William Burnett

Is it possible for a bi-coastal American creative team, centered in the San Diego opera and theatre communities and New York City’s Broadway theatre district, to mount a production of Alban Berg’s opera “Wozzeck” so revelatory that it may change the way the public thinks about that opera? Is it possible that such a team … Read more

Verdi’s “Il Trovatore”, one of the great masterpieces of Italian opera, has, from its triumphant premiere 155 years ago, always been popular with the opera-going public, even as generations of detractors have developed their talking points on why we must not love the opera so much. We have always been told this opera’s plot is … Read more

Washington National Opera’s second installment of its new production of Wagner’s “Der Ring des Nibelungen” (co-produced with the San Francisco Opera) debuted at the Kennedy Center in late March. I attended its second performance. Circumstances had prevented me from attending the WNO production of its prequel opera “Das Rheingold” in 2006, where the Rhinemaidens are … Read more

Despite the Surgeon General’s warning about cigarettes, the recent production of Bizet’s “Carmen” at Opera Pacific, smoked Orange County. As one who has seen this numero uno opera for paying the bills countless wonderful times (including an August 2006 performance in Santa Fe, a link to whose review occurs at the bottom of this page), … Read more

Richard Wagner’s “Tannhäuser”, although firmly in the standard repertoire, has tended to be performed a little less often in recent years than the work that preceded it (“The Flying Dutchman”) and the eight operas he wrote afterwards. That appears, at least for the near future, to be changing. California’s three most important opera companies – … Read more

Many operatic artists of the first rank, and that seems an entirely appropriate category for Denyce Graves, have “signature roles” through which they gain public esteem. Ms Graves is a renowned Carmen, but has chosen Dalila as her particular specialty. Besides being an artist of high integrity, who approaches the treasures of the French repertoire … Read more

For the past 35 or so years, opera companies in the United States and throughout the world have been experimenting with versions of Mussorgsky’s “Boris Godunov” other than the elegantly re-orchestrated version by Mussorgsky’s close friend, Nikolai Rimsky-Korsakov, that held the world’s stages for nearly a century. A common theme underlay each experiment – to … Read more

The foul weather flags were flying along Galveston Bay, the Houston area’s Gulf of Mexico shoreline, when William Burden, the tenor scheduled to sing the title role in Houston Grand Opera’s production of Gounod’s “Faust” awoke to an inflamed throat. Throughout the day he consulted with his doctor, voice experts, and the opera’s management. It … Read more

California’s hottest late November/early December ticket for opera was the San Francisco Opera production of Bizet’s Carmen, whose nine scheduled performances were completely sold out for several weeks. Alternate casts and conductors permitted consecutive day performances on each of three weekends. This is a complete turnaround for a company that only a couple of years … Read more

Donald Runnicles’ first performance of Puccini’s “Manon Lescaut” in San Francisco, was his fifth Puccini work among 54 different operas he has conducted for the company. Originally scheduled in a different (and almost certainly less traditional) production by former General Director Pamela Rosenberg, it represented current Director David Gockley’s fifth change in the fall season … Read more

Previously, this website has suggested that, as the footprints of former San Francisco Opera General Director Pamela Rosenberg are washed away over time, the only souvenir of her controversial stewardship may be the world’s largest production of Rossini’s “Barbiere di Siviglia” ever conceived.  Would that this souvenir never existed, and that some spectacular souvenir productions from the … Read more

Those who lament the current day’s supposed absence of large Verdian voices would be encouraged by the Houston Grand Opera’s 2006 mounting of the Royal Opera’s production of Verdi’s “Simon Boccanegra”. Those who hope that new San Francisco Opera Director David Gockley will be able to restore the tradition of presenting large Verdian voices in … Read more

Conductor Donald Runnicles has had an extraordinary impact over more than a decade and a half of musical performances at the San Francisco Opera, serving with three quite different personalities holding the General Director position – Lotfi Mansouri, Pamela Rosenberg, and David Gockley. The Fall, 2006 San Francisco Opera season is notable for two events.  The first … Read more

Having attended the Mariinsky Theatre’s “Kirov Ring” at the Orange County Performing Arts Center October 6 through 11, 2006 (see my reviews elsewhere on this website), I wondered what would be the impact of a United States opera company adopting the Gergiev/Mariinsky approach to casting. In the Kirov Ring, conductor and intendant Valery Gergiev cast … Read more

The final opera of the Kirov Opera/Mariinsky Theatre presentation of Wagner’s “Der Ring des Nibelungen” in California’s Orange County commenced in the late afternoon on the fifth day after the Friday evening “Rheingold” that began it all. Valery Gergiev, the Kirov/Mariinsky’s great wonder, again conducted. As the Three Norns came into view, tending buoys around … Read more

Wagner thought that if one opera of his four-opera “Ring of the Nibelungs” would be performed separately from the other three in the series, it would be “Siegfried”. He, of course, was wrong about this. “Die Walküre”, perhaps because of the its popular third act “Ride of the Valkyrs”, and certainly for its lusciously written … Read more