liv redpath lucia di lammermoor my absolute beloved........

So there was some Discourse in the opera fandom today.

Shakespeare’s influence on Succession has not gone unnoticed by fans. Easter eggs abound, from Logan Roy’s distaste of the Bard to Frank stalling for time by referencing Much Ado About Nothing. The characters themselves also embody Shakespearean archetypes, with Macbeth, Julius Caesar, and Titus Andronicus reflected in Logan’s brutal, power-hungry nature. Yet the most obvious Shakespearean influence by far is King Lear.  

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King Lear seems tailor-made for an operatic adaptation, and in fact, Giuseppe Verdi (a major Shakespeare fan who scored operatic versions of Macbeth, Othello and The Merry Wives of Windsor) worked with his librettists for years to adapt King Lear before finally abandoning the project without writing a single note. He later confessed that he was terrified and intimidated by the heartbreaking scene of Lear wandering the moors carrying the body of his beloved daughter. 

Luckily for us, the play was eventually adapted into an opera by German composer Aribert Reimann. First performed at Munich’s Bavarian State Opera in 1978, Reimann’s Lear follows the original pretty faithfully. The title role was created especially for the legendary German baritone, Dietrich Fischer-Dieskau, who starred in the premiere. Now considered a modern classic, Lear has been produced by major opera houses throughout Europe and North America. San Francisco Opera offered the American premiere (in English translation) in 1981, with Thomas Stewart taking over the title role. Recent stagings include prominent presentations at the Paris Opera in 2016, the Maggio Musicale Fiorentino in Florence in 2019, and a major revival at the Bavarian State Opera in 2021. 

July 31, 2004: LA Opera's Night Music ends at the Dorothy Chandler Pavilion after 23 performances.

Una de las cosas maravillosas de argentina y no sé si pasan en otros países es que hay eventos en teatros y podés ir a ver operas y sinfonías completamente gratis

Award-winning composer breathes new life into classic horror movie 'Frankenstein'

Get your capes pressed and wigs brushed for this live LA Opera young vocalists' performance. The Frankenstein movie music score is based on the scene where a priest intones a prayer over a burial and the text of the Latin Requiem Mass-chilling #Halloween

The special two-day showing of the 1931 classic cult film Frankenstein is being brought to life in epic experiential form just in time for Halloween. (more…)

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Congratulations to Rhiannon Giddens on the LA Opera premiere of Omar, her new opera with Michael Abels, and on her recognition by the City of Los Angeles at the GRAMMY Museum this weekend!

I know this is a typical thing to say but this my favorite song and scene, we're literally entering a world of magic, what's yours? Get the desktop bg here!

At a performance of Lucia di Lammermoor… The music is great, as are the singers, but literally hating this modern interpretation. They wanted to set it into modern day but they aren’t doing the conversion well and it just feels like poverty cosplay

See what the critics say about our new production of Lucia di Lammermoor, now onstage to October 9. https://youtu.be/FAlyFdRFvX8 #LAOpera #LAOLucia #SlimKhezri

But Iago is fundamentally and completely evil, to a degree that he has no direct counterpart. Coleridge’s famous description of “motiveless malignity” sets him apart from most other villains. But the lower male voices as nemeses or at least partially evil goes back to the very roots of Italian opera and was almost a cliché in the early 19th century. He personifies the wickedness of many baritones and basses of the 19th-century Italian repertoire. Iago’s roots can be traced through portrayals of ambiguous, sometimes sympathetic perpetrators of tragedy (Nabucco, Rigoletto, Macbeth, Renato in Un Ballo in Maschera, Germont in La Traviata) to those without redeeming virtues (Silva in Ernani, Wurm in Luisa Miller, Count di Luna in Il Trovatore, Don Carlos in La Forza del Destino, Amonasro in Aida). The most important, most recent and direct model for Iago is Paolo, Simon Boccanegra’s nemesis.

sorry i cant stop thinking about the virtuoso classical pianist au this is wildly target audience: ME!!!!!!!!!!!!!!!!!! but whatever

OPERA

1987, dir. Dario Argento