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JAMES CONLON IN THE NEWS: SALOME

“One of the main reasons for attending Salome at Los Angeles Opera is James Conlon’s conducting. He brought out the composer’s leitmotifs and his symbolic use of musical color while engulfing listeners in the score’s unusual modulations, chromaticism, extended tonality, and tonal ambiguity. Best of all, Conlon did it without ever covering any of the principal singers.”—Opera Today

“...the crowd was on its collective feet cheering. [Patricia Racette’s] cohort in this kind of triumph was a sympathetic conductor, James Conlon, who assertively balanced Strauss’ domineering orchestra against a lone soprano.”—Los Angeles Times

“I left for last mentioning how much this performance owed to the instrumentalists in the pit. Arguably, the orchestra is the main character in Strauss’ opera and that is exactly what the ensemble, [led] by James Conlon, proved to be…James Conlon proved again a wonderfully versatile artist.” –- Bachtrack

“James Conlon and the Los Angeles Opera Orchestra are, once again, worth the price of admission.”—Inside So Cal

“Under the direction of James Conlon, the LAO Orchestra delivered the quavering restlessness, threatening dissonances and soaring lines of the score while allowing the voices on stage to be heard.”—Seen and Heard International

For more information on Salome, visit LAOpera.org.

CONDUCTOR JAMES CONLON AND LA OPERA’S RECORDING Of THE GHOSTS OF VERSAILLES WINS TWO GRAMMY AWARDS

LA Opera Music Director James Conlon’s world premiere recording of composer John Corigliano and librettist William M. Hoffman’s The Ghosts of Versailles, released on the PentaTone label, won two 2017 Grammy® Awards for Best Opera Recording and Best Engineered Album, Classical.

Ghosts

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James Conlon Talks Salome


Patricia Racette as the title character in Salome (2015) at Opera San Antonio; Photo: Karen Almond

Arriving on the heels of Mozart’s The Abduction from the Seraglio in our season, it is difficult to compare these totally different works without reflecting on how the world had changed. European civilization was sitting on a fault line when Richard Strauss wrote Salome. Strauss, who placed “the miracle Mozart, immediately after Bach,” could not turn to the latter for operatic prototypes, but found immeasurable inspiration in Mozart’s operas.

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Upcoming Performances

Miami, FL   March 25, 26, 2017

Beethoven: Symphony No. 2 in D major, Op. 36
Shostakovich: Symphony No. 12, Op. 112 “The Year 1917”

Washington DC   April 06, 07, 08, 2017

Britten: Four Sea Interludes, Peter Grimes
Prokofiev: Piano Concerto No.1 in D-flat major, Op. 10
(Lise de la Salle)
Shostakovich: Symphony No.5 , Op. 47

LA Opera Dorothy Chandler Pavilion, Los Angeles, CA   April 22, 27, 30, May, 02, May, 05, May, 07, 2017

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