Strangers when we meet
The San Francisco Opera, perhaps incidentally, continued their exploration of operas based on literary works by mounting the revival of Giacomo Puccini’s first success, Manon Lescaut.
30 pieces since 2012 — at 5 companies, most often at San Francisco Opera.
10 pieces as San Francisco Opera — stats above show all coverage for Nicola Luisotti.
View allThe San Francisco Opera, perhaps incidentally, continued their exploration of operas based on literary works by mounting the revival of Giacomo Puccini’s first success, Manon Lescaut.
There is a slight chill in the air during the final minutes of La Traviata.
Brian Jagde‘s creative and charismatic Calaf was almost enough to make up for his counterpart Martina Serafin’s distant portrayal of Turandot.
It is a good rule of thumb that if you emerge from a massive grand opera like Aida feeling any less than overwhelmed, you have a right to be somewhat disappointed.
I grew up with the Anna Moffo recording of Luisa Miller, so it was fortuitous that the Met gave the premiere of a new production in 1968, around the time RCA released the album.
Well that’s a terrible place to start a review, and it’s not quite fair to SFO’s Lucia di Lammermoor, but…
Gala this; gala that; who knew rich people wore clothes so badly?
Three blocks from the opera house is a terrible time to realize there was homework.
Certain operas are better in theory than practice.
Far be it from me to join the Schadenfreudian chorus of “Bye, Bye, Berti!” you may have been hearing in certain quarters, but the first thing I am duty-bound to report about San Francisco Opera’s Norma (of which three performances remain) is that they’ve hit the jackpot, coverwise.
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