The audience was very enthusiastic about the performance. On the other hand, my opera companion insists that he won't go to another Mozart opera at West Bay.
The incoming 2017 Adler Fellows are soprano Sarah Cambidge; tenor Amitai Pati and Kyle van Schoonhoven; baritone Andrew Manea; stage director Aria Umezawa; and apprentice coaches John Elam and Jennifer Szeto. They join current Adlers Amina Idris, Toni Marie Palmertree, Pene Pati, Brad Walker, and Ronny Michael Greenberg. The outgoing 2016 Adler Fellows are Julie Adams, Zanda Švēde, Nian Wang, Edward Nelson, Matthew Stump, Anthony Reed, and Noah Lindquist.
* Notes *
With a monstrous but charismatic narcissist as protagonist, last night's revival of San Francisco Opera's The Makropulos Case felt timely. It was difficult to not compare our lead, soprano Nadja Michael, with the previous star in the role, Karita Mattila, especially since the latter was so recently here in the nearly perfect Jenůfa over the summer.
Michael's Emilia Marty was certainly very frightening, as befits a jaded person who has had 300 years of youth and cannot find meaning in anything. The soprano has a powerful voice but lacks an ethereal quality that was so impressive in Mattila's performance six years ago. Michael's movements are also very floppy, one would expect more of a cat-like slinkiness from the libertine Marty, though Michael is certainly flexible.
The rest of the cast was fine. Adler Julie Adams was a sweet Kristina, the aspiring opera singing daughter of Kolenatý's clerk. Matthew O'Neill ably reprised his role as Count Hauk-Šendorf as did Dale Travis as Dr. Kolenatý.
Baritone Stephen Powell's Baron Prus was not as subtly drawn as Gerd Grochowski's the last time around. In his San Francisco Opera debut, tenor Charles Workman had a squeaky start as Albert Gregor, but he recovered well and his voice has a lovely timbre.
Mikhail Tatarnikov's conducting was straightforward, there were slight mishaps in the brass at the beginning, but nothing terrible. The orchestra, however, did not achieve the unearthly beauty that we heard over the summer and in 2010 when playing Janáček.
* Tattling *
The house was not full, and there were lots of seats in the back of the balcony, which is ideal for standing room but not great for the opera company. It's a shame since the piece is gorgeous and the stylish staging, with its rotating set and looming clocks, is elegant.
Reviews of San Francisco Opera's Don Pasquale (Act III pictured left with Maurizio Muraro and Lucas Meachem, photograph by Cory Weaver) are positive.
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