• Walkuere

    The casting for San Francisco Opera's Der Ring des Nibelungen was announced today. The three cycles are scheduled for June 14-19, June 21-26, and June 28-July 3, 2011, and will be conducted by Donald Runnicles. The production is directed by Francesca Zambello, with sets from Michael Yeargan. Currently, tickets for complete cycles are on sale for subscribers and donors only.

    Das Rheingold
    Wotan: Mark Delavan
    Loge: Stefan Margita
    Alberich: Gordon Hawkins
    Fricka: Larissa Diadkova
    Erda: Ronnita Miller
    Mime: David Cangelosi
    Fasolt: Andrea Silvestrelli
    Fafner: Daniel Sumegi
    Freia: Melissa Citro

    Die Walküre
    Wotan: Mark Delavan
    Brünnhilde: Nina Stemme
    Siegmund: Brandon Jovanovich
    Sieglinde: Anja Kampe, Heidi Melton (6/29)
    Fricka: Larissa Diadkova
    Hunding: Daniel Sumegi

    Siegfried
    Siegfried: Ian Storey
    Mime: David Cangelosi
    Brünnhilde: Nina Stemme
    Alberich: Gordon Hawkins
    Wotan: Mark Delavan
    Erda: Ronnita Miller
    Fafner: Daniel Sumegi
    Forest Bird: Stacey Tappan

    Götterdämmerung
    Siegfried: Ian Storey
    Brünnhilde: Nina Stemme
    Gunther: Gerd Grochowski
    Hagen: Andrea Silvestrelli
    Alberich: Gordon Hawkins
    Waltraute: Daveda Karanas
    First Norn: Ronnita Miller
    Second Norn: Daveda Karanas
    Third Norn: Heidi Melton
    Woglinde: Stacey Tappan

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  • The Opera Tattler has been sent this article no less than three times. One cannot begin to imagine why. For the record, I am only attending three of the seven Ring Cycles listed.

    NYT Article

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  • Adlers-2009 The Adler Fellows for 2010 will be announced next week, but it is good fun trying to figure out which of the Merolini are coming back to San Francisco next season. It is quite likely that we won't see any of the Merola apprentice coaches as Adlers, given that both Dennis Doubin and Allen Perriello are in their first year here. As for singers, the probable outgoing Adlers are two sopranos (Heidi Melton, Tamara Wapinsky), two mezzos (Daveda Karanas, Daniela Mack), two tenors (Andrew Bidlack, Alek Shrader), and the sole bass Kenneth Kellogg. My guesses are:

    Susannah Biller
    Kate Crist
    Maya Lahyani
    Ryan Belongie
    Gregory Carroll
    Nathaniel Peake
    Benjamin LeClair
     

    One would love to see countertenor Ryan Belongie and baritone Michael Sumuel as Adlers, but looking at what is coming up and who is leaving, I would be surprised if they were chosen. Suzanne Hendrix would also be great as an Adler, but she's a contralto, though this might work for next year's Die Walküre. In any case, they will need a bass, probably Ben LeClair, as Yohan Yi is a Domingo-Thornton Young Artist at LA Opera and Evan Boyer is a member of the upcoming season of Lyric Opera of Chicago's Ryan Center. Baritone Paul Scholten will be in this latter program as well. Mezzo-soprano Maya Lahyani and tenor Alex Mansoori might also be out since they are in the Seattle Opera Young Artists Program.

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  • Susan-graham * Notes * 
    Yesterday evening mezzo-soprano Susan Graham opened San Francisco Symphony's latest Mahler Festival with the Rückert Lieder. Graham sang with a gorgeous ease, her voice sounds both pure and lush. Michael Tilson Thomas conducted the orchestra in a straightforward manner. Some of the brass entrances were harsh, but the playing was fairly clear. The woodwinds did well, especially the English horn in "Ich bin der Welt abhanden gekommen." The violins were split downstage, with cellos next to the first violins, violas next to the seconds, but it seemed that everyone could be heard perfectly fine.

    After the intermission, Mahler's Symphony No. 1 was played with great volume and flashiness. Despite this, the performance was a bit slack, the tempi and dynamic changes did not always come through. Also, the celli were buried behind the violins, because of the seating arrangement. There were, of course, moments of beauty nonetheless, particularly in the inner movements.

    * Tattling * 
    The audience was perfectly silent for the Rückert Lieder, as they were being recorded. People did whisper during the 1st, and someone's iPhone quacked at one point. The woman in Row L Seat 7 of the orchestra got a text message on her iPhone at the end of the second movement and she updated her Facebook page during much of  the following Feierlich und gemessen, ohne zu schleppen. Naturally she clapped quite heartily at the end and joined in for the standing ovation.

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  • Tabarro * Notes * 
    Il Trittico opened at San Francisco Opera last night with Patricia Racette singing all three of the major soprano roles. The production, directed by James Robinson, is clean and simple. Allen Moyer's sets are unostentatious, the three are not tied together in an obvious way, yet still look like they match each other. Patrick Summers had the orchestra sounding both tasteful and even. The Alders were out in full force and did very well. Tamara Wapinsky, David Lomelí, Daveda Karanas, Leah Crocetto, Heidi Melton, Daniela Mack, Austin Kness, and Kenneth Kellogg all sang at one point or another.

    Brandon Jovanovich sang beautifully in Il Tabarro as Luigi. He was overwhelmed by the orchestra at one point, but perhaps because he was simply too far upstage. In her San Francisco Opera debut, Ewa Podleś was arresting as the Princess in Suor Angelica. Her voice has an incredible richness and resonance. Paolo Gavanelli was menacing in Il Tabarro and darkly hilarious in the title role of Gianni Schicchi. He too sounded wonderful, embodying the parts perfectly. Patricia Racette managed her roles of Giorgetta, Suor Angelica, and Lauretta competently. She definitely looked different as each. Racette's vibrato can be unpleasant and her singing a bit labored. However, she does convey various emotions through her voice with an intense clarity.

    * Tattling * 
    We were very kindly given premium orchestra seats from the chorus director. The audience around us was well-behaved, very little talking and only a few electronic noises were heard.

    One could not help but notice that some of the program notes were written by a certain degenerate blogger.

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  • Mtwohy * Notes * 
    San Francisco Opera's Opera in the Park performance this year was rather charming
    . Incoming Music Director Nicola Luisotti conducted with great enthusiasm, and to begin he faced the audience for the National Anthem and conducted us. Both the overture to La Forza del Destino and the intermezzo to Manon Lescaut sounded grand and sweeping. He also  We heard quite a lot from the current Trovatore at SF Opera: Sondra Radvanovsky sang "Tacea la notte…Di tale amor," Marco Berti sang "Ah, si, ben mio…Di quella pira," Quinn Kelsey sang "Il balen del suo sorriso," and the three of them sang "Deserto sulla terra…Di geloso amor" together.

    The Adlers sang several selections starting with Daniela Mack's "Non più mesta." Mack was a bit choppy and did sing "Voi che sapete" with greater fluidity. Leah Crocetto did well with both Donizetti and Puccini. David Lomelí sounded very fine as well, singing "Che gelida manina" and then "O Mimì, tu più non torni" with Quinn Kelsey. The afternoon also saw a lovely performance from Ewa Podleś of "Cruda sorte" from La Italiana in Algeri. Her low notes are richly secure, but those higher up in her tessitura are not exactly in tune. Continuing with Rossini, Andrea Silvestrelli gave an amusing rendition of "La calunnia." Brandon Jovanovich closed the afternoon with a beautiful "E lucevan le stelle" from Tosca.

    * Tattling * 
    There was some talking, including a woman on her cell phone as Crocetto sang from Lucia.

    The rehearsal earlier in the day was exceedingly entertaining, Luisotti sang in place of the singers for the first half. Podleś did not rehearse, nor did she sing in the encore "O sole mio." The encore was hilarious, and the women held their notes longer than the men. Luisotti danced around the stage during the ovation.

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  • Manon-san-jose * Notes * 
    Opera San José's new season opened with Manon last night. The orchestra sounded clean under the baton of Joseph Marcheso. On the whole, the intonation was spotless and the soli from the woodwinds and strings were particularly nice. The organ did have a rough entrance at the beginning of Act II. Dianna Shuster's production was uncomplicated, though the part where Manon gets Des Grieux attention by hopping up on a bench and walking back and forth for entirely too long was somewhat silly. The costumes and set all looked perfectly reasonable given this opera.

    The singing was even, and the singers well-matched. Silas Elash had a lot of power as the elder Des Grieux. Krassen Karagiozov was a slippery, evasive Lescaut. Alexander Boyer (Des Grieux) had some pleasant warmth, though his voice did sound a bit compressed at the top. Khori Dastoor looked lovely in the title role, her voice is icy and metallic without being too abrasive. She sang "Adieu, notre petite table" prettily. Her accent in French was somewhat noticeable, though this was true of most of the cast overall.

    * Tattling * 
    There were some murmurs during the music, but no electronic noise. The ovation at the end was quite effusive, despite some audience attrition at the two intermissions.

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  • Sfo-trovatore * Notes * 
    The 2009-2010 season at San Francisco Opera opened with
    Il Trovatore last night. David McVicar's production is elegant, and Charles Edwards' rotating set made the scene changes straightforward. Maestro Luisotti's debut as music director was effervescent, and the orchestra sounded fine. The chorus was clear and together. Renée Tatum and Andrew Bidlack, the Adlers in the small roles of Inez and Ruiz, both sang well and with warmth.

    Burak Bilgili seemed nervous as Ferrando, his notes were a bit choppy and he was slightly off from the orchestra. Dmitri Hvorostovsky was a confident Count di Luna, with lovely phrasing. Hvorostovsky did lack effortlessness at times and his breathing could be rather loud. On the other hand, Stephanie Blythe (Azucena) seemed to have endless lung capacity and a perfect smoothness in her transitions. Her last few notes of the opera were, however, a bit ugly.

    The revelation of the evening was undoubtably Sondra Radvanovsky as Leonora. Her voice scintillates, her tone is lucid, her control is exquisite. Her Act III aria, "D'amor sull'ali rosee," was beautiful. Marco Berti made a valiant attempt in the title role, his voice being rather loud and not particularly subtle. He was able to match everyone else in volume, and he even managed to convey some pretty, tender moments, along with utter despair, in the last act.

    * Tattling * 
    Some people kept talking during the famous "Vedi le fosche notturne," despite being repeatedly hushed. A siren was heard in Act I, Scene 2. Someone's cellular phone rang several times as Hvorostovsky sang in Act 4. At least it was during his recitative.

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