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July 14, 1989 | DAVID STEVENS, Stevens writes for the International Herald Tribune in Paris.
Eight years after its conception as part of President Francois Mitterrand's cultural legacy, and after almost as many years as a political football, the new home of the Paris Opera--the $400-million Opera Bastille--opened Thursday. There was a little music, a lot of pomp, and a ton of security to watch over Mitterrand and more than 30 other heads of state here for the bicentennial celebrations of the French Revolution.
April 12, 2011 | By Reed Johnson, Los Angeles Times
Daniel Catán, an opera composer and librettist whose works including "Il Postino" and "Florencia en el Amazonas" have been praised for their lyrical romanticism and humane generosity of spirit, died suddenly Saturday in Austin, Texas. He was 62. Catán's death was announced by the Butler School of Music of the University of Texas, where he was a visiting artist. The cause has not been determined. A South Pasadena resident, Catán had been commissioned by the Butler School to adapt Frank Capra's 1941 classic film "Meet John Doe" for the operatic stage.
January 17, 2010 | By David Ng
There are operas whose scores are hummable and whose tunes have worked their way into popular culture. And then there are operas that resist any sort of easy packaging -- operas that are, for lack of a better phrase, musical oddballs. Robert Kurka's "The Good Soldier Schweik" is considered by some opera scholars to be one of the oddest ducks ever to grace a stage. Those who prefer their operas to color within the lines should take heed: The spastic, constantly shifting style of "Schweik" is bound to keep even the most experienced listeners on their toes.
November 29, 2009 | By James C. Taylor
For young opera singers, lucky breaks don't come easy -- and for mezzo-soprano Joyce DiDonato they tend to be incredibly painful. This summer, DiDonato was in London performing in Rossini's "The Barber of Seville" (a role she reprises today in her LA Opera debut). She was well on her way to a successful opening night at the Royal Opera House, finishing the famous aria "Una voce poco fa." Then suddenly, DiDonato tripped on a metal flap track onstage and fractured her fibula. Most singers would (and probably should)
October 22, 2010 | By David Ng, Los Angeles Times
Operas set in Los Angeles are exceedingly rare creatures. The ultra-modern metropolis would seem like an odd fit for an art form that isn't generally known for embracing the contemporary. But in the case of the opera "America Tropical," the history of L.A. provides an epic backdrop on which musicians harmonize the city's past and the present in poetically time-bending ways. "America Tropical" covers 200 years of Los Angeles history, from the city's founding in the 1780s to the Rodney G. King beating and aftermath of the early 1990s.
August 23, 2013 | By Lauren Frayer
LISBON - One clear blue morning last October, professional opera singer Ana Maria Pinto boarded a bus at 6 a.m. in her hometown in Portugal's north and made her way to an 18th century colonnaded courtyard on this capital city's riverfront. It was Republic Day, a national holiday, but President Anibal Cavaco Silva's annual speech was closed to the public for the first time. Financially beleaguered Portugal is often hit by anti-austerity protests, and Lisbon's beleaguered officials wanted to avoid confrontation.
November 18, 2010 | By Reed Johnson, Los Angeles Times
The surviving prologue of an unfinished, long-lost opera by Dmitri Shostakovich will have its world premiere in December 2011 in a semi-staged production at Walt Disney Concert Hall, capping a multi-year process of musical sleuthing and improbable discoveries that's nearly as eye-opening as the work's bizarre subject matter. Esa-Pekka Salonen will conduct the Los Angeles Philharmonic in three performances of the reconstructed prologue to the opera, "Orango," a blisteringly satirical 1932 work about the wayward doings of a grotesque half-man, half-ape creature that the Russian composer wrote in collaboration with librettists Alexei Tolstoy and Alexander Starchakov.
October 18, 1997
Bravo! L.A. Times for "A Generation of L.A. Opera Singers Comes of Age" by Jan Breslauer (Oct. 15). I am a huge fan of L.A. Opera and it's about time that the company and its artists get the exposure they deserve. L.A. Opera is truly a gem and deserves more attention than it is receiving. That is why I was pleasantly surprised when I turned to the Calendar section and saw the familiar faces of Rodney Gilfry, Suzanna Guzman, Greg Fedderly and Hector Vasquez. Opera is alive and kicking, but the general public is not aware of this.
May 7, 2004 | From Associated Press
The Santa Fe Opera plans to present an opera in Spanish for the first time in nearly three decades, general director Richard Gaddes said. Argentine Osvaldo Golijov's "Ainadamar," which opened last year at Tanglewood, will be revised for the 2005 season by Golijov and director Peter Sellars. It is based on the life of poet-playwright Federico Garcia Lorca. The Santa Fe Opera's last Spanish-language production was Manuel de Falla's "La Vida Breve" in 1975.
January 20, 2005 | From Times staff writers
If you're curious about opera but not quite ready to pop for a ticket, you can always get a taste of it at home. Some first-rate performances have been captured on celluloid and video, and they might just whet your appetite for the real thing. * Barber of Seville Rossini's enduring comedy pits two young lovers and a wily barber against a greedy older guardian who wants the girl -- and her dowry -- for himself. Cecilia Bartoli stars in this 1988 Schwetzingen Festival performance.
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