Anna Caterina Antonacci delivered a tour de force of French diction, subtlety of phrasing, variation of vocal timbre, and white-hot stage acting.
Isn’t it inspiring how deeply Francesca Zambello has sunk her tentacles into the heart of American opera?
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.)
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.
In one important respect, a great production of Puccini resembles a great production of Wagner.
The entire action is set at a cocktail party at the Taylor-Burtons’ circa 1971
Janácek’s disconcerting commentary on youth and immortality received a full-throated performance.
This may be Karita Mattila’s greatest role.
That little place just two hours from the city is on the list of things I shall never understand, like the plot of Parsifal.
The big news on Van Ness Avenue, it goes without saying, is Calixto Bieito’s operatic debut on these shores.
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.”
Even in San Francisco, actions speak louder than words.
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.
Die Meistersinger is a bold stroke of programming, in a not particularly exciting way.
San Francisco Opera yesterday announced its third major cast change in five days.
Due to illness, soprano Nadine Sierra is unable to perform. Replacing Ms. Sierra in the title role of Lucia is Russian soprano Albina Shagimuratova.”
With a primary color, projection-heavy English-language Magic Flute that’s going to feel like a matinee whenever you see it, the SFO season has lived up to its initial promise.
Well that’s a terrible place to start a review, and it’s not quite fair to SFO’s Lucia di Lammermoor, but…
“Our patrons are also our investors, and because many of our core subscribers are also our most generous philanthropists, we need to make sure that our programming jives with their expectations, what they’d like to see onstage.”
The breaking news from San Francisco Opera is that Nadine Sierra will sing the title role of in a new production of Lucia di Lammermoor, replacing Diana Damrau, who will not.
Paleo? LAP-BAND? Food poisoning?
If I’d gotten an hour less sleep you’d now find me mixing everything up and writing about Mrs. Lovett making her entrance on a bronze horse like Peter the Great.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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