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February 23, 2013 | By Mark Swed, Los Angeles Times Music Critic
MUNICH, Germany - Wagner's "The Ring of Nibelung" is no picnic. The epic four-evening mythic drama is the macho challenge with which operas prove themselves. It practically did in Los Angeles Opera when the company finally got around to mounting this monumental if confrontational pillar of Western civilization in 2010. The "Ring" has been no picnic, that is until now. As audience members found their seats at the Bavarian State Opera's historic National Theater here last month for "Das Rheingold," the first opera in the cycle, some 100 exceptionally good-looking young people dressed in summer whites (it was snowing outside)
June 4, 2000
Mark Swed's May 21 articles on Peter Hemmings and Los Angeles Opera provided well-merited coverage of a man and an institution that have changed the cultural landscape of Southern California. One aspect that Swed touched on but did not praise sufficiently is the company's commitment to developing young local artists. This is a mission Los Angeles Opera shares with the Opera Buffs Inc., which provides scholarships and performance opportunity to young singers in Southern California. Swed suggests that other companies have "stronger personalities" than Los Angeles Opera.
July 9, 2012 | By David Ng
In his latest movie "To Rome With Love," Woody Allen plays Jerry, a retired music executive and former opera director who travels to Italy to meet his daughter's fiancé. Upon his arrival in the Eternal City, Jerry encounters his future son-in-law's father, an undertaker who happens to have a perfect operatic voice - but only when he's singing in the shower. The chance discovery precipitates a series of comic set pieces, and prompts Jerry to rediscover his passion for the operatic art form.
March 15, 2014 | By Deborah Vankin
The sound of a woman descending into madness is rich and piercing - and oddly beautiful. In a quiet rehearsal room at the Los Angeles Opera, music director James Conlon gathers about half a dozen people around a grand piano. Among them is Russian coloratura soprano Albina Shagimuratova and French musician Thomas Bloch, who's just arrived from Paris with a rare, treasured instrument, the glass harmonica. Bloch takes a seat at what looks like an antique pedal sewing machine with gold-rimmed glass discs rotating on its spindle.
May 27, 2003 | From a Times Staff Writer
Tara Glynn Colburn, major benefactor and founding board member of the Los Angeles Opera at its inception in 1986, has died at the age of 61. Colburn died Friday of cancer in Geneva, Los Angeles Opera officials said. As a part of her philanthropy, Colburn underwrote the recent production of "The Barber of Seville" at the Dorothy Chandler Pavilion and was a co-sponsor of the production of "Madama Butterfly" planned for next season.
August 18, 2002
"Artists and repertoire subject to change. No refunds or exchanges" reads the fine print on the Los Angeles Opera advertisement on Page 49 in the Aug. 11 Calendar. I ask you, would you put down money on next year's car knowing that the make, model and options would be subject to change, no refunds or exchanges? I do not think so. So why buy tickets in advance to the Los Angeles Opera? You have no choice of seating by phone or mail order, so best seat is not an option. Indeed, because they never really sell out, some of the best tickets are at the box office the night of performance.
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