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Puccini's tale of bohemian love lives on at the Dorothy Chandler as LA Opera launches its 2025-26 season. 

Quinn Kelsey shines as Verdi’s court jester as Tomer Zvulun's production opens in Los Angeles. 

 Michael Cavanagh's sleek new production, designed by Erhard Rom and conducted by James Conlon, transforms the 18th-century opera into a Broadway musical, score by Mozart.

Angela Meade and Russell Thomas provide the vocal fireworks in LA Opera's staging of David Hockney's beloved production designs. 

Shawna Lucey's production from San Francisco Opera misses the mark as it premieres to a packed Dorothy Chandler Pavilion. 

Lorena Maza's vibrant production of Gabriela Lena Frank's 2021 opera about Frida Kahlo and her relationship with Diego Rivera reaches Los Angeles.

Lucas Meachem’s portrayal suggests a paraphrase of what another Hollywood Don Juan, Errol Flynn in 1949, said to his Leporello in excusing his escapades. “My dear friend, there’s a little bit of Don Giovanni in every man, and since I am Don Giovanni, there must be more of it in me!” 

Francisco Negrín gives his singers little help in a dark, boxy new staging, put together at frantic, last minute speed. 

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

Matthew Aucoin’s Eurydice enjoys its world premiere at LA Opera. 

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.

Two charming operas featured splendid singing in a haze of choreography, staging and projections in a setting that had the feel of being live in a surround sound movie theater. 

An intense intellectual melodrama from Aucoin, with superb playing by members of the LA Opera Orchestra.

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. 

Los Angeles Opera's Tales of Hoffmann survives multiple cast changes to look and sound fabulous, but it drags dramatically.

In Los Angeles, Patricia Racette was an impressive Salome but the orchestra was, as it should, the main character.

Mozart's intoxicating harem opera taken captive by the non-singing despot.

On Saturday night, nine androgynous, saucy, rambunctious dancing witches with thick, three-foot tails and exuberant tassels, whose heritage included the Wizard of Oz and the Lion King, stole the show. 

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.