San Francisco Opera’s 2012-13 Season

17. January 2012 · Write a comment · Categories: San Francisco Opera


Photo by Terrence McCarthy, used with permission of San Francisco Opera

SAN FRANCISCO (January 17, 2012)—San Francisco Opera General Director David Gockley today announced the Company’s 2012–13 repertory season, guest artists and performance schedule, in addition to three world premiere commissions slated for 2013 by Nolan Gasser and Carey Harrison (The Secret Garden), Mark Adamo (The Gospel of Mary Magdalene), and Tobias Picker and J.D. McClatchy (Dolores Claiborne). Gockley also announced the extension of his contract to lead San Francisco Opera through the 2015–16 Season along with the extension of contracts for the artistic leadership team of Music Director Nicola Luisotti, Principal Guest Conductor Patrick Summers and Resident Conductor Giuseppe Finzi.

The Company’s 90th season opens Friday, September 7, 2012 with a gala performance of Giuseppe Verdi’s Rigoletto. Maestro Luisotti leads an international cast of singers, including acclaimed Serbian baritone and Verdi specialist Željko Lu?i? in the title role, and the Company debuts of Polish soprano Aleksandra Kurzak as Gilda and Italian tenor Francesco Demuro as the Duke of Mantua. Opera Ball, the Company’s celebrated signature benefit event, co-produced with the San Francisco Opera Guild in support of the San Francisco Opera and Opera Guild education programs, will precede the opening night performance at the historic War Memorial Opera House.

In addition to Rigoletto, which features two international casts of singers, San Francisco Opera’s 2012–13 Season offers Vincenzo Bellini’s bel canto gem I Capuleti e i Montecchi (The Capulets and the Montagues); the Bay Area premiere of Jake Heggie’s Moby-Dick, commissioned and produced by San Francisco Opera, The Dallas Opera, San Diego Opera, Calgary Opera and the State Opera of South Australia; Richard Wagner’s Lohengrin; Giacomo Puccini’s Tosca, interpreted by two casts of widely acclaimed singers; Jacques Offenbach’s Les Contes d’Hoffmann (The Tales of Hoffmann); Wolfgang Amadeus Mozart’s Così fan tutte; the world premiere of Mark Adamo’s The Gospel of Mary Magdalene; and the world premiere of Nolan Gasser and Carey Harrison’s The Secret Garden, a co-production with Cal Performances.

RTWT

Xerxes

09. November 2011 · 2 comments · Categories: Opera, Ramble, San Francisco Opera

Dan and I are home from a very wonderful night at the opera. We heard and saw Handel’s Xerxes at San Francisco Opera. Wow! Voices were incredible. Orchestra sounded fabulous. I was a happy camper.

I wasn’t such a happy camper about the traffic. PG&E is currently on my bad list. Due to a pipe rupture or whatever it was the drive took us an hour longer than usual. 280 was a MESS. I left home at 5:20. We arrived at the parking garage at nearly 7:30. Guess what? The opera began at 7:30!

But we didn’t even know that on the drive up (maybe that’s a good thing; my stomach would have been in knots!).

Foolish, foolish me. I assumed an 8:00 show, since all the rest are at that time. But nope. 7:30. Fortunately we went straight there (thinking to catch a bite to eat at the hall since we arrived too late to go out) and ran to the elevator because I looked at the tickets as we were walking over and I saw the 7:30 time. (And I even checked the date earlier and didn’t notice the time.) The usher took us in to some seats in the back of the dress circle which was fine by me; the orchestra had already started and I was just very grateful to get in the hall at all, as I thought we’d have to wait until the second act to go in.

If any of you have a chance to get to this I highly recommend it. I believe it’s my fave of the year so far!

But what a long day I had. It started with driving to Stanford at 7:30 AM. Drove from Stanford to UCSC to demonstrate the oboe and English horn to an orchestration class. Drove home to have my first meal of the day after 2:00 PM. Taught two students. Then it was SF Opera time. Whew!

Now I’m off to bed — I have Opera San José (first of our two final dress rehearsals) tomorrow during the day, and then Dan is in a photography show which has its reception tomorrow evening!

Oh. Wait. it’s already tomorrow! Must. Get. Sleep.

Tonight!

08. November 2011 · Comments Off · Categories: Opera, San Francisco Opera, Videos

Opera In The Ballpark

27. September 2010 · Comments Off · Categories: San Francisco Opera

This past Friday Dan and I attended the San Francisco Opera in the Ballpark simulcast event. The opera was Verdi’s Aida, which we’d already experienced on opening night, but heck, it was free, and it was quite the event. Little did we know just how many people attend opera when it’s free and at AT&T ballpark! Wow. The lines to get in were so long I was ready to turn around and head home, but Dan looked around and found an entrance for those of us who had registered ahead of time had had printed vouchers, and we got right in. We also managed to find a way to get on to the field, despite one person who worked at the park who told us to head upstairs and keep going until we get to the top and then parachute down. Funny man … except I don’t believe he was trying to be funny, but merely unhelpful.

After setting up our blanket we had some time to wait, so Dan headed off to get food and drinks, and I spent time tweeting. Yep. At the opera! I was far from the only one; the tweets were coming from all over the ballpark.

It was so much fun to see things on such a big screen, although I still say the best way to see a video of an opera is with the camera backed off, showing the entire stage, letting us decide what we want to see. Sometimes the camera crew shows us only one singer when I want to see more! The picture was great, though, and the sound mighty nice as well. I could swear they changed on bit of staging, but maybe I just didn’t see things correctly … on opening night I thought the on stage trumpets filed on in two groups of three and were standing there before they played. This time it seems they were already set up and a screen (or something; I can’t quite recall) lifted and there they were. Hmm. I wonder …? I especially enjoyed hearing MingJia Liu play the wonderful principal oboe part again. I even took a bit of video with my iPhone on that part, but I hesitate posting it in case it’s illegal to do so.

The bows were great fun … they all came out with something from the Giants … either wearing a T-shirt, carrying a banner or Giants foam finger or, in the case of the Maestro, wearing a Giants scarf. Fun!

Bravi tutti to all involved!

Aida isn’t my favorite opera, but I think it was perfect for a spectacle at the ballpark! The sets and costumes really look wonderful on the big screen!

Reviewing

23. September 2010 · Comments Off · Categories: Books, Reviews, San Francisco Opera

Most readers know by now that I don’t like to actually do serious reviews; as much as I can be quite critical, I hesitate being open about it. But recently I’ve been given* recordings of a few things and some books, and I think that the companies who provided these are expecting me to review them. So I guess I’ll have to hop to it!

Here are the things I’ve started to listen to and read so far (yes, I have more):

  • Elina Garanca: Habanera
  • Boulez/Vienna Philharmonic/Tetzlaff: Song of the Night
  • Measha Brueggergosman: Night & Dreams
  • Nico Muhly: A Good Understanding
  • Nico Muhly: I Drink The Air Before Me
  • Hahn/Higdon/Tchaikovsky: Violin Concerti
    … and one book (although several have been sent)

  • Lotfi Mansouri: An Operatic Journey

I suppose these are the perks of running a blog. Truth is, though, that reviewing takes a lot of time, and it’s also a responsibility one shouldn’t take lightly. I can’t just say, “Don’t like it,” and feel good about things … or can I? Or perhaps, since I sign nothing saying I’m obligated and must review, I should only comment on the things I like. I do like to try and be kind and all that jazz.

It does make me admire the real reviewers out there. The amount of time it takes to truly listen and read — assuming they really do that! — is tremendous. I understand why one that I’ve read on occasion said, “I will not read things if you send them to me. Period.” He’s a big enough name that I’m sure it’s completely his choice about what he chooses to bash review.

At the moment I have Garanca on. But am I truly listening? No. I’m blogging! All I can say at the moment is I hear her and immediately think, “Why did you bag SF Opera for something else?” as we read all about last March. (Not that I was at ALL sorry with her wonderful replacement, Alice Coote!) And I think about the crazy video she has out promoting the recording, which made me not really want to hear it. Watch and see if you agree:

I don’t think I’m their target audience for that one!

I much prefer this video:

As to the Lotfi Mansouri book … heh … while we were at Marriage of Figaro on Tuesday night I wondered (but didn’t check) jokingly if we’d find his autobiography there. I would guess not. At the same time, everyone knows it’s out, and most know he dissed Runnicles, Willie Brown, Pamela Rosenberg, and so many more. So maybe it’s just better to go ahead and put it out there. Dunno. Maybe I’ll look when we attend the next opera. It won’t be this Friday, though; that’s the Opera in the Ballpark event. Oh … but maybe they’ll bring their store to the ballpark too? I’ll probably not get there, though; we’ll be searching for the garlic fries! (I’m guessing it’s more about the experience than the music …?

Oops!

17. March 2010 · Comments Off · Categories: Opera, San Francisco Opera

So I guess I only read part of the article I quoted in my earlier blog entry (and forgot to post a link to the article too … my apologies!). There was more to the story. I just didn’t scroll down. (I’m gonna blame my illness and the layout of the article, okay?)

Regarding Ms. Garanca, Mr. Gockley commented, “It pains me greatly to announce that Ms. Garanca has chosen not to appear in next season’s Werther as promised. She is a glamorous young star who has created a stir in Europe and at the Metropolitan Opera, and I was looking forward to presenting her West Coast debut. However, after extensive discussions with her management and having filed a grievance through the American Guild of Musical Artists (AGMA), I am satisfied that the financial settlement we have reached disposes of the matter.” A series of European concerts has been recently announced on Ms. Garanca’s website during the Werther performance schedule.

And HERE is the link I neglected earlier. Sorry!

“Citing Personal Reasons”

17. March 2010 · 2 comments · Categories: Opera, San Francisco Opera

San Francisco Opera today announced prominent British mezzo-soprano Alice Coote will now star as Charlotte opposite celebrated Mexican tenor Ramón Vargas in next season’s new production of Jules Massenet’s French opera, Werther. Ms. Coote replaces previously announced Latvian mezzo-soprano Elina Garanca, who was to have made her Company debut but cited personal reasons for her withdrawal from the San Francisco Opera engagement.

Elina has performed live for the worldwide broadcasts by the Met recently in the title roles for La Cenerentola and Carmen, the latter with Roberto Alagna.

I think I’d rather make something rather than cite personal reasons. The minute someone says ‐ or writes — “personal reasons” I think readers play the guessing game about the why of it all. (I mostly worry about someone’s health.)

Or is that just my problem?

Of course if one says, “Scheduling Conflict” we think, “How stupid can his/her manager be?”

Guess it’s a lose-lose, eh?

I went to San Francisco Opera’s Werther page and the change isn’t mentioned there, but Alice Coote’s name is already up. IIRC, I missed her in something this past season, so I’ll happily hear her next year! I can’t remember what she was supposed to sing, but I seem to recall she was ill.

Gee … illness. It does strike, doesn’t it? As in right now for yours truly. I have some sort of a cold. And I’m not happy about it. But chicken soup is heating up, so I’m about to have at it. (My first real meal of the day, actually; when I feel crummy I don’t like to eat much.)