Scandalous Domingo’s Shocking Return: Disgraced Maestro Handed TWO Coveted Gigs in L.A. Opera’s Explosive New Season

LOS ANGELES OPERA UNVEILS A SEASON OF CULTURAL BETRAYAL AND ELITIST ESCAPISM as the city burns. Incoming Music Director Domingo Hindoyan, a jet-setting maestro who calls SWITZERLAND home, dares to lecture Angelenos on “dreaming for a better future” while conducting from an ocean away. This isn’t an artistic renaissance—it’s a TONE-DEAF DECLARATION that classical music remains the playground of the global elite, utterly disconnected from the stark realities of the city it supposedly serves.

Hindoyan’s inaugural slate is a SAFE, COWARDLY retreat into century-old European warhorses like “Carmen” and “Nabucco,” wrapped in empty promises of making “classics feel new.” As homelessness, political strife, and social fracture define daily life, the opera’s bold vision is… Spanish Gothic splendor and Babylonian gardens. The message is clear: while you grapple with crisis, the aristocracy will be enjoying opulent fantasies, with tickets STARTING at $164 for the privilege.

The conductor’s admission that he’s not going “full steam” and his refusal to rule out starring his own Grammy-nominated wife, Sonya Yoncheva, reeks of NEPOTISTIC COMPLACENCY. This as his childhood friend Gustavo Dudamel abandons the L.A. Philharmonic, marking a chilling exodus of artistic leadership. The so-called “innovation” promised is a hollow echo in a gilded hall.

This season reveals a brutal truth: in an era demanding urgent, relevant art, our grand institutions would rather curate escape for the wealthy than hold a mirror to the society crumbling outside their doors. The final curtain is falling on relevance itself.