• Though I have been in standing room at Seattle Opera for at least 9 performances, I never quite figured out how their system works. This is partially because standing room is never full, and partially because I let my erstwhile Seattle Opera companion, the Opernphrenologe, take charge, as she was living in Seattle up until fairly recently.

    Since the Opernphrenologe moved to Germany earlier this year, I wrote a missive to Seattle Opera to explain their Standing Room Policy, which they promptly answered. I posted what I found relevant on my page on "Standing Room, Rush, and Other Last-Minute Ticket Options for Various Opera Houses," but I missed something quite essential. The ticket office is not in the opera house. It is not even particularly close to the opera house, in fact. Now it is much more clear to me why the lease of Mercer Arena, which will bring all of Seattle Opera’s operations under one roof, is such news.

    Yesterday, my plan was to take the bus to Downtown Seattle from the airport and then just walk over to Seattle Center, where McCaw Hall (Seattle Opera’s house) is. It is easy to navigate because one only needs to head toward the Space Needle. Unfortunately, I was not able to get on the 194 bus, as it was completely full and had to wait 20 minutes for the next one. I had put away my protective noise-canceling headphones as I had run out of podcasts. I had thought it would be nicer, when buying my bus ticket, to actually be able to hear. It is interesting what one misses when insulated by such headphones. For instance, as I walked through Seattle Center, an individual growled at me, which I ignored. He went follow me for a bit, and  said something that implied that I did not speak English, but I was too much in a hurry to correct him. I guess a person in loose workout clothes, clutching a copy of The Brothers Karamazov, and dragging around fancy German luggage is simply asking to be harassed.

    At any rate, I got to the opera house just 10 minutes after the ticket office opens. However, McCaw Hall looked distinctly closed, and I knew something must be wrong. Thankfully, I was able to look at the Seattle Opera Web site from my mobile phone. The ticket office is at 1020 John Street, a mile away from the opera house, tucked under a parking lot. I was most amused by their apt explanation of how to find the office: "Look for the orange Seattle Opera billboard next to the 13 Coins Restaurant parking lot. There is rooftop visitor parking to the right of the billboard; Seattle Opera’s Ticket Office is one level below this lot." I did eventually find my way, and got to the ticket office by 12:30. Of course, it didn’t actually matter, standing room had less than 6 people. I learnt latter that tickets are actually also available by phone at (206) 389-7676 or (1-800) 426-1619.

    Boren Avenue at John Street:

    Johnst_3   

    The Orange Sign (Note how the street ends.):

    Seattleoperasign_2

    The Parking Lot:

    Parkinglot_2

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  • From Susan Elliott’s May 9, 2008 Article in MusicalAmerica.com:

    In addition to being virtually all-male, the Philharmonic is also all European. One player actually told me, without hesitation, that Asians are incapable of producing the "Vienna Philharmonic sound."

    I’ve been to Austria four times, and despite having a governor born in Thal bei Graz, I found both Salzburg and Vienna a little uncomfortable. I’m not sure if being able to speak and understand a fair amount of German was to my advantage. Interestingly, in my experience, when crossing the German/Austrian border, the Schengen Agreement doesn’t seem to apply to those of swarthy complexions. Granted, the above comment could have been made by a European who isn’t Austrian. But is it surprising that someone employed by the Wiener Philharmoniker felt comfortable saying that?

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  • October 2 2008- July 24 2009: Macbeth
    October 4-11 2008: Das Gehege / Salome
    October 5 2008- July 13 2009: Norma
    October 19-25 2008: Die Bassariden
    October 23- November 2 2008: Eugene Onegin
    November 1-6 2008: Die Entführung aus dem Serail
    November 8 2008- May 21 2009: Der fliegende Holländer
    November 10 2008- January 31 2009: Wozzeck
    November 22 2008- March 27 2009: Tamerlano
    November 24 2008- July 26 2009: Luisa Miller
    November 28 2008- July 7 2009: Werther
    December 9-14 2008: Doktor Faustus
    December 13-18 2008: Hänsel und Gretel
    December 17 2008- May 31 2009: La Bohème
    December 21-28 2008: Die Zauberflöte
    December 23 2008- June 15 2009: La Traviata
    December 31 2008- February 24 2009: Die Fledermaus
    January 4-10 2009: Carmen
    January 19- July 14 2009: Palestrina
    February 2-18 2009: Elektra
    February 7- July 22 2009: Nabucco
    February 20-26 2009: La Calisto
    February 23- July 6 2009: Lucrezia Borgia
    March 1- July 31 2009: Falstaff
    March 14- July 30 2009: Otello
    April 8- July 9 2009: Jenůfa
    April 9-12 2009: Parsifal
    April 26- May 2 2009: Così fan tutte
    May 13-15 2009: Madama Butterfly
    May 16-23 2009: Le Nozze di Figaro
    June 8-30 2009: Aida
    July 5-19 2009: Lohengrin
    July 13-20 2009: Ariadne auf Naxos
    June 14- July 30 2009: Idomeneo

    Nicola Luisotti is conducting a new production of Macbeth next season at the Bavarian State Opera. Željko Lučić sings the title role, Nadja Michael sings Lady Macbeth, and Dimitri Pittas is Macduff. Anna Netrebko sings in the May performances of La Bohème, with Joseph Calleja as her Rodolfo. John Relyea sings Colline. Relyea is also singing the title role in Le Nozze di Figaro, with Lucas Meachem as the Count. Angela Gheorghiu is Violetta Valéry in the June performances of La Traviata, singing opposite Jonas Kaufmann. Simon Keenlyside is Germont. Paolo Gavanelli sings the title role of Nabucco during the Münchner Opernfestspiele 2009. Earlier in the year he also sings Sharpless in Madama Butterfly.

    New Productions for 2008-2009 | Official Site

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  • SoniaprinaLisa Hirsch points out that Ewa Podleś has withdrawn from San Francisco Opera’s Ariodante. It was to be her San Francisco Opera debut. Podleś has been replaced by Sonia Prina.

    Press Release [PDF] | Ariodante

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  • Lenfantbo * Notes *
    Berkeley Opera is midway through a run of Béla Bartók’s Bluebeard’s Castle and Maurice Ravel’s L’enfant et les sortilèges.
    The double bill makes for a short evening, a mere 2 hours and 10 minutes including an intermission. I was skeptical of the "unique multi-media staging," as both productions involved projections on an upstage screen. The Bartók used Naomie Kremer’s videography, which at best looked like an animated version of Dave McKean‘s Sandman covers. At other times the images were a bit psychedelic, particularly when Door 4 is opened, the overlay of a human eye, flowers, and water. Door 7 looked like something out of a video game, Legend of Zelda, perhaps.

    However, the music was wonderful. The orchestra, under the direction of Jonathan Khuner, sounded quite good. I did not like Kathleen Moss’ voice at first, it was harsh and somewhat wobbly. But once she warmed up she sounded both crystalline and expressive. Paul Murray was more stoic as Bluebeard, but his singing toward the end of the opera was lovely. 

    The projections for L’enfant et les sortilèges were the work of Ariel Parkinson, and were more like digital backdrops rather than the videography of the previous piece. This complemented the both the dancing and the music. Misha Brooks was the petulant child, he acted well, but I was too distracted by the amplification to get an impression about his voice. The other singers sang from the sides of the theater and were represented on stage by either dancers or puppets. The 4 young dancers were clearly talented, and were well-synchronized.

    Musically, I preferred Bartók to Ravel, but the latter had many more singers and because of the staging, the sound was unbalanced. Mezzo-soprano Paula Chacon sang especially well as the Chinese Cup and the Shepherd, she also sang the roles of Mama and the Dragonfly quite nicely. Baritone Anders Froehlich was hilarious as the Grandfather Clock.

    * Tattling *
    Yesterday’s performance looked like it was sold-out. People were better behaved for the Bartók, but spoke during the Ravel.

    Cass Mann took over the parts of the Shepherdess, the Bergère, the Owl, and the Bat for an indisposed Raiña Simons.

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  • Albena Danailova was appointed concertmaster of the Wiener Staatsoper. Ms. Danailova also plays first violin for the Bayerische Staatsoper.

    AFP Article | Wiener Staatsoper

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  • September 13 2008- July 2 2009: Turandot
    September 14 2008- March 22 2009: Der fliegende Holländer
    September 15-27 2008: Rigoletto
    September 20 2008: L'Amico Fritz
    September 21 2008- May 2 2009: Die Zauberflöte
    September 30- October 8 2008: Pique Dame
    October 1-5 2008: The Nose
    October 2-7 2008: Chowanschtschina
    October 3 2008 – February 15 2009: Der Rosenkavalier
    October 22-31 2008: Manon Lescaut
    October 30- November 6 2008: Lohengrin
    November 20 2008- May 8 2009: La Traviata
    November 28 2008- April 12 2009: Aida
    November 30 2008- May 31 2009: Tannhäuser
    December 8 2008- February 12 2009: Daphne
    December 13 2008- March 11 2009: Lucia di Lammermoor
    December 14-28 2008: Hänsel und Gretel
    December 17 2008- January 9 2009: Cunning Little Vixen
    December 18 2008- January 4 2009: La Bohème
    January 7- June 24 2009: Tosca
    January 18- February 14 2009: Die Ägyptische Helena
    January 25- February 10 2009: Salome
    January 28- February 13 2009: Cassandra / Elektra
    February 8-27 2009: Ariadne auf Naxos
    March 8- July 3 2009: Carmen
    March 13- April 25 2009: Un Ballo in Maschera
    March 26- April 4 2009:
    Andrea Chenier
    April 9-24 2009: Marie Victoire
    April 30- May 9 2009: Eugene Onegin
    May 20- June 2 2009: La Cenerentola
    May 26- June 18 2009: Der Freischütz
    May 27- June 6 2009: Madama Butterfly
    June 10-21 2009: Tristan und Isolde
    June 17-25 2009: Le Nozze di Figaro
    June 26- July 4 2009: Tiefland

    Valery Gergiev conducts Pique Dame, The Nose, Chowanschtschina. Bo Skovhus sings the title role of Eugene Onegin. Roberto Alagna sings Fritz in L'Amico Fritz, with Angela Gheorghiu as Suzel. Gheorghiu returns in May for La Traviata, and in June for Tosca. Angelika Kirchschlager sings the title role of Carmen and Octavian in Der Rosenkavalier. Nancy Gustafson sings the Feldmarschallin in the latter, but only in December. Mariusz Kwiecien sings in the March performances of Lucia, opposite of Burcu Uyar and Elena Mosuc, who share the title role with Ruth Ann Swenson.

    2008-2009 Schedule | Official Site

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  • April 25- June 8 2008: Figaro (Inspired by Mozart and Beaumarchais) at Berkeley Rep
    May 2-11 2008: San Francisco Opera‘s The Little Prince at UC Berkeley
    May 3-11 2008: Bluebeard’s Castle and L’enfant et les sortilèges at Berkeley Opera
    May 9-25 2008: Queenie Pie at Oakland Opera

    Also, Sacramento Opera‘s Tosca closes tonight. This weekend, instead of going to see any of these performances, I’ll probably head off to Seattle to hear I Puritani. To add to the hilarity, please note who will be performing at the War Memorial Opera House this Saturday.

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  • Gregory Henkel was recently appointed Director of Artistic Administration at San Francisco Opera. Mr. Henkel is leaving his position as artistic planning manager at Los Angeles Opera, and is replacing Shane Gasbarra, who left SF Opera in March.

    Press Release [PDF] | San Francisco Opera

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  • January 24- February 4 2009: Tosca
    February 14-22 2009: Don Quixote
    March 28- April 8 2009: Rigoletto
    April 18-26 2009: Peter Grimes
    May 9-20 2009: Madama Butterfly

    Perhaps I should take my mother to the Madama Butterfly in San Diego next year, instead of the Los Angeles production this Fall, as the stage direction will undoubtedly be more conservative. Patricia Racette is singing Butterfly in San Diego. Anthony Dean Griffey is singing the title role of Peter Grimes, as he did at the Met. Marina Domashenko, who was great as Carmen at San Francisco Opera, was to Dulcinea in Don Quixote. She has decided not to add the role to her repertoire, and will be replaced by Denyce Graves.

    Official Site | LA Times Article

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