James Conlon reflects on 20 years as L.A. Opera music director

Monday, June 22, 2026

James Conlon, a conductor with extensive European experience, unexpectedly became music director of Los Angeles Opera in 2004 at the invitation of Plácido Domingo, leading the company for two decades. His steady leadership transformed the relatively young institution into a respected opera company, blending European artistic rigor with the growing American opera scene.

In September 2004, James Conlon, a 54-year-old conductor with a distinguished European career, accepted an unexpected offer to become music director of Los Angeles Opera. At the time, Conlon had just concluded a nine-year tenure as music director of the Paris Opera and had previously led the Rotterdam Symphony, Cologne Opera, and Cologne’s Gürzenich Orchestra. The invitation came directly from Plácido Domingo, the renowned tenor and then head of Los Angeles Opera, who sought a steadying presence to guide the growing company.

Conlon, a New Yorker by birth, had spent more than 20 years working primarily in Europe before deciding to return to the United States. Although initially expecting to take a break from high-profile responsibilities after stepping down in Paris, he found himself quickly drawn to Los Angeles Opera’s community and mission. “It was as simple as that,” he reflected, describing how he immediately felt at home with the orchestra, singers, and staff upon his arrival. What was intended as a short, three- or four-year engagement extended into two decades.

When Conlon stepped into the role, Los Angeles Opera was still maturing as an institution. Founded in 1986, the company had emerged only a few years after the 1984 Olympic Arts Festival, when London’s Royal Opera performed at the Dorothy Chandler Pavilion. Unlike many older opera houses, L.A. Opera initially operated without its own orchestra or a full-time music director, relying heavily on touring productions and infrastructure built largely from scratch.

Domingo, recognizing the need for an experienced musical leader, saw Conlon’s blend of European expertise and artistic rigor as an ideal fit to shape the company’s future. While some viewed the appointment of a New York-born, European-oriented conductor as an unusual choice for Los Angeles, Conlon’s steady leadership helped establish the company’s growing reputation over 20 years.

Conlon marked the end of his tenure by conducting the company’s final performance of Mozart’s “The Magic Flute” at the Dorothy Chandler Pavilion. As he prepares to depart, his office—filled with mementos from decades of work—reflects the deep imprint he has left on the region’s operatic landscape. His unexpected journey from a planned hiatus to a defining two decades in Los Angeles underscores the evolving nature of American opera institutions and the ongoing dialogue between European tradition and American innovation.