By Daniel Kohn
By Imade Nibokun
By Arrissia Owen
By Lilledeshan Bose
By Sarah Bennett
By Adam Lovinus
By Jena Ardell
By Nate Jackson
Think of it, this ad hoc aggregation of studio freelancers and part-timers, touring the concert halls of Europe just like the Boston Symphony and the Los Angeles Philharmonic. There's pride for you. Or "vanity," did I hear someone whisper?
Back home in Costa Mesa, a new venue is being readied for the Pacific Symphony upon its return. The new Segerstrom Hall, with its 2,000 seats, is bound to be an improvement on the older, 3,000-seat Segerstrom Hall across the way, although the most glamorous of the opening-week celebrations—the visiting Russians with their ballets and operas—take place in the old hall.
Meanwhile, as in some of the best operas you can name, the dark clouds gather. Opera Pacific, not so long ago a major adornment at the old hall, now totters: one performance canceled, one new production replaced with a warehouse item, the once-splendid PorgyandBessreduced to an unstaged version.
Nobody ever said it would be easy.