The Opera Tattler

Merola's 56th Season Participants

Sopranos
Linda Barnett, Greeneville, Tennessee
Aviva Fortunata, Calgary, Alberta, Canada
Alisa Jordheim, Appleton, Wisconsin
Jacqueline Piccolino, Palatine, Illinois
Maria Valdes, Atlanta, Georgia

Mezzo-Sopranos
Kate Allen, Dublin, Ireland
Rihab Chaieb, Montreal, Quebec, Canada
Daryl Freedman, Philadelphia, Pennsylvania
Katie Hannigan, Newburgh, New York
Zanda Švēde, Valmiera, Latvia

Tenors
Casey Finnigan, Austin, Texas
Matthew Newlin, Georgetown, Illinois
Pene Pati, Mangere, Auckland, New Zealand
Issachah Savage, Philadelphia, Pennsylvania
Robert Watson, Kansas City, Missouri

Baritones
Chris Carr, Quasqueton, Iowa
Alex Descocio, Wichita, Kansas
Joseph Lattanzi, Mableton, Georgia
Efrain Solis, Santa Ana, California

Bass-Baritones
John Arnold, Cumming, Georgia
Thomas Richards, Burnsville, Minnesota
Rhys Talbot, Cedar Falls, Iowa
David Weigel, Asheville, North Carolina

Apprentice Coaches
Timothy Cheung, Toronto, Ontario, Canada
Noah Lindquist, Brooklyn, New York
Sahar Nouri, Tehran, Iran
Michael Shannon, London, Ontario, Canada
Jeremy Weissman, Culver City, California

Apprentice Stage Director
George Cederquist, Ann Arbor, MI

Official Site | Press Releases

World Premiere of The Secret Garden

* Notes *
San Francisco Opera and Cal Performances presented the world premiere of Nolan Gasser's The Secret Garden (Act II pictured left, photograph by Betsy Kershner) last night in Berkeley. The music features a tiny ensemble of ten instrumentalists, lead by conductor Sara Jobin. The rhythms employed are of interest, particularly in the prologue, which is set in India. Carey Harrison's libretto has some awkward moments, somehow the narrative of the book does not always work well as sung text. This is evident in the Cholera scene and when Colin sings about how he will live to adulthood. Other parts are more successful. The letter scene between Susan Sowerby and Archibald Craven is quite beautiful. The production, directed by José Maria Condemi, moves along nicely. The costumes are of the period, and are perfectly serviceable. Naomie Kremer's hallucinatory visual designs range from cartoonish to Impressionistic.

The singing has much to recommend it. Ao Li (Ben Weatherstaff), Erin Johnson (Mrs. Medlock), and Laura Krumm (Martha Sowerby) all made charming contributions to the performance, both vocally and dramatically. Tenor Scott Joiner was a winsome Dickon, but had some trouble with the high notes in his first duet with Mary. Philippe Sly impressed as Archibald Craven, and his aforementioned duet with Marina Harris (Susan Sowerby) was splendid. Boy soprano Michael Kepler Meo convinced as spoiled, sickly Colin Craven. His voice is pretty, but the amplification used was obvious and slightly distracting. Bright-voiced Sarah Shafer deftly portrayed Mary Lennox. Her sound is pleasant and her acting was not overwrought.

* Tattling *
There were many children in attendance, and for the most part, they were more well-behaved than the adults. Two women in Row P Seats 5 and 7 of the Orchestra Level talked repeatedly during the music when there was no singing. Oddly, they knew the maestra, and vehemently cheered her when she took her bow.

One of the boys in Row N was the son of either the composer or the librettist and he was absolutely delighted to see his father during the ovation. His enthusiasm was adorable.

Zheng Cao Dies

Mezzo-soprano Zheng Cao died of cancer yesterday at age 46 in San Francisco. Cao was a participant of the Merola Opera Program in 1994 and was an Adler from 1995 to 1996. Cao was seen in 16 productions at San Francisco Opera including roles in The Bonesetter's Daughter (pictured left as Ruth Young Kamen, photograph by Terrence McCarthy), Madama Butterfly, The Mother of Us All, The Rake's Progress, Parsifal, Idomeneo, Le Nozze di Figaro, Elektra, Salome, Rusalka, and Faust.

SF Chronicle Article | Official Site | San Francisco Opera Press Release

SF Opera's 2013-2014 Season

September 6- October 2 2013: Mefistofele
September 18- October 4 2013: Dolores Claiborne
October 8- November 2 2013: Falstaff
October 22- November 15 2013: Der fliegender Holländer
November 13- December 1 2013: Il barbiere di Siviglia
June 1- July 2 2014: Show Boat
June 11- July 13 2014: La Traviata
June 15- July 9 2014: Madama Butterfly

David Gockley announced San Francisco Opera's 2013-2014 season today. The season starts with Boito's Mefistofele starring Ildar Abdrazakov, Ramón Vargas, and Patricia Racette. Racette returns for Show Boat and Butterfly in the summer. Dolora Zajick sings the title role in the world premiere of Tobias Picker and J.D. McClatchy's Dolores Claiborne. Bryn Terfel is Falstaff and Greer Grimsley is the Holländer. Ailyn Perez and Sonya Yoncheva share the role of Violetta in Traviata, with Stephen Costello and Saimir Pirgu as Alfredo.

Press Release [PDF] | Official Site

Angela Gheorghiu as Tosca at SF Opera

* Notes * 
Angela Gheorghiu (pictured left in Act II, photograph by Cory Weaver) sang her fourth complete performance of Tosca at San Francisco Opera last night. Gheorghiu's voice seems a bit thin for the role, though her sound does have a lovely, silvery quality. Gheorghiu looks stunning in the various costumes, but perhaps her acting relies too heavily on her personal beauty. Her jump at the end was particularly lackluster. The audience seemed to adore her regardless.

Massimo Giordano's Cavaradossi was more solid than before, his voice is pretty and reedy. Somehow he did not inspire ovation for "E lucevan le stelle," though he did not sing badly. The duet in Act III between Giordano and Gheorghiu went rather awry. Roberto Frontali continued to impress as Scarpia. Maestro Luisotti had the orchestra were more synchronized with the singers, and overwhelmed them less than before.

* Tattling * 
The house looked quite full, at least on the Orchestra, Box, and Grand Tier levels.

Patricia Racette as Tosca at SF Opera

* Notes * 
The second performance of Tosca at San Francisco Opera featured three different principals (Patricia Racette as Tosca and Brian Jagde as Cavaradossi pictured left, photograph by Cory Weaver) to fairly fine effect. Patricia Racette's portrayal of Tosca is dramatically convincing. Though the timbre of her vibrato always makes this listener uncomfortable, she sings with a lot of fire. Racette's quieter passages can be quite pretty. She is a great actress, and despite being less than willowy, all her movements are easily read even from the back of the house. Her "Vissi d'Arte" was moving.

Brian Jagde has a bright, occasionally brassy, sound as Cavaradossi. His voice shows a good deal of emotion: cheeriness at the beginning, subsequent anger at Scarpia, and then tenderness with Tosca. He got carried away with the second "Vittoria" in Act II, but sang a poignant "E lucevan le stelle." Mark Delavan's performance of Scarpia was less ardent, and there were moments in Act I when he was completely drowned out by the orchestra. One longs for a bit more heft and weight for this role. Delavan improved in Act II, he was more audible and the attractiveness of his voice became more apparent.

* Tattling * 
There were significantly fewer latecomers to this performance compared to the first one on Thursday. There was some whispering, but no serious ill-mannered behavior was noted in the back of the balcony.

Melody Moore as Tosca at SF Opera

* Notes * 
Last night's opening of Tosca at San Francisco Opera was rather more exciting than expected, given that the 1997 production has been revived three times before. As Tosca, Angela Gheorghiu sang Act I a bit quietly, and was often not with the orchestra. Before Act II, General Director David Gockley announced that Gheorghiu had a bout of intestinal distress and nausea at intermission and was going to the hospital. The cover, Melody Moore (pictured above in Act II, photograph by Kristen Loken), was getting into costume, and Gockley begged our indulgence. All things considered, Moore did an excellent job. Her voice sounds icier in this role than others, which is not inappropriate. Her lower register has a lovely vibrancy, in stark contrast to Gheorghiu.

As for the rest of the cast, Massimo Giordano (Cavaradossi) has warm plaintiveness, but did not always sound secure. His portrayal did not have much nuance, but he certainly did project well. Roberto Frontali sang a threatening Scarpia with grit and power. Christian van Horn sounded robust as Angelotti and Dale Travis delivered a comic Sacristan. Joel Sorensen was completely committed to his role of Spoletta, and the spill he took trying to catch up with Moore at the end looked very realistic.

Maestro Luisotti had the orchestra sounding strong, and there was never a lax moment. The clarinet solo that introduces "E lucevan le stelle" was particularly beautiful. The strings also sounded lovely.

* Tattling * 
Cellular phone alarm went off twice during Act I, once toward the end of the duet between Tosca and Cavaradossi and once near the end of the act. A latecomer brusquely yelled "excuse me" into my ear and pushed herself between me and another standee, right at the end of Act I, just before the alarm went off. Her arm was touching mine, so I gently rested against her. I figured she wanted so very much to be near someone else, I might as well oblige her.

According to a statement issued by San Francisco Opera today, Gheorghiu was feeling ill during Act I. Tests at the hospital revealed that she was severely dehydrated. Gheorghiu is now resting up and feeling better. She expects to perform on Sunday, November 18, as scheduled.

SF Opera's Community Open House

Celebrating San Francisco Opera's 90th Season, the Company is hosting a Community Open House today at the War Memorial Opera House (301 Van Ness Avenue pictured left, photograph by David Wakely) from 10:30am to 2:30pm. Events include technical and musical demonstrations with Maestro Nicola Luisotti, the San Francisco Opera Orchestra and Chorus, soprano Melody Moore, and tenor Brian Jagde. Technical demonstrations will feature set-building, lighting, and other technical elements of productions are 25 minutes each and begin at 11am, 12:30pm, and 2pm. Tosca and Lohengrin musical demonstrations are 45 minutes each and begin at 11:35am and 1:05pm.

SF Opera's Lohengrin

* Notes *
Lohengrin opened at San Francisco Opera last night. The production is new to the house, and has been seen in Geneva and Houston. Inspired by the Hungary of 1956, the action takes place within what looks to be a library. Designed by Robert Innes Hopkins, the set (Act I pictured left, photograph by Cory Weaver) makes for clear transformation of scenes, especially with the lighting from Simon Mills. The costumes, also by Hopkins, are sharp. Director Daniel Slater fills in the narrative nicely, and Act II is especially thoughtful.

In contrast, Maestro Luisottti had a more painterly style with the music. The orchestra had a vivid sound, but could have had slightly more focus. The tempi of the musicians in the pit did not always match those on stage. The chorus sang with full-blooded vigor, making up for the moments of asynchronicity.

It seems that San Francisco Opera is on a roll with casting this season. Brian Mulligan made for a rich-toned King's Herald. Kristinn Sigmundsson sang Heinrich der Volger with strength, and the quality of his vibrato works better for Wagner than the Mozart we heard on the War Memorial stage last summer. Gerd Grochowski convinced as the conflicted Friedrich von Telramund, though his voice has no small beauty to it.

Petra Lang seemed pitchy, but this did not detract from her Ortrud. Her voice has a certain voluptuousness to it, her carriage and movements are impeccable. Camilla Nylund sounded rather sweet and ethereal as Elsa. Her highest notes did not sound as pretty as the rest of her voice, reminding me of something in-between tinsel and glass. However, this made her fall all the more believable. Brandon Jovanovich had a triumphant role debut as Lohengrin. His voice is vibrant with a good deal of volume. He did sound the most sublime when singing softly.

* Tattling * 
The audience was quiet and attentive, at least on the orchestra level. There was surprisingly little audience attrition between acts. There were also very few people in standing room.

SF Opera's Moby-Dick

* Notes * 
Moby-Dick (Jay Hunter Morris as Captain Ahab, Stephen Costello as Greenhorn, and Jonathan Lemalu as Queequeg pictured left; photograph by Cory Weaver) opened at San Francisco Opera on Wednesday evening. The opera premiered at Dallas Opera, and the production has traveled to the State Opera of South Australia in Adelaide, Calgary Opera, and San Diego Opera. Composer Jake Heggie and librettist Gene Sheer managed to distill the sprawling source material into a compelling theatrical work. The music has much appeal, and the production provides spectacle. Some of the staging is not visible in the upper balcony, and some of the voices are not heard to their best advantage from certain parts of the set. However, most of the visual effects are striking, and even beautiful.

Maestro Patrick Summers conducted a fluid orchestra. The performance seemed clean and brilliant, though at times the singers were somewhat muffled by the orchestration. The chorus sounded wonderfully in unison in the scene where the whale boats are lowered to give chase to Moby Dick. The principal cast is formidable. Joo Won Kang's diction was rather good and his Captain Gardiner was sympathetic. Robert Orth (Stubb) and Matthew O'Neill (Flask) were comical. Talise Trevigne's Pip sounded eerie and angelic. Jonathan Lemalu seemed rather creaky as Queequeg at first, but has a robust voice. Morgan Smith was a tormented but tender Starbuck, while Stephen Costello made for a sweet, vulnerable Greenhorn. Jay Hunter Morris triumphed as Ahab, sounding authoritative and full. The baritonal qualities of his voice came out in last night's performance. He was also utterly frightening and commanding in the role.

* Tattling * 
There was light talking during Act I, but the chief offenders near me all cleared out by Act II.

SF Opera's I Capuleti e i Montecchi

* Notes * 
A new production of I Capuleti e i Montecchi (Act I Scene 2 pictured left, photograph by Cory Weaver) opened at San Francisco Opera on Saturday. Conductor Riccardo Frizza had the orchestra sounding rather jaunty. The horn, clarinet, harp, and cello all gave solid performances. There were moments when the orchestra was much louder than the singers, but it seems that the stage direction is more at fault than the conductor or musicians.

This co-production with Bavarian State Opera, directed by Vincent Boussard, features a spare, stylish set designed by Vincent Lemaire. Unfortunately, the opera calls for three different scenes in each of its two acts, and the set had to be inelegantly rearranged simply bringing the curtain down in-between each change. This gives audience members a chance to chat or check their electronic devices, and this inevitably bleeds into the actual performance.

As for the set itself, the gleaming black floor is sleek, but often squeaks as people move across it. The metal stairs of Act I Scene 3 and Act II Scene 1 keep certain singers too far upstage to be heard well. Having supernumeraries parade in stilettos up and down these stairs is also noisy. Christian Lacroix's gowns are bold, often bright, confections. The lighting design, by Guido Levi, is stark and dramatic, and works nicely with the abstract images on the various walls. The surrealistic details of the production involving saddles, flowers, sculptures, and even a sink were confusing to the audience.

Eric Owens made for an authoritative Capellio. Ao Li made the most of the small part of Lorenzo. The role of Tebaldo seemed quite difficult, and Saimir Pirgu sounded powerful but choppy. He did clearly portray anger in his early scenes and sorrow in Act II Scene 2.

The stars of the show were clearly Joyce DiDonato (Romeo) and Nicole Cabell (Giulietta). DiDonato has a warm, resonant voice, and sang with a beautiful fluidity and a notable ease. Cabell's voice is brilliant and flexible, but seemed anchored and precise. The final duet between the two leads was both devastating and stunning.

* Tattling * 
A couple of women and their daughters in the balcony, Row J Seats 106 to 112, were the picture of bad-behavior. Not only did they take photographs of the performance, they talked, posted to Instagram and Facebook, and texted all evening long.

2013 Adler Fellows

The incoming 2013 Adler Fellows are Jennifer Cherest, Erin Johnson, A.J. Glueckert, Chuanyue Wang, Hadleigh Adams, and Philippe Sly. They join current Adlers (pictured left, photograph by Kristen Loken) Marina Boudart Harris, Laura Krumm, Renée Rapier, Joo Won Kang, and Robert Mollicone. The outgoing 2012 Adler Fellows are soprano Nadine Sierra, tenor Brian Jagde, bass-baritone Ryan Kuster, and coach and accompanist David Hanlon.

Press Release | Official Site

Casting Change for SF Opera's Moby-Dick

Jay Hunter Morris (pictured left, photograph by Photografeo Pty Ltd.) will replace Ben Heppner as Captain Ahab in San Francisco Opera's Moby-Dick, which opens on October 10, 2012. Originally scheduled to sing the last three performances, Morris will now sing all eight. Heppner has withdrawn from the production for personal reasons.

Moby-Dick at San Francisco Opera | Press Release

SF Opera's Rigoletto (Vratogna/Shagimuratova/Chacon)

* Notes * 
A second performance of San Francisco Opera's Rigoletto was held on Saturday. The cast had three different members: Marco Vratogna (Rigoletto), Albina Shagimuratova (Gilda), and Arturo Chacón-Cruz (The Duke of Mantua).

Chacón-Cruz was not consistent, he was rather hard to hear with the chorus in the first scene, but improved in the second two acts. His duet with Shagimuratova in Act I Scene 3 was vexing, it seemed that the singers were not listening to one another, and it hardly seemed they were in love. Shagimuratova's voice often did not blend nicely when singing with others, earlier in the same scene it seemed that she was having a shouting match with Vratogna. They did sound better together in Act II (pictured left, photograph by Cory Weaver) and in the very last part of Act III. Shagimuratova does have a twittering sparkle to her sound. Vratogna's voice is much less pretty, as is appropriate. He did well portraying scorn, anger, and desperation. He had a harder time being doting or sad.

Though fairly simple, the production did not always help these singers. Shagimuratova's heavy-footedness in bounding up the stairs for "Caro Nome" hardly projected youthful exuberance. Though most of the singers moved with ease, one felt the direction was wan, and the movements on stage did not always have a strong sense of intention.

The orchestra sounded fiery and crisper last night, Nicola Luisotti continued to drive the music forward. The chorus had an even better evening than for the opening, and seemed together and uniform. All the other principals sounded secure. Robert Pomakov gave a nuanced, imposing performance as Monterone. Andrea Silvestrelli continued to impress with his distinctive deep bass.

* Tattling * 
The audience was far more attentive for this second performance. The house was not full, and standing room was particularly empty.

SF Opera's Opening Night Rigoletto

* Notes * 
The 90th season of San Francisco Opera got off to a fine start last night with Rigoletto, at least once opening night formalities were out of the way. Though not exactly precise, the orchestra bustled with enthusiasm, and Maestro Nicola Luisotti kept the music moving. The chorus sang with characteristic vigor.

This revival is the fourth outing of the de Chirico-inspired production in fifteen years. Michael Yeargan's set design is clean and quiet, other than the rather garish color palette. The scene changes are smooth, and the two pauses (between the first two scenes and the last two acts) did not take long.

The array of lovely voices in this opera is striking. The six current and former Adlers sang seven of the smaller roles and acquitted themselves well. It is especially pleasing that mezzo-sopranos Laura Krumm (Countess Ceprano and A Page), Renée Rapier (Giovanna), and Kendall Gladen (Maddalena) all sound so distinct from one another.

Likewise, bass Robert Pomakov made for a Monterone that could not be confused with the baritone of the title role. Andrea Silvestrelli is a threatening Sparafucile. His voice has beautiful resonances even in his lowest notes.

Francesco Demuro made a strong effort as the Duke of Mantua, but came up a bit short. His bright voice has an edge of hysteria to it, lending him an unmanly air. He gave a respectable rendition of "La donna è mobile" but somehow did not engage the audience.

Aleksandra Kurzak's Gilda is attractive, her intonation is exact, and she never grates on the ear. On the other hand, her dark sound seems too sensual for the naive daughter of Rigoletto. Željko Lučić (pictured above in Act I Scene 2, photograph by Cory Weaver) impressed in the title role. His sound has volume and richness. The tenderness of Act I Scene 2 contrasted nicely with the despair of the last scene.

* Tattling * 
The opera started even later normal for opening night. The General Director even made an announcement ten minutes after the hour that the proceedings would begin in another five minutes. John Gunn and George Hume welcomed the audience, made acknowledgements to various donors, let us know we were to be photographed from the stage in honor of the 90th season, and also informed us that there would be champagne for all after the performance. After several photographs were taken, Luisotti lead the orchestra and the audience in the National Anthem, so the performance itself began nearly thirty minutes late.