Turandot

Photo: Faye Fox

American soprano Angela Meade is the winner of both the Metropolitan Opera’s 2012 Beverly Sills Artist Award and the 2011 Richard Tucker Award. In 2008 she joined an elite group of history’s singers when, as Elvira in Verdi’s Ernani, she made her professional operatic debut on the Met stage. Since then she has fast become recognized as one of today’s outstanding vocalists, excelling in the most demanding heroines of the 19th-century bel canto repertoire as well as in the operas of Verdi and Mozart.

The 2019/20 season sees Ms. Meade returning to Europe for the title roles in Rossini’s Ermione and Bellini’s Norma at Teatro San Carlo in Naples, Italy. This season also includes performances as Imogene in Bellini’s Il Pirata at Teatro Massimo di Palermo in Italy, the title role of Verdi’s Aida at Gran Teatre del Liceu in Barcelona and the title role of Anna Bolena in Bilbao.

The 2018/19 season began with Ms. Meade joining forces with Yannick Nézet-Séguin and the Orchestre Métropolitain for Verdi’s Requiem. The season also included a role debut as Margherita in the Robert Carsen production of Boito’s Mefistofele at the Metropolitan Opera, a company debut with Seattle Opera as Leonora in Verdi’s Il Trovatore, and a return to the Dallas Opera as Alice Ford in Verdi’s Falstaff. Internationally, Ms. Meade returned to Spain in the title role of Rossini’s Semiramide in Bilbao and revived her portrayal of Leonora in Verdi’s Il Trovatore at Teatro de la Maestranza de Sevilla as well as to the Palacio de la Opera in A Coruña, Spain and the Sinfónica de Galicia for a concert of operatic highlights, a recital and masterclass with Vancouver’s The Singer Behind the Song series and a return to Verdi’s Requiem in Dublin with the RTÉ National Symphony conducted by Michele Mariotti. Ms. Meade ended the season with a gala concert in her debut at the Rossini Opera Festival in Pesaro, Italy.

Since her momentous Met debut, Ms. Meade’s numerous returns to the storied New York house include starring in the title roles of Norma and Sir David McVicar’s new Anna Bolena; as Leonora in Il Trovatore; as Alice Ford in a new Falstaff under James Levine, seen around the world in the Met’s Live in HD series and released on DVD by Decca Classics; and as Mozart’s Countess in The Marriage of Figaro. She also reprised Verdi’s Elvira in Ernani in a production seen both in the Met’s Live in HD series and as a Great Performances at the Met presentation on PBS.

Learn more at AngelaMeade.com.

With a “heroically shining tone of exceptional clarity and precision” (Opera magazine) and “gorgeously burnished power” (New York Times), American tenor Russell Thomas uses his signature elegance and intensity to create vivid character portrayals on the world’s most important stages.

His engagements for the 2021/22 season include his return to LA Opera as Radames in Aida, Florestan in Fidelio with San Francisco Opera, Cavaradossi in Tosca with Cincinnati Opera, Don Alvaro in La Forza del Destino at the Deutsche Oper Berlin and the title role of Otello at the Royal Opera House, Covent Garden. Appearances in the 2022/23 season will include the title role of Ernani with Lyric Opera of Chicago and Calaf in Turandot with the Royal Opera House, Covent Garden.

He opened the truncated 2019/20 season with his role debut as Don Alvaro in a new production of La forza del destino at Deutsche Oper Berlin, and subsequently made his role and house debuts as Radames in Houston Grand Opera’s new production of Aida. He also returned to Washington National Opera as the title character in Otello. On the concert stage, he joined Gianandrea Noseda at the Vienna Konzerthaus for Beethoven’s Symphony No. 9.  (Engagements cancelled due to the pandemic included leading roles at the Metropolitan Opera, Houston Grand Opera, Lyric Opera of Chicago, San Francisco Opera and Canadian Opera Company.)

The 2018/19 season featured Mr. Thomas’s hotly anticipated stage debut in Verdi’s iconic Otello, seen at the Canadian Opera Company after concert performances with the Los Angeles Philharmonic and Atlanta Symphony Orchestra. He sang Manrico in Il Trovatore at the Bavarian State Opera and Lyric Opera of Chicago, made his role debut as Roberto Devereux at San Francisco Opera, and brought his celebrated Titus in The Clemency of Titus to LA Opera. On the concert stage, he joined the World Orchestra for Peace in Beethoven’s Symphony No. 9 at the BBC Proms, and performed Mahler’s Das Lied von der Erde with the Dallas Symphony Orchestra. He closed his season by reuniting with conductor Teodor Currentzis and director Peter Sellars for a new Idomeneo at the Salzburger Festspiele.

Soprano Guanqun Yu is a regular guest at international opera houses in Europe and America. Her engagements in the 2021/22 season include the staged version of Verdi's Messa da Requiem at the Nederlandse Opera Amsterdam, Micaela in Carmen at the Staatsoper Hamburg, her role debut as Elvira in Ernani in a new production (de Beer/Mazzola) of the opera at the Festspielhaus Bregenz, and again Verdi's Messa da Requiem with the Royal Danish Symphony Orchestra.

In addition to the major Mozart roles such as Vitellia, Elettra, Contessa, Fiordiligi, Donna Anna and Donna Elvira, Guanqun Yu's repertoire includes the Italian repertoire in particular. She has sung Leonora in Il Trovatore at the Metropolitan Opera, at LA Opera and at the Teatro Comunale di Bologna, Amelia in Simon Boccanegra in Valencia, Hamburg and Frankfurt, Desdemona in Otello at the Palau de les Arts Valencia, at the Deutsche Oper Berlin as well as at the Hamburg State Opera, Mimì in La Bohème in a new production at the Zurich Opera House as well as at the Bavarian State Opera in Munich and Liù in Turandot at the Metropolitan Opera, the Opéra de Paris, Staatsoper Hamburg, in Zurich, Cologne and at the Bregenz Festival.

Guanqun Yu is also familiar with the French repertoire singing Micaëla in Carmen and Mathilde in Guillaume Tell, a role which brought her a great personal triumph in a new production at Hamburg State Opera.

Her numerous engagements also led her to the Deutsche Oper Berlin and the Semperoper Dresden. With Lucrezia in a concert performance of The Two Foscari, she celebrated her highly noticed debut at the Salzburg Festival in 2017.

Guanqun Yu has already worked with conductors such as Zubin Mehta, James Levine, Michele Mariotti and Cornelius Meister. In 2010 she made her debut in Vienna in Honegger’s Jeanne d’Arc under the baton of Bertrand de Billy. Numerous concert commitments have taken Guanqun Yu to Scandinavia and Germany.

Guanqun Yu is winner of the Belvedere singing competition and winner of the renowned Operalia competition. After studying in Shandong and Shanghai, she was a member of the opera studio at the Teatro Comunale di Bologna.

Her interpretation of Lina in Verdi's Stiffelio was released on DVD in a production from Parma.

Learn more at GuanqunYu.com.

Morris Robinson is considered one the most interesting and sought-after basses performing today.

American tenor Terrence Chin-Loy, whom Opera News described as having a “beautiful lyric tenor voice” pairs passionate performance with a full, sweet sound. In the 2022/23 season, Terrence will perform Tamino in The Magic Flute with the National Taichung Theater in Taiwan as well as at Arizona Opera, Don José in Carmen with MasterVoices at Lincoln Center, Old Head 2 and Charlie in the world premiere of Factotum with Lyric Opera of Chicago, Acis in Acis and Galatea with Eugene Opera, and join the roster of the Metropolitan Opera to cover the role of Arbace in Idomeneo. In concert, Terrence joins the North Carolina Symphony for Mozart’s Requiem, and the Boise Philharmonic for a performance of Hailstork’s I Will Life Mine Eyes as well as a residency with the College of Idaho.

Terrence opened the 2021/22 season in his solo debut at the Metropolitan Opera in Terence Blanchard’s Fire Shut Up In My Bones. He returned to Arizona Opera for his second and final season as a Marion Roose Pullin Resident Artist where he performed Henrik Egerman in A Little Night Music and Ferrando in Così fan tutte and Benny Paret Jr. in Boston Lyric Opera’s production of Terence Blanchard's Champion. In concert, he performed and recorded Taneyev’s At the Reading of a Psalm with the American Symphony Orchestra and Leon Botstein at Carnegie Hall.

Learn more at TerrenceChinLoy.com.

Since his debut that year with La Traviata, he has conducted 66 different operas and more than 435 performances to date with the company. Highlights of recent seasons include the 2020 company premiere of The Anonymous Lover (L'Amant Anonyme) by Joseph Bologne, Chevalier de Saint-Georges, the 2021 company premiere of Stravinsky's Oedipus Rex, and the 2022 company premiere of Bach's St. Matthew Passion.

(Click here to visit James Conlon's Corner, where you can find essays, videos and conversations he has created especially for LA Opera.)

One of today’s most versatile and respected conductors, James Conlon has cultivated a vast symphonic, operatic and choral repertoire. He has conducted virtually every major American and European symphony orchestra since his debut with the New York Philharmonic in 1974. He has conducted more than 270 performances at the Metropolitan Opera. Through worldwide touring, an extensive discography and videography, numerous essays and commentaries, frequent television appearances and guest speaking engagements, Mr. Conlon is one of classical music’s most recognized interpreters.

In September 2021, he became Artistic Advisor of the Baltimore Symphony Orchestra.

He has been Principal Conductor of the RAI National Symphony Orchestra in Torino, Italy (2016–20); Principal Conductor of the Paris Opera (1995–2004); General Music Director of the City of Cologne, Germany (1989–2003), simultaneously leading the Gürzenich Orchestra and the Cologne Opera; and Music Director of the Rotterdam Philharmonic Orchestra (1983–91).

Mr. Conlon has served as the Music Director of the Ravinia Festival, summer home of the Chicago Symphony (2005–15), and is now Music Director Laureate of the Cincinnati May Festival―the oldest choral festival in the United States―where he was Music Director for 37 years (1979–2016), marking one of the longest tenures of any director of an American classical music institution. As a guest conductor at the Metropolitan Opera, he has led more than 270 performances since his 1976 debut. He has also conducted at leading opera houses and festivals including the Vienna State Opera, Salzburg Festival, La Scala, Teatro dell’Opera di Roma, Mariinsky Theatre, Covent Garden, Chicago Lyric Opera, Teatro Comunale di Bologna, and Teatro del Maggio Musicale Fiorentino.

As LA Opera's Music Director since 2006, Mr. Conlon has led more performances than any other conductor in the company’s history—to date, over 420 performances of more than 60 different operas by over 20 composers. Highlights of his LA Opera tenure include conducting the company’s first Ring cycle, recently re-aired in a marathon webcast celebrating the performances’ tenth anniversary; initiating the groundbreaking Recovered Voices series, an ongoing commitment to staging masterpieces of 20^th-century European opera that were suppressed by the Third Reich; and spearheading Britten 100/LA, a city-wide celebration honoring the centennial of that composer’s birth. During the period in which Dorothy Chandler Pavilion was closed due to the pandemic, Mr. Conlon conducted LA Opera’s live-streamed, socially distanced production—staged at the Colburn School—of The Anonymous Lover by Joseph Bologne, Chevalier de Saint-Georges, a prominent Black composer in 18^th-century France. The performance was presented as an online-only event in fall 2020 and marked the work’s West Coast premiere. The Pavilion reopened in June 2021 with Mr. Conlon conducting the company premiere of Stravinsky’s Oedipus Rex, with which LA Opera became the first major American opera company to perform live in its own theater since the coronavirus outbreak. The performance was subsequently released online for at-home viewing. During LA Opera’s 2021/22 season, Mr. Conlon conducts three operas long absent from the company’s repertory: Verdi’s Il Trovatore, which opens the season; Wagner’s Tannhäuser; and Verdi’s Aida. He also conducts John Neumeier’s ballet adaptation of Bach’s St. Matthew Passion, performed at LA Opera for the first time.

Garnett Bruce’s body of work includes directing at the Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Washington National Opera, Dallas Opera and his European opera debut staging Turandot for the Teatro di San Carlo in Naples among many others.

From 2008 to 2011 he was the artistic adviser and principal stage director for Opera Omaha, where he led a cycle of the Mozart-Da Ponte operas. He began directing for the Peabody Conservatory of Johns Hopkins University in 2004, receiving a faculty appointment in 2006. He was on staff at the Aspen Music Festival and School from 1993 and joined the faculty from 1997 until 2019. In 2022 he joins the faculty of University of Texas at Austin’s Butler School of Music as Lecturer in Opera Studies and Stage Director.

Born in Washington, D.C., Bruce was a choirboy at Washington National Cathedral and holds degrees in English and drama from Tufts University. After internships with Hal Prince and Leonard Bernstein in the early 1990’s, he joined the staffs of the Santa Fe Opera, Washington National Opera, Dallas Opera, and Opera Colorado. His award-winning production of La Cenerentola for Kansas City has traveled to Austin, Orlando, and Madison. Known especially for his large-scale work of the standard repertoire, he has created stagings of Turandot, Carmen, Tosca, Aida, Pagliacci and La Bohème that have been seen coast to coast.

Learn more at GarnettBruce.com.

A British artist based in Los Angeles for many years, David Hockney (born 1937) is a distinguished designer, artist and author whose work has been seen at the world’s most prestigious venues. He is among the most visible and well-known serious contemporary artists of our time. His distinctive style and use of color and light have graced an enormous range of art media since the 1960s, encompassing etchings, paintings, drawings, photographic collages and printing, as well as the creation of landmark theatrical designs for film, theater and opera.

For Glyndebourne Opera, he has designed productions of The Rake’s Progress and The Magic Flute. His designs for Turandot premiered in 1992 at Lyric Opera of Chicago, and were seen on PBS’ “Great Performances” at the San Francisco Opera. He has also designed sets and costumes for Stravinsky’s Le Sacre du Printemps, Le Rossignol and Oedipus Rex. In 1987-1988 he wrote, directed and was featured in the film A Day on the Grand Canal with the Emperor of China or Surface is Illusion but so is Depth, produced by Philip Haas. He is the author of Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. In 1997 he received the Order of the Companion of Honour Award from Queen Elizabeth II.

Learn more about his art at Hockney.com.

Ian Falconer studied at New York University, Parson’s School of Design and the Otis Art Institute, Los Angeles. He works as a painter, illustrator and scenic designer, and his work includes many theater productions in New York and Los Angeles. He designed the costumes for Tristan und Isolde (LA Opera) and Turandot (Lyric Opera of Chicago), both of which had sets by David Hockney. He has designed sets and costumes for New York City Ballet, Boston Ballet and the Royal Opera House Covent Garden. He has designed many covers for The New Yorker and is the author and illustrator of all the titles in the bestselling Olivia series: Olivia, Olivia Saves the Circus, Olivia...and the Missing Toy, and Olivia Forms a Band.

Thomas J. Munn (1944-2022) was Resident Lighting Designer for the San Francisco Opera for over 20 years. In 1975 he was invited to design the lighting for Verdi's Macbeth for the Netherlands Opera. That production brought him to the attention to Kurt Herbert Adler, who invited him to join the San Francisco Opera production team. Tom designed the lighting for 285 productions for the company as well as dozens of productions for companies around the world.

In 2003, he was appointed Professor of Theatre and Dance at UC Davis, where he co-created the MFA program in theatre design. He took great joy in working with his students, sharing with them his love of the live performing arts, and passing on the traditions of his craft. He retired as professor emeritus in 2014.

Insatiably curious and even more energetic, Tom enthusiastically embraced new technologies in the theater. He developed innovative ways to use projections and was instrumental in installing some of the earliest computerized lighting systems. When the Opera House was renovated following the 1989 earthquake, he was an integral part of the design of the new theatrical lighting system. He also served as the lighting consultant for the 2006 renovation of the historic St. Mark's Lutheran Church in San Francisco.

Since joining LA Opera in 2007, he has served as associate chorus director (since 2011) and assistant conductor, and he has worked closely with the Domingo-Colburn-Stein Young Artist Program. Before becoming Chorus Director, he previously directed the LA Opera Chorus for the Plácido Domingo 50th Anniversary Concert (2017) and for The Clemency of Titus (2019). One of his generation’s most respected pianists and vocal coaches, he has collaborated with major opera houses throughout the United States. He has assisted in the preparation of operas and vocal chamber music at the LA Philharmonic. As a pianist, he has partnered with Sondra Radvanovsky, J'Nai Bridges, Eric Owens, Brandon Jovanovich, Rodell Rosel, Dolora Zajick, Kate Lindsey and Susan Graham. He accompanied Joyce DiDonato at the 54th Grammy Awards, the first time the ceremony featured a performance by a classical singer.

In partnership with the Getty Villa and LACMA in Los Angeles and the Phillips Collection in Washington D.C., he has curated multimedia recitals which draw connections between the classical vocal repertoire and special exhibits in the museums. He is a frequent collaborator at Wolf Trap Opera as an assistant conductor, chorus master and recitalist. He has been a guest coach at the Opernfestspiele St. Margarethen, in Esterhazy, Austria, and he helped prepare Seattle Opera’s Ring cycle in 2013. He has been a guest faculty member for young artist programs at Utah Opera and Seattle Opera, and he is a part-time lecturer in vocal arts and opera at the University of Southern California. (JeremyMFrank.com)