on Vimeo by clicking here. The complex music gets better the more you listen to it, and a great cast has been assembled this weekend that uses some of my favorite local singers like Marnie Breckenridge, Kyle Stegall, and Nikki Einfeld. Click here for tickets and more info.
The San Francisco Opera puts on three operas each June and this year's trio looks great on paper, although the banners going up all around the neighborhood are certainly strange.
The well-reviewed 2011 Scottish Opera production by director Harry Fehr updates the ancient Orlando narrative to a World War Two psychiatric hospital in London, and why not?
2014 David McVicar production is from the Lyric Opera of Chicago, and the music is very beautiful.
Here's a description from the OM website: "...a tale of gothic horror told in music, harking back to world of German expressionist silent film with a story straight from the Twilight Zone. A snake oil peddler comes to town – a town suffering from painful barometric pressure – and promises a cure. There are unforeseen consequences… be careful what you wish for. It features more than 24 performers including The Lightbulb Ensemble and Friction String Quartet, 3 keyboardists, a vocal quartet, and the composer as narrator. Making their debut will be an array of newly created gamelan-style instruments in original tunings." Whenever bass Sid Chen or The Friction Quartet are involved in something, it's usually fascinating.
the SF Symphony is presenting Ravel's one-act L’Enfant et les sortilèges in a production from Opéra National de Lyon. Conducted by Michael Tilson Thomas, the production stars mezzo-soprano Isabel Leonard who was so great in another Ravel one-act at the SF Symphony, L'heure espagnole, back in 2015. She's joined by a host of other singers, including Marnie Breckenridge and Nikki Einfeld, who are also in Dorothea and Artemisa, so we have come full circle.
Friday, May 31, 2019
Saturday, May 25, 2019
Wednesday, May 15, 2019
Reviewer Johua Kosman described the music "as cheesy and racist a collection of Orientalist hoochie-koochie as any composer of the 19th century ever penned." He's not wrong, but that opera and the Philistine Orgy scene in Act III in particular are favorite guilty pleasures, and Gaffigan obviously enjoys it too, leading a fun, dancing performance.