Antony and Cleopatra (Again)

* Notes * 
I started going to San Francisco Opera in 1996, and over the years I've gained many opera going friends, with whom I've traveled to see operas all over the place, from Seattle to Berlin. It has been sad to not be able to attend performances for the last few years, so when my opera buddy based in Brooklyn said he would like to go to John Adams' Antony and Cleopatra (Amina Edris as Cleopatra and Gerald Finley as Antony in Act I Scene 5 pictured, photograph by Cory Weaver) on September 18, I did my best to rouse up some of our friends to go as well. As I did not know standing room would be back or if I'd be able to get press tickets for this date, I purchased four tickets for the last row of the house. I was fortunate enough to be able to get press tickets, and thus asked two more friends to join us. Much merriment was had, though sadly no one else seemed to like this opera as much as I did.

It was agreed that all the voices were beautiful and that the music in between scenes in Act I was strong. From the orchestra level, I felt I could hear tenor Paul Appleby as Caesar more clearly, his voice is nice and light, perfect for Mozart, but also lovely here. His music in Act II Scene 2 made my hair stand on end. Bass-baritone Alfred Walker sounded more powerful from the balcony. I still liked his aria in Act I Scene 2, but it was even more noticeable to me this time how declamatory the vocal lines were throughout the opera. Soprano Amina Edris (Cleopatra) gave me chills though, especially in her death scene at the end of the opera.

I really loved hearing Maestra Eun Sun Kim and the orchestra. I confirmed for myself that it was between Act I Scenes 4 and 5 that sounded particularly Wagnerian, like the end of Das Rheingold, something very Valhalla-esque to the music here. Again, I enjoyed the textures of cimalom and celesta, and am looking forward to seeing the orchestra when I attend this opera again on Friday as part of my subscription.

* Tattling * 
I made a reservation for the North Box Restaurant, but somehow bungled it by only having a table for 2 rather than 6. Thankfully we got there early enough that it seemed to get sorted out quickly, the people that work there are very kind and professional. I noted that most of the group present had been at the French Laundry back in 2010, the very evening our local baseball team won the World Series, and we had done The Wave at the table and three of our party sang part of Nixon in China. We did The Wave at our table, convincing our one compatriot that was not there last time to take a video of us.

Our press tickets were in Row S and there was a "famous opera dog" next to us who was very quiet and well-behaved. I noted a loud cell phone with an 80s arcade sound near the beginning of the opera and a few watch beeps at each hour. I also heard a few people being hushed. My opera companion fell asleep during Act I Scene 2.

My friends were not very happy with me at the end of the opera, as they felt the second act dragged on too long. At 3 hours and 17 minutes, perhaps some cuts would be helpful. Anyway, one of our party threatened to strangle me, and another mentioned they might want to stand outside the opera next time with signs protesting my lack of taste and possible spousal abuse in bringing my partner to such a boring performance. I apologized to them all, giggled heartily, and invited them to do standing room for Eugene Onegin next Sunday.