Ed Rampell: This L.A. Opera production of Gioachino Rossini’s Cinderella <(La Cenerentola) is nothing short of a sheer delight. It ranks amongst the most enchanting of all of the operas I’ve ever seen.
Ed Rampell: What is Richard Wagner’s The Flying Dutchman (Der Fliegende Holländer) if not a rip-roaring ghost story, highly charged by greed, and lest we forget, sexual frisson?
Ed Rampell: Going postal: A rare work of art with working class heroes who are Communists, luminously, imaginatively brought to life onstage by a creative collective of talents worthy of Neruda’s poetry.
Ed Rampell: Every once in a while there’s an uplifting work of art that makes one feel glad to be alive. L.A. Opera’s exuberant production of Wolfgang Amadeus Mozart’s 1786 The Marriage of Figaro (Le Nozze di Figaro), conducted by none other than Placido Domingo himself, is one of those rare artistic experiences that enable audiences to walk on air and be grateful to be living, if only so they can experience such a rapturous, joyous vision and affirmation of life.
Articles by Rev. Irene Monroe, Randy Shaw, Georgianne Nienaber, John Delloro, Ed Rampell, Noman Solomon, Paul Hogarth, Paul Loeb, Ivan Eland, Jim Fuller, Carl Matthes, Andrea Christina Nill, Tom Hall, Charley James and Lulu Demaine, Berry Craig, Tom Degan, Robert Reich, Carl Bloice, Tracy Emblem, Tina Dupuy, Jeffrey Blankfort, Anthony Samad, Michael Sigman, and Johnny Townsend
Ed Rampell: L.A. Opera’s culmination of Richard Wagner’s The Ring of the Nibelungen is not only the fourth, final and finest installment of the four part Ring Cycle, but goddamn, Götterdämmerung is the greatest opera I’ve ever seen in my entire life!!!
Ed Rampell: The current production of The Stigmatized is the opera’s U.S. premiere and part of L.A. Opera’s “Recovered Voices” series, which, according to press notes, is “a multi-season initiative to revive the works of composers whose lives and careers were cut short by the Nazi regime.” Schreker’s saucy work, set in 16th century Genoa, was originally presented in Germany in 1918, and can be viewed as being part of the edgy postwar culture of the Weimar Republic that included sexually charged works in various cabaret acts and by playwrights such as Bertolt Brecht.