HOLLYWOOD HITS A HIGH NOTE
Legendary directors Woody Allen and William Friedkin are known for making memorable movies like “Annie Hall” and “The Exorcist,” but this year the Los Angeles Opera had them singing a different tune. Both filmmakers joined forces to direct Puccini’s three-part Il Trittico (The Tryptic), making it one of the most glorious opening nights ever.
Opera lovers and Hollywood power players sailed past the red carpet and into the Dorothy Chandler’s VIP cocktail reception. That’s where we found funnyman Martin Short rubbing elbows with heavy hitters Sherry Lansing and Michael Eisner as well as with top musical talents like Josh Groban. The posh parade of custom tuxes and classy couture featured a few far out fashion statements, including one woman sporting a full sleeve tattoo and shocking pink locks. On the other hand, you can always count on Mrs. Gene Kelly to up the elegance quotient-this time in a form fitting fishtail gown and eye-catching purple wrap.
The buzz was all about the upcoming program, and opera CEO and Malibu rez Marc Stern couldn’t have been happier. “We’ve been trying to get Woody to do an opera for a very long time,” he told Malibu Seen. “This one is outstanding with a real Woody Allen twist.” The production of Il Trittico was generously underwritten by Marc and his wife Eva.
Soon it was showtime and we took our seats for the first of three one-act operas.
Friedkin’s Il Tabarro (The Cloak) takes place in Paris in 1910 and tells the story of a passionate love triangle with a tragic end. With the City of Light in the background and boats bobbing on the Seine, it was the first of set designer Santo Loquasto’s amazing creations. There was a total transformation for Suor Angelica (Sister Angelica), which takes place in 17th Century Sienna. Surrounded by ancient stone, stained glass windows, flickering votives and towering Cyprus trees, a cloistered nun is hiding a secret. Her personal sacrifice ends in religious redemption with a performance so powerful it had my entire row weeping. “It was so touching,” said General Director Placido Domingo following the act. “A lot of people were crying and I think a few may have even converted.” Was the director pleased at the way things were going so far? “Very,” he replied.
One imagines Puccini would have been very pleased as well. The composer always wanted The Triptych to be performed as a set and was said to have been outraged when it wasn’t. Although the two Friedkin selections weren’t exactly light hearted, Woody Allen left us laughing in part three with his comic Gianni Schicchi.
Woody was not on stage to take a bow, but the publicity-shy director did make an appearance at the gala dinner afterward. Tables on the outdoor plaza were done up in shades of gold and topped with yellow roses and ivy. A five piece jazz band played standards from a rotating stage. The general director had rave reviews for the performance, which he called “phenomenal.” He thanked Music Director James Conlon for his stellar performance and introduced the talented soloists to a roar of bravos, bravas and bravis.
After a big round of applause, we tucked into a gourmet dinner of duck prosciutto and truffle cheese, pumpkin raviolini and grilled fillet of beef accompanied by some tasty Laetitia Pinots. After all the emotion and intensity of the performance, the feast ended appropriately with a serious “passion fruit” panna cota. The evening was the main event in a splashy three-day celebration that commemorates the 150th anniversary of Puccini’s birth. The General Director promised “a very big Hollywood/LA Opera Weekend” and he couldn’t have had a better Hollywood ending.
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