Lovely for the ears and the eyes—Mozart’s “Così Fan Tutte” is charming in all regards, at San Francisco Opera through July 1, 2013
It’s often said that Così fan tutte is Mozart’s opera score that comes closest to perfection and is Da Ponte’s most challenging libretto. In José Maria Condemi’s production, directed by John Cox and beautifully-designed by Robert Perdziola, San Francisco Opera has found a delightful winner in its summer line-up. The music and singing at last Tuesday’s performance were glorious and the entire cast is youthful and composed of singers just forging their careers….how exciting to experience this opera acted out by young people, as they and their fickle follies were the focus of Mozart’s story. Set in Belle Époque Monte Carlo in a luxury seaside hotel, with gorgeous sets, this co-production with Opéra Monte-Carlo premiered at SF Opera in 2005 and runs at War Memorial Opera House through July 1, 2013. This is the final opera in the Mozart/Da Ponte trilogy led by Nicola Luisotti following Le Nozzze di Figaro in 2010 and Don Giovanni in 2011.
This 1790 comedy of innocence and deception is a classic. Don Alfonso (bass Marco Vinco), the cynical and worldly friend of two strapping young military officers, Ferrando (tenor Francesco Demuro) and Guglielmo (bass-baritone Philippe Sly), talks them into betting on the virtue of their sweethearts. He contends that no woman is capable of fidelity and that if the two young men will do all he asks of them in 24 hours, he will prove it. The men agree and a fantastic chain of deceit, disguise and desire is set in motion. Their girlfriends, Fiordiligi (soprano Ellie Dehn ) and Dorabella (mezzo soprano, Christel Lötzsch), two sisters, are loyal beyond reproach…until their men leave. With Despina, the meddling chambermaid, stirring the pot, the women succumb to seduction..but… in the end, it all works itself out.
At last Tuesday’s performance, the clear stand-outs were Merola and Adler alumna, soprano Susannah Biller, as the maid Despina; Italian bass Marco Vinco as Don Alfonso and Canadian bass-baritone Philippe Sly as the idealistic Guglielmo. Not only was their singing exceptional, they had the necessary verve and charisma to carry off their satirical roles.
Susannah Biller’s bright-eyed Despina, the chambermaid who sees life and love for what they really are, was particularly comical as she consoled her mistresses and then coaxed them into betraying their fiancées. Her Act I aria, “In uomini, in soldati,” was pointed and humorous and followed by a dazzling “Una donna a quindici anni,” in Act II. Biller literally glows on stage and managed to grab the limelight through the entire performance. In fall 2013, Biller will create the role of Selena St. George in the Company’s world-premiere presentation of Tobias Picker’s Delores Clairborne.
Marco Vinco, as Don Alfonso, the driving character in the opera, was most delightful when singing with Biller (Despina), especially when he initially enlisted her in his scheme and slipped her a bribe and explained that his two rich friends needed consoling. The two were in perfect sync, and while he doesn’t have any major arias, Vinco’s natural charisma and gestures made his every move noteworthy. Vinco made his SF Opera and U.S. debut as the wild;y entertaining Leoporello in 2011’s Don Giovanni.
First year Adler Fellow, the French-Canadian lyric baritone, Philippe Sly, proved on Tuesday that he has it all—he’s a tall hunk with curly blond hair who happens to be a natural at acting. His voice is as sweet and distinct as it is powerful. I was sitting in Orchestra Row H and even at this close distance, I noticed that as soon as he sang, the ladies round me raised their opera glasses to inspect the goods.
Soprano Ellie Dehn, as Fiordiligi, and German mezzo soprano, Christel Lötzsch, in her U.S. operatic debut as Dorabella, were a bit stiff in their acting but warmed as the evening progressed. Since a lot of the joy in this opera involves watching the transformations the various characters undergo, the ability to act is as essential as the singing. Ellie Dehn’s lyrical Act II “Per Pietá” (“Have Pity”) had a wonderful resonance in the low notes. Lötzsch’s Act II aria, “È amore un ladroncello” (“Love is a little thief”) was her best of the evening. Tenor Francesco Demuro was delightful as Ferrando but couldn’t hold a candle next to the more polished Philippe Sly.
As the two men left, and the ladies and Don Alfonso bid them farewell (Act I); their trio, “Soave sia il vento,” one of most moving songs in all of music, did not disappoint. Suffused with the beauty of the orchestra, their voices melded in rapture. “On your voyage, may the winds be gentle; may the waves be calm; may all the elements respond to your desires…” If he’d done little else in his career than write this three-minute song, Mozart would have been famous…but, for him, it represented just one song in his 600+ works that are accounted for.
The special recitative accompaniment— Luisotti on fortepiano, Giuseppe Finzi on harpsichord, Thalia Moore on cello, and baroque specialist Michael Leopold on theorbo—with a custom sound for each set of characters, courtesy of Luisotti, was quite creative and energetic. From Row H, I was actually able to see a lot of the finger work entailed in playing these instruments which made it all the more exciting.
Perdziola’s costumes for Fiordiligi and Dorabella were inspired by the costumes of the Ballets Russes as well as by designer Paul Poiret and other WWI-era illustrators. Executed in pastel shades, some with loads of non-flattering pleats and bold vertical stripes, we can be thankful that era is over.
The gorgeous sets, superbly lit by Christopher Maravich, were more effective. From the opening scene in the casino of the luxury hotel, to the panoramic seaside with its candy-cane colored striped umbrellas and coastal town in the background, to the sister’s lavish hotel suite with its lovely Klimt-like paintings adorning the walls, the colors and details (a vase of giant red oriental poppies in the girl’s suite) were magical. In one scene, when the two men, disguised as Albanians, rowed up the center of the stage on a boat and right into the hotel, the crowd gasped with delight.
Details: Così Fan Tutte runs through July 1, 2013 at War Memorial Opera House. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco. One of the last Beaux-Arts structures built in the United States, the Opera House seats 3,146, with 200 standing room places. Every performance features supertitles (English translations) projected above the stage, visible from every seat.
Remaining Performances: The 4 remaining performances of Così Fan Tutte are June 21 (8 p.m.); June 26 (7:30 p.m.); July 1 (7:30 p.m.) Nicola Luisotti conducts all performances. Tickets: $22 to $340 at the Box Office, 301 Van Ness Ave., San Francisco, by phone at (415) 864-3330 or purchase online. Standing Room tickets go on sale at 10 a.m. on the day of each performance; $10 each, cash only.
Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—there is frequently a 15 to 30 minute back-up on Highway 101 South from Sausalito onwards due to congestion around the toll-plaza. Arrive early at your parking garage of choice because those also fill up on weekends. Recommended Garages: Two garages are very close to War Memorial Opera House— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)
Jun Kaneko’s Delightful “Magic Flute”–a digital turning point–at San Francisco Opera through July 8, 2012
San Francisco Opera’s Summer Season closes its opera performances with its magical and revolutionary new production of Mozart’s The Magic Flute featuring 3,000 tempura and chalk paintings by legendary ceramic artist and painter, Jun Kaneko. Good bye traditional sets! We’re entering a brand new era–the entire stage contains projection panels and is in constant motion and the effect is utterly impressive. Kaneko’s fabulous costumes add to the experience. This time, the music takes a back seat to the visual.
The Magic Flute is at War Memorial Opera House, 301 Van Ness Ave., San Francisco. Performances are at 8 p.m. on June 16, June 19, June 29 and July 6; 7:30 p.m. June 21 and 27; 2 p.m. June 24 and July 8, 2012. Tickets are $21 to $288 Information: (415) 864-3330, www.sfopera.com
Opera review: Cinnabar Theatre’s “Don Giovanni,” a new production that is sure to ignite your passions, through April 15, 2012
When Cinnabar Theatre cast baritone Anders Froehlich for the title role in their new production of Mozart’s Don Giovanni, the classic retelling of the Don Juan legend, they were half way home. Not only can Froelich sing, but he has the physique of a lean and muscled Romeo. And, he so convincingly plays the part of Mozart’s suave, seductive, and morally reprehensible aristocrat, that it’s pure pleasure to sit back and experience being seduced by him. Add to that baritone Eugene Walden’s remarkable performance as Leporello, Giovanni’s faithful but grumbling sidekick, and this production soars. Truth be told, the entire cast is superb, the music is glorious and the production is so creative that it represents the opera’s tremendous dramatic possibilities as well a small theatre company at it best.
One of the most amazing aspects of this 225 year-old opera is that it is so filled with fabulous ambiguities, that almost every production emphasizes something different. Cinnabar’s production, staged by Elly Lichtenstein, gives us a Don Giovanni whose beguiling and complex personality is matched by the equally complex women he encounters. After the opening night performance, I found myself ruminating on these women—what they represented in their time and what they bring to the table in the here and now. There’s the unhinged young Donna Anna (soprano Kelly Britt), who has, in the very least, been ravished by Don Giovanni and is mourning the death of her father, who was murdered trying to defend her honor. Normally, she’s depicted as icy cold and hell-bent on retaliation. Here, we also see her warmth and humanity. There’s matronly Donna Elvira (mezzo soprano Eileen Morris) who has been jilted by Giovanni and she too seeks revenge and but, beneath the hurt, she still loves him and can’t free herself of her co-dependent obsession. When she tries to protect young Zerlina from Giovanni’s reckless ways, we see a preservation instinct that we wish she’d exercise on herself. There’s the young peasant girl Zerlina (soprano Emma McNairy), who loves Masetto but is also taken in by the suave Giovanni’s proclamations and the high life he represents. She wants both men and, for a moment, deludes herself into thinking that this can work. And then there is the chorus of women, voluptuous nymphs in all shapes and sizes, writhing in full sensual abandon with each other and with Don Giovanni. The opera’s rich comic and tragic elements are driven by all these interactions and Lichtenstein has really made Giovanni’s journey—to eternal damnation—one riveting ride.
23 year-old soprano Emma McNairy was delightful as Zerlina. Winner of the San Francisco Conservatory’s 2011 Voice Concerto Competition, McNairy’s expressive voice shows incredible range and she has a commanding stage presence. And did she snap into character! She played Zerlina as sweet and crafty, bringing a refreshing and realistic complexity to the role. Her pairing with William O’Neill as Masetto, her hunky intended, produced some of the opera’s most fiery moments, another example of the sizzling chemistry that makes this production pop.
Soprano Kelly Britt as Donna Anna was striking—her distinctive voice was smooth, powerful, and evocative. From the moment she appeared, she displayed a whirlwind of emotional extremes that made the impact of Donna Anna’s rape, or ravishing, by Don Giovanni and the sudden death of her father seem very real. The twenty-three year-old has that extra something coursing through her that produces a riveting sound, not yet honed to perfection but on its way, and that’s very exciting to experience.
First to appear and last to utter a solo, baritone Eugene Walden was a thoroughly engaging Leporello. One of the opera’s most humorous moments occurred during his lighthearted “Catalog Aria,” (Madamina, il catalogo è questo) (Act I, Scene v). As the beleaguered Leporello sings the amazing tally of his boss’s conquests to Donna Elvira, he pulls out a seemingly endless accordion book, chock full of women’s faces and descriptive notes, and flings it towards Donna Elvira. This gesture so captivates and infuriates her that she engages in a tug of war with him over the book. This is just one of Elly Lichtenstein’s clever and amusing touches whose effect is priceless. Another of these magical moments occurs with the famous balcony serenade at the beginning of Act II. Just behind the singer and through a widow, we see a very seductive striptease occurring between two voluptuous women in silhouette—the scene is gorgeously back lit and has all the resonant flair of a fan dance. As the women almost get it on, you can feel the heat rising in the audience. The sensuality is carried through to the famous banquet scene, done wine country style, with Giovanni dining on plump grapes and scantily-clad women. In the opera’s final chilling scene, the powerfully built John Minágro, who makes a very commanding Commendatore, now turned singing statue, comes to swoop Don Giovanni to his just desserts—hell. Froelich’s Don Giovanni’s is so intoxicating that, even on his way to hell, he still gets to us.
One of the pleasures of the hearing Mozart’s dramatic music played in the intimate 99 seat setting that Cinnabar offers is that every musician stands out. Conductor Mary Chun and the orchestra of 10 did a valiant job, offering an elegant and cohesive blending with the voices on stages, but at times the sound seemed understated. I had never heard the opera sung in English before, which is the only opera experience that Cinnabar Theatre provides, keeping with founder Martin Klebe’s wish to make opera accessible to all audiences. The main advantage is an immediate understanding of the story, which means it’s very easy to take it all in and you’re not scrambling with translation. If you know the opera in Italian, its beloved arias such as There, we will entwine our hands (Là ci darem la mano), (Act I, between Zerlina and Giovanni) are made all the more enjoyable by singing them in Italian in your mind and checking your Italian against the English as you go.
Music by W.A. Mozart, Libretto by Lorenzo da Ponte, Sung in English (da Ponte’s full translation/libretto translation of Don Giovanni is available free online here.)
Mary Chun artistic director/conductor; Elly Lichtenstein, Stage Director
The Cast, in order of appearance:
Leporello— servant to Don Giovanni, Eugene Walden
Don Giovanni—Anders Froehlich
Donna Anna—Kelly Britt
The Commendatore, Anna’s father—John Minágro
Don Ottavio, Anna’s fiancé—Mark Kratz
Donna Elvira—Eileen Morris
Zerlina— Emma McNairy
Masetto, Zerlina’s fiancé— William O’Neill
Sandrina, Leporello’s love—Arden Kwan
Paul Gilger, set design; Wayne Hovey lighting design, Tracy Hinman Sigrist, costume design, Barton Smith, choreography
Underwritten by Frank and Mary Lou Schomer and The A to Z Concert series.
Details: Cinnabar Theatre is located at 3333 Petaluma Blvd. North (at Skillman Lane), Petaluma, CA, 94952. Tickets online: $35 General, $32 Seniors 65 & Over, $25 Age 22 & Under. Tickets also be purchased before the performance but pre-purchase of tickets is highly recommended as the theatre is small. Early arrival is also recommended as there is no assigned seating. For more information, call 707-763-8920 or visit http://www.cinnabartheater.org
Run time is 2 hours and 20 minutes, with one intermission.
There are 5 remaining performances: Wednesday April 4, 2012, at 7:30 p.m., Saturday, April 7, 2012, at 8 p.m. Friday, April 13, 2012, at 8 p.m., Saturday, April 14, 2012, at 8 p.m. and Sunday, April 15, 2012, at 2 p.m.
For the past year, the beloved opera superstar Frederica von Stade, a long-time Bay Area resident affectionately known as “Flicka,” has been making farewell appearances and the great opera houses and concert halls worldwide, whose stages she has graced for the past 40 years have been paying tribute, one by one. Now, it’s the Bay Area’s turn. On Saturday, December 3, 2011, San Francisco Opera, San Francisco Performances, Cal Performances, Philharmonia Baroque Orchestra and the San Francisco Conservatory of Music will join in an unprecedented team effort to celebrate the illustrious life and career of our treasured mezzo, arts advocate, and musical celebrity.
Eight extraordinary artists and friends of von Stade─and some as of yet unannounced surprise guests─ will lead the special one night only musical tribute, joined by von Stade and accompanied by Jake Heggie, John Churchwell and Bryndon Hassman: Sir Thomas Allen, baritone; Susannah Biller, soprano; Zheng Cao, mezzo-soprano; Joyce DiDonato, mezzo-soprano; Susan Graham, mezzo-soprano; Dame Kiri Te Kanawa, soprano; Samuel Ramey, bass; and Richard Stilwell, baritone.
The concert will feature highlights from von Stade’s expansive performance and recording career, including arias from Mozart’s Le Nozze di Figaro, Strauss’s Der Rosenkavalier, Rossini’s La Cenerentola and Monteverdi’s Il Ritorno d’Ulisse in Patria; songs by Ravel, Mahler, Poulenc and Berlioz; selections from American musical theater; and contemporary songs by Jake Heggie. The evening will also feature personal tributes and recollections of working with Ms. von Stade.
An intimate gala reception with the artists in the lobby of the War Memorial Opera House will follow the performance, with proceeds supporting University of California Berkeley’s Young Musicians Program and the St. Martin de Porres Catholic School in Oakland.
What’s it like to work with Flicka? Rauli Garcia, who is the CFO of HGO (Houston Grand Opera) made his stage debut as a supernumerary in Dead Man Walking earlier this year and his account “What a rush!”was posted on the HGO (Houston Grand Opera) blog on January 31, 2011.
Recognized as one of the most beloved musical figures of our time, mezzo-soprano Frederica von Stade began at the very top, receiving a contract from Sir Rudolf Bing during the Metropolitan Opera auditions and since her debut has enriched classical music for over four decades with appearances in opera, concert and recital. The first aria in her career was Thomas’s “Connais-tu le pays”. Von Stade has sung nearly all the great roles with the Met and in 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow. She made her 1971 San Francisco Opera debut as Sextus (La Clemenza di Tito) with Spring Opera Theater and her main stage debut in 1972 as Cherubino (Le Nozze di Figaro), and has appeared with San Francisco Opera in more than a dozen roles, including Mélisande (Pelléas et Mélisande), Octavian (Der Rosenkavalier), Rosina (Il Barbiere di Siviglia), Countess Geschwitz (Lulu) and the title roles of La Sonnambula, La Cenerentola, and The Merry Widow. She created two roles in world premiere productions by San Francisco Opera: Marquise de Merteuil in Conrad Susa’s The Dangerous Liaisons and Mrs. Patrick de Rocher in Jake Heggie’s Dead Man Walking; she also created the role of Madeline Mitchell in Jake Heggie’s chamber opera Three Decembers, presented in its West Coast premiere by San Francisco Opera and Cal Performances in 2008.
Known as a bel canto specialist, von Stade is also beloved in the French repertoire, including the title role of Offenbach’s La Périchole. She is also a favorite interpreter of the great “trouser” roles, from Strauss’s Composer (Ariadne auf Naxos) and Octavian to Mozart’s Sextus, Idamante (Idomeneo), and Cherubino. Von Stade’s artistry has inspired the revival of neglected works such as Massenet’s Chérubin, Ambroise Thomas’s Mignon, Rameau’s Dardanus, and Monteverdi’s Il Ritorno d’Ulisse in Patria, and she has garnered critical and popular acclaim in her vast French orchestral repertoire, including Ravel’s Shéhérazade, Berlioz’s Les Nuits d’Été and Canteloube’s Les Chants d’Auvergne. She is well known to audiences around the world through her numerous featured appearances on television including several PBS specials and “Live from Lincoln Center” telecasts.
Miss von Stade has made over seventy recordings with every major label, including complete operas, aria albums, symphonic works, solo recital programs, and popular crossover albums. Her recordings have garnered six Grammy nominations, two Grand Prix du Disc awards, the Deutsche Schallplattenpreis, Italy’s Premio della Critica Discografica, and “Best of the Year” citations by Stereo Review and Opera News. She has enjoyed the distinction of holding simultaneously the first and second places on national sales charts for Angel/EMI’s Show Boat and Telarc’s The Sound of Music.
Von Stade was appointed as an officer of France’s L’Ordre des Arts et des Lettres in 1998, France’s highest honor in the Arts, and in 1983 she was honored with an award given at the White House by President Reagan. She holds five honorary doctorates from Yale University, Boston University, the San Francisco Conservatory of Music (which holds a Frederica von Stade Distinguished Chair in Voice), the Georgetown University School of Medicine, and her alma mater, the Mannes School of Music.
Details: Celebrating Frederica von Stade, Saturday, December 3, 2011, at 7:30 p.m., Herbst Theatre, 401 Van Ness Avenue, San Francisco, CA 94102. Tickets for the concert are $50, $75 and $100. Tickets for the gala reception, which includes premium seating for the concert, are $500. Tickets for the concert and gala reception are available at http://www.sfopera.com or the San Francisco Opera Box Office at 301 Van Ness Avenue, or by phone at (415) 864-3330.
Review: San Francisco Opera’s new “Don Giovanni” lacks that vital spark, runs through November 10, 2011
Of all Mozart’s operas, Don Giovanni, holds a special place. A fusion of tragic and comic impulses based on the legendary scoundrel Don Juan and set to breathtakingly gorgeous music, it never fails to entertain. A new production of this masterpiece opened at San Francisco Opera last Saturday (October 15, 2011) and while enjoyable enough, it failed to ignite the passions. Inconsistent singing and unconvincing acting were the main culprits. The production is hinged on the all important title role filled by baritone Lucas Meachem, a former Adler Fellow, with a rich and glorious voice who has delivered several stunning performances at SF Opera. He was vocally adequate but lacked the commanding presence─charisma, swagger and roguishness ─ to be utterly beguiling and magnetizing, which is essential to the rake’s part. His chemistry with the ladies─Ellie Dehn as Donna Anna, Serena Farnocchia as Donna Elvira and Kate Lindsey as Zerlina─was plain flat, both when he was required to be sexy or violent. He played Don straight, as a cold-hearted jerk, and wore aviator-style sunglasses throughout the performance and a stylish dark leather coat which gave the impression that, while he had wealth and power, he was basically a rich coward in hiding.
Music director Nicola Luisotti, by contrast, was the life of the party, bursting with energy and passion and thoroughly engaged with his orchestra at all times. As magnetizing as he was to watch though, he was not able to elicit the nuanced performance he pulled from his orchestra in Turandot, which opened SF Opera’s fall season. At times on Saturday, the orchestra outpaced the singers. For those who have been watching Maestro Nicola Luisottiwork his magic since he joined SF Opera as its music director in 2009, the choice of three Italians, who all have their U.S. debuts─director Gabriele Lavia, set designer Alessandro Camera, and costume designer Andrea Viotti─ seems evidence of his broadening influence at San Francisco Opera. Despite his reputation in Italy as an acclaimed film
director, Mr. Lavia’s production was not a particularly imaginative or fluid take on this musical masterpiece. He placed the story in traditional period setting and there it decidedly sat with Don Giovanni as a brute. Andrea Viotti’s lush period costumes were executed in restrained hues with the exception of Don Giovanni, who wore a long leather coat and sunglasses.
Most striking was Alessandro Cameo’s minimalistic set design. As the opera opened, 22 large (6’ wide x 16’ tall) dark mirrors in ornate gilded frames descended dramatically onto a stage that was virtually empty stage, save for a few scattered Louis XV style chairs. Coming fresh from Richard Serra’s drawing retrospectiveat SFMOMA, I was struck by how powerfully and elegantly geometric forms can define space. As these mirrors descended, shifted, and settled in at different heights, they impacted the viewer’s sense of
mass and gravity, ushering in a dark and ominous presence, and making for an experience that was as visceral as it was visual. (Click here to read about how these special polycarbonate mirrors were constructed backstage at SF Opera). The program notes indicate that Lavia’s symbolic take on the mirrors–reflecting on the essence of man and witnessing his many sides. That said, the initial brilliance of this grand entrance of the mirrors wore thin when it was repeated in the same fashion a few more times in subsequent acts. Aside from the mirrors, the stage remained quite empty, save for tombstones and mist in the cemetery scene and an elegantly set dinner table in the final scene where Don Giovanni’s feast is interrupted by the Commendatore who ushers his descent to Hell.
Stand-outs: Italian bass Marco Vinco, making his United States debut as Leporello, Don Gioivanni’s discontented servant, who is actually on stage more than any other singer, delivered a thoroughly convincing, endearing and humorous performance. Bass Morris Robinson, also making his SF Opera debut was exceptional in the role of the Commendatore. Mezzo-soprano Kate Lindsay, also debuting at SF Opera, as Zerlina, the young girl who catches Don Giovanni’s eye at her wedding party to Masetto, sang lyrically in her duet “Là ci darem la mano” “There we will be hand in hand “) but will be remembered for the way she suggestively spread her legs on stage.
The epilogue was cut in this Luisotti-selected mix of Vienna and Prague versions of the opera. All told, it is Mozart’s music that shines most in this production.
Performance Dates: Sung in Italian with English supertitles, there are seven remaining performances scheduled for October 21 (8 p.m.), October 23 (2 p.m.), October 26 (7:30 p.m.), October 29 (8 p.m.), November 2 (7:30 p.m.), November 5 (2 p.m.) and November 10 (7:30 p.m.), 2011.
Bruce Lamont Lectures: All performances will feature an informative Opera Talk by educator and chorus director, Bruce Lamott. Talks begin 55 minutes before each performance in the orchestra section of the War Memorial Opera House and are free of charge to patrons with tickets for the corresponding performance.
Details: Tickets are priced from $21 to $330 and may be purchased at www.sfopera.com or through the San Francisco Opera Box Office [301 Van Ness Avenue (at Grove Street), or by phone at (415) 864-3330]. Standing Room tickets go on sale at 10 a.m. on the day of each performance; tickets are $10 each, cash only.
The War Memorial Opera House is located at 301 Van Ness Avenue at Grove Street, San Francisco. Casting, programs, schedules, and ticket prices are subject to change. For further information: www.sfopera.com.