LA Opera's The Barber of Seville at Dorothy Chandler Pavilion
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The last date listed for The Barber of Seville was Saturday December 19, 2009 / 1:00pm.
Reviews & Ratings
Featured review from Bonnie Pierce
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It was terrific! I loved it. It's lighthearted and funny. The costumes and sets were outstanding. I loved how the sets were rolled out in the beginning. And the singing was wonderful, a stellar ensemble.
If you have ever considered going to an opera but were afraid, this would be the one to see. Lots to look at and songs I'm sure you would recognize.
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A fresh & modern take on a classic opera. The staging was impressive and the approach was very funny compared with traditional performances. It was clear that the director and cast took a light and casual approach and it was a breath of fresh air....continued
About Lucas Meachem
Baritone Lucas Meachem makes his LA Opera debut as Figaro in The Barber of Seville (December 5, 12mat, 19mat).
In the 2009/10 season Lucas Meachem returns to the Lyric Opera of Chicago as Valentin in Faust, followed by performances of Figaro in The Barber of Seville with Los Angeles Opera and Colorado Opera. Later this season, he will make his debut with the Opéra National de Paris in the title role of Britten’s Billy Budd, conducted by Jeffrey Tate, as well as Fritz/Frank in Korngold’s Die tote Stadt with the Teatro Real de Madrid. Upcoming engagements include returns to the Metropolitan Opera, San Francisco Opera, Teatro Real de Madrid and a debut with the Glyndebourne Festival Opera.
In the 2008/09 season, he performed Fritz/Frank in Korngold’s Die tote Stadt, conducted by Donald Runnicles at San Francisco Opera. Mr. Meachem also debuted with the Royal Opera House, Covent Garden as Aeneas in Dido and Aeneas, scheduled for commercial DVD release next season. In addition he appeared as Count Almaviva in The Marriage of Figaro with the Bayerische Staatsoper, Valentin in Faust with Minnesota Opera, and the title role in Don Giovanni for the first time with the Santa Fe Opera and New Orleans Opera. In concert, he appeared as the baritone soloist in Carmina Burana with the Accademia Nazionale di Santa Cecilia, conducted by Rafael Frühbeck de Burgos, an opera gala at Toronto’s Roy Thompson Hall, and concert performances of Gilbert and Sullivan’s Iolanthe with the San Francisco Symphony.
In the 2007/08 season, he made his Metropolitan Opera debut in the role of General Rayevsky in Prokofiev’s War and Peace. Additionally, for the Florida Grand Opera, he performed the role of Zurga in Les Pêcheurs de Perles, as well as Valentin in Faust for New Orleans Opera. In concert, he appeared with the Florence Maggio Musicale in the Fauré Requiem under Seiji Ozawa, with the American Symphony Orchestra, in the U.S. premiere of Ferdinand Hiller’s oratorio The Destruction of Jerusalem at Avery Fisher Hall, made his New York Philharmonic debut in Bach’s St. Matthew Passion under Kurt Masur, Carmina Burana with St. Louis Symphony and the Fauré Requiem with Pittsburgh Symphony.
Other notable engagements include a debut with the Lyric Opera of Chicago as Oreste in the new Robert Carson production of Gluck’s Iphigénie en Tauride opposite Susan Graham, Paul Groves and conducted by Louis Langrée, Wolfram in Tannhäuser with Seiji Ozawa’s Saito Kinen Festival in Tokyo, and his debut at Madrid’s Teatro de Real in the world premiere of El Viaje a Simorgh by José María Sánchez-Verdú. Additionally, he sang Figaro in The Barber of Seville in Portland, Maine, and Carmina Burana with the Seattle Symphony.
Mr. Meachem was an Adler Fellow with the San Francisco Opera and has appeared with the company in the title role of Eugene Onegin and Papageno in The Magic Flute.
He has been a winner in many competitions across the United States including: the Mario Lanza Competition, Jessie Kneisel Competition, West Palm Beach Opera Competition, Opera Index Competition, George London Competition and the Bel Canto Competition. He has also been a winner in the Metropolitan National Council Competition in Charlotte, NC and in New Haven, CT and was the recipient of an Encouragement award at the Regional Metropolitan National Council Competition in Atlanta, GA.
About Dmitry Korchak*
Tenor Dmitry Korchak makes his LA Opera debut as Count Almaviva in Il Barbiere di Siviglia (December 5, 12, 19m, 2009).
Since winning an award at the Francisco Viñas International Competition in Barcelona and two awards at the Plácido Domingo’s Operalia competition in Los Angeles in 2004, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.
Dmitry Korchak was born in 1979 in Russia. After graduating from the Alexander Sveshnikov Moscow Choral College in 1997, he entered the Moscow Chorus Academy, where he studied both as a chorus master under Professor V. Popov and in the vocal department. In 2004 he terminated his post-graduate studies at the academy under assistant professor D. Vdovin.
Mr. Korchak has toured as a soloist in many countries and in some of the most prestigious venues, including the Netherlands, Germany (Kölner Philharmonie, Alte Oper Frankfurt), Austria, France (Théâtre du Châtelet), the UK (Royal Festival Hall, London) and the USA (Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, New York). He is regularly invited to numerous Russian and International festivals such as the International Music Festival in Colmar (France), Rheingau Musikfestival (Germany), MDR Musik Sommer (Germany), Oldenburger Promenade (Germany), the annual “Vladimir Spivakov invites…” festival (Moscow), “Mozartiana” (Moscow) and the Moscow International Musical Festival “Cherry – tree wood”.
Dmitry Korchak has collaborated with well known conductors as: Campanello, Cura, Domingo, Falk, Maazel, Maxim, Penderezkyi, Sondeckis, Tate, Tournier, Tsanderling, Queler, Walker, Zedda, Fedoseev, Pletniov, Popov, Spivakov, Svetlanov, Temirkanov, etc.
Recent engagements include La Sonnambula at the Rome Opera and Teatro Maestranza in Seville; Ibert’s Persée et Andromeda at the Teatro Massimo di Palermo; Così fan tutte at Marseille Opera; Il Dissoluto Punito by R. Carnicer (world premiere) at the Mozart Festival in La Coruna; Die Zauberflöte at the Arena Sferisterio di Macerata; Rossini’s Stabat Mater in Pesaro; Werther in Savona; Dom Sebastian at Carnegie Hall in New York; Falstaff at the Teatro San Carlo di Napoli; L’Enfant et les Sortileges in Valencia (conducted by Lorin Maazel); Rossini’s Stabat Mater with Riccardo Muti in Tokyo; Die Zauberflöte at La Monnaie; L’Elisir d’Amore at the Opera Bastille; La Gazza Ladra at the Pesaro Festival; Die Zauberflöte at the Zurich Opera; Il Barbiere di Siviglia at the Staatsoper Berlin and in Marseille; L’Elisir d’Amore at Covent Garden in London; La Sonnambula at Carnegie Hall; and Rossini’s Stabat Mater at La Scala (conducted by Riccardo Chailly).
Future engagements include, among others: Il Viaggio a Reims and The Merry Widow at La Scala; Il Dissoluto Punito by Carnicer at the Pesaro-Festival; Don Giovanni in Israel (conducted by Zubin Mehta); L’Elisir d’Amore at the Vienna State Opera; a new production of L’Elisir d’Amore in Amsterdam; L’Elisir d’Amore at the Bavarian State Opera; a new production Eugene Onegin in Genova; La Favorita in concert at the Dresden Semper Opera; and new productions Don Giovanni and Il Barbiere di Siviglia in Toulouse.
About Sarah Coburn
Soprano Sarah Coburn returns to LA Opera as Asteria in Tamerlano and as Rosina in Il Barbiere di Siviglia (November/December 2009). She made her Company debut in 2006 as Adele in Act Two of Die Fledermaus in the Plácido Domingo and Friends 20th Anniversary Gala.
Praised as “blissfully sublime” by Opera News, Sarah Coburn is captivating audiences with her “precision placement, mercury speed, and a gorgeous liquid gold tone, gilded by a thrilling top and bottom register” (The Globe and Mail). Following her performances as Lucie de Lammermoor (the rarely seen French version of Donizetti’s Lucia di Lammermoor) at Glimmerglass Opera, the New York Observer noted “she turns out to have qualities that have made legends out of so many of her predecessors, from Adelina Patti to Maria Callas: stage charisma, a thrilling upper register and, crucially, a fearlessness about abandoning herself to opera’s most abandoned heroine … this is a palpably exciting voice … Ms. Coburn is a budding prima donna of exceptional promise.”
Sarah Coburn’s engagements in the 2008/09 season currently include the roles of Vittoria in Pedrotti’s Tutti in Maschera at Wexford Festival Opera, Euridice in Haydn’s L’Anima del Filosofo under the baton of Sir Roger Norrington at the Handel & Haydn Society, a return to the roster of the Metropolitan Opera, and Gilda in Rigoletto with Portland Opera. She will also appear as soloist in Messiah with both the Seattle Symphony Orchestra and the Philadelphia Orchestra, in Carmina Burana with the New Jersey Symphony Orchestra, in concert with Bryn Terfel in Florida Grand Opera’s Superstar Series, and in recital with Lawrence Brownlee for the Vocal Arts Society. Her 2007/08 season included the role of Asteria in Tamerlano with Washington National Opera, the title role of Lakmé with Tulsa Opera and the role of Princess Yue-yang in the revival of The First Emperor at the Metropolitan Opera. She returned to Seattle Symphony as soloist in Bach’s Mass in B Minor, to Washington Concert Opera as Elvira in I Puritani, to Cincinnati Opera in the title role of Lucia di Lammermoor, and to Glimmerglass Opera to sing Giulietta in I Capuleti e i Montecchi.
Ms. Coburn’s recent appearances include the role of Princess Yue-yang in the world premiere of Tan Dun’s The First Emperor at the Metropolitan Opera, creating the role of Kitty in the world premiere of Anna Karenina at Florida Grand Opera, and later reprising that role with Opera Theatre of Saint Louis. She sang the title role in Lucia di Lammermoor with Utah Opera, the title role in Linda di Chamounix at the Caramoor Festival, and Euridice in Haydn’s L’Amina del Filosofo with Glimmerglass Opera.
Other performance highlights include Adele in Die Fledermaus with both Seattle Opera and Michigan Opera Theater, Amenaide in Tancredi with Washington Concert Opera, Olympia in Les Contes d’Hoffmann and Oscar in Un Ballo in Maschera with Cincinnati Opera, Blondchen in Die Entführung aus dem Serail with Chicago Opera Theater, and the title role in Lucie de Lammermoor and the title role of Gilbert and Sullivan’s Patience with Glimmerglass Opera. Ms. Coburn’s many appearances with Florida Grand Opera include Norina in Don Pasquale, Sandrina in La Finta Giardiniera, Susanna in Le Nozze di Figaro and Oscar in Un Ballo in Maschera and she has also performed Adina in L’Elisir d’Amore with Lyric Opera of Kansas City, Gilda in Rigoletto with Indianapolis Opera, and Rosina in Il Barbiere di Siviglia with Wolf Trap Opera Company.
On the concert stage, Ms. Coburn has sung Mozart’s Mass in C Minor with the Seattle Symphony; Carmina Burana with the National Chorale at Avery Fisher Hall, the National Symphony Orchestra, the Haddonfield Symphony at Philadelphia’s Kimmel Center for the Performing Arts, and the Dallas Wind Symphony.
Sarah Coburn is a winner of the 2004 George London Foundation Awards, a 2004 recipient of a Sara Tucker Study Grant from the Richard Tucker Foundation, a 2004 Jensen Foundation Award Winner, a 2003 Liederkranz Foundation Award Winner, a 2002 Opera Index Career Grant recipient, and was a National Grand Finalist in the 2001 Metropolitan Opera National Council Auditions. She received a Master of Music degree from Oklahoma City University and a Bachelor of Music Education degree from Oklahoma State University.