The Opera Tattler

Reviews of Performances and their Audiences

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  • LA Opera’s I Due Foscari


    I-due-foscari-la-opera* Notes *     
    Los Angeles Opera gave a third performance of I due Foscari (Act II pictured left with Francesco Meli as Jacopo Foscari and Plácido Domingo as Francesco Foscari, photograph by Robert Millard) Sunday afternoon. The orchestra seemed comfortable playing under the direction of James Conlon. The clarinet was especially pretty. The chorus sounded full.

    The cast seems ideal, rendering the opera rather engaging. Ievgen Orlov radiated evil as Loredano, so much so he was enthusiastically booed by the audience when he took his first bow. Though Marina Poplavskaya does have a gasping quality to her voice, it worked to her advantage as the fiercely angry Lucrezia Contarini. Francesco Meli sounded bright and plaintive as Jacopo Foscari. There was a certain rawness to his singing that had the right appeal for the character. Plácido Domingo was convincing in the baritone role of Francesco Foscari.

    The production features an elaborate set with many moving parts. At times the direction seemed hampered and constrained by all that was on stage. On the other hand, the circus-like scene that opened Act III was spectacular, and the ending effective and disturbing.

    * Tattling * 
    There was some light talking in the Grand Circle, but mostly from one rather elderly person who probably had no idea he could be heard. A woman in the Founders Circle caused more than once disturbance during Act II as she climbed over several people to exit the hall.

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  • LA Opera’s Don Giovanni


    Don-giovanni-la-opera-2012* Notes *     
    Peter Stein’s production of Don Giovanni (Act II pictured left with Soile Isokoski as Donna Elvira, David Bizic as Leporello, Roxana Constantinescu as Zerlina, Joshua Bloom as Masetto, Julianna Di Giacomo as Donna Anna, and Andrej Dunaev as Don Ottavio; photograph by Robert Millard) for Lyric Opera opened at Los Angeles Opera yesterday. The direction, from Gregory A. Fortner, is sensible, but entertaining. The entrances and exits of various characters on stage are clearly motivated. Relying heavily on drawn curtains to change scenes, Ferdinand Wögerbauer’s set is stark and serviceable. Moidele Bickel’s costumes share this neat simplicity.

    James Conlon had the orchestra zipping along, often ahead of the singers. The brass sounded exposed at one point in the overture, but was otherwise satisfactory. The chorus members made for cheerful peasants in Act I, and sang heartily in Act II.

    The cast has many charming singers. Joshua Bloom is convincing as Masetto, oafish and silly, but with a pretty voice. Roxana Constantinescu is a lusty, vivid Zerlina, yet sang “Batti, batti” with tender appeal. Soile Isokoski has a mellifluous voice, but could sound perfectly hysterical as Don Elvira, as the role requires. Ievgen Orlov could have sung The Commendatore with more authority, as his voice seems fairly strong. Andrej Dunaev impressed as Don Ottavio, singing both his arias with good volume. Julianna Di Giacomo (Donna Anna) sounded bright but silvery. In fact, all the female voices were very distinct from one another.

    David Bizic’s Leporello was more charismatic than Ildebrando D’Arcangelo’s Don Giovanni. Bizic and D’Arcangelo sounded somewhat similar, perhaps because the latter is a bass-baritone. D’Arcangelo lacked appeal in “Là ci darem la mano,” and sang “Fin ch’han dal vino” without verve. He was extremely funny in Act II whilst pretending to be Leporello, and he did sing “Deh, vieni alla finestra” with beauty and sweetness.

    * Tattling * 
    There was a tiresome amount of talking, singing, and snoring in the Grand Circle. The couple in Row P Seats 30 and 31 spoke to each other without regard to music or singing.

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  • Bychkov conducts SFS in Shostakovich


    39ALBychkov2-creditThomasBrill* Notes *     
    Semyon Bychkov (pictured left, photograph by Thomas Brill) conducts San Francisco Symphony in Schubert's Unfinished and Shostakovich's 11th this week. The Schubert that started last night's proceedings was elegant. The pianissimo of the strings with oboe and clarinet in the first movement was simply beautiful. The sound was verdant and fresh. In the second movement, the brass was slightly cloudy at two points, but the woodwinds were excellent.

    The Shostakovich that came after intermission required many more musicians than the Schubert. Bychkov kept a fine tension in the musical line, the slow parts were not lax, but contrasted with the faster sections of the piece. The quiet moments of the music were exquisite. The volume of the end of the second and fourth movements was rather deafening, and it was clear why some orchestra members wore earplugs. The trumpets played quite well, as did the English horn.

    * Tattling * 
    There were many cellular phone rings in the second half of the performance. It seemed whenever there was a gorgeous pianissimo was being played on stage, there was some electronic noise happening in the audience.

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  • Casting Change for SF Opera’s Moby-Dick


    A--Jay-Hunter-Morris-Moby-DickJay Hunter Morris (pictured left, photograph by Photografeo Pty Ltd.) will replace Ben Heppner as Captain Ahab in San Francisco Opera's Moby-Dick, which opens on October 10, 2012. Originally scheduled to sing the last three performances, Morris will now sing all eight. Heppner has withdrawn from the production for personal reasons.

    Moby-Dick at San Francisco Opera | Press Release

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  • Opera San José’s Les pêcheurs de perles


    Opera-san-jose-pearl-fishers-callon-altman* Notes *
    The Pearl Fishers (Act I with James Callon and Zachary Altman, photograph by P. Kirk) opened the 2012-2013 season at Opera San José over the weekend. Sunday’s performance gave a compelling case for this opera, which is so much less popular than Bizet’s Carmen. Maestro Anthony Quartuccio had the orchestra going at a neat, steady pace. The oboe solo in Act II was especially beautiful.

    The chorus sounded spirited and robust, and were rather threatening in Acts II and III. Silas Elash is convincing as Nourabad. Melody King’s Leïla has vigor, though not all her notes were perfectly in tune. James Callon (Nadir) also may have drifted slightly in his intonation, but sang well both with King and with Zachary Altman as Zurga. The duet between Callon and Altman, “Au fond du temple saint,” was certainly a highlight of the afternoon.

    The exotic-looking set, designed by Charlie Smith, seemed solid. Richard Harrell’s direction involved much dancing from seven young people, who were quite amusing to watch.

    * Tattling * 
    The audience clapped after nearly all the arias and were generally pleased to be back at the California Theatre for a new season.

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  • SF Opera’s Rigoletto (Vratogna/Shagimuratova/Chacon)


    18-Rigoletto* Notes *     
    A second performance of San Francisco Opera's Rigoletto was held on Saturday. The cast had three different members: Marco Vratogna (Rigoletto), Albina Shagimuratova (Gilda), and Arturo Chacón-Cruz (The Duke of Mantua).

    Chacón-Cruz was not consistent, he was rather hard to hear with the chorus in the first scene, but improved in the second two acts. His duet with Shagimuratova in Act I Scene 3 was vexing, it seemed that the singers were not listening to one another, and it hardly seemed they were in love. Shagimuratova's voice often did not blend nicely when singing with others, earlier in the same scene it seemed that she was having a shouting match with Vratogna. They did sound better together in Act II (pictured left, photograph by Cory Weaver) and in the very last part of Act III. Shagimuratova does have a twittering sparkle to her sound. Vratogna's voice is much less pretty, as is appropriate. He did well portraying scorn, anger, and desperation. He had a harder time being doting or sad.

    Though fairly simple, the production did not always help these singers. Shagimuratova's heavy-footedness in bounding up the stairs for "Caro Nome" hardly projected youthful exuberance. Though most of the singers moved with ease, one felt the direction was wan, and the movements on stage did not always have a strong sense of intention.

    The orchestra sounded fiery and crisper last night, Nicola Luisotti continued to drive the music forward. The chorus had an even better evening than for the opening, and seemed together and uniform. All the other principals sounded secure. Robert Pomakov gave a nuanced, imposing performance as Monterone. Andrea Silvestrelli continued to impress with his distinctive deep bass.

    * Tattling * 
    The audience was far more attentive for this second performance. The house was not full, and standing room was particularly empty.

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  • SF Opera’s Opening Night Rigoletto


    06-Rigoletto* Notes *     
    The 90th season of San Francisco Opera got off to a fine start last night with Rigoletto, at least once opening night formalities were out of the way. Though not exactly precise, the orchestra bustled with enthusiasm, and Maestro Nicola Luisotti kept the music moving. The chorus sang with characteristic vigor.

    This revival is the fourth outing of the de Chirico-inspired production in fifteen years. Michael Yeargan’s set design is clean and quiet, other than the rather garish color palette. The scene changes are smooth, and the two pauses (between the first two scenes and the last two acts) did not take long.

    The array of lovely voices in this opera is striking. The six current and former Adlers sang seven of the smaller roles and acquitted themselves well. It is especially pleasing that mezzo-sopranos Laura Krumm (Countess Ceprano and A Page), Renée Rapier (Giovanna), and Kendall Gladen (Maddalena) all sound so distinct from one another.

    Likewise, bass Robert Pomakov made for a Monterone that could not be confused with the baritone of the title role. Andrea Silvestrelli is a threatening Sparafucile. His voice has beautiful resonances even in his lowest notes.

    Francesco Demuro made a strong effort as the Duke of Mantua, but came up a bit short. His bright voice has an edge of hysteria to it, lending him an unmanly air. He gave a respectable rendition of “La donna è mobile” but somehow did not engage the audience.

    Aleksandra Kurzak’s Gilda is attractive, her intonation is exact, and she never grates on the ear. On the other hand, her dark sound seems too sensual for the naive daughter of Rigoletto. Željko Lučić (pictured above in Act I Scene 2, photograph by Cory Weaver) impressed in the title role. His sound has volume and richness. The tenderness of Act I Scene 2 contrasted nicely with the despair of the last scene.

    * Tattling * 
    The opera started even later normal for opening night. The General Director even made an announcement ten minutes after the hour that the proceedings would begin in another five minutes. John Gunn and George Hume welcomed the audience, made acknowledgements to various donors, let us know we were to be photographed from the stage in honor of the 90th season, and also informed us that there would be champagne for all after the performance. After several photographs were taken, Luisotti lead the orchestra and the audience in the National Anthem, so the performance itself began nearly thirty minutes late.

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  • Casting Changes for SF Opera’s Rigoletto


    B--Rigoletto-Terrence-McCarthyTenor David Lomelí has withdrawn from San Francisco Opera’s Rigoletto for personal reasons. Francesco Demuro, already scheduled to sing the Duke of Mantua on six dates, will now perform the role twice more on September 23 and 30. Arturo Chacón-Cruz sings on September 8, 12, 16, and 19.

    Press Release | SF Opera’s Official Site

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  • Cal Performances 2012-2013 Season

    September 15-16 2012: National Circus of the People’s Republic of China
    September 18 2012: Laurie Anderson
    September 27-28 2012: Théâtre de la Ville performs Rhinocéros
    September 30 2012: Fall Free for All: Open House at Cal Performances
    October 10-12 2012: Mariinsky Ballet & Orchestra performs Swan Lake
    October 16 2012: Delfeayo Marsalis Octet performs Sweet Thunder
    October 20 2012: Georgia’s Ensemble Basiani
    October 26-28 2012: Einstein on the Beach
    November 3 2012: Dan Savage
    November 3 2012: Calder Quartet
    November 3 2012: Concert Köln
    November 4 2012: Dell’Arte Company performs The Fish in My Head
    November 7 2012: Chucho Valdés & Afro-Cuban Messengers
    November 8 2012: Gloria Cheung, piano
    November 9-11 2012: Esa-Pekka Salonen conducts Philharmonia Orchestra
    November 13 2012: Emanuel Ax, piano
    November 15 2012: Fran Lebowitz
    November 17 2012: Angélique Kidjo
    November 23-25 2012: Mummenschanz
    November 29-30 2012: Gustavo Dudamel conducts Simón Bolívar Symphony Orchestra of Venezuela
    December 8 2012: Philharmonia Baroque Orchestra performs Messiah
    December 14-23 2012: Mark Morris Dance Group performs The Hard Nut
    January 19 2013: Monterey Jazz Festival on Tour
    January 24 2013: Yo-Yo Ma, cello and Kathryn Stott, piano
    January 26-27 2013: Joffrey Ballet
    January 27 2013: Nicolas Hodges, piano
    February 1-2 2013: Hubbard Street Dance Chicago
    February 3 2013: Kodo
    February 8 2013: Soledad Barrio and Noche Flamenca
    February 10 2013: Eric Owens, bass-baritone and Warren Jones, piano
    February 10 2013: Ira Glass
    February 12 2013: Christian Tetzlaff, violin
    February 15-17 2013: Circus Oz
    February 17 2013: Leonidas Kavakos, violin
    February 19 2013: Milos̆, guitar
    February 24 2013: Oakland Folkharmonic
    February 24 2013: Susanna Phillips, soprano
    March 1-10 2013: The Secret Garden
    March 2 2013: Voices of Afghanistan
    March 3 2013: Brentano String Quartet
    March 9 2013: Nathan Gunn, baritone and Julie Gunn, piano
    March 10 2013: Jeffrey Kahane, piano
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    March 15 2013: Trisha Brown Dance Company
    March 17 2013: Afiara String Quartet
    March 17 2013: Jazz at Lincoln Center Orchestra
    March 22-23 2013: Australian Chamber Orchestra
    March 23 2013: The Tallis Scholars
    March 24 2013: Mohammad Reza Shajarian, vocals
    March 30 2013: Afropop Spectacular
    April 7 2013: Davitt Moroney, harpsichord
    April 10 2013: Paquito D’Rivera and the Assad Brothers
    April 13 2013: Ray Kurzweil
    April 13 2013: Trout Fishing in America
    April 14 2013: Simon Trpčeski, piano
    April 18 2013: Arlo Guthrie
    April 23-28 2013: Alvin Ailey American Dance Theater
    April 26-27 2013: Handel and Haydn Society
    May 3-5 2013: Les 7 Doigts de la Main Circus
    May 10-12 2013: Eifman Ballet of St. Petersburg
    May 17 2013: San Francisco Opera Orchestra
    June 11-13 2012: Ojai North!

    Einstein on the Beach will be performed this October. Philharmonia Orchestra performs Wozzeck on Saturday, November 10. San Francisco Opera performs a new work by Nolan Gasser in March. Handel and Haydn Society performs Jephtha on Saturday, April 27 .

    Official Site | Brochure

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  • Met Cast Changes 2012-2013 (as of 8/20/2012)

    From a press release on August 20, 2012.

    Janai Brugger makes her Met debut as Liù in Turandot on October 30 and sings the role on November 2, 5, and 9. Brugger replaces Takesha Meshé Kizart, who is recovering from recent abdominal surgery.

    Guanqun Yu replaces Sondra Radvanovsky as Leonora in Il Trovatore on October 17, 20, and 25. This role marks her Met debut as well.

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