Opera Warhorses

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

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