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Kitty has collaborated extensively with the LA Philharmonic, developing new productions of Rite of Spring, Firebird, Bolero, Esa Pekka Salonen’s Wing on Wing, A Young Person’s Guide to the Orchestra and more. Ballets include RIFT, commissioned by Cabrillo Festival of Contemporary Music and the Kennedy Center, the creation of the new ballets Traces and Transit for National Choreographer’s Initiative and colony for LA Ballet’s NEXT Wave Series. Conlon holds four honorary doctorates, was one of the first five recipients of the Opera News Awards, and was distinguished by the New York Public Library as a Library Lion.
Turandot
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The sensational Angela Meade takes on the iconic title role, with Russell Thomas as her fearless suitor and Guanqun Yu as the woman who shows everyone the true meaning of ultimate devotion. Music Director James Conlon conducts Puccini's thrilling final masterpiece, one that has had audiences leaping to their feet for a century, with ravishing stage designs by David Hockney that embrace the spectacle of Turandot's fairytale mystery and magic. Mr. Boniello’s vocals on “One Song Glory”, ‘Your Eyes” and his musical moments with Ms. Courtney were vigorous and exciting. In Puccini’s unfinished 1924 opera, the eponymous princess asks potential suitors to answer three questions to win her hand; a wrong answer means death.
Fight & Intimacy Director
Stroker was also sublime in a different vein as she sang with passion and defiance in “Take Me or Leave Me”. Rent in Concert proved that the music and lyrics of composer Jonathan Larson are inexhaustible in their richness and complexity. Larson’s beloved work moved the audience to tears, laughter and vigorous applause after each musical moment. The lush yet biting orchestrations by Sean O’Loughlin were played with sublime resonance and clarity by the National Symphony Orchestra aided by a top-notch group of theatrical talent---and aided by the superior acoustics of the Kennedy Center Concert Hall. Conductor Steven Reineke conducted with sensitivity to the music and, concurrently, with a sparkling verve. The Orchestra is located on the lowest level of the theater and provides direct views of the stage.
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In 2008 she joined an elite group of history’s singers when, as Elvira in Verdi’s Ernani, she made her professional operatic debut on the Met stage. Since then she has fast become recognized as one of today’s outstanding vocalists, excelling in the most demanding heroines of the 19th-century bel canto repertoire as well as in the operas of Verdi and Mozart. New York credits include Forever Dusty for New World Stages, Pinocchio's Ashes for Theater for a New City and The Saint of Bleecker Street at Dicapo Opera Theatre, among others, and he has worked at numerous regional opera and theater companies around the country. A British artist based in Los Angeles for many years, David Hockney (born 1937) is a distinguished designer, artist and author whose work has been seen at the world’s most prestigious venues. He is among the most visible and well-known serious contemporary artists of our time.
In 2021, he was named the winner of the Graduate Concerto Competition at the University of Michigan. Studies at Michigan, he was selected as a national finalist in the 2019 National Association of Negro Musicians convention. In his undergraduate studies at Northern Arizona University, he was selected as a finalist for two consecutive years in the Rocky Mountain District for MONC auditions.
Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus. Conlon’s extensive discography and filmography spans the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and for Kurt Weill’s Rise and Fall of the City of Mahagonny. Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus.
Box Tier
Ping, Pang, and Pong try to wrench the secret from Calaf, but he refuses all of their attempts to elicit his name. The soldiers try to torture it out of her, but she grabs one of their daggers and stabs herself, declaring that by her sacrifice, the princess will come to love the stranger. Calaf indignantly kisses Turandot, trying to thaw the princess of ice (“Principessa di morte!”). When the crowd asks if she knows the stranger’s name, she replies, looking into Calaf’s eyes, “His name is love! Insatiably curious and even more energetic, Tom enthusiastically embraced new technologies in the theater. He developed innovative ways to use projections and was instrumental in installing some of the earliest computerized lighting systems.
Orchestra seats are in a prime location in terms of acoustics, allowing for a clear and balanced audio experience throughout the concert. Princess Turandot will only marry a man who can solve her three riddles; all who fail must die. The kingdom has gathered to witness the execution of the latest to fail, the Prince of Persia. Timur, the deposed King of the Tartars, old and blind, hides among the crowd with his servant girl Liù.
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Review: RENT IN CONCERT at The Kennedy Center
She has also presented solo recitals at the Kennedy Center in Washington, D.C., as well as in Philadelphia, Santa Fe, and Waterford (VA). Mr. Conlon’s extensive discography and videography can be found on the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and Kurt Weill’s Rise and Fall of the City of Mahagonny.
Future seasons include appearances in Berlin, London, Toronto, Chicago, Houston, New York, and Washington, D.C. With a “heroically shining tone of exceptional clarity and precision” (Opera magazine) and “gorgeously burnished power” (The New York Times), American tenor Russell Thomas uses his signature elegance and intensity to create vivid character portrayals on the world’s most important stages. Turandot is a masterpiece that contains imagined, outdated and inaccurate representations of Asian culture. LA Opera has worked in consultation with the Asian Opera Alliance, who have offered input on how to present the work with greater consciousness, care and context, while maintaining fidelity to the original opera and this classic 1992 David Hockney production. Monumental Theatre Company will stage Duncan Sheik and Roberto Aguirre-Sacasa’s American Psycho this summer.
Superior and innovative lighting design by Cory Pattak stood out at the right moments ---shafts of lights in various hues of red and blue hit the stage from overhead and from differing directions in a most effective manner. The ensemble of theatrical talent and vocalists here was tightly knit together and all were at the top of their game but there were certain standouts. I occasionally wished there could have been surtitles-- for the procession of lyrics flew by so fast but, luckily, the talented artists assembled here delivered clear diction so you could hear most every line.
Turandot recounts the story of Princess Lou-Ling, her ancestor, dragged away by invading Tartars (“In questa reggia”). Hatred for the man who killed her lives on in Turandot’s heart, and no man shall ever possess her. He tells her that if she can discover his name before dawn, he will let her have him executed.
From 2008 to 2011 he was the artistic adviser and principal stage director for Opera Omaha, where he led a cycle of the Mozart-Da Ponte operas. He began directing for the Peabody Conservatory of Johns Hopkins University in 2004, receiving a faculty appointment in 2006. He was on staff at the Aspen Music Festival and School from 1993 and joined the faculty from 1997 until 2019. In 2022 he joins the faculty of University of Texas at Austin’s Butler School of Music as Lecturer in Opera Studies and Stage Director. Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin.
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