February 15, 1991
The 1991-92 Music Center Opera schedule and castings in the major roles: * "Madama Butterfly" (Puccini). Maria Ewing, Placido Domingo/Jorge Antonio Pita, Thomas Allen/John Atkins; conducted by Randall Behr; directed by Ian Judge. Sept. 12, 15, 18, 21, 24, 29. * "Les Troyens" (Berlioz). Nadine Secunde, Carol Neblett, Gary Lakes; conducted by Charles Dutoit; directed by Francesca Zambello. Sept. 14, 17, 20, 22, 25. * "Don Giovanni" (Mozart).
July 26, 1987 |
There's just a little pomp and circumstance about opera. So, it's hardly unusual that in many major cities, the opera signals the traditional opening of the Fall Social Season. Capital letters. Los Angeles is no exception. The Los Angeles Music Center Opera's second season opens Sept. 8 with a production of Puccini's "La Boheme" starring Placido Domingo (the opera company's artistic consultant).
November 6, 1986 |
Tuesday night, with a little help as usual from some British friends, the Music Center Opera attended brilliantly to the glorious Baroque excesses of Handel's "Alcina" amid the glorious Deco excesses of the Wiltern Theatre. "Alcina," you may recall, is a masterpiece of its kind that makes frequent appearances in history books, infrequent ones in opera houses.
February 10, 1985 |
The Music Center has always had a strange relationship with that wondrous, irrational art known as opera--a relationship predicated on false promises, pretension, mismanagement and neglect. Twenty years ago, before we opened our most vaunted theatrical palace in the performing-arts shopping mall downtown, the powers-that-were promised grand grand-opera as a regular, on-going part of our cultural diet.
March 9, 1988 |
New productions of "Cosi fan Tutte" and "Wozzeck," and the premiere of a new critical edition of an old favorite mark the 1988-89 season for the Music Center Opera, as announced Tuesday. Plans for the 1989-90 season include five new productions and a revival of the "Falstaff" produced by the Los Angeles Philharmonic in 1982. The first performance of a new edition of "Les Contes d'Hoffman," opens the next season, replacing the "Cavalleria Rusticana" and "Pagliacci" bill previously announced.
October 6, 1988 |
The setting is Rehearsal Room 3 at the Music Center Pavilion. Dr. Miracle, the sinister, Mephistophelean figure, and Antonia, the consumptive ingenue languishing for her true love, are locked in a clinch. As the music soars passionately and its song throbs, she clings to and entwines him--like a thin wet leaf sticking to a pavement. Seduction is the name of this game. Forget the usual encounter between these two characters in Offenbach's "Les Contes d'Hoffmann."