WEST SIDE STORY Launches LA Opera’s 2025-26 Season
On 20 September, LA Opera raises the curtain with WEST SIDE STORY—a show so beloved it has essentially become a cultural institution unto itself. Not many Broadway musicals earn a place in opera houses worldwide, but the Leonard Bernstein and Stephen Sondheim collaboration easily defies conventional categorisation. Under the baton of James Conlon and with stage direction by Francesca Zambello, this co-production (alongside Lyric Opera of Chicago, Houston Grand Opera, and the Glimmerglass Festival) unites the best of both the musical theatre and operatic realms. Soprano Gabriella Reyes and tenor Duke Kim—two voices that critics have described as luminous—take on the iconic roles of Maria and Tony. If you’re the sort who enjoys an electric mix of dance, heartbreak, and that oh-so-familiar snap of the finger, this staging promises a crisp jolt of energy.
Even if you’ve seen WEST SIDE STORY before (perhaps in a standard theatre setting), expect a fresh perspective here. Opera houses like LA Opera bring a different dimension to the piece: lush orchestration, full-bodied chorus, and a vocal heft that can penetrate the largest auditorium. There’s a reason this musical is considered timeless. Its portrayal of star-crossed lovers in an urban battleground resonates whether you first encountered it on a battered VHS tape or at the local cinema. Expect rapturous applause after Tonight and Somewhere—numbers that stir the soul with an almost operatic fervour.
Classic Romance With Puccini’s LA BOHÈME
Following the rousing swagger of Bernstein’s Jets, LA Opera offers a revival of Giacomo Puccini’s LA BOHÈME. Despite being one of the most frequently staged operas globally, it never fails to captivate new and veteran audiences alike. Lina González-Granados, LA Opera’s resident conductor, leads the production, and all indications suggest she’ll spotlight fresh nuances in Puccini’s heartbreak-filled score. The cast includes Janai Brugger as Mimi and Oreste Cosimoas Rodolfo, a duo that has previously delivered performances described as “tender yet gloriously voiced.” Add Erica Petrocelli as Musetta and you have a triangle of talents poised to highlight every comedic beat and heartbreak within the bohemian quarters of Paris.
For data enthusiasts among us, statistics from OPERA America consistently place LA BOHÈME among the top five most-performed operas in the United States every year. Its universal themes—youthful passion, fleeting love, the spectre of mortality—ensure that each revival resonates, no matter how many times you’ve shed a tear at Mimi’s fate. Yet each production also has a fresh angle; in this case, you can expect modern staging choices that reflect how the bohemian spirit endures across eras.
A Modern Masterpiece: AKHNATEN
In February, LA Opera shifts gears dramatically. The stage belongs to Philip Glass’s AKHNATEN, which has carved a unique niche among 20th-century operas by marrying minimalistic composition with grand, ancient spectacle. Originally commissioned in the 1980s, this work has gained steam in recent years, partly thanks to lavish productions at English National Opera and the Metropolitan Opera. Now, at LA Opera, the revival showcases countertenor John Holiday as the revolutionary Egyptian Pharaoh. The concept intrigues me: a figure who defied religious orthodoxy by championing a single deity, thus threatening the entire sociopolitical structure of the New Kingdom. It’s a tapestry of history, spirituality, and the sort of hypnotic incantation that Glass’s music does best.
Sharing the stage are mezzo-soprano Sun-Ly Pierce as Nefertiti, soprano So Young Park as Queen Tye, and bass-baritone Zachary James—a Grammy winner known for his theatrical chops in Hadestown—as Amenhotep III. Conductor Dalia Stasevska will be guiding Glass’s swirling motifs. If you’ve never witnessed minimalist opera live, prepare for a sensory experience that is oddly meditative, your heartbeat gradually aligning with the rhythmic pulse of the score.
Shakespearean Humour With FALSTAFF
Just as the tension from AKHNATEN’s radical fervour settles, LA Opera invites laughter with Giuseppe Verdi’s FALSTAFF, slated for April. One of Verdi’s final compositions, FALSTAFF brims with comedic brilliance. Its narrative, adapted from Shakespeare’s The Merry Wives of Windsor, revolves around the corpulent knight Sir John Falstaff and his misguided attempts to seduce wealthy women for financial gain. Craig Colclough—one of today’s esteemed baritones—steps into the titular role, and from all accounts, he relishes Falstaff’s roguish exuberance. Soprano Nicole Heaston plays Mistress Ford, the cunning wife who, along with Mistress Page, is determined to outwit Falstaff’s flattery. The ensemble cast includes baritone Ernesto Petti as Master Ford, soprano Deanna Breiwick as Nannetta, tenor Anthony León as Fenton, and mezzo-soprano Hyona Kim as Mistress Quickly. Expect comedic chaos aplenty, with luscious vocal lines that reflect Verdi’s seasoned confidence as a composer who knew how to handle comedic timing with symphonic mastery.
A Visual Feast
Rounding out the season is Wolfgang Amadeus Mozart’s THE MAGIC FLUTE—an opera that often serves as many opera lovers’ first gateway to the art form, thanks to its vibrant melodies and fairy-tale structure. This time, LA Opera presents Barrie Kosky’s acclaimed production, which integrates projected expressionist illustrations. If you’ve only seen a traditional staging of THE MAGIC FLUTE, this approach will be a revelation, with whimsical animations enveloping characters and audience alike. Tenor Miles Mykkanen portrays Prince Tamino, racing to rescue Pamina, played by soprano Sydney Mancasola, from the supposed villainy of Sarastro (Kwangchul Youn). Soprano Aigul Khismatulinaas the Queen of the Night, baritone Kyle Miller as Papageno, and tenor Zhengyi Bai as the scheming Monostatos complete the line-up. Mozart’s score remains an endless fount of delight, from the stratospheric coloratura of the Queen’s arias to the comedic duets of Tamino and Papageno.
Recitals, Cabaret, And A Touch Of The Unexpected
Beyond the mainstage productions, LA Opera has curated an impressive array of recitals and special events. Ben Bliss, Juan Diego Flórez, Nadine Sierra, and Renée Fleming are all slated to grace the stage in stand-alone performances—each promising to spotlight the human voice’s remarkable range. The star wattage doesn’t stop there: Broadway icon Patti LuPone arrives with her cabaret show Matters of the Heart on 21 February at the Dorothy Chandler Pavilion, offering an intimate journey through songs and stories that only LuPone can deliver with such panache.
For those in search of more unusual fare, keep an eye out for Hildegard, a chamber opera by Sarah Kirkland Snider, based on the life and writings of 12th-century composer Hildegard von Bingen. The historical figure was a polymath—a composer, writer, philosopher—and this event casts a fresh lens on Hildegard’s creativity and mysticism. Moreover, film buffs can relish the 1925 silent classic The Phantom of the Opera, set to a live orchestral accompaniment. The synergy of vintage cinema and live music can be nothing short of spellbinding.
The Missing New Works
However, it’s notable that Missy Mazzoli’s LINCOLN IN THE BARDO—originally scheduled for its world premiere at LA Opera before transferring to the Metropolitan Opera—will not appear this season. This follows the deferral of Mason Bates’ THE AMAZING ADVENTURES OF KAVALIER & CLAY last year. While disappointing for admirers of contemporary compositions, LA Opera plans another workshop of Mazzoli’s new opera in lieu of a fully staged production. If you’re an advocate for new works, it’s worth keeping an eye on future announcements; the promise of a workshop suggests the piece remains on LA Opera’s horizon, simply awaiting a more opportune moment.
Why Modern Opera Houses Embrace Musical Theatre
You might be wondering: why is an opera house diving into musicals like WEST SIDE STORY in the first place? The lines between musical theatre and opera have never been as rigid as some believe. Iconic composers from Stephen Sondheim to Kurt Weill have always straddled the boundary between Broadway and classical. More and more opera companies now champion these cross-genre works, recognising that they capture fresh audiences while showcasing the technical might of operatic voices. LA Opera’s decision to open with WEST SIDE STORY exemplifies a broader trend: expanding the repertoire to include musicals that possess the thematic depth and musical sophistication to stand proudly alongside Verdi and Mozart.
The Curtain Rises On Possibility
In a single season, LA Opera gives us comedic mischief (FALSTAFF), romantic tragedy (LA BOHÈME), radical minimalism (AKHNATEN), fairy-tale whimsy (THE MAGIC FLUTE), and a bit of Broadway bravado (WEST SIDE STORY). Complemented by a glittering roster of recitals and special events, this is the kind of year that might inspire you to attend more than just one production. There’s something thrilling about an opera house that dares to blend centuries-old traditions with brand-new experiments in storytelling. It’s a reminder that live performance retains the capacity to awe, surprise, and unite us, even amid changing tastes and cultural complexities.
So if you’re craving an artistic fix that can deliver everything from heartfelt arias to toe-tapping dance, consider booking a flight to Los Angeles—or simply mark your diary if you’re already in town. As you pick out your seat, picture that hush right before the conductor lifts the baton. Then imagine the moment the first note glides through the darkness, taking you by the hand and leading you into places you never expected to go. That, dear friends, is the magic of opera in a nutshell. And with a season like this, who could possibly resist?
