Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
Ludwig van Beethoven’s “rescue opera” Fidelio was presented by San Francisco Opera as their first new production of the season last Thursday in reinterpreted fashion.
Cycle II represented an embarrassment of musical riches.
Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial