William Burnett

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

The second opera of the Kirov Mariinsky Theatre’s production of Wagner’s “Der Ring des Nibelungen” brought together two mysterious forces – Gergiev and Tsypin’s furtive symbology of mankind’s collective memory about the age when gods, giants and dwarves shared the Earth and the seemingly indestructible voice of 64-year old Placido Domingo in his signature Wagnerian … Read more

Fifty years ago in Los Angeles, when I saw my first Wagnerian Opera, it was the San Francisco Opera company that travelled to Southern California to share its wealth of “world class” opera performances. Now, we have had the unpleasant experience of a decade of decline in San Francisco, which the new management of David … Read more

The detractors of Jules Massenet, who wish all of his operas would disappear once and for all, experienced a near-fatal blow when his most performed opera, “Manon”, was revived in a brilliant new Los Angeles Opera production at the Dorothy Chandler Pavilion. A quartet of celebrities assured that the endeavor would make a splash in … Read more

Verdi’s “Ballo in Maschera” returned to the San Francisco Opera with the role of Amelia reprised by Deborah Voigt.  She again proved herself to be a full-voiced Verdian dramatic soprano, in a role she had sung 16 years ago here in the excellent company of Ermanno Mauro. Her Gustavo/Riccardo in the 2006 performance was Marcus … Read more

After much anticipation Los Angeles Opera’s new and dazzling Don Carlo arrived as, without any doubt, one of the 10 best productions I’ve seen in LA since enjoying opera in LA since the nifty-fifties (seen Sept 20 and to be seen again Sept 28!!).  It was advertised widely in the  LA press as (quote) “One … Read more

The decision to mount Johann Strauss’ “Die Fledermaus”, that zany parody of late nineteenth century Viennese high life, was made after David Gockley was appointed the new General Director of the San Francisco Opera in 2005. The 1990 production, from the era of former General Director Lotfi Mansouri, was sung in usually intelligible English (all … Read more

The history of San Francisco Opera has been to reserve performances of Mozart’s “Le Nozze di Figaro” for established international stars in mid-career. Thus, persons I have seen have included the likes of Sir Geraint Evans, Hermann Prey and Samuel Ramey as Figaro, Lucia Popp as Susanna, Eberhard Waechter, Wolfgang Brendel and Tom Krause as … Read more

Giacomo Puccini, who had no fluency in English, was drawn to the stage business, sets and avant-garde lighting in two of David Belasco’s Broadway plays – “Madam Butterfly” and “The Girl of the Golden West”. Although the plays, whose dialogue is impossibly out of step with 21st century sensibilities, are irrevocably sows ears as plays … Read more

Dolora Zajick took no prisoners in a triumphant appearance as Joan of Arc in Tchaikovsky’s “The Maid of Orleans” in San Francisco’s three-opera summer season billed as the ” Return of the Divas”. (Zajick shared Summer Diva-dom with Ruth Ann Swenson, the Countess in Mozart’s “Nozze di Figaro”, and Patricia Racette, performing the title role … Read more

Rossini’s “L’Italiana in Algeri” had been a once a decade opera for me. I had seen five performances (two in the 1960s, one in the 1970s, one in the 1990s) the fifth being the Santa Fe production at San Francisco Opera, reviewed elsewhere on this website, with William Burden as Lindoro, the object of the … Read more

64 year old Placido Domingo demonstrated to the Dorothy Chandler Pavilion audience that Wagner, sung beautifully, is magical. His incredible voice, its legato still intact, brought to his Parsifal the sensitivity and dramatic expressiveness that I vividly recall from seeing him perform, among other roles, Don Jose in “Carmen” and Cavaradossi in “Tosca” in his … Read more

The final performance of Beethoven’s “Fidelio” was also General Director’s Pamela Rosenberg’s last performance as San Francisco Opera’s fourth General Director. Circumstances (not all of which likely are known to the general public) resulted in her tenure being the shortest in San Francisco Opera’s 82 year history. She was presented with a giant bouquet of … Read more

In the final days of Pamela Rosenberg’s controversial tenure as General Director of the San Francisco Opera, a production of Bellini’s “Norma” new to San Francisco was mounted, starring Catherine Naglestad as Norma, Irene Mishura as Adalgisa, Zoran Todorovich as Pollione, and Attila Jun as Oroveso. The production and performance, in the context of the performance history of Bellini’s … Read more

This is the second of two reviews of performances I attended a month apart of Verdi’s “La Forza del Destino”, the first of which took place at the Zurich Oper [Reviews of Two “Forza del Destinos”, Part 1: Zurich Oper October 19, 2005]. In both cases I sat in the row behind the conductor, which … Read more