The Opera Tattler

Reviews of Performances and their Audiences

Recent posts

Category: Opera Review

  • Unsere Liebe war, ist, und wird sein

     * Notes * The second performance of Die Tote Stadt at San Francisco Opera only served to solidify my opinion on this work, which surely deserves to be part of the standard repertoire. Willy Decker's production, directed by Meisje Hummel in this revival, has its own complete conception and is consistent throughout. Instead of trying…

  • Die Tote Stadt at SF Opera

    * Notes * Nearly 88 years after the world premiere, Die Tote Stadt finally opened in San Francisco yesterday evening. The work is certainly a very pretty synthesis of Wagner, Strauss, and Puccini. It is nostalgic, but also prefigures Korngold's work in film scores. The music sounded effortless under the direction of Donald Runnicles, the…

  • Il Trittico at LA Opera

    * Notes * There has been much ado about Woody Allen directing his first opera, one third of Puccini's Il Trittico, with William Friedkin, famed director of The Exorcist, directing the other two thirds. One cannot help feeling a bit skeptical of Los Angeles Opera hiring three film directors for the opening performances of the…

  • The Fly at LA Opera

    * Notes * The Fly opened at Los Angeles Opera earlier this month and has one more performance next weekend. Based only partially on David Cronenberg’s 1986 film, the action is set in the 1950s, as George Langelaan’s short story and the original film are. All in all, this production was entertainingly campy, though a…

  • The Bonesetter’s Daughter Opening

    * Notes *The opening performance of The Bonesetter's Daughter proved to be a rather maudlin and self-indulgent affair. The beginning was promising, the call of the suona players from the Grand Tier was regal and imposing, and the aerial acrobatics combined with projections of water and fire during the overture were impressive. The first trio of Ruth (Zheng Cao),…

  • Ana María Martínez in Simon Boccanegra

    * Notes * The second performance of Simon Boccanegra featured a different soprano as Amelia, one Ana María Martínez. She last appeared at San Francisco Opera when she shared the role of Micaëla in the 2006 performances of Carmen. Martínez gave a more even performance than Barbara Frittoli, the former’s voice is bird-like and metallic, she reminded me…

  • Simon Boccanegra Opening at San Francisco Opera

    * Notes * Though lovely, San Francisco Opera’s opening night performance of Simon Boccanegra did not quite catch on fire, despite the heat and an apparent earthquake. The production, directed by David Edwards, is pleasantly simple and Michael Yeargan’s serviceable set is both attractive and quiet. Peter J. Hall’s period costumes are gorgeous, but best of all is…

  • Aida at Seattle Opera

      * Notes * Seattle Opera's Aida closed yesterday at McCaw Hall. The production, directed by Robin Guarino, was suitably grand. Michael Yeargan's set was attractive, the background of the pyramids was especially lovely. The scene changes were, however, not seamless. The curtain was brought down for a few minutes at a time, and the…

  • What They Seem Premiere

      * Notes * Interlochen Academy of the Arts graduate Red Bennett's opera What They Seem premiered yesterday evening at the Mission Cultural Center in San Francisco. The jaunty music was directed smoothly by Cole Thomason-Redus, and the six musicians in the orchestra all sounded fine. What could be done with only oboe, piano, cello,…

  • A Midsummer Night’s Dream at Festival Opera

     * Notes * Festival Opera's delightful production of A Midsummer Night's Dream opened last Saturday in Walnut Creek. Michael Morgan and Mark Foeringer did a fine job with the direction, the choreography never lagged and fit the music well. The sinuous dancing was not perfectly synchronized, but was enchanting nonetheless. The flying effects used for Puck were perfect…