The Opera Tattler

Reviews of Performances and their Audiences

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  • Albert Herring at LA Opera

    Albert-herring-la-opera

    * Notes *
    The fourth performance of Los Angeles Opera’s Albert Herring (Act II Scene 1 pictured left, photograph by Robert Millard) on Sunday boasted a balanced ensemble cast and fine musicianship all around. Conducted by Maestro James Conlon, the playing in the pit sounded taut and clear. The horn only made one slight error, but otherwise sounded quite agreeable. The singers all seemed perfect for their roles, and distinct enough from one another in sound. The diction was clear.

    Liam Bonner (Sid) and Daniela Mack (Nancy) made for a nice, youthful pair. The various pillars of society sang humorously together, or against one another, as need be. As Superintendent Budd, Richard Bernstein was warm in contrast to Robert McPherson’s rather bright Mr. Upfold. Jonathan Michie sang nimbly as Mr. Gedge. Though Stacey Tappan’s voice is pretty and bird-like, her Miss Wordsworth still managed to be convincing. Ronnita Miller’s acting as Florence Pike was confident, and her singing hearty. Janis Kelly played Lady Billows with the right amount of self-importance and hysteria. Her cold, brilliant voice is piercing. As for Albert Herring himself, Alek Shrader seemed ideal, it is hard to imagine a more suitable tenor for this role. Shrader’s voice is lovely.

    The production, directed by Paul Curran, was first seen at Santa Fe Opera last summer. The set and costumes, designed by Kevin Knight, are charming and sweet. The use of supernumeraries to change the scenes in various cunning ways made for good laughs.

    * Tattling * 
    The performance was not particularly full. There was light talking in the Founders Circle, especially in the first half of the opera.

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  • Don Pasquale at San Diego Opera

    San-diego-opera-don-pasquale

    * Notes * 
    At first glance, the revival of Don Pasquale (Act II, Scene 2 pictured left, photograph by Ken Howard) at San Diego Opera simply looks like someone took a set and costumes for Fanciulla del West and used it for Donizetti's work. Thankfully, there is much more to director David Gately's elaborate production, which is quite funny. This Wild West version of Don Pasquale works because the essentials are still true to this opera buffa. The characters are all believable, and this rendering has a lot of charm. The gags just keep on coming, and perhaps at times this felt somewhat overwrought. The sets, from Tony Fanning, descriptive and painstakingly detailed, as are the costumes from Helen E. Rodgers.

    Conductor Marco Guidarini made his San Diego debut with yesterday's performance. The orchestra played with the necessary fleetness, and were often rather loud. The trumpet made a brave effort at the beginning of Act II despite a few raw moments. The chorus moved well, and though not precisely together, sang nicely. The principal singers were cast evenly. Jeff Mattsey was an entertaining Dr. Malatesta, and his singing was fine aside from some of the patter in the duet "Cheti, cheti, immantinente." Charles Castronovo (Ernesto) had a pretty lightness and the right mournfulness for the role. His voice sounds slightly metallic when he pushes it too hard. Danielle de Niese's Norina was completely convincing, her gestures and expressions were faultless. Though her breathing is noticeable, her voice is deft and bright. John Del Carlo was hilarious in the title role. His sound is warm and his enunciation was excellent throughout, especially in the aforementioned Act III duet with Mattsey.

    * Tattling * 
    There was light talking throughout the opera, and a watch or phone alarm rang during Act III Scene 2.

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  • Sonoma State University 2012-2013 Season

    September 29 2012: Lang Lang, piano
    September 30 2012: Alison Krauss & Union Station featuring Jerry Douglas
    October 13 2012: Karina Gauvin, soprano with Michael McMahon, piano
    October 27 2012: "An All American Celebration" with John Adams & the International Contemporary Ensemble featuring Jeffrey Kahane, piano
    October 28 2012: Modigliani Quartet with Joyce Yang, piano
    November 10 2012: Stephanie Blythe, mezzo-soprano with Craig Terry, piano
    November 11 2012: Chucho Valdés and the Afro-Cuban Messengers
    November 15 2012: Buika
    November 20 2012: Joyce DiDonato, mezzo-soprano with Alan Curtis, conductor & Il Compleso Barocco
    December 8 2012: Tallis Scholars | Love is Better Than Wine
    December 9 2012: Philharmonia Baroque performs Handel's Messiah
    January 26 2013: Yo-Yo Ma, cello, and Kathryn Stott, piano
    February 16 2013: Barbara Cook, soprano
    November 2 2011: Lang Lang, piano
    March 2 2013: Anne-Sophie Mutter, violin with Lambert Orkis, piano
    March 21 2013: Jazz at Lincoln Center Orchestra with Wynton Marsalis
    April 7 2013: Vadim Repin, violin with Itamar Golan, piano
    April 9 2013: Elīna Garanča, mezzo-soprano
    April 18 2013: Lila Downs
    April 21 2013: Tara Erraught, mezzo-soprano with Marcelo Amaral, piano
    April 27 2013: Los Angeles Chamber Orchestra, Jeffrey Kahane, conductor & piano

    Robert Cole announced the inaugural season for Weill Hall at Sonoma State University's Green Music Center today. The hall is modeled after Seiji Ozawa Hall at Tanglewood, and features a rather warm, expansive acoustic. The air conditioning system is impressively high tech and silent.

    Official Site | 2012-2013 Season

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  • Quatuor Ebène at SF Performances

    SFP-EbeneQuartet

    * Notes *
    Tonight Quatuor Ebène (pictured left, photograph by Julien Mignot) had a San Francisco debut at Herbst Theatre. The evening started with Mozart's String Quartet in D minor, K. 421, which was played with much personality, and what seemed to be an entirely historically uninformed manner. Somehow the confidence and rapport of the players made the latter irrelevant. Borodin's String Quartet No. 2 in D Major may have been better suited to the style of the ensemble, the playing was lush without being cloying. The third movement Noctturno: Andante was especially delightful.

    The second half of the program consisted of Ravel's String Quartet in F Major. It was clear the quartet took the tempo markings to heart. The rhythms in the second movement were quite exhilarating and the changing meters in the last movement came off well. The encore was introduced rather coyly by cellist Raphaël Merlin as a piece by a quartet from Liverpool. The following instrumental version of Lennon and McCartney's "Come Together" was therefore all the more charming.

    * Tattling *
    The audience was silent and attentive until the encore.

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  • Rinaldo at Lyric Opera of Chicago

    Rinaldo-lyric-opera

    * Notes *
    A new production of Rinaldo (Act II, Scene 3 pictured left, photograph by Dan Rest/Lyric Opera of Chicago) concludes Lyric Opera of Chicago's 2011-2012 season. The Sunday matinée performance was nothing if not entertaining. Director Francisco Negrin created his own little circus within Handel's music, an internally consistent world whose elements all work together. The set, by Louis Désiré, involves a monolithic word scramble reading "Gerusalemme," glass panels that can be lit white or red, and an enormous piano-shaped box. Désiré's costumes are likewise striking and odd. Ana Yepes's choreography is amusing and was performed cleanly.

    Harry Bicket conducted a rather dry performance from the orchestra. The keyboard solo from Jory Vinikour at the end of Act II was strong. Musically, one of the most interesting parts of the afternoon was during "Or la tromba," when the trumpet almost flubbed a note, but recovered magnificently.

    Much of the singing was good, though not always historically informed. Iestyn Davies sounded bright as Eustazio, his fast notes lack deftness, but his timbre is pretty. Sonia Prina's vibrato was distracting at times, she tends to overdo the machismo for trouser roles, and her Goffredo was not an exception. She did rein in the bluster for "Sorge nel petto," which she sang nicely. The pleasant lightness of Luca Pisaroni's voice may not have been perfect for the wicked Argante, but his acting and movements were effective.

    Elza van den Heever was a compelling Armida. Her voice is gorgeous and powerful, perhaps a tad heavy for Baroque repertoire. She had the meatiest role as far as direction was concerned, and certainly made the most of this. Julia Kleiter made for a cute, sweet Almirena, she started off sounding a bit breathy but improved as the performance progressed. In the title role, David Daniels also had a shaky start, especially at the beginning of "Cara sposa."

    * Tattling *
    The audience seemed engaged with the performance. There was some light talking in the dress circle, but not a lot of electronic noise.

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  • Washington National Opera’s 2012-2013 Season

    September 15- October 6 2012: Anna Bolena
    September 20- October 15 2012: Don Giovanni
    September 23 2012: Nathan Gunn Concert
    December 21-23 2012: Hansel and Gretel
    March 2-23 2013: Manon Lescaut
    March 9-24 2013: Norma
    April 8 2013: Diana Damrau Concert
    May 4-26 2013: Show Boat

    The 2012-2013 season at WNO was announced today. Sondra Radvanovsky sings the title role of Anna Bolena. Angela Meade sings the title role of Norma.

    2012-2013 Season | Official Site

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  • San Francisco Symphony’s 2012-2013 Season

    September 5-8 2012: Bychkov conducts Wagner, Bruch, Tchaikovsky; Pinchas Zuckerman, violin
    September 12-15 2012: Bychkov conducts Shostakovich's 7th
    September 19 2012: Opening Gala: MTT conducts Berlioz, Chausson, Saint-Saëns, Ravel; Joshua Bell, violin
    September 20-23 2012: MTT conducts Berlioz, Chausson, Saint-Saëns, Ravel; Alina Pogostkina, violin
    September 27-30 2012: MTT conducts Samuel Carl Adams, Mahler
    October 4-6 2012: Vasily Petrenko conducts Pärt, Bartók, Respighi
    October 7 2012: Schiff plays Well-Tempered Clavier, Book I
    October 11-13 2012: Schiff conducts Mendelssohn, Bach
    October 18-20 2012: Jurowski conducts Scriabin, Rachmaninoff, Prokofiev
    October 21 2012: Schiff plays Well-Tempered Clavier, Book Book II
    October 24-28 2012: van Zweden conducts Wagner, Mozart, Brahms
    October 27 2012: John D. Goldman Tribute Concert
    October 30 2012: The Cabinet of Dr. Caligari
    October 31 2012: MTT conducts Volkert, Prokofiev, Rachmaninoff; Yuja Wang, piano
    November 1-2 2012: MTT conducts Volkert, Bartók, Rachmaninoff; Lang Lang, piano
    November 3 2012: Día de los Muertos Concert
    November 4 2012: SF Symphony Youth Orchestra
    November 11-12 2012: Warsaw Philharmonic Orchestra
    December 5-8 2012: MTT conducts Widmann, Berlioz
    December 9 2012: Cabrera conducts Peter and the Wolf
    December 13-16 2012: Messiah
    December 31 2012: New Year's Eve Masquerade Ball
    January 10-13 2013: MTT conducts Debussy, Duparc; Renee Fleming, soprano
    January 16 2013: Renee Fleming, soprano and Susan Graham, mezzo-soprano
    January 17-19 2013: MTT conducts Grieg
    January 23-26 2013: Vivaldi, Bach, Mozart
    January 25-29 2012: Zukerman conducts Mozart, Hindemith
    February 2-14 2012: Blomstedt conducts Mozart, Tchaikovsky
    January 26 2013: Cabrera conducts Music for Families
    January 30- February 1 2013: Dutoit conducts Ravel, Lalo, Elgar
    February 2 2013: Chinese New Year Concert
    February 6-10 2013: Dutoit conducts Poulenc, Berlioz
    February 8 2013: Gil Shaham, violin & Akira Eguchi, piano
    February 12-13 2013: Russian National Orchestra
    February 14-17 2013: Heras-Casado conducts Lindberg, Liszt, Prokofiev
    February 17 2013: Itzak Perlman, violin & Rohan De Silva, piano
    February 21-23 2013: Tortelier conducts Debussy, R. Strauss, Mendelssohn
    February 23 2013: Cabrera conducts Music for Families
    February 28- March 2 2013: MTT conducts Mozart, Bruckner
    March 6-9 2013: MTT conducts Berio, Beethoven, Brahms
    March 10 2013: Cameron Carpenter, organ
    March 14-17 2013: MTT conducts Mahler's 9th
    March 24 2013: Cabrera conducts SFS Youth Orchestra
    April 5-6 2013: Labadie conducts Mozart & Handel
    April 6 2013: Cabrera conducts Music for Families
    April 14 2013: Schiff plays French Suites
    April 17-20 2013: Blomstedt conducts Beethoven & Nielsen
    April 15 2013: Schiff plays English Suites
    April 25-27 2013: Eschenbach conducts Schoenberg, Brahms, Dvorak
    April 28 2013: Paul Jacobs, organ
    April 28 2013: Matthias Goerne, baritone & Eschenbach, piano
    May 2-3 2013: MTT conducts Beethoven
    May 4-9 2013: MTT; Michael Fabiano, tenor; & St. Laurence String Quartet
    May 10-11 2013: MTT conducts Missa Solemnis
    May 15-18 2013: Janowski conducts Schumann, Brahms
    May 19 2013: Cabrera conducts SFS Youth Orchestra
    May 22-25 2013: Robertson conducts Carter, Ravel, Gershwin
    May 29- June 2 2013: Valcuha conducts Dvořák, Kodaly, Bartok
    June 6-9 2013: Karabits conducts Honegger, Britten, Sibelius
    June 13-15 2013: Abbado conducts Schumann, Fedele, & Schubert
    June 19-20 2013: MTT conducts Stravinsky; Gil Shaham, violin
    June 21-22 2013: MTT conducts Stravinsky; The Dmitri Pokrovsky Ensemble
    June 27- July 2 2013: MTT conducts West Side Story

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  • Nott conducts CSO

    Jonathan_Nott_Thomas_Mueller

    * Notes * 
    Last weekend Jonathan Nott (pictured left, photograph by Thomas Müller) conducted Chicago Symphony Orchestra in a program of Schoenberg's Piano Concerto and Mahler's Das Lied von der Erde. The concert started with the former, the soloist being Pierre-Laurent Aimard, who played with clarity. The orchestra sounded neat and together. Schoenberg's music tends to put pressure on my sinuses, perhaps it is simply tension, and after the piano concerto was over, I sneezed three times in quick succession. Das Lied von der Erde was more engaging, even if we happened to be sitting on the wrong side of the singers. It felt a bit as if we were part of the brass section. Stuart Skelton's voice was not quite expansive enough to be heard that distinctly from the Center Terrace, but his sound is pretty and his diction comprehensible. Michelle DeYoung was perfectly audible, her voice has an interesting metallic quality, and she sang the last part rather well.

    * Tattling * 
    The audience completely quiet for the Schoenberg, but some talking was heard during the Mahler. A few people on the Orchestra Level were clearly asleep, but one young man near the front was rapt by DeYoung's performance.

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  • Show Boat at Lyric Opera of Chicago

    Show-Boat-Chicago-Lyric-Morris-Robinson

    * Notes *
    A new production of Show Boat (Act I, Scene 1 pictured left, photograph by Robert Kusel/Lyric Opera of Chicago) opened at Lyric Opera of Chicago last month. The Friday matinée performance was an utter delight from top to bottom. Director Francesca Zambello is at her best in this co-production with Lyric, San Francisco Opera, Washington National Opera, and Houston Grand Opera. The humanity of the characters is clear and compelling. Peter J. Davison’s set is not overly ornate, move cleanly, and work well with Mark McCullough’s characteristically elegant lighting. The costumes, by Paul Tazewell, often make use of a pleasing contrast of red, white, and turquoise. The dancing, choreographed by Michele Lynch, is charming.

    The straightforward music sounded effortless as far as the orchestra was concerned, conducted here by John DeMain. The chorus was robust, as were the principals. Cindy Gold and Ross Lehman were entertaining as Parthy and Captain Andy. Alyson Cambridge made for a striking Julie, with her incisive, but never shrill voice. Angela Renée Simpson sang Queenie with beauty and feeling. Morris Robinson was most impressive as Joe, his music is perhaps the most famous in this particular work, and he sang “Ol’ Man River” with warmth and beauty. Ashley Brown was an adorable Magnolia, she chirped sweetly. Nathan Gunn turned out a believable Ravenal, the lightness of his voice having an appeal in this role.

    * Tattling *
    The house was full of seniors and children, which meant there were watch alarms at the hours and a lot of fidgeting. The family in Upper Balcony Row Q Seats 10-16 could not stay still, one of the sons kept running across the aisle and the other would occasionally stand up as he was unable to see the stage from his seat.

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  • Meet the Adlers 2012

    Meet-the-adlers-2012

    Last night, nine of ten Adler Fellows for 2012 were interviewed by Director of Music Administration Kip Cranna, San Francisco Opera Center Director of Musical Studies Mark Morash, and Director of Artistic Adminstration Gregory Henkel, at Cowell Theater at Fort Mason. We learnt that pianist and apprentice coach David Hanlon was off to Houston to music direct HGOco‘s The Bricklayer, a more than valid excuse for missing this event. The other apprentice coach, Robert Mollicone, aspires to conduct.

    Marina Boudart Harris has only been singing soprano for twenty months. Nadine Sierra was somewhat ill, but earlier this year had sung Gilda in Florida Grand Opera’s production of Rigoletto to great acclaim. Renée Rapier had her professional debut late last year at LA Opera’s Roméo et Juliette when the person whom she was covering withdrew from the production. She is to cover Joyce DiDonato in I Capuleti e i Montecchi this fall. Laura Krumm just covered DiDonato in Jake Heggie’s song cycle about Camille Claudel. Krumm also sings in Love/Hate at ODC this April. Joo Won Kang is a baseball fan. Brian Jadge was covering Don José in French, whilst singing it in English in Carmen for Families. Ryan Kuster is to singing three roles from Don Giovanni in two months at LA Phil and WolfTrap. Ao Li relates to the title character of Le Nozze di Figaro because he is “smart.” Li delivered some of the English dialogue of Carmen for Families, and it was rather hilarious. 

    The interviews were interspersed with selections from Così fan tutte, Les pêcheurs de perles, Mignon, and Don Carlo. Mollicone gamely accompanied all of the pieces. “È lui! desso, l’infante…Dio, che nell’alma infondere” with Jadge, Li, and Kang was perhaps most impressive.

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