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Happy Thanksgiving!

Cultural Cocktail Hour‘s musical favorites on Thanksgiving include:

Simple Gifts” from Aaron Copland’s “Appalachian Spring,”

Beethoven’s “Ode to Joy,”

and anything by George Winston.

How about you?

Wishing all my readers a beautiful Thanksgiving!!

Photograph Above: Autumn in Cambridge © 2013 Leticia Marie Sanchez

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Backstage at LA Opera’s “Magic Flute”- 5 Fun Facts

                                                               Mozart & Movie *Magic* 

                                               Behind-the-scenes at LA Opera’s Magic Flute


                                                             Leticia Marie Sanchez

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Cultural Cocktail Hour went backstage to check out the animation at LA Opera’s Magic Flute a production that became a cult hit at the Komische Oper in Berlin.

Created by the British theater group 1927 (in collaboration with Barrie Kosky), the production combines animated film and live performers. CCH interviewed 1927′s director Suzanne Andrade and animator Paul Barritt.


Left: 1927 director Suzanne Andrade 

5 Fun Facts About  LA Opera’s Magic Flute

1. 1927

Theater Group 1927 derived their name from the year that the film “Jazz Singer” was released. Although this was the first “talkie” film (ie a film with sound) 1927 derives much of its inspiration from the silent film era.

2. No Theater Lights

No Theater Lights will be used in this production.Any reflection on the singers emanates from the animated films themselves.

3. Weimar Cabaret and German Expressionism

What was the Weimar Cabaret? Think German Gatsby-esque flappers.

Q: CCH:Did the era of the Weimar Cabaret and German Expressionist film influence 1927’s vision of the Magic Flute?”

A: Suzanne Andrade: “This time period did impact our style. For instance, the melodramatic forms used in German Expressionist film influenced the shapes of the bodies of our animated Magic Flute characters.”

4. Masonic Symbols

Much has been made of the esoteric Masonic Symbols in Mozart’s opera (For instance, the number 3 is a Masonic number: In the Magic Flute, there are 3 ladies, 3 boys, the 3 flats of E Flat Major).

Q: CCH: ”Did you intentionally  incorporate any Masonic symbols into your animation?”

 A: Suzanne Andrade: “While sitting in a pub Barritt and I debated adding Masonic leitmotifs. But we decided for the most part against it. However, Sarastro’s “all-seeing eye” (a Masonic symbol) will appear on screen. “

 5. Monostatos has a dog

I tested out this whimsical animation on the LA Opera Stage. Imagine the blocking for the cast, who are not only singing intense arias (like the Queen of the Night with her ferocious F6s) but interacting with fantastical creatures at the same time!







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Top Picks Nov 16th & 17th in LA

This weekend’s Cultural Cocktail recipe: a burst of Beethoven and a shot of 12th Century Music- enjoy!

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Los Angeles Chamber Orchestra Nov 16th and 17th

Hans Graf, conductor Alessio Bax, piano

DUTILLEUX:  Mystère de l’instant; MOZART:  Piano Concerto No. 24 in C minor

BEETHOVEN:  Symphony No. 6 in F major, “Pastoral”

Sat. Nov. 16, 8 pm Alex Theatre, Glendale

216 North Brand Boulevard, Glendale CA 91203

November 17, 7 pm. Royce Hall, UCLA 340 Royce Drive, Los Angeles, CA 90095. 213 622 7001

Gordon Getty Concerts

Music Inspired by St. Thomas of Canterbury & other 12th-Century Marvels

Sat. Nov 16th 7:00 p.m

Members of Los Angeles Master Chorale led by Grant Gershon.

Harold M. Williams Auditorium

Getty Center

1200 Getty Center Drive. LA, CA. 90049. (310) 440-7300




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Top Picks this weekend in LA

This weekend’s Cultural Cocktail recipe: a Shot of a suspenseful jury nail-biter, a Swizzle of Shakespearian opera, and a fusion of dance and painting- enjoy!

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Reginald Rose’s Twelve Angry Men

November 5 – December 1

The Pasadena Playhouse, 39 South El Molino Avenue, Pasadena CA 91101



Giuseppe Verdi’s Falstaff

Opening Night

Saturday Nov 9th 7:30

LA Opera

135 North Grand Ave. LA, CA 90012 (213) 972-8001


Art in Motion at the Norton Simon

Nov. 9th; 2:00 pm – 3:00 pm

Family Festival. Live Performances.

Theater | Free with admission. | No reservations needed

411 W. Colorado Boulevard Pasadena, CA 91105 626.449.6840


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Backstage at LA Opera’s Falstaff: “Let them Eat Parkin!”

                    Let them Eat Parkin!

                (It ain’t over till Falstaff sings)

                 Behind-the-scenes at LA Opera’s Falstaff


Leticia Marie Sanchez

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It ain’t over till Falstaff sings.

The chubby British knight is opera’s favorite foodie.

During a backstage tour at LA Opera, director Lee Blakeley revealed that Verdi’s opera about Shakespeare’s mischievous knight centers on appetite. Lust for food, money, and carnal pleasures. The feasts on Blakely’s stage illustrate the portly knight’s gusto for gastronomy, from plump turkey to Parkin cake. This sticky, traditional British dessert made of oatmeal and treacle dates back to the precise era when Falstaff would have cavorted with his merry wives of Windsor.

The Parkin cake prop highlights Blakeley’s attention to historical detail. This isn’t opera re-set during the Vietnam War, and the food props highlight the production’s meticulous accuracy. The food masks, designed by Hallie Dufresne, derive inspiration from fruit portraits created by sixteenth century Italian painter, Giuseppe Arcimboldo.

Left, Hallie Dufresne with Food Mask, Backstage LA Opera

Left, Guiseppe Arcimboldo, Spring, 1563






And how do the singers cope with singing whilst devouring turkey and Parkin?

Very carefully.

We test to see “what will choke them, what will not choke them,” explained Blakeley.


As if hitting those falsettos isn’t hard enough.

Mezzo-Soprano Ronnita Nicole Miller (Mistress Quickly) described eating cookies during much of Act Two Scene Two.

She sticks to oat flavored.

“They’re more period than Chocolate Chip.”


Cookie Monster Falstaff believes that extra body fat bolsters his libido. Ha actually takes the time to thank his portly frame for attracting the ladies. In the aria “Va Vecchio John” (Go for it Old John), Falstaff sings

“All the women in revolt together risk damnation for me/

Good body of Sir John/ which I nourish and indulge/ I thank you.”

LA Opera’s production revels in the exuberance of Falstaff.

Bawdy and Soul.

Left Dorothy Chandler Pavillion

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Theater Review: Macbeth at Lincoln Center Theater starring Ethan Hawke and Anne-Marie Duff– a Must See Production


Photography and text © 2013 Leticia Marie Sanchez

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By Leticia Marie Sanchez

No gimmicks. No tricks. Just pure unadulterated Shakespeare. Jack O’Brien’s poetic interpretation of Macbeth at Lincoln Center Theater reveals the essence of Shakespere’s text. This is where the magic happens.

The dark, sparse sets by Scott Pask enhanced the aura of mysticism provided by Mark Bennett’s musical score. The minimalist set design proved especially evocative when a single black vase of red roses graced the center stage during Duncan’s murder. The red underscored the passion between Macbeth and his wife, a lust that propelled bloody deeds. As Macbeth stabbed Duncan off-stage, the red petals floated to the floor one by one in poetic fashion, leaving a hauntingly empty vase in its wake.

The costumes by Catherine Zuber reflected the timelessness of Shakespeare’s play. The costumes occasionally alluded to more than one epoch: Edwardian, film noir, yet were successfully seamless because they immediately defined the interior world of the characters inhabiting them. For instance, with her black gloves, platinum tresses, and crimson lips, Anne-Marie Duff‘s Lady Macbeth looked every inch a Femme Fatale, her sylphlike frame belying steely ambition. Anne-Marie Duff embodied the full range of emotions necessary in a powerful Lady Macbeth: edgy, ruthless, seductive, and vulnerable. Furthermore, the palpable chemistry between Duff and Ethan Hawke provided the necessary fuel for the subsequent murder.

As Macbeth, Hawke delivered a naturalistic, charming interpretation. When a blood stained lackey appears at Macbeth’s dinner to reveal his attack on Banquo, Hawke asked, “Is he dispatched?” with such a light-hearted emphasis on the last word, the audience sees his chilling capacity to murder with ease. Hawke’s humor is an effective acting choice, a defensive shield demonstrating why, post-murder Macbeth does not descend (unlike his wife) into sleepwalking madness. Glib until the very end, Hawke muses, “I have almost forgot the taste of fears.” His humor corresponds with his hubris, as he rushes to battle blissfully unaware of his oncoming demise.

The entire cast effectively depicts the full palette of personalities in Macbeth’s orbit. Richard Easton personified the benevolence and gravitas of King Duncan with shades of charismatic playfulness as he tries to elicit a kiss from Lady Macbeth. Daniel Sunjata’s Macduff captures the passionate righteousness necessary to combat Macbeth. Particularly noteworthy was the performance of John Glover who portrayed both the Porter and a witch, stealing the show. In Act II, Scene 3, Glover as the Porter pointed to select members of the audience as though he were a stand up comedian, transforming the monologue into a hilarious, interactive piece. A live wire, Glover exposed the dynamic electricity possible in the theater. Finally, Glover, and the cast of witches (Byron Jennings, Malcolm Gets) illustrated the provocative gender-bending themes inherent in Shakespeare’s play by appearing as elderly men dressed in scanty black lingerie. This unorthodox vision is spot on with the Bard’s description. After all, when looking at the witches, Banquo remarked, “You should be women/And yet your beards forbid me to interpret/That you are so.” In other words, once again, Jack O’Brien’s Macbeth remained faithful to the text.

During the performance, a member of the audience sitting behind me gasped, whispering to her companion, “What a beautiful line.” Ultimately, this performance of Macbeth triumphed. Not only did it humanize the darker side of humanity, it illuminated the words of Shakespeare, through its stellar cast and poetic vision.

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Cultural Cocktail Hour in Manhattan!

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Cultural Cocktail Hour is in Manhattan this week!

What is the recipe for the perfect Cultural Cocktail in New York City this week?

Photography, Left.

Museum Mile

Fifth Avenue,

New York

© 2013 Leticia Marie Sanchez




#1 Lock eyes

with Vermeer’s Girl With a Pearl Earring

now on view at

the Frick.

(She’ll win the stare-down, no contest)


#2. Hie thee to the Jewish Museum

to see Chagall: Love, War and Exile-

for a different side to Chagall: profound and haunting. An exploration of loss both personal (his wife Bella) and global (the Holocaust) through his unique iconographical use of the Crucifixion as a secular symbol to personify suffering.



#3. Enjoy the Double, Double, Toil and Trouble at the Vivian Beaumont Theatre production of

Macbeth starring Ethan Hawke!

(Check back on Cultural Cocktail Hour later this week for a full review of Macbeth)

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Cultural Events LA: October 25th, 26th, & 27th

This weekend’s Cultural Cocktail recipe: 1 Part Sibelius, and a flourish of young talent at the Met Opera Auditions. Enjoy!

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Walt Disney Concert Hall

Fri Oct 25 8:00PM Sat Oct 26 8:00PM Sun Oct 27 2:00PM

Esa-Pekka Salonen, conductor; Leila Josefowicz, violin; IVES: The Unanswered Question; SALONEN: Violin Concerto; SIBELIUS: Symphony No. 5 

Walt Disney Concert Hall. 111 S. Grand Ave. LA, CA USA 90012 (323) 850-2000

WDCH Photo:© 2010 Leticia Marie Sanchez

Metropolitan Opera National Council 2013 Western Regional Finals

Saturday Oct. 26- 1:00 pm

The Colburn School. Zipper Concert Hall. 200 South Grand, LA. 90012.

Ticket Price Is $35 per person.Tickets may be purchased by contacting: Fred Dear, 626. 257.7878  -

Send $35 check made out to “MONC-‘Western Region.” Mail to:  MONC – Western Region, 1415 Indiana Avenue, South Pasadena, CA  91030

Colburn School Photo: © 2010 Leticia Marie Sanchez

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Cultural Events LA October 20th and 21st

This weekend’s Cultural Cocktail recipe: 1 Part Chekhov, a dash of Beethoven, and a double dose of concerts at the Getty Villa! Enjoy!

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Stacy Keach, Grace Gummer, Josh Radnor record David Mamet’s adaptation of Chekhov’s “Uncle Vanya”

for L.A. Theatre Works Oct. 17-20

Thursday, Oct. 17 @ 8 pm; Friday, Oct. 18 @ 8 pm; Saturday, Oct. 19 @ 3 pm & 8 pm0

Sunday, Oct. 20 @ 4 pm. James Bridges Theater.  UCLA School of Theater, Film and Television. 235 Charles E. Young Drive. Los Angeles, CA 90095 (310-827-0889 or


Beethoven, Bagels & Banter Oct. 20th 11 am

Robert Davidovici, Violin; Alexander Shtarkman, Piano;  Antonio Lysy, Cello; Beethoven – Kakadu Variations for Piano Trio in G major op. 121a; Debussy – Sonata for Cello and Piano in D minor (1915); Ravel – Sonata for Violin and Piano; Brahms – Piano Trio in C minor op. 101;

The Eli & Edythe Broad Stage, 1310 11th St. Santa Monica CA 90401 or call Box Office at 310.434.3200


Concerts at the Getty Villa

Mahsa and Marjan Vahdat

Sat, Oct. 19th 7pm; Sun October 20th 3:00 p.m

Call (310) 440-7300 or visit

Photo: Copyright 2009 Leticia Marie Sanchez

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Top Pick this weekend in LA

This weekend’s Cultural Cocktail Hour recipe involves a dose of drawings by Klimt, Boucher, Poussin, and Bernini

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The Poetry of Paper

Closes October 20th

Getty Center. 1200 Getty Center Drive. LA, CA. 90049. (310) 440-7300

Portrait of a Young Woman Reclining, 1897–98, Gustav Klimt

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