San Francisco Opera hosts an exuberant tribute to queerness past and present.
Conductor Eun Sun Kim and soprano Elza van der Heever play to their strengths in a piercing revival of Elektra at San Francisco Opera.
Maria Kataeva makes a promising US debut in an otherwise uneven revival of Il Barbiere di Siviglia in San Francisco.
A new production of Parsifal at San Francisco Opera stirred something deep inside Michael Anthonio about how music soothes the soul
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
The 25th anniversary revival of Dead Man Walking at San Francisco Opera is most moving in its quietest moments
“[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
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.
“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?”
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
June is long gone. It was truly a month of excellence and exuberance here in San Francisco, coupled with cozy and inviting weather, as if to make up for the extended winter.
The ailing and grief-stricken Pinkerton was shown to give his son a diary about his time in Nagasaki, and as Trouble read it, he (and the audience) was taken back in time as the story came to life, similar to the use of Pensieve in Harry Potter and the Goblet of Fire (Book 4).
On June 16, San Francisco Opera concluded their excellent Centennial Season with a heartfelt 100th Anniversary Concert, featuring a starry cast, three conductors (including current and former Music Directors) and the SF Opera Orchestra and Chorus.
The second act of Dream of the Red Chamber reached the apex and provided the audience with soul-stirring fulfillment.
“This used to be a funhouse… but now it’s full of evil clowns / It’s time to start the countdown…. I’m gonna burn it down”
After the break the ladies stepped up their game so much that it elevated the night into legendary status: definitely one for the books!
The San Francisco Opera became the first US opera company to present a full-blown production indoors on its home turf this season when they ushered the US opera audience into 2021-22 Season on Saturday September 21 with a stellar performance of Giacomo Puccini’s perennial favorite Tosca.
How does one make a performance of standard opera repertoire like Mozart’s Le nozze di Figaro feel “fresh?”
Politics and romance entangled in a spectacular fashion at San Francisco Operas’s Roméo et Juliette.
Saturday August 17 the Merola Opera Program wrapped up its annual Summer Festival with the Merola Grand Finale concert at the War Memorial Opera House.
“Who knows what evil lurks in the hearts of men?” went the introduction to the 1940s radio program The Shadow, an apt description for the San Francisco Opera’s production of Rusalka.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.