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lls choreographer danielle agami costume designer emma kingsbury lighting designer john torres sound designer mark grey inspired by the life of explorer alexandra david néel meredith monk s three act quest opera uses monk s inimitable and hypnotic style to explore the loss and rediscovery of our inherent wonder more than 20 years after atlas first made its impact yuval sharon conceived and directed this landmark new production at monk s request the first outside director of any of the composer s works rather than depicting a literal globe trotting quest sharon s atlas takes alexandra on a metaphorical journey through her artistic imagination this is portrayed through a hand drawn aesthetic representing alexandra s self exploration through her own art coming full circle with the source material sharon s alexandra lightly parallels the life of gautama buddha stifled and sheltered by a well meaning family and comfortable suburban life alexandra is drawn into a quest through inner space revealing elusive lasting and transformative truths about herself and the world the production is visually anchored by a stage sculpture designed by es devlin in the form of a large sphere serving as a projection screen the sphere displays the hand drawn internal world of alexandra s imagination while the piece s choreography in which performers manually rotate and interact with it legitimizes the connection between reality and imagination formed by alexandra s art photography by craig matthew imaging die zauberflöte music by wolfgang amadeus mozart libretto by emmanuel shickaneder staatsoper unter den linden berlin germany premiere february 17 2019 director yuval sharon conductor alondra de la parra set designer mimi lien costume designer walter van beirendonck lighting designer reinhard traub video designer hannah wasileski sound designer markus böhm dramaturgy krystian lada this work wolfgang amadeus mozart s most famous opera by far is also his most enigmatic prince tamino falls in love with pamina after only having seen a picture of her but as her mother the queen of the night reports pamina is being held captive by sarastro at the queen s behest tamino and his companion papageno set off to free pamina from sarastro s temple but as soon as they arrive there the question of which characters are good and which are evil arises the only thing that seems clear is that pamina returns tamino s affections and in the end the two of them are united after difficult trials for 25 years august everding s production of die zauberflöte has enchanted staatsoper audiences of all ages but now the time has come for mozart s complex masterpiece to be examined anew and so american director yuval sharon carries away audiences to new worlds of images that are no less imaginative yet aesthetically quite different from the previous production at the heart of the production is the idea of a collage analogous to that of mozart s music itself oscillating constantly between the stylistic levels of singspiel and opera seria sharon together with stage designer mimi lien and belgian fashion designer walter van beirendonck takes this variety as an occasion to approach mozart s opera in a creatively playful and colorful way photography by monika rittershaus europeras 1 2 music by john cage los angeles philharmonic and the industry sony pictures studios culver city california november 6 11 2018 director yuval sharon scenic designer john lacovelli music advisor marc lowenstein lighting designer chris kuhl sound designer jody elff associate director alexander gedeon la phil new music group the industry cheekily titled europeras both a pun on european operas and your operas john cage s first opera explodes the european opera repertoire into a collage of arias and duets performed alongside a live orchestra and a pre taped mix of 101 layered opera fragments in keeping with the composer s pioneering embrace of indeterminacy the structure of the opera is entirely dictated by chance as a computer simulation of the i ching selects which arias will be sung where and by whom further complicating matters is cage s requirement that the producing company pull costumes and props from its archives creating a material counterpart to the collage of music drama and time the end result is a shocking humorous and sometimes moving portrait not only of operatic history but of the passage of time itself with much of the opera left to chance sharon s 2018 production a collaboration between his company the industry and the la phil turned to the location for inspiration drawing upon cage s period as a student of arnold schoenberg whereas schoenberg saw cinema as a successor to opera an interplay of sound drama and visual art recorded perfectly and able to be reproduced reliably time and time again cage instead saw the artform as the backbone of a uniquely american take on the genre pulling from this history sharon staged europeras 1 2 in a sony pictures soundstage using props and sets from films in place of the opera company archives called for in the score photography provided courtesy of the the la phil the industry lost highway music by olga neuwirth libretto by elfriede jelinek after the film by david lynch frankfurt opera bockenheimer depot frankfurt germany september 2018 director yuval sharon conductor karsten januschke set video and lighting designer jason h thompson live electronics markus noisternig and gilbert nouno video norbert ommer costume designer doey lüthi dramaturgy stephanie schulze the austrian composer olga neuwirth and german writer elfriede jelinek based this opera first performed in 2003 on david lynch s film a fascinating combination of psychothriller horror and film noir throughout the case study of a person who cannot cope with his fate barry gifford runs very ambitious storytelling which constantly leads to dead ends scene changes are feverish time and space unstable as are identities and sound worlds neuwirth s score is intermedial and full of complex notation fadeouts are altered sound spaces lavish live electronics and varied vocal expression are confronted with visual dimensions sharon s production both enhances the piece s inherent sense of uneasy and layered non reality and embraces its cinematic roots using a split stage sharon employs green screens to insert live singers into a projected video setting inspired by lynch s film joining them are actors dressed entirely in green fabric whose visible actions within the real setting hold a mysterious influence on the virtual layer the result is a piece as multidimensional and inscrutable as its source material wrapped in a layer of illusion that musical america called not only technically superb but astonishingly effective as theater photography by monika rittershaus lohengrin music by richard wagner bayreuther festspiele bayreuth germany premiere july 25 2018 director yuval sharon conductor christian thielemann choral conductor eberhard friedrich in 2018 yuval sharon made history when he became the first american director to mount a production at the bayreuth festival wagner s lohengrin this collaborative production saw sharon join with artists neo rauch and rosa loy whose stage and costume design washed the stage and cast in a fantastic frosted blue into which the title character s presence imbues a supernaturally bright electric spark in sharon s lohengrin elsa is the troubled protagonist whose imprisonment does not end with lohengrin s arrival but is rather replaced with forced marriage to a controlling stranger likewise ortrud is not the face of a secret pagan threat scheming to undermine christendom but rather an oppressed freethinker imploring elsa to exercise what remains of her free will and lohengrin far from the traditional holy warrior fighting selflessly on behalf of an unjustly accused woman is a master manipulator whose charisma nearly brings him to the seat of power sharon establishes this dynamic through a series of subtle dramatic cues culminating in a climactic scene in which elsa rather than falling dead after compromising her faith walks off into an unknown future photography provided courtesy of bayreuther festspiele a trip to the moon music by andrew norman los angeles philharmonic walt disney concert hall los angeles california march 2018 director yuval sharon associate director and choreographer diana wyenn set designer takeshi kata lighting designer christopher kuhl video designers jason h thompson and kaitlyn pietras sound designer mark grey costume designer ann closs farley conductor teddy abrams los angeles master chorale los angeles children s chorus inspired by georges méliès s 1902 film a trip to the moon grawemeyer winning composer andrew norman s whimsical opera tells the story of a band of bumbling astronomers as they explore the moon try to fix their broken rocket and interact with a mysterious race of moon people who are facing a perilous threat of their own yuval sharon directed the production of the premiere as part of his position as artist collaborator at the los angeles philharmonic photography provided courtesy of the la phil war of the worlds music by annie gosfield produced by los angeles philharmonic co produced by the industry and now art walt disney concert hall world premiere los angeles california november 2017 concept direction text adaptation yuval sharon conductor christopher rountree production designer calder greenwood inspired by the disruption of consensus reality presented by the proliferation of fake news in the mid 2010s and orson welles s infamous 1938 radio drama of h g wells s the war of the worlds in which the actor delivered a pseudojournalistic account so convincing that some listeners earnestly believed that the earth was being attacked yuval sharon created a new opera adaptation of the war of the worlds in 2017 produced by the industry the la phil and now art and with music by annie gosfield sharon s world premiere production eliminated the boundary between the concert hall and the streets of los angeles by expanding the action well beyond walt disney concert hall in a nod to welles s character an on air radio dj whose between song commentary becomes a play by play of the apocalypse the war of the worlds featured an intro and running commentary by sigourney weaver portraying herself as the celebrity emcee of an la phil concert interrupted by an alien invasion speaking to audiences from the safety of walt disney concert hall weaver relayed reports from three other locations throughout los angeles where alien destruction represented by large scale puppets and live aria performances took place before audiences on the street using three defunct air raid sirens to broadcast the performance from within the hall and the hall s sound system to transmit arias from outside war of the worlds reimagined opera as a coordinated city wide happening photography provided courtesy of the la phil young caesar music by lou harrison libretto by robert gordon new performance edition by the industry los angeles philharmonic walt disney concert hall los angeles california june 2017 director yuval sharon video designers jason h thompson and kaitlyn pietras lighting designer christopher kuhl choreographer danny dolan costume and puppet designer dan selon creative consultant eva soltes conductor marc lowenstein the industry and sharon created a new production of california maverick lou harrison s sublime and sinuous percussion rich depiction of caesar s love for another man the new performance edition fused harrison s original gamelan inspired orchestration with his later lush orchestral writing there was also a recording of the live performance photography provided courtesy of the la phil pelléas et mélisande music by claude debussy libretto by maurice maeterlinck cleveland orchestra severance music center cleveland ohio may 2017 director yuval sharon set designer mimi lien video designer jason h thompson choreographer danielle agami costume designer ann closs farley conductor franz welser möst debussy s only opera pelléas et mélisande is enigmatic in nearly every regard completely lacking in arias with an iridescent veil of soft music set to the pace and cadence of the french language it represented what debussy conceived as a uniquely french take on opera one that consciously rejects the wagnerian form debussy s sparse and puzzling libretto which he adapted from a then popular symbolist play charts an equally enigmatic drama characters rarely if ever articulate their emotions or experiences though much of the dramatic action takes place internally sharon s pelléas embraces these qualities with an atmosphere rich in shadowy liminality while a split stage forms a concrete division between the physical and emotional drama in front and below lies the orchestra from which the singers perform in isolation from one another on spotlit platforms above and behind is a large glass box designed by mimi lien which is variously transparent frosted or filled with a loose ephemeral mélange of fog and light within the box is a host of dancers whose costumes at time mirror those of the singers ethereal doubles whose interactions only highlight the incomprehensible existence of the protagonists themselves in addition to the box projections and several other technologies give the impression of a constantly shifting world surrounding the singer actors photography provided courtesy of the cleveland orchestra night and dreams a schubert beckett recital los angeles philharmonic walt disney concert hall los angeles california march 2017 director yuval sharon scenic designer john iacovelli lighting designer christopher kuhl costume designer judith dolan wig and hair designer carol doran presented by the los angeles philharmonic this production placed 20th century writer samuel beckett short plays alongside the music of his favorite composer franz schubert the evening length performance explored the common ground between these two creators in a theatrical evening structured like a recital presentation the aim was to unleash the music s drama and the drama s music and to explore how the austere theatricality of a single schubert song can illuminate the sonorous beauty of beckett s taut prose photography provided courtesy of the la phil nimbus performance installation los angeles philharmonic walt disney concert hall los angeles california ongoing throughout the 2016 17 season concept and direction yuval sharon music and sound designer rand steiger visual realization patrick shearn production designer ed carlson and danielle kaufman recorded performances by la phil musicians martin chalifour violin robert demaine cello marion arthur kuszyk oboe boris allakhverdyan clarinet andrew bain horn thomas hooten trumpet fallen rising performed by sopranos kirsten ashley wiest and ashley cutright activating an overlooked corridor of frank gehry s magnificent concert hall this visual and sound installati...