Plácido Domingo pulled out after sexual harassment allegations. Davinia Rodríguez withdrew because of illness. But the show goes on ...
Donizetti thought his opera “Roberto Devereux” jinxed. He had reason. Maybe he still does, if Los Angeles Opera’s opening night of its production Saturday at the Dorothy Chandler Pavilion was any indication.
ran L.A. Opera, had long been eager to bring the opera to the company. Having become a baritone in his later years, he was equally eager to sing the role of Devereux’s antagonist, the Duke of Nottingham.as head of the L.A. Opera and dropped out all his U.S. engagements in wake of sexual harassment accusations, which he denied. A less starry replacement was found for him, a rising Hawaiian baritone, Quinn Kelsey.
Meade arrived in L.A. on Tuesday, and with little time to prepare, she sang Saturday standing at the side of the stage at a music stand with a score. The production’s choreographer, Nicola Bowie, acted the role onstage. This, though, is not much of a theatrical chance-taking production. Set as though a Shakespearean play in the Old Globe — this is the Elizabethan era after all — it begins with a pantomime during the overture in which the Bard himself pops up and does a skit from “A Midsummer Night’s Dream.” Though there is a hint of modernization and attitude, the production is essentially more a contrived setting dependent on the singers to make it live.
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