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February 2018
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April 2018

Merola's 61st Season Participants

8.18.17_Finale-1845_resizedSopranos
Kendra Berentsen, Portland, Oregon
Cheyanne Coss, Eaton Rapids, Michigan
Marlen Nahhas, Houston, Texas
Brittany Nickell, Coral Springs, Florida
Patricia Westley, Santa Barbara, California
Meigui Zhang, Chengdu, China

Mezzo-Sopranos
Megan Grey, Cedar Falls, Iowa
Anne Maguire, Washougal, Washington
Simone McIntosh, Vancouver, B.C., Canada
Alexandra Urquiola, Bergenfield, New Jersey

Tenors
Zhengyi Bai, Linyi, Shandong, China
Christopher Colmenero, Burlington, Vermont
Addison Marlor, Salt Lake City, Utah
Brian Michael Moore, Cincinnati, Ohio
Christopher Oglesby, Woodstock, Georgia
Charles Sy, Mississauga, Ontario, Canada
WooYoung Yoon, Seoul, South Korea

Baritones
SeokJong Baek, Jeon-Ju, South Korea
Jacob Scharfman, Boston, Massachusetts
Jaeman Yoon, Seoul, South Korea
Xiaomeng Zhang, Wenzhou, China

Bass-Baritones
Andrew Moore, Point Pleasant, New Jersey
Ted Pickell, El Dorado Hills, California

Apprentice Coaches
Kseniia Polstiankina Barrad, Kyiv, Ukraine
Annie Brooks, Seattle, Washington
Matthew Gemmill, Ames, Iowa
James Maverick, Baton Rouge, Louisiana
Thomas Morris, Atlanta, Georgia

Apprentice Stage Director
Marcus Shields, Charleston, South Carolina

The Schwabacher Summer Concert at the San Francisco Conservatory of Music is on Thursday, July 5 and July 7 at Bing Hall.

The Merola artists perform Mozart's Il re pastore on Thursday, July 19 and Saturday, July 21 and Stravinsky's The Rake’s Progress on Thursday, August 2 and Saturday, August 4. All of these operas are to be performed at the San Francisco Conservatory of Music.

The season ends with the participants singing in the annual Merola Grand Finale (last year's performance pictured above, photograph by Kristen Loken) on Saturday, August 18 at the War Memorial Opera House.

Official Site | Press Releases


LA Opera's Orphée et Eurydice

La-opera-orpheus-2018* Notes * 
Choreographer John Neumeier's production of Orphée et Eurydice (final ovation pictured left) opened at Los Angeles Opera last week. Dance companies seem to love this opera by Gluck, and this co-production with Lyric Opera of Chicago and the Joffrey Ballet is no exception. The reworking of the libretto to be contemporary, with Orpheus as a choreographer and Eurydice a star dancer is compelling, but it seems pretty brutal for the lead soprano, it would be a rare thing indeed for an opera singer to also be a prima ballerina as well.

Joffrey Ballet is indeed impressive, the dancers mastery of various dance forms -- from classic to modern -- is obvious. There were only the tiniest sloppiness with some angles not being precisely the same from person to person. The male dancers that portrayed dark spirits in Act II (pictured below, photograph by Ken Howard) were especially effective. By the end of that act in fact, I felt as if I were floating on a cloud of beauty, it all did come together very well.

Orph_0857prThe singing was uniformly clear and beautiful, while the acting was more mixed. As Amour, soprano Liv Redpath is adorably cherubic with a lithe voice. Soprano Lisette Oropesa (Eurydice) has a lovely warmth and clarity. As athletic and graceful as she is, even when she walked barefoot it was conspicuous that she is not a dancer of the same caliber as the others on stage. Neumeier really put her on the spot, it doesn't seem fair to expect an amazing opera singer also fit in with professional dancers. On the other hand, Maxim Mironov was convincing as Orphée, he also sounds great, so open and even from top to bottom.

The chorus was very nice and cohesive as it sang in the pit with the orchestra. I enjoyed James Conlon's conducting, what it might have lacked in exactitude it made up for in liveliness.

* Tattling * 
The women next to me in Row B Seats 14 and 15 were at the performance because they must have known one of the dancers, and consequently they didn't seem that interested in the music and occasionally spoke to each other at full volume even though they were a few feet from the Maestro. The man next to me in 12 either fell asleep or was concentrating very hard on the music with his eyes closed in Act II.


San Diego Opera's Florencia en el Amazonas

Jkat_Amazonas_031418_202* Notes *
A vibrant production of Daniel Catán's Florencia en el Amazonas opened at San Diego Opera last night. The sets and singing had much to recommend it, and it was easy to see why this piece has been revived multiple times in the almost 22 years since its premiere in Houston.

The music is lyrical and exuberant, and most of the singing was absolutely lovely. Only baritone Luis Alejandro Orozco (Riolobo) seemed underpowered, though he is a fine actor and boasts an impressive physique.

I liked the range of emotions portrayed by mezzo-soprano Adriana Zabala as Paula, part of a bickering couple seeking to renew their love, she was frighteningly shrill at the outset and charmingly warm at the end. Her other half, baritone Levi Hernandez as Alvaro, was affable. Baritone Hector Vásquez (Capitán) sang with authority.

Tenor Daniel Montenegro and soprano María Fernanda Castillo sang beautifully together as they fall in love as Arcadio and Rosalba. Montenegro's voice is sweet, while Castillo's is brilliant. As opera singer Florencia Grimaldi, soprano Elaine Alvarez seemed perfectly suited, her rich, vivid voice was very convincing.

The set, from Mark F. Smith, is essentially a steamboat on a turntable, and this is effective, especially with the lighting. It definitely had a resemblance to Werner Herzog's Fitzcarraldo, which is fun, since both works deal with the Amazon and opera. Much of the chorus wore unitards some festooned with elaborate accessories to represent the water of the Amazon and various jungle beasts. This was in keeping with the libretto, which takes inspiration from Gabriel Garcia Marquez (perhaps Love in the Time of Cholera is most obvious) and has a dreamy, surreal quality.

 

* Tattling * 
The audience fairly quiet, though two men behind me in the center of Row S did make some loud comments.


SF Symphony's 2018-2019 Season

SF-Symphony-4x6September 5 2018: Open Night Gala with MTT; Itzhak Perlman, violin
September 13-16 2018: MTT conducts Castiglioni, Ravel, Copland; Yuja Wang, piano
September 21-23 2018: MTT conducts Stravinsky's Perséphone and The Firebird
September 27-30 2018: MTT conducts Stravinsky's Petrushka, Violin Concerto, and The Rite of Spring; Leonidas Kavakos, violin
October 11-13 2018: Manfred Honeck conducts Prokofiev and Dvořák
October 14 2018: Evgeny Kissin plays Beethoven and Rachmaninoff
October 18-20 2018: Pablo Heras-Casado conducts Ravel, Bartók, and Debussy; Javier Perianes, piano
October 21 2018: Olivier Latry, organ
October 21-22 2018: Valery Gergiev conducts the Mariinsky Orchestra
October 25-27 2018: Cristian Mӑcelaru conducts Anna Clyne, Lalo, Kevin Puts, and R. Strauss; Ray Chen, violin
November 1-3 2018: Jurassic Park film with live orchestra
November 4 2018: Hilary Hahn, violin
November 8-10 2018: Jakub Hrůša conducts Shostakovich, Borodin, and Bartók; Karen Gomyo, violin
November 11 2018: Semyon Bychkov conducts the Czech Philharmonic; Alisa Weilerstein, cello
November 15–18 2018: MTT's From the Diary of Anne Frank
November 23–25 2018: MTT conducts Beethoven's Symphony No. 9
November 30- December 1 2018: The Nightmare Before Christmas film with live orchestra
December 2 2018: Gautier Capuҫon, cello with Jean-Yves Thibaudet, piano
December 14-15 2018: SoundBox curated by MTT
December 14-15 2018: Jane Glover conducts Messiah
January 5-6 2019: Mary Poppins film with live orchestra
January 11-13 2019: Jaap van Zweden conducts Mozart and Bruckner; Eugene Izotov, oboe
January 14 2019: Itzhak Perlman, violin
January 18-20 2019: Mirga Gražinytė-Tyla conducts Tchaikovsky and Sibelius; Gabriela Montero, piano
January 22 2019: Leif Ove Andsnes, piano
January 24-26 2019: Christian Reif conducts R. Strauss, Andrew Norman, Prokofiev; Johannes Moser, cello
January 27 2019: Leonidas Kavakos, violin
January 31- February 2 2019: Herbert Blomstedt conducts Beethoven and Mendelssohn
February 7-9 2019: MTT conducts Steven Mackey, Prokofiev, and Tchaikovsky
February 14-17 2019: András Schiff conducts Bach and Mendelssohn
February 22-24 2019: Daniel Harding conducts Schumann; Lars Vogt, piano
February 27-28 2019: La La Land film with live orchestra
March 1-2 2019: Close Encounters of the Third Kind film with live orchestra
March 3 2019: Mikhail Pletnev conducts the Russian National Orchestra; George Li, piano
March 7-9 2019: Franҫois-Xavier Roth conducts Schumann, Liszt, and Brahms; Cédric Tiberghien, piano
March 10 2019: Anne-Sophie Mutter, violin with Lambert Orkis, piano
March 14-17 2019: MTT conducts Ravel, Mozart, and Sibelius; Christian Tetzlaff, violin
March 31 2019: Marc-André Hamelin, piano
April 7 2019: Midori, violin and Jean-Yves Thibaudet, piano
April 11-14 2019: Andrey Boreyko conducts Brahms and Zemlinsky; Emanuel Ax, piano
April 18-20 2019: Fabio Luisi conducts Glinka, Tchaikovsky, and Rimsky-Korsakov; Mario Brunello, cello
April 25-27 2019: James Gaffigan conducts Wagner, Beethoven, Mozart, and Barber; Hélène Grimaud, piano
May 2-4 2019: Marek Janowski conducts Mendelssohn, Bruck, and Wagner; James Ehnes, violin
May 9–11 2019: MTT conducts Debussy and Ligeti; Pierre-Laurent Aimard, piano
May 12 2019: Joshua Bell, violin; Steven Isserlis, cello; and Jeremy Denk, piano
May 16-18 2019: MTT conducts Mahler's Symphony No. 7
May 23-25 2019: Krzysztof Urbański conducts Elgar, Bacewicz, and Mendelssohn; Vilde Frang, violin
May 30- June 1 2019: Juraj Valčuha conducts Bach and Shostakovich; Alexander Barantschik, violin
June 6-8 2019: TBD conducting Bartók, Grieg, and Saint-Saëns; Nikolai Lugansky, piano
June 9 2019: Christopher Houlihan, organ
June 13-16 2019: MTT conducts Mahler's Symphony No. 9
June 20-22 2019: MTT conducts Steve Reich and Prokofiev; Yefim Bronfman, piano
June 27-30 2019: MTT conducts Noye's Fludde and L'Enfant et les sortilèges

Season Highlights | Press Release