Back in a triumphant reworking of 'Young Caesar' at Disney Hall

January 01, 2020

The costumes by Daniel Selon, who also designed the puppets, included goofy togas and fright wigs, but nothing so silly as to prevent moving characterizations from the singers, all of whom excelled. Adam Fisher’s Gaius touchingly flowered from gullible teenager to sensual lover to warrior. Hadleigh Adams emphasized wistful wisdom, not lechery, as Nicomedes. Nancy Maultsby (Gaius’ pushy aunt Julia), Delaram Kamareh (Gaius’ wife, Cornelia) and Timur (Gaius’ slave-boy Dionysus) brought subtle touches to their short arias.

PoetsArtists: PA#83 The Portrait Issue / April 2017

Daniel Maidman’s portrait of Los Angeles-based soprano Delaram Kamareh has a Victorian quality to it, reminiscent of the great paintings of strikingly beautiful women by the Aesthetic Movement. While the subject’s pose is serene, her eyes are watchful and alert, conveying Maidman’s fascination with Kamareh’s overpoweringly vivid presence during her performances. Whilst Maidman is especially captivated by physical beauty, he always seeks to convey a sense of specificity and uniqueness to each individual in his artworks. It is hardly possible to capture the soprano’s spectacular voice and powerful onstage charisma in a motionless portrait, yet Maidman’s skillful rendition invites the viewer to share his admiration of her elegant splendor which, inexplicably, also seems to convey her talents.

'Water Passion': Christ's death retold with musical echoes of the East

 One could have nothing but the highest praise, too, for the solo singers, each of them coping amazingly well with the technical and expressive rigors of their multiple, gender-fluid roles. With her almost blindingly pure vocal timbre, soprano Delaram Kamareh climbed to the unearthly heights of Tan's vocal lines. Bass-baritone Stephen Bryant was no less intense and skilled in his various vocal tasks.

Creating an opera as big as L.A.

Jonah Levy, a thirty-year-old trumpet player based in Los Angeles, has lately developed a curious weekend routine. On Saturday and Sunday mornings, he puts on a white shirt, a black tie, black pants, and a motorcycle jacket, and heads to the ETO Doors warehouse, in downtown L.A. He takes an elevator to the sixth floor and walks up a flight of stairs to the roof, where a disused water tower rises an additional fifty feet. Levy straps his trumpet case to his back and climbs the tower’s spindly, rusty ladder. He wears a safety harness, attaching clamps to the rungs, and uses weight-lifting gloves to avoid cutting his palms. At the top, he warms up on his piccolo trumpet, applies sunscreen, and takes in views that extend from the skyscrapers of downtown to the San Gabriel Mountains. Just after 11 a.m., he receives a message on a walkie-talkie. “The audience is approaching the elevator,” a voice says.

Tan Dun’s Water Passion bathes all in excellence

Vocal soloists soprano-in-excelsis Delaram Kamareh and basso profundo-in-extremis Stephen Bryant dazzling in challenging roles that preclude nearly all potential soloists, given their respective tessituras alone. Stupendously high notes and long leaps not heard since Yma Sumac were the challenge, with Ms. Kamareh’s hands and arms dancing and text-shaping along. Mr. Bryant was asked to perform frequent Tibetan overtone throat and fry sounds, to one member of the audience a bit too frequently, especially at odd moments in the English text thankfully projected above the performers. His vocal production was prodigious and beautiful.


Iranian soprano Delaram Kamareh‘s extravagantly flexible voice is vibrant, alive with color, and packaged in a 25-year-old singer with a Fraggle-worthy shock of raven hair,  studded jacket, skinny leggings and stiletto heels that leave no mistake: this is no ordinary diva.  She flings notes about with spectacular abandon, but is always on-point. Her voice rode sliding high notes through the stratosphere, with shimmer all the way to the top, yet delivered lower passages rich with a warm, almost mezzo-like strength that showed versatility and range.  Kamareh has the magnetism of a rock star, but the pipes of the finest operatic coloratura, a colorful artist who portrays more ferocity than flash, and is absolutely electrifying,

On the Radio: Growing up as a female vocalist in Iran

Interview with All is Yar preceding LA Master Chorale Debut

Delaram to Perform at Disney Hall with the LA Master Chorale

Delaram joins the Los Angeles Master Chorale under Grant Gershon in a performance of Tan Dun’s masterpiece Water Passion. Visit the LA Master Website for more information at: www.lamc.orgle more about this item. What's it about and what makes it interesting? Give people the info they need to go ahead and take the action you want.


Soprano Delaram Kamareh, Knussen’s Winnie the Pooh steal the show at Southwest Chamber Music

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