THE OFFICIAL PUBLICATION OF PROFESSIONAL MUSICIANS, LOCAL 47, LOS ANGELES, CA, AFM, AFL-CIO, CLC

VOL. 90 JULY 2010 NO. 3

LA Opera's daring 'Ring Cycle'

swirls through Los Angeles

sparking praise, controversy,

and a surge of 'Ring'

festivities along the way.

SPECIAL 'RING'
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JULY 2010 O VERTURE — S P E C I A L P U L L -O U T S E C T I O N 'RING' 1
'RING' 2 OV E R T U R E SP E C I A L PU L L- OUT SE C T I O N J U L Y 2010 'RING' 3

'Ring Cycle' Swirls The Musicians Behind 'The Ring'

Ring'
Through Los Angeles Music Director James Conlon leads the LA Opera Orchestra to new heights in Wagner's epic four-opera cycle
by Linda Rapka, Overture Managing Editor

Los Angeles felt a lot like Bayreuth these past few months as said. "You're so busy trying to get through your own part, you
the entire city joined in an unprecedented 10-week celebration of can't really focus on everything else that's going on. But the more
LA Opera's monumental production, "The Ring of the familiar you get, the less you have to focus on your own part and
Armen Anassian James Atkinson Steve Becknell Tamsen Beseke Dmitri Bovaird Terry Cravens Theresa Dimond Timothy Eckert Alma Fernandez
Nibelungs" ( "Der Ring des Nibelungen"). you can really hear what's going on, which makes for a very rich
The first "Ring Cycle" ever presented in Southern California experience."
met with an eclectic citywide festival of widely attended museum Though challenging, Goodall also describes the experience as
shows, lecture series, stage productions, and special events like incredibly rewarding. "The music is absolutely magnificent," he
"Gangsta Wagner" presented by daKAH Hip Hop Orchestra said. "The performance is intense. And it has been an amazingly
maestro Double G (this is L.A., after all). musical experience."
The LA Opera announced its plans to present its first-ever Achim Freyer's hyper-stylized staging of this "Ring," with its
Ring Cycle in 2000. In the interim, the originally planned collab- surreal and sometimes grotesque costuming, gigantic props and Marlow Fisher Gregory Goodall Nadine Hall, Marina Marukian Rowena Hammill Trevor Handy Grace Hong Stuart Horn Leslie Katz Ana Landauer
oration between German director Peter Mussbach and George hypnotic lighting, has sparked animated love-it or hate-it reac-
Lukas' Industrial Light & Magic company for "The Ring" fell to tions and debates throughout Los Angeles, and around the world.
the wayside, and the LA Opera nearly went bankrupt — not to "It's a different kind of staging," Becknell said. "Some people
mention the nation suffering shattering terrorist attacks, entering like it, other people find it distracting, so there's a bit of a dichoto -
into two foreign wars, and succumbing to a global economic my. I think it's great that we did this, it makes it unique. And it is
meltdown. How's that for Wagnerian tragedy? unique; it's the first time in Southern California, and we've put
With visionary German stage director/set designer Achim our imprint on it." Jinny Leem Dane Little William May Jayme Miller Cindy Moussas, Michele Richards Helen Nightengale David Parmeter Radu Pieptea
Grace Oh
Freyer and some financial help from the County, LA Opera's "The company had two choices: do a traditional staging, or do
"Ring" went on. Beginning in mid-April, 2009, each of the four a modern staging," Goodall said. "Traditional staging is some-
operas ("Das Rheingold," "'Die Walküre," "Siegfried" and Götterdäm - thing the (New York) Met has done for years, that you can get
merung") was performed as a single production, culminating in readily on DVD. That's been done. I think to bring a new staging
June 2010 with presentations of three full cycles. Based loosely certainly brings some controversy, but it also brings thought. The
on characters from Norse sagas, the Ring Cycle is the most chal- purpose is to allow people the opportunity to think about what
lenging of all opera endeavors in every capacity: financially, phys- this all means, how it all fits together, and how it is relevant to our
ically and mentally. Having taken Wagner over 20 years to com- own lives. For forward-thinking Los Angeles, I don't think it Andrew Picken Kazi Pitelk Karie Prescott Tina Chang Qu Rafael Rishik Susan Rishik Steve Scharf Kim Scholes James Self
plete, the monumental work clocks in at over 15 hours and is could have been done any other way."
meant to be presented in one long sequential run within the time "I thought it was a really unusual approach," Steinmetz said.
frame of a week. Considering the notoriously short attention "We're out there doing a production that's got uniqueness that
span of Angelenos, and coming with a not-so-slight $32 million makes for something the audience is going to be talking about."
price tag, this was by no means a sure thing for the LA Opera. And talk, people have been doing. A lot. This "Ring" has
"It's a massive undertaking in every way, taxing in every sparked more controversy than any other LA Opera production.
dimension," said John Steinmetz, principal bassoonist. "It's tiring It's also sparked more conversation — quite a feat for a city full James Stark John Steinmetz Olivia Tsui David Washburn John Walz Angela Weigand Gary Woodward Margaret Wooten David Young
to do, it demands incredible concentration, and all the resources of events constantly vying for attention.
you have to marshal to make it work — the technical staging "The LA Opera has made people aware that there is a 'Ring'
requirements, the coordination — everything about it is blown up and not just Hollywood films," said concertmaster Stuart Canin. Please note: Not every member of the LA Opera Orchestra had a photo available to include in this spread. Please see complete personnel list below. Photos of Conlon, Canin,
to a huger scale." "This music was written around the 1850s, 1860s, 1870s, and it's Landauer, Anassian, Nightengale, S. Rishik, Miller, Katz, Moussas, Richards, Hall and Marukian by Steve Scharf. All other photos from LA Opera or other orchestra artist bio pages.
When the orchestra first learned the company was going to still here with us and still great."
take on the Ring Cycle, the news was met with excitement, and a As Wagnerians will readily tell you, the music is as big a part Special thanks to Brady Steel, Steve Scharf, Gary Murphy, Mark Lyons, Kimberly Henshaw and to all of the LA Opera Orchestra musicians for their time and generosity in making this "Ring Cycle" feature possible.
little trepidation. of "The Ring" as the stage production, if not more so. Music Stuart Canin James Conlon
"It brought a little bit of fear for me," said Steve Becknell, prin- Director James Conlon succeeded in making the music just as
cipal horn player. "This is probably the biggest thing for French striking as the much-talked about staging. The Los Angeles Opera Orchestra has a core roster of 61 players (noted below with an asterisk), augmented for each production according to the demands of the music. Regular orchestra members who did not perform the "Ring Cycle" are indicated in parentheses.
horn to do, so it's a little daunting to look at." "He knows this work so well, it's almost mind boggling," Beck-
"It's intense," said Greg Goodall, principal timpanist. "Enor- nell said. "It's really inspiring. During rehearsals he'll tell us, 'This is LA Opera 'Der Ring des Nibelungen' Orchestra & Personnel
mously intense. The pieces are long, and I really wasn't very what's happening here.' He's really put his imprint on the music." First Violin Second Violin (cont'd) Celli Oboes / English Horn Horn / Wagner Tuba Harp Conductor
familiar with them. Wagner is not a part of our musical educa- "You always learn something from him," Hall said. "There's Stuart Canin*, Concertmaster * John Walz*, Principal Leslie Reed*, Principal James Atkinson* , Associate Principal James Conlon
Cynthia Moussas JoAnn Turovsky*, Principal
tion in the same way 'Beethoven 5', '7' and '9' are." an incredible knowledge behind what his musical decisions are. Ana Landauer *, Associate Concertmaster Rowena Hammill* , Associate Principal Leslie Resnick Nathan Campbell
Loránd Lokuszta* Dane Little * Sarah Beck Allison Allport
Cellist Nadine Hall had a similar reaction. "It was really excit- His passion for this music is so clear, and he really communicates Jinny Leem * , Assistant Concertmaster Daniel Kelley* Orchestra Personnel Manager
Tina Chang Qu* Kim Scholes * Grace Hong
ing, but also I was a little apprehensive," she said. "I have friends that. He goes for the big musical picture." Margaret Wooten* Jenny Kim *
Brady Steel
Grace Oh Margaret Moores * Stuart Horn* English horn Timpani
in the Seattle Symphony and heard that it's pretty brutal physical- For any opera company, taking on "The Ring" is a huge state- Olivia Tsui *
Nadine Hall * *
Tamsen Beseke * Sarkis Gyurgchyan Gregory Goodall , Principal Music Administrator / Librarian
ly and very grueling to play. And that's of course proving to be the ment of purpose. It shows not only it has the financial means, but Trevor Handy Clarinets Trumpets
James Stark* Neil Samples Robert Willoughby Jones
case. But it's a remarkable experience." more importantly exhibits the company's artistic vision and its Roger Lebow Michael Grego*, Principal Tim Morrison*, Principal (Siegfried,
Marina Manukian Searmi Park Xiadoan Zheng Mary Gale* Percussion
Doing the full cycle of four operas, one right after the other, capability to work as a single cohesive unit. Götter) Assistant Librarian
Armen Anassian* Xiaowei Shi Lynn Harrell Joshua Ranz Theresa Dimond *, Principal
presents unique challenges. "The company is very serious about presenting the highest qual- Lawrence Hughes David Washburn*, Principal (Rhein - Felino Jason Vasquez
Helen Nightengale Timm Boatman*
"The hardest thing is to do one big opera, five hours of music, ity opera possible," Goodall said. "A project such as this is so mas- Basses Stephen Piazza* bass clarinet gold, Walküre)
Susan Rishik
and then two days later do an entirely different one," Becknell sive it requires substantial work from every area of the company. Violas David Young *, Principal Andrew Ulyate* Mark Zimoski Director / Designer
Radu Pieptea
Kazi Pitelk *, Principal Ann Atkinson *, Associate Principal Bassoons Timothy Owner bass trumpet Achim Freyer
said. "You've got different transpositions, so you've really got to From the management to wigs and makeup, stage mangers and the Rafael Rishik
Frances Liu-Wu* John Steinmetz * , Principal
be focused." orchestra, everybody is involved on a very intense level. That brings (Lisa Sutton, Associate Concertmaster) Andrew Picken*, Associate Principal BANDA
Donald Ferrone* Judith Farmer *, Principal (Walküre) Trombones Co-Costume Designer
"One of the tricks to this is that almost no two measures are in the company together in a unified way. To the city, it shines a light (David Stenske) Karie Prescott * Timothy Eckert* William May * Anvils
William Booth *, Principal Amanda Freyer
the same tempo," Goodall said. "This is the case in other operas, on all it is that we're doing. From an artistic standpoint, it's terrific Shawn Mann * David Parmeter William Wood Theresa Dimond *
Second Violin James Bergman Alvin Veeh *
and that's fine — but these are so long, and there's so much of it. for the company, and for the citizens of Los Angeles." Dmitri Bovaird *
Timm Boatman *
Co-Lighting Designer
Jayme Miller *, Principal Horns Terry Cravens* bass trombone
And you compound that when you're doing the full cycle; by the "It's a right of passage," Canin said. "Any opera company that Marlow Fisher John Wakefield Brian Gale
Flute / Piccolo Steven Becknell*, Principal George Thatcher contra bass
Steve Scharf *, Associate Principal
time you come back to the first one again it's been quite some peri- puts on 'The Ring' has already established itself as a major com- Alma Fernandez Gary Woodward *, Principal Stephanie Stetson Scott Higgins
Florence Titmus * Associate Conductor /
od of time, so to remember all of that again is quite an exercise." pany. And the city of Los Angeles should know what they have Angela Wiegand * Kristy Morell, Associate Principal
Leslie Katz * Josephine Liu Moerschel Tuba Jason Goodman Chorus Master
Cathy Cho Justin Hageman
"It's so overwhelming the first couple times through," Hall in store for them in the future." Michele Richards * (Matthew Funes) James Self*, Principal Mitchell Peters Grant Gershon
Sarah Weisz * piccolo Martin Rhees, Assistant Principal
'RING' 4 O VERTURE — S P E C I A L P U L L -O U T S E C T I O N JULY 2010

Achim Freyer's Unique Vision

German stage director and set designer Achim
Freyer's elaborate production of the four-part cycle of
"The Ring" by the Los Angeles Opera featured a raked
stage, flying props, screen projections and special
effects to create a surreal and hallucinogenic theater
experience.
Singers stood on level platforms to ease singing while
performing on the stage outfitted with a central rotating
turntable, which represented both a clock and globe and
flipped open like a clamshell. Waving silk simulated the
water of the Rhine, captivating LED lights lined the
stage, and front, rear and overhead projectors cast
images onto translucent scrim screens at the front and
rear of the stage. An ominous giant illuminated eyeball,
representing Wotan's lost eye, changed location for
every opera, moving across the stage during "Siegfried"
and splitting in two during "Götterdämmerung," repre-
senting the destruction of the Gods.
The many Gods, giants, dwarfs, maidens and mor -
tals took many forms in "The Ring," often requiring
costumes with complex riggings that employed multi-
ple actors; it took five performers just to manipulate
Wotan's coat. The orchestra was located below stage
level.

'Das Rheingold ' (The Rhine Gold) 'Die Walküre' (The Valkyrie)
Robert Millard

Robert Millard
Nibelung dwarf Alberich, teased unmercifully by the Rhinemaidens, denounces love, seizes the gold, Siegmund seeks refuge with Sieglinde, wife of brute Hunding. Despite being long-lost twin brother
and forces his brother Mime to fashion from it a ring, key to all worldly power. Meanwhile Wotan, and sister, they fall in love, and Siegmund must fight Hunding. Wotan, father of the mortal twins,
ruler of the Gods, has giants Fafner and Fasolt build a castle, Walhall. As payment, Wotan offers pledges his sword Nothung to help his son win the battle, but goddess of marriage Fricka demands

Photos by Monika Rittershaus (except where noted) / All courtesy of LA Opera

them Freia, sister of his wife Fricka. To appease Fricka's unhappiness at this, Wotan sends Loge the death of Siegmund, who is guilty of adultery and incest. Distraught, Wotan relents and orders
down to earth to find something else to give the giants. Ultimately Alberich is brought before Valkyrie daughter Brünnhilde to ensure Siegmund's death. But deeply moved by their love,
Wotan, who takes the gold for the giants. He steals the ring for himself, but is forced to hand it to Brünnhilde disobeys. Though she fails to save Siegmund, she hides Sieglinde, who is carrying baby
Fafner. Alberich lays upon it a curse: until returned to him, whomever possesses the ring shall die. Siegfried. To punish Brünnhilde, Wotan casts her into a ring of fire, penetrable only by a mortal hero.

'Siegfried ' 'Götterdämmerung' (The Twilight of the Gods)

Mime forges a sword for his foster son Siegfried, whom he hates but hopes will kill Fafner so he
himself can obtain the all-powerful ring. Siegfried demands to know his real parentage, and Mime
discloses that he found his mother Sieglinde in the woods and that she died giving birth to him. An
old Wanderer (Wotan in disguise) poses three riddles to Mime, who gives up in terror when asked
the final question of who will repair Nothung. He soon realizes this can only be done by Siegfried,
who happens upon Brünnhilde and awakens her. Meanwhile, Wanderer summons Erda, goddess
of the Earth, to learn the Gods' fate; they are doomed.
Three Norns predict the end of the Gods. Siegfried gives his bride Brünnhilde the ring he took from
Fafner. Plotting to obtain the ring, Lord of the Gibichungs Gunther is convinced by half-brother
Hagen to marry Brünnhilde: by means of a magic potion, Siegfried forgets his bride and wins
Brünnhilde for Gunther in return for his sister Gutrune's hand. Betrayed, Brünnhilde reveals to Hagen
Siegfried's sole vulnerable spot. Hagen murders Siegfried and Gunther for the ring. Brünnhilde con-
demns the gods for their guilt in Siegfried's death and takes the ring to the Rhinemaidens, who drag
Hagen to his death and regain their gold. Flames engulf Valhalla, and the world is redeemed by love.

Concertmaster Stuart Canin Leaving

Los Angeles in Body, Not Spirit
"I'm leaving Los Angeles Opera, but I am not giving up the
violin," said Concertmaster Stuart Canin. "I want to make that
clear."
Stuart will be leaving the LA Opera to live full-time at his
home in San Francisco, where he splits residences between Los
Angeles when working with the opera company. "I've been
doing this for nine years, and I found out looking at my books
the other day that I've spent more time in Los Angeles than I
have in San Francisco!" he said. "At some point in your life, you
have to say enough is enough."
Photos by Linda Rapka When Stuart heard the LA Opera was planning the massive
Photo by Linda Rapka
undertaking of Wagner's Ring Cycle, "I was tickled to death,
TALK ABOUT CLOSE QUARTERS — Down in the pit beneath frankly. What a way to go out!" he laughed, adding, "I was just Music Director James Conlon
the stage of the Dorothy Chandler, LA Opera musicians hoping they wouldn't put me in the ring of fire." and Carol Colburn Høgel pres -
pack together like sardines for up to five hours a night to After finishing up a performance of "Das Rheingold" June 8, ent Concertmaster Stuart
perform Wagner's "Ring Cycle." a bon voyage party was held in Stuart's honor in the beautiful Canin, who is leaving LA
Founder's Room of the Dorothy Chandler. After rounds of Opera after 'The Ring,' with a
In a feat one must see touching speeches and gift-giving, Music Director James Conlon concert chair named in his
to believe, Greg and Carol Colburn Høgel presented Stuart with a most presti- honor.
Goodall manages to gious honor: a concert chair now holds his name. "That is one of
squeeze his massive the nicest things I have ever had in my life," Stuart said. "It's never done for a player. I am truly
timpani amongst the honored that the Opera thought enough to do that."
23 violins, eight vio- As if the evening weren't special enough already, it was also Stuart and his wife's 58th wedding
las, seven celli, six anniversary. Obviously still very much in love, they look forward to spending more time together
basses, four flutes, in their San Francisco home.
four oboes, four clar - Spry and jovial at 84 with his violin always at the ready, Stuart isn't quite sure what he plans to
inets, three bassoons, do next, but knows that whatever it is, it will involve playing music. "As long as my playing is still
five horns, four Wagner tubas, four trumpets, four trom- going, I will continue to play," he said. "When you get to be in your middle eighties it's a different
bones, tuba, two harps and three percussionists. situation, so I have no idea what I'll do. But that may be the beauty of it. I'm not thinking of it. I'm
doing my work here at the Opera. We'll see what happens." — Linda Rapka