The Opera Tattler

Reviews of Performances and their Audiences

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  • Moby-Dick at San Diego Opera

    Moby-dick-san-diego-opera

    * Notes * 
    The West Coast premiere of Jake Heggie‘s Moby-Dick (Act I pictured left, photograph by Ken Howard) was given by San Diego Opera last night. This production was first seen two years ago at Dallas Opera, and has also had runs at the State Opera of South Australia in Adelaide and Calgary Opera. The opening performance in San Diego was impressive. Gene Scheer‘s libretto is paced well, skillfully arranged and rather more spare than Melville’s novel. Heggie’s music is also adroit, the ensembles and choruses sounded particularly lovely. Robert Brill’s sets are cleverly enhanced by lighting designed by Donald Holder (revived here by Gavin Swift) and projections designed by Elaine J. McCarthy (revived here by Shawn Boyle). Only a couple of the visuals were awkward, specifically the flying harpoon ropes and splintering whale boats. However, director Leonard Foglia pulled together this opera as a coherent, vital work, without being mawkish.

    The orchestra was lead by Joseph Mechavich, who also conducted this opera in Calgary. The 63 musicians crowded in the pit produced a lot of sound, occasionally overwhelming the singers. The chorus seemed at ease with the music, and the dancing in the second half of Act I was surprisingly good. The rest of the singing was likewise fine, Robert Orth (Stubb) had a hearty duet in Act I with Talise Trevigne (Pip). Trevigne’s subsequent aria when lost at sea was splendid and as the highest voice in the opera, was both striking and haunting. Jonathan Boyd was the wide-eyed Greenhorn, he seemed momentarily strained in the beginning of Act I, but sang nicely for the rest of the evening. Jonathan Lemalu sang Queequeg with a certain dry quality, his duets with Boyd were balanced. Morgan Smith portrayed Starbuck beautifully, with sensitivity and humaneness. Ben Heppner made a grimly determined Captain Ahab, the effort in his voice seemed tangible, which was effective for this role.

    * Tattling * 
    A cellular phone rang on the right side of the orchestra level during Act I. There was a lot of talking between a child in Row P Seat 46 and her guardian in Seat 44, but they were silent after being hushed. The child must have switched seats with someone, as she did not return for the second half. There was also much talking during Pip’s aria in Act I from the couple in Row N Seats 42 and 44, rather unfortunate given how beautiful it was, and how lightly orchestrated.

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  • Merola Behind the Scenes Event 2012

    Merola-behind-the-scenes-2012

    * Program *
    Rachmaninoff’s Prelude Op. 23 No. 5
    Robert Mollicone, piano

    Richard Rodgers’ “My Funny Valentine”
    David Hanlon, piano

    The end of Act I Scene 2 from Dead Man Walking
    Laura Krumm, mezzo-soprano and David Hanlon, piano

    “Il core vi dono” from Così fan tutte
    Laura Krumm, mezzo-soprano, Ao Li, baritone, and Robert Mollicone, piano

    “Avant de quitter ces lieux” from Faust
    Ao Li, baritone and Robert Mollicone, piano

    David Hanlon’s “Bang Kiss Kiss Bang”
    Robert Mollicone and David Hanlon, piano

    * Notes *
    Mark Morash, the San Francisco Opera Center Director of Musical Studies, held an event on Thursday focusing on the collaborative pianists in the Merola Opera and Adler Fellowship programs. Current Adler Fellows David Hanlon and Robert Mollicone spoke about how they came to the collaborative arts and auditioned for Merola. Both pianists played solo pieces, Mollicone chose the more conventional Rachmaninoff, and Hanlon improvised a version of “My Funny Valentine.” Hanlon coached Laura Krumm through the end of Act II, Scene 2 from Dead Man Walking with a projection of the music on a screen behind them so we could follow along. Ao Li joined Krumm for a duet from Così fan tutte. Li sang Valentin’s aria “Avant de quitter ces lieux”, as Mollicone played the piece transposed down a step to accommodate his voice. Both pianists played a piece for 4 hands composed by Hanlon as the finale.

    * Tattling *
    The event started slightly late, as traffic was rather heavy coming into San Francisco, due to President Obama being in town for a speech at the Nob Hill Masonic Center.

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  • Ensemble Parallèle’s The Great Gatsby

    Marco Pannucio, Susannah Biller, Julienne Walker, Jason Detwiler

    * Notes *
    A chamber version of John Harbison's The Great Gatsby (Act II, Scene 3 with Marco Pannucio, Susannah Biller, Julienne Walker, Jason Detwiler, and Daniel Snyder pictured right; photograph by Steve DiBartolomeo) from Ensemble Parallèle opened last night at the Yerba Buena Center for the Arts in San Francisco. The ambitious reorchestration was undertaken by composer Jacques Desjardins, using 30 musicians instead of 80, and will be presented at the Aspen Music Festival this August. The opera has been cut down to 2 hours and 10 minutes, but does not seem rushed or undescriptive.

    The music is rather difficult, and conductor Nicole Paiement had kept everyone together, at least for the most part. Director Brian Staufenbiel put forth a bold production, employing much videography and period dance. The many scene changes were smooth, and there were only a few odd moments, notably between Act I Scenes 1 and 2, and in Act II Scenes 5 and 6. One can appreciate how challenging it is to put forth this familiar story that has been visually represented in more than one film. Matthew Antaky's set is stylish, but at times the singers seemed rather far upstage, and this effected how well they could be heard.

    The cast is strong, featuring those who can both act and sing. The diction was all perfectly comprehensible. Mark Robinson and Carrie Zhang had some of the simpler, lyrical music as Radio/Band and Tango Singers. Erin Neff and Bojan Knežević made fine contributions as Myrtle and George Wilson. Knežević was terrifying yet sympathetic when Myrtle is killed. Julienne Walker (Jordan Baker) was a good foil for Susannah Biller (Daisy Buchanan), physically and vocally. Jason Dewiler made for a likeable Nick Carraway, ever patient as he observed. Daniel Snyder (Tom Buchanan) sounded a bit choked in the first half of the opera, but seemed in better voice after the intermission. In the title role, Marco Pannucio gave a heartfelt, but somewhat strained, performance. Susannah Biller sparkled as Daisy Buchanan, her bright sound had a certain lovely ease to it.

    * Tattling * 
    The woman in Row E Seat 106 arrived only a few minutes before curtain, and had to step over us to leave the hall after the opera's second scene. She returned between Act I Scenes 3 and 4, squeezing by and speaking to her date during the orchestral interlude.

    Some men behind Row J of the Orchestra Right section talked loudly during Gatsby's final aria, and someone had to ask them to be quiet.

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  • LA Opera’s 2012-2013 Season

    September 15- October 9 2012: I due Foscari
    September 22- October 14 2012: Don Giovanni
    November 17- December 9 2012: Madama Butterfly
    March 9-30 2013: Der fliegende Holländer
    March 23- April 13 2013: Cenerentola
    May 18- June 8 2013: Tosca

    Plácido Domingo stars in I due Foscari. Oksana Dyka sings Butterfly with Brandon Jovanovich as Pinkerton and Eric Owens as Sharpless. Jay Hunter Morris is Erik in Der fliegende Holländer. Kate Lindsey and Ketevan Kemoklidze share the title role of Cenerentola. Sondra Radvanovsky is Tosca. Again, the Recovered Voices program seems to still be on hiatus.

    2012-2013 Season | Official Site

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  • Medallion Society Luncheon 2012

    Sylvia-Lindsey-2012

    * Notes *
    San Francisco Opera's Medallion Society Luncheon was held Wednesday at the Ritz-Carlton. George Hume, the president of the San Francisco Opera Association welcomed the donors before they partook of a meal of cauliflower bisque, barbeque chicken, and pear cake. David Gockley presented Sylvia Lindsey (pictured left, photograph by Drew Altizer) with an apron signed by the opera staff and this year's Spirit of the Opera Award.

    San Francisco Opera Center Director Sheri Greenawald introduced Adler Fellows David Hanlon, Marina Boudart Harris, Brian Jadge, Laura Krumm, Ryan Kuster, Ao Li, Robert Mollicone, and Renée Rapier. Pianists Hanlon and Mollicone switched off accompanying the singers, starting with Hanlon playing for Jadge and Li in "In un coupé…O Mimì, tu più non torni" from La Bohème. Harris and Rapier sang "Prenderò quel brunettino" from Così fan tutte. Kuster sang "Le veau d'or" from Faust. All the singers joined in for the opening scene from La Cenerentola. The afternoon ended with a spirited rendition of "Happy Birthday" for Ao Li, who turned 23 today.

    * Tattling * 
    There were the usual mobile phone rings at lunch. Mr. Feldheim and I were seated at the Orpheus table, which was a nice change from last year.

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  • Casting Change for the Met’s Götterdämmerung

    Dalayman

    Katarina Dalayman (pictured left) will replace Deborah Voigt as Brünnhilde in tonight's performance of Götterdämmerung at the Met. Dalayman was already scheduled to sing this role on April 24, 2012 in the Met's second Ring cycle, which runs from April 26 to May 3, 2012.

     

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  • Luisotti appointed Music Director of Teatro di San Carlo

    Nicola_Luisotti_by_John_Martin_2According to the press release reproduced below, Nicola Luisotti (pictured left, photograph by John Martin) is the new Music Director of Teatro di San Carlo in Naples, Italy, effective immediately. Luisotti is already Music Director of San Francisco Opera and Principal Guest Conductor of the Tokyo Symphony Orchestra.

    ***

     February 6, 2012 — Nicola Luisotti has been appointed Music Director of Teatro di San Carlo in Naples, Italy,  effective immediately.  The news was announced over the weekend by General Director Rosanna Purchia and the Board of Directors of the Teatro di San Carlo Foundation following a meeting where the unanimous decision was taken.  Maestro Luisotti succeeds former Principal Conductor Maurizio Benini and Music Director Jeffrey Tate.  Born and raised in Tuscany, the 50-year old Luisotti is currently Music Director of San Francisco Opera and Principal Guest Conductor of the Tokyo Philharmonic. 

          The oldest theater in Europe and one of Italy’s most prestigious opera houses, Teatro di San Carlo is renowned not only for its beauty but for its legendary acoustics.  Founded in 1737, many of opera’s most famous composers spent significant time at the theatre, including Rossini, Donizetti and Verdi.  In 2010, the theater was reopened after an important period of restoration where the magnificent five-level horseshoe of boxes which are upholstered in red and decorated in gold leaf,  frescoed ceiling and beautifully painted stage curtain were renewed to their original glory. 

          Full details of the appointment will be announced at an official ceremony and press conference on March 7th when Maestro Luisotti will be at San Carlo to begin rehearsals for Verdi’s I Masnadieri, in a production directed by Gabriele Lavia.
     
          “I have spent a good deal of time abroad in the last ten years of my career.  My heart fills with joy at the thought of spending so much more time in my home country with such a prestigious appointment,” said Maestro Luisotti speaking from Philadelphia where he is leading concerts with the Philadelphia Orchestra.  “And the joy is even greater when I think of how deeply this Theatre was influenced, in recent years, by the presence of a man such as Riccardo Muti, with whom I had the honor of working at La Scala.”

          General Director Rosanna Purchia commented, “Nicola is young and enthusiastic and has had a bright career that took him to the most important theatres in the world, from Covent Garden to the Met, from La Scala to our San Carlo.  In the United States he is recognized as one of the best interpreters of Italian opera. With his appointment, we want the San Carlo to aim higher and higher.”
     
           Naples Mayor Luigi de Magistris, the foundation president, expressed his satisfaction: “We chose Luisotti because he is a high profile conductor, young, Italian…and this is a source of great pride for us.  We are sure he will contribute to the success of this great theatre both in Italy and the rest of the world.”

          "We at San Francisco Opera are thrilled that Nicola Luisotti has been appointed music director of the San Carlo, one of the world's great lyric theaters," said San Francisco Opera General Director David Gockley.  "This announcement is a tribute to his musical talent and leadership."  Nicola Luisotti’s position as San Francisco Opera's  music director began in September 2009 and continues through the 2015-16 season.

          Maestro Luisotti has been called “both an original thinker and a great respecter of tradition” by Opera News, which featured him on the cover of the July special issue on conductors.  Since his international debut in 2002, Luisotti has garnered enthusiastic praise from both audiences and critics at venues throughout the world.  His leadership of Puccini’s rarely performed La fanciulla del West at The Metropolitan Opera, following critical successes conducting Tosca and La bohème, was hailed by the New York Times as a “distinguished performance.”  In conjunction with these 100th Anniversary performances Luisotti was awarded the Premio Puccini Award. 

          Luisotti’s third season at San Francisco Opera’s Music Director of San Francisco Opera continues in June with a new Gabriele Lavia production of Attila, co-produced with Teatro alla Scala.  In addition to I Masnadieri and concerts with the Orchestra del Teatro di San Carlo in late March, Maestro Luisotti’s operatic engagements this season include a return visit to La Scala for Turandot in April.  Critically acclaimed for his orchestral conducting, Luisotti will also make appearances with six great orchestras this season including his own San Francisco Opera Orchestra presented by Cal Performances, the Berliner Philharmoniker, Orchestra del Teatro di San Carlo in Naples, Madrid’s Orquesta Nacional de España and the orchestras of Cleveland and Philadelphia. 

          The Italian conductor made his critically acclaimed international debut leading a new production of Il trovatore at the Stuttgart State Opera and he has subsequently performed with nearly every major opera company across the globe, including the Metropolitan Opera, London’s Royal Opera at Covent Garden, Paris Opera, Milan’s La Scala, Vienna State Opera, Genoa’s Teatro Carlo Felice, Venice’s Teatro La Fenice, Munich’s Bavarian State Opera,  Dresden State Opera, Frankfurt Opera,  Madrid’s Teatro Real, Los Angeles Opera, Canadian Opera Company, Seattle Opera, Bologna’s Teatro Comunale, and Teatro di San Carlo in Naples.  He made his debut in Japan, where he serves as Principal Conductor of the Tokyo Symphony, with a semi-staged production of Tosca at Suntory Hall and has since returned for Turandot, La bohème, and the Mozart/Da Ponte trilogy of Don Giovanni, Le nozze di Figaro, and Così fan tutte.

          Maestro Luisotti has also led many of the world’s most acclaimed orchestral ensembles including the Berlin Philharmonic, London Philharmonia, San Francisco Symphony, Atlanta Symphony, Tokyo Symphony, NHK Symphony, Dresden’s Staatskapelle, Munich’s Bavarian Radio Orchestra, the orchestra of Rome’s Accademia Nazionale di Santa Cecilia, Torino’s Orchestra Sinfonica Nazionale della RAI and the orchestras of Hamburg, Budapest, and Zagreb. In conjunction with the 2008 Olympic Games, Luisotti led special concerts in Beijing featuring artists Renée Fleming, Sumi Jo, Dmitri Hvorostovsky and Ramón Vargas.

          The conductor’s discography includes a complete recording of Stiffelio (Dynamic) with the orchestra of Trieste’s Teatro Verdi and the critically acclaimed Duets (Deutsche Grammophon), featuring Anna Netrebko and Rolando Villazón.  He is also on the podium of a DVD recording of the Met’s La bohème, starring Angela Gheorghiu and Ramón Vargas (EMI).

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  • Alexander String Quartet’s 30th Anniversary

    SFP-AlexanderStringQuartet30th-02

    * Notes * 
    The Alexander String Quartet (pictured left with Jake Heggie and Joyce DiDonato, photograph by Brian Byrne) celebrated 30 years with a new commission presented by San Francisco Performances. Yesterday's performance at Herbst Theatre began with mezzo-soprano Joyce DiDonato singing Hahn's Venezia, accompanied by Jake Heggie on piano. DiDonato sang these evocative songs with a beautiful legato line. Alexander String Quartet took the stage next with Debussy's String Quartet in G minor, Op. 10 (1893). The playing was balanced, and second movement Scherzo was especially charming.

    After the intermission came the world premiere of Jake Heggie's Camille Claudel: Into the Fire, for mezzo-soprano and string quartet. The music was pretty and often wistful. DiDonato enunciated clearly and was clearly moved by the songs. The fifth song, The Gossips, was, for this listener, most striking. The quartet played all together here, and the rhythms were attractive. The encore was Richard Strauss' "Morgen!" with DiDonato accompanied by not only the string quartet, but by Heggie on piano again.

    * Tattling * 
    Members of the audience only occasionally whispered, most were quiet. I seemed to be seated next to the music historian-in-residence of San Francisco Performances and his date. It was entertaining to hear exchanges between the former and his various friends. At one point Italian was spoken, and this ended with someone saying "Spaghetti!" and someone else responding "Meatball!"

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  • Ensemble Parallèle’s Great Gatsby Rehearsal

    Great-gatsby-steve-di-bartolomeo

    * Notes *
    Ensemble Parallèle held an open rehearsal of The Great Gatsby (Marco Panuccio as Jay Gatsby and Susannah Biller as Daisy Buchanan pictured left, photograph by Steve di Bartolomeo) at the Kanbar Performing Arts Center in San Francisco yesterday. The opera opens next Friday, and though the rehearsal process is always chaotic, the cast and crew have made great progress thus far. We heard and watched Act II, Scene 4; Act I, Scene 4; Act I, Scene 3; and Act II, Scene 2. Keisuke Nakogoshi accompanied the singers on piano. The chorus and many of the principal singers were present. Director Brian Staufenbiel worked out the staging and Maestra Nicole Paiement made sure the singers were on beat. As Staufenbiel focused on certain specifics, Paiement would address us, revealing that one of her favorite parts of the opera is when Gatsby and Nick meet in Act I, Scene 3.

    After the rehearsal Susannah Biller, Jason Detwiler (Nick Carraway), Marco Panuccio, Daniel Snyder (Tom Buchannan), Julienne Walker (Jordan Baker), Jacques Desjardins, Staufenbiel, and Paiement answered questions about working on this opera. The work is cut, runs 2 hours and 10 minutes, and Paiement takes speedy tempi for the dialogue. All the cuts had to be approved by the composer, John Harbison.

    * Tattling *
    Some members of the audience whispered throughout, and a few cellular phones were heard.

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  • SF Opera Audited Financial Results 2010-2011

    San Francisco Opera’s 88th season started on September 10, 2010 and finished on July 3, 2011. Ten operas were performed in 66 performances. The Company concluded Fiscal Year 2010-11 (FY 11) with a deficit of $1,801,417 on an operating budget of $71,094,620. Total operating revenue for FY 11 grew from $27,113,297 to $35,947,397, with income from ticket sales increasing 32% to $24,633,817. Contributions to the annual fund were $33,345,806 from approximately 11,350 donors.

    Press Release | Official Site | Audited Financial Results [PDF]

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