AROUND TOWN/MUSIC: L.A. Phil and others open 2014-2015 seasons

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was first published today in the above papers.

Dudamel-9-29-13Less than three weeks after concluding its Hollywood Bowl summer season, the Los Angeles Philharmonic will open its 2014-2015 season this week at Walt Disney Concert Hall as Music Director Gustavo Dudamel (right) leads the annual gala concert on Sept. 30 and the first two weekends of subscription concerts beginning Oct. 2.

During his sixth season as the Phil’s music director, Dudamel, now age 33, will conduct 12 subscription programs during the upcoming season along with Tuesday’s gala. Dudamel will also lead the orchestra on an Asian tour in March 2015.

The gala (which benefits the musicians’ pension fund) will honor legendary movie score composer John Williams, whose 49 Academy Awards are second only to Walt Disney. Dudamel will conduct music ranging from familiar (Star Wars) to less-well-known scores (The Adventures of Tintin). Violinist Itzhak Perlman will be the soloist in excerpts from Schindler’s List and Fiddler on the Roof.

Information: www.laphil.com

The opening week of LAPO subscription concerts (Oct. 2, 3, 4 and 5) will begin with the U.S. premiere of man made by Pulitzer Prize-winning composer David Lang. The quartet “Sō Percussion” will be the soloist in the concerto, a L.A. Phil co-commission that was written for the quartet and premiered last May in London. This will be one of 10 L.A. Phil-commissioned works in the upcoming season.

So_Metronomes_smallIn his program note, Lang wrote: “I have worked with Sō Percussion (pictured left) for a very long time now. They are frequently theatrical, they invite found objects into their performances, they build their own instruments, etc. I wondered if I could make the unusualness of their musicality the centerpiece of this concerto, but how could an orchestra of ‘normal’ instruments doing mostly ‘normal’ things find common ground with them?”

“My solution,” continues Lang, “was to set up a kind of ecology between the soloists and the orchestra, using the orchestral percussionists as ‘translators.’ An idea begins with the soloists on an invented instrument, the percussionists in the orchestra hear the solo music and translate it into something that can be approximated by more traditional orchestral percussion, the rest of the orchestra hears and understands the orchestral percussion, and they join in.

“The opening, for example begins with the soloists snapping twigs, which the orchestral percussionists translate into woodblocks, marimba, and xylophone, which the orchestra takes up and embellishes, eventually overwhelming the soloists. This process of finding something intricate and unique, decoding it, regularizing it, and mass producing it reminded me of how a lot of ideas in our world get invented, built, and overwhelmed, so I decided to call it man made.”

This weekend’s concerts will conclude with Mahler’s Symphony No. 5, a work that Dudamel has conducted and recorded with his Simón Bolivár Symphony Orchestra of Venezuela. However, this marks the first time that he has conducted it with the Phil.

KUSC’s Brian Lauritzen has a concert preview HERE.

Information: www.laphil.com

The second week of subscription concerts (Oct. 9, 10, 11 and 12) will find Dudamel conducting John Adams’ Harmonium, along with Beethoven’s Choral Fantasy and Piano Concerto No. 5 (Emperor). Pianist Leif Ove Andsnes and the Los Angeles Master Chorale will be the soloists.

INFORMATION: www.laphil.com

Two other L.A. Phil series begin during the upcoming fornight. Sō Percussion and LAPO percussionists will open the Phil’s “Green Umbrella” series of new-music concerts on Tuesday at 8 p.m. in Disney Hall, performing music by David Lang and Michael Gordon, co-founders of the group “Bang on a Can.”

Information: www.laphil.com

Meanwhile, the Phil’s organ series, celebrating the 10th anniversary of the Disney Hall instrument, will open Oct. 12 at 7:30 p.m. Organist Christopher Houlihan, LAPO Principal Timpanist Joseph Pereira and members of the orchestra’s brass section will offer a selection of music ranging over four centuries.

Information: www.laphil.com

HEMIDEMISEMIQUAVERS:
• The “Green Umbrella” and organ recital concert are part of a new Phil new ticketing policy where a limited number of seats are offered for $20. They are available online, by phone and in person at the box office. INFO

• The opening concerts also mark the resumption of “FastNotes,” the orchestra innovative informational effort. You sign up for a Phil email account (no charge) and a few days before each concert you get an email with program notes, bios, links, audio samples and ticketing information about the event. A few other organizations have similar programs but none as good as the Phil’s. LINK

• The Phil has also announced that Danish conductor Christian Kluxen and New Zealand native Gemma New will participate in this season’s Dudamel Fellowship Program. This program has shrunk during the past two years, going from four Fellows in 2012-13 to three last season and now two. However, LAPO Director of Public Relations Sophie Jeffries reports: “There is no fixed number for how many Dudamel Fellows are announced each year. It has to do with identifying young conductors to take part and also their availability.”

Lluxen leads the Philharmonia of London’s “iOrchestra” project and just finished a three-year stint as Assistant Conductor of the Royal Scottish Orchestra. New is Associate Conductor of the New Jersey Symphony and Founder and Director of the Lunar Ensemble, a contemporary music collective in Baltimore.

Read the media release HERE.

• The Phil also recently named Lithuanian native Mirga Gražinytė-Tyla, a Dudamel Fellow two seasons ago, as the orchestra’s Assistant Conductor. Read the media release HERE.

ALSO UPCOMING:
Two of the Southland’s — indeed, the nation’s — premiere youth orchestras open their seasons during the next fortnight.

• Roger Kalia begins his final season as music director of the Young Musicians Foundation Debut Orchestra on Oct. 5 at 7:30 p.m. at the Aratani/Japan American Theater in Little Tokyo. The program, which celebrates 60 years for the YMF, will feature flutist Catherine Baker and soprano Solène Le Van as soloists; both were Special Recognition winners in the recent YMF Debut Concerto Competition. Tickets are $5. Information: www.ymf.org

• Meanwhile, the American Youth Symphony kicks off its 50th anniversary season with a free concert on Oct. 12 at 7 p.m. in UCLA’s Royce Hall. Music Director Alexander Treger leads his ensemble — 107 musicians, ages 15 to 27, representing 26 schools — in Mahler’s Symphony No. 5 and the world premiere of Henri Lazarof’s Cello Concerto No. 4. Alan Steele, who at age 21, departed the AYS to become principal cellist of the Fort Worth Symphony, will be the concerto soloist. Information: www.aysymphony.org
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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AROUND TOWN/MUSIC: Winding down, ramping up as classical music seasons collide

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was first published today in the above papers.

We’ve arrived at that odd time of the classical music year when outdoor concerts are winding down while at the same time indoor seasons are beginning to ramp up.

• Michael Feinstein and the Pasadena Pops Orchestra wrap up their 2014 summer season Saturday night at the Los Angeles County Arboretum with a program entitled, “New York! New York!” The evening will include music by Leonard Bernstein (Candide Overture, West Side Story, On the Town and Wonderful Town), several songs by Duke Ellington, and works by Stephen Sondheim and Cole Porter. As is usually the case with a Feinstein concert, there will be several revivals among the offerings. Vocalists Patti Austin, Liz Callaway and Aaron Tveit will join the fun.

Information: 626/793-7172; www.pasadenasymphony-pops.org

• Hollywood Bowl wraps up its classical season during the next couple of weeks. Ludovic Morlot, music director of the Seattle Symphony since 2011, returns to the Cahuenga Pass amphiteatre this week. Tuesday’s concert combines Mendelssohn with Mozart. Thursday’s performance features Colburn Conservatory student Simone Porter, who made an impressive debut with the Pasadena Symphony earlier this year, soloing in Samuel Barber’s Violin Concerto. Jessica Gelt has a profile of Porter in the Los Angeles Times HERE.

The final Tuesday concert (Sept. 9) will be led by Vancouver Symphony Music Director Bramwell Tovey. The program will open with the world premiere of Erskine, a concerto for drum set and orchestra, written by English composer Mark-Anthony Turnage for percussionist Peter Erskine, who will appear as soloist. Holst’s The Planets will conclude the evening, accompanied — as is now almost “de rigueur” — by imagery from NASA and JPL rovers and satellites, despite the fact that Holst’s musical depiction was astrological rather than astronomical.

On Sept. 11, Spanish conductor Juanjo Mena will lead Bernstein’s Symphonic Dances from West Side Story and Beethoven’s Symphony No. 9, with soloists and the Los Angeles Master Chorale joining the Phil to conclude the season.

Information: 323/850-2000; www.hollywoodbowl.com

• Meanwhile, the Angeles Chorale begins in 40th anniversary season on Sept. 13 at First United Methodist Church in Pasadena. Artistic Director John Sutton will lead his chorale in “Unbridled Joy: an Evening of Gospel, Spirituals and More,” which will feature a performance of Robert Ray’s Gospel Mass. Two vocal soloists and several instrumentalists will join the chorale in the concert.

The concert will spotlight the “Justin Carr Wants World Peace” Memorial Foundation, established in memory of the then-16-year-old Altadena resident who died of cardiac arrest during a swimming workout in 2013.

Information: 818/591-1735; www.angeleschorale.org

• First Congregational Church of Los Angeles kicks off its 46th annual organ concert series with a weekend devoted to its multiple organs, which together total 346 ranks, 265 stops, and 18 divisions — more than 20,000 pipes in several locations around the massive gothic sanctuary (modeled after Chartres Cathedral in France).

Fred Swann, former organist at First Congo and former president of the American Guild of Organists, will give a master class on Sept. 13 at 10 a.m. That evening at 8 p.m., three notable college grad students — Jaebon Hwang, Minh Ngyuen and Qi Zhang — will play a free recital. The following afternoon will be an “organ crawl,” a chance to get an up-close look at the workings of this massive instrument. Advance tickets at $25 are required for the organ crawl; the other events are free.

Information: fccla.org
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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AROUND TOWN/MUSIC: Rachael Worby and Muse/ique offer the “keys” to music

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

A shorter version of this article was first published today in the above papers.

• Pianos and summertime concerts are about as ubiquitous as picnics and concerts. So leave it to Rachael Worby to find a way to shake up the norm with her next Muse/ique concert Saturday night beginning at 7:30 p.m. on Caltech’s Beckman Hall lawn (where picnicking is encouraged).

For those not in the know, Muse/ique is the ensemble Worby formed after she parted ways with the Pasadena Pops several years ago. The new group has allowed Worby to indulge the madcap nature of her programming mind and Saturday night’s concert is merely the latest example.

Rather than have just one piano soloist, Worby has invited five of the Southland’s best-known keyboard artists: Joanne Pearce Martin (the Los Angeles Philharmonic’s principal keyboard player); her husband, Gavin Martin; Bryan Pezzone, Alan Steinberger and 12-year-old Ray Ushikubo. They will join the orchestra in music ranging from Gershwin’s Rhapsody in Blue and Bach’s Goldberg Variations to Bugs Bunny on Film, Elton John and Chico Marx.

Information: 626/539-7085; www.muse-ique.org

Michael Feinberg and the Pasadena Pops resume their summer season on August 16 at 7:30 p.m. at the Los Angeles County Arboretum when they celebrate the music of motion pictures and the 100th anniversary of the American Society of Composers, Authors and Publishers (ASCAP).

In typical Feinstein fashion, most of the music will be non-standard summer concert fare. The orchestra will be joined by composers Alan Bergman, perhaps best known for Windmills of Your Mind from the 1968 version of The Thomas Crown Affair; Michael Giacchino (Up), Bruce Broughton (Silverado) and Paul Williams (A Star is Born).

Vocalists Maureen McGovern, Debby Boone and Kevin Earley will appear on the program and Feinstein will introduce a symphonic arrange of Pharrell Williams’ Happy created for the Pasadena Pops. The complete playlist is near the bottom of the link below.

Information: 626/793-7172; www.pasadenasymphony-pops.org

The Pops’ Web site has dates, program titles and principal performers for next season’s concerts. As is the case this year, Michael Feinstein will appear on four of the five concerts, once as vocalist and the other three times as Principal Conductor. LINK

• Among the upcoming Hollywood Bowl concerts worth noting are next Thursday’s program of Mahler’s Symphony No. 1 and Brahms’ Double Concerto, with violinist Alina Pogostkina and LAPO Principal Cellist Robert deMaine as soloists. What makes the program particularly intriguing is that the conductor, 28-year-old Lithuanian Mirga Gražinytė-Tyla, has just been named the Phil’s assistant conductor for the next two years.

Gražinytė-Tyla, who was a Dudamel Fellow with the orchestra in 2012 and 2013, won the 2012 Nestle and Salzburg Festival Young Conductors Award and has been named music director of Salzburg Landestheater beginning with the 2015/16 season. See more info on her HERE.

Information: 323/850-2000; www.hollywoodbowl.com

The following week two celebrated soloists grace the Hollywood Bowl stage. On Oct. 12, violinist Gil Shaham will join the Phil in Prokofiev’s second violin concerto, while on August 14 cellist Yo-Yo Ma will be the soloist in Elgar’s Cello Concerto. Leonard Slatkin leading the LAPO in both programs. Tuesday concludes with Rimsky-Korsakov’s Scheherazade,; Thursday ends with Debussy’s La Mer.

Information: www.hollywoodbowl.com

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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Tovey conducts Bernstein, Gershwin at the Bowl

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Los Angeles Philharmonic: Bernstein and Gershwin
Branwell Tovey, pianist and conductor; Dee Dee Bridgewater, vocalist
Thursday, July 10 • Hollywood Bowl
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Leonard Bernstein, Gershwin, Bramwell Tovey and the Los Angeles Philharmonic — four names inextricably linked with Hollywood Bowl — combined for an occasionally quirky but ultimately satisfying concert last night at the Cahuenga Pass amphitheatre. The pairing was certainly popular: 11,875 people showed up, 4,155 more than attended Tuesday night’s classical-season opener of this, the 93rd season at the famed outdoor venue.

The Phil apparently can’t decide how to describe its relationship with Tovey, the British-born composer-conductor-pianist who turns 61 today (which also happens to be the 77th anniversary of Gershwin’s untimely death). Although none of the preconcert media releases list any local title for Tovey (since 2000 he has been music director of the Vancouver Symphony), the printed program continues to list him as Principal Conductor at the Hollywood Bowl. Whatever; he’s a welcome presence. With his conducting skills and erudite comedy that last night played to and off of the audience, various orchestra members and vocalist Dee Dee Bridgewater, Tovey remains the pinnacle of outdoor maestros both for his musical and raconteur skills.

Last night he showed off another of his many facets by doubling as pianist and conductor in Gershwin’s Rhapsody in Blue. Most people who attempt this dual role remove the piano lid and shove the piano into the middle of the orchestra (over the conductor’s podium, in effect). Tovey, instead, placed the piano in its usual concert position with the lid raised to its full extension, which meant that a goodly number of players couldn’t see Tovey while he was playing.

Tovey solved this problem (sort of) by beginning the introduction — with Michele Zukovsky’s slinky, sumptuous clarinet solo — on the podium and then sitting down to play. The orchestra had a tendency to bog down a bit until Tovey would get off the bench and whip the tempo back to what he considered acceptable. It was all a bit disconcerting. Considering that Tovey doesn’t make his living as a pianist, he was remarkably dexterous in the solo portions, although the performance certainly wasn’t note-perfect. The audience had a good time; they gave Tovey and the orchestra a thunderous ovation at the end.

Prior to Rhapsody in Blue, Tovey and Co. offered a fiery rendition of Bernstein’s Candide Overture and four pieces from the 1944 musical On the Town. The three-movement orchestral suite from the musical was notable for, among other things, melancholy solos by James Wilt on trumpet and Carolyn Hove on English horn in the second movement and the car-horn effect in the first movement, appropriate since Gershwin’s An American in Paris was the concert finale.

Following the suite, Alysha Umphress and Jay Armstrong Johnson raced onstage to perform the saucy I Can Cook, Too as a plug for a Broadway revival this fall at New York City’s Lyric Theatre. Of a review of the 2013 production in Vermont, New York Times critic Ben Brantlee wrote: “John Rando’s production of On The Town … is one of those rare revivals that remind us what a hit show from long was originally all about. The joy of Mr. Rando’s production is in its air of erotic effortlessness.” It would be hard to term last night’s “tease” as “effortless” but “erotic” it certainly was; this number (for which Bernstein wrote the lyrics) must have ruffled more than a few feathers in 1944.

After intermission, Bridgewater joined Tovey (at the piano) and the orchestra for arrangements of four Gershwin songs that Tovey orchestrated in 2000. Whether she genuinely had a brain cramp that left her totally clueless as how to begin A Foggy Day in London Town or was grinding through a grossly overdone shtick between her and Tovey, Bridgewater’s breathy renditions of Foggy Day, The Man I Love, They Can’t Take That Away From Me and Fascinating Rhythm gave little, if any, sense of Gershwin’s genius in this genre.

There’s no programming genius required to conclude this kind of concert with An American in Paris, but Tovey’s humorous introduction (one wonders how a felt hat draped over a trumpet bell really affects the sound) led to a solid, forthright performance of this Bowl and L.A. Phil staple, which sent everyone home happy.

Bernstein, Gershwin, Tovey and the L.A. Phil under a full moon and basking in delightfully cool evening temperatures — this is why people keep coming back year after year.

Hemidemisemiquavers:
• The brightest sign of the $2.8 million renovations to the Bowl this year this is the addition of new Alaskan cedar benches, which replaced ones that had been in use since 1982. “Over time,” writes Ross Guiney, LA County Department of Parks and Recreation Director, “the wood will naturally weather in the beautiful silvery-gray color with which Bowl-goers are familiar.”
• C+ to the camera operators, who weren’t always on cue with which orchestra player was being featured in a solo lick. On the other hand, the color quality was superb and the sound system has become first-rate.
• On Tuesday, conductor James Gaffigan leads the Phil in Prokofiev’s Romeo and Juliet Suite and Tchaikovsky’s Piano Concerto No. 1, with Behzod Abduraimov, who is making both his Los Angeles Philharmonic and Hollywood Bowl debuts, as soloist in the concert. They replace Esa-Pekka Salonen and Yefim Bronfman, who were originally scheduled to perform. Salonen, former LA Phil music director and now conductor laureate, cancelled “due to unforeseen personal reasons,” says the Phil announcement, while Bronfman is bowing out “due to the unavoidable scheduling of a minor medical procedure.” (LINK)
• Next Thursday, Salonen will return to the Bowl for the first time since 2009, conducting first piano concertos and first symphonies of Prokofiev and Shostakovich. Yuja Wang will be the piano soloist in both concertos; joining her for the Shostakovich will be LAPO Principal Trumpet Thomas Hooten.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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AROUND TOWN/MUSIC: A new direction for opera?

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was first published today in the above papers.

ARenée Fleming stars as Blanche DuBois in André Previn’s “A Streetcar Named Desire,” being presented May 18, 21 and 24 at the Dorothy Chandler Pavilion. Photo by Todd Rosenburg, Lyric Opera, Chicago.

Los Angeles Opera: André Previn’s A Streetcar Named Desire
May 18 at 5 p.m.; May 21 and 24 at 7:30 p.m.
Dorothy Chandler Pavilion, Los Angeles
Information: www.laopera.org

Los Angeles Philharmonic: Mozart’s Così fan tutte
May 23 and 29 at 7:30 p.m.; May 25 and 31 at 2 p.m.
Walt Disney Concert Hall, Los Angeles
Information: www.laphil.com
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Although unintended, it’s ironic that as San Diego Opera continues to struggle with the question of how or even whether it should move forward, Los Angeles during the next couple of weeks offers two notable examples of what the future might look like not only for San Diego but for other opera companies, as well.

On May 18, 21 and 24 at the Dorothy Chandler Pavilion Los Angeles Opera presents an innovative staging of André Previn’s opera A Streetcar Named Desire with superstar soprano Renée Fleming in the role of Blanche DuBois. Then on May 23, 25, 29 and 31 the Los Angeles Philharmonic will conclude its three-year cycle of Mozart/Da Ponte operas when Gustavo Dudamel conducts Così fan tutte at Walt Disney Concert Hall.

On March 19 San Diego Opera’s board of directors voted to close the company following the completion of this, its 49th season, due to dwindling financial support. Since then plans are moving forward cautiously to (a) find a way to finance a 50th anniversary season and (b) discover a new future direction. Fundraising will be a key to both decisions. For the past year San Diego Opera’s budget was reportedly about $15 million annually and it presented four operas.

If San Diego Opera closes, it will follow in the footsteps of Opera Pacific in Orange County and New York City Opera, each of which shuttered its doors. If SD Opera continues, it will undoubtedly be as a different, probably smaller, company.

Christopher Koelsch, LA Opera’s chief executive officer, says he has no inside knowledge of the San Diego Opera struggles, but he can relate to them. “When the 2008 worldwide crisis hit,” he remembers, “we at LA Opera had to pivot to become a much different company, going from a $60 million budget to $40 million. It wasn’t easy.”

What’s important, say Koelsch and other arts organization leaders, is that companies must be in constant dialogue with their communities as organizations determine what programming can and should be presented. A key word that Koelsch uses frequently is “diversity,” a word that relates both to audiences and programming.

“The traditional subscription model of selling tickets is breaking down,” says Koelsch. “Instead of one large audience, we now have audiences breaking down into smaller niches. It’s not that we’re totally abandoning the idea of presenting grand operas in a house the size of the Dorothy Chandler Pavilion. But we’re constantly trying find ways to demystify the art form so that we can broaden our overall appeal.”

Earlier this spring, LAO presented another in its family opera programs, the world premiere of Jonah and the Whale at the Cathedral of Our Lady of the Angels diagonally across the Temple St. and Grand Ave. corner from the Music Center. Thousands of people attended the free performances; many had never seen an opera before.

A Streetcar Named Desire is another example of reaching out to different audiences. The original work was a play written in 1947 by Tennessee Williams, for whom it won the Pulitzer Prize in 1948. Three years later, Elia Kazan’s searing film adaptation won Academy Awards for Vivian Leigh (best actress), Karl Malden (best supporting actor) and Kim Hunter (best supporting actress). Marlon Brando, who played Stanley Kowalski, lost out to Humphrey Bogart (The African Queen) for the Best Actor Oscar.

Previn — who, although he has composed extensively, is better known for his work in motion pictures and as an orchestra conductor — used a libretto by Philip Littell to adapt the play into an opera; it was premiered in San Francisco in 1998. However, rather than using the elaborate original production, LAO is using Brad Dalton’s intriguing staging that puts the costumed cast at the front of the stage, with the orchestra on stage behind the action. The production has played to strong reviews at Carnegie Hall in New York City and Lyric Opera Chicago.

Koelsch cautions that creating a show with a “much smaller footprint” from a larger version may not always be feasible, but it’s one way for companies such as LAO to bring contemporary operas into the company’s increasingly large repertoire.

Of course it helps that Fleming is portraying the one of the starring roles in Streetcar. “I’ve been eager to bring Renée to Los Angeles as Blanche DuBois for more than a decade,” says LAO’s General Director Plácido Domingo, Fleming’s only rival for operatic superstar status. Ironically, Domingo is appearing onstage in Jules Massenet’s Thais, which is running in tandem with Streetcar. The opportunity to present Streetcar came together at the last minute, as least in opera company terms. It didn’t materialize until LAO had already announced its current season last year.

The L.A. Phil’s Così follows in the footsteps of Don Giovanni and The Marriage of Figaro to be presented on stage at Disney Hall during the past two years. In each case, the director and stage designer had to find innovative ways to cope with the fact that Disney Hall was built for orchestra and choral groups, not operas. That means there is no proscenium or ways to hang scenic backdrops. Overall, the two Mozart productions successfully managed that challenge.

Well-known opera director Christopher Alden will lead the Cosí fan tutte production, which has been created by architect Zaha Hadid, winner of the Pritzker Architecture Prize in 2004 (the previous productions were also designed by architects; Frank Gehry handled Don Giovanni, while Jean Nouvel did the “installations” for The Marriage of Figaro). Hussein Chalayan has designed the Cosí costumes.

As is the case with LAO, the Phil is using this unique combination of talents to reach out to new audiences, as well as to traditional opera and symphony fans.

Next season LAO continues its broadening trend in two radically different ways. For its production of Hercules vs. Vampires in the Dorothy Chandler Pavilion, the company will synchronize live music with the 1961 cult fantasy film. When actors on the screen open their mouths to speak, the audience will instead hear their lines sung by members of the Domingo-Colburn-Stein Young Artist Program, accompanied by a 26-piece orchestra.

The company’s final offering of the 2014-2015 season will be David T. Little’s Dog Days, which will be presented at Disney Hall’s The Roy and Edna Disney/CalArts Theater (REDCAT), which seats less than 300 people.

This is definitely not your grandfather’s opera company.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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