Dalia Stasevska conducts Philip Glass’ ‘Akhnaten’ at L.A. Opera

When Dalia Stasevska heard opera music for the first time, it was a moment of profound self-revelation. She was 13, growing up in the factory town of Tampere in the south of Finland, and her school librarian gave her a CD of Puccini’s “Madama Butterfly” along with a translation of its Italian libretto.

“As a teenage girl, this dramatic story touched my soul,” Stasevska says, adding that she still remembers the experience and thinking, “ ‘This music understands me, this is exactly how I feel.’ And that was…when I knew that I wanted to become a musician.”

Stasevska is now chief conductor of Finland’s Lahti Symphony Orchestra and a prodigious conductor of orchestral music in all forms. A busy guest baton with companies around the globe, she will make her L.A. Opera debut this Saturday with a production of “Akhnaten” by Philip Glass, running through late March.

John Holiday in the title role of L.A. Opera’s 2026 production of “Akhnaten.”

(Cory Weaver)

The seminal work by Glass lands at L.A. Opera just a month after the world-famous composer abruptly canceled June’s world premiere of Symphony No. 15 “Lincoln” at the John F. Kennedy Center for the Performing Arts. “While Philip Glass has pulled out of Kennedy Center, his music will be front and center at our production,” a rep for L.A. Opera wrote in an email.

Stasevska, with her razor-sharp appreciation of the power of Glass’ work, is the ideal conductor to bring it there.

Stasevska, 41, walks from the ornate foyer of the Dorothy Chandler Pavilion, with its emerald green carpets and gleaming chandeliers, to the more ordinary hallways and cubicles of L.A. Opera’s offices. She’s been in town rehearsing for a few weeks and jokes with some of the show’s jugglers in a kitchenette, where she makes herself a machine pod coffee.

The conductor is petite with large, expressive eyes and a Cheshire cat’s smile. Her mouth often pulls to the right when she speaks, her admirable non-native English tugged easterly in a Finnish accent.

Opera remains her great love, and it seems a perfect twist of fate that Stasevska was tapped to conduct “Akhnaten.” She saw it for the first time in 2019 at a Helsinki cinema, in a global broadcast of a production by the Met. She couldn’t believe her friend dozed off.

“I was like, ‘How could you fall asleep? This was the best thing I’ve ever seen in my life. I would do anything to conduct this opera,’ ” she recalls saying.

Stasevska was born in 1984, the same year that Glass’ hypnotic, ritualistic opera, about an Egyptian pharaoh who dared to push monotheism onto his polytheistic culture, debuted in Stuttgart, Germany. Eight months later, Stasevska entered the world in the Soviet-controlled city of Kyiv, the child of a Ukrainian father and Finnish mother.

Conductor Dalia Stasevska, who is making her L.A. Opera debut with Philip Glass’ “Akhnaten,” says that opera is her first great love.

(David Butow / For the Times)

It was a fluke that she was born in Ukraine. Her parents, both painters, were living in the Estonian capital of Tallinn, also under Soviet rule, but found themselves in a Kyiv hospital close to family when Stasevska arrived. She’s never lived in Ukraine — she spent her first few years in Tallinn before moving to Finland at age 5— but her life has been infused with its heritage.

Her father, who as a teenager in Tallinn began to rebel against Sovietization, insisted on teaching Stasevska and her two younger brothers to speak Ukrainian at home. Her grandmother, Iryna, lived with the family and was an important caretaker for much of her childhood. Stasevska grew up hearing fantastic stories filled with dreamlike imagery of the homeland.

“She was such a civilized, cultural person,” Stasevska says of her grandmother, adding that she taught her grandkids everything she knew about her home country. That’s why, even though Stasevska was raised in Finland, she grew up eating Ukrainian food and hearing Ukrainian folk tunes. “I know the language and understand the culture,” she says.

Stasevska grew up poor, but music education was mandatory for her and her brothers: “My father said, ‘This is going to be your profession.’ It was no question that this is not a hobby. So we started practicing immediately, very determined. There was maybe some forcing involved,” she says, laughing.

She played the violin from age 8, but it was only after she heard Puccini at 13 that she fell in love with classical music. She became obsessed with the opera and orchestral repertoires and was immediately determined to play in an orchestra. She approached the headmaster at her conservatory who placed her in a string ensemble before advancing her to the symphony orchestra as a violinist.

At 18, Stasevska entered the Sibelius Academy in Helsinki, which is named after Finland’s most famous composer, Jean Sibelius. She couldn’t stop herself from stealing a peek at the school conductor’s score, copying bowings and poring over the details, but she didn’t indulge any dreams of taking the podium herself. “I was going every week to the concerts,” she says, “but it took me so long to see somebody that looked like me.”

She was 20 when she saw a female conductor for the first time, calling it “the second big moment in my life.” When Stasevska expressed interest in trying it herself, she was referred to Jorma Panula, a legendary conductor and teacher in Finland. Panula invited her to attend one of his masterclasses, and on the first downbeat of her first experience conducting, “I knew immediately that this was beyond anything I’ve experienced in my life,” she says. “It became this kind of madness moment.”

She loved the sheer physicality of it, she says, but also “that I can affect the music, and that I can affect the interpretation, because I had so much in my heart that I felt about the music.”

After completing her conducting studies in 2012, Stasevska assisted Panula — who emphasized discovering unique “gestures in such a way that the orchestral musicians know what you mean,” she says. She also worked with her fellow Finn, Esa-Pekka Salonen. Stasevska became principal guest conductor of the BBC Symphony Orchestra in 2019 and chief of the Lahti Symphony in 2020.

When she’s not globetrotting, Stasevska lives in Helsinki with her young daughter and her husband, Lauri Porra — a heavy metal bassist who is also the great-grandson of Sibelius.

She likes to champion new music — her 2024 album, “Dalia’s Mixtape,” featured works by Anna Meredith, Caroline Shaw and other contemporary composers. She is also a vocal supporter of the land where she was born and has spoken out against Russia’s war in Ukraine.

John Holiday as Akhnaten, with So Young Park, at right, as Queen Tye, in L.A. Opera’s 2026 production of “Akhnaten.”

(Cory Weaver)

Stasevska’s L.A. Opera debut arrives on the same week as the fourth anniversary of Russia’s invasion. Both of her brothers — one a film director, the other a journalist — moved to Ukraine and have borne witness to the war, which has given her “another level of experiencing this horror,” she says.

Stasevska has made it her mission to raise funds — more than 250,000 euros to date — to provide basic supplies particularly for children and elders who are without power and huddling in freezing cold homes. She has even driven in supplies herself by truck.

She has also conducted concerts there — and her next album will celebrate the country’s composers in a meaningful way. “Ukrainian Mixtape,” which she recorded with the BBC Symphony Orchestra in London, features works by five composers who range from the 19th century to the 1960s. Three are premiere recordings of artists who have been completely forgotten, which required a year of searching for materials.

“I think that it will not leave anybody cold,” Staveska says, “and I hope that it will inspire everybody to discover Ukrainian music more, and that we will hear it more on main stages of the world — where it deserves to be.”

For now, though, her focus is on ancient Egypt and Philip Glass — and opera. She says her goal, in every concert, is to give audiences the same experience she had when she was 13, that remarkable feeling that the music uniquely understands them.