* Notes *
SF Opera Lab held the first event at the new Taube Atrium Theater last night. The evening was open to certain San Francisco Opera donors but involved having to call the box office to reserve tickets, as the space only has 299 seats.
The theater is part of the Diane B. Wilsey Center for Opera, which consolidates SF Opera's operations on the fourth floor and basement of the Veterans Building. The space, which originally housed SFMOMA, includes an education studio that can also be used as a rehearsal venue, a costume studio, the San Francisco Opera Archive, exhibition galleries, and administrative offices. The opera moved in two weeks ago, though not everything is quite done, there has been painting and such in the interim.
The performance ended up being a salon curated by members of the San Francisco Opera Orchestra, part of SF Opera Lab's ChamberWORKS series. The intimate setting had a casual feel, performers addressed the audience and introduced many of the pieces. There was no printed program, instead titles were projected over digital wallpapers from the Cooper Hewitt.
The performance started with cellist Thalia Moore playing Vivaldi's Sonata No. 6 in B flat major, RV 46 accompanied by Adler Fellow Ronny Michael Greenberg on harpsichord who were joined by flutist Stephanie McNab, percussionist Rick Kvistad, and mezzo-soprano Adler Zanda Švēde, who sang a setting of ten Shakespeare sonnets to music by Pauls Miervaldis Dambis. Dambis seems to have a penchant for the Renaissance, hence the harpsichord rather than the piano.
Greenberg did shift to playing piano, and one of the highlights of the evening was certainly Robert Muczynski's Sonata for Flute and Piano Op. 14. Played with verve by Stephanie McNab, Greenberg's playing was crisp and supportive. We also got to hear a piece of Kvistad's called "Blues for Wilsey," in which the percussionist plays a drum set along with the other musicians playing their respective instruments. Greenberg played piano in this and McNab played both flute and piccolo.
The performance was capped by the Habanera and Seguidilla from Bizet's Carmen, accompaniment arranged for vibes, cello, flute, and piano by Peter Grunberg. Švēde is brilliant, getting the emotional import of all the words through her voice. She made her entrance through the audience, and it was a testament to how great the Meyer Sound system is, because it sounded nicely balanced -- not too loud or dry.
* Tattling *
The audience was extremely focused and quiet. It was fun hearing the musicians speak, especially Kvistad, who joked the more he studied music, the less notes he was allowed to play, especially at the opera, where he must be the highest paid musician per note.
The theater can get rather warm, and the controls to the AC system have apparently not been handed over to the opera yet, as we learned from the Q&A with the performers and Elkhanah Pulitzer, Director of Programming for the SF Opera Lab (pictured above). Also, one of the lenses of the projection system needs replacement, most of the images were pretty blurry.