Marcus Haddock, a Texas native, describes the differences between performing in Europe and in America. He reminisces about singing this role at LA Opera eight years ago and performing with his dear friend, Patricia Racette.
Keri-Lynn Wilson makes her LA Opera debut. This Canadian’s internationally acclaimed career has seen her conduct in many of the world’s most renowned venues. Listen to this Puccini expert describe this rarely performed work.
The last time Neil Shicoff performed on the LA Opera stage it was in the same role 19 years ago. Since then, he has established himself as a preeminent American tenor of his generation. Listen as he speaks about his return to LA Opera, this role, and his special connection to Music Director James Conlon.
Adrianne Pieczonka last performed at LA Opera for this season’s opening gala performance of the Verdi’s Requiem. She returns for her role debut as Tosca. She describes this monumental moment in her career and why she chose LA Opera to make such an important step. She talks about her approach to Tosca and how she tackles the role’s most poignant passages.
Listen while Music Director James Conlon explains why he feels “no greater Italian masterwork exists” than Otello. He discusses the impact that this opera had on classical music and why Verdi is the perfect Shakespearean composer.
This British tenor talks about his beginnings as a furniture designer and how he eventually became an opera singer. He discusses the challenges faced when singing the role of Otello, a character whose fatal flaw of jealousy leads to him murdering his true love.
Maestro Conlon shares his vision for the future of this music and why he feels it should be played in every concert hall around the world. He illustrates the moment he first heard Alexander Zemlinsky's music and the effect it had on his life.
Rodrick Dixon (The Dwarf) and Mary Dunleavy (Infanta) discuss LA Opera's Recovered Voices project and what it means to be part of this initiative. They encourage audiences to experience for the first time this music that was formerly suppressed by the Nazi’s.
David Hockney started his relationship with Wagner’s music over twenty years ago with a choreographed drive up the California coast. Each turn had a musical accent and his car’s speed matched the crescendos and decrescendos. The union between the California sun and the passion of Wagner’s music translated magically into the set design and lighting of LA Opera’s production of Tristan und Isolde.
Listen while Music Director James Conlon guides you through the musical tapestry of Tristan und Isolde. He offers insight into Wagner’s use of musical leitmotifs to develop characters and advance the plot.
Marcus Haddock, a Texas native, describes the differences between performing in Europe and in America. He reminisces about singing this role at LA Opera eight years ago and performing with his dear friend, Patricia Racette.
Keri-Lynn Wilson makes her LA Opera debut. This Canadian’s internationally acclaimed career has seen her conduct in many of the world’s most renowned venues. Listen to this Puccini expert describe this rarely performed work.
The last time Neil Shicoff performed on the LA Opera stage it was in the same role 19 years ago. Since then, he has established himself as a preeminent American tenor of his generation. Listen as he speaks about his return to LA Opera, this role, and his special connection to Music Director James Conlon.
Adrianne Pieczonka last performed at LA Opera for this season’s opening gala performance of the Verdi’s Requiem. She returns for her role debut as Tosca. She describes this monumental moment in her career and why she chose LA Opera to make such an important step. She talks about her approach to Tosca and how she tackles the role’s most poignant passages.
This British tenor talks about his beginnings as a furniture designer and how he eventually became an opera singer. He discusses the challenges faced when singing the role of Otello, a character whose fatal flaw of jealousy leads to him murdering his true love.
Maestro Conlon shares his vision for the future of this music and why he feels it should be played in every concert hall around the world. He illustrates the moment he first heard Alexander Zemlinsky's music and the effect it had on his life.
David Hockney started his relationship with Wagner’s music over twenty years ago with a choreographed drive up the California coast. Each turn had a musical accent and his car’s speed matched the crescendos and decrescendos. The union between the California sun and the passion of Wagner’s music translated magically into the set design and lighting of LA Opera’s production of Tristan und Isolde.
