Patricia Racette makes her role debut as Magda at the LA Opera. Listen while she describes her start as a jazz singer and her transition to an opera star. She talks about the thrill of performing with Plácido Domingo during his 40th Anniversary Concert.
Marcus Haddock, a Texas native, describes the differences between performing in Europe and in America. He reminisces about singing this role at LA Opera eight years ago and performing with his dear friend, Patricia Racette.
Keri-Lynn Wilson makes her LA Opera debut. This Canadian's internationally acclaimed career has seen her conduct in many of the world's most renowned venues. Listen to this Puccini expert describe this rarely performed work.
The last time Neil Shicoff performed on the LA Opera stage it was in the same role 19 years ago. Since then, he has established himself as a preeminent American tenor of his generation. Listen as he speaks about his return to LA Opera, this role, and his special connection to Music Director James Conlon.
Adrianne Pieczonka last performed at LA Opera for this season's opening gala performance of the Verdi's Requiem. She returns for her role debut as Tosca. She describes this monumental moment in her career and why she chose LA Opera to make such an important step. She talks about her approach to Tosca and how she tackles the role's most poignant passages.
Listen while Music Director James Conlon explains why he feels "no greater Italian masterwork exists" than Otello. He discusses the impact that this opera had on classical music and why Verdi is the perfect Shakespearean composer.
This British tenor talks about his beginnings as a furniture designer and how he eventually became an opera singer. He discusses the challenges faced when singing the role of Otello, a character whose fatal flaw of jealousy leads to him murdering his true love.
Maestro Conlon shares his vision for the future of this music and why he feels it should be played in every concert hall around the world. He illustrates the moment he first heard Alexander Zemlinsky's music and the effect it had on his life.
Rodrick Dixon (The Dwarf) and Mary Dunleavy (Infanta) discuss LA Opera's Recovered Voices project and what it means to be part of this initiative. They encourage audiences to experience for the first time this music that was formerly suppressed by the Nazi's.
Listen to the Pre-Opera talk online. Kimberlea Daggy interviews Music Director James Conlon about his views on Beethoven's only opera.
Patricia Racette makes her role debut as Magda at the LA Opera. Listen while she describes her start as a jazz singer and her transition to an opera star. She talks about the thrill of performing with Plácido Domingo during his 40th Anniversary Concert.
Marcus Haddock, a Texas native, describes the differences between performing in Europe and in America. He reminisces about singing this role at LA Opera eight years ago and performing with his dear friend, Patricia Racette.
Keri-Lynn Wilson makes her LA Opera debut. This Canadian's internationally acclaimed career has seen her conduct in many of the world's most renowned venues. Listen to this Puccini expert describe this rarely performed work.
The last time Neil Shicoff performed on the LA Opera stage it was in the same role 19 years ago. Since then, he has established himself as a preeminent American tenor of his generation. Listen as he speaks about his return to LA Opera, this role, and his special connection to Music Director James Conlon.
Adrianne Pieczonka last performed at LA Opera for this season's opening gala performance of the Verdi's Requiem. She returns for her role debut as Tosca. She describes this monumental moment in her career and why she chose LA Opera to make such an important step. She talks about her approach to Tosca and how she tackles the role's most poignant passages.
This British tenor talks about his beginnings as a furniture designer and how he eventually became an opera singer. He discusses the challenges faced when singing the role of Otello, a character whose fatal flaw of jealousy leads to him murdering his true love.
Maestro Conlon shares his vision for the future of this music and why he feels it should be played in every concert hall around the world. He illustrates the moment he first heard Alexander Zemlinsky's music and the effect it had on his life.
