Michael Anthonio
Michael Anthonio's love affairs with classical music and opera started in primary school, when his parents bought him an organ and he began taking lessons. During high school and college, he gave private organ lessons to some of his parents' friends' kids (for pocket money) and he was church organist and later, choir conductor. In 1999 he moved to Singapore where he got involved with the classical music online website "flying inkpot." His interest in opera became an obsession when he was transferred for work to US in 2008. In addition to enjoying world-class opera in SF, he indulges in opera tours in Europe. His favorite opera composer is Handel; at this point, Michael seen 24 of his operas , with hopefully three more coming next year.
William Kentridge‘s eclectic The Great Yes, The Great No arrives at Cal Performances.
Post a comment
Sponsored
Pick a little, talk a little
Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
In Opera Parallèle’s The Pigeon Keeper, Michael Anthonio finds a timely message of kindness during hard times.
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
Opera San José (OSJ) is continuing the second half of its 41st season with a company premiere of Béla Bartók’s Symbolist opera Bluebeard’s Castle (A kékszakállú herceg vára), with a libretto by his friend and poet Béla Balázs, and OSJ truly spared no effort to make the occasion a memorable one.
Not even howling winds and thunderous rain could dampen the excitement of Bay Area audiences to experience Norwegian soprano Lise Davidsen for the first time in the Bay Area at Zellerbach Hall Berkeley last Tuesday, 4 February.
The plight of two women, each from different backgrounds, was on full display in San Francisco opera houses last week.
Sparks flew when the San Francisco Opera opened their new production of Richard Wagner’s monumental Tristan und Isolde on Saturday, October 19th, at the War Memorial Opera House.
“[W]omen are interesting and important in real life. They are not an afterthought of nature, they are not secondary players in human destiny, and every society has always known that.” — Margaret Atwood, February 2017
Overall, this was a superb achievement and a thrilling season opener for the San Francisco Opera.
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
On Friday, June 21st, Opera Parallèle – the Bay Area nomadic, contemporary opera company – together with the Presidio Theatre unveiled their final production of the season, the West Coast premiere of Gregory Spears and Greg Pierce’s Fellow Travelers, an adaptation of Thomas Mallon’s 2007 novel of the same name.
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
“The distance between dreams and reality is called action.” – Brian Tracy
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
It has been a great season for prolific Bay Area composer Jake Heggie.
Over the weekend, Opera Parallèle, San Francisco’s contemporary opera company, stayed true to their mission of “merging tradition and innovation to re-invent opera for a modern world” as they presented a world premiere double-bill cheekily titled Birds & Balls at SFJazz Center’s Miner Auditorium.
“What I am trying to achieve is to be what I am to the fullest. Black to the fullest, a musician to the fullest, a homosexual to the fullest.”
A perfect escape for a city laden with recent layoffs and job cuts coming into Holiday season
“What would you do if the world you knew was suddenly gone and you were thrown into the deepest abyss stripped of all humanity? Would you fight to remember who you were?”
All in all, this was truly a superb achievement for San Francisco Opera and an auspicious first chapter in the Wagner opera journey with Eun Sun Kim.
Bay Area composer Mason Bates’s and librettist Mark Campbell’s contemporary opera about the life of the tech mogul Steve Jobs came home “to the place where it all began” in spectacular fashion
Power struggles, prejudice, feuds and revenge abound in San Francisco at the moment.
The fourth production of Santa Fe Opera’s 66th Festival Season that opened on Saturday June 22 offered a multitude of firsts.
