LA Opera Sept 2015

PLﾃ，IDO DOMINGO ELI AND EDYTHE BROAD GENERAL DIRECTOR JAMES CONLON RICHARD SEAVER MUSIC DIRECTOR CHRISTOPHER KOELSCH PRESIDENT AND CHIEF EXECUTIVE OFFICER

Gianni Schicchi/ Pagliacci SEPTEMBER 2015

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CONTENTS 10 A NOTE FROM PLÁCIDO DOMINGO Eli and Edythe Broad General Director 14 UNDERWRITER RECOGNITION CIRCUMSTANCES 18 EXTENUATING LA Opera’s double bill of Gianni Schicchi and Pagliacci shows sympathy for two very different scoundrels.

COMMUNITY 25 INT heTHE annual summer Opera Camp makes

an impact.

LA OPERA STORY, PART 1: THE 26 THE STAGING OF AN OPERA COMPANY

A Opera’s inaugural season was an overnight L triumph decades in the making.

30TH ANNIVERSARY SEASON 4 5 CELEBRATION

arc and Eva Stern host a launch party for M LA Opera’s landmark season.

IN THE SPOTLIGHT: 5 0 JAY HUNTER MORRIS

he tenor is poised to return as Captain Ahab T in the upcoming Moby-Dick.

Clockwise from top left: Greg Fedderly as Beppe in the 2005 production of Pagliacci; Maria Ewing in the title role of Salome in 1986 (see page 26); a scene from Gianni Schicchi.

4 PERFORMANCES MAGAZINE

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6 PERFORMANCES MAGAZINE

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G A L ER I E M I C H A EL PR E S EN T S

THE ART OF COLLECTING ART AND BUILDING MUSEUM - QUALIT Y COLLECTIONS T H E ER I C A N D N I CO L E W E I D ER CO L L E C T I O N

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SUBSCRIBER RECOGNITION

30-Year Subscribers Barbara Abercrombie Dr. Abdelmonem and Marianne Afifi Patti and Harlan Amstutz Lisa E. Andersen Patrick Anderson and Lester Olson Dr. and Mrs. George Andros Ms. Miryam Bachrach Moshe Barkat and Evelina Haroutunian Margaret and David Barry John R. Benfield, MD Jeffrey and Susan Berman Toni Bird Bonnie Brae Jacqueline Brandwynne Maynard and Linda Brittan Dr. Alisa Cone Camberlan Richard and Norma Camp Howard and Linda Cantwell Elliot Carrion Evelyn and Stephen Cederbaum Damon Chun Janet and Nicholas Ciriello Edward E. and Alicia Garcia Clark Shirley C. Cohen Howard and Rhoda Coleman Marilyn and Don Conlan Corinna Cotsen Alice and Joe Coulombe David and Anne Covell Myron and Margie Crain Felice and Richard Cutler Drs. Nazareth and Ani Darakjian Elias Davis Dr. and Mrs. Donald E. Dickerson Jennifer and Royce Diener Ronald H. Dolkart Leslie and John Dorman Drs. Helen and Gary Dosik Dr. Adrian and Mrs. Esme Douglas Betty and Brack Duker Gisela Eckhardt W. Allan Edmiston, Jr., M.D. Gerald Elijah Bob and Betty Emirhanian Carol Epstein Mrs. Paul A. Erskine Dr. and Mrs. Thomas J. Fauble

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Janice Loutzenhiser and Glafiro Villareal, Jr. Janet and Richard Luke Renee and Meyer Luskin Robert E. Main Dr. Mark Markowitz and Terry Markowitz Michael F. McGuire, MD Rick and Linda McKnight Clive T. and Sophia D. Miller S. E. and Mary Miller Iris Mink Judith and Fred Mishkin Henny Moskowitz Eugene H. Murray Barbara and Norman S. Namerow Anthony and Olivia Neece David C. Newell Mr. and Mrs. John G. Niles Yolanda and Bill Noack Mrs. Inna Ockelmann Thomas Gilbert O’Connell and Yvette O’Connell Milton and Rosemary Okun Mr. and Mrs. Peter O’Malley Dr. Leslie A. Pam and Dr. Ann Christie Petersen Carol and Lowell Peterson Mr. and Mrs. Roger H. Porter, Jr. Ernest and Anne Prokopovych Zita and Darius Rahbar Michele and Dudley Rauch Suzanne Rheinstein Craig and Janis Risch Margaret Roades Carol Roberts Peter and Cynthia Rosen Rickard Roudebush Frank D. Rubin Dr. Michael Rudolph Elizabeth Loucks Samson Kenneth Sanson Mr. and Mrs. Joseph A. Saunders Ronald Schoenberg and Barbara Zeisl Schoenberg Fred Scholder Christof and Karin Schwab The Seaver Family Richard Kendall and Lisa See

Mr. and Mrs. Arnold Seidel Dr. Donald A. Seligman and Dr. Jon E. Zimmerman Dr. Bertrand and Joan Shapiro Mrs. Charles S. Shapley Estelle Shephard Kathleen Komar and Ross Shideler Jack Shine Molly and Dick Siefert Dr. Stuart E. Siegel Margy and David Sievers Eric Small Mrs. Gerald Snipes Terry and Dennis Stanfill Philip Starr and Michael Simental Charles M. and Terri Jo Stern Mrs. Leonard Straus Amanda Susskind Alice Suzuki Eleanor Tomkiewicz-Gnup Brigitta B. Troy and Alden Lawrence Margaret S. Vernallis Magda Waingrow Christopher V. Walker Tana M. Warren Ann Waterman and Robert Dickey Richard Wayne Jean Weishaar Edna Weiss Mary R. Weissmann Mr. and Mrs. David Wheatley Doris Weitz and Alexander Williams Charles and Brenda Wilson Stephen Yenser Dr and Mrs. Murray F. Zane Esther and Abe Zarem Michael R. Zevin Marilyn Ziering

PHOTO BY ROBERT MILLARD

LA Opera salutes the extraordinary commitment of those opera lovers who were in the audience during our inaugural season and who continue to subscribe today. They are an important part of the LA Opera family and we thank them for being with us for 30 years of exceptional opera.

2003 Denyce Graves and Paul Groves in The Damnation of Faust

8 PERFORMANCES MAGAZINE

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SEASON OPENS

SEPTEMBER 12

PLﾃ，IDO DOMINGO stars in and conducts a double feature by

WOODY ALLEN and FRANCO ZEFFIRELLI

by GIACOMO PUCCINI / RUGGERO LEONCAVALLO

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ENGLISH 8/11/15 4:02 PM

A NOTE FROM PLÁCIDO DOMINGO

Welcome to LA Opera PHOTO BY GREG GORMAN FOR LA OPERA

Dear Friends, Welcome to LA Opera’s 30th Anniversary Season! I am thrilled that you have joined our celebration as we launch this milestone season. This opening production celebrates our long tradition of collaborating with Hollywood’s greatest creative minds. Our company resides in the heart of film culture and its influence has been part of our productions since the beginning. This opening show is the latest example.

When we first presented Woody Allen’s staging of Gianni Schicchi seven years ago, I had no idea that I’d be singing the title role for its first revival. I’m very excited about this role debut and thrilled to be surrounded by a cast that includes a number of returning favorites, including Arturo Chacón-Cruz, Greg Fedderly and Stacey Tappan (to mention just a few!) and to have LA Opera’s masterful Resident Conductor, Grant Gershon, presiding in the orchestra pit. I also welcome two talented newcomers, Andriana Chuchman and Meredith Arwady, making their LA Opera debuts as Lauretta and Zita, respectively.

After the intermission, I’ll move to the podium to conduct Pagliacci, one of LA Opera’s landmark productions. Franco Zeffirelli’s epic production returns to our stage with a wonderful new cast. My dear friend and colleague Ana Maria Martinez is Nedda, the first of two leading roles she will perform in Los Angeles this season; she will be back with us in the spring in Madame Butterfly. Marco Berti, who made his 2004 company debut opposite Ms. Martinez in La Bohème, will sing the role of Canio in the first five performances, with Yusif Eyvazov making his LA debut as Canio on October 3. The cast also features George Gagnidze as Tonio, his first appearance here since his memorable Rigoletto in 2010, as well as Liam Bonner as Silvio.

Our 30th Anniversary Season promises to be an especially outstanding one. Our upcoming productions, particularly Mozart’s The Magic Flute and Universal Pictures’ 1931 film classic, Dracula (composed by Philip Glass, which he performs live with Kronos Quartet), continue to embody this marriage of film and opera that uniquely reflects LA Opera’s vision and role in Los Angeles.

I am profoundly grateful to several of LA Opera’s most dedicated and generous leaders, who have made this double bill possible: the Milan Panic Family, Eva and Marc Stern, Barbara Augusta Teichert, and Joyce and Aubrey Chernick. I would also like to extend my appreciation to Selim Zilkha, who has underwritten this season’s Opera Ball in honor of Mary Hayley, who celebrates her tenth year as chair of LA Opera’s opening night. These extraordinary supporters hold a special place in LA Opera’s history. They are leading the way for the next 30 years of artistic excellence on our stage and I thank them for their remarkable generosity.

My friends and colleagues, James Conlon, music director and Christopher Koelsch, president and chief executive officer join me in extending our appreciation to the Los Angeles Music Center and to the Los Angeles County Board of Supervisors for their longtime support. We extend our deepest thanks, finally, to our incredible board of directors, especially our tireless board chairman, Marc Stern. His wisdom and leadership are essential to our artistic success. LA Opera’s 2015/16 landmark season would simply be unimaginable without him.

I hope that you will enjoy our many wonderful performances to come!

Sincerely,

PLÁCIDO DOMINGO ELI AND EDYTHE BROAD GENERAL DIRECTOR

10 PERFORMANCES MAGAZINE

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LA OPERA

LA OPERA BOARD OF DIRECTORS Marc Stern* CHAIRMAN

Carol F. Henry* CHAIRMAN OF THE EXECUTIVE COMMITTEE

Bernard A. Greenberg*

Warner W. Henry*

Sebastian Paul Musco*

Milan Panic*

Marilyn Ziering*

VICE CHAIRMEN

Robert Ronus* TREASURER

Marvin S. Shapiro* SECRETARY

Plácido Domingo* Leslie A. Dorman* Geoff Emery Don Erik Franzen Michael A. Friedman, M.D. Alexander Furlotti Craig Garner Gordon P. Getty** Ruth R. Gold Brindell Roberts Gottlieb Thomas Gottschalk Diane Gray Monica Gutierrez-Roper Hany Haddad Mary Hayley* Catherine H. Helm Judge Judith O. Hollinger Mrs. John F. Hotchkis Tim C. Johnson

Geraldine Alden, Ph.D. Marvin Antonowsky‡ James R. Asperger Haig S. Bagerdjian Jill C. Baldauf David N. Barry Beatrice Bennett Adele Binder Paul Bloch Alex K. Bouzari* Iman Brivanlou Dr. Carol E. Cass Marlene Chavez, Ph.D. Joyce Chernick James Conlon† Robert Cook Mark H. Dalzell Mari L. Danihel

Richard Jones Dr. Harold L. Karpman Lawrence A. Kern* Christopher Koelsch†* Thomas F. Kranz Edward A. Landry Claude Mann Bryan Moeller Carlos A. Mollura Dr. Steven Nagelberg Leslie A. Pam, Ph.D. Linda Pascotto Ceil Pulitzer** Harold B. Ray* Barry A. Sanders* E. Randol Schoenberg R. Carlton Seaver* Lisa See Joan Seidel

Dr. Chester Semel Marilyn Shapiro Susan Shapiro Eric L. Small James Thurmond Smithgall Eugene P. Stein* Mrs. Dorothy B. Straus Dr. James H. Strauss Barbara Augusta Teichert Sandra W. Terner Paul D. Tosetti* Brigitta B. Troy Geoffrey P. Wharton Alyce Williamson Zev Yaroslavsky Ellen Zetcher Ann Ziff

LIFE TRUSTEES Robert V. Adams‡ Ambassador Frank E. Baxter* Nicholas G. Ciriello

Alicia Garcia Clark Alice Steere Coulombe Edgar Foster Daniels David K. Ingalls

Sherry Lansing Mrs. Joseph A. Saunders Mrs. Dennis Stanfill Michael L. Tenzer

Richard E. Troop Dr. A.M. Zarem

PRESIDENTS / CHAIRMEN OF LA OPERA SINCE ITS INCEPTION Stephen D. Gavin John A. McCone Lawrence Deutsch

* Executive Committee member

Bernard I. Forester Kyhl Smeby Edward W. Carter Thomas Wachtell ** Honorary

† Ex Officio

Roy L. Ash Bernard A. Greenberg Richard Seaver Leonard I. Green

Marc Stern Frank E. Baxter Carol F. Henry

‡ In Memoriam

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LA OPERA FOUNDERS AND DONORS

LA Opera’s Founding Board Members and Donors

FOUNDING BOARD OF DIRECTORS John E. Anderson Thomas G. Armstrong Roy L. Ash* Jon Avnet Robert Bookman Edward W. Carter Nicholas G. Ciriello*† Mrs. Richard D. Colburn* Pierre Cossette Mrs. Lloyd E. Cotsen* Mrs. Joseph H. Coulombe*† Robert J. Feder, M.D. Mrs. William R. Forman* Don Erik Franzen*† Stephen D. Gavin Herbert M. Gelfand* Jonathan Goodson Leonard I. Green* Bernard A. Greenberg*† Warner Heineman* Mrs. Warner W. Henry*† David K. Ingalls*† Mrs. Dwight M. Kendall* Norman H. Lee* John A. McCone* James P. Miscoll Carl V. Princi Mrs. Simon Ramo Sol R. Rubin Mrs. Joseph A. Saunders*† Richard C. Seaver* Mrs. Dennis A. Stanfill*† Robert P. Strub Joseph F. Troy* Thomas Wachtell Mrs. Harry H. Wetzel Lorin H. Wilson* Dr. A. M. Zarem*† Morris E. Zukerman

PHOTO BY ROBERT MILLARD

LA Opera wishes to recognize and thank the visionary board members and donors who had the faith and courage 30 years ago to establish a new opera company in Los Angeles. We are grateful for their extraordinary leadership and unwavering support.

Many of these individuals and their families attend and enjoy LA Opera’s performances to this day. They continue to strengthen the company’s foundation through annual and legacy gifts. We are fortunate to benefit from the tremendous generosity and guidance of these pioneers, many of whom still serve on the board of directors today. Their passion for opera has inspired new generations of supporters to join them in building an international organization with the leadership, talent and flair to produce unforgettable opera experiences for the people of Los Angeles.

FOUNDING DONORS Music Center Unified Fund* Los Angeles Music Center Opera League The Forman Family Fund* Tara Colburn* Mr. and Mrs. Gordon Getty*† The James Irvine Foundation* Martha and Thomas G. Armstrong Mr. and Mrs. Roy L. Ash* Mrs. Willard E. Brown* Mr. and Mrs. Edward W. Carter Janet and Nicholas G. Ciriello*† Richard Colburn* Mr. and Mrs. Lloyd Cotsen* Mr. and Mrs. Leonard I. Green* Lenore S. and Bernard A. Greenberg*† Carol and Warner Henry*† Mr. and Mrs. David K. Ingalls*† Mr. and Mrs. Dwight M. Kendall* Mr. and Mrs. Norman H. Lee* City of Los Angeles Cultural Affairs Department* The Milken Family* The Esper A. Petersen Foundation*† Mrs. Thomas Pew Dr. and Mrs. Simon Ramo Neddy and Sol R. Rubin Santa Anita Foundation Mr. Richard C. Seaver* The Sheraton Grande Hotel Mr. and Mrs. Dennis Stanfill*† Morgan Stanley & Co. The Flora L. Thornton Foundation* Mr. and Mrs. Harry H. Wetzel * current and legacy supporters † represented on the board of directors today The board list (above left) appeared in the program for the LA Opera’s first production: Otello, which opened on October 7, 1986. The founding donor list is from the program for the inaugural season’s final production: Porgy and Bess, which opened on February 19, 1987.

2014 Anthony Dean Griffey and Renée Fleming in A Streetcar Named Desire

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O C T O B E R

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LA Opera’s productions from the Italian repertoire are made possible in part by an extraordinary leadership gift in memory of

Luciano Pavarotti and in honor of his remarkable contributions to the world of opera.

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PHOTOS BY STEVE COHN PHOTOGRAPHY

PHOTO BY STEVE COHN PHOTOGRAPHY

UNDERWRITER RECOGNITION

The Milan Panic Family

Joyce and Aubrey Chernick

Barbara Augusta Teichert

The double bill of Gianni Schicchi and Pagliacci will mark the 13th seasonopening production supported by the Milan Panic Family. Beginning with The Girl of the Golden West in 2002, these sponsorships have include company premiere productions of La Damnation de Faust, Eugene Onegin and The Two Foscari and the world premiere production of Il Postino. One of LA Opera’s most devoted supporters, Mr. Panic was elected to the board of directors in 2002, currently serves as vice chairman, and has been an instrumental supporter of the company as a generous contributor to the Domingo’s Angels and all subsequent Angels campaigns.

In addition to his committed support of LA Opera and many other performing arts organizations, including Segerstrom Center for the Arts, Mr. Panic has supported museums, universities and research programs, as well as international relief organizations for humanitarian aid.

An entrepreneur, statesman, global businessman and Olympic competitor in cycling, he is the founder and CEO of MP Biomedicals LLC and the former chairman, president and CEO of ICN Pharmaceuticals, Inc. A native of Belgrade, he financed the inoculation of more than 200,000 children in Kosovo and helped his native land regain its sense of national pride when he received special permission from President George H. W. Bush to serve as prime minister of the Federal Republic of Yugoslavia from 1992 to 1993.

LA Opera extends its deepest gratitude to Milan Panic for many years of committed leadership, as well as his ardent generosity, which has long been vital to the company’s continued growth and success.

LA Opera is indebted to Joyce and Aubrey Chernick for their generosity, which has helped to return these iconic productions of Gianni Schicchi and Pagliacci to LA Opera’s stage. They have been supporters and patrons of LA Opera for more than two decades, and have cultivated a deep knowledge and love of the art form. A lifelong resident, dedicated to the arts in Los Angeles, Mrs. Chernick joined the LA Opera board of directors in 2011. The Chernicks generously contributed to the recent opening night gala celebrations for La Traviata, Carmen, The Two Foscari and Eugene Onegin. Together, they are enthusiastic philanthropists, helping to make Los Angeles a vibrant and thriving community and helping those in need everywhere.

Joyce Chernick is a supporter of numerous other music and arts organizations in Los Angeles, including the Heidi Duckler Dance Theater, LACMA and the international youth orchestra iPalpiti. She is also a longtime member of The Blue Ribbon, the premier women’s support organization of The Music Center.

Founder, chairman and CEO of Candle Corp., Aubrey Chernick has shared his company’s success by forming the Candle Foundation, which supports a variety of charities dedicated to community investment, education, hunger and homelessness, preventive healthcare and medical research.

The Chernicks’ support for LA Opera is a testament to their commitment to the arts and to elevating Los Angeles as one of the world’s premier cultural destinations for opera. LA Opera extends its gratitude to the Chernicks for more than two decades of enthusiastic involvement and for their underwriting support of Gianni Schicchi and Pagliacci.

Barbara Augusta Teichert continues a ten-year tradition of production or special concert sponsorship at LA Opera with her generous gift in support of Gianni Schicchi and Pagliacci. An LA Opera board member since 2009, her instrumental contributions to the company include support for last season’s opening production of La Traviata, as well as Thaïs, The Two Foscari, Simon Boccanegra, Il Postino, Tamerlano, Die Walküre, the Verdi Requiem, Luisa Fernanda and the 2008 gala celebrating Plácido Domingo’s 40th anniversary in Los Angeles. Ms. Teichert also supported the 2006 refurbishment of La Traviata, starring Renée Fleming, for its filming and worldwide release on DVD. Her generosity to the company includes membership in LA Opera’s 20th Anniversary Angels leadership giving program.

A resident of Pennsylvania, Ms. Teichert shares her love of opera through her philanthropic efforts towards many American opera companies. For the Metropolitan Opera, she has provided support for the world premiere of The First Emperor, Iphigénie en Tauride and Simon Boccanegra. She served on the board of Washington National Opera for nine years and provided full or partial underwriting for a dozen productions there over a decade. Most recently, she has underwritten Opera Philadelphia’s productions of Kevin Puts’ Silent Night and Osvaldo Golijov’s Ainadamar.

LA Opera is honored to be the recipient of Barbara Teichert’s unwavering leadership and generosity, and commends her for a lifelong devotion to the art form and support for opera companies on both coasts.

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OPERA BALL UNDERWRITERS

This season-opening production is made possible by the generous support of Eva and Marc Stern, whose friendship with Woody Allen was instrumental in bringing him to LA Opera to direct Gianni Schicchi.

They have championed more than 15 ambitious projects including the Ring cycle, Roméo et Juliette, Il Trittico and the DVD releases of La Traviata and Rise and Fall of the City of Mahagonny. Chairman of the board since 2002, Mr. Stern was a driving force in bringing Renée Fleming to L.A. for A Streetcar Named Desire. In recognition of their extraordinary longtime involvement, the Eva and Marc Stern Grand Hall in the Dorothy Chandler Pavilion was named in their honor in 2010.

Marc Stern is chairman of The TCW Group Inc., and serves as a director of Qualcomm, Inc. He was elected to the board of directors in 1992, and also serves on the boards of the Music Center, the Metropolitan Opera, PBS SoCal and the California Institute of Technology, and he is the chairman of the Mayor’s Fund for Los Angeles.

He is a minority owner of the Milwaukee Brewers and the Milwaukee Bucks.

Eva Stern is a clinical social worker and philanthropist, supporting Southern California youth through the combination of education and the arts. A board member of the Alliance for College-Ready Public Schools since 2006, she also serves on the President’s Council at CSULA, on the board of The Blue Ribbon, and is an advisory board member and past chair of InsideOUT Writers. In 2006, she and her husband helped establish the Marc and Eva Stern Math and Science School, an Alliance public charter high school. With deepest gratitude, LA Opera acknowledges Mr. and Mrs. Stern for decades of committed leadership and extraordinary generosity.

Mary Hayley and Selim Zilkha LA Opera is grateful for extraordinary underwriting for the 30th Anniversary Opera Ball, graciously provided by Selim Zilkha in honor of Mary Hayley. Ms. Hayley has been a member of LA Opera’s board of directors since 1993, and serves as chair of the 30th Anniversary Opera Ball. As chair of the Special Events Committee, she has overseen many of the company’s most successful opening night galas. Mary Hayley and Selim Zilkha have been closely involved with LA Opera since its earliest seasons. As members of the Domingo’s Angels and all subsequent Angels campaigns, the couple have been among the company’s most generous and committed supporters.

The founder of a successful wind power development company and a champion of environmental sustainability, Selim Zilkha is the owner of the Laetitia Estate Vineyards. Since 2003, Laetitia Vineyard & Winery provides wine for galas, parties and many other special events each season as the Official Still Wine of LA Opera.

Mr. Zilkha is a member of the board of overseers of USC’s Keck School of Medicine, where he established the Zilkha Neurogenetic Institute and the Mary Hayley and Selim Zilkha Chair for Alzheimer’s Disease Research. Through their generous philanthropy, ZNI brings together researchers of diverse disciplines to identify new approaches that examine nervous system function to better understand the underlying causes of neurological and psychiatric disorders.

LA Opera is deeply proud of these most dedicated members of the family, and grateful for their collaboration and leadership.

On June 22, three new members were elected to LA Opera’s board of directors: the chairman of the Metropolitan Opera, Ann Ziff; the former president Ann Ziff and CEO of City of Hope, Michael A. Friedman, MD; and the managing director of TCW’s Income Equities group, Iman Brivanlou, PhD. “Ann is a dear friend, an inspiring Michael A. Friedman, MD philanthropist and a tireless supporter of the arts,” said Marc Stern, the chairman of LA Opera’s board of directors. “I have extremely high hopes for the benefits that will accrue from a closer relaIman Brivanlou, PhD tionship between our company and the leader of Metropolitan Opera. Dr. Friedman is equally philanthropic; he successfully led a billion-dollar campaign to support City of Hope’s initiatives. His leadership and accomplishments in the area of medicine are outstanding. I am fortunate to have worked closely with Iman for many years at TCW, where his leadership abilities and creativity have proven to be tremendous assets, and where we quickly bonded in our deep passion for opera. These additions reinforce the fact that LA Opera continues to expand our reach and influence, both nationally and locally. I couldn’t be happier.”

Photo by Bill King

Eva and Marc Stern

NEWS AND PREVIEWS

New Board Members

PHOTO BY JOHN SOLANO PHOTOGRAPHY

UNDERWRITER RECOGNITION

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EXTENUATING CIRCUMSTANCES Making the Case for Gianni Schicchi and Pagliacci

BY LEANN DAVIS ALSPAUGH Just how much can one man take? Imagine having to don a clown costume while the woman you love poses as a virgin even while she’s having an affair with a local villager. Or how about using nothing but your wits to save a family from losing its legacy—only to be cast into hell? Where is the gratitude? The understanding? Given the extenuating circumstances, can’t we all learn a little about forgiveness?

Or so we might argue when confronted with a double bill of Giacomo Puccini’s

Gianni Schicchi and Ruggero Leoncavallo’s Pagliacci. While there is precious little of the milk of human kindness in these two short operas, there is more than a satisfying measure of verismo, musical vitality and astute psychology. Although Pagliacci is typically paired with Pietro Mascagni’s Cavalleria Rusticana, staging it with Puccini’s roguish romp has the effect of reconciling two composers whose real-life squabbles (Leoncavallo accused Puccini of stealing his idea for

La Bohème) are smoothed over in a sort of posthumous benediction. But we get ahead of ourselves.

Heartache and Heroics Tragedy and comedy, as everyone knows, are two sides of the same coin.

At the opening of each of the two halves of Pagliacci, Leoncavallo employs a lively, chattering melody line as a motif for the play’s spectators, while behind the continued on pg. 20

Gianni Schicchi and Pagliacci • September 12, 17, 20, 24, 27, October 3

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SCHICCHI/PAGLIACCI continued from pg. 18 threatened the social and political order. By the time that Forzano was writing the opera libretto in the 20th century, xenophobia and class warfare had been largely replaced by nostalgia for the Renaissance and pride in a reunified Italy. When Rinuccio sings “Firenze è come un albero fiorito” (“A tree blooms in Florence”), we hear a call to civic pride and inclusiveness that also serves as a mild rebuke to the great poet’s narrow-mindedness.

Crime and retribution in Pagliacci are tempered with none of these literary continued on pg. 22 ILLUSTRATION BY GUSTAVE DORÉ

Eighth Circle of Hell, the place of falsifiers curtain the clowns are obsessed with illicit and forgers. (See sidebar). love and deadly revenge. Puccini’s expan Schicchi is only one among many in sive and lyrical themes in Gianni Schicchi this colorful, if horrific, scene. “The serve perfectly for the idealistic lovers Aretine” is one Griffolino da Arezzo (d.

Rinuccio and Lauretta, but when used as c.1272), a notorious sort who preyed on underpinning for the scheming Donati the weak and was burned as an alchemist. clan, the effect is quite different.

Capocchio, whom Dante may have Almost none of the characters in known as a student, was another these two pieces escapes what alchemist burned at Siena in opera scholar Peter Conrad calls 1293. While the alchemists’ “a pathology of desire.” As if crime of falsifying precious subject to forces larger than metals was serious, it was themselves, these characters not as egregious as those invariably display the darker who impersonated and side of human nature. Yet, gave false witness. for a brief moment, many Among the latter is are portrayed as sympathetBY THE NUMBERS Myrrha, a beautiful young ic, even heroic. For example, The actor portraying the princess from Ovid’s Leoncavallo’s Canio, corpse of Buoso Donati in Metamorphoses, who was inspired by a newspaper Gianni Schicchi is motionless condemned for tricking story of a lovers’ quarrel, is and visible onstage for her father, King Cinyras of that familiar character, the 52 solid minutes.

Cyprus, into sleeping with common man transformed her. (According to Greek into the tragic hero—a mythology, Myrrha is so theme that is at once egalishamed by her deception that she begs tarian, expressive and modernist. the gods to release her. She is turned into Puccini and his librettist Giovacchino a myrrh tree and under her bark grows a Forzano likewise offer us a brief glimpse child who becomes the legendary of Gianni Schicchi as a hero. Scorned by Adonis.) The bestial Gianni Schicchi, the patrician Donatis, Schicchi gracefully another contemporary of Dante’s, ended overlooks the family’s bad manners and up in a pit full of vipers for having conagrees to aid them. (His daughter spired with Simone Donati to cheat Buoso Lauretta’s heart-melting aria “O mio babDonati out of his property. bino caro” helps.) His devious brain Buoso Donati himself makes an appearenables him to trick the Donatis and ance earlier in Canto XXV in The Divine enmesh them in a scheme from which Comedy, condemned for dishonesty in they can’t extricate themselves without public office and forced to suffer being bitdire results. Further, Schicchi, the peasant, ten by a serpent, a lesser punishment fools both a learned doctor and a trusted accorded to a mere thief. Dante knew the notary. Underclass hero though he may Donati family well, having been betrothed be, Schicchi pushes his luck too far and is to Gemma Donati when he was 12. The dispatched to hell before he can enjoy Donati family dominated the Black Guelph Buoso Donati’s fine villa, his lucrative mills party that ruled Florence in the 13th century, and “the best mule in Tuscany.” a faction instrumental in sending Dante, who was allied with the White Guelphs, into Crime and Punishment exile in 1302. In addition to his resentment Pagliacci is fueled by the crime of passion over being sent away from Florence, Dante while Gianni Schicchi is powered by the also exhibited in his work contempt for the sin of greed. Pagliacci’s origins were of peasants who had begun arriving in great the most mundane sort, but Gianni numbers in Florence during the late 1200s.

Schicchi sprang from a more literary By condemning Schicchi who victimized his source, one that also had roots in real life. wife’s family, Dante also avenged himself In Canto XXX of The Divine Comedy, on the immigrants who, as he saw it, Dante and his guide Virgil arrive at the

Dante’s Inferno (excerpt)

Translation by James Finn Cotter

As the two shadows I saw, stripped and pallid, Biting and running in the selfsame way A hog behaves when let out of the sty.

One came straight at Capocchio and sank His tusks into his scruff and, dragging him, Scraped his stomach against the stony floor.

And the one left behind, the Aretine, Shivering said, “That ghoul is Gianni Schicchi, And he goes rabid, like that, mauling others.”

“Oh,” I said to him, “so may the other shade Never sink teeth in you, kindly tell me Who that one is before it rushes off.”

And he told me, “That is the ancient spirit Of Myrrha, the debased soul, who became, Outside of rightful love, her father’s friend.

“In this fashion she came to sin with him, Pretending that her body was someone else’s, Just as the other ghoul who runs off there,

“That he might win the lady of the herd, Disguised himself as Buoso Donati, Writing a will to make the whole sham legal.”

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IN MEMORIAM

Canio, on the other hand, never completely loses himself in the character of Pagliaccio. As the opera progresses, his distress, underscored by the music, becomes palpable and increasingly impossible to reconcile with the role of the clown. Finally, his willingness to display his true, volatile nature means that he knowingly exposes himself as a murderer—a sort of foolish courage. Canio’s characterDouble Trouble ization reinforced by the In fact, Canio serves as a play-within-a-play device sort of moral barometer THE STAR TREATMENT gives the opera its emofor the opera. Although Sue, the Pagliacci donkey, is tional impact. As opera the tragic clown—smiling a seasoned stage and screen commentator Michele on the outside, crying on performer who travels with Girardi explains: the inside—is the stuff of her handler from her home “Leoncavallo’s undeniable endless parody, we can’t originality lies in the way he help but sympathize with base in Lake Hughes. was able to combine news Canio’s valiant attempts item and play in a tragedy to go on with the show of unusually disturbing violence by making in spite of the devastating realization ‘stage’ and ‘life’ identical.” Leoncavallo that Nedda is unfaithful. “Vesti la giubba somehow manages to convince us that e la faccia infarina,” laments Canio, “put Canio is a man of integrity even while we on the costume and make up your face.” recognize that he is also a murderer.

In his naivete, he denied his suspicions Gianni Schicchi, who is described as a about his wife and lashed out at Tonio. mime, is one of opera’s rarities: truth in We might feel a fleeting sympathy for advertising. Speaking as Buoso Donati, Tonio were it not for the fact that he is a clad in the dead man’s nightcap and lying scheming troublemaker. From his first on sheets still creased from the corpse, appearance—“I am the Prologue”—Tonio Schicchi is never anything other than seems mysterious and intriguing, but he himself. Even when he pompously soon proves duplicitous and manipularevokes all of Buoso’s previous wills—in tive. A man who claims to be a literary device cannot be trusted. continued on pg. 64 trappings. In fact, things are rather more sordid among the clowns. Whatever entertainment value is promised by the masks and costumes, our last hope for a happy ending is abruptly dashed by Canio’s terse dismissal at the end. Powerful, yes. But don’t expect to leave the theater with a spring in your step.

PHOTO BY ROBERT MILLARD

Marvin Antonowsky LA Opera lost a beloved board member and a dear friend when renowned film marketing executive Marvin Antonowsky passed away in April of 2015. He was a longtime opera buff and LA Opera devotee, and his love of opera will endure through a generous bequest, which will continue to bring opera to the Dorothy Chandler Pavilion in perpetuity.

Mr. Antonowsky joined LA Opera’s board of directors in 2006, and offered his expertise on the development and education committees. As vice chairman of the marketing committee, he provided invaluable leadership informed by many decades of experience as prominent and influential film industry marketing and distribution authority.

Along with the keen insight he brought to the company’s marketing endeavors, Mr. Antonowsky provided generous support as a board member and as an underwriter of the 2007 production of Rise and Fall of the City of Mahagonny. His spirited engagement and advocacy of LA Opera were esteemed assets to the company, and his presence is dearly missed.

Over a long and illustrious career, Marvin Antonowsky served as executive vice president at Price Entertainment, EVP of Columbia Pictures, consultant to Tri-Star Pictures and president of marketing for MCA/Universal Pictures.

He managed marketing campaigns for many celebrated and award winning films including A Bronx Tale, Shadowlands, Prince of Tides, My Girl, Radio Flyer, Steel Magnolias, The Breakfast Club, Fletch, Out of Africa, Gandhi, Tootsie and The Big Chill.

LA Opera’s 2004 revival of Pagliacci starred Angela Gheorghiu and Roberto Alagna in the leading roles of Nedda and Canio.

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Remembering

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IN THE COMMUNITY

The Impact of Opera Camp The greatest job of the artist is to provide a mirror to the world, while elevating the mind of audiences and spectators. From the beginning of time, artists have done this by placing current and historical events at the center of their creations.

Art can even effect change and foster human compassion. Through the powerful combination of music and theater, opera strives to connect with audiences at a higher emotional level and at its best helps cultivate an engaged and enlightened artistic community.

Nowhere is the artistic spirit more present than in children. In an effort to spread a love of opera and promote the company’s mission of socially responsible art, LA Opera formed an annual summer Opera Camp for children and teens ages 9 through 17. This is not your average summer camp. There are no tire swings, no song singing by the campfire. Instead, campers spend an intensive two weeks rehearsing and doing dramaturgical work for a final operatic performance. Kids and teens explore issues of social justice and are challenged to familiarize themselves with each story’s historical significance and modern relevance as part of their own artistic preparation for the performance.

While normally one opera is performed, LA Opera has planned something more ambitious for this 30th Anniversary Season. In August, a group of 53 campers performed Then I Stood Up: A Civil Rights Cycle that includes suites of music from four different one-act operas.

These four works were: Brundibár, an opera originally smuggled into and performed by prisoners at Terezín concentration camp in 1943; Friedl, the story of an Austrian artist who secretly taught children at Terezín; The White Bird of Poston, which tells the story of friendship between a Japanese American girl and Native American boy in a WWII internment camp; and Then I Stood Up, which highlights inspiring young adults of the civil rights movement who bravely led the charge against racial inequality.

When children and educators come together in an artistic collaboration like Opera Camp, they draw inspiration from the power of opera, a shared understanding of social responsibility

and a desire for human dignity for all.

For more information, please visit LAOpera.org/opera-camp.

Opera Camp is generously underwritten by the Opera League of Los Angeles.

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1986 Plácido Domingo in Otello

PHOTO BY FREDERIC OHRINGER

THE STORY OF LA OPERA: PART 1

The Staging of an Opera Company

By Karen Bacellar Minutes before the curtain rose on LA Opera’s 1986 production of Otello, Plácido Domingo stood in the wings, ready to make his entrance in one of his signature roles. He had triumphantly sung Verdi’s tragic hero for audiences around the world, and was widely renowned as the preeminent Otello of his generation. Yet this performance carried a special significance.

It would be the very first performance in LA Opera’s inaugural season. Domingo was eager to showcase to the Los Angeles community, and the greater opera world, what this city could create.

As conductor Lawrence Foster ushered in the sound of the orchestra to begin the opera, the curtain flew up swiftly. To the surprise of everyone present, the curtain rose halfway and no further. The show went on, and within minutes, the curtain arrived in its designated place, functioning properly for the rest of the stunning premiere.

The curtain’s antics prodded Los Angeles Times music critic Martin Bernheimer to ask, “Los Angeles Opera starts, and the curtain goes halfway up and gets stuck, is that what is going to happen to our opera company?”

The story of LA Opera does not begin in 1986; nor does it begin with the 1986/87 season of shows that included Otello,

Salome, Madame Butterfly, Alcina and Porgy and Bess. The company’s roots can be traced four decades earlier, to a time when Los Angeles was largely associated with Hollywood’s “Golden Age of Cinema” as well as the stars that graced the silver screen. Amidst this cinematic renaissance, there existed the desire to expose the wider community to other art forms such as opera.

While the Metropolitan Opera and San Francisco Opera toured productions to Los Angeles, it remained a city without its own opera company, a situation that spurred furniture-maker Francesco Pace into action.

In 1948, Pace founded the Los Angeles Civic Grand Opera Association in a church hall in Beverly Hills. The opera company had limited resources, often performing with only a piano. What mattered to Pace was an appreciation of opera in the wider community. It was often remarked that Pace continued crafting furniture for film sets and the Hollywood elite merely to support his “opera habit.” Throughout the 1950s, Pace’s opera company grew and he eventually staged productions at the Wilshire Ebell Theater.

During one fateful 1960 production of Mozart’s The Marriage of Figaro, a young Bernard Greenberg sat in the audience with his wife Lenore. They had recently returned from their honeymoon in Europe,

where they saw The Marriage of Figaro at the Vienna State Opera. While the Greenbergs enjoyed it, Bernie actually preferred his experience at the Wilshire Ebell.

The smaller space of the theater provided a more intimate environment. He felt like a participant in the story and he was hooked on Pace’s vision of opera in Los Angeles.

Greenberg’s experience led him to readily agree when a classmate suggested he join the opera board as treasurer. As he recounts now, Greenberg often never saw the second act. He would vanish into the box office at intermission and tally up the ticket sales, to see how much he’d be able to pay the performers.

The Los Angeles Grand Opera continued through the early years of the 1960s.

However, the arrival of the new Music Center was about to change the way Angelenos would experience the musical arts. The Music Center was a project championed by Dorothy Buffum Chandler since 1955, in the hopes of providing the Los Angeles Philharmonic with a permanent location in which to perform. The Dorothy Chandler Pavilion was completed in 1964 and the Los Angeles Grand Opera became the resident company for a time.

Francesco Pace had stepped down as head of the company by then, and board members hired other artists keen on

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THE STORY OF LA OPERA: PART 1 making their mark in the growing Los Angeles opera community. Among these was artistic director Peter Ebert, whose father Carl had been the director in the 1930s of what is now the Deutsche Oper Berlin. The conductor Henry Lewis became the company’s new musical director, convincing members of the Music Center Association that the company should have the opportunity to perform there.

During a time in history when the world was experiencing the rise of youth culture and monumental change, the evolution of opera in Los Angeles began. They did not have a significant amount of financial resources and they did not think much about the future, but the members of Los Angeles Grand Opera were audacious. They were hungry to express themselves, both artistically and culturally, through opera.

And they did.

During the 1965/66 season, the Los Angeles Grand Opera staged three productions: Madame Butterfly, Don Giovanni and Rossini’s L’Italiana in Algeri (starring Marilyn Horne). Despite the moderate success of these original productions and the creative enthusiasm behind them, the Music Center board members decided to focus their energy on creating a larger symphony. Dorothy Chandler appointed new key creatives to the opera board, including Ed Carter and John MacCone.

With these decisions, the era of the Music Center Opera Association began.

An important development in the “staging” of Los Angeles Opera, the Music Center Opera Association spent the next two decades presenting touring companies, rather than creating its own productions.

Partnerships with San Francisco Opera and ultimately the New York City Opera allowed the organization to showcase talent from around the world. Between 1967 and 1979, New York City Opera’s biggest star, Beverly Sills, performed regularly on the stage of the Dorothy Chandler Pavilion with that company, starring in 17 different operas. The company’s eclectic offerings even included the 1966 west coast premiere of Alberto Ginastera’s Don Rodrigo, starring a thenunknown Spanish tenor named Plácido Domingo. It was his first performance in Los Angeles, and he never forgot it.

With the retirement of Beverly Sills from the stage in the early 1980s, however, the association with New York City Opera entered into a limbo. Whispers began about the renewed possibility of forming a resident opera company. Such would be an Olympian feat indeed, but, with the actual Olympics about to arrive in Los Angeles, the timing seemed right.

Hemmings to be the founding general director of what was then known as the Los Angeles Music Center Opera. Domingo took on the role of artistic consultant and also committed to appearing regularly with the company. Hemmings brought years of experience working with both established and nascent opera companies and his direction proved to be vital in getting the

LA Opera’s opening production of Otello set an impressive benchmark for what audiences could expect in the remainder of the inaugural season.

Los Angeles began a cultural renaissance in the early 1980s as the city prepared to host the Olympic Arts Festival in 1984. Organizers strove to prepare for the artistic invasion to come. The fate of the city’s opera company hung in the balance of a handful of people: Bernie Greenberg, Music Center president Michael Newton and—most remarkably—Plácido Domingo, who had become a superstar in the years since Don Rodrigo. Greenberg had received a call from fellow board member Carl Princi.

Plácido Domingo wanted to talk to them about their plans. As Greenberg recalls, “I said ‘Plácido Domingo called you? Are you sure it wasn’t his agent or his lawyer or somebody like that?’ And he said, no, it was Maestro Domingo himself and he wanted to meet with us.” The gentlemen had dinner, during which Domingo announced, “Los Angeles is the last great city in the world without an opera company, and I would like to get involved in your opera company.” He also affirmed that he wanted to participate with their company in a serious way. With these words, the die was cast. During the Los Angeles Olympics, the Opera Association co-produced three operas with London’s Royal Opera (Turandot, starring Domingo as Calaf, as well as Peter Grimes and The Magic Flute), which not only helped establish the city as an international arts destination, but also helped raise funds for the soon-to-rise opera company.

With renewed vitality, the board hired famed artistic administrator Peter

company off the ground. With its inaugural season, Los Angeles Opera immediately strived to go beyond the traditional, and into truly grand territory. Hemmings

Founder Spotlight Bernard Greenberg, a founding member of the LA Opera board of directors (above, with his wife continued on pg. 28 Lenore) remembers his first opera.

“My father was an opera fan and would often go with my mother to San Francisco Opera tour performances at the Shrine Auditorium. It was the only opera available in Los Angeles. The first opera I attended was Wagner’s Die Walküre, which I had learned about in a high school music class. My father disliked Wagner for many reasons; however, he agreed to take me when I said that if he didn’t want to go, I’d drive myself.

Later on I became more interested in opera myself and I started attending the San Francisco performances regularly with my parents.”

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THE STORY OF LA OPERA: PART 1 continued from pg. 27

Maria Ewing and Michael Devlin in Salome.

A scene from Alcina.

Mic Bell as Porgy.

recognized that this was very much the way the city of Los Angeles functioned.

In an effort to create opera that was in tune with the community, Hemmings formulated a season that included largescale successes, such as that inaugural production of Otello. It was followed by a lavishly traditional production of Puccini’s Madame Butterfly starring Leona Mitchell.

But the next three offerings weren’t exactly mainstream.

The next production, Salome, didn’t just push boundaries—it created an international sensation. Director Sir Peter Hall sought to emphasize the darker aspects of composer Richard Strauss’s source material, Oscar Wilde’s infamous play. John Bury’s set and costume designs evoked the symbolist aesthetic of Gustav Klimt as well as the Art Nouveau of Aubrey Beardsley. Casting his wife, the celebrated soprano Maria Ewing, as the title character, Hall worked with her to create a Salome that was centered on the character’s obsessions and her burgeoning sexuality.

This included Ewing’s “Dance of the Seven Veils,” which garnered the production much press for its unforgettable, remarkably erotic staging. Michael Devlin was superb as Salome’s antagonist Jochanaan and Henry Lewis conducted the 92 members of the orchestra with sweep and urgency. “This is what opera should be all about,” raved the notoriously hard-toplease critic Martin Bernheimer.

The company’s fourth production was something entirely different: Handel’s little known Alcina, a gloriously Baroque fantasy, stylishly staged at the Wiltern Theatre.

Richard Hickox conducted a chamber ensemble comprised of period instruments, and the cast was led by the dazzling Arleen Auger. “In the virtually impossible title role, Arleen Auger looked appealingly devilish

on Tuesday and sang like an angel,” wrote Bernheimer. “We knew she would toss off the fioriture with nonchalant accuracy. We thought she would sing with sweetness and purity, with endless breath and expressive point, even with reasonable heft in the climactic outbursts. But we didn’t know that she could be such a compelling, subtle, sensuous actress.”

The season concluded with one of the greatest works in American music, George Gershwin’s Porgy and Bess, also staged at the Wiltern. It was seen in a highly influential production that made the case for the work as a true opera, rather than a Broadway musical, and restored Gershwin’s complete original score. Director Jack O’Brien described the experience of working on the opera as “opening a treasure never seen,” because of the artistic community that formed to create the show. It was a tri­umphant season finale, conducted

by John DeMain, with a magnificent pair of leading men alternating performances as Porgy: Donnie Ray Albert and Mic Bell.

But the crown jewel of the inaugural season was that first production of Otello,

staged by the great German director Götz Friedrich. Along with Plácido Domingo in the title role, the star-studded cast also featured Sherrill Milnes as Iago and Gabriela Beňačková—a triumphant lastminute replacement—as Desdemona. Also featured in the cast were three singers who would become some of the company’s most frequently appearing artists in the seasons to come: Jonathan Mack as Cassio, Michael Gallup as Montano and future star Rod Gilfry as the Herald.

When the curtain fell—successfully!—to signal the conclusion of Otello, audiences rose to their feet, cheering with shouts of “bravo!” One by one, cast members lined up in anticipation of the full company bow. When Plácido Domingo took to the stage, he was greeted by a roar of praise.

He knew, as did Bernie Greenberg, Peter Hemmings and so many others, that they had finally created a company with a bright future in Los Angeles.

PHOTO BY FREDERIC OHRINGER

This history of LA Opera will be continued throughout the coming season.

Leona Mitchell’s entrance as Cio-Cio-San in Madame Butterfly, 1986.

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Gianni Schicchi / Pagliacci

GIACOMO PUCCINI / RUGGERO LEONCAVALLO

September 12 – October 3, 2015

Production made possible by generous gifts from The Milan Panic Family, Joyce and Aubrey Chernick, Barbara Augusta Teichert, and Eva and Marc Stern.

Special support from Nancy and Barry Sanders.

Generous corporate sponsorship by Rolex.

Song from the Uproar

MISSY MAZZOLI / ROYCE VAVREK

October 8 – 11, 2015, at REDCAT Presentation made possible by a generous grant from The Andrew W. Mellon Foundation.

Dracula: The Music and Film

PHILIP GLASS

October 29-31, 2015, at the Theatre at Ace Hotel

Moby-Dick

JAKE HEGGIE / GENE SCHEER

October 31 – November 28, 2015 Production made possible in part by a generous gift from the Ann and Gordon Getty Foundation.

Special underwriting support from Marie H. Song.

Norma

VINCENZO BELLINI

November 21 – December 13, 2015 Production made possible by generous funding from The Seaver Endowment, Tarasenka Pankiv Fund (Tara Colburn), and the Opera League of Los Angeles.

Erwin Schrott in Concert December 12, 2015

The Magic Flute

WOLFGANG AMADEUS MOZART

February 13 – March 6, 2016 Production made possible by generous funding from The Carol and Warner Henry Production Fund for Mozart Operas.

Support for James Conlon’s conducting provided by James and Ellen Strauss.

The Festival Play of Daniel March 4-5, 2016, at the Cathedral of Our Lady of the Angels Production made possible with generous underwriting support from the Dan Murphy Foundation.

Madame Butterfly

GIACOMO PUCCINI

March 12 – April 3, 2016

Plácido Domingo & Renée Fleming in Concert, Conducted by James Conlon March 18, 2016

Great Opera Choruses April 10, 2016, at the Valley Performing Arts Center Special support for Great Opera Choruses is made possible by Los Angeles County Supervisor Sheila Kuehl.

Original program created with support from former Los Angeles County Supervisor Zev Yaroslavsky.

La Bohème

GIACOMO PUCCINI

May 14 – June 12, 2016 Production made possible by generous gifts from Malsi Doyle and Michael Forman, Margaret and Christopher Forman, and the Pacific Theatres Foundation Additional generous support provided by The Alfred and Claude Mann Fund, in honor of Plácido Domingo

Anatomy Theater

DAVID LANG / MARK DION

June 16 – 19, 2016, at REDCAT Presentation made possible by a generous grant from The Andrew W. Mellon Foundation.

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DONOR RECOGNITION

25th Anniversary Angels LA Opera wishes to recognize and thank those who made extraordinary leadership commitments in honor of the company’s 25th Anniversary Season. Following the tradition established by previous Angel campaigns (listed on page P14), the support of the 25th Anniversary Angels ensures LA Opera’s continued artistic excellence and prominence in the worldwide cultural community.

Sebastian Paul and Marybelle Musco The Seaver Family Marc and Eva Stern Foundation The Eli and Edythe Broad Foundation Colburn Foundation County of Los Angeles Ann and Gordon Getty Foundation Carol and Warner Henry Alfred and Claude Mann Flora L. Thornton Marilyn Ziering Mr. Harold Alden and Dr. Geraldine Alden The Annenberg Foundation Ambassador Frank and Kathy Baxter The Blue Ribbon Alex Bouzari Robert Day Dunard Fund USA Malsi Doyle and Michael Forman Brindell Roberts Gottlieb The Green Foundation Bernard and Lenore Greenberg, in honor of Leonard Green LGHG Foundation Rosemary and Milton Okun The Milan Panic Family Ceil and Michael E. Pulitzer Lloyd E. Rigler - Lawrence E. Deutsch Foundation Ronus Foundation Eugene and Marilyn Stein Christopher V. Walker Lenore and Richard Wayne Ziering Family Foundation Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation The 30th Anniversary Angels will be announced later this fall.

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PROGRAM

PLÁCIDO DOMINGO, ELI AND EDYTHE BROAD GENERAL DIRECTOR JAMES CONLON, RICHARD SEAVER MUSIC DIRECTOR CHRISTOPHER KOELSCH, PRESIDENT AND CHIEF EXECUTIVE OFFICER PRESENTS

GIACOMO PUCCINI

Gianni Schicchi Libretto by Giovacchino Forzani, based on an episode in Dante’s Inferno

CREATIVE TEAMS

PRODUCTION NOTES

Gianni Schicchi

The running time is approximately two hours and 40 minutes, including one intermission.

CONDUCTOR

Grant Gershon PRODUCTION

Woody Allen DIRECTOR

Kathleen Smith Belcher* SET AND COSTUME DESIGNER

Santo Loquasto

LIGHTING DESIGNER

RUGGERO LEONCAVALLO

Pagliacci Libretto by the composer

York Kennedy

Pagliacci CONDUCTOR

Plácido Domingo PRODUCTION / SET DESIGNER

Franco Zeffirelli DIRECTOR

SUPPORT

Stefano Trespidi* COSTUME DESIGNER

Production made possible by generous gifts from

The Milan Panic Family Joyce and Aubrey Chernick Barbara Augusta Teichert Eva and Marc Stern Special support from

Nancy and Barry Sanders

Raimonda Gaetani

LIGHTING DESIGNER

York Kennedy

Gianni Schicchi supertitles written by Chris Bergen. Pagliacci supertitles written by David Anglin.

Pre-performance talks by Brian Lauritzen. Pre-performance talks are generously sponsored by the Flora L. Thornton Foundation and the Opera League of Los Angeles. (Please note that there is no pre-performance talk on September 12.)

Set construction and painting by R.A. Reed Productions, Inc., Portland, Oregon. Costumes constructed by the Los Angeles Opera Costume Shop.

Wigs constructed by the Los Angeles Opera Wig Department. Animals supplied by Critters of the Cinema.

For their safety and welfare, animals are handled by professional trainers. * LA Opera debut † Member of the Domingo-Colburn-Stein Young Artist Program ARTISTS SUBJECT TO CHANGE.

ASSOCIATE CONDUCTOR / CHORUS DIRECTOR

Grant Gershon

ARTISTIC DIRECTOR, LOS ANGELES CHILDREN’S CHORUS

Anne Tomlinson

ASSISTANT DIRECTOR

Trevore Ross

STAGE MANAGER

Lyla Forlani

MUSICAL PREPARATION

Jeremy Frank Paul Jarski† Peter Walsh† PROMPTER

Nino Sanikidze

Please refrain from talking during the performance, and turn off all cell phones, electronic devices and watch alarms. If you are using an assistive hearing device, or are attending with someone who is, please make sure that it is set to an appropriate level to avoid distracting audio feedback.

Latecomers will be seated at the discretion of the house management. Members of the audience who leave during the performance will not be shown back into the theater until the next intermission. The use of cameras and recording equipment is strictly prohibited. Your use of a ticket acknowledges your willingness to appear in photographs taken in public areas of the Music Center and releases the Center and its lessees and others from liability resulting from use of such photographs.

Any microphones onstage are used for recording or broadcast purposes only; onstage voices are not amplified.

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A NOTE FROM PLÁCIDO DOMINGO

GIANNI SCHICCHI CAST GIANNI SCHICCHI

Plácido Domingo

LAURETTA (Schicchi’s daughter)

Andriana Chuchman*

ZITA (Buoso’s cousin)

Meredith Arwady*

RINUCCIO (Zita’s nephew)

Arturo Chacón-Cruz

GHERARDO (Buoso’s nephew)

Greg Fedderly

NELLA (Gherardo’s wife)

Stacey Tappan

SIMONE (Buoso’s cousin)

Craig Colclough

BETTO DI SIGNA (Buoso’s brother-in-law)

Philip Cokorinos

MARCO (Simone’s son)

Liam Bonner

LA CIESCA (Marco’s wife)

Peabody Southwell

MAESTRO SPINELLOCCIO (physician)

E. Scott Levin*

SER AMANTIO DI NICOLAO (notary)

Kihun Yoon†

GHERARDINO (son of Gherardo & Nella)

Isaiah Morgan*

PINELLINO (shoemaker)

Daniel Armstrong‡

GUCCIO (dyer)

Gabriel Vamvulescu

GIANNI SCHICCHI SYNOPSIS In Buoso Donati’s bedroom, his family pretends to be sorry that he has just died. Betto has overheard someone say that Buoso, head of one of Florence’s richest and most distinguished families, left his fortune to a monastery, which sends the family into a frenzied search for the dead man’s last will and testament. Rinuccio finds it and asks his aunt Zita for permission to marry his beloved Lauretta if Buoso has left him well-off. His aunt agrees, and Rinuccio sends for Lauretta and her father Gianni Schicchi, a nouveau riche man from the country. But everyone’s hopes are dashed when they open the will and discover that the old man had indeed left everything to the monks. Rinuccio suggests that Schicchi is the only person clever enough to save them, but his family will have none of it. To them, he’s a low-born country bumpkin, but Rinuccio tries to convince them that just as their city Florence draws strength from the country, so can they rely on Schicchi to help them.

Schicchi and Lauretta arrive. Zita refuses to give her nephew to a girl

without a dowry, and Schicchi tries to persuade his daughter that greedy relatives will do her no good, but she only wants Rinuccio. Rinuccio asks Schicchi to take a look at the will; when he refuses, his daughter’s pleas change his mind. Schicchi weighs the situation and hatches a plan: the Donatis must keep Buoso’s death a secret long enough for Schicchi, disguised as the old man, to draw up a new will. The family eagerly agrees and each member tells Schicchi what they want, even offering him money for certain properties. The women put him into nightclothes and tuck him into Buoso’s bed. When the notary arrives, Schicchi dictates the will: five florins to the monks, some pastures and country houses to the family, but the bulk of the estate, including the Donati house in Florence, to Buoso’s good friend Gianni Schicchi. When the notary and the witnesses leave, Schicchi drives the Donatis out of his house.

Rinuccio and Lauretta remain on the balcony, looking into each other’s eyes, and Schicchi knows the money has been put to good use.

In fond memory of Tara Colburn, supertitles are underwritten by Dunard Fund USA.

Our 30th Anniversary Season begins and ends with iconic productions created by three legendary filmmakers: Woody Allen, Franco Zeffirelli and Herbert Ross, whose beloved staging of La Bohème will conclude our season in the spring.

I am an unabashed film buff.

Throughout LA Opera’s history, I have eagerly taken advantage of our company’s unique proximity to Hollywood. I knew that the great creative minds working in film could bring exciting insights to opera, and I specifically sought out directors with an affinity for music. LA Opera has proven to be a welcome home for their talents.

My relationship with Franco Zeffirelli is decades long. We forged a strong bond making three operatic films together: Cavalleria Rusticana / Pagliacci, La Traviata and Otello. His L.A. staging of Pagliacci showcases the grandly-scaled, exquisitely detailed work for which he is famous. Woody Allen, on the other hand, made his operatic debut with Gianni Schicchi here as recently as 2008; his unique comic genius is brilliantly suited to the world of opera.

LA Opera’s artistic partnership with Hollywood began in 1993. Our seventh season opened with a new production of La Bohème directed by Herbert Ross, whose distinguished film legacy includes Steel Magnolias, Footloose and The Turning Point. His interest in the characters’ motivations was remarkable.

I was thrilled to be on the podium to conduct those magical performances.

Our 2000 Rigoletto was the most overtly “Hollywood” of all of our productions. Its director, the popular filmmaker Bruce Beresford, known for Tender Mercies and Driving Miss Daisy, reimagined the Duke of Mantua as a womanizing studio mogul, with Rigoletto as a fawning Hollywood agent.

I had a long, mutually admiring relationship with John Schlesinger, the celebrated director of Midnight Cowboy and other films. I encouraged him to direct The Tales of Hoffmann at Covent Garden (his operatic debut) in 1982, as well as Un Ballo in Maschera in Salzburg

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PAGLIACCI CAST in 1989. I performed in both, greatly impressed by his instinctual feel for music. His staging of Peter Grimes for us in 2000 was powerful and filled with dramatic detail.

We benefited twice from actor-director Maximilian Schell’s lifelong devotion to theater and music. His staging of Lohengrin in 2001 crafted an imaginatively mystical atmosphere, followed by a provocative Der Rosenkavalier in 2005.

I recruited another distinguished actordirector, Marthe Keller, to direct Lucia di Lammermoor in Washington in 2002, a remarkable production that I brought to Los Angeles in 2003.

We have presented two new operas created by celebrated composers of film music. Elliot Goldenthal’s 2006 Grendel was staged by Julie Taymor, an iconic stage and film director who also created our profoundly original staging of The Flying Dutchman in 1995. In 2010, Howard Shore’s The Fly was staged by David Cronenberg, director of the original film.

It was a special delight to open our season in 2005 with a new adaptation of La Grande-Duchesse de Gérolstein by the legendary director, writer and actor Garry Marshall, making his operatic directorial debut.

LA Opera has enjoyed a fruitful relationship with William Friedkin, the groundbreaking director of The Exorcist and The French Connection. For his 2002 company debut, he paired Bluebeard’s Castle with Gianni Schicchi (a production quite different from Mr. Allen’s). He returned in 2004 with Ariadne auf Naxos, a complex work staged with seemingly effortless clarity.

In 2008 he created unforgettable new productions of Il Tabarro and Suor Angelica, performed along with Woody Allen’s Gianni Schicchi as part of our season-opening Il Trittico.

The brilliant work of all of these artists on our stage has given our audiences so many new and different opera experiences, contributing greatly to LA Opera’s unique artistic identity.

I look forward to building upon this partnership in seasons to come.

CANIO

Marco Berti Yusif Eyvazov* (OCT 3)

NEDDA

Ana María Martínez

TONIO

George Gagnidze

SILVIO

Liam Bonner

BEPPE

Brenton Ryan†

FIRST MAN

Arnold Geis*

SECOND MAN

Steven Pence

PAGLIACCI SYNOPSIS Tonio comes before the curtain and announces to the audience that the performance is about to begin. He explains that the drama you will see is about ordinary human beings.

A company of traveling actors arrives in a bustling village and is given a warm welcome. Tonio holds out his hand to Nedda, the wife of company leader Canio, but he is pushed aside roughly by her husband. The actors leave for the inn; Nedda stays behind and dreams of being free. Tonio approaches and declares his love, which she rejects with scorn. When he persists, she strikes him across the face with a whip. He leaves, humiliated, but stays close by and spots Nedda talking to Silvio, her secret lover. Silvio asks her to run away with him. She hesitates but then promises to meet him after the evening performance. Tonio finds Canio and brings him to the two lovers. Silvio

manages to escape unrecognized, and Nedda refuses to reveal his name. As show time nears, Canio begins to put on his clown makeup, which cannot hide his overwhelming sorrow.

(Brief pause for scene change) The performance is about to begin; the villagers, including Silvio, take their places in the audience. Beppe, dressed as Harlequin, appears onstage to greet Nedda, dressed as Columbine. Canio, playing the part of Pagliaccio, Columbine’s husband, bursts in and Harlequin quickly departs. Thrown into a theatrical situation that mirrors his own life, Canio begins to lose control.

He keeps demanding that Nedda reveal the name of her lover, and when she refuses, he stabs her. Silvio rushes onto the set and Canio kills him as well.

Canio then announces to the audience: “The comedy is over.”

STAY CONNECTED! #LAO30

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† Member of the Domingo-Colburn-Stein Young Artist Program

* LA Opera debut

‡ Alumnus of the Domingo-Colburn-Stein Young Artist Program

ARTISTS SUBJECT TO CHANGE.

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ARTISTS

Plácido Domingo

Grant Gershon

GIANNI SCHICCHI / CONDUCTOR OF PAGLIACCI

CONDUCTOR (GIANNI SCHICCHI)

From: Madrid, Spain.

LA Opera: debut as Otello (1986); 27 roles to date includ­ing, most recently, Germont in La Traviata (2014) and Athanaël in Thaïs (2014); he has conducted 21 LA Opera productions. A vital presence in LA Opera from its birth, he served as Artistic Consultant (since 1984) and Artistic Director (2001-2003) before he was named Eli and Edythe Broad General Director in 2003.

Career highlights: He has been at home on the world’s greatest stages for over half a century, with over 800 performances at the Metropolitan Opera. He has sung 146 roles in addition to con­ducting more than 500 operatic and symphonic performances, and he is the recipient of 12 Grammy Awards. He is founder of the international vocal competition Operalia. His many upcoming engagements include Simon Boccanegra at the Met and in Barcelona, Berlin and Milan. (PlacidoDomingo.com)

From: Alhambra, California.

LA Opera: Resident Conductor since 2012, he made his LAO conducting debut with La Traviata in 2009, followed by the world premiere of Il Postino in 2010. He has conducted eight productions to date, including, most recently, Florencia en el Amazonas (2014) and Carmen (2013).

Career highlights: La Traviata, Carmen and Madame Butterfly at Wolf Trap Opera with the National Symphony, John Adams’ The Gospel According to the Other Mary at the Ravinia Festival, Vivaldi’s Griselda at the Santa Fe Opera, many appearances with the LA Philharmonic. He is artistic director of the Los Angeles Master Chorale, where he is now in his 15th season.

He has led world premieres by John Adams, Steve Reich and Esa-Pekka Salonen, among others. His discography includes multiple CDs with the Master Chorale on Nonesuch and Decca Records, as well as the DVD of Il Postino on Sony Classical.

Woody Allen

Franco Zeffirelli

PRODUCTION (GIANNI SCHICCHI)

PRODUCTION/SET DESIGN (PAGLIACCI)

From: Brooklyn, New York.

LA Opera: Gianni Schicchi (2008, debut).

Career highlights: He is a fourtime Academy Award-winning filmmaker. For Annie Hall (1977), which won the Academy Award for best picture, Mr. Allen won Academy Awards for best director and original screenplay. He has written, directed and starred in dozens of films, including Interiors, Manhattan, Broadway Danny Rose, The Purple Rose of Cairo, Hannah and Her Sisters (Academy Award, original screenplay), Radio Days, Crimes and Misdemeanors, Alice, Husbands and Wives, Bullets Over Broadway, Mighty Aphrodite, Deconstructing Harry, Sweet and Lowdown, Match Point, Vicky Cristina Barcelona, Midnight in Paris (Academy Award, original screenplay), To Rome with Love, Blue Jasmine, Magic in the Moonlight and this year’s Irrational Man. His books include Getting Even, Without Feathers, Side Effects and Mere Anarchy.

From: Florence, Italy.

LA Opera: Pagliacci (1996, debut; 2005).

Career highlights: One of the world’s foremost directors, designers and screenwriters in opera, film and theater, he has staged productions in all the major opera houses of the world as well as the stages of Stratford-on-Avon and London’s National Theatre, among others.

In film, he first came to international attention with The Taming of the Shrew with Elizabeth Taylor and Richard Burton, followed by Romeo and Juliet with Olivia Hussey and Leonard Whiting, an international sensation.

His Hamlet with Mel Gibson and Glenn Close, and Jane Eyre with William Hurt, Charlotte Gainsbourg and Joan Plowright, also received worldwide acclaim. His films of La Traviata and Otello, both with Plácido Domingo, broke new ground in the realm of filmed opera. He directed and co-wrote the highly acclaimed 1977 television movie Jesus of Nazareth. His most recent films include Callas Forever and Tea with Mussolini.

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ARTISTS

Kathleen Smith Belcher

Stefano Trespidi

DIRECTOR (GIANNI SCHICCHI)

DIRECTOR (PAGLIACCI)

From: Fort Lauderdale, Florida.

LA Opera: debut. Career highlights: She previously staged Woody Allen’s production of Gianni Schicchi at the Spoleto Festival of Two Worlds and at the Teatro Real in Madrid. She assisted Peter Sellars on the world premiere of John Adams’ Dr. Atomic in San Francisco and helped to remount the production in Amsterdam and Chicago.

A member of the Metropolitan Opera directing staff for 15 years, she has collaborated on numerous Met “Live in HD” broadcasts, including the Emmy-winning production of Don Pasquale. She has directed The Barber of Seville at the Metropolitan Opera, Madame Butterfly for the San Francisco Opera, Carmen for Opera Colorado, Il Trovatore and La Traviata for Lyric Opera of Kansas City, as well as Suor Angelica and Gianni Schicchi for the Utah Opera.

From: Verona, Italy. LA Opera: debut.

Career highlights: He has worked with important stage directors such as Franco Zeffirelli, Giancarlo Del Monaco, Hugo de Ana, Pierluigi Pizzi and Graham Vick. Since 2005 he has been the resident director for the summer opera festival at the Arena di Verona.

He collaborates with Franco Zeffirelli for all of the director’s new productions at the Arena di Verona, including Il Trovatore, Aida, Madama Butterfly and Turandot, as well as Pagliacci at the Teatro Carlo Felice di Genova and at the Filarmonico di Verona, and Turandot for the opening of the New Royal Opera House in Muscat. His own productions include Macbeth, La Traviata and Tristan und Isolde (Filarmonico di Verona), La Traviata (Teatro Verdi, Trieste) and Aida (Tokyo International Forum).

Santo Loquasto

Raimonda Gaetani

SET AND COSTUME DESIGNER

COSTUME DESIGNER (PAGLIACCI)

(GIANNI SCHICCHI)

From: Wilkes-Barre, Pennsylvania.

LA Opera: Il Trittico (2008, debut) with scenery for Il Tabarro and Suor Angelica, and both scenery and costumes for Gianni Schicchi. Career highlights: A designer for dance, theater and film, he began designing costumes for legendary New York theater producer Joseph Papp in the early 1970s. He has won numerous awards for his designs, including Tony Awards in 1977 (The Cherry Orchard), 1989 (Café Crown) and 1990 (Grand Hotel) and the Drama Desk in 1989 (Café Crown) and 1990 (Grand Hotel). He received Academy Award nominations for his work in Woody Allen’s Bullets Over Broadway, Radio Days and Zelig; he won a BAFTA for Radio Days. He will return to Broadway with set designs for the musical Shuffle Along.

From: Naples, Italy. LA Opera: Pagliacci (1996, debut; 2005). Career highlights: Her design career encompasses opera, theater, ballet, film, interior design and painting, and her costumes have graced artists from Sir Laurence Olivier to Joan Plowright and Sada Thompson on the world’s great stages. She has worked extensively with Franco Zeffirelli on such projects as Absolutely!

(Perhaps) at London’s Wyndham Theatre (for which she was nominated for an Olivier Award), Filumena at London’s Lyric Theatre, La Traviata at the Metropolitan Opera, Pagliacci in Rome, London, Washington and L.A., and the films Jane Eyre, Young Toscanini and The Sparrow. Her work has been seen on Broadway in Filumena (scenery and costumes) and Saturday Sunday Monday (costumes).

York Kennedy

Anne Tomlinson

LIGHTING DESIGNER

ARTISTIC DIRECTOR,

From: Berkeley, California. LA Opera: The Ghosts of Versailles (2015, debut). Career highlights: His designs for the stage have been seen in theaters including Arena Stage, Chicago Shakespeare Theatre, Warsaw National Theatre, Berkeley Rep, Seattle Repertory, American Conservatory Theatre, Sacramento Opera, Alley Theatre, Dallas Theatre Center, Yale Rep, Brooklyn Academy of Music, Goodspeed Musicals and the Denver Center.

He has designed over 45 productions for the Old Globe Theatre in San Diego and spent six seasons as resident lighting designer for the company’s Shakespeare Festival. Awards for theatrical lighting include the Dramalogue, San Diego Drama Critics Circle, Back Stage West Garland, ariZoni Theatre Award, and Bay Area Theatre Critics Circle Award.

LOS ANGELES CHILDREN’S CHORUS

From: Ephraim, Wisconsin. LA Opera: Pagliacci (debut, 1996); 28 productions to date including, most recently, Carmen (2013). She will return later this season to prepare the Los Angeles Children’s Chorus for La Bohème. Career highlights: Anne Tomlinson oversees the educational and artistic development of the LACC and conducts LACC’s Concert Choir and Chamber Singers. She has also prepared the LACC for performances with the LA Philharmonic, LA Master Chorale, Hollywood Bowl Orchestra, LA Chamber Orchestra and Pasadena Symphony. Now in its 30th season, LACC’s current roster includes over 425 members in six ensembles. Founded in 1986, LACC was featured in the Academy Award-nominated documentary, Sing! (LAChildrensChorus.org)

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Meredith Arwady

Marco Berti

ZITA

CANIO

MEZZO-SOPRANO

From: Kalamazoo, Michigan. LA Opera: debut.

Career highlights: Later this season, she will debut at Valencia’s Palau de les Arts Reina Sofia in the title role of Handel’s Silla. She will appear at Houston Grand Opera, Oper Frankfurt and the Canadian Opera Company as Erda in Siegfried, also performing the First Norn in Frankfurt. Last season, she returned to Frankfurt as Mistress Quickly in Falstaff. She debuted with English National Opera as Martha in John Adams’s The Gospel According to the Other Mary, returned to Opera Theatre of Saint Louis as Hannah in Tobias Picker’s Emmeline, and debuted at Madison Opera as Mrs. Lovett in Sweeney Todd. In 2013, she performed Quickly at the San Francisco Opera and Erda in the Ring cycle at the Metropolitan Opera. (MeredithArwady.com)

Liam Bonner MARCO/SILVIO

BARITONE

PHOTO BY CHIA MESSINA

From: Pittsburgh, Pennsylvania. LA Opera: Sid in Albert Herring (2012, debut), title role in Billy Budd (2014); Aeneas in Dido and Aeneas (2014).

Career highlights: He most recently performed Lieutenant Audebert in Kevin Puts’ Silent Night (a role he created at Minnesota Opera in 2011) at Lyric Opera of Kansas City and Gaylord Ravenal in Showboat with Portland Opera. Future appearances include Gaylord Ravenal with Kentucky Opera and Figaro in The Barber of Seville with North Carolina Opera. Highlights of recent seasons include Eisenstein in Die Fledermaus with both Houston Grand Opera and Lyric Opera of Kansas City, Ned Keene in a concert version of Peter Grimes with the St. Louis Symphony Orchestra, both in St. Louis and at Carnegie Hall, and Marcello in La Bohème with New Orleans Opera. (LiamBonner.com)

TENOR

From: Como, Italy. LA Opera: Rodolfo in La Bohème (2004, debut), Cavaradossi in Tosca (2013). Career highlights: His appearances this season include Calaf in Turandot at the Metropolitan Opera, Radames in Aida at the Teatro Regio di Torino, Pollione in Norma at the Théâtre des Champs-Elysées in Paris, Giannetto in Giordano’s La Cena delle Beffe at La Scala, and Don Alvaro in La Forza del Destino at the Opera di Genova.

Sought internationally for his interpretations of the dramatic Italian repertory, he has performed the title role of Otello in Bilbao and Naples. Other recent appearances include Pagliacci (La Scala), Tosca (Arena di Verona, Deutsche Oper Berlin, Opéra National de Paris, Teatro Regio di Torino) and Aida (Metropolitan Opera, Arena di Verona, La Scala). (MarcoBerti.org)

PHOTO BY LENA KERN

PHOTO BY SIMON PAULY

ARTISTS

Arturo Chacón-Cruz RINUCCIO

TENOR

From: Sonora, Mexico. LA Opera: Verdi Requiem (2007), Rodolfo in La Bohème (2007, mainstage debut), Alfredo in La Traviata (2014), Arcadio in Florencia en el Amazonas (2014).

Career highlights: His most recent appearances include Rodolfo at the Macerata Opera Festival, Alfredo in Mexico City, Don José in Carmen in Lyon, and his role debut as Pollione in Norma in Beirut.

In 2014 he performed Jacopo Foscari in The Two Foscari opposite Plácido Domingo at Vienna’s Theater an der Wien. Other appearances include the Duke in Rigoletto in San Francisco, Hoffmann at La Scala and in Vienna, and many leading roles in Munich. He was a 2005 winner of Operalia. Upcoming engagements include the title role of Werther in Budapest and a concert with the London Philharmonic Orchestra. (ArturoChaconCruz.com)

Andriana Chuchman

Philip Cokorinos

LAURETTA

BETTO DI SIGNA

SOPRANO

From: Winnipeg, Canada. LA Opera: debut.

Career highlights: Last season, she performed Zerlina in Don Giovanni with the Lyric Opera of Chicago (where she is a recent graduate of the Ryan Opera Center), Gretel in Hansel and Gretel and Valencienne in The Merry Widow with the Metropolitan Opera, and John Adams’ A Flowering Tree with Opera Omaha. Other recent engagements include Adina in L’Elisir d’Amore and Miranda in The Enchanted Island at the Met, Gretel in Hansel and Gretel for the Glyndebourne Festival Tour, Magnolia in Show Boat with Washington National Opera and Guinevere in Camelot at the Glimmerglass Festival. Future performances include Susanna in The Marriage of Figaro with Manitoba Opera and Magnolia in Show Boat with Dallas Opera (AndrianaChuchman.com)

BASS-BARITONE

From: New York City. LA Opera: Benoit/ Alcindoro in La Bohème (2007, debut); 11 roles to date including appearances last season as Suleyman Pasha in The Ghosts of Versailles, Bartolo in The Barber of Seville and Antonio in The Marriage of Figaro. He will return later this season as Benoit/Alcindoro in La Bohème. Career highlights: He has sung more than 360 performances of 32 operas at the Metropolitan Opera, including several Live in HD broadcasts including Manon, La Fanciulla del West, The Nose and Werther. His Met appearances this season include the Innkeeper in Manon Lescaut. Other recent appearances include Don Pasquale with Opera Santa Barbara, Daland in The Flying Dutchman in Kansas City and Don Magnifico in La Cenerentola with Opera Colorado.

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ARTISTS

Craig Colclough

Yusif Eyvazov

SIMONE

CANIO (OCT. 3)

BASS-BARITONE

From: Los Angeles. LA Opera: Guccio in Gianni Schicchi (2008, debut); nine roles to date including appearances last season as Procrustes/God of Evil in Hercules vs. Vampires and in the leading role of Paul Conti in ¡Figaro! (90210). Career highlights: In August, he made his LA Philharmonic debut as Dr. Grenvil in La Traviata at the Hollywood Bowl. This season, he will perform the title role in Falstaff with Arizona Opera, where he previously appeared in the title role of Don Pasquale. Last season, he debuted with English National Opera as Jack Rance in La Fanciulla del West, with Atlanta Opera as Figaro in The Marriage of Figaro and with Lyric Opera of Kansas City as Lt. Gordon in Kevin Puts’ Silent Night. He was a 2012 Filene Young Artist at the Wolf Trap Opera Company. (CraigColclough.com)

Greg Fedderly GHERARDO

TENOR

From: Baku, Azerbaijan. LA Opera: debut.

Career highlights: He studied at the Tchaikovsky Music College in Moscow, then moved to Italy where he completed his advanced studies with Franco Corelli and Ghena Dimitrova.

Most recently, he debuted at the Macerata Opera Festival as Canio. This season’s appearances include Calaf in Turandot for his Metropolitan Opera debut, Luigi in Il Tabarro in Rome, and Manrico in Il Trovatore at the Staatsoper Berlin. Last season’s appearances included Turiddu in Cavalleria Rusticana at the Teatro Filarmonico in Verona. Other recent performances include Cavaradossi in Tosca at the Bolshoi Theater in Moscow, the title role of Otello for the Ravenna Music Festival, and Des Grieux in Manon Lescaut in Rome under the baton of Riccardo Muti.

George Gagnidze TENOR

From: Los Angeles. LA Opera: Flute in A Midsummer Night’s Dream (1988, debut); 63 productions and more than 386 performances to date (more than any other singer) including, most recently, Red Whiskers in Billy Budd (2014). Career highlights: His Metropolitan Opera appearances include Monostatos in The Magic Flute on live HD transmissions and PBS telecast, as well as Don Basilio in The Marriage of Figaro, Goro in Madama Butterfly, the four Tales of Hoffmann servants and Bob Boles in Peter Grimes. Future engagements include Monostatos with San Francisco Opera, and The Marriage of Figaro at the Met and with Dallas Opera. Recent appearances include The Marriage of Figaro, Dolores Claiborne and The Magic Flute in San Francisco and Turandot at the Hollywood Bowl.

TONIO

BARITONE

From: Tbilisi, Georgia. LA Opera: title role in Rigoletto (2010). Career highlights: One of the foremost baritones of our time, he made his La Scala debut in 2007 as Germont in La Traviata, and his Metropolitan Opera debut in 2009 as Rigoletto. His most recent appearances include Scarpia in Paris and Vienna and at the Met; Iago in Otello in Hamburg and Athens; Amonasro in Aida at the Met and La Scala; the title role in Nabucco at the Chorégies d’Orange and in Palermo; Rigoletto in Tokyo, Aix-en-Provence and at La Scala; the title role and the title role of Simon Boccanegra in Munich. Future appearances include returns to the Met as Scarpia in Tosca and as Tonio in Pagliacci; the title role in Falstaff in Tokyo, the title role in Rigoletto in Berlin and Amonasro in Aida in Paris. (Gagnidze.com)

Ana María Martínez

Brenton Ryan

NEDDA

BEPPE

SOPRANO

From: San Juan, Puerto Rico. LA Opera: Mimi in La Bohème (1997, debut; 2004); Violetta in La Traviata (2001); Amelia in Simon Boccanegra (2012). She returns in the spring as Cio-Cio-San in Madame Butterfly. Career highlights: A 1995 Operalia winner, she appears this season as Musetta in La Bohème at the Metropolitan Opera, the title role of Rusalka in Houston, and Donna Elvira in Don Giovanni with the Dutch National Opera.

Recent engagements include Donna Elvira in Chicago, Mimi with Opéra National de Paris and Dallas Opera, Cio-Cio-San in Houston, and the leading role of Paolina in Donizetti’s Poliuto with the Glyndebourne Festival. Other highlights include Rusalka in Chicago and at Glyndebourne, and the title role of Carmen in Houston and Santa Fe. (AnaMariaMartinez.com)

TENOR

From: Sedalia, Missouri. LA Opera: Gastone in La Traviata (2014, debut); Spirit/Sailor in Dido and Aeneas (2014); Léon in The Ghosts of Versailles (2015); several roles in Hercules vs.

Vampires (2015). A member of the Domingo-Colburn-Stein Young Artist Program, he will return later this season as Monostatos in The Magic Flute. Career highlights: He will debut with Lyric Opera of Chicago as the Fool in Wozzeck. Recent appearances include his Houston Grand Opera debut as Henrik in A Little Night Music, Cavaliere Belfiore in Il Viaggio a Reims and Bardolfo in Falstaff as a Filene Young Artist at Wolf Trap Opera Company, Almaviva in The Barber of Seville at Wichita Grand Opera, and Tony in West Side Story, as well as Léon and Almaviva, at the Aspen Music Festival. (BrentonRyan.com)

PERFORMANCES MAGAZINE P9

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ARTISTS

Peabody Southwell

Stacey Tappan

LA CIESCA

NELLA

MEZZO-SOPRANO

From: Los Angeles. LA Opera: Inez in Dulce Rosa (2013, debut), Third Lady in The Magic Flute (2014), Flora in La Traviata (2014), Third Opera Gossip in The Ghosts of Versailles (2015). She will return later this season to reprise the Third Lady in The Magic Flute and to perform the leading role of Sarah Osbourne in David Lang’s Anatomy Theater. Career highlights: Lauded in baroque to modern repertoire, she has recently debuted at Carnegie Hall, LA Philharmonic, Seattle Symphony, New World Symphony and San Francisco Symphony. Future engagements include premieres for composers Thomas Morse, Nathaniel Stookey, Geoffrey Gordon, Juhi Bansal and David Lang. She is a founding member of Chromatic (Chromatic.la), an L.A.-based collective. (PeabodySouthwell.com)

SOPRANO

From: Pasadena. LA Opera: debut as the Dew Fairy in Hansel and Gretel (2006); 13 roles to date including Florestine in The Ghosts of Versailles (2015) and Stella in A Streetcar Named Desire (2014). She will return later this season as the First Lady in The Magic Flute. Career highlights: Notable appearances include Adele in Die Fledermaus at the Glyndebourne Festival, Gilda in Rigoletto with Opéra de Lille and Opéra de Dijon, the world premiere of Adamo’s The Gospel of Mary Magdalene with San Francisco Opera, Lucia di Lammermoor with Arizona Opera and Ring cycles in L.A., San Francisco and Chicago. She also performed Susanna in The Marriage of Figaro with the Jacksonville Symphony and Carmina Burana with the LA Master Chorale and Omaha Symphony. (StaceyTappan.com)

Daniel Armstrong

Gabriel Vamvulescu

PINELLINO

GUCCIO

BARITONE

From: Houston, Texas. LA Opera: Captain in Luisa Fernanda (debut, 2007), 14 mainstage appearances including, most recently, Marquis d’Obigny in La Traviata (2014). An alumnus of the Domingo-Colburn-Stein Young Artist Program, he returns as Yamadori in Madame Butterfly. Career highlights: He performed the Jester in Krenek’s The Secret Kingdom and Tarquinius in The Rape of Lucretia with the Colburn Orchestra, and Bach’s Magnificat with the L.A. Chamber Orchestra.

BASS

From: Romania. LA Opera: Youth’s Friend/ Servant in The Stigmatized (2010), Imperial Commissioner in Madame Butterfly (2012), several roles in The Ghosts of Versailles (2015).

Career highlights: He stud­ied at the Enescu National Conservatory in Bucharest, then joined the Romanian National Opera apprentice program. He subsequently studied at the University of Maryland School of Music with Francois Loup. He has appeared with opera companies throughout Europe and the U.S.

E. Scott Levin

Kihun Yoon

MAESTRO SPINELLOCCIO BASS-BARITONE

SER AMANTIO DI NICOLAO

From: Galveston, Texas. LA Opera: mainstage debut, after appearances last season as Babayan in ¡Figaro! (90210). Career highlights: He has performed with Pacific Opera Project, Long Beach Opera and Opera Santa Barbara, and most recently appeared as Masetto in Don Giovanni in July with Union Avenue Opera in St. Louis. He is the co-founder of Chamber Opera Players of LA (COPOLA), based in Glendale.

(EScottLevin.com)

Isaiah Morgan GHERARDINO

TREBLE

From: Los Angeles. LA Opera: debut. Career highlights: He has worked with Cuba Gooding Jr. in the film Summoned, appeared on television in Major Crimes and The Voice with contestant Hannah Kirby, worked with the Lythgoe family in holiday plays alongside Ben Vereen and Ariana Grande, has appeared in commercials and has been the face for Disney Store national campaigns.

BARITONE

From: Seoul, South Korea. LA Opera: Servant in Thaïs (debut, 2014), Hercules in Hercules vs.

Vampires (2015). A member of the DomingoColburn-Stein Young Artist Program, he returns as Sharpless in Madame Butterfly and Schaunard in La Bohème.

Career highlights: In July he sang the title role in Gianni Schicchi with the Merola Opera Program. He has performed in Unsuk Chin’s Alice in Wonderland with the LA Philharmonic and the BBC Symphony Orchestra.

LOS ANGELES CHILDREN’S CHORUS Grant Anderson Caelan Carter Mateo Coleman Sophie David Jack Fagan Jamie Felix-Toll

Cameron Ito Beckett Ledahl SarahElizabeth G. Lee Rachel Loh Micah Luna Reese Owen

Mia Patzakis Drew Quishenberry Allison Rayer Sofia Roberts Soren Ryssdal Sarah Wong

P10 PERFORMANCES MAGAZINE

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ARTISTIC PERSONNEL

LA OPERA ORCHESTRA FIRST VIOLIN Roberto Cani STUART CANIN CONCERTMASTER

Jessica Guideri ASSOCIATE CONCERTMASTER

Lisa Sutton ASSISTANT CONCERTMASTER

Margaret Wooten Olivia Tsui Tamsen Beseke James Stark Tina Chang Qu Armen Anassian Loránd Lokuszta Radu Pieptea Kevin Connolly

SECOND VIOLIN Ana Landauer PRINCIPAL

Marisa Sorajja ASSOCIATE PRINCIPAL

Florence Titmus Leslie Katz Michele Kikuchi Cynthia Moussas Jayme Miller Elizabeth Hedman Irina Voloshina Susan Rishik

VIOLA Yi Zhou PRINCIPAL

Andrew Picken ASSOCIATE PRINCIPAL

Karie Prescott Shawn Mann Dmitri Bovaird Kate Vincent Alma Fernandez Carolyn Riley

LA OPERA CHORUS OBOE

TROMBONE

Leslie Reed

William Booth

PRINCIPAL

PRINCIPAL

Sarah Beck Jennifer Johnson, English horn

Alvin Veeh Terry Cravens, bass trombone

CLARINET

TUBA

Stuart Clark

CELLO

James Self

PRINCIPAL

PRINCIPAL

Donald Foster Stephen Piazza, bass clarinet

Dane Little

Rowena Hammill

PRINCIPAL

HARP

ASSOCIATE PRINCIPAL

BASSOON

JoAnn Turovsky

Kim Scholes Xiao-Dan Zheng Nadine Hall Rebecca Merblum

William May

Allison Allport

Judith Farmer William Wood

TIMPANI

Gregory Goodall

PRINCIPAL

PRINCIPAL

BASS

HORN

David Young

PRINCIPAL

Steven Becknell

PRINCIPAL

Frances Liu Wu ASSOCIATE PRINCIPAL

PRINCIPAL

PERCUSSION

Daniel Kelley

Theresa Dimond PRINCIPAL

Jenny Kim

Don Ferrone Tim Eckert James Bergman

ASSOCIATE PRINCIPAL

Timm Boatman

James Atkinson

CELESTE

TRUMPET

FLUTE

Peter Walsh PRINCIPAL

Ryan Darke

Heather Clark

PRINCIPAL

PRINCIPAL

Angela Wiegand Sarah Weisz, piccolo

ONSTAGE TRUMPET

David Washburn ASSOCIATE PRINCIPAL

Marissa Benedict

Andy Ulyate

Stuart Canin Concertmaster Chair made possible by a deeply appreciated gift from Dunard Fund USA.

SUPERNUMERARIES Momo Casablanca (Buoso Donati in Gianni Schicchi) Charles Afolabitzky Sophie Avedikian Danny Belford Scott Bosely Steven Brogan Sandra Byner Julie Clark Candice M. Clasby Evan Clements Jeff Cook Elizabeth J. Cron Tony Cronin Chris Davis Carola de la Rocha Alex Denney Collin Lee Ellis Rochelle Firestone Robert Fleet Donna Gale* Christopher Halsted Michael Hansen Rose Hawthorne

SUPERNUMERARY CHILDREN

Debra D. Holt Michael John** Jayme Kalino Gregg Lawrence Sarah Logan Andrew Meredith Thash Mose Alejandro Muñoz-Pelayo Maureen O’Connell Gabrielle J. O’Sullivan Tim Orona Phil Painter Kirbie Puestow Kirstin Racicot Ariel Richardson Waide Riddle Barry Sanders Kevin James Spear Alanna Swovelin Eric Toro Toni Trenton Jeanie Van Dam Lauer Wendy Gates Weinberg Andrew Wofford Brett Michael Zubler

* Supernumerary appearing in 25 or more productions

Carmina Garay Enzo Grappone Amir Green Amelia Hemmings Hayden James Farrell-Katseanes

Garrett Johnson Avery Kertes Dakota Rillie Somervill Emmanuelle Weisbach

CIRCUS PERFORMERS Worthie Meacham Alex Bistrevsky Rob Crites Oriana Doria-Quesada Julien Heron Stephen Hues

Moses Norton Josh Rasile Jada Sine Mesganaw Tilaye Robert James Webber

SOPRANO Samela Beasom** Christina Borgioli Jamie Chamberlin Lisa Crave* Natalie Dewey Ayana Haviv Terri Hill* Tasha Koontz Virenia Lind** Renee Sousa* Courtney Taylor Rebecca Tomlinson*

ALTO

Natalie Beck** Sarah Bloxham** Danielle Marcelle Bond Aleta Braxton** Beverly Brulé* Sara Campbell Veronica Christenson* Michelle Fournier** Christie Lynn Lawrence* Helene Quintana* Adrien Raynier** Jennifer Wallace**

TENOR Stephen Arel** Daniel C. Babcock Omar Crook Arnold Livingston Geis James Guthrie John Kimberling* Sung Bong Kim Charles Lane* Sal Malaki** Mark David Miller** George Sterne** Todd Strange

BASS

Mark Beasom** Gregory Geiger* Michael Geiger* Abdiel Gonzalez Robert Hovencamp* Mark Kelley* Gabriel Manro Garth Neustadter Steven Pence James Martin Schaefer Tim Smith** Arthur Wand*

* Has appeared in 50 or more productions ** Has appeared in 100 or more productions

ACROBAT CHILDREN Indiana Agote

Rachel Luner

** Supernumerary appearing in 50 or more productions

PERFORMANCES MAGAZINE P11

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PRODUCTION STAFF

ASSISTANT COSTUME DESIGNER

Johann Stegmeir ASSISTANT LIGHTING DESIGNER

Azra King-Abadi ASSISTANT STAGE MANAGERS

Barbara Donner Lisa Kable-Blanchard Whitney McAnally ASSISTANT CHORUS MASTER

Jeremy Frank SUPERTITLE PREPARATION/CUER

Linda Zoolalian MANAGER, LOS ANGELES CHILDREN’S CHORUS

Tamara Marshall ASSOCIATE ARTISTIC DIRECTOR, LOS ANGELES CHILDREN’S CHORUS

Mandy Brigham HEAD STUDIO TEACHER

Marie Wilson-Rogers STUDIO TEACHERS

Carolyn Hermanson Dan McGinnis

Learon Inbar

Jim Payne

PRODUCTION ASSISTANT – BUYER

HOUSE MANAGER

Gloria Guerrero PRODUCTION ASSISTANT – STOCK

HEAD USHERS

WARDROBE Lee Smilek Charlyn Trenier WARDROBE ASSISTANTS

Pamela Bullock Shelley Graves-Jimenez Mary Lehman Kathleen Melcher Jana Morimoto SEASONAL DRESSERS

WIGS AND MAKE-UP Darren K. Jinks WIGMASTER

Raquel Bianchini ASSOCIATE WIGMASTER

Brandi Strona CREW FOREMAN

COSTUME SHOP Heather Bair Maria De La Mora CUTTER/DRAPERS

Renee Horner Nicole Rodrigues SENIOR WIG & MAKE-UP ARTISTS

Linda Cardenas LEAD STYLIST

Florencia Carrizo Ademir Serrano Pamela Walt ASSISTANT CUTTER/DRAPERS

Randy Hozian J. Christina Huh SECOND HANDS

Blanca Miranda Hortencia Santos Loren Schaller Anna Wong SEAMSTERS

STAGE CREW Harold E. Conroy

HEAD OF TAILORING

Wing Cheung CHIEF TAILOR

Rafael Avila Manuel Medina Rene Santos

Thomas Laurence Conroy ASSISTANT OPERA CARPENTER

Steve Williams OPERA ELECTRICIAN

Stan Williams Allen Tate OPERA PROPERTY MASTER

CRAFTSPERSON

Misty Ayres Jeannique Prospere SENIOR PRODUCTION SUPERVISORS

Kaitlyn Aylward COSTUME ASSISTANT

Manuel Garcia WAREHOUSE MANAGER

VICE PRESIDENT OF GUEST SERVICES

VARI*LITE AUTOMATED LIGHTING PROVIDED BY Vari-Lite Inc.

THE DOMINGO-COLBURN-STEIN YOUNG ARTIST PROGRAM Identifying and encouraging talented young artists with enormous potential is essential to the future of opera. Since the company’s inception, LA Opera has been committed to nurturing a resident ensemble of young singers who would benefit from long-term professional development. The Domingo-Colburn-Stein Young Artist Program, which builds on the success of the company’s earlier, highly respected Resident Artist Program, has the goal of developing the talents of exceptionally gifted young artists to become performers of potentially international stature, whose first loyalty would be to LA Opera.

The Domingo-Colburn-Stein Young Artist Program is generously underwritten by the Colburn Foundation and Eugene and Marilyn Stein. Special support for young artist stipends is graciously provided by The Lenore and Richard Wayne Young Artist Fellowship. The program was created with funding from the Flora L. Thornton Foundation.

2015/16 PARTICIPANTS

Frederick Ballentine TENOR

Vanessa Becerra SOPRANO

Lacey Jo Benter MEZZO-SOPRANO

Nicholas Brownlee BASS-BARITONE

Summer Hassan

Sheldon Ross

SOPRANO

ASSISTANT OPERA PROPERTY MASTER

Paul Jarski

Todd Reynolds OPERA AUDIO ENGINEER

ASSISTANT CONDUCTOR

Abigail Levis MEZZO-SOPRANO

TAILORS

Emily Smith

Carolyn Van Brunt

OPERA CARPENTER

OPERA ASSISTANT ELECTRICIAN

Laina Babb

Robert Devis Demetra Willis

DOROTHY CHANDLER PAVILION HOUSE STAFF Timothy L. Conroy MASTER CARPENTER

Gary Earl HOUSE HEAD ELECTRICIAN

Rafael Moras TENOR

So Young Park SOPRANO

Brenton Ryan TENOR

Peter Walsh ASSISTANT CONDUCTOR

James Draper MASTER OF PROPERTIES

Kihun Yoon BARITONE

Jeff Des Enfants MASTER AUDIO

Special thanks to the staff of the Music Center. Directors, singers, choreographers, stage managers, ensemble members and assistant directors in this production are represented by the American Guild of Musical Artists. Orchestra musicians are represented by the American Federation of Musicians, Local 47. The following employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Machine Technicians, Artists and Allied Crafts of the United States and Canada, AFL-CIO, CLC,: Stage Crew, Local 33; Treasurers and Ticket Sellers, Local 857; Wardrobe Crew, Local 768 ; Makeup Artists and Hair Stylists, Local 706. Interns in the Technical Department are students at California Institute of the Arts (Valencia, California). All editorial materials copyright Los Angeles Opera, 2015. The opinions expressed in this program do not necessarily represent those of Los Angeles Opera. Recorded welcome announcements voiced by Jamieson K. Price.

P12 PERFORMANCES MAGAZINE

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LA OPERA

Plácido Domingo ELI AND EDYTHE BROAD GENERAL DIRECTOR

James Conlon RICHARD SEAVER MUSIC DIRECTOR

Christopher Koelsch PRESIDENT AND CHIEF EXECUTIVE OFFICER

John P. Nuckols EXECUTIVE VICE PRESIDENT

Faith Raiguel VICE PRESIDENT, CHIEF FINANCIAL OFFICER

Diane Rhodes Bergman, APR VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Melissa Ficociello Damon Schindler RESIDENT LEAD SCENIC ARTISTS

Chris Carey TECHNICAL PAYROLL OFFICER

Katelan Braymer LIGHTING ASSISTANT

Matthew Baye

Meredith Martin-Almy

Matthew Dorado

MAJOR GIFTS OFFICER

MARKETING COORDINATOR

Matthew J. Miles

Maclaine Fiori

MAJOR GIFTS OFFICER

MARKETING ASSISTANT

Vanessa Wheeler RESEARCH MANAGER

Michael Chavez INDIVIDUAL GIVING ASSISTANT

WALLY RUSSELL LIGHTING INTERN

INSTITUTIONAL GIVING

COSTUMES Jennifer Green COSTUME DIRECTOR

ASSOCIATE COSTUME DIRECTOR

Sarah Al-Atrakchi SENIOR DIRECTOR, FINANCE

Stacy C. Brightman, Ph.D. SENIOR DIRECTOR, EDUCATION & COMMUNITY ENGAGEMENT

Grant Gershon

John Bishop SENIOR CUTTER / DRAPER

Hallie Dufresne

RESIDENT CONDUCTOR

MASTER CRAFTSPERSON

Rupert Hemmings

Melinda Brown

SENIOR DIRECTOR, PRODUCTION

STOCK AND RENTAL COORDINATOR

Gerrie Maloof

John Musselman

SENIOR DIRECTOR, LABOR RELATIONS AND HUMAN RESOURCES

ADMINISTRATIVE ASSISTANT

Patricia McLeod

MAINTENANCE ASSISTANT

SENIOR DIRECTOR, DEVELOPMENT

Joshua Winograde

Neal Anderson Janine Allen HEAD OF WARDROBE

SENIOR DIRECTOR, ARTISTIC PLANNING

ARTISTIC ADMINISTRATION

Lyla Forlani Susan Lang ARTIST SERVICES MANAGER

Jacob H. Shideler MANAGER, ARTISTIC OPERATIONS

MUSIC ADMINISTRATION Mark Fabulich

Rebecca Roman

Nicole Michela

PERSONAL ASSISTANT TO JAMES CONLON

Ignazio Terrasi MUSICAL ASSISTANT TO JAMES CONLON

EDUCATION & COMMUNITY ENGAGEMENT

Richard Comito DIRECTOR OF INFORMATION TECHNOLOGY

Michael Masuda Jennifer Babcock

NETWORK MANAGER

ASSOCIATE DIRECTOR OF EDUCATION & COMMUNITY ENGAGEMENT

Janelle Cabrera Torres

Jill Burnham

DATABASE SUPPORT TECHNICIAN

Tommy Mam BUSINESS APPLICATIONS TECHNICIAN

Tony Roman TECHNICAL MANAGER, EDUCATION & COMMUNITY ENGAGEMENT

Carmen Recker

MANAGER OF CHORUS, DANCERS AND SUPERNUMERARIES

SPECIAL PROJECTS MANAGER

Erin Alford

DEVELOPMENT

RESEARCH AND ADMINISTRATIVE ASSISTANT

Lisa Reilly Marlinda Menashe

COMMUNICATIONS ASSOCIATE

DIRECTOR, INSTITUTIONAL GIVING AND GOVERNMENT RELATIONS

Alexandra Vergun

Jill Michnick

DIRECTOR, LEADERSHIP GIFTS

SENIOR PLANNED GIVING OFFICER

Nicole Debbini DEVELOPMENT OPERATIONS COORDINATOR

Robin Green EXECUTIVE ASSISTANT

ANNUAL FUND

COMMUNITY ENGAGEMENT COORDINATOR

Eli Villanueva RESIDENT STAGE DIRECTOR

PUBLIC RELATIONS Fran Rizzi

BOX OFFICE

Theresa Condito

Margie Schnibbe

ANNUAL FUND ASSISTANT

TECHNICAL PRODUCTION COORDINATOR

INDIVIDUAL GIVING

Janey K. Campbell SENIOR MAJOR GIFTS OFFICER

Peter W. Indall MAJOR GIFTS OFFICER

BOX OFFICE TREASURER

FIRST ASSISTANT TREASURER

Dale Bridges Johannsen Michael Meyer Shawnet Sweets Andrew Tomasulo Marlow Wyatt SECOND ASSISTANT TREASURERS

Susan Wong Bruce Hall THIRD ASSISTANT TREASURERS

Jennifer Harper Robert Harrington Joseph Howells Brenda Roman Joseph Selway TICKET SELLERS

DIRECTOR OF PUBLIC RELATIONS

CONSULTANTS

Mark Lyons

BLT Communications

ASSOCIATE DIRECTOR OF COMMUNICATIONS, PUBLICATIONS

Karen Bacellar CONTENT SPECIALIST

Amisha Patankar SOCIAL MEDIA SPECIALIST

AD DESIGN

Stephen King HEAD OF VOCAL INSTRUCTION DOMINGO-COLBURN-STEIN YOUNG ARTIST PROGRAM

Matchbox Studio GRAPHIC DESIGN

Josh Harrold

DESIGN MANAGER

PROPERTIES COORDINATOR

INFORMATION TECHNOLOGY

Gretchen Meyerhoefer

ANNUAL FUND MANAGER

Lisa Coto

PAYROLL CLERK

Shane K. Morton

Carolina Angulo

PRODUCTION MEDIA MANAGER

Christian Arter

SPECIAL EVENTS ADMINISTRATOR

EDUCATION & COMMUNITY ENGAGEMENT COORDINATOR

Howard Moss

Alisa Lapidus

ACCOUNTING CLERK

Lana Rosen

REHEARSAL ADMINISTRATOR

ADMINISTRATION

TECHNICAL DIRECTOR

Lisa Robertsen

Mariana Silva

Nicki Harper

Janneke Straub

Jeff Kleeman

SPECIAL EVENTS MANAGER

ACCOUNTING AND BUDGET ANALYST

Tom Bucher

HEAD COACH, DOMINGO-THORNTON YOUNG ARTIST PROGRAM

TECHNICAL

Emily Wainacht

Courtney Rizzo

TECHNICAL COORDINATOR, EDUCATION & COMMUNITY ENGAGEMENT

PRODUCTION AND TECHNICAL MANAGER

Nino Sanikidze

HUMAN RESOURCES / PRODUCTION ADMINISTRATOR

SPECIAL EVENTS

SENIOR ACCOUNTANT

Michelle Magaldi

IRECTOR OF BOARD RELATIONS AND D SPECIAL EVENTS

Nadine Bedrossian

INSTITUTIONAL GIVING ASSISTANT

Denice Behdad

Matthew Schroeder

ORCHESTRA PERSONNEL MANAGER

William Gorin

Tess Weinberg

PAYROLL ADMINISTRATOR

PRODUCTION STAGE MANAGER

MUSIC LIBRARIAN

Brady Steel

Jeannie Jones ACCOUNTS PAYABLE MANAGER

EDUCATION MANAGER

PRODUCTION

CONTROLLER

INSTITUTIONAL GIVING OFFICER / GRANT WRITER

Gregory White COSTUME DEPARTMENT MANAGER

Carl Ries

Erica Blumenson-Cook

INSTITUTIONAL GIVING COORDINATOR

Missy West

FINANCE

SALES AND MARKETING

Craig T. Mathew

Eric Bornemann

Gary W. Murphy

DIRECTOR OF MARKETING

PHOTOGRAPHY

PUBLIC RELATIONS / MEDIA

Studio Fuse Keith J. Rainville

GRAPHIC DESIGN

BRAND MANAGER

Luz Rodriguez MARKETING AND COMMUNICATIONS COORDINATOR

PERFORMANCES MAGAZINE P13

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DONOR RECOGNITION

20th Anniversary Angels

MARC STERN, CHAIR

LA Opera wishes to honor those individuals who have made an extraordinary leadership commitment to the Company. Building upon the remarkable foundation created by the Founding and Domingo’s Angels, the outstanding support of the 20th Anniversary Angels has helped ensure an artistically vibrant and financially secure future for LA Opera. Please see page P2 for a listing of the 25th Anniversary Angels.

The Eli and Edythe Broad Foundation

Carol and Warner Henry

Marc and Eva Stern Foundation

Colburn Foundation

Alfred and Claude Mann

Flora L. Thornton

County of Los Angeles

Sebastian Paul and Marybelle Musco

Marilyn Ziering

Richard Seaver and Sara Jayne Kimm

Mr. Harold Alden and Dr. Geraldine Alden

Brindell Roberts Gottlieb

Ceil and Michael E. Pulitzer

The Annenberg Foundation

The Green Foundation

Tarasenka Pankiv Fund (Tara Colburn)

Ambassador Frank and Kathy Baxter

Bernard and Lenore Greenberg, in honor of Leonard Green

Barbara Augusta Teichert

Lauren B. Leichtman and Arthur E. Levine Family Foundation

Christopher V. Walker

Yuki and Alex Bouzari Nancy Daly Edgar Foster Daniels Kelly and Robert Day

LGHG Foundation

Leslie and John Dorman

Beatrix F. Padway, in honor of Nathaniel W. Finston

Malsi Doyle and Michael Forman

Mr. and Mrs. Milan Panic

Domingo’s Angels

The Joop van den Ende Foundation Lenore and Richard Wayne Ziering Family Foundation Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation

WARNER HENRY, CO-CHAIR

Domingo’s Angels are individuals who made a leadership commitment to fulfilling the artistic initiatives of the Domingo Seasons, 2001-2005.

Their remarkable generosity provided a new threshold from which the artistic professionals associated with LA Opera created and produced opera that thrilled and inspired Los Angeles audiences and the world.

Robert V. Adams and Barbara Abercrombie

The Green Foundation

Richard Seaver and Sara Jayne Kimm

Ambassador Frank and Kathy Baxter

Lenore and Bernard Greenberg

Marc and Eva Stern Foundation

Colburn Foundation

Carol and Warner Henry

The Skirball Foundation

Kelly and Robert Day

Walter Lantz Foundation / Edward A. Landry, Trustee

Flora L. Thornton Foundation

Marta and Plácido Domingo Leslie and John Dorman

Rosemary and Milton Okun

Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation

Mr. and Mrs. Milan Panic

Founding Angels

WARNER HENRY, CHAIR

LA Opera is grateful for the vision, boldness and extraordinary generosity of the Founding Angels, whose commitment to the Company in its early years helped ensure the future of opera in Los Angeles.

Mr. and Mrs. Roy L. Ash

Ann and Gordon Getty Foundation

The Skirball Foundation

Dorothy Collins Brown

The Emese and Leonard Green Foundation

Mr. and Mrs. Leonard H. Straus

Mr. Richard D. Colburn

Carol and Warner Henry

Flora L. Thornton Foundation

The Edgar Foster Daniels Foundation

Opera League of Los Angeles

Forman Family Foundation

Richard Seaver

P14 PERFORMANCES MAGAZINE

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DONOR RECOGNITION

Artistic Excellence Circle

LA Opera is pleased to recognize the Artistic Excellence Circle, a dedicated group of individuals whose annual support ensures that its productions continue to feature today’s leading singers, conductors, directors and designers—all of the elements that make each season memorable. To learn more about the Artistic Excellence Circle, please call John Nuckols at 213.972.7256.

PREMIER DIAMOND PATRON

($500,000 & ABOVE)

Annenberg Foundation The Eli and Edythe Broad Foundation Colburn Foundation County of Los Angeles Los Angeles County Board of Supervisors / Supervisor Sheila Kuehl Robert Day Malsi Doyle and Michael Forman Margaret and Christopher Forman Dunard Fund USA Gemini Industries, Inc. Ann and Gordon Getty Foundation Brindell Roberts Gottlieb Lenore and Bernard Greenberg Lee and David Hayutin Estate

DIAMOND PATRON

($250,000 & ABOVE)

Anonymous Mr. Harold Alden and Dr. Geraldine Alden Marvin Antonowsky Estate The Blue Ribbon Joyce and Aubrey Chernick The Fund for the Performing Arts Max H. Gluck Foundation The Green Foundation

PLATINUM PATRON

Joyce and Joelle Grinker Estate Raymond Lieberman Trust The Andrew W. Mellon Foundation The Opera League of Los Angeles The Milan Panic Family Ceil and Michael E. Pulitzer Herbert Simon Family Foundation Ms. Barbara Augusta Teichert

($150,000 & ABOVE)

Margaret and David Barry Ana and Robert Cook Mark Houston Dalzell Allen B. Freitag Trust Alexander Furlotti Dan Murphy Foundation

PLATINUM PATRON

Carol and Warner Henry Alfred and Claude Mann Sebastian Paul and Marybelle Musco Music Center Foundation Rosemary and Milton Okun Pacific Theatres Lloyd E. Rigler – Lawrence E. Deutsch Foundation Ronus Foundation The Richard Seaver Trust for the Opera Eugene and Marilyn Stein Marc and Eva Stern Foundation The Tarasenka Pankiv Fund (Tara Colburn) Marilyn Ziering Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation

The Norman and Sadie Lee Foundation LGHG Foundation The Ralph M. Parsons Foundation Rolex Laura and Carlton Seaver Watt Family

($100,000 & ABOVE)

Alex Bouzari The Capital Group Companies Charitable Foundation Leslie and John Dorman Peter and Diane Gray The Eleanor Hutchinson Parker Foundation Hispanics for Los Angeles Opera Linda and Alvaro Pascotto

Michele and Dudley Rauch – The Rauch Family Foundation Rx for Reading Barry and Nancy Sanders Marie H. Song James and Ellen Strauss Alyce and Warren Williamson Ann Ziff

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DONOR RECOGNITION

THE OPERA COUNCIL

Chaired by Paul and Catherine Tosetti

The dedicated support of the Opera Council enables LA Opera to achieve its artistic goals. This program offers exclusive privileges and behind-the-scenes opportunities to those individuals, foundations and corporations who make annual gifts of $25,000 or more. For information, please call 213.972.3160.

GRAND GOLD PATRON

($75,000 & ABOVE)

Adele Haggarty Binder

Los Angeles County Arts Commission

Program

Nanette and Keith Leonard

National Endowment for the Arts

Wells Fargo

OPERA America’s Getty Audience Building

GRAND GOLD PATRON

($50,000 & ABOVE)

The Ahmanson Foundation

Dr. Louise Horvitz and Carrie Fishman

The SahanDaywi Foundation

Mr. James Asperger and Ms. Christine Adams

Mr. and Mrs. John F. Hotchkis

Yoriko Saneyoshi

Mr. Haig S. Bagerdjian

Mr. and Mrs. David K. Ingalls

Pamela and E. Randol Schoenberg

Ambassador Frank and Kathy Baxter

Dr. and Mrs. Harold Karpman

Mr. and Mrs. Arnold Seidel

Beatrice and Paul F. Bennett

Richard Kendall and Lisa See

Chester James Semel

Paul and Marie-France Bloch Fund at The Miami Foundation

Travis and Thomas Kranz

Susan R. and L. Dennis Shapiro

Drs. Carol and David Cass

Mr. and Mrs. Robert B. Kuppenheimer

Eric L. Small / Flora L. Thornton Foundation

Edward and Madeleine Landry

William and Helen Smollen Trust

Walter Lantz Foundation / Edward A. Landry, Trustee

Mrs. Leonard Straus

Lauren B. Leichtman and Arthur E. Levine Family Foundation

Paul and Catherine Tosetti

City of Los Angeles, Department of Cultural Affairs In memory of Nancy M. Daly for her extraordinary legacy of support Mari L. Danihel Michael and Jane Eisner Geoff Emery Judge Judith O. Hollinger

GOLD PATRON

Susan Lord and Scott Richard Lord Catherine Marcus Mr. and Mrs. Carlos Mollura, Sr.

Jacob and Sandra Terner Christopher V. Walker Richard Wayne Ellen and Arnold Zetcher

($25,000 & ABOVE)

Anonymous (3)

Tim Johnson and Jean Cunningham

Mrs. Rita Coveney Pudenz

Maria Altmann, in memory of Fritz Altmann

Mr. and Mrs. Richard B. Jones

Penny and Harold B. Ray

Bank of America Foundation

Lawrence A. Kern

The Rose Hills Foundation

Shallom and Jilla Berkman

Mrs. Trudy Lampert

Mr. and Mrs. Joseph A. Saunders

David Bohnett

Drs. Anu and Ali Leemann

Ariane and Lionel Sauvage

The Otis Booth Foundation

Los Angeles County Board of Supervisors / Don Knabe

The David and Linda Shaheen Foundation

Renee and Meyer Luskin

Dr. Vina Spiehler

Maynard and Linda Brittan Drs. Maryam and Iman H. Brivanlou Janet and Nicholas Ciriello Edward E. and Alicia Garcia Clark Mr. and Mrs. Joseph Hardin Coulombe Dwight Stuart Youth Fund Mr. Robert Finnerty and Mr. Richard Cullen Mrs. Charles I. Gold Good Works Foundation Em Green In memory of Morris A. Hazan Linda Joyce Hodge

Merrill Lynch CulturArte de Puerto Rico and Bertita and Guillermo L. Martinez Diane Hickingbotham McNabb Mr. and Mrs. Peter O’Malley Mr. and Mrs. Ted Orden Dr. Leslie A. Pam and Dr. Ann Christie Petersen / Esper A. Petersen Foundation Diane and David Paul Linda Pierce The Louis and Harold Price Foundation

Natalie K. and Marvin S. Shapiro Terry and Dennis Stanfill Carol and James Sterling Avo Tavitian Brigitta B. Troy US Bank Donna Wagner Sheila and Wally Weisman Zev Yaroslavsky Esther and Abe Zarem Susan Zolla, in memory of Edward M. Zolla

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30th Anniversary Season Launch Party PHOTOS BY STEVE COHN

On June 20, Board Chairman Marc Stern and his wife Eva hosted 150 guests at their Malibu residence to celebrate the launch of LA Opera’s 30th Anniversary Season. As a special treat, soprano Nino Machaidze (a company favorite who will return as Mimi in La Bohème in the spring) performed a mini-recital that included arias from Carmen, Manon and La Bohème.

Top row (left to right): Rob Reiner, Eva Stern, Michele Reiner and Marc Stern; Howard Walter and Marilyn Ziering. Middle row: Ris Nguyen and Bryan Moeller; Mindy and Eugene Stein and Robert Ronus; Nino Machaidze and Christopher Koelsch.

Bottom row: Richard Wayne and his granddaughter Charlotte; Elizabeth Short (standing) with Carol Henry and Michael Forman.

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DONOR RECOGNITION

BELLA VOCE PATRONS

Dr. and Mrs. Julio Aljure Gracia Alkema and C. Terry Hendrix Marvin Antonowsky Mr. and Mrs. Roy Ash Shirley Ashkenas Ms. Angela Bardowell Margaret and David N. Barry III Ambassador Frank and Kathy Baxter The Samuel M. Brainin Trust Carol and Normand Brewer Jacqueline Briskin Maynard and Linda Brittan The Eli and Edythe Broad Foundation Christine Brodie T. Robert Chapman Trust Edward E. and Alicia Garcia Clark Richard D. and Lisa K. Colburn Nancy Cook Nancy Daly Janet and Roger DeBard Teresa DeCrescenzo Phyllis and Donal Dreifus Jesse Dukeminier and David S. Sanders, MD The George A.V. Dunning Fund / California Community Foundation Allan and Diane Eisenman Gerald Faris Adell Fink Claudia and Mark Foster Herbert O. and Jean Fox

Kara Kass Fox Allen B. Freitag Trust Ronald Frydman Gerri Lee Frye Roger Gallizzi and James Willey Estate of Barbara Goldenberg Eric A. Gordon Susan R. Greer Joyce and Joelle Grinker Estate of Walter O. Halden Roy Hamilton The Jerome G. Handelsman Trust Lee and David Hayutin Anne Heineman Estate of Harvey B. Heller Warner and Carol Henry Yvonne and Gordon Hessler Joan and John Hotchkis Drs. Herbert and Judith Hyman Mr. and Mrs. David K. Ingalls Robert Jesberg and Michael J. Carmody Estate of H. Kirkland Jones Sylvia and Vernon D. Jones Lawrence A. Kern Joyce and Kent Kresa Helen Lamm Ivan and Hilda Layda / Layda Family Trust The Norman and Sadie Lee Foundation Lauren B. Leichtman and Arthur E. Levine Dr. Paul E. LeMal Raymond A. Lieberman Trust Robert and Marguerite Marsh In memory of Terry Roberta Matthies

Linda May Suzar Dr. Michael McGuire Paula Kent Meehan Mr. and Mrs. Paul A. Miller The Jane Moore Family Trust Diane and Leon Morton Sebastian Paul and Marybelle Musco Anthony and Olivia Neece Joan Harding Newman Mei-Lee Ney Estate of Beatrix F. Padway Mr. and Mrs. Milan Panic The Tarasenka Pankiv Fund (Tara Colburn) Mrs. Jean Powell Nan Rae Christine P. Ries The L. Franc Scheuer Trust The Malcolm Schneer LAOC Trust The Richard Seaver Trust for the Opera Milton Singer Mr. and Mrs. William Smollen Ellen and Harry Sondheim, in memory of Betty and Felix Leibholz Estate of Mr. Arthur Spitzer Marilyn and Eugene Stein / Capital Group Companies Marc and Eva Stern Estate of Gaby K. Tanas Flora L. Thornton and Eric L. Small Estate of C. Dickson Titus III Ms. Carol Vernon and Mr. Robert Turbin Magda and Frederick R. Waingrow Lenore and Richard Wayne Mark A. Weaver Sharon and Fillmore Wood

PHOTO BY ROBERT MILLARD

LA Opera is grateful for the generous foresight of the Bella Voce Patrons, who have made irrevocable planned gifts to the company. For more information, please call 213.972.3141.

2007 Karita Mattila and Kim Begley in Jenůfa

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DONOR RECOGNITION

BELLA VOCE SOCIETY We are pleased to thank members of the Bella Voce Society for including LA Opera in their estate planning. If you have included the company in your estate plans, we invite you to contact us at 213.972.3141 so that we can recognize your generosity.

Anonymous (5) Doris Alexander Helen Mae Almas Dr. and Mrs. Harlan C. Amstutz Shirley Lee Barasch James C. Bassett, PhD Randall C. Bassett James M. Bell Herbert M. Berk Lorna D. Blancaflor Rebecca Bowne Elizabeth B. and Elwood S. Buffa Jacqueline and Henry Cahn Dr. Alisa Cone Camberlan Richard and Norma Camp Leigh Robinson Cartwright Drs. Carol and David Cass Julia Cherry Mr. David Chierichetti Bernice Colman Hilary Crahan Michele McGarry Crahan Keith Crasnick Family Trust Richard Cullen and Robert Finnerty Drs. Nazareth and Ani Darakjian Amy Lyn DeZwart and George Betar Maureen Engelhard Daniel Fink, MD Paulino Fontes and Aviva Weiner Fontes Ms. Valerie Franklin Mr. and Mrs. John Garvey Nancy Gentry Geller

Dr. Melinda Gilmore Jerome J. Glaser Living Trust Joyce and Eric Goldman Ms. Nancy A. Grant Donna and Greg Griffith Hildegard Harris Ms. Nita Heimbaugh Bonnie Helms Malcolm T. Henderson Freddi and Dr. Kenneth D. Hill Judge Judith O. and Dr. Glen Hollinger Dr. Ronald G. Hopkins Sharon and Donald Jackley Norman W. and Rose M. Jaffe Bruce Johansen Dr. Stephen A. Kanter Dr. and Mrs. William Kern Dr. Stephen Knafel Linda L. R. Knight Richard P. and Meredith B. Kramer Victoria and Douglas Lane Larry Layne Elaine Otter Leventhal Mr. and Mrs. Lou D. Liuzzi Mr. Jeff MacKey Gerrie Maloof Hon. Nora M. Manella Sam I. Matsumoto / Gordon J. Geever Trust Edward McCann The Minturn Family Charitable Foundation Michael and Lorraine Mohill Nancy-Gene Morrison

Barbara and Maury Mortensen Mary Jane Myers Gordon and Rosie Ornelas Olson Lenore and Carl Pearlston Janet Petersen Chloe Pollock-Mieczkowski Mr. and Mrs. Nathan Prusan Dr. and Mrs. Robert H. Pudenz Jeanne E. Roerig Mr. and Mrs. Patrick T. Rogers Frank D. Rubin Dr. Jeanne W. Ruderman Elizabeth Loucks Samson Kenneth Sanson Melody and Warren Schubert Mr. and Mrs. Christof E. Schwab Olga Sevilla John Jacob Shaak Mr. Archie Sharp Audre Slater R. Rhoads Stephenson Donna Stillo Ms. Amanda F. Susskind Iris and Robert Teragawa Joann Porter Toll Emanuel Treitel Mrs. Ella Upsher Dr. Michael Upsher Rose Vardanian Michael Weber and Frances Spivy-Weber Linda and Robert E. Willett Mr. and Mrs. Lorin H. Wilson

PERFORMANCES  MAGAZINE 47

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LA OPERA HISTORY

An

An

The History of LA Opera’s Founding Angels Throughout its existence, LA Opera has been privileged to enjoy the extraordinary support of several visionary philanthropists.

Not only did their passion for opera help create an artistically vibrant company, their generosity helped secure its strong financial future.

When Mrs. William R. Forman first heard Peter Hemmings, newly named as LA Opera’s first general director, speak at a press conference in 1986, she knew at once that he could at last realize her cherished dream of establishing a lasting opera company in Los Angeles. That year, the Forman Family Fund gave $1 million on the eve of the new company’s inaugural season.

A founding member of the company’s board of directors, she understood that the opera company’s success would only be possible if significant philanthropic support could be found to further Hemmings’ creative vision. At a decisive moment in the company’s history, Mrs. Forman’s unprecedented generosity, the first gift of its kind for the new company, boldly signified her commitment to LA Opera’s future.

It also served as inspiration for others.

In 1988, Carol and Warner Henry made a $1 million commitment of their own to

LA Opera. Closely involved as leaders in the birth of the new opera company, the Henrys saw the opportunity to make a dramatic change in the city’s cultural life.

Both were members of the board and the executive committee; as treasurer, Warner recognized the need for a major infusion of funds to steer the company through its early years. It was his challenge to LA Opera’s board and supporters that secured the commitment of additional million-dollar gifts from Roy and Lila Ash, Leonard Green and Richard Colburn.

These key supporters were designated the Founding Angels. By 1990, they had been joined by Ann and Gordon Getty and by the Flora L. Thornton Foundation.

In subsequent months, Dorothy Collins Brown, The Edgar Foster Daniels Foundation, the Opera League of Los Angeles, Richard Seaver, The Skirball Foundation and Mr. and Mrs. Leonard Straus joined the Founding Angels. By the campaign’s end, a total of 13 individuals, couples or foundations had committed seven-figure leadership gifts to the company’s general operating fund, thereby ensuring the future of opera in Los Angeles.

Placido Domingo and Dorothy Forman

The success of the Founding Angels would inspire subsequent giving campaigns such as the Domingo’s Angels, established at the onset of Plácido Domingo’s tenure as artistic director in July 2000. Their vision for a bright future endures today. Angels continue to play a vital role at the opera, supporting artistic vibrancy and ensuring the excellence of opera in Los Angeles.

A

R

We’ll have more about the Domingo’s Angels, the 20th Anniversary Angels, the 25th Anniversary Angels and the 30th Anniversary Angels in upcoming issues of Performances magazine.

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IN THE SPOTLIGHT

The tenor from Perris, Texas—whose most recent LA Opera role was Erik in The Flying Dutchman in 2013—returns to star in Moby-Dick (Oct. 31 through Nov. 28). He first sang the role of the revenge-obsessed captain in Adelaide, Australia, with subsequent appearances in San Diego and San Francisco, where his acclaimed performance was captured for DVD. What’s it like to revisit the role of Ahab for the fourth time?

Thrilling! Ahab is #1 on my wish list every year. The music has been simmering in my mind and I can’t wait to do it again. The role gives me so many options as a singer.

Ahab is a complex character, to say the least. What do you like best about this role?

The madness. Can you imagine the horror of being attacked by such a sea beast and surviving in those days? The agony endured, the festering, acidic anger, the single-minded drive for revenge? And, I have to embody the power, the charm and charisma that he must wield in order to lead grown men willingly to their death. It’s a mighty task, a privilege granted to few, and I am so grateful to step into his cloak once again.

Did you read the novel?

I’ve read it twice. Like everybody else, it took me forever and a day. Many times I had to walk away and return a few months later with some fresh eyes. I believe Jake Heggie and Gene Scheer, the composer and librettist, have rendered us a most remarkable retelling.

Ahab’s peg leg looks like it must be painful. What is it like to wear it?

When you sign up for Ahab you know there’s a peg leg involved, so I try to

PHOTO BY CORY WEAVER

Seven Questions for Jay Hunter Morris, LA Opera’s Captain Ahab

check my whining at the door. But yeah, it’s rough. If I’m not careful, it will throw my back and hips into a jagged free-forall. And Ahab is challenging enough to sing standing squarely on two legs, so it really does require me to be at my best.

What would you say to potential Moby-Dick audiences who may be wary of contemporary opera?

Stop it. Free your mind. This is a truly magnificent piece of music and theater.

The overture alone is worth the trip. The Ahab/Starbuck duet in Act Two is one of my favorite songs, ever. Come expecting a fabulous evening and I’m certain you will find one.

What are you looking forward most in Los Angeles?

I love L.A. My wife Meg and I lived here for five years and our son Cooper Jack was born here. We’ve got lots of friends to reconnect with, not to mention Porto’s Bakery, Casa Bianca and Cafe Beaujolais!

What do you like to do when you’re not singing?

After a chapter of Big Opera, nothing soothes me like long days at home with my family. And my drums. My next life, you’ll find me keeping the beat in a smoky, seedy, jazz club.

To learn more, please visit LAOpera.org/MobyDick.

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DONOR RECOGNITION

PATRONS OF LA OPERA Chaired by Jill C. Baldauf and Steven Grossman

Patrons of LA Opera, who contribute gifts of $3,500 or more, enjoy exclusive ticket services, benefits and activities to enhance their opera experience. For more information, please call 213.972.7507.

GRAND SILVER BENEFACTOR

($20,000 & ABOVE)

Barbara Abercrombie Dr. Robert Adler and Alexis Deutsch-Adler Estate of Christine Brodie Estate of Adell Fink Yurie and John A. Halchak J.H.B. Kean and Toby E. Mayman

PREMIER SILVER BENEFACTOR

Lenny and David Kelton Anita Lorber Nesbitt Foundation Estate of Jean Powell Jerome and Toby Rapport Foundation Wallis Foundation

($15,000 & ABOVE)

Anonymous (2) Emily and Sam Mann Nancy-Gene Morrison Anthony and Olivia Neece David Drew Neer, MD, JD

SILVER BENEFACTOR

The Nissan Foundation The Kenneth T. and Eileen L. Norris Foundation Mr. and Mrs. Michael Towbes Richard and Cynthia Troop

($10,000 & ABOVE)

Anonymous (3) Mr. and Mrs. Arnon Adar Patti and Harlan Amstutz Jerome M. Applebaum Aversano Trust Jill C. Baldauf and Steven L. Grossman Mr. and Mrs. Sanford Beim Dr. Sheldon D. Benjamin and Constance Chesnut Dr. Peter and Mrs. Helen Bing Vladimir and Araxia Buckhantz Foundation Siobhan and William Burke California Arts Council Mr. and Mrs. Robert Cannon Chanil Foundation Mr. and Mrs. Aaron Clark Kathy Clemans and David McDonald Susan and L. David Cole Christina and Bill Conkle Roberta Conroy Myron and Margie Crain Dr. and Mrs. Donald E. Dickerson Betty and Brack Duker Margaret and Jerrold Eberhardt Dr. Gisela Eckhardt Mr. and Mrs. David Elmore Danielle Nelson Erem and Vivian Nelson Mary and Robert Estrin In memory of Meira Fields Penelope Foley Valerie Franklin Eric A. Gordon Beverly and Felix Grossman Gary Gugelchuk Dr. Cornelia Haag-Molkenteller Catherine and Mark Helm Diane Henderson

GRAND BENEFACTOR

Mrs. Maria Antonia Horne Hub International Limited Russell and Mary Johnson Keller Rackauckas, LLP Jennifer Keller James P. Kelley and Joseph W. Lund Ms. Junko Koike Joyce and Kent Kresa Mr. and Mrs. Aaron Kumetz Charlotte Levine Hon. Nora M. Manella Judy and Steve McDonald Patty and Ken McKenna Metropolitan Associates Lori and Michael Milken Mr. and Mrs. Stephen D. Miller Mrs. Synne Hansen Miller Mr. and Mrs. Bengt Muthen Barbara and Norman S. Namerow Frank Nemceff, in memory of William Anderson, PhD Chris and Dick Newman / C and R Family Foundation Mei-Lee Ney Nuveen Investments Edgar Foster Daniels and Maxime Ohayon William and Carol Ouchi Kay Rackauckas Mrs. Barbara C. Rosenthal Katharine and Warren Schlinger Dr. Bertrand and Joan Shapiro Karen and William Timberlake Linda and Sorrell Trope Elinor and Rubin Turner Ms. Gail Werner Libby Wilson, MD The Winnick Family Foundation

($7,000 & ABOVE)

Anonymous Kaye and Tom Ballantyne The Philip and Muriel Berman Foundation Cecelia Cole Ms. Sheila Coop Donald and Zoe Cosgrove Susan and John Ebey Jeanne Faoro Larry Field Sally and Irwin Goldstein

Dr. and Mrs. Irwin Harris David L. and Susan H. Hirsch Stuart and Simone Isen Dr. Stephen Kanter Rosalie Kornblau Gail and Sam Losh Mrs. Isabel Markovits-Rosenberg The Maurer Family Foundation Eduard and Dragica Morf Carolyn Novin

52 PERFORMANCES MAGAZINE

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UCLA12

Year after year, inspire us

26 consecutive years Best in the West & now No. 3 in the Nation U.S.News & World Report The doctors, nurses, staff and volunteers of UCLA are honored to be at the top of U.S.News & World Report’s Best Hospitals for 2015-16. We’re especially proud to be the only hospital in Southern California consistently ranked among the best in the country. Still, our greatest honor is serving you by bringing nationally recognized care and compassion to you and your family. To us, it’s what always comes first.

To fi nd a UCLA doctor near you, just call us at 1-800-UCLA-MD1 or visit uclahealth.org

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uclahealth.org/getsocial

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Sizes 12 & up

DONOR RECOGNITION

PATRONS OF LA OPERA GRAND BENEFACTOR

($7,000 & ABOVE)

Cliff and Toni Reston Felice and Herbert Reston Bill and Dinah Ruch Family Foundation

PREMIER BENEFACTOR

($5,000 AND ABOVE)

Anonymous (4) Act 1 Tours Mr. Aris Anagnos Randall C. Bassett Thomas and Judith Beckmen Employees Community Fund of Boeing Rosanna Bogart Stuart and Rebecca Bowne Bonnie Brae Jan Breslauer and Terry R. Dowdall Honorable Victor Chavez and Dr. Marlene Chavez Howard and Rhoda Coleman Ginger Conrad The only upscale boutique in greater Corinna Cotsen and Lee N. Rosenbaum Los Angeles for women size 12 and up.

Michele Crahan and Hilary Crahan From comfortable to casual or dressy— Ms. Joanne L. Dallas and Mr. Frank A. Traficante classic to funky or fun: Davis/Dauray Family Fund Abundance has it all!

Jack and Barbara Dawson Claus Dieckell 13604 Ventura Blvd. Sherman Oaks Dr. and Mrs. William M. Duxler 818.990.6128 Edison International AbundancePlusSizes.com W. Allan Edmiston, Jr., MD Gail and Jim Ellis Paul A. Erskine Family Fund Mr. and Mrs. Don Erik Franzen Nancy Gentry Geller Abundance_0415v1.indd 1 2/10/15 4:24 PM Larry and Marlis Gilman Linda and Bobby Hanada Armand and Bonnie Hargett C. Terry Hendrix, in memory of Gracia Alkema Claire and Robert Heron Larry and Lilia Hershenson Margaret M. Hess Freddi and Dr. Kenneth D. Hill Dr. Ronald Hopkins Mr. and Mrs. Chester O. Houston Jr. Tagney Jones Family Fund at The Seattle Foundation Gary and Denise Kading Nancy Katayama William and Priscilla Kennedy Ellen and Harvey Knell Dr. S. Sanford Kornblum and Mrs. Charlene S. Kornblum Sandra Krause and William Fitzgerald Larry Layne and Sheelagh Boyd Stephen K. and Eileen Stueck Leech Leonard M. Lipman, M.D. James and Grace McAdams Dr. Sharron L. Mee

BENEFACTOR

The Wally Russell Foundation Iris and Robert Teragawa

Carol Mitchell The Recording Industries’ Music Performance Trust Fund Robert and Sally Neely David and Krystyna Newman Mr. and Mrs. John G. Niles Doerthe Obert Mrs. Inna Ockelmann Jason Oclaray Mr. and Mrs. Gerald Oppenheimer Pacific Western Bank Park Bixby Tower, Inc. Pasadena Showcase House for the Arts The John J. and Elisabeth N. Pollon Family Trust Ernest and Anne Prokopovych Pamela and Curtis Reis Francisco Ros Mimi Rotter Paula and Allan Rudnick Thomas Patrick and Stephen Rulo Keitha Russell Kenneth Sanson Mr. and Mrs. Alexander A. Sawchuk Yvonne Stevens and Paul Schickler Malcolm Schneer and Cathy Liu Evy and Fred Scholder Richard and Ellyn Semler Marilyn Shapiro Dr. Elizabeth Short and Dr. Michael Friedman Joyce and Al Sommer John and Beverly Stauffer Foundation The Stephen Philibosian Foundation Tracy Stone and Allen Anderson Ms. Katherine Sung Bette I. Tatge Union Bank Foundation Ms. Barbara A. Van Postman John and Gill Wagner James and Robin Walther Dennis Wasser and Ruth Roberts Mark A. Weaver Michael Weber and Frances Spivy-Weber Aviva Weiner and Paulino Fontes Joyce A. White Robert E. Willett Mrs. Joan A. Winchell, in memory of Verne Winchell Dr. Judith G. and Mr. Edwin H. Wolf Mr. and Mrs. Jeffrey Ying

($3,500 AND ABOVE)

Anonymous (6) In memory of Dr. Yoshio Akiyama American Hungarian Chamber of Commerce / Gyula Kangiszer Vic and Iris Antola Margaret and Howard Arvey Shirley Ashkenas, in memory of Irving Ashkenas Ruth Bachofner Drs. Francine Bartfield and Martin Wasserman Christine Benchay John R. Benfield and Mary Ann Shaw Leah S. and Gregory M. Bergman

Langley B. Brandt Dr. Martin J. Brickman Gary and Johanna Brown Julia Cherry Laura K. Christa Mr. Joseph Cochran Nancy J. Colletti David and Anne Covell Guy Crawford and Carol Ann Peterson Drs. Nazareth and Ani Darakjian Mike Deasy Linda S. Dickason

54 PERFORMANCES MAGAZINE

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VPAC_P

VALLEY PERFORMING ARTS CENTER 2015-16 SEASON

DREAMGIRLS

Executive Director, Thor Steingraber

Theater Series MEGAN HILTY IN CONCERT

Star of Smash and Wicked sings Broadway

THU 9/24/15

L.A. THEATRE WORKS

Susan Albert Loewenberg, Producing Director Presents BRAM STOKER’S DRACULA Adapted by CHARLES MOREY

WED 10/28/15

STOMP

SUN 1/24/16

LEA SALONGA

Songstress of Miss Saigon and Disney’s Aladdin and Pocahontas fame

FRI 4/1/16

DREAMGIRLS

Book & Lyrics by Tom Eyen Music by Henry Krieger McCoy Rigby Entertainment La Mirada Theatre Productions

ValleyPerformingArtsCenter.org | 818-677-3000 |

VPAC_Performances_full-pg-ad_2015-09.indd 1 LAO_WRAP_0915.indd 55

Tickets and subscriptions available now.

STOMP

DRACULA

LEA SALONGA

FRI 5/6/16, SAT 5/7/16, SUN 5/8/16

VPACatCSUN

MEGAN HILTY

8/6/15 11:17 AM 8/11/15 4:17 PM

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DONOR RECOGNITION

PATRONS OF LA OPERA BENEFACTOR

($3,500 AND ABOVE)

Jennifer and Royce Diener Mr. and Mrs. R. Stephen Doan Richard and Angela Domingo Dan and Carol Donlan Dranow Family Foundation Steve and Ronda Dunham Dr. and Mrs. Paul Eisenberg Margaret Epstein Stephen M. Erhart Dr. Jon Fellows and Judith Hemenway Dr. and Mrs. Terry Flanagan John Fleming and Kris Maine Mr. and Mrs. Henning Freybe Dr. Jerry and Jean Friedman Ronald Frydman Dr. E. Peter and Thea Gabor Arthur and Helen Geoffrion Jerome J. Glaser / International Curtain Call Dr. and Mrs. Steven M. Goldberg Dr. Patricia Goldring Charles and Marian Goldsmith Nancy and Fred Golob David and Maggi Gordon Peter and Elizabeth Goulds Grace on Earth Foundation Christine Gregory Tricia and Richard Grey Dr. Frances S. Grover Manuel R. Gutierrez Mark Haddad and Miranda Johnson-Haddad Bernard and Carolyn Hamilton Charles F. Hanes Mr. John Haut Larry Hawley and Barbara Aran Susan and Bruce Heard Heavensent Foundation Dr. and Mrs. Ewald Heer Marcia and Dr. Paul Herman Mrs. Phoebe Ann Heywood Dr. Ann M. Hirsch and Dr. Stefan J. Kirchanski Ms. Marsha Hymanson Dr. Judith and Dr. Herbert Hyman Paul and Missy Jennings Rian Johnson Thomas D. Johnson and Stacy B. Young Eleanor and George Kalman Gloria Kaplan Ms. Gayle Kirschbaum and Mr. Scott D. Baskin Phyllis H. Klein, MD Christopher Koelsch and Todd Bentjen Mr. and Mrs. Franklin Konigsberg Ronald and Joann Kramar Elaine F. Kramer Diane S. Lake Mr. Myron J. Laskin, Jr. Christine J. Lee Christine and Jay Lee Annie Lehrer and Marilyn Heller Irwin and Rachel Levin Mr. Leonard Levine and Dr. Mateo Ledezma Mr. William H. and Mary H. Lewis Leigh Lindsey and Andrew Blaine Fong Liu Mr. Jerry D. Luedders and The Muriel Pollia Foundation Patrick Lyden and Laurie Schechter Jim and Bev Lyons Marguerite Marsh

It Feels Good to Donate All donations to Council Thrift Shops support the programs and services of NCJW/LA. Tax-deductible itemized receipts Call us to schedule your pick up 8 convenient locations

800-400-6259 www.ncjwla.org PERFORMANCES MAGAZINE 57 CouncilThriftFeelsGood.indd 1

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DONOR RECOGNITION

when less is more…

PATRONS OF LA OPERA

Schubert’s magnificent Symphony was dubbed “Unfinished”— but is it really? Decide for yourself at LACO’s season opener. Michael Barenboim, son of the famous conductor, makes his West Coast debut in Beethoven’s beloved Violin Concerto.

BENEFACTOR

schubert unfinished

sat sep 19 @ 8 pm Alex Theatre, Glendale sun sep 20 @ 7 pm Royce Hall, UCLA

Jeffrey Kahane

Music Director

Michael Barenboim photo Janine Escher

Jeffrey Kahane conductor Michael Barenboim violin Derrick Spiva Prisms, Cycles, Leaps (world premiere) Schubert Symphony No. 8 in B minor, “Unfinished” Beethoven Violin Concerto in D major after-party — you’re invited!

Mingle with friends and musicians over free drinks & appetizers after the concert.

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making great music personal

Tickets from $27 at laco.org or call 213 622 70 01 x 1 *

OS A H g!

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C in C Play I OM ow “Physically impossible C “ N to stop laughing.”

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A FLEA IN HER

EAR

A NEW VERSION OF GEORGES FEYDEAU’S FARCE

BY DAVID IVES *The Denver Post

PLAYING IN REPERTORY WITH:

Jean Anouilh’s

ANTIGONE

ALL MY SONS

Adapted and Translated by Robertson Dean

by Arthur Miller

626.356.3100 3352 E Foothill Blvd, Pasadena PHOTO BY CRAIG SCHWARTZ.

($3,500 AND ABOVE)

Ms. Janis B. McEldowney Dr. Michael McGuire Gianna McMillan Bryan Mershon Anita and Larry Miller The Mink Family Marjorie Monte Olga Moretti Barbara and Lawrence Nevens Liza and Thomas Newbauer David C. Newell Holly and John Nuckols Mrs. Hoyt S. Pardee Dr. and Mrs. Nissan Pardo Catherine A. Paura The Stephen Philibosian Foundation Frank and Betty Pinkerton Ruth Popkin Mr. and Mrs. Roger H. Porter, Jr. Drs. Michael and Marion Quinn John and Mary Lynn Rallis Madeline and Bruce Ramer The Randazzo Family Eve C. Van Rennes Fen Rhodes and Nancy Corby Lars Roos and Dr. Estelita Calica Roos Rikki Rosen Lois Rosen Aaron and Jessica Ross Judge Marvin D. and Carol L. Rowen Matthew and Jennifer Rowland Dr. Michael Rudolph Elizabeth Loucks Samson Steven Saucer Mary Lou Schanche Dena and Irv Schechter Robert and Jeanne Segal Dr. Donald Seligman and Dr. Jon Zimmerman Dr. Neil and Muriel Sherman Ms. Jeneane E. Shield Jack Shine Margy and David Sievers Dr. Joan E. Smiles Judith L. Smith Richard and Elizabeth Sobelle Debra Vilinsky and Michael Sopher Russell and Michele Spoto Philip Starr and Michael Simental Dr. Roger D. Stewart Dr. and Mrs. Edward C. Stone Mr. Eliazar Talamantez Mr. and Mrs. Thomas Techentin Karen Trogan and Kyle Thorpe Mr. and Mrs. Dale Ulman Mrs. Ciedra Urich-Sass Larry Verdugo Ms. Carol Vernon and Mr. Robert Turbin Cynthia Walk Barbara and Ken Warner Mrs. Eleanor Weintraub Mr. and Mrs. Max K. Weissberg David and Michele Wilson M. Faye Wilson Tina H. Wilson Jan and Steve Winston Sharon and Fillmore Wood John and Kay Yamasaki Martin and Rosalind Zane Irene Zimmermann, Suisse

58 PERFORMANCES MAGAZINE

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DONOR RECOGNITION

PATRONS OF LA OPERA ARTISTS CIRCLE ($2,000 AND ABOVE)

2007 Victor Ryan Robertson and Indira Mahajan in Porgy and Bess

PHOTO BY ROBERT MILLARD

Anonymous Robert C. Anderson Esther M. Baird and Stanley Fimberg Laurie and Bill Benenson Bloomingdale’s Richard and Norma Camp Rosemary and Peter Casey Nicholas Chrisos Chubb Custom Market, Inc. NancyBell Coe and William Burke Judith and Carl Dawson Linda L. Duttenhaver David A. Drummond Stanley and Judith A. Farrar Linda Leech Graul Marie O. Hedlund Barbara Holman Adel F. Jabour, MD Jon Jorgenson Kai-Li and Hal Quigley Ms. Pauline Kosanke KPMG LLP Anni Frandsen Low, PhD In memory of Louisa Mara Nadir Raulee Marcus Garry and Barbara Marshall Randy and Gretchen Newman Mike and Patricia Nijjar The Opera Buffs Inc. Veronica Pastel and Robert Egelston Mr. David L. Paul Eleanor Pott Mr. Christopher A. Reed Susan and Walter Reutimann Ruth Simon Roger Stewart Dr. Julie Stindt Linda Ann May Suzar and Jack Suzar Frederick R. Weisman Philanthropic Foundation Carole and Robert Wesson Josette and Marco Zonni

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PERFORMANCES MAGAZINE 59

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Belmont Village residents enjoy exceptional hospitality, luxurious amenities and premier programs for health and wellness. Senior Living has never looked better!

DONOR RECOGNITION

GOVERNMENT SUPPORT LA Opera is proud to acknowledge and thank the following public agencies and programs for their support.

Distinctive Residential Settings Chef-Prepared Dining and Bistro Award-Winning Memory Care Health and Wellness Programs Therapy and Rehabilitation Services

National Endowment for the Arts Jane Chu, Chairman

belmontvillage.com Burbank (818) 972-2405 Encino (818) 788-8870 Hollywood Hills (323) 874-7711 Rancho Palos Verdes (310) 377-9977 Thousand Oaks (805) 496-9301 Westwood (310) 475-7501

County of Los Angeles Board of Supervisors Michael D. Antonovich, Mayor Don Knabe Sheila Kuehl Mark Ridley-Thomas Hilda L. Solis

RCFE Lic 197608468, 197608466, 197608467, 198601646, 197608291, 565801746 © 2015 Belmont Village, L.P.

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Los Angeles County Arts Commission Laura Zucker, Executive Director

7/22/15 11:27 AM

City of Los Angeles, Department of Cultural Affairs Danielle Brazell, General Manager

PHOTO BY ROBERT MILLARD

California Arts Council Craig Watson, Director

2006 The Dragonettes in Grendel

60 PERFORMANCES MAGAZINE

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DONOR RECOGNITION

CORPORATE SUPPORT LA Opera appreciates the generous contributions from the following corporations.

OFFICIAL SPONSOR

OFFICIAL TIMEPIECE OF LA OPERA

PLATINUM PARTNER

GOLD PARTNER

PREMIUM AND PLATINUM ASSOCIATE Hub International Limited The Nissan Foundation Nuveen Investments Union Bank

SILVER ASSOCIATE Edison International Employees Community Fund of Boeing Pacific Western Bank Park Bixby Tower, Inc.

the

Plato Society of Los Angeles LEARN . SHARE MEET . TEACH

in a collegial environment

www.platola.org or call 310-443-7676 PERFORMANCES MAGAZINE 61

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DONOR RECOGNITION

OFFICIAL PROVISIONERS & IN-KIND DONORS LA Opera is proud to recognize the following generous in-kind supporters.

EXCLUSIVE MAGAZINE SPONSOR

OFFICIAL SPARKLING WINE OF THE 2015/16 SEASON

OFFICIAL STILL WINE OF THE 2015/16 SEASON

OFFICIAL PIANO OF LA OPERA

ENTERTAINMENT COUNSEL

IN-KIND DONORS Laemmle Theatres

Omni Los Angeles Hotel

Southern California Magazine Group

INTERNATIONAL CURTAIN CALL 2015-16 Deluxe Opera & Music Tours

IRELAND WEXFORD FESTIVAL (Oct 26 - Nov 5, 2015)

Dublin

Leif Ove Andsnes Piano Concert (Sibelius, Beethoven, Debussy, Chopin) Arthur Miller's A View From The Bridge

Wexford Opera Festival

Mascagni's Guglielmo Ratcliff; Delius' Koanga; and Hérold's Le Pré Aux Clercs

Limerick

Irish Literature and Poetry Reading

WASHINGTON WAGNER RING (May 16-23, 2016)

Philippe Auguin- Francesca Zambello's Production of: DER RING DES NIBELUNGEN Stemme (Brünnhilde), Bishop (Fricka), Held (Wotan), Miller (Sieglinde), Ventris (Siegmund), Brenna (Siegfried), Hawkins (Alberich), Burden (Loge), Ammann (Erda), Cangelosi (Mime), Barton (Waltraute), Halfvarson (Hagen), Aceto (Hunding).

All tours include: 5-Star Hotels & Buffet Breakfasts Selected Gourmet Meals & Wine Special Sightseeing and Excursions LIMITED SPACE AVAILABLE Contact International Curtain Call 3313 Patricia Ave. Los Angeles, CA 90064 Ph: (310) 204-4934; (800) 669-9070 E-Mail: Icctours1@aol.com www.IccOperaTours.com

MATCHING GIFTS LA Opera is pleased to acknowledge the companies that support our company with matching gift programs.

Under a corporate matching gift program, cash gifts from eligible employees are matched with company or corporate foundation funds. This additional contribution increases a participating employee’s membership level, enhancing their benefits and privileges of membership. Please call 213.972.7277 for more information.

The ACE INA Foundation AECOM Technology Corporation Allegheny Technologies American Express American International Group, Inc. Amgen Foundation Areté Associates Agro Group AT & T Foundation Automatic Data Processing, Inc. Ball Corporation Bank of America Charitable Foundation The Boeing Company BP Foundation CA Technologies California Wellness Foundation The Capital Group Companies Charitable Foundation The Charles Schwab Foundation Chevron Corporation CIGNA Foundation

CNA Foundation Dole Food Company Employees Community Fund of Boeing ExxonMobil GE Foundation Genworth Foundation Georgia Pacific Corporation Goldman, Sachs & Co. Google, Inc. The Home Depot Foundation Humana Foundation IBM Corporation Johnson & Johnson Family of Companies JPMorgan Chase Foundation Los Angeles Times Macy’s, Inc. Medtronic Merrill Lynch & Co. Foundation, Inc. Microsoft Corporation Monsanto Company

Art

Oppenheimer Funds Distributor, Inc. Patagonia, Inc. Pfizer Foundation The Prudential Foundation Qualcomm, Inc. Rockwell Collins RSUI Schneider Electric North America Foundation Sempra Energy Sony Pictures Entertainment Stanley Black & Decker Tenet Healthcare Foundation Time Warner TRW Foundation Union Bank Foundation United Technologies Verizon Foundation VISA W.M. Keck Foundation Weingart Foundation Wells Fargo

Ro

62 PERFORMANCES MAGAZINE

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Grant Gershon Kiki & David Gindler Artistic Director

2015 | 2016 SEASON

GIVING A VOICE TO WALT DISNEY CONCERT HALL

THE RUSSIAN EVOLUTION

HANDEL: MESSIAH

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REJOICE! BRASS TIDINGS Sun, Dec 13, 2015 – 7 pm

Sat, Apr 16, 2016 – 2 pm Sun, Apr 17, 2016 – 7 pm

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Sat, Sep 26, 2015 – 2 pm Sun, Sep 27, 2015 – 7 pm

Sun, Dec 6, 2015 – 7 pm Sun, Dec 20, 2015 – 7 pm

Sun, Nov 15, 2015 – 7 pm Sat, Dec 5, 2015 – 2 pm Sat, Dec 12, 2015 – 2 pm

Wed, Dec 16, 2015 – 8 pm

MUSIC OF THE COAL MINER Sun, Mar 6, 2016 – 7:30 pm

ALEXANDER’S FEAST

Sun, Jun 5, 2016 – 7 pm

VERDI REQUIEM

Sat, Jan 30, 2016 – 2 pm Sun, Jan 31, 2016 – 7 pm

Chorale Photo: David Johnston

Artists, programs, dates and prices subject to change.

opening concert

The Russian Evolution Photo: Craig T. Mathew

Sat, Sep 26 at 2 pm Sun, Sep 27 at 7 pm

Robert deMaine

Tchaikovsky | Liturgy of St. John Chrysostom (Selections) Gretchaninov | Cherubic Hymn & Passion Week (Selections) Rachmaninoff | All-Night Vigil (Selections) Rachmaninoff | Liturgy of St. John Chrysostom (Selections) Andrei Ilyashenko | We Should Choose to Love Silence Sofia Gubaidulina | Canticle of the Sun WEST COAST PREMIERE with Robert deMaine, cello

TICKETS START AT $ 29!

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B

SCHICCHI/PAGLIACCI continued from pg. 22

the HUNTINGTON STORE

Latin, no less—and violates every conceivable form of trust and lawful regulation, he does so for the plain and simple purpose of personal gain. It isn’t pretty, but it is the fundamental motivation for our own actions more times than we would care to admit.

Breaking the Barrier

Open Wed.–Mon., 10 a.m.–5 p.m.

1151 Oxford Road, San Marino, California theHuntingtonStore.org

One of the most compelling aspects of these two operas is that each breaks the barrier of the fourth wall, that imaginary boundary between the actors and the audience. With Gianni Schicchi, we make it through the entire opera before this disturbing postscript annuls the cumulative comic impulse. In Pagliacci, the fourth wall is broken at the beginning and at the end of the opera, creating an instability that runs as an undercurrent through the whole piece.

Direct address to the audience may not be quite the novelty it once was, but when it happens, it still has the power to shock. When those on stage speak directly to us—and note that in both of these operas, the breaking of the fourth wall is spoken rather than sung—we discover that we have been drawn against our will into an alternative reality of sorts, one neither of the stage nor of real life. In the case of Gianni Schicchi and Pagliacci, we become unwilling accomplices or at least powerless witnesses.

Each opera presents a case for special pleading. Passion, love, jealousy and revenge are emotions to which we can all relate, but it doesn’t change the fact that Canio stabbed his wife and her lover. The Donatis are greedy and grasping and oblivious to the moral bankruptcy of their actions. What’s more, they are gullible enough to give Gianni Schicchi the power to outsmart them. We wince when Gianni Schicchi, formerly of Florence, now residing in hell, asks us to sympathize with his merry prank. But who wouldn’t, for just a moment, consider the extenuating circumstances before passing judgment?

p

r

Leann Davis Alspaugh is managing editor of The Hedgehog Review and writes about the performing and visual arts.

S

64 PERFORMANCES MAGAZINE

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Become a memBer of the Kcet cinema SerieS

photo courtesy of creative commons

regiSter today! www.kcet.org/cinemaseries 747-201-5800 an eclectic SerieS of top-rated filmS excluSive Q&as with actorS, directorS and producerS. hoSted By film critic pete hammond Screenings take place at the aero theatre in Santa monica and arclight cinemas Sherman oaks.

SponSored By: e. hofert dailey trust, James and paula coburn foundation, mitzi ash Blahd and the Johnny mercer foundation

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WANT TO GO BEHIND THE SCENES? GET AN INSIDER’S LOOK AT LA OPERA?

LEARN MORE ABOUT OPERA FROM EXPERTS?

MEET PEOPLE WHO SHARE YOUR LOVE OF OPERA? Drop b y the Op era Le ague’s SHOP AT THE OPERA All pro . fits go to supp LA Ope o r t ra’s ed ucation al progra mming .

For further information:

CALL 213.972.7220

Plácido Domingo and Nino Machaidze in La Traviata (September 2014). Photo: Craig Mathew.

EMAIL info@OperaLeague.org

VISIT OperaLeague.org

66 PERFORMANCES MAGAZINE

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HOLLYWOOD BOWL

CHEFS PICNIC CLUB The Hollywood Bowl picnic season is just around the corner. Make your experience memorable by becoming a member of Chefs Picnic Club. Every Monday during the Hollywood Bowl season, you will be emailed simple, innovative picnic recipes themed on the venue’s weekly programming, from the hottest chefs on the dining scene.

sign up for free recipes from top chefs hollywoodbowlpicnic.com

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brendan collins

joachim splichal

curtis stone

Ori Menashe

micah wexler

akasha richmond

ray garcia

david lefevre

Zoe nathan

kris morningstar

nick roberts + brooke williamson

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8/11/15 4:17 PM

THE MUSIC CENTER 2015-2016 BOARD OF DIRECTORS OFFICERS

MEMBERS AT LARGE

Lisa Specht

William H. Ahmanson

DIRECTORS EMERITI

Craig A. Ellis

Walter F. Ulloa Catalina Joos Vergara Timothy S. Wahl Susan M. Wegleitner Alyce Williamson

SECRETARY

David Gindler Julie Goldsmith

Stephen G. Contopulos

Shelby Notkin TREASURER

Brindell Gottlieb

Lisa Whitney

Nancy P. Jacoby

BOARD CHAIR

Robert J. Abernethy Michael J. Pagano VICE CHAIRS

Karen Kay Platt

ASSISTANT TREASURER AND CHIEF FINANCIAL OFFICER

Wallis Annenberg Louise Henry Bryson Dannielle Campos

GENERAL COUNSEL

Arthur D. Kraus Mattie McFadden-Lawson^ Nigel Lythgoe Bowen “Buzz” H. McCoy Elizabeth Michelson Darrell D. Miller Cindy Miscikowski Diane Paul Max Ramberg Joseph Rice Richard K. Roeder Joni J. Smith

INTERIM PRESIDENT AND CEO

Catharine Soros

Howard Sherman

Cynthia A. Telles

EXECUTIVE VICE PRESIDENT AND CHIEF OPERATING OFFICER

Marc I. Stern Cary H. Thompson

^­LEAVE OF ABSENCE

Peter K. Barker Judith Beckmen Eli Broad Ronald W. Burkle Lloyd E. Cotsen John B. Emerson* Lois Erburu Richard M. Ferry Bernard A. Greenberg Joanne D. Hale Stephen F. Hinchliffe, Jr. Amb. Glen A. Holden Stuart M. Ketchum Amb. Lester B. Korn Carolbeth Korn Kent Kresa Robert F. Maguire, III Ginny Mancini Edward J. McAniff Walter M. Mirisch Fredric M. Roberts Claire L. Rothman James A. Thomas Franklin E. Ulf Andrea L. Van de Kamp* Paul M. Watson Thomas R. Weinberger Rosalind W. Wyman *­CHAIRMAN EMERITUS

SUPPORT THE MUSIC CENTER

CONTACT THE MUSIC CENTER

The Music Center Annual Fund supports world-class dance programming, nationally recognized arts education programs and participatory arts programs that inspire people of all ages and create opportunities for expression.

It is only through unrestricted annual support that our innovative programs continue to grow.

General Information Theatre Rentals Filming Patina Restaurant Group/Catered Events Audio Description/Project D.A.T.E. (Direct Audience Theatre Experience) Lost and Found

For more information, please call (213) 972-4349.

MCDEV_0915.indd 1

(213) 972-7211 (213) 972-3600 (213) 972-7334 (213) 972-3331 (213) 680-4017 (213) 972-2600

8/5/15 12:19 PM

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COUNTY OF LOS ANGELES

Through the support of the Board of Supervisors, the County of Los Angeles plays an invaluable role in the successful operation of The Music Center.

BOARD OF SUPERVISORS

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Hilda L. Solis

Sheila J. Kuehl

Michael D. Antonovich

FIRST DISTRICT

THIRD DISTRICT

FIFTH DISTRICT, CHAIRMAN

Mark Ridley-Thomas

Don Knabe

Patrick Ogawa

SECOND DISTRICT

FOURTH DISTRICT

ACTING EXECUTIVE OFFICER

8/5/15 12:19 PM

THE MUSIC CENTER WELCOMES

RACHEL MOORE

AS ITS NEW PRESIDENT & CEO We are delighted to announce that Rachel S. Moore, an accomplished leader in the performing arts, has been named president and CEO of The Music Center. Ms. Moore joins The Music Center from American Ballet Theatre (ABT), where she served as CEO since 2012 and as its executive director since 2004. After an extensive international search, Ms. Moore was selected for her proven management and strategic skills, along with her passion for the arts.

Rachel Moore, The Music Center President & CEO. Photo by Jerry Ruotolo.

Ms. Moore comes from the performing arts, having danced with ABT as a member of its corps de ballet 1984-1988. She has been credited with transforming ABT’s brand during which ABT was recognized by the United States Congress as “America’s National Ballet Company” in 2005. In addition, she expanded the Company’s national presence with a breakthrough bi-coastal initiative with the Segerstrom Center for the Performing Arts in California; developed strategic co-presenting partnerships with The Music Center and the Chicago Auditorium Theater; developed and launched the groundbreaking Project Plié program to increase diversity in professional ballet; expanded the ABT Jacqueline Kennedy Onassis School by significantly increasing enrollment, implementing a “Healthy Dancer” initiative and building a pipeline for students from the school in the professional company; and created a worldwide teacher training and certification program for ballet teachers.

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Prior to ABT, Ms. Moore held senior positions in dance and arts administration, including director of Boston Ballet’s Center for Dance Education (2001-2004), North America’s largest professional ballet school; executive director for Boston classical music school Project Step (1998-2001); managing director for Ballet Theatre of Boston (1998); director of the Institute for Community Development and the Arts/National Assembly of Local Arts Agencies (1995-1997); and development officer for the National Cultural Alliance (1994-1995). She has served as adjunct faculty for the Graduate Program in Arts Administration for both Columbia University and Boston University, and in the dance department of Emerson College.

The Music Center’s Board Chair Lisa Specht said Ms. Moore is highly qualified to lead The Music Center. “She

not only has many years of experience in the performing arts, but has the energy, drive and creativity so important to running a performing arts center of the caliber of The Music Center.”

Accepting her new appointment, Ms. Moore said, “This is an exciting time for performing arts institutions, and The Music Center has the opportunity to be a leader by establishing itself as the premiere destination in the Western United States for world-class, highly innovative experiences in the performing arts that are also sensitive to the needs and interests of a broader audience.

I am honored to serve the County of Los Angeles as The Music Center’s next president and CEO.”

Please join us in welcoming Rachel S. Moore to The Music Center!

8/5/15 12:19 PM

At The Music Center September 2015

REDCAT: La Mélancolie des Dragons (The Melancholy of Dragons) Photo by Martin Argyroglo LA Master Chorale. Photo Source: David Johnston

LA Opera: Gianni Schicchi/I Pagliacci. Photo by Robert Millard

SATURDAY, SEPTEMBER 12

Gianni Schicchi/Pagliacci LA Opera / 6:00 PM

Dorothy Chandler Pavilion

Runs through Oct 3

SUNDAY, SEPTEMBER 20

The Sound of Music 1:00 PM Center Theatre Group /

Ahmanson Theatre

Runs through Oct 31 Chris Cornell 7:00 PM LA Live /

Walt Disney Concert Hall

TUESDAY, SEPTEMBER 22

Philippe Quesne, Paris: La Mélancolie des Dragons (The Melancholy of Dragons) REDCAT / Roy & Edna Disney 8:30 PM

CalArts Theater

Runs through Sept 25

WEDNESDAY, SEPTEMBER 23

Appropriate 8:00 PM Center Theatre Group /

Mark Taper Forum

Runs through Nov 1

FRIDAY, SEPTEMBER 29

Opening Night Concert & Gala 7:00 PM LA Phil /

Walt Disney Concert Hall Irvine Arditti 8:30 PM REDCAT / Roy & Edna Disney

CalArts Theater

SATURDAY, SEPTEMBER 26

The Russian Evolution 2:00 PM LA Master Chorale /

Walt Disney Concert Hall

Runs through Sept 27

For more information, visit musiccenter.org or call (213) 972-7211.

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Angel City Jazz Festival 8:30 PM REDCAT / Roy & Edna Disney

CalArts Theater

JOIN US @MusicCenterLA:

8/5/15 12:19 PM

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