![]() A silent grand piano on the left side of the stage suggested that music itself represents the spiritual side of life - a nice thought. The tug-of-war between spiritual and sensual love within Tannhäuser came at us from the start. The production, a rerun of a 2007 homegrown, Ian Judge-directed Tannhäuser now inherited by Louisa Muller, looked and sounded like the work of a major opera company cruising in midseason form without major compromises. Still, putting on a Wagner music drama, no small undertaking even in the best of times, made a statement - that life and art go on, that one can attempt great things even under adverse conditions. ![]() These tactics seemed to work: I didn’t see anyone on the ground floor without a mask. Folding cards were placed on every seat, reminding people to keep their protective face gear on lest the anxiety of sitting next to a maskless scofflaw scare them away from future performances. Ushers carried paddle boards with the admonition “Mask Up” spelled out in huge letters. The Venusberg scene with Issachah Savage as Tannhäuser and Yulia Matochkina as Venus.īecause performances of Trovatore revealed some spoilsports removing their masks as soon as the hall went dark, LA Opera pushed harder this time. Even James Conlon, the company’s indefatigable music director, conducted with a mask on, and delivered his usual pre-performance lectures in prerecorded form on a big screen outdoors on the plaza. ![]() With Los Angeles County health directives in mind, all patrons were asked to provide a photo ID and proof of vaccination before being allowed to enter the building. ![]() It was the company’s first production of anything by Wagner in eight and a half years.īut it was not a business-as-usual kind of business in the Dorothy Chandler Pavilion on Oct. Indeed, after opening its season with Verdi’s Il trovatore in September, the company has taken a giant step toward normalcy by taking on Wagner’s Tannhäuser, from Oct. LOS ANGELES – Los Angeles Opera is definitely, defiantly back in business this fall after a long pandemic-induced hiatus, broken only by a single concert performance of Stravinsky’s Oedipus Rexin June. Sara Jakubiak as Elisabeth and Morris Robinson as Landgrave Hermann in Act II of the Los Angeles Opera production of Wagner’s ‘Tannhäuser.’ (Photos by Cory Weaver) ![]()
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