History
The Los Angeles Opera company, which was inaugurated in 1986 with a production of Verdi's Otello starring Plácido Domingo, traces its roots back to the Los Angeles Civic Grand Opera, which was formed in 1948. It presented staged productions through the 1950s. Shortly after its third production at the Dorothy Chandler Pavilion, the company abandoned its own production projects and recreated itself as the Music Center Opera Association by bringing opera from other cities to the Music Center, notably San Francisco Opera the New York City Opera. San Francisco Opera began presenting productions in Los Angeles in 1937 and continued to do so every fall until 1969. The NYCO brought productions to Los Angeles every fall from 1966 to 1982.
In 1984, the Music Center Opera Association hired Peter Hemmings and gave him the task of creating a local opera company which would once again present its own productions. This led to the forming of the Los Angeles Opera. Hemmings stepped down as General Director in 2000, with Plácido Domingo assuming leadership of the company following season. (In fact, Domingo had been involved in the creation of the company, having served as its artistic consultant since 1984.) In November 2001, Edgar Baitzel was made director of artistic operations. Baitzel was appointed the company's artistic director in May 2003 and then its chief operating officer in February 2006. Baitzel died in March 2007.
Read more about this topic: Los Angeles Opera
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“What has history to do with me? Mine is the first and only world! I want to report how I find the world. What others have told me about the world is a very small and incidental part of my experience. I have to judge the world, to measure things.”
—Ludwig Wittgenstein (1889–1951)
“We aspire to be something more than stupid and timid chattels, pretending to read history and our Bibles, but desecrating every house and every day we breathe in.”
—Henry David Thoreau (1817–1862)
“When the landscape buckles and jerks around, when a dust column of debris rises from the collapse of a block of buildings on bodies that could have been your own, when the staves of history fall awry and the barrel of time bursts apart, some turn to prayer, some to poetry: words in the memory, a stained book carried close to the body, the notebook scribbled by hand—a center of gravity.”
—Adrienne Rich (b. 1929)