James Conlon’s two decades at the helm of Los Angeles Opera have left a significant imprint on the company’s artistic direction and audience engagement, positioning the institution as a major player in the American operatic landscape. Appointed music director in 2003, following a brief tenure by Kent Nagano, Conlon has guided the company through both artistic triumphs and financial challenges, cultivating a reputation for bold programming and community involvement.

Before assuming his post in Los Angeles, Conlon was primarily known on the West Coast for guest appearances with the San Francisco Symphony and the Los Angeles Philharmonic. He had gained international acclaim for his wide-ranging repertoire, spanning from Mozart to Shostakovich, and for championing neglected composers, particularly those suppressed during Nazi Germany’s regime. This focus would become a defining feature of his work in L.A., where the operatic canon had previously seen comparatively little development.

Conlon’s “Recovered Voices” series, which highlights operas by German and Austrian composers whose careers were disrupted or ended by the Nazis, resonated deeply in Los Angeles, a city whose film music roots owe much to émigré composers like Erich Korngold. This initiative brought productions of rarely performed works such as Alexander Zemlinsky’s “The Dwarf,” Walter Braunfels’ “The Birds,” and Franz Schreker’s “The Stigmatized” to the mainstage, drawing interest from audiences and donors alike. The series also inspired a parallel academic program at the Colburn School, underscoring Conlon’s commitment to education and cultural remembrance.

Beyond programming, Conlon’s engagement with audiences has been a hallmark of his tenure. His pre-performance talks at the Dorothy Chandler Pavilion frequently attract standing-room crowds eager to hear his insights on composers like Mozart, Wagner, and Verdi. The 2010 staging of Wagner’s complete “Ring” Cycle, though met with some controversy over Achim Freyer’s production, marked a milestone for the company and showcased Conlon’s stamina and devotion. Despite lengthy performances, Conlon maintained an approachable presence, famously mingling with audiences after shows.

Conlon’s involvement extends into writing and scholarly work, contributing program notes and articles that contextualize the music philosophically and psychologically. Beginning with efforts to challenge prejudices against French music in Germany, he developed a literary voice that complements his musical one, finding fertile ground for expression within Los Angeles Opera’s environment.

While Conlon still regards himself as a New Yorker, his ties to Los Angeles have become deeply rooted. His leadership not only elevated the orchestra’s quality but also fostered strong support for singers and an enthusiastic reception from patrons. He also championed community opera projects, including children’s performances at the Cathedral of the Angels and citywide festivals spotlighting composers such as Wagner and Benjamin Britten.

The COVID-19 pandemic prompted a reflective period for Conlon, who spent lockdown at his Los Angeles home with family, enriching his perspectives and deepening his connection to the city. Emerging with a more lyrical and organic conducting style, he joined the ranks of distinguished music directors who remain linked to L.A.

Now 76, Conlon stepped down from the music director role after 20 years, a tenure encompassing half of Los Angeles Opera’s existence. Though he no longer holds the top post, he was named conductor laureate and is slated to return next season to lead Mozart’s “Marriage of Figaro.” He has expressed no intention of leaving Los Angeles, balancing his continued involvement in music with a gradual winding down of his directorial responsibilities. His ongoing work with the Colburn School’s “Music Restored” project promises to sustain his legacy of advocating for overlooked musical voices.

In reflecting on his career and relationship with the city, Conlon said, “I love L.A. and I’m not going to leave,” signaling a lasting bond with a community he helped shape and that, in turn, shaped him.