(Los Angeles, January 18, 2018) – LA Opera’s Eli and Edythe Broad General Director Plácido Domingo has announced the repertory and artist roster for the company’s 2018-19 season, which he planned in collaboration with Richard Seaver Music Director James Conlon and Sebastian Paul and Marybelle Musco President and CEO Christopher Koelsch. Highlighted by six mainstage productions in the Dorothy Chandler Pavilion, the season will also include performances presented elsewhere through the company’s Off Grand initiative.

The mainstage season opens with a revival of Verdi’s Don Carlo, conducted by Conlon and starring Domingo as Rodrigo. Next follows the company premiere of Satyagraha by Philip Glass, led by Grant Gershon; a revival of Humperdinck’s Hansel and Gretel, with Susan Graham as the Witch and Conlon on the podium; the company premiere of Mozart’s La Clemenza di Tito (The Clemency of Titus), in a new production conducted by Conlon and directed by Thaddeus Strassberger; a production (new to Los Angeles) of Penella’s El Gato Montés: The Wildcat, starring Domingo in the title role under the baton of Jordi Bernàcer; and a revival of Verdi’s La Traviata, starring 2017 Operalia winner Adela Zaharia under Conlon’s leadership. Complete casting and additional information can be found at LAOpera.org.

Domingo explains: “The 2018-19 season will be a wonderful adventure for our community. It is so exciting to be a part of this journey, because opera is an art form that never fails to astonish me. For example, the two mainstage works that are completely new to our repertoire – Satyagraha and The Clemency of Titus, written nearly two centuries apart – could not be more different from each other aesthetically, but their powerful themes of justice and humanity resonate in the present day. Indeed, all of the season’s repertory offers opportunities for audiences to experience opera's unique ability to access and express the otherwise inexpressible range of human emotion. Personally, I am particularly looking forward to my first Los Angeles performances as Rodrigo in Don Carlo, my sixth Verdi baritone role here with James Conlon, as well as reintroducing our audiences to El Gato Montés: The Wildcat, a work that has long held a special place in my heart. The combination of large-scale operas on our main stage along with a particularly exciting range of Off Grand presentations means that there is something for everyone this season, regardless of their experience of opera.”

Conlon comments: “As I look ahead to the coming season, I relish the opportunity to introduce the company premiere of Mozart’s La Clemenza di Tito (The Clemency of Titus). LA Opera has never produced this unquestionable masterpiece, which was composed virtually simultaneously with The Magic Flute in the last months of Mozart’s short life. It will be a great and important experience for our audiences. Humperdinck’s Hansel and Gretel has entranced audiences of all ages for its entire 125-year history. It is a work of enormous charm and accessibility, speaking from its deep roots in our fairy-tale tradition. It features a Wagnerian-scaled score that is especially gratifying for the orchestra and conductor. Finally, I am of course particularly looking forward to revisiting two essential Verdi masterpieces – La Traviata and Don Carlo – that I conducted on successive nights on the first weekend of my debut season in Los Angeles. Bookending the coming season, they will provide two excellent occasions to celebrate the extraordinary strides the orchestra and chorus have made over the past twelve years. I’m also extremely proud to offer the second world premiere in our Cathedral Project series, with Moses by Henry Mollicone and Shishir Kurup, a project that annually brings together hundreds of members of the community for a deeply immersive experience of the transformative power of opera. Together with the exceptionally talented musicians of the LA Opera Orchestra and Chorus and the magnificent casts we have assembled, I anticipate that our audiences are in for a season of extraordinary performances.”


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