The Opera Tattler

Reviews of Performances and their Audiences

Recent posts

  • Porgy and Bess Panel Discussion

    Porgy-panel3 Yesterday evening chorus director Ian Robertson moderated a panel discussion on Porgy and Bess, which opens next Tuesday at San Francisco Opera. The panelists included choreographer Denni Sayers, soprano Angel Blue (Clara), soprano Karen Slack (Serena), baritone Kenneth Overton (Frazier), tenor Calvin Lee (Peter), baritone Eric Greene (Jake), tenor Chauncey Packer (Sportin' Life), bass-baritone Eric Owens (Porgy), and conductor John DeMain.

    The panelists were asked to speak about the piece, their roles with in it, and the like. It was interesting to learn where the performers had sung before and how they felt about George Gershwin, authenticity, and the possible demeaning nature of the work. The cast seemed to have a strong commitment to this opera.

    Maestro DeMain had much to say about Porgy and Bess, unsurprising given that he has been conducting the work for over thirty years. He compared this opera to Boris Godunov, as it too is a "folk opera," and Carmen, as both have dance rhythms throughout. DeMain also mentioned that Porgy and Bess is both a numbers opera and makes use of Leitmotivs.

    The production was described by the choreographer, as she has worked on it since the beginning, with the Washington premiere. The stage director, Francesca Zambello, is concerned, once again, with making the work relevant to the contemporary audience. In this case, she has set the work in 1955, bringing us closer in time to the characters.

    There were a few amusing moments during the evening. Chauncey Packer spoke about how after a performance someone told him "It's horrible what you did to that girl!" At another point Angel Blue explained that she could imagine singing Bess, as she had nothing in common with the character, to which someone on stage quipped "Not yet."

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  • Tosca at San Francisco Opera

    Tosca-pieczonka * Notes * 
    The summer part of San Francisco Opera‘s season began last night with Tosca. The 1997 production is based on the one that inaugurated the War Memorial Opera House in 1932, and for that reason, is rather old-fashioned. It was interesting to note the differences between the current revival and the last one, for instance, the trompe-l’œil pyramid of cannonballs is gone from Act III, a welcome change.


    The orchestra sounded clean and together under the direction of Marco Armiliato, and the tempi moderate. Lado Ataneli was an animated Scarpia, at times he was underpowered vocally, but for the most part, he sounded hale. On the other hand, the tenor, Carlo Ventre, was more delicate. He had a lot of vibrato, which along with his reedy, plaintive qualities, gave him a certain vulnerability. Ventre sounded weak in contrast to the other singers, but was not bad on his own, as in “E lucevan le stelle.” Adrianne Pieczonka (Tosca) had a fine debut, she only had brief moments harshness, her voice is strong and rich. Her “Vissi d’arte” was brilliant.


    * Tattling * 
    The audience spoke a bit too much for my taste, but were mostly under control. I was standing in front of someone who talked, almost at full volume, to himself. At least he spoke about the performance, commenting on how beautiful the singing was. Standing room was rather full, as were the seats on the orchestra level, but the boxes looked relatively empty.

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  • Nagano conducts Berkeley Akademie

    Kent-nagano * Notes * 
    The Berkeley Akademie Ensemble gave a concert of Bach, Ives, and Beethoven last Sunday at the First Congregational Church. The evening began with a rather strange version of Bach's Concerto in the Italian style for solo harpsichord in F Major, BMV 971 arranged for chamber orchestra by Joachim F. W. Schneider. The first movement sounded crisp except for the bassoon. The horns also had some intonation issues, but the focus of the whole group was quite strong for the Presto. This was followed by the third symphony from Ives, "The Camp Meeting." The tempi were restrained but the playing was fiery. The violin solo in the first movement was particularly plaintive.

    After the intermission we heard Beethoven's Septet in E-flat Major. The violinist tossed off notes with great ease in the Allegro con brio part of the first movement, but sounded more strident and brittle in the fourth movement. The horn was less than accurate at times, but had good moments in the second and fifth movements.

    * Tattling * 
    The bassist was enthusiastic, his movements were comical, and one must to take care not to look at him, lest an inappropriate giggle-fit should strike.

    The audience was packed for Kent Nagano's last performance as conductor and artistic director of Berkeley Symphony. I was surrounded by very nice folks who offered me binoculars to view the performers up close, since we were in the last row.

    Nagano did not conduct the last piece, and simply listened from the mezzanine. He thanked the audience at the end, and seemed rather humbled by the standing ovation.

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  • MMDG’s L’Allegro, Il Penseroso ed Il Moderato

    MMDG_LAllegroIlPenserosoEdIlModerato * Notes * 
    The Mark Morris Dance Group just finished a run of L'Allegro, Il Penseroso ed Il Moderato at Cal Performances. It seemed to be a success, the audience was entertained and amused. The dancing struck me, however, as sloppy. Many of the angles as far as arm and leg positions were not consistent on different dancers, and it did not help that the body types were so disparate. Even the running was not clean, at least one person tripped, though she recovered quickly and did not fall. The choreography itself seemed to prolong the music, and except for the very beginning, when everyone dashed around on stage, it was not surprising. Morris goes for all the cheap laughs, so naturally, simulated canine urination, spanking, and the like.

    The Philharmonia Baroque Orchestra lilted under the direction of Jane Glover. The woodwinds had some moments of imprecision, but the strings sounded fine. The chorus sounded beautiful and unsullied, in contrast to the soloists, all of whom had issues. Soprano Christine Brandes gasped and was shrill, though her last air was pretty. Soprano Lisa Saffer had too much vibrato at times, but did sing well for the most part. The tenor, Iain Paton, sounded as if he was running out of air, though his timbre was bright and lovely. James Maddalena's baritone was slightly shaky and thin.

    * Tattling * 
    It seemed that everyone in attendance was having a grand time. There was quite a lot of talking and giggling, but no electronic noise.

    For some reason, the lights were left on during the overture, but were turned off once the singing got underway. It was not possible to follow along with the libretto, but at least this meant less noise, as there was less incentive to leaf through the program.

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  • Runnicles conducts Verdi’s Requiem

    SFORunniclesRequiem_KLokenAnstey * Notes * 
    Last night Donald Runnicles conducted a performance of Verdi's Requiem at San Francisco Opera. Both the orchestra and the chorus were in fine form. The woodwinds sounded particularly lovely, and the brass was quite clear. There were only a few poor moments in the "Agnes Dei" and the "Libera me."

    The soloists all had a lot of power. Andrea Silverstrelli's voice seemed bottomless, perfectly beautiful and even throughout his range. Stefano Secco was slightly constrained at the top of his voice, but never got lost, despite the immenseness of the voices around him. Stephanie Blythe had an auspicious debut at San Francisco Opera, she did begin with a lot of vibrato, but has a gorgeous, rich voice. Heidi Melton was an excellent substitution for the indisposed Patricia Racette.

    * Tattling * 
    The audience was respectful and was, for the most part, entirely silent. There were at least 5 children in the boxes, and none of them made any fuss at all. A young couple in Box S whispered just a tiny bit whilst the orchestra was playing, at some point in the middle of the performance.

    Maestro Runnicles was presented with the San Francisco Opera Medal after David Gockley, George H. Hume, and John A. Gunn all spoke. Gunn had a bit of trouble finding the medal, but managed after fumbling through his pockets. Maestro also spoke, mentioning the adventuresomeness of the San Francisco Opera audience.

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  • San Diego Opera Layoffs

    San Diego Opera reportedly laid off 8 employees.

    The Daily Transcript (Subscription Only) | Official Site

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  • Heidi Melton News

    Adler Fellow Heidi Melton will sing in San Francisco Opera‘s performance of the Verdi Requiem tomorrow. She replaces an ailing Patricia Racette.

    San Francisco Opera’s Press Releases | Official Site

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  • Michelle DeYoung and MTT at SFS

    Michelle-DeYoung_Christian-Steiner * Notes *
    San Francisco Symphony's Schubert/Berg Festival, entitled Dawn to Twilight, began yesterday evening with a performance of the Schubert's Rosamunde Overture. The playing was sloppy, and the entrance of the winds was rather poor. The brass sounded brash, as usual. Things picked up with Berg's Sieben frühe Lieder, as the soloist, mezzo-soprano Michelle DeYoung, has a gorgeous voice. Her silvery, smooth sound has a good heft and is not overly ethereal. She also displayed fine control of her upper range and clear German enunciation.

    The second Schubert piece, Symphony in B minor, D. 759, Unvollendete, was somewhat rough but at least more engaging. The winds sounded much better, the oboe and clarinet were particularly good. The horns and trombones lacked clarity. Michael Tilson Thomas gave an extensive explanation of Drei Orchesterstücke from Berg before these were played. He spoke about the "profound belief in notes" both Schubert and Berg had. The pieces seemed a bit disheveled, though they certainly got the demented clownish music of the "Reigen" down well. The "Marsch" made my insides hurt acutely.

    * Tattling * 
    Attendence was a bit sparse, and thus one was not particularly bothered by other audience members. There were at least 5 watch alarms that sounded 8pm during the first movement in Unfinished. Someone in Row Z of the orchestra level had a glowing ball, which he waved around during the last ovation.

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  • Runnicles in the Chronicle

    The departing music director of the San Francisco Opera, Donald Runnicles, is featured in this article from Joshua Kosman. He conducts Verdi's Requiem this Friday, and La Traviata next month, both at the War Memorial.

    Article in the Chronicle | Official Site

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  • La Scala’s 2009-2010 Season

    December 7-23 2009: Carmen
    January 15- February 5 2010: Rigoletto
    January 30- February 14 2010: Don Giovanni
    February 28- March 16 2010: From the House of the Dead
    March 17- April 2 2010: Tannhäuser
    April 6-30 2010: Lulu
    April 16- May 7 2010: Simon Boccanegra
    May 13-29 2010: Das Rheingold
    June 18- July 5 2010: Faust
    July 9-24 2010: Il barbiere di Siviglia
    September 18- October 7 2010: L'occasione fa il ladro
    October 2-27 2010: L'elisir d'amore
    October 29- November 18 2010: Carmen

    Barenboim and Dudamel conduct Carmen, the former also conducts Simon Boccanegra and Das Rheingold. James Conlon conducts Rigoletto, Esa-Pekka Salonen conducts From the House of the Dead.

    Official Site | 2009-2010 Season

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