Mr. Blake will join the Los Angeles Symphony for their annual holiday concert at the Cerritos Performing Arts Center. The program will consist of everyone’s favorite holiday songs as well as some classic holiday favorites. Something for everyone to enjoy. Looking forward to ringing in the Holidays with you.

Mr. Blake joins the Los Angeles Symphony for their gala concert, in celebration of Korean Independence Day. The concert will consist of Arias and Duets from Tosca, La Traviata, Rigoletto, and La Boheme, as well as Neapolitan Songs by Tosti and Di Capua and Rossini.

Considered Strauss’s only true comic opera, this rarely performed work is by turns elegiac and incisively witty. The brilliantly written libretto by Stefan Zweig (loosely based on the Renaissance play by Ben Jonson) features a madcap cast of characters in a variety of guises. The imaginative and colorful production by Christian Räth (Das Wunder der Heliane, SummerScape 2019) featuring a stellar group of performers will be sung in German with English supertitles.

Considered Strauss’s only true comic opera, this rarely performed work is by turns elegiac and incisively witty. The brilliantly written libretto by Stefan Zweig (loosely based on the Renaissance play by Ben Jonson) features a madcap cast of characters in a variety of guises. The imaginative and colorful production by Christian Räth (Das Wunder der Heliane, SummerScape 2019) featuring a stellar group of performers will be sung in German with English supertitles.

Considered Strauss’s only true comic opera, this rarely performed work is by turns elegiac and incisively witty. The brilliantly written libretto by Stefan Zweig (loosely based on the Renaissance play by Ben Jonson) features a madcap cast of characters in a variety of guises. The imaginative and colorful production by Christian Räth (Das Wunder der Heliane, SummerScape 2019) featuring a stellar group of performers will be sung in German with English supertitles.

Considered Strauss’s only true comic opera, this rarely performed work is by turns elegiac and incisively witty. The brilliantly written libretto by Stefan Zweig (loosely based on the Renaissance play by Ben Jonson) features a madcap cast of characters in a variety of guises. The imaginative and colorful production by Christian Räth (Das Wunder der Heliane, SummerScape 2019) featuring a stellar group of performers will be sung in German with English supertitles.

Considered Strauss’s only true comic opera, this rarely performed work is by turns elegiac and incisively witty. The brilliantly written libretto by Stefan Zweig (loosely based on the Renaissance play by Ben Jonson) features a madcap cast of characters in a variety of guises. The imaginative and colorful production by Christian Räth (Das Wunder der Heliane, SummerScape 2019) featuring a stellar group of performers will be sung in German with English supertitles.

Mr. Blake will join soprano Olga Senderskaya and pianist Maria Nikitin in recital at the famed hall at Santa Cecilia in Rome. The program will consist of operatic arias and duets as well as a myriad of songs from both the bel canto and romantic periods.

Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.

Akhnaten is set during the 17-year reign of Akhnaten, around 1350 B.C.E. The location moves between the ancient Egyptian capital of Thebes and Akhenaten’s new capital city at Akhetaten, as well as the ruins of the subsequently destroyed Akhetaten.

Music

The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.

Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.

Akhnaten is set during the 17-year reign of Akhnaten, around 1350 B.C.E. The location moves between the ancient Egyptian capital of Thebes and Akhenaten’s new capital city at Akhetaten, as well as the ruins of the subsequently destroyed Akhetaten.

Music

The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.

Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.

Akhnaten is set during the 17-year reign of Akhnaten, around 1350 B.C.E. The location moves between the ancient Egyptian capital of Thebes and Akhenaten’s new capital city at Akhetaten, as well as the ruins of the subsequently destroyed Akhetaten.

Music

The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.

Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.

Akhnaten is set during the 17-year reign of Akhnaten, around 1350 B.C.E. The location moves between the ancient Egyptian capital of Thebes and Akhenaten’s new capital city at Akhetaten, as well as the ruins of the subsequently destroyed Akhetaten.

Music

The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.

Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.

Akhnaten is set during the 17-year reign of Akhnaten, around 1350 B.C.E. The location moves between the ancient Egyptian capital of Thebes and Akhenaten’s new capital city at Akhetaten, as well as the ruins of the subsequently destroyed Akhetaten.

Music

The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.

Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.

Akhnaten is set during the 17-year reign of Akhnaten, around 1350 B.C.E. The location moves between the ancient Egyptian capital of Thebes and Akhenaten’s new capital city at Akhetaten, as well as the ruins of the subsequently destroyed Akhetaten.

Music

The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.

Akhnaten is one of Philip Glass’s three large-scale operas based on a “big idea,” in this case monotheism, following Einstein on the Beach, which dealt with new notions of time and space, and Satyagraha, which explored the spiritual and political revelation of non-violence. Satyagraha and Akhnaten, especially, deal largely with the unseen forces affecting the inner (psychological), interpersonal (political), and universal (mystical) aspects of existence, subjects that are uniquely portrayed by the composer’s entrancing musical lines.

Akhnaten is set during the 17-year reign of Akhnaten, around 1350 B.C.E. The location moves between the ancient Egyptian capital of Thebes and Akhenaten’s new capital city at Akhetaten, as well as the ruins of the subsequently destroyed Akhetaten.

Music

The score of this opera is lyrical, elegiac, and, while clearly a product of its famous composer (whose intricate, repetitive sonic textures unfold differently than most other classical music), is among the most easily appreciated of his creation. The vocal lines also tend toward the melodic, even if they are original and remarkable. The enigmatic title role is sung by a countertenor, and the chorus also has an important role throughout, appearing as priests in the beginning, people of Egypt throughout, and the spirits of the departed at the end.

Having charmed audiences around the world, this Barrie Kosky’s thrilling production is reminiscent of the silent film era thanks to an unexpected set made of screens and projections. The Flute like you’ve never seen it before!

Armed with a magic flute and enchanted bells, Prince Tamino and bird-catcher Papageno run to the rescue of Princess Pamina. On the way they encounter dangerous dragons, dancing animals and… love!

Having charmed audiences around the world, this Barrie Kosky’s thrilling production is reminiscent of the silent film era thanks to an unexpected set made of screens and projections. The Flute like you’ve never seen it before!

Armed with a magic flute and enchanted bells, Prince Tamino and bird-catcher Papageno run to the rescue of Princess Pamina. On the way they encounter dangerous dragons, dancing animals and… love!

Having charmed audiences around the world, this Barrie Kosky’s thrilling production is reminiscent of the silent film era thanks to an unexpected set made of screens and projections. The Flute like you’ve never seen it before!

Armed with a magic flute and enchanted bells, Prince Tamino and bird-catcher Papageno run to the rescue of Princess Pamina. On the way they encounter dangerous dragons, dancing animals and… love!

Having charmed audiences around the world, this Barrie Kosky’s thrilling production is reminiscent of the silent film era thanks to an unexpected set made of screens and projections. The Flute like you’ve never seen it before!

Armed with a magic flute and enchanted bells, Prince Tamino and bird-catcher Papageno run to the rescue of Princess Pamina. On the way they encounter dangerous dragons, dancing animals and… love!

Aaron Blake, tenor, with Ken Noda, piano

George London Foundation Recital
Stellar opera singers, many of whom were winners of a George London prize early in their careers, or recent George London Award recipients, perform in this annual series of recitals.

Aaron Blake, tenor, with Ken Noda, piano
Aaron Blake, a 2017 George London Award winner, has received recent acclaim for performances in some of the opera world’s most prominent productions: the role of Timothy Laughlin in Gregory Spears’s Fellow Travelers; a New York City Opera debut as Louis in Peter Eötvös’ operatic adaptation of Angels in America; The High Priest of Amon in Philip Glass’s Akhnaten at the Metropolitan Opera; and Tamino in the Komische Oper Berlin production of Mozart’s The Magic Flute. Works by Tosti, Liszt, Donizetti, Strauss, Rachmaninov, Puccini, Faure, and Arlen to be performed. 

This concert will take place in the Morgan's Gilder Lehrman Hall. In compliance with city guidelines, museum visitors 12 and older must show proof of at least one shot of a Covid-19 vaccine approved for emergency use by the FDA or the World Health Organization. 

I am pleased to bring the art of the classical vocal recital to Middlebury Indiana and The Crystal Valley Concert Series with my long time collaborator Cris Frisco. We have planned a varied program of art song, aria, and the great American Songbook. I look forward to seeing you at the venue and sharing an afternoon in song.