* Notes *
Christopher Alden's delightfully humorous production of Partenope opened at San Francisco Opera last night. The stylish set (Act I pictured left, photograph by Cory Weaver), designed by Andrew Lieberman, was enhanced by Adam Silverman's lighting. Costume designer Jon Morrell did a wonderful job evoking 1920s Paris and Man Ray. The staging matches the absurdity of the plot rather well, embracing silliness with use of bananas, dancing, and hand shadow puppetry. It was refreshing to see something a little less sedate than the other offerings of the 2014-2015 season so far.
The reduced orchestra of only 39 musicians sounded fresh and vital under Maestro Julian Wachner. The horns had a rough start but in the end managed to sound sublime. The continuo was played beautifully by the conductor and Peter Grunberg on harpsichord, cellist David Kadarauch, and theorbist Michael Leopold.
The most of the singers employed much physicality in their performances. Philippe Sly danced foppishly and sang with warm effortlessness. His outrageous costume in Act III involved a puffy pink flowered gown, red evening gloves, and a Pickelhaube festooned with bananas. Anthony Roth Costanzo was an endearing Armindo who managed to sing his first aria ("Voglio dire al mio tesoro") while falling down or hanging on to stairs. He also tap danced during "Ma quai note di mesti lamenti" in Act III. The clarity of his voice came through despite all these antics. Alek Shrader's tenor sounded robust, and as Emilio he put on a hand puppet show that was amusing and engaging.
David Daniels (Arsace) gave a nuanced performance. He seemed slightly behind the orchestra in "Furibondo spira il vento," but sang has a lovely and tender "Ch'io parta?" in Act III. Daniela Mack seemed to perfectly embody the role of Rosmira and sounded pretty too. She spends most of her time on stage pretending to be a man, and the contrast between Mack and the titular leading lady was marked. As Partenope, Danielle de Niese sparkled and was vivacious. Her voice seemed heftier and throatier than I remembered. Her dancing was particularly sharp. Everyone sounded fully present in the moment and the finale of the piece was especially rousing.
* Tattling *
Our neighbors in Box I introduced themselves and shared a chocolate strawberry with us. There was a confrontation between a man at the back of Box H with a woman who showed up in the middle of Act II. He suggested that she did not have a ticket for Seat 4 and mentioned she had not been there for the first third of the performance.