I moved upstairs to the last row of the loge, far from the stage for the big triumphal scene in Act 2. I started in the fancy Founders, where the sight and the sound have the best balance, seating is luxuriant and masking lax. I witnessed “Aida” from three perspectives in the Chandler. Opera artist in residence Matthew Aucoin, AMOC boasts three of the most compelling singers on the lyric stage - Julia Bullock, Davóne Tines and Anthony Roth Costanzo - as well as director Zack Winokur. Formed by composer, poet, conductor and former L.A. The Ojai Festival follows, June 9 through 12, this year unveiling a range of experimental operatic actions by AMOC (American Modern Opera Company). Next up, June 7, the relentless Los Angeles Philharmonic once more gets into the operatic act at Walt Disney Concert Hall by staging Ted Hearne’s opera/oratorio about gentrification, “Place,” with a libretto by Hearne and Saul Williams. This is a follow-up of the director’s earlier remake of “The Marriage of Figaro” as “Figaro 90210" in which he brilliantly confronted the circumstances of undocumented immigrants in L.A. The ensemble Salastina ends its season with performances at Caltech, the Colburn School and the Broad Stage of “OC fan Tutte,” Vid Guerrerio’s reimagining of Mozart’s “Così fan Tutte” through the lens of Orange County culture wars. The first weekend of June promises the premieres of two new operas by local composers - Vera Ivanov’s “The Double” and Ian Dicke’s “Roman” - at Boston Court in Pasadena.
Numi Opera - named for Aida’s aria, “Numi pieta,” an invocation of divine spirits - offered a program of excerpts from operas by composers suppressed by the Nazis at the Broad Stage last Sunday. Rather than a company seemingly in tatters, LBO offered much of the best of what it is known for - thought-provoking, hyper-relevant (if occasionally off-the-rails) and engagingly performed music theater that takes, either by intent or modest necessity, little for granted.Įlsewhere, smaller-scaled opera is popping up all over. But at the sold-out second performance, the mood was especially celebratory. Given that the first two of the season’s four scheduled productions were canceled when three Black members of the company summarily resigned, citing “racial tokenism” and “a culture of misogyny” that have yet to be publicly specified, the company’s future has been in question. The same night as the “Aida” opening, the ever-intrepid Long Beach Opera began its first post-pandemic season with a refashioned Handel rarity, “Giustino,” at the Museum of Latin American Art. Old-school powerhouse voices and a plush production aim to thrill.
Aida seattle opera free#
Continuing through June 12 and including free video relays Saturday night on the Santa Monica Pier, in Newhall Park and at the Pomona Fairplex, this is an “Aida” with a modern look but that’s otherwise reassuring.
Aida seattle opera full#
The third Saturday of May, Los Angeles Opera mounted the last production of its first full season since the pandemic had closed up shop by hosting Verdi’s “Aida” in all its grand-opera glory at the Dorothy Chandler Pavilion and drew a large crowd in festive attire.
Yet opera thrives on risk, inviting excess on stage and off. BA.2.12.1 has arrived B4 waits in the wings. Mask-wearing and other precautions appear to be going nowhere soon. This is hardly the late spring we hoped for. Is it time to take stock? Probably not just yet. With Memorial Day past, May gray history, night blooming jasmine losing its fragrance and the 2021-22 performance arts season winding up, opera in our little corner of the operaverse is now, for whatever reason, vibrantly in full bloom.
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