The Opera Tattler

Reviews of Performances and their Audiences

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  • SF Opera’s La Traviata (Pérez, Costello, Kelsey)

    Sfopera-traviata-2014-perez* Notes * 
    The second cast of La Traviata (Ailyn Pérez as Violetta and Stephen Costello as Alfredo in Act I pictured left, photograph by Kristen Loken) at San Francisco Opera this season performed last night.

    This performance was presented as a live simulcast. Production Director Greg Weber narrated the set changeover during the first intermission, and took questions via social media with the help of Joey Castaneda. Weber’s reminder to turn off cellular devices after the presentation was much appreciated.

    The change of personnel seemed to be for the better, though one is certain that it did not hurt that this was the seventh performance for most of the musicians. Maestro Giuseppe Finzi kept the orchestra together, but the tempi were still fairly rapid. The woodwinds were especially lovely. The chorus sounded more spirited.

    Quinn Kelsey has a gorgeous voice, and was moving as Germont. Stephen Costello has a strong, open sound as Alfredo. Ailyn Pérez seemed well-suited to the role of Violetta, she was able to sound brilliant yet delicate.

    * Tattling * 
    There were again a large number of latecomers in the balcony. A few young women felt it was fine to look at their mobile telephones in the standing room area.

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  • SF Opera’s Madama Butterfly Media Round-Up

    Sf-opera-butterfly-actiiProduction Web Site | SF Opera's Blog

    Reviewers acknowledge that Patricia Racette's voice has declined in San Francisco Opera's latest Madama Butterfly (Act II pictured left, photograph by Cory Weaver), but find the singer's dramatic abilities intact.

    Performance Reviews: San Francisco Chronicle | San Francisco Classical Voice | San Jose Mercury News

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  • SF Opera’s Madama Butterfly

    Sf-opera-butterfly-acti-2014* Notes * 
    Jun Kaneko's production of Madama Butterfly (Patricia Racette as Cio-Cio-San, Brian Jagde as Pinkerton, and Brian Mulligan as Sharpless in Act I pictured left; photograph by Cory Weaver) had a fifth performance at San Francisco Opera last night. The set and costumes have an elegant guilelessness. The staging, directed by Leslie Swackhamer, is likewise straightforward and makes charming use of four kurogo (stagehands dressed in black).

    Maestro Nicola Luisotti had the orchestra sounding lush and sweeping. The chorus was robust. The casting is rather luxurious. Morris Robinson is a plush-toned Bonze. Brian Mulligan makes for a rich-sounding Sharpless. Elizabeth DeShong (Suzuki) has a startlingly lovely voice. The trio with Sharpless, Suzuki, and Pinkerton in Act II was exceedingly beautiful.

    Brian Jagde is a convincing Pinkerton and he sang well. He has a lot of volume. Sadly, the opera hinges on having a great Butterfly, and Patricia Racette fell short. Her acting is certainly strong, and her voice has a lot of power and emotion. However, her wide vibrato marred the piece's best-loved arias.

    * Tattling * 
    Many people were late and stood in the standing room area on the orchestra level. Someone was upset about not being seated and complained loudly, hurling invectives at the ushers.

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  • Met Cancels Klinghoffer Live in HD

    According to a press release from today the Met has canceled its Live in HD transmission of The Death of Klinghoffer scheduled for this fall. The Met's General Manager, Peter Gelb says "I'm convinced that the opera is not anti-Semitic but I've also become convinced that there is genuine concern in the international Jewish community that the live transmission of The Death of Klinghoffer would be inappropriate at this time of rising anti-Semitism, particularly in Europe."

    Press Release | Production Web Site

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  • SF Opera’s La Traviata (Cabell, Pirgu, Stoyanov)

    Sf-opera-traviata-cabelle-2014* Notes * 
    San Francisco Opera‘s 1987 production of La Traviata (Saimir Pirgu as Alfredo and Nicole Cabell as Violetta in Act I pictured left, photograph by Cory Weaver) was revived again last night. Originally conceived by John Copley, Laurie Feldman is the director this time. The set, designed by John Conklin, is splendid, as are David Walker’s costumes. Somehow the staging does not cohere, and the high point certainly is the focused flamenco dancing in Act II Scene 2.

    The orchestra sounded sumptuous, though the tempi that Maestro Nicola Luisotti kept were consistently ahead of the singers. The chorus was slightly tepid in the Brindisi. The principal cast features very pretty voices with a lot of volume, yet the effect was curiously flat. Vladimir Stoyanov has a rather strident manner as Germont. Saimir Pirgu has a pleasant, bright warmth as Alfredo, but his singing has an effortful quality. Nicole Cabell (Violetta) sounded gorgeously icy, her voice is beautiful and strong, but somehow she fell short of embodying her character.

    * Tattling * 
    There were many latecomers in the balcony. Some mobile telephones and watch alarms were noted. The sound system made a strange squeak in the second third of the opera.

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  • SF Opera’s Show Boat Media Round-Up

    Show-boat-act-iiProduction Web Site | SF Opera's Blog

    Reviewers are fairly positive about San Francisco Opera's Show Boat (Act II pictured left, photograph by Cory Weaver).

    Performance Reviews: San Francisco Chronicle | San Francisco Classical Voice | San Jose Mercury News

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  • SF Opera’s Show Boat

    Show-boat-act-1* Notes *
    Show Boat (Heidi Stober as Magnolia Hawks, Patricia Racette as Julie La Verne, Angela Renee Simpson as Queenie and Morris Robinson as Joe with chorus in Act I, Scene 2 pictured left; photograph by Cory Weaver) opened at San Francisco Opera today with a matinée performance. The production, directed by Francesca Zambello, is spectacular. Peter J. Davison's set must be characteristic of his style, employing many of the same devices as his Porgy and Bess as far as creating or changing scenes. The costumes are fetching and the choreography sharp. It is delightful to see the San Francisco Opera corps dancers looking so exuberant.

    John DeMain does a wonderful job with the orchestra, and the music sounds fluent and natural. The chorus is mostly fine, though perhaps not precisely on the beat at the beginning of Act II. Harriet Harris is a funny Parthy. Bill Irwin is an elastic Cap'n Andy, his physical comedy is perfect for this role.

    Though one may have been skeptical of Patricia Racette as Julie, as we have heard quite a lot of her this season, she is moving in this, and her vibrato is not bothersome. Angela Renée Simpson sings Queenie with verve, though she was a touch quiet in "Hey, Feller" in Act II. Morris Robinson is incredible as Joe, his dignified voice has such depth and power.

    Michael Todd Simpson makes for an expressive Gaylord Ravenal. Heidi Stober's physicality is impressive, she plays the young Magnolia with sprightliness and is able to capture the maturity of an older woman as the piece progresses. Her accent may not be exact at all times, but her singing is lovely.

    * Tattling *
    Someone sitting on the back bench of the balcony had a noisy mobile phone.

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  • Dutoit conducts Fauré’s Requiem

    Charles-Dutoit-4x6* Notes * 
    At the moment, Charles Dutoit (pictured left) is conducting San Francisco Symphony in performances of Poulenc, Stravinsky, and Fauré. Poulenc’s Gloria began the concert on Thursday. The orchestra sounded bright and the chorus was cohesive. The “Laudamus te” was particularly jaunty. The soloist, soprano Susanna Phillips, sounded gorgeous. The “Domine Deus” was clear and haunting.

    The Stravinsky, Symphony of Psalms, took a bit to set up, as the piece does not have high strings and also requires two pianos. The flute, oboe, and bassoon had a lovely moment.

    After intermission we heard Fauré’s Requiem. The soloists were both strong. Bass-baritone Hanno Müller-Brachmann has a rich, powerful voice. Susanna Phillips sounded rather sublime as well. The dynamics of the piece were evident, and the chorus’ pianissimo was impressive.

    * Tattling * 
    There was only a brief exchange around me by one couple at one point during the last piece.

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  • San Diego Opera 2015 Season

    Nix312San Diego Opera's closure has been rescinded. The 2015 season includes La bohème, Don Giovanni, and Nixon in China. The ongoing crowd funding effort has resulted in a total of $2,116,376 in donations from 2,461 of donors as of midnight Sunday, May 18, 2014.

    Official Site | Save San Diego Opera

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  • WNO Ring 2016

    Nina Stemme photo by Tanja NiemannWashington National Opera just announced principal casting and performance dates for its first complete presentation of Wagner’s Ring cycle. Three full cycles will be presented from April 30 to May 22, 2016 and will be directed by Francesca Zambello and conducted by Philippe Auguin.

    Nina Stemme (pictured left, photograph by Tanja Niemann) and Catherine Foster share the role of Brünnhilde. Daniel Brenna sings Siegfried in the United States for the first time. Alan Held is Wotan. Subscription packages will be available Spring 2015.

    Production Web Site

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