf
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Many in the audience were enjoying themselves and applauding in sign language (shaking both hands in the air)…
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Pacific Symphony Stages a Powerhouse 'Otello' in Costa Mesa
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American tenor Carl Tanner gave the finest singing of the evening as the tragic moor Otello. His “Esultate!” in Act 1 pealed through the thick stormy orchestra with a majestic ringing tone.
Read MoreDance As Drama, LA Opera’s 'St Matthew Passion'
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Young dancers of the Hamburg Ballet, who were instructed to improvise and react to the specific words and passages in the music. It’s a novel approach that worked brilliantly.
Read MoreKorean Conductor Gives Sparkle to Italian Belcanto Gem
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Angela Meade, replacing the indisposed Rodriguez, sang from the side of the stage, while choreographer Nicola Bowie acted the role of Queen Elizabeth in costume on stage.
Read MoreThe Magic Returns in LA Opera's 'Flute'
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Kosky’s staging retains the same whimsical delights– a black widow spider Queen, Monostatos & co. turning to the Rockettes, Pamina and Papageno hopping over rooftops like a video game.
Read MoreGreat Music and Singing Bring Life to a Morbid 'La Bohème'
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Barrie Kosky's production is a not-completely-traditional production with a few surprises along the way.
Read MoreSet in the Roaring Twenties, LA Opera's Art Deco 'Traviata' is a Rip-Roaring Success
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Choreographer Kitty McNamee transforms the traditionally gypsy dance in the party scene into a Gatsby-like dance party of flapper showgirls, a jazz band, and fashionable partygoers in their chiffons and velvet.
Read MorePlácido Domingo in Full Control of LA Opera’s ‘Wild Cat’
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In his 151st career role, Maestro Domingo plays the title role of Juanillo, an outlaw known by the nickname “El Gato” (the “wildcat”).
Read MoreAncient Rome Is New Again in L.A. Opera’s ‘Clemenza di Tito’
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Visually, the LA Opera production is a stunner. The grand mise-en-scène of Thaddeus Strassberger, dramatic lighting of JAX Messenger, and brilliant costumes by Mattie Ullrich all come together to evoke the classical grandeur of Ancient Rome.
Read MorePacific Symphony’s “Butterfly” Soars to Tragic Heights
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Korean lyric soprano Yunah Lee is a touching, detailed and delicate Cio-Cio-San, more adapt, perhaps, in emotional force and tragic power of Acts II and III than as a fifteen-year-old Geisha girl of Act I.
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