September 11, 2006 |
Saturday night, Los Angeles Opera opened its 21st season with a stellar-cast performance of Verdi's "La Traviata" featuring Renee Fleming, Rolando Villazon and Renato Bruson. James Conlon made his debut as the company's new music director. A prestigious record company, Decca, had its high-definition video cameras unobtrusively set up in the Dorothy Chandler Pavilion to capture the production for DVD. With operatic adulthood around the corner, the company has arrived. Sort of.
September 8, 2006 |
She sauntered onstage, moving coquettishly among her party guests, pale brown curls trailing onto her neck, sumptuous silk frock billowing. She locked eyes with her beloved. Moments later, he was gone, along with the other revelers. So were her smiles. She leaned against a doorpost, lost in melancholy, ruminating on her life. Did she dare let love in? Could a glittery courtesan indulge such emotions? "Follie! Follie!" -- It's crazy! -- she sang in a heated outburst.
July 21, 2006 |
Los Angeles Opera will produce and film a revival of the 1999 Marta Domingo production of Verdi's "La Traviata" to open the season in September after all. Earlier this month, the company had given itself less than two weeks to raise an unofficial estimate of about $600,000 to meet a contractual commitment it made to soprano Renee Fleming to film the production, which also stars tenor Rolando Villazon and baritone Renato Bruson.
July 8, 2006 |
Los Angeles Opera has given itself less than two weeks to find the money needed to salvage a star-studded revival of Verdi's "La Traviata" that the company trumpeted at the beginning of the year as the glittery opener of its 2006-07 season. According to an L.A.
June 9, 2006 |
A case can be made for nepotism in classical music. Sons -- Carlos Kleiber, Peter Serkin -- have artistically outdone famous fathers. Six years ago, eyebrows rose when Long Beach Opera's founder hired his novice daughter as a director. But those eyebrows quickly dropped when Isabel Milenski turned out to have a vivid stage imagination. More than once, Marta Domingo has been on the payroll of companies her husband heads, directing for Washington National Opera and Los Angeles Opera.
May 19, 2005 |
Over its 19 seasons, Opera Pacific has paraded before its audience a number of Violettas in Verdi's "La Traviata." The latest, seen Tuesday night in Segerstrom Hall at the Orange County Performing Arts Center, is a charming, petite Russian soprano Dina Kuznetsova. But she is not the hero of this handsome and lavish production.
July 15, 2003 |
Intimate, personal, touching drama, Verdi's "La Traviata" stands radically apart from Verdi's other middle-period operas, the pot-boiling "Rigoletto" and "Il Trovatore." The um-pah-pah still is there, and so are the grand opera gestures in not one but two party scenes. But we hang on one character, the consumptive courtesan Violetta Valery. We admire her vivacity, we respect her tenacity, and most of all, we learn to love her as she learns the meaning of love.
October 22, 2001 |
Giovanni Agostinucci's lavish production of Verdi's "La Traviata" returned to the Dorothy Chandler Pavilion on Friday for the start of a 10-performance run. Los Angeles Opera artistic director Placido Domingo was at the podium and will conduct three more times. His leadership is firm, the orchestra plays confidently, and Verdi's great score unfolds in all its sweep and subtlety.
August 26, 2000 |
Andrea Andermann's "La Traviata From Paris" combines lush and colorful indoor/outdoor locations from the French capital with Verdi's familiar tragic opera. Actual Parisian sites--the Hotel Boisgelin in Act I, the park in Versailles called Hameau de la Reine for Act II, the Petit Palais and the Ile St.-Louis, subsequently--are used for the scenery and sets.
November 11, 1999 |
Opera Pacific is trying hard and thinking big these days. Tuesday night it began a new season, its 14th, with "La Traviata" at the Orange County Performing Arts Center. Little in the presentation of this familiar opera was taken for granted, and everywhere its ambition was on display. Sets and costumes, which came from San Francisco Opera, were sumptuous and handsomely detailed. Linda Brovsky, the feisty director, demonstrated a fresh interest in theatrical verisimilitude.