The Opera Tattler

SF Opera's Die Frau Ohne Schatten

* Notes *
Richard Strauss' Die Frau Ohne Schatten (Act I Scene 2 pictured, photograph by Cory Weaver) returned to San Francisco Opera after an absence of 34 years. The vibrant production by artist David Hockney premiered at Covent Garden way back in 1992, but still has much to recommend it, and the singing and playing were all wonderful.

The plot of this opera, as with so many of Strauss' operas, was written by Hugo von Hofmannsthal. It is basically a fairy tale about a magical empress who has no shadow, meaning she is barren, and she must find a shadow or the emperor will turn to stone. She descends to the human realm with her nurse, and tries to gain a shadow from the wife of Barak the Dyer. There is much talk of the unborn. The empress eventually decides it is wrong to harm Barak, as his wife will unable to have children if she gives up her shadow, and in the end she is granted grace and given a shadow. This folktale is consider to be of Aarne-Thompson type 755, about forgiveness and redemption, and has origins in Scandinavia.

Hockney's set is as colorful as the music is, the many scenes are switched up with ease. I really loved how the earthly realm of Barak the Dyer and his wife looked like a rainbow salt mine, even the mortals live in technicolor. The costumes, from Ian Falconer of Olivia fame, looked to be influenced by Rajasthani or Mughal miniature painting.

The cast included 25 principals and not only the regular chorus but a children's chorus. Soprano Nina Stemme (pictured, photograph by Cory Weaver) sounded as powerful and glittery as ever as Barak's Wife (Die Färberin). It was fun to hear her with soprano Linda Watson (Nurse/Die Amme), since they are both known for performing Brünnhilde. Watson has a more strident tone, but it works for this role, which was written for mezzo-soprano, and the two singers did sound very distinct. The Empress (Die Kaiserin), sung by soprano Camilla Nylund, seemed like a very challenging part, there were dizzying heights that were frankly shrill. But there was no mistaking Nylund for the other two sopranos. Baritone Johan Reuter was a very human Barak, and sang with warmth. Tenor David Butt Philip was certainly more otherworldly as the The Emperor.

The orchestra sounded magnificent under Maestro Donald Runnicles, there were so many colors and textures in the music that came out rather beautifully. This is definitely an opera to return to, and I'm very curious to read the score.

* Tattling *
The people in Box D Seats 7 and 8 arrived slightly late and left a few minutes before the end of the opera. We inconvenienced them by being in their seats at the start, as the person in Seat 4 kept going in and out of the box. The person in Seat 4 also spent a little time texting, but this was relatively brief. The person in Seat 8 smashed her plastic water bottle in order to drink, and this happened 2 or 3 times. She also left the bottle at her seat after leaving the performance.

Otherwise it was pretty quiet, most of the people in attendance very much wanted to be there and were listening intently.

SF Opera's Les Troyens (Martens)

* Notes * 
Yesterday mezzo-soprano Michaela Martens (pictured left in Act II, photograph by Cory Weaver) sang Cassandra in San Francisco Opera's Les Troyens. She sings again on June 20, 2015. Martens has a lovely resonant voice with powerful low notes and searing high ones. Compared to soprano Anna Caterina Antonacci, with whom she shares the role, Martens is less raw and does not convey the same complete devastation. It is worth the effort to hear both singers, both are gratifying in different ways.

It was a delight to hear Maestro Donald Runnicles conduct the orchestra again. The woodwinds had a gorgeous, velvety sound, the strings shimmered, and the brass was bright and fluid. The chorus was powerful and the rest of the singing was consistently impressive.

* Tattling * 
A woman in Box B whispered a lot during Act II. This might not have been noticed but her voice is high and squeaky, so I had to angle my chair in a way so I could focus on the orchestra.

SF Opera's Götterdämmerung Cycle 3

* Notes * 
Der Ring des Nibelungen at San Francisco Opera came to a spectacular conclusion with Götterdämmerung (Prologue pictured left, photo by Cory Weaver) today. The orchestra played beautifully for Maestro Donald Runnicles. There were only two or three sour moments, and even these were fleeting and did not detract from the overall brilliance of the performance. The horn and harp were striking. The music of Siegfried's funeral march was incredibly moving, as was the very end of the opera. The chorus sounded strong and the greeting of Gunther and Brünnhilde was gorgeous.

The principal singers gave performances consistent with their previous ones, only with greater focus and intensity. Stacey Tappan, Lauren McNeese, and Renée Tatum may have looked like they had seen better days as the Rhinemaidens, but they sounded great. They held it together for the wild part of the music that starts with "So weise und stark verwähnt sich der Held." Ronnita Miller, Daveda Karanas, and Heidi Melton were memorable as the Norns, each voice distinctive, but singing together. Daveda Karanas also made the Waltraute/Brünnhilde scene in Act I very human and believable. Andrea Silvestrelli was menancing as Hagen, singing with force and richness. Ian Storey was only overwhelmed a few times as Siegfried, his voice has warmth and was particularly effective in Act III. Nina Stemme was truly a wonder as Brünnhilde, going from strength to strength.

* Tattling * 
Every seat was sold, and even standing room was at capacity. I heard there were altercations in the balcony over places at the rail. It was noted that the person seated in the balcony with the service dog was late today, and her dog was allowed to roam freely around the standing area.

As for the orchestra level, there was the usual talking, laughing, clapping, and electronic noise. People were all too amused by the remote control used in the first scene of Act II.

SF Opera's Siegfried Cycle 3

* Notes * 
The third Ring cycle at San Francisco Opera continued yesterday with Siegfried (Act II, Scene 3 pictured left, photo by Cory Weaver). The orchestra sounded better than ever under Donald Runnicles. The brass was particularly clean, especially in the Act I Vorspiel and before Brünnhilde makes her vocal entrance in Act III, Scene 3. A clarinet squeaked once in Act II, but overall playing of the clarinet and the rest of the woodwinds was gorgeous, the Woodbird music was very pretty. Again, the fire music at the end of Act III, Scene 2 was wonderful.

The singing was strong. Jay Hunter Morris (Siegfried) sounded young and sweet, his voice is more open and has a fuller bloom to it than when he debuted the role more than a month ago. His acting skills are evident, I especially liked watching him mimic the movements of Mime, sung by David Cangelosi. The latter gave a performance with great physicality and a full range of colors in the voice. Cangelosi enunciates well, yet maintains a bright lyricism. Mark Delavan (Wanderer) would occasionally be overwhelmed when we got to brass-heavy parts of the music, though perhaps this was only because my seat was right in front of that section. He did sing beautifully. Nina Stemme is a stunning Brünnhilde. At this point, it is hard to imagine anyone else in this role, as Stemme embodies the character so perfectly.

* Tattling * 
The audience had a hard time being quiet during the music that did not include singing, but because the performance was so engaging, the talking was easy enough to ignore. At least no electronic noise was heard, at least, not on the orchestra level where I was seated. The person next to me in Row L Seat 6 took photographs of the projects at the top of Act II until the woman in M 4 hissed at him to stop.

SF Opera's Die Walküre Cycle 3

* Notes * 
Cycle 3's Die Walküre (Act II, Scene 1 pictured left, photo by Cory Weaver) at San Francisco Opera was performed yesterday with Heidi Melton debuting the role of Sieglinde. Melton has a warmth to her voice, but also conveys the fragility of the character. She did sound a bit rough early on in Act I, Scene 3, but she recovered well. Her last notes of the opera, in Act III, Scene 1, were lovely.

Brandon Jovanovich's Siegmund was better than ever, sounding stronger and more legato. Mark Delavan (Wotan) sounded especially poignant in Act II, and his interaction with Elizabeth Bishop (Fricka) were profoundly human. Nina Stemme consistently is arresting as Brünnhilde. The orchestra, conducted by Donald Runnicles, is resplendent.

* Tattling * 
The house was full. A seeing-eye dog barked once in Act I. There was talking and laughing during the music, and the woman in P 8 of the Orchestra Level even finished a Facebook comment during the Act III Prelude. There was also lots of clapping over the music, first for the piggyback ride Wotan gave Brünnhilde in Act II, then for the entrance of the Walküren, and finally when the Walkürenritt ended.

SF Opera's Das Rheingold Cycle 3

* Notes *
The third and final Ring cycle of the season at San Francisco Opera started with Das Rheingold (Brandon Jovanovich, Elizabeth Bishop, Melissa Citro, and Gerd Grochoski in Scene 4 pictured left, photo by Cory Weaver) last Tuesday. Maestro Runnicles had the orchestra sounding noticeably cleaner this time around, especially the brass. The playing was gorgeous. The low strings and the harp were absolutely lovely. The balances were better, only the baritones were overwhelmed briefly when the orchestration was heavy. There were strong contributions all around, especially from Mark Delavan (Wotan), Elizabeth Bishop (Fricka), Andrea Silvestrelli (Fasolt), and Ronnita Miller (Erda). Štefan Margita's Loge was most impressive.

It was illuminating to sit so close to the stage this time around. One suspects that Francesca Zambello's directorial style is rather detail-oriented and very specific. The expressions and gestures used do create a sense of intimacy, but perhaps do not read that well from the back of the house.

* Tattling *
One could hear the squeaks of pulleys during the set changes. There was talking during these times as well. Electronic noise was at a minimum, but a watch alarm sounded at the beginning of the piece.

SF Opera's Götterdämmerung Cycle 2

* Notes * 
Cycle 2 of Der Ring des Nibelungen at San Francisco Opera concluded with Götterdämmerung (final scene of Act III pictured left, photo by Cory Weaver) today. The orchestra was in fine form under Donald Runnicles. The bass clarinet, harp, and trumpet sounded especially wonderful. The chorus did well, and the male chorus sounded more together in Act III.

It was less easy to discern which words Andrea Silvestrelli continued to impress as Hagen. Ian Storey's voice did not disappear this time as he sang Siegfried. He seemed flat at times, but he did sound warm. Nina Stemme was simply amazing as Brünnhilde. There were times when she might have been difficult to understand as far as the enunciation of her words, but the emotional import was never lost. The last scene was splendid, Stemme and orchestra sounded incredibly beautiful.

* Tattling * 
There were no seats left in the house, and standing room was crowded. Because of the Pride festivities, there were many late-comers, most of whom seemed very irritated that they could not take their seats during the 1 hour and 50 minutes of the Prologue and Act I. A watch alarm was noted during Act I. Snoring was also heard in both Acts I and II.

As part of my Rheinmaiden costume I carried a fishbowl with gold marbles in it. One of the ushers deliberated on whether I would be allowed into the standing room area in the balcony with the marbles, as I was told I might make noise with them, and I was told I had to be very careful. After entering the balcony I was immediately asked if the marbles were food by another usher. Ironically, the usher in the center aisle spoke a great deal, as she told people they could not take their seats (if they were late), return to their seats (if they went to the restroom), or stand in the aisle unless they were ushers (as they would be a fire hazard). Obviously she was just trying to do her job and follow the rules, but the amount of talking aloud was distracting.

SF Opera's Siegfried Cycle 2

* Notes * 
San Francisco Opera's second Ring cycle continued with Siegfried (Act II, Scene 3 pictured left, photo by Cory Weaver) on Friday. The orchestra played clearly. The sound of the off-stage horn in Act II, Scene 2 was clean and pleasant. The music for Siegfried passing through the magic fire at the end of Act III, Scene 2 was also played well. Jay Hunter Morris (Siegfried) sounded richer than in previous performances, though he does not have the baritonal darkness of a Heldentenor in his voice, he is pleasant to hear. He also made it all the way to the end of the performance without being in danger of losing his voice. Mark Delavan sang with a pretty warmth, though not a great deal of volume. He made an endearing substitution of "Schwarz" for "Licht" for his last answer in Act I, Scene 2. David Cangelosi was strong as Mime. Nina Stemme was again incredible as Brünnhilde.

* Tattling * 
The audience was exceptionally ill-behaved. A cellular phone rang many times when Mime was singing about Sieglinde in Act I, Scene 1. There was another mobile that rang during Act I, Scene 2. I was reading the score in the back on an iPad, and a late-comer asked me how much longer Act I would go, and scared me out of my skin. I responded that we had another scene to go, and asked her not to speak to me, as I was trying to listen to the music.

Some other late-comers to Act II dropped their personal effects on the bench I was sitting on, and the female half of the couple chose rest the upper half of her body on them, making a horrible crunching sound on some sort of plastic water bottle. Later in the act they talked extensively, right in front of where I was seated. In Act III the person next to me sang along for a bit of the prologue, but noticed the look I gave him, and was silent for the rest of the performance.

SF Opera's Die Walküre Cycle 2

* Notes * 
The second cycle of Der Ring des Nibelungen at San Francisco Opera continued Wednesday night with Die Walküre (Act I pictured left, photo by Cory Weaver). The orchestra sounded cleaner than last week. Donald Runnicles seems to be leading an understated, subtle rendering, which is rather beautiful. The strings played especially well, the violin soli were gorgeous. Mark Delavan's Wotan is vulnerable and human. He was especially hard to hear at the end, as he is rather far upstage, but he does have a lovely voice. Most impressive were Brandon Jovanovich as Siegmund and Nina Stemme as Brünnhilde. Jovanovich sounded bright and robust. Stemme produces a rich, full sound, and never yelled or screeched.

* Tattling * 
There were lots of people in the balcony for standing room. Most were quiet. Someone's hearing aid made a terrible sound in the first act. One of Hunding's dogs may have barked, or at least yelped. I was told that one of the projections did not work for the last scene in Act I, but did not witness this as I read the score during the performance.

SF Opera's Das Rheingold Cycle 2

* Notes *
The Ring at San Francisco Opera began anew with Das Rheingold (Štefan Margita and Mark Delavan in Scene 2 pictured left, photo by Cory Weaver) on Tuesday. Everyone sounded more comfortable and relaxed. There were fewer issues with moving the sets, though there were still audible thumps and bangs as things were put into place. The orchestra, under Maestro Runnicles, made fewer errors in playing, which was very lovely. Mark Delavan was stronger as Wotan this week, especially in the last scene. However, Štefan Margita (Loge) stole the show yet again, sounding smooth and brilliant.

* Tattling *
The prompter could not be heard this time around. There were many people on the Balcony Level for standing room. I observed the apparently requisite talking from latecomers as I read the score whilst sitting on the floor.

SF Opera's Götterdämmerung Cycle 1

* Notes * 
Cycle 1 of Der Ring des Nibelungen at San Francisco Opera concluded with Götterdämmerung (final scene of Act II pictured left, photo by Cory Weaver) yesterday evening. Francesca Zambello's production went more smoothly than at the prima earlier this month. The final scene had more impact, and Brünnhilde's torch did not go out before she lit the funeral pyre. Hagen's exit to dispose of Gunther's corpse in Act III read better from the orchestra level, but it was still unclear why he simply turns upstage and waits motionless whilst Brünnhilde and Gutrune interact just before this. There were a lot of laughs for the beginning of Act II, as Hagen watches television on the lowered scrim. There were also giggles for the Rheinmaidens, they sort recycling at the top of Act III, and this mundane task is apparently very amusing. Perhaps these gags were entertaining, but the audience response interrupted the music.

Jan Hartley's projections could be pretty. The clouds, flames, and birch forest all were attractive enough. At other times, the layered images did not look like anything at all, as it was difficult to pull apart what exactly was being shown. The motion of the projections could be clunky. The set changes were quiet, but the plastic trash bags used at both the beginning and end of Act III were not. Michael Yeargan's sets looked modern and sleek, and Mark McCullough's lighting design showed them to their best advantage. The costumes, by Catherine Zuber, were consistent and pushed the narrative forward. Gutrune's wardrobe was elegant, and the colors were used artfully. Brünnhilde's awkward gown revealed her lack of comfort in the world of the Gibichungs.

The playing under Maestro Donald Runnicles was expressive and vibrant. Though some of the brass was shaky in Act I, the playing improved, and Act III was very moving. The clarinet and bass clarinet were particularly good, as were the strings. The chorus also was wonderful to hear, even though the male chorus was not exactly together in Act III. The Rheintöchter (Stacey Tappan, Lauren McNeese, and Renée Tatum) were charming, but the Norns (Ronnita Miller, Daveda Karanas, and Heidi Melton) were even more impressive. Karanas' scene as Waltraute was vivid both vocally and dramatically. Gordon Hawkins (Alberich) sounded hearty. Melissa Citro (Gutrune) was squeaky, but one had no trouble hearing her.

Gerd Grochowski's diction as Gunther was clear, his voice also has good volume. It was less easy to discern which words Andrea Silvestrelli was singing as Hagen, but his rich, deep voice is seems to have no bottom. Ian Storey (Siegfried) sounded warm but a bit flat in both the Prologue and Act I, and his voice completely gave out in Act II. San Francisco Opera's General Director came out to beg our indulgence before Act III. Storey was treated during the second intermission and agreed to sing up until the end. Nina Stemme (Brünnhilde) also had trouble in the Prologue, screaming her last note. Nonetheless, the rest of the performance went better for her, and the Immolation Scene was otherworldly.

* Tattling * 
The audience in the orchestra spoke a little bit, but there was a lot of electronic noise. A watch alarm beeped 20 times and someone's mobile phone rang. Snoring was also noted.

Zambello was reportedly booed from the balcony.

SF Opera's Siegfried Cycle 1

* Notes * 
San Francisco Opera's current Ring cycle continued with Siegfried (Act III, Scene 3 pictured left, photo by Cory Weaver) last night. The production, from Francesca Zambello, portrays the title character as an artless, troubled youth in an urban fairytale. The comedy of the work is clear, but other aspects of the production are baffling. The Waldvogel as a girl rather than a bird is an interesting idea, however this conceit ultimately weakens the final scene. When Siegfried sees Brünnhilde for the first time, he has already seen the rather dainty Waldvogel, so his surprise at seeing a woman seems unwarranted. Another muddle was evident after Siegfried drags Mime's body over to the dead Fafner. As Siegfried sings he pours gasoline on the corpses and threatens to light them on fire. The nice Waldvogel vehemently gestures to him that this is unacceptable. This makes little sense since Siegfried can understand her singing as speech, why wouldn't she just vocalize her disapproval? The very end of Act II was moving, having Siegfried run off and then return to take one last look at the only parent he has known made this hero seem less callous.

The changes in staging have been positive. The Wanderer no longer enters from the raised catwalk above where the Waldvogel spends most of her time later. This lends more drama to the Waldvogel's entrance, and Mark Delavan was easier to hear when he did not have to worry about being suspended above the stage. The scene with the Wanderer and Erda is markedly less violent, which distracts less from the music.

Whether from the orchestra or the balcony, Jan Hartley's projections set each scene, and yet were often a confused, overworked jumble. The layering of images only made for further visual disorder. In general, Mark McCullough's lighting design is restrained in comparison, but the green used in Act II was a bit tacky. Michael Yeargan's set added to the humor of Act I, Mime's trailer complete with Rheingold beer and trash strewn about was funny. The other settings may have not been as entertaining, but were servicable. The costumes, by Catherine Zuber, distinguish the characters. Siegfried's costume, a mid-length coat with scarf, looks awfully similiar to director Zambello's attire. It seems that Sieglinde's turquoise dress was transformed into said scarf, as the latter did not appear in Die Walküre.

The orchestra played smoothly under Runnicles. The woodwinds and harps sounded especially great. There were some errors, but it does seem petty to enumerate the specifics. The singers were less overwhelmed by the orchestra than two weeks ago at the prima, especially Jay Hunter Morris (Siegfried). Morris was more confident, and his voice sounded fuller, never on the verge of cracking. His high, sweet tenor is very pretty. Mark Delavan's Wanderer also sounded richer and more authoritative.

David Cangelosi continued to impress as Mime. His voice is attractive, has a pleasant, baritonal quality, but his high notes are still brilliant. Gordon Hawkins (Alberich) is vocally distinct enough from Delavan to contrast the Alberich and Wotan nicely. Daniel Sumegi (Fafner), Stacey Tappan (Waldvogel), and Ronnita Miller (Erda) gave performances consistent with their appearances at the opening. Nina Stemme continues to be one of strongest contributors to this Ring, her fresh voiced Brünnhilde is exceptional.

* Tattling * 
I attended in Orchestra level standing room, feeling I could get the full impact of the projections from here. There was some talking whenever the singing ceased, which was unfortunate given how some my favorite parts of the opera are precisely these moments. I even took a particular music critic's offer for his seat in Act III, just to escape a dreadful woman standing behind me. At least there was little electronic noise this time.

SF Opera's Die Walküre Cycle 1

* Notes * 
Cycle 1 of Der Ring des Nibelungen at San Francisco Opera continued last night with Die Walküre (Act III pictured left, photo by Cory Weaver). Francesca Zambello's production shows the human side of every character, both God and hero alike are shown as flawed yet accessible. The use of fire, dogs, and parachuting Valkyries came together to create a spectacle. The staging could get busy at times, and some of the motivation behind the entrances and exits of characters was not always clear. There was also strange moment of humor when the sword was revealed. Jan Hartley's projections help to tell the story in naive images, but they lack a certain elegance. The sets, from Michael Yeargan, range from Hunding's extremely detailed house to the clean bleakness of Brünnhilde's rock. Catherine Zuber's costumes reinforce the narrative, especially in the changes in wardrobe for the female leads. Sieglinde sheds layered dresses and Brünnhilde's tomboy vest transforms into a warrior woman's bodice.

The orchestra sounded utterly lovely, Donald Runnicles drove the tempi without losing control. The strings were transparent and shimmering. The harp, clarinet, bassoon, and flute had especially fine soli. There was some sourness in the Walhall motive in Act I, but the Völsungen and Siegfried motives were clear and beautiful. The final scene of the opera was superbly played.

As with last year, the Walküren included many current and former Adlers and Merolini: Maya Lahyani (Siegrune), Tamara Wapinsky (Helmwige), Sara Gartland (Gerhilde), Daveda Karanas (Waltraute), Melissa Citro (Ortlinde), and Renée Tatum (Grimgerde). Joined by Lauren McNeese (Rossweise) and Cybele Gouverneur (Schwertleite), they produced a great deal of sound and pulled off their choreography with aplomb.

Daniel Sumegi was a physically imposing Hunding, the somewhat husk-like quality of his voice is not a detriment to this character. Elizabeth Bishop made for a sympathetic Fricka, her voice is full. Mark Delavan may be difficult to hear at times, but his voice has a pleasant timbre and he articulates the words with conviction. Brandon Jovanovich had a promising role debut of Siegmund. His voice rang out with warmth. Anja Kampe's Sieglinde was moving. Her vibrato did not detract from the intensity or beauty of her voice. Nina Stemme continues to be a dazzling Brünnhilde.

* Tattling * 
The audience in standing room upstairs was, for the most part, silent. Some latecomers may have argued aloud with an usher about taking their seats. One of them turned off his cellular phone, which made a chime to indicate this. Another phone rang somewhere in the balcony during a quiet part of the music of Act I. The scene changes were not an issue for this opera, and the prompter was less audible.

SF Opera's Das Rheingold Cycle 1

* Notes *
Francesca Zambello's "American" Ring opened with Das Rheingold Tuesday night at San Francisco Opera. Many of the video projections (by Jan Hartley) had been changed. Instead of reminding one of screen-savers, they look more like scenes from a Lord of the Rings video game. The projections for the beginning were a vast improvement from the ones used in 2008, the images of clouds and water went better with the music. Michael Yeargan's attractive sets are elegant, but the transitions were are noisy and we could even hear instructions to cast or crew when the scenes were switched.

Catherine Zuber's costumes do a good job of differentiating characters when this is appropriate. Of course, the Rheinmaidens, Nibelungs, Gods, and Giants all have a distinct look. Within that, it was easy to tell Fasolt from Fafner, or Fricka from Freia, from simple differences in attire. As for the staging, there was a certain campy humor to it, Donner's part with the stage directions "Ein starker Blitz entfährt der Wolke; ein heftiger Donnerschlag folgt" (Scene 4 pictured above, photo by Cory Weaver) was especially absurd. Zambello clearly thought through many of the holes in the plot. Loge showed up at the end of Scene 1, so we see how his promise to the Rheinmaidens could have been made. An apple is left on the table, which Wotan grabs to sustain him for a trip to Nibelheim. Mime hangs around a bit after the other Nibelungs run back home in Scene 4, and he clearly runs off stage right, to the woods.

The orchestra sounded beautiful under Runnicles, the tempi were not lax, but not rushed either. The brass was in fine form, there were only a handful of small errors, most noticeably in the overture. The Rhinemaidens sounded as comely as they looked. Lauren McNeese (Wellgunde), Renee Tatum (Flosshilde), and Stacy Tappan (Woglinde) were playfully alluring in Scene 1 and doleful in Scene 4. Ronnita Miller was impressive as Erda, her rich contralto is gorgeous. David Cangelosi was the downtrodden, abused Mime, he whined and cried just as one would expect. Melissa Citro's acting as Freia was convincing, but she had a tendency to be shrill. Donner (Gerd Grochoski) and Froh (Brandon Jovanovich) were both sung drolly and added to the comedic aspects of the opera.

Andrea Silvestrelli sang Fasolt with warmth, and Daniel Sumegi made for a good foil as the more pragmatic Fafner. Gordon Hawkins (Alberich) was well matched with Mark Delavan (Wotan). Both have pretty voices that are not hefty, but are never harsh. Elizabeth Bishop made for a very human Fricka, clearly in love, and insecure in that love. Her voice is robust. Štefan Margita stood out as Loge, unctuous and mocking. His smooth, bright singing seemed flawless.

* Tattling *
The prompter was easily heard in Scene 2, and someone yelled "Hurry up" during the transition between Scenes 3 and 4.

The audience in orchestra standing room whispered a good deal, but only during the transitions. Someone without a place at the railing had a plastic bag that she kept moving around, creating an annoying amount of rustling. During the ovation, someone in the Orchestra Ring section booed Citro and Hawkins.

Götterdämmerung at SF Opera

* Notes * 
Today's premiere of Götterdämmerung (Act II pictured left, photo by Cory Weaver) at San Francisco Opera was arresting. Maestro Donald Runnicles had the orchestra sounding vivid and beautiful. There were bad notes and cloudiness here and there in the brass, but nonetheless it hardly mattered. The woodwinds were evocative, the strings shimmering. The balance of orchestra and singers was not always favorable to the latter. For the most part the singing was audible and it was a great pleasure to hear the chorus sing this music.

The cast was strong. The Rheintöchter (Stacey Tappan, Lauren McNeese, and Renée Tatum) sounded pretty and plaintive. The Norns (Ronnita Miller, Daveda Karanas, and Heidi Melton) were well matched yet completely distinct from one another. Karanas also sang Waltraute convincingly, her pleading with Brünnhilde was poignant. Gordon Hawkins was suitably haunting as Alberich. Melissa Citro was a piercing Gutrune, and she channeled hysteria appropriately in the last act. Citro's mincing steps and girlishness read clearly even at the back of the house.

Gerd Grochowski played the consummate Gunther, plainly conveying the cowardice of the character. Andrea Silvestrelli (Hagen) was nearly faultless. He was brilliantly evil, and the texture of his voice worked to his advantage. His rich sound does seem to have an endless depth to it. Ian Storey (Siegfried) has some fine heft and volume to his voice, but he did sound somewhat sour. His control is somewhat imperfect, and he cracked at least one note in Act II. This said, his death scene was captivating. However, the obvious star of the performance was Nina Stemme as Brünnhilde. Her voice is powerful without being strained, her low notes have strength and warmth, and her high notes ring out with clarity.

Francesca Zambello's production ran out of steam by the end. For one thing, the torch Brünnhilde used to set the funeral pyre alight went out before she made it all the way upstage where this to take place. It was also confusing as to why Hagen exited the stage only to return much later to deliver his last line and meet his deserved demise. Zambello did infuse some humor into the early scenes with the Gibichungs, and if nothing else, she engaged the audience. Again, the projections from Jan Hartley seemed stylistically incoherent, and the overlap of images only created more of a muddle. Unfortunately, the noise of the set changes and some of the staging could be distracting. On the other hand, Michael Yeargan's sets looked nice and simple, and the Gibichung Hall was particularly elegant.

* Tattling * 
The audience in the balcony had some restless members. There was some quiet talking, and someone's mobile phone chimed during the first scene with the Norns. Axel Feldheim and SF Mike were silent and attentive.

The orchestra and crew all took their ovation onstage along with the maestri, principal cast, chorus, and supers.