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.
By John Masko
23 comments
I’ve been picking away yet again at the mysterious symbiosis between an opera’s words and its music.
It is not easy for an opera company to follow a spectacular production of La Traviata with Massenet’s Manon.
By John Masko
There is a slight chill in the air during the final minutes of La Traviata.
By John Masko
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.
By Greg Freed
Brian Jagde‘s creative and charismatic Calaf was almost enough to make up for his counterpart Martina Serafin’s distant portrayal of Turandot.
By John Masko
Samantha Hankey, so impressive as Diana and Giove-in-Diana in Juilliard’s recent run of Cavalli’s La Calisto, was the perfect Cenerentola.
Anna Caterina Antonacci delivered a tour de force of French diction, subtlety of phrasing, variation of vocal timbre, and white-hot stage acting.
By John Masko
Isn’t it inspiring how deeply Francesca Zambello has sunk her tentacles into the heart of American opera?
By La Cieca
San Francisco Opera in 2017-2018 presents the Ring cycle, a new John Adams/Peter Sellars collaboration called Girls of the Golden West, plus new productions of Elektra (Christine Goerke, Stephanie Blythe, Adrianne Pieczonka) and Manon (Nadine Sierra, Michael Fabiano.)
By La Cieca
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.
By John Masko
In one important respect, a great production of Puccini resembles a great production of Wagner.
By John Masko
The entire action is set at a cocktail party at the Taylor-Burtons’ circa 1971
By La Cieca
Janácek’s disconcerting commentary on youth and immortality received a full-throated performance.
By John Masko
This may be Karita Mattila’s greatest role.
By Greg Freed
That little place just two hours from the city is on the list of things I shall never understand, like the plot of Parsifal.
By Greg Freed
The big news on Van Ness Avenue, it goes without saying, is Calixto Bieito’s operatic debut on these shores.
By Greg Freed
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.
When it comes to throwing shade, Latrice Royale herself must surely yield her crown to the queen who made a contribution to the Rentboy.com Legal Defense Fund “In honor of David Gockley and San Francisco Opera’s production of Gordon Getty‘s Usher House.”
By La Cieca
Edgar Allan Poe’s The Fall of the House of Usher is heavy on macabre atmosphere and light on action.
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
By Greg Freed
Die Meistersinger is a bold stroke of programming, in a not particularly exciting way.
By Greg Freed
San Francisco Opera yesterday announced its third major cast change in five days.
By La Cieca
