Kirill Petrenko has been named Generalmusikdirektor of the Bavarian State Opera, starting on September 1, 2013.
Press Release (In German) | Official Site
Reviews of Performances and their Audiences
Kirill Petrenko has been named Generalmusikdirektor of the Bavarian State Opera, starting on September 1, 2013.
Press Release (In German) | Official Site
LA Opera will present two free public outdoor screenings of Il Postino on October 9th at 7:30pm in Downtown Los Angeles and October 11th at 7pm in Costa Mesa. The October 9th matinée performance of Il Postino will be filmed for these broadcasts.
Press Release [PDF] | Official Site
The Opera Tattler: The Opera Tattler was founded as an online publication in July of 2001, to write performance reviews of classical music from youthful non-expert’s perspective. The OT, the person (Charlise Tiee), studied linguistics and dance at the University of California at Berkeley. As a child, she played viola in her school’s orchestra and string quartet. She attends 30-70 opera performances a year, often in standing room with score in hand. Tiee enjoys painting opera scenes with singing cupcakes and making assemblages based on her adventures.
Philippe Auguin has been named Music Director of Washington National Opera.
Press Release [PDF] | Official Site
* Tattling *
Yesterday's matinée performance Le Nozze di Figaro at San Francisco Opera started late and was rather chaotic. There was much traffic coming into the city, perhaps because of Hardly Strictly Bluegrass, the annual free music festival held in Golden Gate Park. Several latecomers were sent to the back of the balcony to stand, and most were not very happy about it. One person in the balcony, I could not tell if he was in standing room or in the last row, lost his temper. He practically yelled "Stop talking, shut up" at the offending people. Just before Act I ended, a member of the house staff came by and repeatedly announced that they should go to the appropriate level of the War Memorial to that their seats.
I accidentally arrived half an hour before my volunteer shift and ended up making the coffee for the SF Opera Guild Coffee Service for the first time. I did not get it done quite in time for an Adler Fellow mezzo-soprano, but I hope she got some later. During intermission I had a very quick conversation with the principal trumpet player, and an even speedier one with Bojan Kneževiċ. I wandered up to watch John F. Martin take photographs of Danielle de Niese and Ellie Dehn, he may have even convinced the Opera Tattler to have her portrait taken too.
* Notes *
This time I paid special attention to just what Maestro Luisotti was interpolating into Figaro. Besides Eine Kleine Nachtmusik in Act I Scene 6, there was a tiny bit of "Treulich geführt" from Lohengrin two scenes later. The beginning of the third entr'acte of Carmen in Act III, before Scene 13 showed up briefly. Might have also heard Mozart's Sonata Facile in the eighth scene of the last act.
Soprano Nancy Gustafson has been appointed General Manager of the Castleton Festival.
* Notes *
The fourth of nine performances in San Francisco Opera's Le Nozze di Figaro revival this season was last night. From the back of the balcony everyone sounded robust. Maestro Luisotti's conducting highlighted the subtitle of this opera, ossia la folle giornata, and his playing of the fortepiano was filled with vim. I was better able to appreciate all the interpolated bits and pieces whilst reading the score. Much deserved praise has been given to the new principal oboe and clarinet, but the bassoons also sound lovely. The chorus sounded clear and pretty, except for in the Act III contadinelle, which seemed slightly off from the orchestra.
I was surprised how much of the humor comes through the voices and playing without the visual aspect of the performance. Luca Pisaroni (Figaro) was particularly funny, and all the character roles were very strong. I still did not care for Michèle Losier's "Non so più" and noticed the horns were not perfectly in tune in her second aria. Danielle de Niese's breathing was evident at times, especially in Act II's "Venite, inginocchiatevi!" and Ellie Dehn occasionally gasped in Act III. All these quibbles aside, I throughly enjoyed learning more about this piece by listening to this performance.
* Tattling *
As I was volunteering in the gift shop, I only made it up to the balcony just before curtain. Thankfully, SFMike was saving me a spot on the bench beneath the light. No one bothered me during the music, though I had to explain more than once that I was not a singer and was only looking at the score for fun.
The supertitles were timed well, and all the laughter happened just at the right time. I believe there was applause for the Act IV set, or else something delightful happened onstage before Barbarina's aria that I missed.
At intermission the Last Chinese Unicorn was kind enough to bring me a beverage and afterward she waited patiently for me with tiny strawberry cupcakes. By the time we left they had locked most of the doors, and it was commented that we might as well be locked in, since we are at the War Memorial all the time.
General Director Plácido Domingo will not renew his contract with Washington National Opera, which expires on June 30, 2011.
Press Release [PDF] | Official Site
* Notes *
The San Francisco Opera's penultimate performance of Werther this season was held yesterday evening. From balcony standing room, the balances between the singers and the orchestra were better. Emmanuel Villaume did keep the orchestra together, the sound was gleaming and rich. The chorus of children was also lovely.
It was apparent that all the singers have such beautiful voices, from Susannah Biller in the tiny role of Kätchen, to the title role sung by Ramón Vargas. Perhaps both Vargas and Alice Coote (Charlotte) are more compelling in other repertoire, however they nonetheless were very pleasant to hear.
The set does look rather different from the balcony, many of the projections are lost, but one can see the shadows of the tree branches on the ground in the last scene. The many staircases are also more evident from above. The production is definitely weird and does not follow Goethe's text in a literal sense. This said, I did find the whole thing strangely attractive. Perhaps because I do not care for this novella in the first place, the departures from it did not bother me.
* Tattling *
The balcony looked fairly full, but I was offered a seat more than once. Unfortunately, since there were empty seats, the audience felt comfortable getting up and moving over during the Act III overture. There was some talking and watch alarms. The most disruptive moments were when people unwrapped their candies during key points in the music. No matter how quiet one tries to be, cellophane always seems to be very loud, and doing this slowly just drags out the noise over a longer period of time. I was especially annoyed when this happened during the Letter Aria.
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