Remembering Roberto Cani
October 10, 2025
Zipper Hall, 7 pm
Program
Crisantemi (Chrysanthemums), SC 65 (1890)
Ancient Airs and Dances (Suite No. 3), P 172 (1931)
Italiana
Arie di corte
Siciliana Passacaglia
Stabat Mater, P. 77 (1736)
James Conlon, Conductor
Gabrielle Turgeon, Soprano
Meagan Martin, Mezzo-Soprano LA Opera Orchestra
giacomo puccini 1858–1924
ottorino respighi 1879–1936
giovanni battista pergolesi 1710–1736
Roberto Cani (1967–2025)
Roberto Cani, an internationally acclaimed violinist whose artistry and dedication to music inspired audiences across the globe, passed away on April 9, 2025. Known for his extraordinary talent and devotion to the violin, Mr. Cani leaves behind a legacy of beautiful artistry and a deep passion for music.
Mr. Cani began studying the violin at the age of seven and built a career that took him to concert halls around the world, gaining recognition for his expressive playing, velvety sound, and remarkable virtuosity. Earlier in his career, he performed with the La Scala Orchestra under the baton of Riccardo Muti and worked with Maestro Daniele Gatti, among many other significant engagements. As a soloist, he appeared with major orchestras such as the Moscow Philharmonic, the RAI Symphony Orchestra, Orchestra Sinfonica Siciliana, and the Belgrade Philharmonic, earning acclaim for his elegant tone, technical mastery, and emotional depth. His performances were featured on international television and radio.
In 2011, Mr. Cani became the Concertmaster of the Los Angeles Opera Orchestra, playing a key role in guiding the string sections, closely working with the conductor and musicians, and shaping the orchestra’s overall sound. During his tenure, he collaborated with many renowned artists, including James Conlon, Plácido Domingo, Ana María Martínez, Sondra Radvanovsky, Vittorio Grigolo, Vitalij Kowaljow, Jordi Bernacer, Speranza Scappucci, and Gustavo Dudamel.
Mr. Cani was also passionate about chamber music and performed with artists such as Lynn Harrell, Jeffrey Swann, and Jason Vieaux. He participated in numerous summer music festivals and master classes worldwide, including the summer Music Festival in Cremona, where he taught for almost a decade.
Mr. Cani was a prizewinner in numerous prestigious competitions, such as the Paganini International Competition, the Courcillon International Competition, and the Jeunesses Musicales International Competition. He also received honors at the Tchaikovsky Competition, further establishing his place among the world’s leading violinists.
What set Mr. Cani apart was not only his beautiful artistry but the deep, genuine connection he had with music. The violin was more than his instrument—it was his voice, his calling, and the center of his life. He possessed extraordinary knowledge of the history and craftsmanship of violin and bow making, and he brought his passion for violin—and music in general—to every part of his work.
Mr. Cani will be remembered as a brilliant musician and a kind, caring, and radiantly optimistic person. His love for music will continue to resonate in the hearts of those who knew him, worked with him, and were moved by his performances.
Featured Artists
Meagan Martin, Mezzo-Soprano
Hailed by The Los Angeles Times as a “great glory” and recognized for her “fine coloratura technique” (Opera magazine) and “keen sense of drama” (Triangle Guitar Society News), Meagan Martin, mezzosoprano, creates compelling portrayals at the intersection of music, theater, and dance.
Her 2024–25 season highlights include one of the title roles in The Three Women of Jerusalem for LA Opera’s annual community opera under the baton of James Conlon; alto soloist in Pacific Opera Project’s Messiah; her debut with The Da Camera Society for Schumann’s Frauenliebe und -leben with pianist David Kaplan; and the featured mezzo roles in LA Opera Connects’ in-school opera tours.
Ms. Martin’s singing has taken her to Europe and across the United States. She was the first American ever selected to participate in the Gstaad Vocal Academy with Silvana Bazzoni Bartoli (mother and sole voice teacher of Cecilia Bartoli) at the Menuhin Festival in Switzerland, and she was selected for a master class intensive with Teresa Berganza at the Festival Internacional de Panticosa. Ms. Martin has also participated in the prestigious Young Artists Vocal Academy (YAVA) at Houston Grand Opera, Teatro Nuovo, W. Stephen Smith’s “The Naked Voice” Institute at Northwestern University, and Vladimir Chernov and Olga Toporkova’s International Vocal Artists Academy in Payerbach, Austria.
Ms. Martin completed both her doctoral and master’s degrees in the studio of internationally-acclaimed baritone Vladimir Chernov at UCLA’s Herb Alpert School of Music. Ms. Martin has pursued advanced studies in German, Spanish, and Italian as well as elementary training in French and Russian. She earned her Bachelor of Arts in German at UCLA at age 20, graduating summa cum laude and with Departmental Highest Honors while studying voice privately with Renee Sousa. Prior to attending UCLA, she received her first formal opera training as a member of the Applied Music Program at Santa Monica College.
Gabrielle Turgeon, Soprano
Canadian-American soprano Gabrielle Turgeon is making waves across North America, most recently garnering critical acclaim for her performance in the finals of the Canadian Opera Company Centre Stage Competition. “Her delivery of ‘Piangerò la sorte mia’ from Handel’s Julius Caesar was naturally engaging. She effortlessly floated across octaves and fast passages, nailing the high notes with precision...she is definitely a talent to watch for.” (Denise Lai, La Scena Musicale, Montreal).
In the 2025–26 season, Ms. Turgeon will make her role debut as Micaëla in Bizet’s Carmen at the Brott Music Festival. She will also be returning to Los Angeles Opera for her second season as a DomingoColburn-Stein Young Artist, where she will perform as the Daughter of Akhnaten in Glass’s Akhnaten, and First Lady in Die Zauberflöte under the baton of James Conlon.
In the 2024–25 season, Ms. Turgeon joined the roster of the esteemed Domingo-Colburn-Stein Young Artist Program at Los Angeles Opera, where she made her company debut as Kate Pinkerton in Puccini’s Madama Butterfly, performed Voice of the Fountain in Golijov’s Ainadamar and the Countess Ceprano and Page in Verdi’s Rigoletto, and covered Despina in Mozart’s Così Fan Tutte.
Ms. Turgeon earned her master’s from the University of Cincinnati College-Conservatory of Music (CCM), where she performed both the title role in Janáček’s The Cunning Little Vixen and Blanche de la Force in Poulenc’s Dialogues des Carmélites. Ms. Turgeon earned her bachelor’s from the University of Toronto. She is also an alumnus of the Aspen Music Festival and School, the Houston Grand Opera Young Artists’ Vocal Academy, and the Ravinia Steans Music Institute.
LA Opera Orchestra
Violin I
Ana Landauer
Armen Anassian
Lisa Sutton
Olivia Tsui
Beau Henson
Kathleen Sloan
Ina Veli
Rafael Rishik
Tamara Hatwan
Roger Wilkie
Violin II
Grace Oh
Loránd Lokuszta
Florence Titmus
Leslie Katz
Cynthia Moussas
Haesol Lee
Irina Voloshina
Susan Rishik
Viola
Erik Rynearson
Evan Antes
Karie Prescott
Peng Jing
Kate Vincent
Aaron Oltman
Cello
John Walz
Rowena Hammill
Dane Little
Michael Kaufman
Helen Altenbach
Nadine Hall
Bass
Frances Liu Wu
Tim Eckert
Organ
Peter Walsh
Music Librarian
Melisandra Dunker
Orchestra Personnel Manager
Brady Steel
Stabat Mater, P. 77 (1736)
giovanni battista pergolesi 1710–1736
Stabat mater dolorósa juxta Crucem lacrimósa, dum pendébat Fílius.
Cuius ánimam geméntem, contristántem et doléntem pertransívit gládius.
O quam tristis et afflícta fuit illa benedícta, mater Unigéniti!
Quae mœrébat et dolébat, pia Mater, dum vidébat nati pœnas ínclyti.
Quis est homo qui non fleret, matrem Christi si vidéret in tanto supplício?
Quis non posset contristári Christi Matrem contemplári doléntem cum Fílio?
Pro peccátis suæ gentis vidit Jésum in torméntis, et flagéllis súbditum.
Vidit suum dulcem Natum moriéndo desolátum, dum emísit spíritum.
Eja, Mater, fons amóris me sentíre vim dolóris fac, ut tecum lúgeam.
Fac, ut árdeat cor meum in amándo Christum Deum ut sibi compláceam.
Sancta Mater, istud agas, crucifíxi fige plagas cordi meo válide.
Tui Nati vulneráti, tam dignáti pro me pati, pœnas mecum dívide.
Fac me tecum pie flere, crucifíxo condolére, donec ego víxero.
Juxta Crucem tecum stare, et me tibi sociáre in planctu desídero.
Virgo vírginum præclára, mihi iam non sis amára, fac me tecum plángere.
Fac ut portem Christi mortem, passiónis fac consórtem, et plagas recólere.
Fac me plagis vulnerári, fac me Cruce inebriári, et cruóre Fílii.
The sorrowful mother was standing beside the Cross weeping, while the Son was hanging.
Whose moaning soul, depressed and grieving, the sword has passed through.
O how sad and stricken was that blessed [woman], mother of the Only-begotten [one]!
Who was mourning and suffering, the pious Mother, while she was watching the punishments of the glorious son.
Who is the person who would not weep, if he had seen the mother of Christ in such great suffering?
Who would not be able to be saddened to behold the Mother of Christ grieving with the Son?
For the sins of his people she saw Jesus in torments, and subjected to lashes.
She saw her sweet Son dying forsaken, while he sent forth [his] spirit.
Come now, O Mother, fountain of love Make me feel the power of sorrow that I might mourn with you.
Grant that my heart may burn in loving Christ the God that I might please him.
O Holy Mother, may you do that, fix the wounds of the crucified mightily in my heart.
Of your wounded son, [who] so deigned to suffer for me, Share [his] penalties with me.
Make me cry dutifully with you, to suffer with the crucified, as long as I shall have lived.
To stand by the Cross with you, to unite me to you in weeping [this] I desire.
O noble Virgin of virgins, Be not bitter with me now, Make me mourn with you.
Grant that I might bear the death of Christ, Make [me] kindred in the passion, and contemplate the wounds. Make me injured by the wounds, make me drunken by the Cross, and by the blood of the Son.
Stabat Mater, P. 77 (1736)
giovanni battista pergolesi
1710–1736
Flammis ne urar succénsus, per te, Virgo, sim defénsus in die iudícii. Christe, cum sit hinc exire, da per Matrem me venire ad palmam victóriæ.
Quando corpus moriétur, fac, ut ánimæ donétur paradísi glória.
Amen.
Lest I be consumed burned by flames, through you, O Virgin, may I be defended on the day of judgement. O Christ, when it is time to depart hence, grant me to come through the Mother, to the palm of victory.
When the body will decay, grant that it may be bestowed on [my] soul the glory of paradise.
Amen
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