Les presento el equipo responsable de todo el vestuario magnífico de Musetta.  La líder es Leslie Ann Smith, una de nuestros talentosas constructora de vestuario de damas en el Taller de la Opera de Los Angeles.  Leslie Ann ha trabajado con nosotros durante doce años, en realidad es la tercera vez que ha trabajado en esta producción de La Boheme, y ella me dice que es una de sus operas favoritas. A ella le encanta hacer vestuario del siglo XIX hasta la primera mitad del siglo XX.  Asi que este espectáculo esta a la altura de su mundo favorito.

Leslie Ann trabaja en estrecha colaboración con su asistenta, Jennifer Shaw. La Fashionista del equipo, Jennifer ha estado con la Opera de Los Angeles desde 2005. Ella se graduo con especialicion en la moda, pero prefiere trabajar con el vestuario de la opera y el teatro y le encanta ponérselos también.  Jennifer me dice “no hay problema con los trajes de epoca, tambien estaban de moda en su día!

Una vez que Leslie Ann ha estudiado los diseños, toma las medidas de la artista, luego hace los patrones.  Jennifer transfiere los patrones a las hermosas telas propias para el escenario,  corta todas las piezas y se las entrega a las costureras del equipo, Hortencia Santos y Ana Wong, que meticulosamente cosen todo y añaden los toques finales.

No podemos olvidarnos de Hallie Dufresne nuestra artesana principal en el taller.   Todos sabemos que no podemos completar el modelo sin los accesorios. Hallie completa el “look” de Musetta con sombreros y joyas.  Gracias Hallie .. Con todo este trabajo del  equipo, estoy seguro que Musetta será fabulosamente vestida con sus nuevos diseños.

Si no, entonces creo que Musetta en el desnudo también será un Grand éxito!  La Boheme abre 12 de mayo hasta 02 de junio .. nos vemos en el teatro ..

Tourists come to LA to experience starry Hollywood, bubbling La Brea Tar pits, and great weather of course, but opera?   Well, that could all change in May when

Los Angeles’s young and thriving operatic culture takes to the stage in four very different productions.

In addition to LA Opera’s grand Herb Ross production of La Boheme opening May 12 starring Stephen Costello and Ailyn Perez and conducted by Patrick Summers,  three other diverse operatic events will be presented in venues throughout Los Angeles during the month of May.

The Los Angeles Philharmonic will present Mozart’s Don Giovanni from May 18 to 26 at Walt Disney Concert Hall.  Conducted by Music Director Gustavo Dudamel, LA Phil’s epic three-year Mozart/ Da Ponte Trilogy begins with the duo’s masterwork Don Giovanni starring baritone Mariusz Kwiecien and  featuring costumes by Rodarte designers Kate and Laura Mulleavy and stage design by WDCH architect Frank Gehry.  (www.LAPhil.com)

On May 19 and 26, Long Beach Opera will present the west coast premiere of Osvaldo Golijov’s Ainadamar with libretto by David Henry Hwang.  Based on the life of Spanish playwright and poet Federico Garcia Lorca, Ainadamar tells the writer’s story who was executed in 1936 during the Spanish Civil War. A gripping reflection on the undying faith of a people, Aindamar ponders the moral duty of the artist and the relationship between artistic and political freedom.  (www.LongBeachOpera.org)

A new experimental opera company, The Industry, will present its inaugural production from May 10 through 27: the Los Angeles premiere of Crescent City by composer Anne LeBarron and Douglas Kearney, staged at Atwater Crossing, an industrial space in Atwater Village. Featured twice in New York City Opera’s VOX showcase of new American opera, Crescent City tells a fantastical tale of a mythical city destroyed by one hurricane and the voodoo priestess determined to save it.

The Industry’s production takes place in an industrial space and immerses the audience in a 360-degree landscape comprised of visual artists’ responses to the six chief locations of the opera.(www.TheIndustryLA.org)

So, grab your surfboard, sunblock and opera glasses and come to LA and experience OPERA!

 

Only four more weeks until the opening of Puccini’s La Bohème and Musetta’s wardrobe seems to be right on schedule, or so we hope!

Meet the team responsible for all of Musetta’s magnificent costumes:   The team leader is Leslie Ann Smith, one of our talented Drapers here at the LA Opera Costume Shop.  Leslie Ann has been with the company for twelve years. This is actually the third time she’s worked on this particular production of La Bohème, and says it’s one of her favorite shows. She loves making costumes from the 19^th century to the first half of the 20^th century, so this show is right up her alley.

Leslie Ann works closely with her Assistant Draper, Jennifer Shaw. The Fashionista of the team, Jennifer has been with the LA Opera since 2005. She holds a degree in fashion, but prefers to work with costumes (and wear them too). What’s wrong with wearing period clothes, they were fashionable in their day!  Mrs. Shaw provides great support to the team.

Once Leslie Ann has studied the designs, she measures the performer, and then makes the patterns.  Jennifer transfers the patterns onto the beautiful stage worthy fabrics, cuts it, then hands it to the team’s Seamstresses, Hortencia Santos and Anna Wong, who meticulously stitch everything together and add the finishing touches.

Let’s not forget Hallie Dufresne (Senior Craftsperson), we all know you can’t complete an outfit without the accessories. Thanks Hallie! With the work of this team, I’m sure Musetta will be fabulously dressed in her new designs.

If not, then I guess Musetta in the nude will also be a great hit! La Bohème opens May 12 and runs through June 2nd. See you at the theater!

Congratulations are in order for Ailyn Pérez who was awarded the 2012 Richard Tucker Award. This prestigious prize, with a cash award of $30,000, is presented annually by the Richard Tucker Music Foundation to an American opera singer at the threshold of a major international career. Previous winners are a who’s who of the Opera world, including Renée Fleming, Deborah Voigt, David Daniels, Joyce DiDonato, Richard Leech, Patricia Racette and Dolora Zajick.

Ailyn also has the distinction of being the first Hispanic singer to receive the award in its 34 year history! Speaking on the phone from Atlanta, where she is making her debut with the Atlanta Symphony Orchestra singing Poulenc’s Gloria, Ms. Peréz commented: “The Richard Tucker Music Foundation is extraordinary: it enriches American operatic culture and promotes and connects young American artists. Watching the Richard Tucker gala performance when my husband was announced the winner, and seeing international opera stars come together to honor the memory of one of America’s legendary artists at these galas are an incredible source of inspiration to me. I am truly grateful and thrilled to receive such an honor, and I am excited to be another voice to carry on his legacy.”

The 2009 Richard Tucker Award, which has been called “the Heisman Trophy of Opera,” went to Ms. Pérez’s husband and frequent collaborator, tenor Stephen Costello, so her award renders the couple dubbed “America’s fastest-rising husband-and-wife opera stars” (Associated Press) the first to have two Richard Tucker Awards on the mantelpiece – one for each.

Ailyn Perez first appeared with LA Opera in 2006, in the world premiere of Lee Holdridge’s multi-media concert work Concierto para Mendez. She returns to LA Opera as Mimi in La Bohème (May 12 through June 2), the final production of LA Opera’s 2011/12 season, appearing opposite the Rodolfo of her husband, Stephen Costello, who will make his Company debut.

We often find that the stage is a reflection of real life. Though Puccini’s “La Bohème” is set in Paris in the mid-1800’s, most of us can identify and even empathize with Mimi and Rodolfo’s struggles in life and in love. Period pieces are great reminders that throughout the ages, no matter the time or location, we are all united in having similar concerns, wants and needs.  But as French classical author François de la Rochefoucauld said, “The only thing constant in life is change.”  While our upcoming production of “La Bohème” is the same classic love story, it will be undergoing some small changes and evolving into a more updated version of the timeless tale.

One of the principal characters, Musetta, will be getting a new wardrobe.  The new costume designer Jeannique Prospere (who also doubles as the costume supervisor for the show) had this to say, “We’ve focused on the details for Musetta’s new costumes. Her character is as multi-layered as her costume and each item is a glimpse into her story and her personality.”

Jeannique re-designed Musetta using a palette of colors that stay true to the time period that “La Bohème” is set in. We will be seeing Musetta in fiery orange, burgundy, gold, and off-white. Part of Jeannique’s job is to make sure that the re-designs she does will keep to the original designer’s vision for the production so that the show works as a whole.

In general, the whole show will be getting “refreshed”.  There will be more accents and subtle sparks of color that will breathe a new life into the classic production that we know and love. “Viva La Vie Bohème”!”

“La Bohème” opens Saturday May 12 and runs through June 2.

A menudo encontramos que el escenario es un reflejo de la vida real.  París, 1800, la mayoría de nosotros nos podemos identificar y empatizar con Mimì y Rodolfo en la lucha de la vida y el amor.  Un autor clásico francés, Francois de La Rochefoucauld, dijo, “lo único constante en la vida es el cambio”.  Nuestra próxima producción de La Bohème de Puccini es la misma historia clásica de amor, con varios cambios, más actualizada.

Jeannique Prospere, nuestra diseñadora del vestuario me dice que Musetta en nuestras ultimas producciones, con su vestido amarillo, su vestuario era mas como una cantante de cabaret.  El director, Greg Fortner, tiene una nueva visión para Musetta.  El interpreta a Musetta menos cabaret y mas como una chica rica..

Con la visión de Greg, Jeannique a diseñado un nuevo vestuario para Mussetta manteniendo el sabor de la epoca.  Utilizando una gama de colores más cálidos, vamos a ver a Mussetta vestida en color naranja intenso, rojo vino, tonos dorados y crema  Parte del trabajo de Jeannique es mantener los diseños originales integrando la visión del nuevo director.

En general, todo el espectáculo va a obtener una apariencia más fresca, habrá más detalles, con chispas sutiles de color, dando nueva vida a la producción clásica que conocemos y amamos, Viva la vie boheme!.

La Boheme abre el sábado 12 de mayo y se extenderá hasta 02 de junio .. nos vemos en el teatro.

With the recent opening of the new portion of the Metro Expo Line, getting to Downtown LA is easier than ever. Writer Sarah Spitz found out how easy when she and a friend took the train to see the May 20 matinee of La Bohéme. In her first person report (originally published in the Santa Monica Daily Press, she shares how easy and convenient it was to take the train to the Dorothy Chandler Pavilion. Read on…

MUSIC CENTER OR BUST

by Sarah Spitz

My friend and I managed to avoid a zoo of a completely different sort on Sunday, as we made our way to downtown L.A. during a day of apocalyptic predictions about traffic. Three sports playoffs, a bike race and a parade were all scheduled for the same day, and rather than tempt fate and try to drive, let alone park downtown with all the street closures, we decided to take the Metro Rail to see “La Bohéme” at L.A. Opera.

 
Save these tips for future use, they’ll save you time and frustration. The Expo line runs every 12 minutes or so. Pick it up at Jefferson and La Cienega boulevards (parking is free) and ride to the end at Metro Center/Seventh Street. Then grab a Red or Purple line toward Union Station, hop off at the Civic Center exit, and walk two blocks — OK, I admit it, uphill — from First and Hill streets to Grand Avenue. Maybe they’ll put in a mini-funicular some day.

 
We bought day passes for only $5 (parking alone at the Music Center is $9), left the Westside at 11:12 a.m., arrived at around 11:40 a.m., took an eight-block walk to Cole’s for lunch (they still claim the mantle of the original French dip and I believe them since the restaurant’s been there since 1908), walked back to Metro Center and arrived at the Music Center at 1:20 p.m., with plenty of time for a leisurely drink on the plaza before the 2 p.m. matinee.

 
And here’s the best part: no hassle with the traffic getting out of the parking lot, and the walk to the Civic Center station is downhill from The Music Center!

 
Oh, how was the opera? Well, come on, it’s “La Bohéme!” One of the most recognizable, tragic romantic stories, popularized on film (Baz Luhrmannn’s spectacular “Moulin Rouge”) and in countless opera productions, and this one is sumptuous.

 
How can you go wrong when a real-life husband and wife play the lovers? Ailyn Perez and Stephen Costello are as lovely to look at as they are to hear, and the supporting cast is stellar.

 
As Musetta, Janai Brugger stole the show. In March, she competed against 1,500 other singers to win the Metropolitan Opera National Council Auditions, and is a member of L.A. Opera’s Domingo-Thornton Young Artist program. And Artur Rucinski, making his L.A. Opera debut, as Musetta’s hot-headed jealous lover, Marcello, sings and acts the role to perfection.

 
Although I agree with New York Times theatre critic Ben Brantley that standing ovations have become almost meaningless, this opera deserves the lengthy standing ovation it received. There are only three more performances through June 2; visit LAOpera.com

Sarah A. Spitz is a former freelance arts producer for NPR and former staff producer at public radio station KCRW-Santa Monica. She reviews theatre for L.A. Opening Nights.

by Gail Eichenthal, KUSC

My name is Gail Eichenthal and I am a Metropolitan Opera Western Region auditions junkie.

Perhaps, given KUSC’s close involvement in broadcasting the finals concert each year, this was inevitable. My great late friend and former colleague Gene Parrish had forged a wonderful bond with the organization and its remarkably talented contestants going back more than 20 years.  Rich Capparela has effortlessly (well, it’s actually quite challenging work!) taken over for the past three years, and our association with the Western Region has only grown closer; they even honored KUSC at the 2011 Finals Concert in the fall. On top of that, I’m a lifelong choral singer and the proud (stage) mom of a fledgling baritone studying voice in college.

Still that warm Saturday afternoon of October 22 was more thrilling than usual, even for an admitted Western Region groupie.  I had previously heard some of the phenomenally gifted singers the year before; they had also made it to the 2010 Finals. One of them, a brilliant L.A. soprano and alumnus of the Merola program, had stolen the show at the USC Thornton School’s glittering Charles Dickens Dinner, its grand yearly Christmas benefit at the Biltmore’s Crystal Room: you know who you are, Marina Boudart Harris.

As always, all the singers were exquisitely polished and professional; none exhibited the slightest sign of the tremendous pressure they no doubt felt. It was beginning to seem an impossible task for the judges to eliminate even one of these gifted artists from contention. Then, as the invincible longtime Western Region leader Molly Siefert put it later that day, the contestants ran into “a buzzsaw”, a beautiful beaming buzzsaw named Janai Brugger. The soprano, originally from Illinois, broke hearts, pulled tears, provoked gasps, and, well— won.  Her sheer unmitigated joy in singing was infectious. Her pure, soaring tones, almost defied belief.

To none of our surprise, but to all of our delight, she went on to the National Metropolitan Opera Finals this past March. (Go Western Region! Baritone Joseph Lim, another Thornton alum, won the year before, as well!) The 2012 National Met Finals concert airs tomorrow at 10am on Classical KUSC.  Don’t miss it! As for me? I’ve been waiting by the radio for days.

P.S. Please cry no tears for Marina Harris, one of the buzzsaw-afflicted! The Thornton alum has landed a coveted spot in the San Francisco Opera’s prestigious Adler Fellows program. And if my stage mom instincts are right, hers is also a name you will soon come to know on the KUSC airwaves, as both her voice and her major career take flight.)

P.P.S.  Catch soprano Janai Brugger, an LA Opera Domingo-Thornton Young Artist, currently singing the role of Musetta at several performances of the company’s current production of Puccini’s La Boheme. She carried us away at the dress rehearsal, and will do the same tomorrow (May 12) evening and on Sunday, May 20 at 2pm. The May 20 performance of Boheme, conducted by Patrick Summers, will be broadcast live by KUSC, a special edition of LA Opera on Air.

Janai Brugger
Soprano (Darien, IL. Winner of the Western Region)
Age 29

Janai Brugger is a second-year artist with Los Angeles Opera’s Domingo-Thornton Young Artist Program. This season’s highlights include Musetta in La Bohème with the Los Angeles Opera, Juliette in Roméo et Juliette for her debut with the Palm Beach Opera, and the First Lady in Die Zauberflöte at the Ravinia Festival with the Chicago Symphony Orchestra. Last season she appeared in Los Angeles as Barbarina in Le Nozze di Figaro and the Page in Rigoletto. She holds a bachelor’s degree from De Paul University and recently received her master’s degree from the University of Michigan (where she sang Tatiana in Eugene Onegin).

In 2009 she sang Adina in L’Elisir d’Amore with the Lyric Opera of Chicago in the “Opera in the Neighborhoods” Program and the following year joined the San Francisco Opera’s Merola Opera Program. She was a 2011 finalist in the Loren Zachary Competition and a Midwest Regional (Detroit district) winner of the 2008 Met National Council Auditions.