The Opera Tattler

SF Opera's Manon Lescaut

* Notes *
A very loud revival of Manon Lescaut opened at San Francisco Opera last night. All the singing was strong, and the orchestra sounded exuberant under the baton of former San Francisco Music Director Nicola Luisotti.

My main memory of this production way back in 2006 is of Karita Mattila in the title role doing the splits in a very blue room. Soprano Lianna Haroutounian (pictured in Act II, photograph by Cory Weaver) is a more convincing Manon, her lack of splits notwithstanding. Her voice is passionate, she has a tendency to be sharp, but it isn't much of an issue unless she's singing a duet.

Tenor Brian Jagde (pictured in Act III, photograph by Cory Weaver) is a dashing Chevalier des Grieux, his powerful voice can always be heard over the very bold and propulsive sound of the orchestra. Baritone Anthony Clark Evans as Lescaut was a touch quiet in Act I, overwhelmed by both orchestra and chorus, but was certainly audible in the rest of the opera, while bass-baritone Philip Skinner is a vivid villain as Geronte de Revoir. The latter's sturdy voice and fine acting won him boos during the final ovation.

The production, designed by Frank Philipp Schlössmann and directed by Olivier Tambosi is attractive. This team also created recent productions of The Makropulos Case, Falstaff, and Jenůfa, which is abundantly clear in the lighting, colors (lots of blue and grey), and especially the rocky wasteland scene at the end. This last scene requires a long pause to set up, and the super-title admonition demanded we stay in our seats for the scene change. Much of the audience pulled out mobile phones, unable to wait the few minutes between acts. I did appreciate that the curtain was down for the intermezzo before Act III, it was lovely to be able to really concentrate on the orchestra without any distractions.

* Tattling *
After hearing this opera three times now, I must admit I still do not like it. I think it might have to do with the source material, I just do not like Manon, her frivolousness and faltering nature doesn't appeal to me somehow. Perhaps I will try again with the score and focus on the music. Tellingly, I woke up this morning with Engelbert Humperdinck's Hansel and Gretel still in my head, as I had watched a DVD of it with my son yesterday afternoon in preparation for the performance we are attending at San Francisco Opera next weekend.

The audience was sparse, I arrived a little bit before 7pm and got the thirteenth standing room ticket, and could have easily sat in a seat in the balcony. Because of this, there was very little to note as far as bad behavior.

SF Opera's Madama Butterfly

* Notes *
San Francisco Opera ends 2016 with yet another run of Madama Butterfly after only two years, but with a very fine soprano in the title role that makes it worth the time to hear again.

I am not a big fan of Puccini or of this opera with its Orientalist theme, however, Lianna Haroutounian (Cio-Cio-San) had me right away. She is completely emotionally engaged and her brilliant, flexible voice is never seems strained or constricted. The support of the orchestra, which was a little fast in Act I under Yves Abel, was wonderful in Act II.

The rest of the cast is likewise strong, as has been the case all season. Tenor Vincenzo Costanzo's US debut as Pinkerton was notable, his voice is plaintive, with much vibrato at the top, but not at all unpleasant. His duet with Butterfly at the end of Act I seemed quite heartfelt and lovely. In his San Francisco Opera debut, Anthony Clark Evans was a warm Sharpless.

Zanda Švēde (Suzuki) was not her usual self, as she was ill, but she did fairly well and certainly hit all her marks as far as acting is concerned. Julius Ahn was an unctuous Goro whose sliminess reads with perfect clarity even from the very back of the house. Raymond Aceto made for a convincing Bonze.

The revival production (Act I pictured above, photograph by Cory Weaver), designed by Jun Kaneko and directed by Leslie Swackhamer, has much appeal in its spiraling circular stage filled with concentric circles and off center round platform. The set forces a certain kind of movement to navigate, which is more apparent from above, and keeps the staging from ever feeling static.

This is helped also by the many screens raised and lowered for moving projections and by the four stagehands dressed in black (kurogo). The scenes keep moving without having to stop the drama or music.

* Tattling *
A group of six sat near me in Row L Seats 118 to 128, and they chattered a lot when Haroutounian was not singing. I was able to ignore them, especially since I kept crying during Act II.

SF Opera's Tosca

* Notes * 
Another revival of Tosca (Brian Jagde as Cavaradossi and Mark Delavan as Scarpia in Act III pictured left, photograph by Cory Weaver) opened last night at San Francisco Opera. Lianna Haroutounian had a fine debut on the War Memorial stage as Floria Tosca. She clearly has an emotional connection to the role and this was palpable even from the very back of the house. Her singing is passionate and her voice has strength yet can be sweet. Cavaradossi suits Brian Jagde, and his gleaming voice was a good match for Haroutounian. On the other hand, Mark Delavan seemed somewhat shaky, especially at first. His Scarpia is certainly gritty and cruel.

The rest of the cast was quite good. Dale Travis is always funny as the Sacristan and Joel Sorensen mincing yet threatening as Spoletta. Adlers Efraín Solís (Sciarrone) and Hadleigh Adams (Jailer) also sang well.

Riccardo Frizza conducted a rapid orchestra that had a lovely transparency of sound. The clarinets and bassoons were particularly wonderful in Act II. The harp sounded clear throughout the performance, as did the strings.

The opera house seemed full and the audience was enthused. This time-honored production, directed by Jose Maria Condemi, is a crowd-pleaser.

* Tattling * 
The audience was mostly quiet, but there was a man in the back of the balcony who had to make sure the people around him knew to pay attention to "Vissi d'arte" and "E lucevan le stelle."