As the curtain opens, a new and vibrant light is shed on the story of Akhnaten at LA Opera. On the opening night of Akhnaten
Speranza's current success as a conductor is derived, in part, from an impressive lineup of engagements as a pianist, repetiteur, and Assistant Conductor.
Upon entering Shulamit Gallery in Venice, one encounters a subtle, abstract, white on white wall relief by LA artist David Abir. This is another case where it is up to us viewers to count the number of shades of white.
Two probing views of obsessive love spelled success for the marriage of inconvenience between Purcell's Dido and Aeneas and Bartók's Bluebeard's Castle. Their double-bill opening Saturday at the Chandler Pavilion marked the LA Opera's second collaboration with wave-making Australian stage director Barrie Kosky.
"Why are you so passionate about opera" was a question thrown at me today, and I puzzled for a response. It certainly was not something which came naturally to me from my environment.
During this short trip, I managed to squeeze in a quick visit to Pomona College Museum of Art, where I was rewarded with
It uses the latest in projection technology to create a series of whimsical animated tableau that mix 1920s silent-movie kitsch with greeting card silliness and Nightmare-Before-Christmas pop-art.
I have seen Mozart's The Magic Flute about a dozen times over the years, and each time I wonder once again about the invisible line separating the merely brilliant innovator from the creative genius, the latter being so rare as to be almost unimaginable.
Part of Shakespeare's genius lies in the way he loves even his fools and villains. When we watch his characters blather or sin, we are never repelled. Each seems to be an aspect of ourselves, all necessarily living together in this wonderful house of folly we call the world.