The following is a list of performances that I am scheduled to review at the San Francisco Opera.
The Handmaid’s Tale (Ruders and Bentley), September 14, 17, 20, 22(m), 26, 29(m) and October 1, 2024.
What if dystopian forces seized control of a government in 2024 to impose specific behaviors on a society’s inhabitants, including strict rules to govern the conduct of women? In composer Poul Ruders’ and librettist Paul Bentley’s opera, “The Handmaid’s Tale”, based on works by Margaret Atwood, that government is called the Republic of Gilead.
The San Francisco Opera performances are launched with the West Coast premiere of Ruders’ quarter-century old opera, in a co-production with the Royal Danish Opera. The production’s director is John Fulljames, assisted by Lucy Bradley. Chloe Lamford designed the sets. Maestra Karen Kamensek will conduct.
[Below: A handmaid (below right) observes the symbol of the Republic of Gilead, the organization that controls the fate of women in that futuristic society; edited image, based on a Camilla Winther photograph for the Royal Danish Opera.]
Leading the cast is Irene Roberts as Offred (whose name proclaims her to be the possession of Fred). Playing other women possessed by men are Rhoslyn Jones as Ofglen and Katrina Galka as Janine-Ofwarren.
Lindsay Ammann is Serena Joy, Sarah Cambidge is Aunt Lydia. John Relyea performs the role of The Commander. Christopher Oglesby is Luke, Brenton Ryan is Nick and Matthew DiBattista is a Doctor. Others in the cast include Gabrielle Beteag as Offred’s mother, Caroline Corrales as Moira and Sara Couden as Rita.
[For my performance review, see: Review: A Cautionary “Handmaid’s Tale” , San Francisco Opera, September 14, 2024.]
Tristan und Isolde (Wagner), October 19, 23, 27(m), November 1 and 5, 2024
Director Paul Curran makes his San Francisco Opera debut in a production with sets by Robert Innes Hopkins, originally performed by Venice’s Teatro la Fenice. Maestra Eun Sun Kim will conduct.
[Below: David Innes Hopkins’ sets for the third act of Paul Curran’s production of “Tristan und Isolde”, here at the Teatro la Fenice in Venice, Italy with Ian Storey (on stage floor) as Tristan and Brigitte Pinter as Isolde; edited image, based on a Michele Croser photograph for the Teatro la Fenice.]
Simon O’Neill is Tristan and Anja Kampe is Isolde. Kwangchul Youn is King Marke. Wolfgang Koch and Annika Schlicht make their San Francisco Opera debuts respectively as Kurwenal and Brangäne. Chirstopher Oglesby is both a Sailor and a Shepherd.
[For my performance review, see: Review: ONeill and Kampe Lead a Powerfully Performed “Tristan und Isolde” – San Francisco Opera, October 27, 2024.]
Symphony Number 9 (Beethoven), October 26, 2024
To celebrate its 200th birthday, a single performance of Beethoven’s Symphony Number Nine is scheduled. Maestra Eun Sun Kim will conduct.
The soloists are soprano Jennifer Holloway, mezzo-soprano Annika Schlicht, tenor Russell Thomas and bass Kwangchul Youn.
[For my performance review, see: Review: Maestra Eun Sun Kim, San Francisco Opera Orchestra, Chorus and Soloists Celebrate 200th Anniversary of Beethoven’s “Symphony Number Nine” – October 26, 2024.]
Carmen (Bizet), November 13, 16, 19, 22, 24(m), 26, 29 and December 1(m), 2024.
Francesca Zambello’s production of he most popular French opera returns to the War Memorial Opera House. Making her San Francisco Opera debut in the title role is Eve-Maud Hubeaux. Jonathan Tetelman sings the role of Don Jose in seven of the eight performance, Thomas Kinch in the November 26 performance.
Anna Maria Bruzzese is Associate Director and Choreographer. Tanya McCallin designed the production. Maestro Benjamin Manis will conduct.
[Photo: Don Jose (Jonathan Tetelman,above) left) embraces the dead body of Carmen (Eve-Maud Hubieux Bridges, below); in the company’s 2024 performance of Francesca Zambello’s production; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]
Christian Van Horn is Escamillo. Louise Alder is Micaela. Soldiers Zuniga and Morales are respectively James McCarthy and Samuel Kidd. Carmen’s smuggling team includes Arianna Rodriguez’ Frasquita, Nikola Printz’ Mercedes, Christopher Ogelesby’s Dancairo and Alex Boyer’s Remendado.
[For my performance review for the 2019 mounting of Zambello’s production, see: .Review: Francesca Zambello’s Theatrically Compelling “Carmen” – San Francisco Opera, June 5, 2019]
[For my performance review, see: Streamed Performance Review: A Splendidly Sung and Well Acted “Carmen” – San Francisco Opera, November 19, 2024.]