The Opera Tattler

Reviews of Performances and their Audiences

Recent posts

  • Meet the Merolini 2012

    Merolini-06072012-kristen-lokenThe 29 incoming Merolini (pictured left, photograph by Kristen Loken) were interviewed by San Francisco Opera Center Director Sheri Greenawald, Merola Opera Board of Directors Chairman Jayne Davis, and President Donna L. Blacker yesterday evening, in the Green Room of the War Memorial Veterans Building. This year four of the participants are Canadian, two are Chinese, and there is a notable absence of Iowans. We learned that tenor Joshua Baum customizes LEGO minifigures and soprano Aviva Fortunata knits Mexican wrestling mask balaclavas. Tenor AJ Glueckert joked that his dream roles were Papageno and Tosca, the latter because he "likes to throw himself off of things." Apprentice stage director Jennifer Williams was a violist. Chuanyue Wang sang a bit of a Chinese folk song that happens to also be used in Turandot. 18 of the Merolini listed "cooking" as an interest, and tenor Andrew Stenson gave a delightful description of an smoked egg dish with onions and caviar.

    Schwabacher Summer Concert
    Anna Bolena
    Giovanna Seymour: Erin Johnson
    Anna Bolena: Melinda Whittington

    La jolie fille de Perth
    Le Duc de Rothsay: Joshua Baum
    Mab: Erin Johnson
    Henri Smith: Yi Li
    Un ouvrier: Seth Mease Carico
    Ralph: Hadleigh Adams
    Le majordome: Andrew Kroes
    Cathérine Glover: Melinda Whittington

    Mefistofele
    Faust: Chuanyue Wang
    Mefistofele: Andrew Kroes
    Margherita: Elizabeth Baldwin

    The Rake's Progress
    Tom Rakewell: Joshua Baum
    Anne Trulove: Elizabeth Baldwin
    Nick Shadow: Seth Mease Carico

    La finta giardiniera
    Podestà: Casey Candebat
    Sandrina: Jennifer Cherest
    Arminda: Jacqueline Piccolino
    Belfiore: Theo Lebow
    Ramiro: Sarah Mesko
    Serpetta: Rose Sawvel
    Nardo: Gordon Bintner

    ***

    Postcard from Morocco
    Man with a Paint Box: AJ Glueckert
    Lady with a Cake Box: Aviva Fortunata
    Lady with a Hat Box: Carolyn Sproule
    Lady with a Hand Mirror: Suzanne Rigden
    Man with Old Luggage: Andrew Stenson
    Man with the Shoe Sample Kit: Joseph Lattanzi
    Man with a Cornet Case: Matthew Scollin

    ***

    This year the Opera Standees Association is sponsoring Andrew Kroes and Chuanyue Wang.

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  • Final Dress of SF Opera’s Nixon in China

    Nixon-in-China-Poster-SFOpera * Notes *
    The final dress rehearsal of San Francisco Opera's Nixon in China (Michael Schwab's poster pictured left) was held yesterday at the War Memorial Opera House. The music seems quite challenging, but is sounding strong. Maestro Lawrence Renes stopped the orchestra in Act II as the playing was too loud, even though all the singers are amplified. It is hard to believe this orchestra has two other operas opening in the coming week, and just gave a concert of symphonic music last Sunday. The cast is excellent, and one looks forward to the local premiere on this Friday at 8pm.

    * Tattling *
    Box K was designated for live tweeting. I did not join in, as I am not skilled enough to listen and write at the same time, at least, without feeling strain.

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  • Luisotti & Peled with the SF Opera Orchestra

    A--San-Francisco-Opera-Orchestra* Notes * 
    Cal Performances hosted Nicola Luisotti and the San Francisco Opera Orchestra (pictured left, photograph by Cory Weaver) on Sunday afternoon, their second this season in Berkeley. The concert began with Prokofiev's First Symphony, and the orchestra sounded best in the graceful, dancing third movement. The woodwinds were clear, as was the brass. The piece that followed, Haydn's Cello Concerto No. 1, featured soloist Amit Peled. Peled played with a beautiful, legato line. After intermission we heard Symphony in D Major by Cherubini. The playing was charming and joyous. It was lovely to see and hear this opera orchestra on stage, the camaraderie of the players and their love of music is apparent.

    * Tattling *
    There was very little noise from the audience. A man in Row A Seat 120 of the mezzanine looked at his phone at 3:30pm and left just a little afterward. Someone else on this level screamed an obscenity after the Moderato of the Haydn. It was unclear why.

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  • Robertson conducts SFS in Dvořák

    David-robertson-michael-tammaro* Notes * 
    David Robertson (pictured left, photograph by Michael Tammaro) conducts San Francisco Symphony in Rossini, Chopin, and Dvořák this week. The overture to L'italiana in Algeri that opened yesterday's performance sounded neat and precise. Chopin's Concerto No. 2 in F minor for Piano and Orchestra, Opus 21 also was together and clean. The soloist, Nelson Freire, seemed contained and self-possessed. His quiet playing was most impressive, especially in the Larghetto.

    After the intermission the orchestra gave a tidy rendition of Dvořák's 7th. The middle movements, the Poco adagio and the Scherzo: Vivace, were jaunty and charming. The brass sounded clear.

    * Tattling * 
    There was a lot of talking during the first half of the performance, at least on the odd numbered side of the orchestra level. A woman in Row U Seat 9 even opened up her purse during the last movement of the Chopin, and passed out candies to her friends in Row W. Much crinkling followed as they opened their sweets. Most of the noisiest patrons around us did not return after intermission.

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  • SF Opera’s 2012 Nixon in China Poster

    Nixon-in-China-Poster-SFOperaMichael Schwab has created a poster for San Francisco Opera‘s upcoming Nixon in China. The opera has a Bay Area premiere on June 8, 2012. Schwab made a lovely poster last year for the Ring. The graphic artist will be signing his work at the San Francisco Opera shop on June 17, 2012, after the performance that afternoon.

    Press Release | Michael Schwab’s Official Site

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  • Il barbiere di Siviglia at Opéra de Paris

    Paris-opera-barbiere-2012* Notes *
    Coline Serreau’s 2002 production of Il barbiere di Siviglia (second half of Act I pictured left, photograph by Christian Leiber) opened Thursday night at Opéra national de Paris. Conducted by Marco Armiliato, the orchestra floated in the overture, but was somewhat loud at times. The members of the chorus were clear, and moved well in the choreography.

    The principals are all fine actors. Carlo Cigni’s Basilio is funny, as is Maurizio Muraro’s Bartolo. The latter has an imposing command of patter. Tassis Christoyannis is an amusing Figaro, though his voice is not exceptional. Karine Deshayes started off rather darkly as Rosina, and showed a nice agility as the evening progressed. Antonino Siragusa is an appealing Almaviva, his bell-like tone is pretty. He was occasionally difficult to hear.

    The Moorish set from Jean-Marc Stehlé and Antoine Fontaine, with matching costumes from Elsa Pavanel, is elaborate. The direction tended toward camp and silliness. This seemed to delight the majority of the audience, though someone did boo forcefully when Serreau appeared for her ovation.

    * Tattling * 
    It seemed many people seated around us on the parterre level did not have command of either the Italian of the opera or the French of the supertitles. There were whispered explanations for much of the first act.

    Football was referenced in the last aria, and for some reason, this provoked much flash photography.

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  • Long Day’s Journey into Night at the Apollo Theatre

    Long-days-journey_david-suchet-laurie-metcalf* Notes * 
    A new production of Eugene O’Neill’s Long Day’s Journey into Night opened at the Apollo Theatre in London last month. Directed by Anthony Page, the play stars David Suchet as James Tyrone and Laurie Metcalf as Mary Cavan Tyrone (pictured left, photograph by Alastair Muir). The detailed set, designed by Lez Brotherston was beautifully lit by Mark Henderson. The leads are strong and act with great intensity. Suchet is rather pitiful, and Metcalf searing. The supporting cast is also formidable. Trevor White (James Tyrone, Jr.) and Kyle Soller (Edmund Tyrone) both give fiery performances. Soller is particularly moving in Act IV, when he speaks about being at sea.

    * Tattling * 
    A mobile phone was heard several times in Acts I and II during last night’s performance. There was some other disturbance during Act IV, it sounded like someone’s iPhone was playing music.

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  • Met Cast Changes 2012-2013 (as of 5/17/2012)

    From a press release on May 17, 2012.

    Gwyn Hughes-Jones will make his Met role debut as Manrico in Il Trovatore on September 29 and sings the role on October 4, 8, 12, 17, 20, and 25.

    Carmen Giannattasio will replace Sondra Radvanovsky as Leonora in Il Trovatore on October 12, 17, 20, and 25. These performances are in addition to the previously announced dates when Giannattasio will sing the role.

    Sondra Radvanovsky will replace Karita Mattila as Amelia in Un Ballo in Maschera on November 8 through December 8. The role of Amelia for the performance of December 14 is to be announced.

    Marcelo Álvarez will sing Gustavo III in Un Ballo in Maschera on November 27, replacing Roberto De Biasio. Álvarez will now sing all performances of the role in the 2012-13 season.

    Dolora Zajick will replace Olga Borodina as Amneris in Aida on December 19, 22, and 28. As previously announced, Borodina will sing the role on November 23, 26, 29 and December 3, 7, 12, and 15.

    Erwin Schrott will make his Met role debut as Dulcamara in Bartlett Sher's new production of L'Elisir d'Amore on January 30. He will also sing the role on February 2, 6, and 9 matinee.

    Sondra Radvanovsky will not be singing any performances of Don Carlo in the 2012-13 season, and her replacement as Elisabeth de Valois is to be announced.

    Italian baritone Marco Vratogna will make his Met debut as Iago in Otello on March 27. He replaces Thomas Hampson, who will still sing the performances on March 11, 15, 20, 23, and 30.

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  • Gilbert conducts NY Phil in Berlioz, Bartók, Debussy, & Ravel

    Ny-phil-gilbert* Notes * 
    Last night Alan Gilbert and New York Philharmonic (pictured left) played a second performance at San Francisco Symphony. The evening began with a very cheerful Le Corsaire Overture by Berlioz. Bartók’s Violin Concerto No. 1 was sober in contrast, and soloist Glenn Dicterow played elegantly, with long lines. Dicterow listened carefully to the rest of the orchestra, not a surprise given that he is the concertmaster. At one point the violinist’s sheet music was blown the wrong way, and Gilbert reached over to smooth out the page. showed a predilection for strong contrasts. After intermission we heard Debussy’s La Mer, which was energetic. The harps were particularly good. The last piece was Ravel’s La Valse. The orchestra seemed to relish the bits that were loud and fast, sounding rather bright and happy. There were two encores, including Emmanuel Chabrier’s España and another that only involved the brass.

    * Tattling * 
    There was scolding before the performance began as photographs are not allowed in Davies. Otherwise, the audience was rather quiet. A young woman in Row W Seat 15 of the orchestra level could not help but point out various instruments and whispered various explanations to the other girl in Seat 13. Fortunately, this only happened on two occasions.

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  • La Bohème at LA Opera

    La-opera-la-boheme-2012* Notes *
    A revival of La Bohème (Act IV pictured left, photograph by Robert Millard) opened Saturday night in Los Angeles. The performance marked the Los Angeles Opera debut of conductor Patrick Summers, and the orchestra played clearly, with only a slight harshness in the brass at one point in Act II. The chorus sang perfectly well, as was the children’s chorus, though the singers may not have been exactly together at all times.

    Museop Kim moved gracefully as Schaunard, his baritone is pleasingly light. Colline was sung convincingly by Robert Pomakov, his voice has quite a lot of vibrato, but warmth and volume. Janai Brugger’s Musetta was appropriately coy, but with a lovely bird-like sweetness. Though she maintained her composure, she did have some troubles with her train in Act II. Artur Ruciński (Marcello) sounds nice in the lower part of his voice and looked comfortable in his role. Stephen Costello strained a couple of times in Act I, however, his portrayal of Rodolfo was strong otherwise. Costello was particularly moving in the Act III quartet and at the end. Ailyn Pérez never sounded like she had to reach for notes as Mimi. She was not overpowering and had a certain delicate quality even though her bright voice could always be heard.

    The production, created by Herbert Ross and directed by Gregory A. Fortner, is fairly conventional. Some of the direction was a lot of fun, as with the quartet in Act IV, in which Schaunard and Colline joust with brooms on bicycles. Other moments made less sense, as when Schaunard comes out on the roof at the end of Colline’s “Vecchia zimarra.” Colline has his back to Schaunard without facing him, somehow the former has divined that the latter is there. Gerard Howland’s set makes use of vertical space without detracting from the voices.

    * Tattling * 
    The parents and brother (Founders Circle Row P Seats 31-33) of one of the Los Angeles Children’s Chorus members talked a great deal as she was on stage. I was grateful they decided not to return after intermission, and remained undisturbed for the second half of the opera.

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