Each of the following operas is scheduled for the San Francisco Opera’s 2022-23 centennial season.
Dialogues of the Carmelites (Poulenc and Lavery) October 15, 18, 21, 26 and 30, 2022
Olivier Py’s production, co-produced by the Théâtre des Champs-Elysées and Théâtre Royal de la Monnaie, Bruxelles, is imported to celebrate the 65th anniversary of the San Francisco Opera’s United States premiere of Poulenc’s opera about the impact of the French Revolution on a community of nuns.
[Below: Constance (Deanna Breiwick, left) and Blanche (Heidi Stober, right) share a special bond within their order; edited image, based on a Cory Weaver photograph, courtesy of the San Fraancisco Opera.]
Heidi Stober stars as Blanche de la Force. Deanna Breiwick is Sister Constance. Michelle Bradley performs Madame Lidoine, Michaela Schuster is Madame de Croissy and Melody Moore is Mother Marie. Ben Bliss is Chevalier de la Force, Dale Travis is the Marquis, the Chevalier’s (and Blanche’s) father. Catherine Cook, Taylor Raven and Brenton Ryan are respectively Mother Jeanne, Sister Mathilde and L’Aumonier.
South Korean Maestra Eun Sun Kim conducts. Py’s original production, designed by Pierre-André Weitz, is revived by French director Daniel Izzo.
La Traviata (Verdi and Piave) November 11, 13(m), 16, 22, 25, 27(m), 30 and December 3, 2022.
Each of the three principal roles in Verdi’s most popular opera will be performed by a debuting San Francisco Opera artist. South African soprano Pretty Yende is announced as Violetta. Yende is a former Domingo Operalia Competition award winner. I reviewed her admirable performances as Micaela [Review: Domingo at Helm for a Stellar “Carmen” – Los Angeles Opera, September 21, 2013] and Susanna [Review: New Faces for “Marriage of Figaro” – Los Angeles Opera, March 21, 2015].
[Below: Soprano Pretty Yende as Violetta in the Royal Opera House cinema presentation of Verdi’s “La Traviata”; image from Castle Theater, Wellingborough.]
Jonathan Tetelbaum is to be Alfredo. Simone Piazzola, whose San Francisco debut originally was scheduled for the pandemic-cancelled “Ernani” is the Elder Germont.
The new production is the creation of director Shawna Lucey and designer Robert Innes Hopkins, who previously collaborated on 2018’s new production of Puccini’s “Tosca”. Maestra Eun Sun Kim conducts.
Orpheus and Eurydice (Gluck and Calzabigi), November 15, 18, 20(m), 26 and December 1, 2022
Polish countertenor Jakub Józef Orlinski makes his San Francisco Opera debut as Orpheus to the Eurydice of Austrian soprano Christina Gansch. Illinois soprano Nicole Heaston is Amor.
[Below: Countertenor Jakub Józef Orlinski; edited image of a publicity photograph.]
Irish Maestro Peter Whelan, the artistic director of the Irish Baroque Orchestra, conducts. The director is Matthew Ozawa, with sets by Alexander V. Nichols and costumes by Jessica Jahn. Rena Butler is choreographer.
[For my performance review, see: Review: Orlinski’s Astounding, Acrobatic Orfeo: “Orfeo ed Euridice”, San Francisco Opera, November 20, 2022.]
Madama Butterfly (Puccini and Illica/Giacosa), June 3, 6, 9, 18(m), 21, 24, 27 and July 1, 2023
South Korean soprano Karah Son makes her San Francissco Opera debut in the role of Cio-Cio San. The American sailor she marries, Lieutenant B. F. Pinkerton is performed by New Jersey tenor Michael Fabiano. South Korean mezzo-soprano Hyona Kim is Suzuki. North Carolina baritone Lucas Meachem is Sharpless. South Korean tenor Julius Ahn is Goro.
[Karah Son, here preparing for a performance as Liu in Opera Australia’s production of Puccini’s “Turandot”; edited image of a production photograph, from Facebook/Karah Son.]
South Korean Maestra Eun Sun Kim conducts. The new production is by Amon Miyamoto is designed by Bartek Macias with sets by Boris Kudli?ka and costumes by Kenzo Takada.
This list is supplementary to previous lists in this “Quests and Anticipations” series of selected operas being performed through July, 2023:
Tchaikovsky’s and Shilovsky’s “Eugene Onegin” at the San Francisco Opera. [See In Quest of 2021 and 2022 Opera Performances in California and Arizona].
Adams’ and Shakespeare et al’s “Antony and Cleopatra” and Frank’s and Cruz’ “El Ultimo Sueno de Frida y Diego” [See In Quest of 21st Century Operas.]