Cher Public

Do let this stranger wait outside your door

San Francisco opera offers a new peak in drab, listless programming in their 2018-2019 “Leftovers and Stuff We Got With Coupons” gala season.  Read more »

Golden wreck

I really wished to avoid joining the pig pile of derision that has fallen on SF Opera’s premiere of John Adams and Peter Sellars’ Girls of the Golden West. And I think, in a sense, that I can. Given the libretto that it had to work with, both John Adams’ composition and the SF Opera’s production did about as much as humanly possible to rescue this train-wreck of a dramatic piece from itself. But, unfortunately, they came up slightly short.  Read more »

Word problem

While convalescing from the glanders and mange induced by Peter Sellars’s so-called libretto for Girls of the Golden West, I’ve been picking away yet again at the mysterious symbiosis between an opera’s words and its music.  Read more »

The pleasure of her company

It is not easy for an opera company to follow a spectacular production of La Traviata with Massenet’s Manon.

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As time goes on, I realize just what you mean to me

There is a slight chill in the air during the final minutes of La Traviata.

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Seriously? Right in front of Mycenae?

You’ve got your “Night in the Museum,”and your “It’s All In Her Head” and your “Pantomimes of Childhood Trauma” and that’s all before halftime.

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Brian Jagde (right) prepares to talk to the hand of Martina Serafin.

This is a man’s world

Brian Jagde‘s creative and charismatic Calaf was almost enough to make up for his counterpart Martina Serafin’s distant portrayal of Turandot.

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A midnight girl in a nine o’clock town

Samantha Hankey, so impressive as Diana and Giove-in-Diana in Juilliard’s recent run of Cavalli’s La Calisto, was the perfect Cenerentola.

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Only connect…

Anna Caterina Antonacci delivered a tour de force of French diction, subtlety of phrasing, variation of vocal timbre, and white-hot stage acting.

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Pyramid scheme

Isn’t it inspiring how deeply Francesca Zambello has sunk her tentacles into the heart of American opera?

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