When we say the show must go on, we mean it. Our incredible crew ensured our triumphant return to the stage would happen on schedule after our original set of Il Trovatore got stuck in the Port of Los Angeles. They built a new set from scratch in just 10 days.

RETURNING TO THE STAGE 

After our set was built, we opened our doors to all for the first time in over a year with a stellar performance of Il Trovatore. We’ll be honest – the tears in our eyes that night weren’t just from the music either. This opening night signified our return to live performance that could only be accomplished with the help of our incredible cast, crew, administrators and supporters (aka, you).  

A MUSICAL FEAST 

It’s enough of an undertaking to stage an opera under normal circumstances. But throw in a massive work like Tannhäuser and you have a musical challenge of operatic proportions. Good thing we had a cast, crew and orchestra that were all up to task.

BACK TO THE ACE 

It felt just as good returning to the Theatre at the Ace Hotel as it did returning to our own. Plus, making a comeback with a film like Get Out was all the more special. And with our friend Michael Abels (who was also the film’s composer) at the helm of the LAO Orchestra, this was truly a Halloween treat without all the tricks. 

HAVING A BALL... AT THE BALL

Seeing the Dorothy Chandler Pavilion transform into the fantasy world of Cinderella was truly some operatic magic. We certainly had a ball (complete with all the pink you could dream of) with this romantic comedy fit for the whole family. 

A PASSION FOR PASSION 

We had the pleasure of welcoming our friends at the Hamburg Ballet to the Dorothy Chandler Pavilion for a moving production of St. Matthew Passion. Mounting this modern dance production was no easy feat (pun intended), but those talented dancers, our magnificent orchestra and stellar soloists made it look all too easy.  

AN EYE-OPENING PREMIERE  

We love working with Beth Morrison Projects, and we especially love when we can team up to stage a world premiere of an extraordinary work from an equally-as-extraordinary composer. Du Yun’s In Our Daughter’s Eyes left our own eyes a bit (re: very) watery. 

A SUMPTUOUS END TO THE SEASON 

It’s only fitting we closed out our triumphant season with the grandest of all grand operas. Aida returned to our stage for the first time in over a decade, and boy, was this production worth the wait—and you thought so too. The street art set design dazzled and so did our all-star cast. We undoubtedly ended our 2021/22 lineup on a high note.

ON THE VIRTUAL STAGE

Three brand new operatic works premiered this season via LA Opera On Now. Our Digital Shorts, The First Bluebird in the Morning, We Hold These Truths and Between the Rooms, were created by some of the most in-demand artists around. These superstar composers teamed up talented visual artists, filmmakers and choreographers to create entirely unique and powerful pieces (that you should watch for the first time or the fifth). 

A SWEET SENDOFF FOR OLD FRIENDS 

The end of this season also meant saying goodbye to some beloved members of the LA Opera family. Choristers George Sterne and Mark Miller, Stage Manager Barbara Donner and our Resident Conductor Grant Gershon are all retiring or shifting focus to other endeavors after spending decades on (or back) stage. While we’re sad to see them go, we wish them all the best on their new and exciting journeys.