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☆ Opinion | Does Everyone Want to Be on the ‘Mommy Track’?
  + stars: | 2024-03-16 | by ( Jessica Grose | ) www.nytimes.com   time to read: +2 min
I think I had five jobs because they just weren’t working for what was going on in my personal life,” Koelsch told me. Now, she works four days from home, one day in the office, and her life is manageable. Remote work, and Washington State’s paid family and medical leave program, will make having another kid possible for her. One was the negative effect of the increased volatility and outrageous expense of child care (which I wrote about on Wednesday). I’ve seen a fair number of headlines over the past few years like this one, “WFH Goes From New Path to Dead End for Working Mothers,” and this one, “‘You Are Mommy Tracked to the Billionth Degree,’” suggesting that for ambitious moms, working from home is a mistake.
Persons: Liz Koelsch, Jessica Bennett, she’s, ” Koelsch, Washington State’s, I’ve Organizations: Covid, Washington, Reading Locations: “
☆ Los Angeles Opera to Present Puccini's 'Madama Butterfly' Reimagined on Film Soundstage
  + stars: | 2024-02-03 | by ( Associated Press | Feb. | At P.M. | ) www.usnews.com   time to read: +2 min
LOS ANGELES (AP) — The Los Angeles Opera opens its 2024-25 season Sept. 21 with Puccini’s “Madama Butterfly” reimagined in a film studio and said Saturday it will present the company premiere of Osvaldo Golijov’s “Ainadamar" while reducing its offerings from six main-stage productions to five. Mario Gras's “Butterfly” staging, first seen at Madrid’s Teatro Real in 2017, stars Karah Son as Cio-Cio-San and Jonathan Tetelma as Pinkerton in their company debuts. The six main-stage productions in 2022-23 brought in $9.4 million; the COVID-shortened 2019-20 season resulted in just under $7 million from four stagings. “That’ll be our ninth main-stage opera in Spanish in the company’s 38-year history,” Koelsch said. Tomer Zvulun’s staging of Verdi’s “Rigoletto,” which premiered at the 2019 Houston Grand Opera, opens May 31, 2025, with Quinn Kelsey, Rosa Feola in her company debut and René Barbera.
Persons: Puccini’s, Osvaldo Golijov’s “, Mario Gras's, Karah, Jonathan Tetelma, Pinkerton, James Conlon, Martin, Christopher Koelsch, ” Koelsch, ”, Ana María Martínez, Daniela Mack, Deborah Colker, “, Ian Judge’s, Roméo, Juliette ”, Duke Kim, Amina Edris, Michael Cavanagh’s, Conlon, Erica Petrocelli, Tomer, Verdi’s, Quinn Kelsey, Rosa Feola, René Barbera Organizations: ANGELES, Los Angeles Opera, Teatro Real, Martin Gas, LA, Hollywood, ” Revenue, Scottish Opera, Detroit Opera, Welsh National Opera, Metropolitan Opera, San Francisco Opera, Houston Grand Opera Locations: Japan, ”
☆ The Los Angeles Opera, Post-Plácido Domingo
  + stars: | 2023-05-12 | by ( Adam Nagourney | ) www.nytimes.com   time to read: +2 min
It survived the downturn without running a deficit, relying on salary reductions, a handful of layoffs, a $5 million five-year loan against the endowment, and federal aid. Domingo’s downfall stunned Los Angeles and its opera company, which had been so closely identified with the star tenor, who had been singing there since the 1960s and was instrumental in the creation of the company. It is difficult to say precisely whether attendance was affected by the departure of Domingo, given that the coronavirus shutdown followed so soon afterward. For many years his performances had drawn the biggest crowds, and his image was as integral to the company’s marketing as Gustavo Dudamel’s is for its neighbor, the Los Angeles Philharmonic. “It is unmistakably a loss because he’s such a titanic figure in the world,” Koelsch said.
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