Long Beach Opera (LBO) announced its 2026–27 season Wednesday, presenting a mix of early and contemporary repertoire largely staged aboard the Queen Mary. The season opens in September with a trio of works by composer Georges Aperghis and features staged projects that the company says aim to bring opera into the heart of the community.
Season anchored in voice and experimentation
The first program will showcase three theatrical vocal pieces by Aperghis — Le corps à corps, Les Sept Crimes de l'amour and Récitations — and will include performances by coloratura soprano Habin Kim and the opera debut of synth-pop performance artist Geneva Jacuzzi. LBO Artistic Director James Darrah Black and Music Director Christopher Rountree said the pairing of those artists reflects the company’s interest in work that crosses boundaries between genres.
“This season examines the human voice in a moment in which its power is more important than ever in the face of accelerating technology, the noise of the news, and all the things that are going on in the world. The human voice is this mythic, ancient thing,” Chief Creative Officer and Artistic Director James Darrah Black stated.
Along with the Aperghis presentation, the season will include an offering in January featuring soprano Amanda Forsythe with Opera Prima in Tormento Seicento. The company’s slate also lists several other projects to be presented aboard the ship, as well as a workshop at an academic venue.
Programming highlights and local partnerships
Long Beach Opera said its programming is designed to meet audiences “where they are” — in community spaces, on historic ships and inside rehearsal rooms. The company emphasized accessibility and a focus on the human voice as central themes for the season. Notable items in the announced schedule include:
- Three Aperghis pieces in September on the Queen Mary, featuring Habin Kim and Geneva Jacuzzi;
- A January presentation of Tormento Seicento with Amanda Forsythe and Opera Prima;
- Other productions aboard the Queen Mary: a recital by Anna Schubert; Peter Brook’s Impressions of Pelleas; Handel’s Tolomeo; and Ana Sokolović’s Svadba (Wedding);
- A spring workshop at UCLA for The Passion of Nell, a new work by Shelley Washington and Lisa Teasley, presented in collaboration with Opera UCLA and other partners.
The company framed the season as a continuation of its commitment to erase barriers between performers and audiences. Presenting work on the Queen Mary, a Long Beach landmark, underscores that approach by placing productions in an accessible, nontraditional opera setting.
Season snapshot
| Month | Work / Event | Artists |
|---|---|---|
| September | Three works by Georges Aperghis | Habin Kim; Geneva Jacuzzi (opera debut) |
| January | Tormento Seicento | Amanda Forsythe; Opera Prima |
| Spring | Workshop: The Passion of Nell | Shelley Washington; Lisa Teasley; Opera UCLA |
Long Beach residents and regular visitors can expect the remainder of the season to include the other listed productions, all described by LBO as part of a program that dissolves the boundary between art and audience. The company said its season seeks to be “bold, accessible, and stubbornly present,” reflecting an intent to adapt opera’s traditional forms for contemporary audiences.
Local context and consequences
The decision to use the Queen Mary as the primary venue continues a trend of arts organizations activating Long Beach’s waterfront attractions. The ship has hosted concerts, festivals and arts presentations in recent years, and LBO’s season contributes to cultural programming that draws audiences downtown. Presenting a workshop at UCLA also signals collaboration with regional academic institutions, which can expand opportunities for student engagement and professional development.
For Long Beach patrons, the season offers a mix of early music, contemporary vocal experimentation and new-work development that could broaden the city’s cultural offerings. Ticketing details, exact dates and additional casting information were not included in the initial announcement; LBO indicated more specifics will be released as production schedules are finalized.
Long Beach Opera’s approach — staging intimate, sometimes experimental works in nontraditional venues — continues to shape the local arts calendar and is likely to draw both longtime opera-goers and audiences seeking unconventional performance experiences.
