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SF Opera's Werther

Vargas-sf-opera-werther * Notes *
Werther, in a brand new production, opened yesterday evening at San Francisco Opera. The set, designed by Louis Désiré, involves a rather large platform with a grove of telephone poles meant to be trees, lots of stairs, a mountain of luggage, and a creepy basement downstage where Werther lives. Periodically one of two large rectangles would come down, suspended from the ceiling, to indicate the seasons. They seemed to be covered in cheap leaf-motive wallpaper or some chintzy seasonal cotton print. However, the lighting design, from Duane Schuler, pulled all these elements together. The overall effect was both curiously elegant and nightmarish. Francisco Negrin's direction seemed to concentrate on the psychology of Werther himself. The use of live video capture was restrained, and the doubles for Werther were intriguing. One appreciated that there were no projections or other distractions during the overtures.

Emmanuel Villaume conducted the orchestra, which sounded shimmery and full. The strings and harp glimmered, and the brass was warm. It was startling to hear the alto saxophone, but probably only because one is not accustomed to hearing it in opera. The design of the set may have caused the balance to be off on the ground level, and instead of being supported by the instruments, the singers were often overwhelmed. Perhaps it sounded better in the balcony.

Adlers Susannah Biller (Kätchen) and Austin Kness (Brühlmann) looked and sounded lovely in their small roles. Robert MacNeil and Bojan Kneževiċ were charming as Schmidt and Johann. Christian Van Horn, as Charlotte's father, the bailiff, sounded clear. Brian Mulligan was robust as Albert. Heidi Stober (Sophie) chirped and fluttered nicely. Alice Coote made for a vaguely boyish Charlotte, perhaps because of the way she carries her shoulders and neck. Coote has a pleasant, warm tone. Ramón Vargas likewise has a pretty sound, though I did find him more sympathetic in a role like Nemorino than the melodramatic Werther.

* Tattling * 
I had the pleasure of greeting the San Francisco Opera Music Director at intermission, and also managed to find many friends in the press room. The audience was fairly subdued. There was at least one watch alarm at 9pm, and some squeaking from either microphones or hearing aids. Several people commented about how weird the production was, mostly in a negative way. The production team was booed.

Werther Medallion Society Book Club Meeting

Werther Book Club, photo from Cory Weaver and San Francisco Opera The Last Chinese Unicorn wrote up this piece about this recent event in the Littlefield Intermezzo Lounge of the War Memorial Opera House, pictured left, photo from Cory Weaver and San Francisco Opera.

* Notes *
Tonight is the opening of Massenet's Werther (pronounced Vair-tair). This past Saturday before the final dress rehearsal, the Opera Tattler and I attended the first book club meeting organized by the SF Opera for its Medallion Society members to discuss Goethe's The Sorrows of Young Werther (Die Leiden des jungen Werthers), the epistolary novel upon which the opera is based. We were surprised and delighted by the great turnout. Though most were grey-haired opera lovers, we did spot a few young people in their 20s. There was also a Goethe scholar in the mix who made some valuable contributions to the discussion. With this particular opera, because it is more of a psychological drama without an intricate plot, I found it very useful to revisit the literary text before watching the performance. It certainly helped make sense of the video element of the production. Here are some of the topics that we covered in the meeting:

* Albert (rational, responsible, stable) being the antithesis of Werther (emotional, maudlin, reckless)
* Jean-Jacques Rousseau & Romanticism
* Parallels between Werther and Faust
* Werther's descent into madness
* Werther fever and copycat suicides
* The role of Nature in the novel

As for the production itself...stay tuned for the Opera Tattler's review of the opening night show. My lips are tightly sealed!

* Tattling * 
Two young ladies with interesting head accessories came strolling in late. One even had the audacity to march up front and sit right next to the moderator. What a shameless lass!

Next Interview

Though the Opera Tattler may have secured an audience with Danielle De Niese, Marco Vratogna, and Nicola Luisotti, we are wondering who you, gentle readers, would like us to interview next. It may be easiest if we limit this to those who are here in San Francisco now for the opera. Below are some suggestions, feel free to pick these or others.

Aida: Micaela Carosi | Dolora Zajick | Marcello Giordani | Christian Van Horn | Leah Crocetto

Werther: Emmanuel Villaume | Ramón Vargas | Alice Coote | Heidi Stober | Brian Mulligan

Figaro: Luca Pisaroni | Ellie Dehn | Michèle Losier | Lucas Meachem

Previous Interviews: Zandra Rhodes | David Lomelí | John Copley

Opera in the Park 2010

Operainthepark2010 * Notes *
San Francisco Opera's 37th Opera in the Park event was Nicola Luisotti's second as music director. The performance is entertaining every year, and this was no exception. The afternoon began with the overture to Le Nozze di Figaro, and gave us a preview of how this will sound when the latest revival opens on Tuesday September 21st. In keeping with this, Michèle Losier sang Cherubino's "Non so più," followed by Luca Pisaroni in "Non più andrai," and Danielle de Niese in "Giunse alfin il momento...Deh, vieni, non tardar." Dolora Zajick sang "La luce langue" from Macbeth stridently and Brian Mulligan sang "Avant de quitter ces lieux" from Faust sweetly. Marco Vratogna sang the Act III aria "Nemico della Patria" from Andrea Chénier, which David Gockley says we will hear soon enough at the War Memorial. "Pourquoi me réveiller" from Werther was sung by Ramón Vargas, and this opera opens for the first time in perhaps 25 years at SF Opera on Wednesday. The first half closed with David Lomelí, Leah Crocetto, Heidi Stober, and Brian Mulligan singing the famous quartet from Rigoletto, "Un di se ben rammentomi...Bella figlia dell'amore."

I had to leave at intermission, but I did hear the rehearsal of this performance earlier in the day. The second half started with the overture to Il barbiere di Siviglia, followed by Lucas Meachem in the famous "Largo al factotum." One does look forward to his Count in Le Nozze di Figaro and his fellow cast members Luca Pisaroni and Danielle de Niese, who sang "Là ci darem la mano." David Lomelí performed "La donna è mobile." Then there was much Puccini with Micaela Carosi singing "Vissi d'Arte," Leah Crocetto and Brian Jadge "Bimba, dagli occhi pieni," and Marcello Giordani in "Nessun Dorma." The performance ended with the usual "Libiamo ne'lieti calici" from La Traviata. I believe the encore must have been "O Sole Mio," sung by David Lomelí, Brian Jadge, Ramón Vargas, and Marcello Giordani.

* Tattling * 
The day started off rather foggy and cold, and the Maestro wore his white sweater instead of having it draped in his normal fashion. The Maestro sang a respectable "Non più andrai," whilst rehearsing the orchestra. The sun did come out, and I was able to convince Axel Feldheim to come to the park and sing the National Anthem with me for the second time in 24 hours.

General Director David Gockley was in his usual spot on stage much of the time and introduced groups of pieces. He inadvertently skipped over the two Mozart pieces after Cherubino's aria, and Luisotti teasingly said that Gockley "didn't know the season."

2011 Adler Fellows

Ao Li, photo by Kristen Loken The incoming 2011 Adler Fellows are Nadine Sierra, Daniel Montenegro, Ao Li, Ryan Kuster, and David Hanlon. They join current Adlers Leah Crocetto, Susannah Biller, Sara Gartland, Maya Lahyani, Ryan Belongie, Brian Jadge, and Tamara Sanikidze. Outgoing 2010 Adler Fellows are tenor David Lomelí, baritone Austin Kness, and apprentice coach Allen Perriello.

Press Release [PDF] | Official Site

Opera San José's Anna Karenina

Anna (Jasmina Halimic) and her estranged husband, Alexei Karenin (Kirk Eichelberger). Photo by Pat Kirk. * Notes *
The 27th season of Opera San José opened with the West Coast premiere of David Carlson's Anna Karenina yesterday evening. The libretto, written by Colin Graham, packed a lot of narrative into less than three hours. It felt a bit like hearing the Cliff Notes to Tolstoy's novel set to music as we moved through key plot points at breakneck speed. Perhaps the librettist and composer wanted to stay so true to Tolstoy's story they may have lost sight of the dramatic aspects of the operatic form. The music itself was pretty, constantly in motion, evoking waves or other watery imagery and textures. There was much repetition, and the music was consistent regardless of the text, with the exception of Anna's death. The orchestra, under the baton of Stewart Robertson, played with clarity and never overwhelmed the singers.

The singing was uniformly fine. Kindra Scharich stood out in the small role of Countess Lydia Ivanova, her voice is warm and lovely. Christopher Bengochea (Stiva Oblonsky) and Michael Dailey (Konstantin Levin) also offered strong performances. Krassen Karagiozov was not quite dashing enough as Vronsky, but he did sing nicely. Jasmina Halimic made a pretty Anna, and she did sound very sweet. There were a few times when she gasped or cracked slightly. Karenin seemed the most fleshed out character, his motivations were clear, and Kirk Eichelberger portrayed him beautifully.

Brad Dalton's production is impressive. Everything came together perfectly, and without looking overworked or effortful. The choreography, from Lise La Cour, was smooth and looked natural on all the singers, dancers, and supernumeraries. Steven C. Kemp's sets are sleek, simple, but still descriptive, and were lit elegantly by Kent Dorsey. Some of the painted backdrops were particularly gorgeous. Elizabeth Pointdexter's costumes looked in keeping with the novel, as did the wigs and makeup from Jeanna Parham.

* Tattling * 
On the whole, the patrons of Opera San José were excited and supportive. There was some light talking, and some quiet snoring. Both were easy to overlook. The opera received a standing ovation.

SF Opera's Aida (September/October Cast)

Dolora Zajick as Amneris, photo by Cory Weaver * Notes *
The 88th season of San Francisco Opera opened in gaudy splendor with Aida last night. The ostentatious production, designed by Zandra Rhodes and directed by Jo Davies, did not fail to delight. The backstage noise of moving the sets was audible to the audience, and the flow of the masses of people was not always well-motivated. However, the dancing children in the first scene of Act II, and the gymnasts and cloth elephant in the scene that followed were absolutely wonderful. Nicola Luisotti conducted with passion. The low strings had some beautiful moments, specifically, the cello solo in "Ritorna vincitor," the violas during the ballet, and the basses near the end of the opera. The woodwinds were pretty, and the trumpets sounded clear. There were a few synchronization problems with the orchestra and singers, especially in the ensembles. Unsurprisingly, the chorus held together best when they did not have to move and sing at the same time. Adlers David Lomelí and Leah Crocetto both made fine contributions as the Messenger and Priestess, respectively. Crocetto's creamy yet metallic voice cut through from backstage with an eerie effectiveness.

Christian Van Horn (King of Egypt), Hao Jiang Tian (Ramfis), and Marco Vratogna (Amonasro) all were appropriate for their roles, both in acting and singing. Vratogna was almost beast-like, his voice is sturdy and he certainly seemed dangerous. On the other hand, Micaela Carosi was rather wooden in the title role. Her voice, while warm and resonant in her lower register, is not unlike fingernails on a chalkboard when she pushes too hard for the top notes. Marcello Giordani was infuriating in the same way, his "Celeste Aida" began ravishingly, but the higher, sustained notes, while powerful, lacked beauty. He also showed fatigue during his duet with Aida in Act III, but pulled it together for the very end, which was lovely. Dolora Zajick dominated the second half of the show, her Amneris was incandescent in Act IV.

* Tattling * 
The opening night crowd was ill-behaved. Three young women in ZZ 112-116 would not stop talking, or posting photographs to Facebook on their mobile devices. Three Francophones behind me in standing room also felt it necessary to talk during the first half of the opera, though managed to be silent for the second half. Rather annoyingly enough, my hairdo disrupted Act II Scene 1, somehow I did not secure it properly and a cascade of flowers fell from my head. I could not stop myself from laughing, out of embarrassment, one imagines.

La donna del lago at Opéra national de Paris

Paris-chagall This haiku is the last of three pieces from Miss LCU's European holiday concerns Rossini's La donna del lago at Opéra national de Paris. The performance in question occurred on July 10, 2010 at Palais Garnier and starred Karine Deshayes as Elena opposite Javier Camarena as King James/Uberto.

* Notes *
Paris Opera
in July is all tourists
admiring Chagall.

Final Dress Rehearsal of Aida

Aida-coliseum-911   * Notes *
The orchestra sounded lovely under Nicola Luisotti in the final dress rehearsal of San Francisco Opera's Aida yesterday afternoon. The woodwinds were particularly good, especially the oboe and clarinet. Zandra Rhodes' bright and colorful production is coming together, and it was nice to see everyone transformed and everything in order after attending three previous rehearsals. There is some beautiful singing, but it might just be Dolora Zajick's show, as her Amneris thus far has been commanding. The opera opens the 2010-2011 season this Friday, and by all indications, it should be a wonderful spectacle.

* Tattling * 
The line to get into the rehearsal formed before noon. Most of the attendees in Box B were rather ill-behaved. Not only did some arrive after the music started, was there even talking, and removal of shoes. The woman next to me wore an enormous floppy hat that she thankfully removed during the actual performance. She may have texted whilst no music was occurring, but it was difficult to discern given that she was on my right side.

There was a shocking amount of hooting and hollering after arias and at the end of scenes. Luisotti had to silence the audience after Act I with "I'm sorry to inconvenience you, but we have to start now." He did not have his customary white sweater on during the performance. Thankfully it was draped over his navy blue shirt when he came out to bow.

Zandra Rhodes Interview

Zandra Rhodes by Gene NoconFashion designer Zandra Rhodes (pictured left, photo by Gene Nocon) created the production of Aida that opens San Francisco Opera's 88th season this Friday. She also designed the Les pêcheurs de perles seen here in 2005. Her Die Zauberflöte closes Seattle Opera's 2010-2011 season. The Opera Tattler and the Last Chinese Unicorn talked to Rhodes over coffee at the San Francisco Opera costume shop.

LCU: Why is your hair pink and what is your natural hair color?
ZR: In 1970, I tried on this lovely green wig, and it just cramped on my head. I thought, just a minute, I'm a textile designer, if you can dye a sheet, why can't you dye hair? So I had my hair streaked green, in those days. In 1980 I went to China and turned it red. It has been this color ever since. Originally though it would have been dark brown. Pink is very easy maintenance, far easier than any of the other colors. Green fades to look like old grass. Pink will last 6 weeks!

OT: Is there a story behind your first name?
ZR: My mother was going to call me Xandra with an X after Alexander. My grandmother said that no one will understand that, so that's why I'm called Zandra with a Z.

LCU: Who is your current muse? What do you look for in a muse?
ZR: I don't currently have a muse, but I have had fabulous muses. One of them was a wonderful girl called Maxine Smith, who first got me to go to LA. It is really someone who adores clothes, who will sit with you at night and try things on, and say this feels great and why don't you wear this. You just need someone who is prepared to spend time, who is fairly exotic, and willing to just play around with things.

LCU: How do you get your inspiration? Do you have style icons?
ZR: I get my inspiration through my friends, talking about things, trying things on, and looking at things, as they happen. I have found that since I have been doing things like the opera, things like that, it is very difficult to always be around to see the "style icons." I like someone who is a bit more below the radar, that you can suddenly think, that person has something wonderful going for them. Like yesterday I went to the farmer's market and we passed this amazing girl with stockings on, in all pink, and she had these pink stockings with bows round the top. This was someone experimenting with style, which is wonderful.

LCU: If your house caught on fire and you had time to grab 3 items from your closet, what would they be?
ZR: Oh, what a difficult question! If you weren't given any time to think, well, because some of the things you could buy again, so you should take things you couldn't buy. Probably my sketchbook. A sketchbook I couldn't redo, so it would be better if I grabbed that. It is only one of them, and the rest are stored. I have to admit, I am a hoarder beyond hoarders. For example, I've got in my library, in front of the books, I've got things, like one shelf is just all Japanese sushi in plastic. Another one has a metal spider I bought in the street in Brazil. I've got rocks from everywhere I've been to. So it's the case of, what would you actually pick? I would probably would pick my jewelry, though it is not valuable. It is just art jewelry, but if it was just hanging there I would probably put on as much as I could. So jewelry, sketchbook. What else? It couldn't be clothes because they are all in chests. Oh dear, what would I pick! Give me a bit longer on that one!

LCU: If you could say one thing to Alex McQueen before he died, what would it be?
ZR: You should have talked to people and not tweeted. I found that really sad that they could say he tweeted this and that, whereas I would have been able to ring a poor, bored friend and say listen, I am really depressed, I don't know what to do. Then the sadness of being in a cupboard, I mean, imagine finding him. But I think for me, talking to someone is important, I find that I am very, very lucky in friends. I can phone someone and say, I'm really depressed, I haven't any new ideas. One of my friends would say "Good God are you still on that again? You are always telling me that, you told me that last year." Friends can help talk you out of things and get you to come round or look at it another way.

LCU: Who is your favorite character on Ab Fab?
ZR: I was on there with Loulou and Brett Eckland. I'm going to say Joanna, merely because she's a good friend anyway. But I think all the characters are good, and both the girls are good.

OT: The first opera you designed was Die Zauberflöte for San Diego, but what was the first opera you attended?
ZR: Before I started on opera, I had hardly seen any. The first opera I saw, it was in Covent Garden, what's the one with the lady that throws herself off the balcony?

OT: Tosca?
ZR: Yes, but she looked like Miss Piggy. [Giggles] The Tosca was very big and Mario had built up shoes.

OT: Do you have a favorite opera?
ZR: I don't really have a favorite. I find when I'm working on a particular one, that one is my favorite. For example, The Pearl Fishers, they had Charles Castronovo singing, and when he reaches that extra high note, not on the main one, when they are both singing, but the song after that ("Je crois entendre encore"), it is gorgeous. It is a gorgeous opera. So I love that. I enjoy Aida, I can't wait for that grand march. It is just such a wonderful art form.

OT: What is your dream opera to design for?
ZR: I would love to have a go at the one they did with David Hockney, the Chinese one with the screaming lady, Turandot. I am also trying to work on ideas for a Salome.

LCU: What do you love about opera?
ZR: The amazing thing about opera is, without you knowing it, it hits all your senses. So it is not just what your eyes are showing you, but the music that's operating on you secretly without you knowing. For example, this is how I realized that, when I am watching rehearsals and they say to me I don't think the chorus looks right in what you put them in for the grand march in Aida. Well, once they start that grand march and they come on, it gets so exciting that I don't notice what they are wearing. [Laughs] It is so amazing, you are looking and you are thinking I forgot to look at that bit, because it was so exciting, with all the rest happening. You know in Aida when they are dying in the middle of the stage? In mine the pyramid closes down on top of them. There are two people with headsets, holding the scenery, and walking in on the stage, being guided, counting. So the singers are having to concentrate on dying in front of you and in the meantime the sets are being moved in by people, so they are not taking any notice of that. Then in back in the corner the chorus (they aren't paid over time to stay on, so they already've got half their wigs off and everything) and the maestro conducting them and the harp music, all in the back. You might not realize that you are not just listening to the principals singing with the orchestra playing. You've got extra music going on with these beautiful voices, but they are just all in the back! I just love all those technicalities.

LCU: Do you ever cry at the opera? Does it move you to tears?
ZR: Traviata always does!

OT: So you live in London and Del Mar?
ZR: That's right, because my partner decided to retire to Del Mar by the sea, but some of me would say, well, I don't know, I am not sure if it has worked out, or if it was a good career move. I go backwards and forwards every month. I have a secretary either end, so for example, I spoke to my London office four o' clock this morning and checked in. It continues either side, thanks to the fax, which I'm better at than email. But if it hadn't been for being in San Diego, I would have never been introduced to opera, because in fact it was Ian Campbell at San Diego Opera that had asked me to do The Magic Flute which is now going to Seattle. I am going up there this September for a day just to talk to them. He asked me to do The Pearl Fishers too. Then Jack DeMain, who used to manage Opera Pacific, saw The Pearl Fishers and said I'd be great to do an Aida. So they gave me a contract to do Aida, and was given in three charges. The first one was to come up with the concept, the second was to produce the designs, and the third would have been to carry it out. Well, I delivered the first two, and then they said they weren't going ahead. Well, I was really pleased with what I'd done, and I felt I shouldn't leave it. So I went to see Ian Campbell at San Diego Opera, and I said "Ian, I've done all this stuff for Aida, and I really want it to work" and he said "We've got an Aida of our own, I can't do it, but I'll give you the name of the guy who is going to Houston Opera, who is still at Welsh Opera." I emailed Anthony Freud and he agreed to meet me in London from Wales, which is only an hour away. We got together and he said "I think I'd like to go ahead with it, but I need to work in Houston, can you come to Houston?" Well, as it happens, I was doing The Magic Flute in Dallas, so I flew over for a day. Freud put together English National Opera, the Norwegian Opera (though they backed out) and San Francisco. That's how it happened!

OT: What do you think of ENO's approach, having opera in the vernacular of a particular place, vs. surtitles?
ZR: Oh! Why not have surtitles! Can anyone not read these days? They have the surtitles, up in English. I can't speak Italian, but when they say "Guerra! Guerra!" it sounds much better than "War! War!" [Laughs] Do you know what I mean? I think very strongly even if you speak the right language, I don't think you can understand what they are singing, except when it is very slow. I don't think it matters if you understand the words or not. Now that they've got surtitles, it is to die for. Years ago you used to have to read the libretto as quickly as you could. I speak reasonable French, but even so, you don't always understand, even in Carmen when they sing "Here come the picadors. Here, come the torredors." It is so easy once you read what the surtitles say.

OT: What medium do you use in your final drawings for the opera?
ZR: My drawings are done in my sketchbook, usually in felt tip pen. It is done on Japanese rice paper. [Pulls out her sketchbook] There's not much in this sketchbook, I mean, I've only got the current one here. So I just draw on this, we scan them, and print them up. We color Xerox them.

OT: How does designing for the opera compare to designing clothes?
ZR: They use lovely big safety pins. Designing for the opera, you have to, well, you do have to have the imagination to make a size 16 feel as if she's a 10. I think the stars are quite amazing. They come at in all this sort of stuff and convey the point about the music and everything, I just think it is incredible, I love all the little tricks you have to use and the things you have to do to make the clothes do things that you can't do when you are working on a practical level. I mean, to me it's been very exciting, being able to use things that as a textile designer, all the things I've done are all, I can use my textiles to "Zandra-ify" all the clothes. For example, hang on, I'll bring a couple around that we are not using. These aren't being worn, these are the ones in London that were for the princess. But the point is, that actually started off as plain cloth. I can take a piece of orange cloth, and print it or paint it or pleat it, because that's what I do, and turn it into a garment that does different things. These are all based on different things that I've done. I did an Egyptian collection in 1986, and I designed a leopard skin, so all the priests have got turquoise printed leopard skin. You also get, in opera, what is clever adaptation. For example, I might have an original design
, but the likelihood is you don't always get someone with that physique, so he might end up more covered up. So you get slight different interpretations. Funnily enough, when we started with The Pearl Fishers, in San Diego, we had them in t-shirts, fully dressed with the leopard skin. It has done 10 towns across America, and since then, all of the guys have done it bare chested, and looked fabulous.

LCU: There was a sighting of you at the farmer's market. What sort of cheese did you get?
ZR: I bought classic cheddar, a mature cheddar. It was a fabulous farmer's market. I also bought this mad cauliflower that looks like a wonderful hairdo! Not like the ones that you get at a supermarche that are all solid. That was what was so lovely, you saw things that you would never see otherwise. So it was a big treat.

LCU: Do you like marmite on your toast?
ZR: I love marmite. It is better than vegemite, which is the Australian one, that Australians swear by, but I don't.

OT: Do you have a favorite pastry or sweet?
ZR: Unfortunately I like sweets, but lately, they have been banned from my menu. I have lost about 18 pounds. That means, don't eat it if it's white, no flour, bread, or rice. I make a very good bread and butter pudding, which is with white bread, butter, and half and half. It is delicious. I can supply the recipe if needed.

Northern California Met Live in HD Theaters 2010-2011

San Francisco County:
Cinemark Century San Francisco Centre 9
835 Market Street
San Francisco, CA 94103

Cinemark CinéArts Empire 3
85 W Portal Avenue
San Francisco, CA 94127

Marin County:
The Lark Theater
549 Magnolia Avenue
Larkspur, CA 94939

Cinemark Century Northgate 15
7000 Northgate Drive
San Rafael, CA 94903

Cinemark Cinearts Sequoia 2
25 Throckmorton Avenue
Mill Valley, CA 94941

Sonoma County:
Rialto Cinemas Lakeside
551 Summerfield Road
Santa Rosa, CA 95405

Napa County:
Cinemark Napa 8
825 Pearl Street
Napa, CA 94559

Mendocino County:
Arena Theatre
210 Main Street
Point Arena, CA 65468

San Mateo County:
Cinemark Century 20 Daly City
1901 Junipero Serra Blvd.
Daly City, CA 94015

Cinemark Century 20 Downtown Redwood City
825 Middlefield Road
Redwood City, CA 94063

Cinemark Century Theatres at Tanforan
1188 El Camino Real
San Bruno, CA 94066

Cinemark Century 12 Downtown San Mateo
320 East 2nd Avenue
San Mateo, CA 94401

Alameda County:
Regal Hacienda Crossings Stadium 21 & IMAX
5000 Dublin Blvd
Dublin, CA 94568

AMC Bay Street 16
5614 Bay Street  Ste 220
Emeryville, CA 94608

Cinemark Century Hayward
1069 B Street
Hayward, CA 94541

Cinemark Century 25 Union City
32100 Union Landing
Union City, CA 94587

Contra Costa County:
Cinemark Blackhawk Plaza
4175 Blackhawk Plaza Circle
Danville, CA 94506

Cinemark Century 16 Downtown Pleasant Hill
125 Crescent Drive
Pleasant Hill, CA 94523

Cinemark Century 14 Downtown Walnut Creek
1201 Locust Street
Walnut Creek, CA 94596

Santa Clara County:
AMC Cupertino 16
10123 N Wolfe Rd
Cupertino, CA 95014

Cinemark Century 20 Great Mall
1010 Great Mall Drive
Milpitas, CA 95035

Cinemark Century Cinemas 16
1500 N. Shoreline Blvd.
Mountain View, CA 94043

Cinemark Palo Alto CinéArts 2
3000 El Camino Real, Building 6
Palo Alto, CA 94306

Cinemark CinéArts at Santana Row
3088 Olsen Drive
San Jose, CA 95128

AMC Eastridge 15
2190 Eastridge Loop
San Jose, CA 95122

Cinemark Century 20 Oakridge
925 Blossom Hill Road
San Jose, CA 95123

Sutter County:
Cinemark Yuba City
1410 Whyler Road
Yuba City, CA 95993

Santa Cruz County:
Regal Santa Cruz 9
1405 Pacific Avenue
Santa Cruz, CA 95060

Monterey County:
Cinemark Century Cinemas at Del Monte Center
1700 Del Monte Center
Monterey, CA 93940

Southern California Met Live in HD Theaters 2010-2011

San Luis Obispo County:
Christopher Cohan Performing Arts Center
1 Grand Avenue
San Luis Obispo, CA 93407

Ventura County:
Cinemark Century Stadium 16
2875 Elba Street
Ventura, CA 93001

Los Angeles County:
Regal Alhambra Renaissance Stadium 14
One East Main Street
Alhambra, CA 91801

AMC Santa Anita
400 S Baldwin Avenue
Arcadia, CA 91007

AMC Burbank 16
125 East Palm Avenue
Burbank, CA 91502

AMC AMC Glendora 12
1337 E Gladstone Street
Glendora, CA 91740

Regal Long Beach 26
7501 Carson Boulevard
Long Beach, CA 90808

Regal LA Live
1000 W Olympic Boulevard
Los Angeles, CA 90015

The Eileen Norris Cinema Theatre
Los Angeles, CA 90045

Bridge De Lux with IMAX
6081 Center Drive
Los Angeles, CA 90045

AMC Century City 15
10250 Santa Monica Blvd.
Los Angeles, CA 90067

Cinemark 22
2600 West Avenue I
Lancaster, CA 93534

Cinemark Antelope Valley Mall
1475 West Avenue P
Palmdale, CA 93551

AMC Puente Hills 20
1560 South Azusa Avenue
Rowland Heights, CA 91748

Regal Edwards Valencia 12
24435 Town Center Drive
Santa Clarita, CA 91355

AMC Promenade 16
21801 Oxnard Street
Woodland Hills, CA 91367

San Bernardino County:
Cinemark Jess Ranch
18935 Bear Valley Road
Apple Valley, CA 92308

AMC Ontario Mills 30
4549 Mills Circle
Ontario, CA 91764

Cinemark 16 Victorville
14470 Bear Valley Road
Victorville, CA 92392

Orange County:
Cinemark Huntington Beach 20
7777 Edinger Avenue
Huntington Beach, CA 92647

Regal Irvine Spectrum 20 & IMAX
65 Fortune Drive
Irvine, CA 92618

Cinemark Orange Stadium Promenade 25
1701 West Katella Avenue
Orange, CA 92868

AMC 30 at The Block
20 City Blvd. West, Bldg. E
Orange, CA 91764

AMC Tustin Legacy 14
2457 Park Avenue
Tustin, CA 92782

Riverside County:  
Regal Palm Springs Courtyard Stadium 9
789 East Tahquitz Canyon Way
Palm Springs, CA 92262

Cinemark Century Theatres at The River 
71800 Highway 111
Rancho Mirage, CA 92270

AMC Galleria at Tyler 16
3775 Tyler Street
Riverside, CA 92503

Regal Temecula 15
40750 Winchester Road
Temecula, CA 92591

San Diego County:
AMC Otay Ranch 12
2015 Birch Road
Chula Vista, CA 91915

AMC La Jolla Village 12
8657 Villa La Jolla Drive
La Jolla, CA 92037

AMC Plaza Bonita 14
3050 Plaza Bonita Road
National City, CA 91950

Regal Horton Plaza
475 Horton Plaza
San Diego, CA 92101

Regal Mira Mesa Stadium 18 & IMAX
10733 Westview Parkway
San Diego, CA 92126

AMC Mission Valley 20
1640 Camino Del Rio, North
San Diego, CA 92108

Regal San Marcos 18
101180 West San Marcos
San Marcos, CA 92078

Imperial County:
Cinemark Imperial Valley Mall 14
3651 S Dogwood Road
El Centro, CA 92243

Santa Barbara County:
Arlington Theatre
1317 State Street
Santa Barbara, CA 93101

Music Academy of the West
1070 Fairway
Santa Barbara, CA 93108 

California Central Valley Met Live in HD Theaters 2010-2011

Shasta County:
Cinemark Movies 10
980 Old Alturas Road
Redding, CA 96003

Butte County:
Cinemark Chico
801 East Avenue
Chico, CA 95926

Placer County:
Cinemark Roseville 14
141555 Eureka Road
Roseville, CA 95661

El Dorado County:
Regal El Dorado Hills Stadium 13
2101 Vine Street
El Dorado Hills, CA, 95762

Sacramento County:
Cinemark Laguna 16
9349 Big Horn Blvd.
Elk Grove, CA 95758

Cinemark Folsom 14
261 Iron Point Road
Folsom, CA 95630

Cinemark Downtown Plaza
445 Downtown Plaza
Sacramento, CA 95814

Cinemark Greenback Lane 16
6233 Garfield Avenue
Sacramento, CA 95841

Regal Natomas Marketplace Stadium 16
3561 Truxel Road
Sacramento, CA 95834

Cinemark Sacramento Stadium 14
1590 Ethan Way
Sacramento, CA 95825

San Joaquin County:
Kerasotes ShowPlace 16
848 Lifestyle Street
Manteca, CA 95336

Regal Stockton City Centre 16
222 N El Dorado Street
Stockton, CA 95202

Merced County:
Hollywood Mainplace Stadium Cinema
403 West Main
Merced, CA 95340

Fresno County:
Regal Fresno Stadium 21 plus IMAX
250 Paseo del Centro
Fresno, CA 93720

Kern County:
Regal Bakersfield Stadium 14
9000 Ming Avenue, Suite G
Bakersfield, CA 93307