The Opera Tattler

Reviews of Performances and their Audiences

Recent posts

  • SF Opera’s Un Ballo in Maschera (Hampson)

    Sf-opera-ballo-actiii-scene1-2014* Notes * 
    A fourth performance of San Francisco Opera‘s A Masked Ball this season was held yesterday. The orchestra and singers were more synchronized, but there were times when the former was slightly ahead of the latter. At times this was excitingly chaotic. There were lovely soli from the cello, English horn, and clarinet. The harp was particularly beautiful throughout Act III as well.

    The principal singers were consistent. Heidi Stober sang Oscar with an effortless grace. Dolora Zajick has a rich sound as Madame Arvidson. Ramón Vargas sounded sweet as Gustavus III. His high notes were somewhat tepid in the duet with Julianna Di Giacomo (Amelia) in Act II Scene 1. Di Giacomo was triumphant again in her role and garnered much applause and cheering.

    Thomas Hampson (pictured above with Julianna Di Giacomo in Act III Scene 1, photograph by Cory Weaver) makes for a grave, measured Anckarström. His “Alla vita che t’arride” was more reserved than Brian Mulligan’s and his Act III “Eri tu che macchiavi quell’anima” was more threatening.

    * Tattling * 
    Standing room was again not crowded, perhaps because San Francisco Opera hardly ever has Monday night performances. A mobile phone rang in Act I at the back of the north side of the balcony, and a woman chose to take the call but at least she hurried out of the hall to do so.

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  • Steven Isserlis at PBO

    Steven_Isserlis_credit_Satoshi_Aoyagi1* Notes * 
    Cellist Steven Isserlis (pictured left, photograph by Satoshi Aoyagi) is playing with Philharmonia Baroque Orchestra in the Bay Area starting with a performance at the SFJazz Center last night in San Francisco. The program is bookended with symphonies by Haydn, the first one being No. 57 in D major, and the second No. 67 in F major. The hall is designed for amplified music, so period instruments can sound rather crackly. However, the sound system can compensate for this, and the second Haydn piece seemed warmer and more resonant than the first.

    Nicholas McGegan conducted a jovial and sprightly performance. Symphony No. 57 was a happy way to open. The tuning of the violin duet in Symphony No. 67 sounded a bit strange to me. But the trio that follows of concertmaster Katherine Kyme, principal second violinist Anthony Martin, and principal cellist Tanya Tomkins was beautiful.

    Isserlis joined the orchestra for what was listed in the program as Luigi Boccherini’s Concerto for Violoncello No. 7 in G major, but was actually Carl Philipp Emanuel Bach’s Concerto for Violoncello in A major. Isserlis gave a sparkling performance, his playing has long lines and a beautiful legato. After intermission, Isserlis informed us we had been subject to a “ghastly hoax” and explained that the Boccherini was to come, as they had already played the Bach. The Adagio was especially lovely. Isserlis played an encore that involved much switching from pizzicato to arco.

    * Tattling * 
    The audience was quiet and little electronic noise was noted.

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  • SF Opera’s Un Ballo in Maschera (Mulligan)

    Sf-opera-ballo-2014-actiii* Notes * 
    Last night San Francisco Opera performed A Masked Ball a second time this season. The traditional production is the same as the one seen here in 2006, Jose Maria Condemi’s direction is similarly straightforward, if not slightly bland. The ball scene (Act III pictured left, photograph by Cory Weaver), however, is quite festive. This performance had Brian Mulligan singing Count Anckarström instead of Thomas Hampson, and Mulligan sings again on October 22nd. Nicola Luisotti conducted a rich and lush sounding orchestra. The volume was not overwhelming to the voices, at least from the back of the balcony. The orchestra was often ahead of the singers, this was particularly noticeable in Act II, when Anckarström appears to warn Gustavus.

    Dolora Zajick is utterly convincing as Madame Arvidson, her deep, full sound is well-suited to the role. Brian Mulligan sounded strong as Count Anckarström, and his first aria, “Alla vita che t’arride,” was gorgeous. Ramón Vargas (Gustavus III) has a pretty, reed-like voice, but was perhaps the weakest of the principals. Heidi Stober made for a dazzling and boyish Oscar. Julianna Di Giacomo (Amelia) sounded clear and sonorous. Her debut on the War Memorial stage certainly seems a success.

    * Tattling * 
    Axel Feldheim kindly saved me a spot at the railing, though it was not crowded in standing room, perhaps because the San Francisco Giants were playing the Washington Nationals in game four of the National League Division Series at AT&T Park. The opera displayed the scores before the opera and during intermissions. The audience cheered when the results were favorable.

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  • SF Opera’s Un Ballo in Maschera Media Round-Up

    Sf-opera-ballo-acti-2014Production Web Site | SF Opera's Blog

    Julianna Di Giacomo (pictured left, photograph by Cory Weaver) made an impressive debut at San Francisco Opera in Un Ballo in Maschera as Amelia.

    Reviews: Not For Fun Only | San Francisco Chronicle | San Francisco Classical Voice | San Francisco Examiner | San Jose Mercury News

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  • Gockley Announces Retirement

    GockleySan Francisco Opera‘s General Director, David Gockley (pictured left, photograph by Terrence McCarthy), has announced his retirement in July 2016. He concludes a ten-year, seven-month tenure with the Company and a career spanning 44 years. Gockley, who will be 73 at the end of the 2015–2016 season, became the Company’s sixth general director when he joined San Francisco Opera in January 2006. The announcement was made at a War Memorial Opera House press conference today.

    Press Release | Official Site

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  • My Head is Full of Colors Premiere

    MyheadisfullofcolorsOpera Parallèle presents the world premiere of My Head is Full of Colors, a children's opera composed by Chris Pratorius with libretto by Nicole Paiement. The free performance will be held during National Opera Week, on Saturday, November 1, at 11 am in the Koret Auditorium of the San Francisco Main Library, 100 Larkin Street. The production features 4th grade students from Creative Arts Charter School performing with soprano Carolyn Bacon and baritone Sergey Khalikulov. Laura Anderson is the stage director, costumes are designed by Elly Jessop; the singers and small instrumental ensemble will be conducted by OP Intern Conductor William Long.

    Production Web Site | San Francisco Public Library

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  • Il Pasticcino di Siviglia

    230914
    Bartolo accepts the marriage of the Count and Rosina at the end of The Barber of Seville.

    Details of Painting | Performance Review of Il barbiere di Siviglia

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  • 2015 Adler Fellows

    2014-AdlersThe incoming 2015 Adler Fellows are mezzo-soprano Nian Wang, tenor Chong Wang, baritone Edward Nelson, bass-baritone Matthew Stump, bass Anthony Reed, and coach and accompanist Ronny Michael Greenberg. They join current Adlers Julie Adams, Maria Valdes, Zanda Švēde, Efraín Solís, and Noah Lindquist. Soprano Julie Adams joined the 2014 class of Adler Fellows in Fall 2014 and will continue as a first-year Adler Fellow in 2015. The outgoing 2014 Adler Fellows are Erin Johnson, Jacqueline Piccolino, A.J. Glueckert, Chuanyue Wang, Hadleigh Adams, and Philippe Sly.

    Press Release | Official Site

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  • SF Opera’s Norma (Thomas)

    Norma-acti-2014-sfopera* Notes * 
    The fifth performance of San Francisco Opera‘s new production of Norma was held yesterday. This was the third go with tenor Russell Thomas replacing Marco Berti. I also heard that as of the Friday, September 19th performance, Sondra Radvanovsky (pictured as Norma with the chorus in Act I, photograph by Cory Weaver) and Jamie Barton (Adalgisa) were singing in the original, higher key. Again, the orchestra sounded wonderful under the direction of Maestro Nicola Luisotti. The woodwinds played well, and the horns were particularly good at the end of Act II, Scene 9. The chorus also was lovely and sounded unified.

    As Pollione, Russell Thomas has a bright, pretty sound. He certainly is a better vocal match for the talented female leads and sings with much more ease than his predecessor. His voice contrasts well with tenor A.J. Glueckert’s brassy Flavio. Thomas sounds more reed-like, Glueckert more metallic.

    Jamie Barton sang a potent Adalgisa, the higher notes did not seem to be an issue for her at all. Sondra Radvanovsky sounded brilliant in the title role, her approach is nuanced and simply gorgeous. Her “Casta Diva” was lustrous and the Act I finale was sublime.

    * Tattling * 
    The railings in standing room on the balcony level were all taken. A family of four was late, and one of the daughters spoke at full-volume, garnishing her a hushing from a standee.

    Note that I was reading the score for this performance, so only heard the music. Looking forward to seeing it again, as there are two more shows.

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  • Julian Wachner Conducts SF Opera’s Partenope

    Julian-wachnerJulian Wachner (pictured left) is to conduct San Francisco Opera's Partenope, which runs from October 15 to November 2, 2014. He replaces British conductor Christian Curnyn, who has withdrawn from the production for personal reasons.

    Production Web Site | Press Release

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