Placido Domingo's collaboration with composer Lee Holdridge and librettist Richard Sparks dates back several decades and includes a number of commissioned operas for young audiences. The collaboration continues with the premiere of Dulce Rosa.
LOS ANGELES -- James Conlon has extended his contract as music director of the Los Angeles Opera through the 2017-18 season. The 62-year-old's new de...
Even though Vittorio Grigolo's new album is titled "Arrivederci," we're just getting to know him. He stopped by the studios and introduced us to anoth...
This weekend we’ve got indie music on the Eastside, craft beer on the Westside and the eighties era update of a 1927 film classic in between. Whethe...
The current L.A. Opera production of Così Fan Tutte, Mozart's exquisitely problematic farce, is a special joy, and should be added it to the opera lover's not-to-be-missed list for the fall season.
In 1964, when a new musical based on the tales of Sholem Aleichem began its pre-Broadway tryout in Detroit, the producers feared the show might be "to...
First came the play, then the Oscar-winning movie, followed by the novel, and now the opera: Daniel Catán's Il Postino. Who says the postman rings but twice?
A deficit this stunning could only have happened as a result of world-class incompetence. It is a management failure without parallel in American opera history.
The movie industry can give 17 Oscars to 10 hours of movies about a magic ring, but they'd rather not pay attention to 19 hours of opera about a magic ring.
When Achim Freyer and the Los Angeles Opera unveiled their final Ring entry, Götterdämmerung, there was more than a hint of Wagner's capacity for irony.
Although music critics never cease to be amazed at the longevity of Placido Domingo's vocal apparatus, they are now critical of his management of LA Opera and Washington National Opera, which are both in financial disarray.
The operatic repertoire is full of passion, suspense and dizzying turns of fortune--kind of like what's been going on at LA Opera, which is fending of...
Creatures of creative habit -- say, Placido Domingo, Woody Allen, Philip Roth -- do not let numbers stand in their way. How many opera roles? How many movies? How many novels?
For some people, three hours watching zaftig women and baritone men in tights belt out Italian (or even German) lyrics is like hanging out in Dante's seventh circle of hell. But not me.
Los Angeles's opera elite massed to the walls of the Broad Stage to hear Juan Diego Florez, the celebrated Peruvian tenor.
Los Angeles Supervisor Mike Antonovich has earned a place of distinction in the Pantheon of Public Stupidity.
Is there anything that these small opera companies can do other than throw in the towel, close the doors and blame everyone and their cousin for the failure? Of course.
The production contained some pre-requisites for the medium -- a tragic storyline that centered around love, sex and three principles, making it a theoretical candidate for an operatic treatment.
