With its City of Light presentations, honoring Paris and French inspired music, the Los Angeles Philharmonic offered its public an extraordinary concert performance of a unique opera — PellÈas et MÈlisande by Claude Debussy.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
On May 23rd the Los Angeles Philharmonic premiered its production of
CosÏ fan tutte, the third and last of the Mozart/Daponte opera series
it inaugurated in 2012.
Siberian born baritone, Dmitri Hvorostovsky returned to Dorothy Chandler Hall on May 22nd with a unique all Russian song recital which included songs composed to Pushkin’s poetry and Dmitri Shostakovich’s Suite on Verses of Michelangelo Buonarroti.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
No matter how or where Carmen is produced, or by whom directed, costumed and performed, its promise of free wheeling sex and exciting rhythmic music, has made it one of the most popular operas in the world.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
When is verismo verily veristic? Or what is a virginal girl dressed in communion white doing in the two murderous acts of the Los Angeles Opera’s current production of Tosca? And why does she sing the shepherd’s song?