Anna Netrebko is to be replaced by Ailyn Pérez for the July 1st performance of La Traviata at San Francisco Opera.
Press Release [PDF] | Official Site
The Opera Tattler
Reviews of Performances and their Audiences
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Baltimore Opera is to file for Chapter 11, and the rest of the season has been canceled.
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Steven Winn's final column as the Arts and Culture Critic of the San Francisco Chronicle came out today.
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* Notes *
The Adler Fellows Gala Concert last night was rather Germanic, there were no arias from Verdi or Puccini at all, though the evening started with the overture from Les vêpres siciliennes. Andrew Bidlack was drowned out by the orchestra during Capriccio's "Verraten hab ich meine Gefühle," though Tamara Wapinsky sang well and was perfectly audible. Bidlack was better in "Now you have seen her" from Gordon Getty's Usher House, the sweetness of his voice came through. Kenneth Kellogg sounded fine as well, as usual.Heidi Melton and Daveda Karanas both have stunning voices, though I found the choice of "Weh, ach wehe, dies zu dulden" from Tristan und Isolde a bit boring. Melton has good volume and a lovely creaminess, she did have a bit of strain in her higher register, especially for the first high note. The pleasantly metallic sound of Karanas was a good foil for Melton. Katharine Tier did not hit the high note in "Amour! viens aider ma faiblesse," though her low notes were beautiful. Likewise, "D'Oreste, d'Ajace" seemed inappropriate for Tamara Wapinsky, the role did not sit well in her voice.
The second half of the concert was better. Ji Young Yang twittered prettily through Act III, Scenes 4 and 5 of Semele with Alek Shrader. Though he was not perfectly with the orchestra, Shrader's voice is strong. Daniela Mack sounded wonderful as Cendrillon when she sang "Ma pauvre enfant chérie!" with Kenneth Kellogg. The evening ended with "Mein Gott! Es war nicht mehr als ein Farce" from Der Rosenkavalier. Heidi Melton was a dignifed Marschallin, Katharine Tier was a bit difficult to hear at times as Octavian. Ji Young Yang (Sophie) and Kenneth Kellogg (Faninal) were perfectly delightful.
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There was a fair amount of talking and rustling of programs. Many people arrived late.Leave a Reply
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* Notes *
This second cast of San Francisco Opera’s current production of La Bohème is impressive. For one thing, the youthfulness of the singers certainly was fitting for the roles, no one looked out of place in that regard. Brian Leerhuber was the only one of the Bohemians in both casts, and he seemed comfortable with this new set of singers Leerhuber has good comic timing, and he was particularly good in the Act IV quartet. Kenneth Kellogg (Colline) was just a bit more stiff, but he sang well, especially in “Vecchia zimarra.” Tamara Wapinsky was rather loud as Musetta, something about her vibrato pains me. Her acting was strong, and her voice is better than Norah Amsellem’s, with whom she shared this role. As Marcello, Brian Mulligan played off of Tamara nicely. He has a fine voice, very pleasant. Marius Brenciu was completely convincing as Rodolfo. His bright voice had volume without sounding strained. Maija Kovalevska also turned out a lovely performance, her Mimì was very flirtatious and a touch too robust in the beginning. Kovalevska sounded less pretty and less delicate than either Angela Gheorghiu or Melody Moore, but her voice had better volume and resonance than Gheorghiu, and her acting was superior to Moore’s. Conductor Giuseppe Finzi’s tempi were fairly speedy, and there were a few moments in the first half when the singers and orchestra were not together.* Tattling *
The house looked completely full, even standing room looked crowded. People talked quite a bit. A woman in Box U spoke loudly during Musetta’s Act II waltz, “Quando me n’vò,” possibly alerting her companion to the importance the aria. Either that or she was noting that it was an important aria for Ms. Wapinsky.The usual watch alarms were heard, in addition to some humming.
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Patrons of the defunct Opera Pacific are being offered special discounts at San Diego Opera. Letters detailing how this all works are being sent out.
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Production Web Site | Press Photographs
Final Dress Rehearsal: The Opera Tattler | Not For Fun Only
First Cast: The Opera Tattler | Civic Center | SFist | San Francisco Classical Voice | San Francisco Examiner | San Francisco Chronicle
With Melody Moore: The Opera Tattler | oboeinsight
Second Cast: The Opera Tattler | San Francisco Chronicle
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* Notes *
The eighth performance of San Francisco Opera's La Bohème starred Melody Moore instead of Angela Gheorghiu as Mimì. Ms. Moore sounded lovely, her voice is warmer than Gheorghiu's, and louder, but also has the necessary delicacy. Her voice blended beautifully with Piotr Beczala's, especially during "Addio dolce svegliare alla mattina!" However, Moore seems somewhat uncomfortable in her own skin, her acting was less than convincing.The balance between singers was improved, no one stuck out as being underpowered. OperaVision was actually pretty compelling, I did like being able to see details that would have been otherwise lost from so far away.
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The young couple in L 5 and 7 of the balcony were particularly ill-behaved. Not only did they cough, sneeze, and talk, they also shared some messages on a Blackberry, which they need to discuss 5 minutes before the end of Act III. Thank goodness we were in standing room and could just move to the north side of the building, where it was quieter.Leave a Reply
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Salvatore Licitra has canceled his January 10th concert in Berkeley. The performance was to be a joint presentation between Cal Performances and San Francisco Opera. Apparently, Licitra has been having back trouble.
Press Release [PDF] | Official Site
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* Notes *
Los Angeles Opera is midway through a revival of Carmen from Teatro Real. Emilio Sagi's production is a bit avant garde, the set is traditional looking enough, and the costumes have a traditional feel with a few rough edges. The ending has been fiddled with, such that Carmen somehow takes a more active role in her own demise. This was interesting, but one is not altogether sure it works.The dancers were required to make percussive sounds with their hands and feet, sometimes this was good, and other times they were entirely off. Likewise, the conducting was erratic, Emmanuel Villaume did not have command of the orchestra, they were often not together or with the singers.
Raymond Aceto did not look dashing as Escamillo until the last act, though vocally he was fine. Genia Kühmeier (Micaëla) was wonderful, she did start off a bit breathy, but her voice is sweet and clear. The strongest performance was from Marcus Haddock as Don José, his volume was good, and he sang with fire. His "La fleur que tu m'avais jetée" went particularly well. Viktoria Vizin looked beautiful in the title role, her throaty, dark tones were not unpleasant, but she just did not seem fully engaged. Her hip movements were quite good, but her castanet playing left something to be desired.
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The audience was talkative, as the Sunday matinée audience often is. They applauded for the set more than once.Leave a Reply
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