l.a. opera

Opera has housed a long and curious fetish for the convent. Around a century ago, composers couldn’t get enough of lustful, visionary nuns. Although relatively tame next to what was to follow, Puccini’s 1918 “Suor Angelica” revealed a convent where worldly and spiritual desires collide.

But Hindemith’s “Sancta Susanna,” with its startling love affair between a nun and her maid servant, titillated German audiences at the start of the roaring twenties, and still can. A sexually and violently explicit production in Stuttgart last year led to 18 freaked-out audience members requiring medical attention — and sold-out houses.

Los Angeles Opera got in the act early on. A daring production of Prokofiev’s 1927 “The Fiery Angel,” one of the operas that opened the company’s second season in 1967, saw, wrote Times music critic Martin Bernheimer, “hysterical nuns tear off their sacred habits as they writhe climactically in topless demonic frenzy.”

Now we have, as a counterbalance to a lurid male gaze as the season’s new opera for L.A. Opera’s 40th anniversary season, Sarah Kirkland Snider’s sincere and compelling “Hildegard,” based on a real-life 12th century abbess and present-day cult figure, St. Hildegard von Bingen. The opera, which had its premiere at the Wallis on Wednesday night, is the latest in L.A. Opera’s ongoing collaboration with Beth Morrison Projects, which commissioned the work.

Elkhanah Pulitzer’s production is decorous and spare. Snider’s slow, elegantly understated and, within bounds, reverential opera operates as much as a passion play as an opera. Its concerns and desires are our 21st century concerns and desires, with Hildegard beheld as a proto-feminist icon. Its characters and music so easily traverse a millennium’s distance that the High Middle Ages might be the day before yesterday.

Hildegard is best known for the music she produced in her Rhineland German monastery and for the transcriptions of her luminous visions. But she has also attracted a cult-like following as healer with an extensive knowledge of herbal remedies some still apply as alternative medicine to this day, as she has for her remarkable success challenging the patriarchy of the Roman Catholic Church.

She has further reached broad audiences through Oliver Sacks’ book, “Migraine,” in which the widely read neurologist proposed that Hildegard’s visions were a result of her headaches. Those visions, themselves, have attained classic status. Recordings of her music are plentiful. “Lux Vivens,” produced by David Lynch and featuring Scottish fiddle player Jocelyn Montgomery, must be the first to put a saint’s songs on the popular culture map.

Margarethe von Trotta made an effective biopic of Hildegard, staring the intense singer Barbara Sukowa. An essential biography, “The Woman of Her Age” by Fiona Maddocks, followed Hildegard’s canonization by Pope Benedict XVI in 2012.

Snider, who also wrote the libretto, focuses her two-and-a-half-hour opera, however, on but a crucial year in Hildegard’s long life (she is thought to have lived to 82 or 83). A mother superior in her 40s, she has found a young acolyte, Richardis, deeply devoted to her and who paints representations of Hildegard’s visions. Those visions, as unheard-of divine communion with a woman, draw her into conflict with priests who find them false. But she goes over the head of her adversarial abbot, Cuno, and convinces the Pope that her visions are the voice of God.

Mikaela Bennett, left, as Richardis von Stade and Nola Richardson as Hildegard von Bingen during a dress rehearsal of “Hildegard.”

(Carlin Stiehl / For The Times)

Hildegard, as some musicologists have proposed, may have developed a romantic attachment to the young Richardis, and Kirkland turns this into a spiritual crisis for both women. A co-crisis presents itself in Hildegard’s battles with Cuno, who punishes her by forbidding her to make music, which she ignores.

What of music? Along with being convent opera, “Hildegard” joins a lesser-known peculiar genre of operas about composers that include Todd Machover’s “Schoenberg in Hollywood,” given by UCLA earlier this year, and Louis Andriessen’s perverse masterpiece about a fictional composer, “Rosa.” In these, one composer’s music somehow conveys the presence and character of another composer.

Snider follows that intriguing path. “Hildegard” is scored for a nine-member chamber ensemble — string quartet, bass, harp, flute, clarinet and bassoon — which are members of the L.A. Opera Orchestra. Gabriel Crouch, who serves as music director, is a longtime member of the early music community as singer and conductor. But the allusions to Hildegard’s music remain modest.

Instead, each short scene (there are nine in the first act and five — along with entr’acte and epilogue — in the second), is set with a short instrumental opening. That may be a rhythmic, Steve Reich-like rhythmic pattern or a short melodic motif that is varied throughout the scene. Each creates a sense of movement.

Hildegard’s vocal writing was characterized by effusive melodic lines, a style out-of-character with the more restrained chant of the time. Snider’s vocal lines can feel, however, more conversational and more suited to narrative outline. Characters are introduced and only gradually given personality (we don’t get much of a sense of Richardis until the second act). Even Hildegard’s visions are more implied than revealed.

Under it all, though, is an alluring intricacy in the instrumental ensemble. Still with the help of a couple angels in short choral passages, a lushness creeps in.

The second act is where the relationship between Hildegard and Richardis blossoms and with it, musically, the arrival of rapture and onset of an ecstasy more overpowering than Godly visions. In the end, the opera, like the saint, requires patience. The arresting arrival of spiritual transformation arrives in the epilogue.

Snider has assembled a fine cast. Outwardly, soprano Nola Richardson can seem a coolly proficient Hildegard, the efficient manager of a convent and her sisters. Yet once divulged, her radiant inner life colors every utterance. Mikaela Bennett’s Richardis contrasts with her darker, powerful, dramatic soprano. Their duets are spine-tingling.

Tenor Roy Hage is the amiable Volmar, Hildegard’s confidant in the monastery and baritone David Adam Moore her tormentor abbot. The small roles of monks, angels and the like are thrilling voices all.

Set design (Marsha Ginsberg), light-show projection design (Deborah Johnson), scenic design, which includes small churchly models (Marsha Ginsberg), and various other designers all function to create a concentrated space for music and movement.

All but one. Beth Morrison Projects, L.A. Opera’s invaluable source for progressive and unexpected new work, tends to go in for blatant amplification. The Herculean task of singing five performances and a dress rehearsal of this demanding opera over six days could easily result in mass vocal destruction without the aid of microphones.

But the intensity of the sound adds a crudeness to the instrumental ensemble, which can be all harp or ear-shatter clarinet, and reduces the individuality of singers’ voices. There is little quiet in what is supposed to be a quiet place, where silence is practiced.

Maybe that’s the point. We amplify 21st century worldly and spiritual conflict, not going gentle into that, or any, good night.

‘Hildegard’

Where: The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills

When: Through Nov. 9

Tickets: Performances sold out, but check for returns

Info: (213) 972-8001, laopera.org

Running time: About 2 hours and 50 minutes (one intermission)

Los Angeles city officials on Thursday carved out a curfew exemption for ticket holders of indoor events and performing arts venues downtown including the Music Center, paving the way for evening performances of Center Theatre Group’s “Hamlet” and Los Angeles Opera’s “Rigoletto.”

The news comes as Mayor Karen Bass’ 8 p.m.-to-6 a.m. curfew for the civic center area approaches its third night and arts organizations, restaurants and other businesses across the area report a drop in patrons. On Wednesday, Center Theatre Group canceled a second night of director Robert O’Hara’s world-premiere adaptation of “Hamlet” at a cost of roughly $35,000 in ticket sales per night. That’s in addition to what the company is spending on production expenses.

“At this time, Center Theatre Group, the Music Center, and the surrounding streets have not been directly impacted by protest or law enforcement activity. Our staff and artists are already on site, and we look forward to seeing you,” CTG wrote in a statement Thursday.

Major protests are planned nationwide for Saturday, when Trump’s 79th birthday coincides with the massive 250th anniversary military parade he is throwing in Washington, D.C., at a reported cost of $45 million.

One of the so-called “No Kings” protests is scheduled to take place 10 a.m. to 2 p.m. in front of City Hall, prompting Center Theatre Group to cancel its Saturday matinee and evening performances of “Hamlet.” Other events scheduled for that day and night have been been postponed, including a show by the rock band Ozomatli that’s part of the Grand Performances series at California Plaza, and a Metro Art event called Bollywood Express at Union Station.

The Broad museum, adjacent to the Music Center, said it will close all weekend. “The safety and well-being of our visitors and staff continues to be our highest priority,” the museum said in a statement.

L.A. Opera, however, issued a mid-afternoon news release announcing the curfew exemption and noting that “Rigoletto,” scheduled to run from 7:30 p.m. to about 10:30 p.m. Thursday, would go on as planned. The company also is moving forward with its Saturday “Renée Fleming and Friends” concert, scheduled for 7:30 p.m.

“Attendees will need to leave the theater immediately afterward without lingering on the Music Center campus,” the release said, adding that guests may need to prove their attendance at the show if stopped by law enforcement. “All ticket holders should have their tickets with them while in the area, either printed, digital or as a screen shot of the ticket.”

The release also says that people should avoid driving through downtown from the south, where much of the military activity is centered.

A representative for L.A. Opera acknowledged that given the circumstances, ticket holders may choose not to show up. They will be allowed to exchange their tickets for one of the remaining performances June 15, 18 or 21; or they can request a refund from the box office.

When Domingo Hindoyan, the Venezuelan chief conductor of the Royal Liverpool Philharmonic, made his debut with L.A. Opera last November with “Roméo et Juliette,” Times classical music critic Mark Swed called it “a coup for the company.” Swed also wondered if it was a “signal that he is a candidate to succeed Music Director James Conlon, who steps down in 2026?”

It turns out Swed was right.

On Friday, L.A. Opera announced that Hindoyan has been named the company’s Richard Seaver Music Director. He will succeed Conlon, the longtime music director who joined the company in 2006 and announced last year that he will step down at the end of the 2026 season. Conlon will take on the newly created role of conductor laureate.

In a statement, Hindoyan said he was deeply honored to become only the third music director in the company’s nearly 40-year history. “From the first rehearsal, I felt a strong connection to the extraordinary musicians, staff, and spirit of this company,” he said. “It is a privilege to follow Maestro James Conlon, whose legacy has shaped L.A. Opera into what it is today — a dynamic and ambitious institution.”

After considering “dozens” of candidates from around the world, L.A. Opera President and CEO Christopher Koelsch said he was “struck by the fluidity of his technique and the clarity and command of his musical ideas” after seeing Hindoyan at the Berlin State Opera in 2016. “His deeply collaborative nature and generous spirit in rehearsal make him a favorite among singers, who are inspired by the space he creates for musical risk-taking and expressive freedom.” Koelsch also praised Hindoyan’s “deep rapport with musicians and audiences alike.”

Hindoyan, 45, is originally from Caracas, Venezuela, and began his career as a violinist. Like departing Los Angeles Philharmonic Music Director Gustavo Dudamel, he attended Venezuela’s renowned public music education program known as El Sistema.

In addition to his role as chief conductor of the Royal Liverpool Philharmonic Orchestra, a role he has held since 2021, Hindoyan has served as principal guest conductor for the Polish National Radio Symphony Orchestra; he has conducted opera productions at New York City’s Metropolitan Opera, Lyric Opera of Chicago, Berlin State Opera, Vienna State Opera, Paris Opera, Royal Swedish Opera, Dresden Semperoper, Madrid’s Teatro Real and Barcelona’s Gran Teatre del Liceu.

In a statement, Conlon said he was happy to pass the baton to someone who shares his passion for opera.

“Domingo is an artist of exceptional depth and imagination, and I know the company will welcome him warmly,” Conlon said.

Hindoyan’s five-year contract will begin July 1, 2026, and continue through the 2031 season. According to a Facebook post from Hindoyan, the new role in L.A. will run concurrently with his position with the Royal Liverpool Philharmonic Orchestra.

Hindoyan, son of Venezuelan violinist Domingo Garcia, a former president of the Orquesta Sinfónica Venezuela, is married to the soprano Sonya Yoncheva, who’s singing at the Metropolitan Opera in Tchaikovsky’s “The Queen of Spades.” (Performances are scheduled on Wednesday and Saturday.) The couple has two children and lives in Switzerland.

In late April, the album “Tchaikovsky: Souvenir de Florence & Symphony No. 6 ‘Pathetique,’” from Hindoyan and the Royal Liverpool Philharmonic Orchestra, was released.