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Angela Meade fills in for an indisposed soprano in Los Angeles Opera’s company debut of Donizetti’s Roberto Devereux.

Barrie Kosky's stark, spare La bohème gave it a rare spark of humanity focused on Marina Costa-Jackson's haunting Mimì, whose existence became the central focus even when she wasn't singing.

As Zaharia inhabited her role, the opera became almost entirely about her, to the extent that one wanted to watch her every movement and hear her every syllable.

Any parallels between Rome in the first century under Emperor Titus and the United States two millennia later under Emperor Trump were lost in a Tinseltown graphic novel sweep.

Susan Graham had all the fun every mezzo-soprano witch, who can sing the role and disguise herself – when necessary – to look the part, deserves. 

After appearances in London and New York, Phelim McDermott's bold and imaginative production of Philip Glass’ Satyagraha arrives in Los Angeles.

With a potent cast and excellent dancing, this is a sophisticated take on Gluck's opera. 

Whether it’s half an opera, three quarters an operetta, or a musical and a half, Francesca Zambello’s team put together a production that was easy to fall in love with. 

Monstyrska dominates as Abigaille, Domingo brings his unique baritenor style to the title role, Thaddeus Strassberger creates a riot of colour and antiquarian style.

The casting was something special. Each of the principals was fun to watch, magnificent to listen to, believable in every gesture, look and touch. 

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.