Meet Richard Savino, whose baroque instruments add period splendor to Handel’s “Orlando,” at SF Opera through June 27
Grammy-nominated guitarist/lutenist Richard Savino who makes a special appearance with the SFO Orchestra for Handel’s Orlando at SFO. Photo: Geneva Anderson
When Handel’s baroque opera Orlando, opened June 9 at San Francisco Opera, guitarist and lutenist Richard Savino was the most sought after musician in the pit. The grammy-nominated musician, making a special appearance with SF Opera, is one of the world’s foremost early music instrumentalists. His playing was magnetic and stood out, even among the rich arias in this must-see production. Savino spent much of the intermissions fielding questions from fascinated attendees about his theorbo and baroque guitar. The theorbo is a guitar-like instrument with a very long neck—as long as six feet—with two sets of strings— a longer set tuned with pegs at the top of the fret board (for the deeper range) and a shorter set tuned by pegs on the sides of the fret board (for the higher range). Savino also doubles in certain parts of the opera on baroque guitar. His buoyant playing stands out in most parts of Orlando but is heard most clearly in the recitatives—the dialogue that moves the story forward. Once you recognize his sound, it’s easy to find. There is a lot of improvisation for Savino as Handel didn’t orchestrate Orlando but provided just the chord changes. The musicians of the continuo ensemble—Christopher Moulds (conductor/ harpsichord), Ronny Michael Greenberg (harpsichord), David Kadarach (cello)—work together and improvise much like a jazz rhythm section, deciding together how the music will be voiced. In person, Savino’s personality is just as energetic and engaging as his playing and his passions run wide. He has given important works that haven’t been performed in centuries their premiere recordings and has developed a fascinating sideline, providing musical accompaniment to art works held in the world’s most elite collections and putting together programs on early artists and period music. Savino was eager to talk about his music, Orlando and his numerous projects:
How did you come to early music and why? Your bio indicates you dabbled in rock and roll and then jazz fusion first which strikes me as unusual path.
Richard Savino: For me, it was all very logical. I love the Beatles and listened to them all the time. At their core, they were rock and roll as well as pop musicians, but they were also very influenced by all epochs of classical music, including baroque music. One reason for this is because George Martin, their producer, was a classically trained composer. They used the harpsichord on a number of their songs and many others fall within the classical/romantic cannon. In particular, they had a real fascination with music from the baroque era and contemporary music of the ’60s. Listen to Penny Lane, a Tin Pan Alley kind of pop song that has a piccolo trumpet solo. This is because Paul McCartney heard a piccolo trumpet player play Bach’s second Brandenburg concerto. Then, listen to A Day in the Life, with its incredible orchestration. Both songs are magnificent.
I also played rock when I was in high school and I always sang too. I won a high school vocal competition in a school of 4,000 students. A couple of years before me, the person who won that same competition was Pat Benatar. I was always in choirs, so I knew the Bach cantatas, Handel, so forth. When I went to the State University at Stony Brook, I began to have a strong interest in classical guitar, and I was lucky enough to have a wonderful teachers, in particular Jerry Willard, Oscar Ghiglia, my dear friend/colleague Eliot Fisk, and harpsichordist Albert Fuller who would have a huge impact on my life. Interestingly, every classical guitarist studies early music because the canon for our repertoire is so rich. I was also one of the last group of students to study with Andres Segovia. Unlike most other instruments, guitarists are required to study early music from the 16th and 17th centuries. The weirdest part is that I went from being a rock and roll guy to studying classical guitar to playing the theorbo and baroque guitar. I love the Spanish canon that Segovia brought to our consciousness.
Most early music specialists tend to focus on the baroque and early renaissance periods but you are also very engaged with the classical music of the 19th century and play instruments from that period as well. What accounts for your unusually broad scope?
Richard Savino: One could say it’s a lot of ADD. I love playing music from all epochs and the guitar flourished during the 19th century. It has quite an extensive solo and chamber repertoire. The 19th century guitar is very different from the classical guitar. It’s much smaller, more intimate and is the perfect bridge between the guitars of the 18th century and the modern classical guitars; it’s a transitional instrument. I just love playing it. Early in my career, I went out of my way to specialize in late 18th and early 19th century chamber music. And while I love playing solo pieces, I also realized that the world can only sustain a certain number of solo classical guitarists and I am too much a social an animal. I really enjoyed playing with other musicians, so I went down that path which led me directly into playing basso continuo and other plucked stringed instruments like the theorbo and baroque guitar, which I play in Orlando at SF Opera. But I still love playing the 6 string guitar and my first recordings were for the Harmonia Mundi label and featured the complete Boccherini Guitar Quintets, which no one had ever recorded before on instruments from the epoch. A couple of my other recordings that I’m really proud of are the romantic miniatures titled Bardenklänge by Johann Kaspar Mertz, and my recording of Mauro Giuliani’s Op. 30 Concerto, which, I believe, is the only one of its kind that is performed on period instruments with NO cuts.
Can you give an example of a moment in SF Opera’s production of Orlando that you have come to love through experiencing it performed?
Richard Savino: I can’t actually watch because I’m playing but, during rehearsals, I was constantly standing up to try and see what was going on because I knew it was a contemporary adaptation set in WWII. In a musical context, I have been very moved by the Act 1 duo between Anjelica and Medoro, “Ritornava al suo bel viso” and Orlando’s “Fammi combattere” at the beginning of the opera, and Orlando’s Act 3 aria, “Gia l’ebro mio ciglio,” which is so beautiful with the two violas that have this gorgeous full cadenza at the end of it.
Handel is a remarkable genius and I’ve played many of his operas with Glimmerglass Opera, Opera Colorado, San Diego Opera, San Francisco Opera, and Santa Fe. He is the great chameleon of all composers. When he lived in Italy, he wrote like an Italian; when he lived in England, he composed like a Brit; and when he lived in Germany, he composed like a high German composer. What is amazing is his ability to set music to different languages. For example, when he was in Rome, he went to Naples and was asked to write a piece for one of the Spanish viceroys and it’s his only piece that I know of that is in Spanish. I happened to record it a few years ago with my period ensemble group, El Mundo, on the album The Kingdoms of Castille (2012) which was nominated for a Grammy. Handel just how to absorb the style, the native musical, as well as spoken language.
What is the continuo and what is its function in a baroque opera such as Orlando. How do you work??
Richard Savino: It came about at the turn of the 17th century and was meant to be a quasi-improvised manner of performing that would respond to the way the singers would sing a particular piece. It was the consequence of the meetings of the Florentine Camarata, a group of humanists that included Giulio Caccini, Vincenzo Galilei and Jacobo Peri, who got together to emulate Greek oratory and music. They hypothesized about how it must have entailed spontaneity and improvisation between poets, singers and how it would be accompanied by a lyre. That was the birth of monody, the initial basis of opera. Much of these early operas by Monteverdi, Caccini, Peri and Cesti consist of collections of these little monodies which consist of a bassline and harmony that supports a singer, much like the way the rhythm section functions in a jazz combo. Today, when I’m playing with the continuo, I’m looking at a bassline, and am enhancing that. The idea is to reflect the affection of the text and to create some sort of dialogue with the singer and reflect their interpretation of what’s going on and that’s a gas.
Richard Savino with his theorbo in the orchestra pit at War Memorial Opera House. The theorbo was an important instrument through the Renaissance and baroque eras. The last historical compositions written with the theorbo in mind appeared about 1750. Savino plays a modern copy. His theorbo has a very long neck and two sets of strings which are plucked—a longer set tuned with pegs at the top of the fret board (for the deeper range), and a shorter set tuned by pegs on the sides of the fret board (for the higher range). Photo: Geneva Anderson
What is so special about the theorbo and the sound it produces?
Richard Savino: First there’s understanding why the theorbo is different–it’s shaped like a lute, with a larger bowl size, no flat back, and it’s single strung, so you can pluck it harder because when you have double strings you can’t pluck very hard because they will rattle against each other. Usually, it has 14 strings and quite long strings. The longer the string length, the lower the pitch. The instrument has a very odd tuning in which the highest pitch string is the third string from the top and has a very strong middle and bass register with quite a few extended base strings which I pluck with my right hand thumb. Those pop out like a cannon. Just the other day, someone told me the other day that I was quite audible (a big compliment to a lute player) but I have always focused on projection. I play loudly and you have to project to fill a really big hall. The theorbo provides the bass fundamental and, sometimes, I’ll play the bassline or just part of the bassline with some chords.
What is tricky about playing both the theorbo and baroque guitar in Orlando?
Richard Savino: In this production, I’m playing just about everything—almost every recit and aria; there are just a couple that I don’t play. In the second half, my hand just begs for a break. Handel’s orchestra would have had two of me, so someone could take over. Here, it is constant because the recitative moves so fast. Some are conducive to the instrument; some would be conducive to the archlute, which looks like a theorbo but is tuned differently and is more conductive to flat keys. The theorbo is more conducive to keys that are in the sharp side of our harmonic language. I’m covering both players in one. Playing continuo really keeps your brain sharp and focused. You have to keep track of the tunings of the different instruments when you switch instruments and change your fingerings accordingly. On one instrument, one fingering will produce the A chord and on another it’s the G chord and so on.
What is the difference between an original and a copy of a baroque instrument like the theorbo or guitar and what do you play?
Richard Savino: I play very accurate copies in Orlando and, as far as we can ascertain, it’s the same sound. These are very delicate instruments and most that have survived from the 17th century suffered from some degree of neglect and damage. I have a couple of very early guitars in my collection but nothing earlier than 1800. I play copies of instruments that would have been built in the late 17th century and would have been part of a player’s arsenal. I know private collectors who own some of these originals and I can say that very good copies do sound very close to the originals in their present state. But every instrument in and of itself sounds a bit different.
In Orlando, Richard Savino plays a modern copy of a baroque guitar. Photo: Geneva Anderson
The main difference between the guitar and lute and the way they were played is that the guitar, in its baroque incarnation, was strummed and provided expressive rhythm, dance melodies and dramatic battle scenes. In SFO’s Orlando, Savino strums as well as plucks his guitar. Photo: Geneva Anderson
Orlando marks Christopher Moulds’ (SF Opera conductor/ harpsichord) debut with SF Opera. What does he bring to the production?
Richard Savino: What I love about him is that he is an expert on period instruments, very well-educated and an intense worker who is demanding but never insulting. I’d never worked with him before, but I got to know him a little before the production by exchanging emails. He was very open and conversant, whereas a good number of conductors can be very removed. He knows how to talk with and work with the orchestra. A lot of period instrument conductors will talk down to the orchestra which isn’t fair really because, nowadays, orchestras tend to specialize predominantly in romantic and more contemporary repertoire. That means a lot of the musicians haven’t touched this music in a very long time. Chris was really good at communicating his ideas.
Vermeer’s “Young Woman Seated at a Virginal,” (1670-72), owned by the Leiden Collection, has so far been lent to the Pushkin, the Hermitage and Louvre Abu Dhabi. For the descriptive video on the Leiden Collection’s website, Savino selected a sonata by Giovanni Legrenzi performed by his ensemble group, El Mundo on strings, harpsichord and lute. The music’s mood echoes the sobriety of the painting. Image: courtesy, The Leiden Collection
I’m interested in all your art and music projects—there’s something magical in bringing together different art forms. Tell me about your collaboration with Thomas S. Kaplan, the billionaire metals investor and founder of the Leiden Collection. I understand that these artworks are being lent all over the world and the music from this same period, that matches them so well, is getting exposure. What a beautiful project!
Richard Savino: The Leiden Collection is fabulous; it’s the largest collection of privately owned 17th century Dutch paintings in the world—Rembrandt, Vermeer, Jan Steen, Gerrit Dou. It was founded in 2003 by Thomas S. Kaplan, an art collector from New York, and his wife Daphne Recanti Kaplan. He was putting together an online catalogue to accompany the part of his collection that tours and asked me to do the soundtracks which accompany his video discussions of each of the paintings. I did 25 of these, some of which I recorded in the middle of the night in my bedroom and some were taken from tracks that I had recorded previously. These can be seen and heard on the Leiden Collection in their video section.
Collector Thomas S. Kaplan acquired Rembrandt’s “Bust of a Bearded Old Man” (1633) in 2008 and calls it “the jewel in the crown” of The Leiden Collection. Rembrandt’s smallest known painting, about the size of a baseball card, and the only privately-owned grisaille by the artist in private hands. Savino plays an early 18th century prelude by Giovanni Zamboni on the archlute which accompanies a video of the artwork as it is unpacked from its crate and held in Kaplan’s hands for the first time. Photo: courtesy The Leiden Collection
How did you go about creating the music for each of these paintings? Did you have free rein?
Richard Savino: First of all, when I was called and they described it, I thought it was an eight to nine month long project. But surprise! They wanted it in a month, so I had to do it very very fast. I had just had some minor surgery and didn’t even know if I could hold an instrument, much less meet the deadline. It was a difficult project too. They wanted music that was epoch appropriate, no later than the early 18th century, preferably late 17th century, luckily repertoire that I had recorded. I also needed to record some new material so I set up a studio in my practice room at home and, right after the surgery, I started. They sent me the script, basic mock-ups and I’d get an idea of the kind of piece I wanted. It was important that the music conformed to the subject matter and the painting itself and, then, I had to match it to the cadence of the speech and be appropriate for the camera and scene cuts/shifts that were part of the video. It was very challenging. I remember being up at 3 a.m. in my studio, recording, and then editing and matching it to the video.
You’ve also done projects on Francisco Goya and Artemisia Gentileschi.
Richard Savino: I’ve done quite a few of these. In fact, I’m doing a Goya program here in San Francisco next May as part of the Humanities West series, Artistic Responses to Napoleon: Beethoven, Goya and Goethe (May 1-2, 2020). I’ve prepared a multi-media program, Music in the Time of Goya, with music from Soler, Courselle, Boccherini and Sor that will be performed by my chamber ensemble El Mundo. Works by Goya will be projected throughout the concert. The program was created for the Aston Magna Festival and Milano Classica.
Humanities West actually came about from a project back East, the Aston Magna Academy of Music, whose founder was Albert Fuller, one of my mentors. It turned me on to this whole idea of interdisciplinary perspectives and putting music into a sociopolitical context which addressed literature, art, architecture and sociopolitical trends. I attended as a participant in the 1980’s and 1990’s and was later asked to be a guest artistic director and have done that on several occasions. Right now, I am preparing a program on Rubens with music from Holland, Italy, England, and Spain by Caccini, Frescobaldi, Marin, Arañes, and others for Aston Magna’s summer music festival this July. My project on the Art and Life of the painter Artemisia Gentileschi received its debut at Aston Magna which then developed into the 2015 cd, What Artemisia Heard; Music from the Time of Caravaggio & Gentileschi.
Savino wondered why the music of Artemisia Gentileschi’s time was not as widely appreciated as the visual arts of the era. He decided to integrate the painting of Artemisia and her contemporaries directly with the music these painters would have heard at the time from composers Uccellini, Kapsberger, Ferrari, Frescobaldi, Mazzocchi, Gagliano, Caccini, Piccinini, Castello, Monteverdi, Corbetta, Falconieri, Rossi, Giramo, and Lanier. This evolved into a 2015 cd performed by Savino’s period instrument ensemble, El Mundo, along with distinguished soloists. Photo: courtesy Sono Luminous.
How did you go about selecting the pieces for the cd and evoking Artemesia’s struggle to lead her life as an independent woman?
Richard Savino: Artemisia Gentileschi, who was born in Rome in 1593, was one of the most impressive persons in the history of western civilization; she also was one of the most talented. She suffered great pain surrounding her rape by Tassi and the trial that found him guilty, but there were moments of beauty and intimacy too. She was friends with a number of composers, and was very close to the very talented Francesca Caccini, who was at the Medici Court and composed the first published opera by a woman. For the cd, I matched the music to the different cultural environments Artemisia found herself in after the trial. She traveled widely and lived as a completely independent person, which is remarkable for a 17th century woman.
“DOMINICUS PEREGRINUS Bononiaensis,” engraving, signed “Fontana F,” (17.7 cm x 24.6 cm). The cover to Domenico Pellegrini Bolognese’s 1650 book of guitar music. Of note are the long fingernails.
Has art provided you with any interesting insights about music centuries ago? Like the how musicians held their instruments or their nail length?
Richard Savino: Absolutely, but you have to be careful with that as, sometimes, it’s an affected gesture and they are posing with their instruments rather than holding it the way they would play it. With the nails, there’s this whole thing in the period instrument world about whether the “pluckers” played with nails. I’ve seen numerous paintings by both anonymous and well known artists that do actually depict players with long nails. An important work is the cover engraving to Domenico Pellegrini’s book of guitar music that was published in 1650. It shows him with his right hand extended with long fingernails. In addition to guitar, we know that he also played lute with the ensemble based at San Petronio, the major cathedral in Bologna. We also know about these kinds of performance “practices” from the tutorials themselves. I’ve learned that it was dependent on country and climate. In Italy, they used fingernails because they played outdoors in cathedrals and they had to be louder, same with Spain. In France and England, where it rained a lot, they played indoors and it was a much more intimate space and they played without for the most part. With nails, you can project more, which some find less refined, more aggressive and in your face.
You mentioned that you studied with Segovia? What was that like? A memorable moment?
Richard Savino: I played at the Metropolitan Museum for him and he actually yanked the guitar out of my hand and said ‘You should never play this piece again.’ Because this was filmed by PBS and shown on CBS Sunday morning, it gave me a degree of notoriety. At that stage of my life, all publicity, was good publicity. To be fair, it was a piece he didn’t like and it was also my attitude—that I even thought of playing it for him—that he found so irritating. But it was like meeting Buddha. I was in front of this larger than life figure. I also studied with him at the Conservatoire du Musique in Geneva, and was lucky enough to have a few private lessons with him in New York
Before we began our formal interview, you alluded to a new musical discovery you’d made…is this a historical find, something that will likely be recorded?
Richard Savino: It consists of a collection of cantatas by some of the most important early 18th century Spanish composers. I will edit the music and record it as an El Mundo project. I’m a very good sleuth. I uncovered these personally in a collection in Spain where they should not have been located. I had heard a rumor about some wonderful other pieces and, while trying to track those down in an archive, these literally fell out of a book and are a gold mine.
Details: Orlando has two remaining performances at War Memorial Opera House: June 21 and 27, 2019, both at 7:30 p.m. Run time is 3 hours and 20 min. Tickets: www.sfopera.com, by phone at (415) 864-3330, or in person at the San Francisco Opera Box Office, 301 Van Ness Ave.
Richard Savino’s ensemble group, El Mundo, will perform a program of 18th century music from Latin America with the San Francisco Girl’s Chorus in October 2019.
Stars in the Making…San Francisco Opera’s Adler Fellows perform “Dramatic Voices, Charming Soubrettes,” at SRJC’s Newman Auditorium this Sunday, March 9
Lively, eloquent, and intensely determined, this year’s twelve Adler Fellows are literally the most talented young opera singers in the country and many will go on to become opera legends. This Sunday, at 4PM, five Adlers will perform an intimate program of beloved opera arias, classical and cabaret songs at Santa Rosa Junior College’s Newman Auditorium as part of the college’s Chamber Series. Performers are sopranos Maria Valdes and Erin Johnson; mezzo soprano Zanda Švēde, baritone Eugene Brancoveanu (former Adler 2005-6) and pianist Noah Lindquist. (Full program listed at end of article.) Normally, seeing the Adlers perform entails a lot more work—crossing the bridge and parking—but SRJC has brought these young singers right to our doorstep.
Former Adler, tenor Thomas Glenn (wrapped in blanket) and current Adler, soprano, Maria Valdes, prepare for their performance in Donizetti’s comedic opera, “Rita,” with the New Century Chamber Orchestra (NCCO). Music Director Nadja Salerno-Sonnenberg watches from behind the ironing board. The Adler residency offers many performance opportunities. Photo: Geneva Anderson
In February, I had the pleasure of seeing two Adlers who will perform Sunday— Maria Valdes and Eugene Brancoveanu. They were involved in a rare performance of Gaetano Donizetti’s one act comedic opera, “Rita,” with dynamo Nadja Salerno-Sonnenberg and her New Century Chamber Orchestra (NCCO). The venue was San Rafael’s intimate Oscher Marin Jewish Community Center where the audience sits at candlelit tables drinking wine and snacking while the performance unfolds just a few feet from them. Soprano Maria Valdes was fabulous in the title role of Rita, a tyrannical and abusive wife who is tormented by two husbands. She sang like an angel, juggling conversation, song, drama and comedy. We had ample opportunity to experience her tremendous vocal reserve along with her ability to calibrate it to the setting, sustaining high notes without ever coming off as shrill or too forceful…a true star in the making. The production was impressively staged and directed by former Adler, Eugene Brancoveanu, who also tweaked the script, adding spoken dialogue in English. His modern set was minimal and included an ironing board and some clever space saving props. Brancoveanu, born in Romania, has an unforgettable baritone and has sung at the Met, La Scala, San Francisco and Berkeley Operas as well for Opera Parallèle. I heard him sing Sam last April in Opera Parallèle’s wonderful production of Leonard Bernstein’s “Trouble in Tahiti, a role which tested his range and acting ability. He was on top of every note, emotionally searing and impossible to take your eyes off…what stage presence Oh, he’s also been mentioned several times in the blog Barihunks, enough said. You’re in for a treat on Sunday.
It’s rewarding to see young artists perform early in their careers and to track them as they move on to the world’s leadings opera houses and concert halls. Renowned sopranos and former Adlers, Deborah Voight (1986) Leah Crocetto (2009), are shining examples. Both are coming soon to Green Music Center’s Weill Hall—Crocetto is in recital on March 9 and Voight on April 10 (Click here for details).
More About the Adler Fellow Program: The Adler Fellows all go through a grueling national competition to enter the ranks of the Merola Opera Program, a prestigious summer resident artist training program in San Francisco sponsored by San Francisco Opera and San Francisco Opera Center. A select few perform so well that they are invited to continue their training in the elite two-year Adler Fellow residency program. Named for the late great San Francisco Opera General Director Kurt Herbert Adler, the Adler Fellowship Program is the Princeton of performance-oriented residencies, offering exceptional young artists intensive individual training, coaching, professional seminars and a wide range of performance opportunities throughout their fellowship. Adler fellows frequently appear in SFO productions.
2014 Adler Fellows are sopranos Erin Johnson, (Washington, New Jersey), Jacqueline Piccolino (Chicago, Illinois), and Maria Valdes (Atlanta, Georgia); mezzo-soprano Zanda Švēde (Valmiera, Latvia); tenors A.J. Glueckert (Portland, Oregon), Pene Pati (Mangere, Auckland, New Zealand), and Chuanyue Wang (Hei Long Jiang, China); baritones Hadleigh Adams (Palmerston, New Zealand), and Efraín Solís (Santa Ana, California); bass-baritone Philippe Sly (Ottawa, Ontario). Johnson, Piccolino, Glueckert, Wang, Adams, and Sly are returning as Adler Fellows. The two pianists selected for Apprentice coach Fellowships are Noah Lindquist (Brooklyn, New York) and returning Adler, Sun Ha Yoon (Seoul, South Korea).
Other Upcoming Adler Fellow Performances: Select Adler Fellows will perform Schwabacher Debut Recitals on March 30 at 2:30 PM and April 27 at 5:30 PM. Individual tickets are $25. Youth tickets are $15 for students with a valid ID or youth, 16 years old or younger, who is accompanied by an adult. Order tickets online or call the SF Opera Box Office at (415) 864-3330. The season culminates with a special year-end concert featuring the singers in an evening of opera scenes and arias with the San Francisco Opera Orchestra. This year’s concert, The Future Is Now: Adler Fellows Gala Concert, showcasing the acclaimed 2014 Adler Fellows, takes place in November, 2104, at Herbst Theatre in San Francisco.
SRJC Chamber Concert Series Details: An acclaimed annual series of six concerts featuring a musicians performing in an intimate environment, exactly how chamber music is intended to be heard. After this Sunday’s Adler Fellows performance, there is one remaining concert in the 2013-14 series, Afiara String Quartet on Friday, April 25, at 7:30 PM at Newman Auditorium, Emeritus Hall, Santa Rosa Junior College. Tickets are $25 adult/$15 youth. Parking is included for all performances. Individual tickets are $25. Youth tickets are $15 for students with a valid ID or youth, 16 years old or younger, who is accompanied by an adult. Order tickets by Phone: (415) 392-4400. City Box Office Hours—M-F: 9:30 AM to 5:00 PM or Sat: 12 noon to 4:00 PM. Order on the Web at www.cityboxoffice.com . Parking is included in the price of the performance.
Details: “Dramatic Voices, Charming Soubrettes” is Sunday, March 9, 4 PM, at Newman Auditorium, Emeritus Hall, Santa Rosa Junior College, 1501 Mendocino Ave, Santa Rosa. Individual tickets are $25. Youth tickets are $15 for students with a valid ID or youth, 16 years old or younger, who is accompanied by an adult. Order tickets by Phone: (415) 392-4400. City Box Office Hours—M-F: 9:30 AM to 5:00 PM or Sat: 12 noon to 4:00 PM. Order on the Web at www.cityboxoffice.com . Parking is included in the price of the performance.
PROGRAM: “Dramatic Voices, Charming Soubrettes” SRJC Chamber Series
Songs of Travel – Vaughan Williams
The Vagabond Mr. Brancoveanu
The Roadside Fire Youth and Love
In Dreams
The Infinite Shining Heavens
Cinq mélodies “de Venise” – Fauré
Mandoline Miss Švēde
En sourdine Green
À Clymène C’est l’extase
from Floresta do Amazonas – Villa-Lobos
Canção de amor Miss Valdes
Cair da tarde Melodia sentimental
from Cabaret Songs – Bolcom
Toothbrush time Miss Johnson
Can’t sleep
At the last lousy moments of love Love in the 30’s
Waitin’ Amor
INTERMISSION
The Marriage of Figaro – Mozart
Crudel, perchè finora Miss Valdes, Mr. Brancoveanu
Rodelinda – Handel
Io t’abbraccio Miss Johnson, Miss Švēde
Manon – Massenet
Je suis encore tout étourdie Miss Valdes
Falstaff – Verdi
È sogno, o realtà? Mr. Brancoveanu
Le vespri siciliani – Verdi
Mercé dilette amiche Miss Johnson
Sapho – Gounod
O ma lyre immortelle Miss Švēde
The Merry Widow – Lehár
Vilja Miss Valdes, tutti
Philharmonia Baroque Orchestra and Chorale perform Handel’s “Messiah” at the Green Music Center Sunday, December 9, 2012
Japanese conductor Masaaki Suzuki leads the Philharmonia Baroque Orchestra and Chorale in Handel’s “Messiah,” at the Green Music Center on Sunday, December 9, 2012. Photo: courtesy PBO
Handel’s beloved Messiah premiered in Dublin in 1742 and combines Old and New Testament texts concerning prophecies of a Messiah, or savior. One of the most loved of all musical c ompositions, it is synonymous with the holiday season. Guest conductor Masaaki Suzuki—director of Bach Collegium Japan, and a formidable Handelian joins the Bay Area’s incomparable Philharmonia Baroque Orchestra and Chorale, and soloists from Yale University’s Institute of Sacred Music for a joyous performance of this extraordinary 18th-century masterpiece on Sunday, December 9, 2012, 3 PM at the Green Music Center’s (GMC) Weill Hall. If you haven’t yet visited the acoustically stellar GMC, tis the season!
There is nothing in music more unstoppably beautiful than a Handel aria moving in slow, regal splendor. It is like a godly machine, crushing all ugliness and plainness in its path. (Alex Ross, New Yorker, May 8, 2006)
Guest conductor, Masaaki Suzuki. Suziki, a renowned interpreter of sacred music, will conduct PBO and Chorale for the first time on Sunday and he hand-picked the 4 vocal soloists, all recent graduates of his exclusive Schola Cantorum at Yale University. He combines his conducting career with his work as organist and harpsichordist and eminent teacher. Born in Kobe, he graduated from Tokyo University of Fine Arts and Music with a degree in composition and organ performance and went on to become a leading Bach scholar. “Suzuki is one of the world’s leading Bach conductors,” says Robert Cole, GMC’s programmer, who helped put Zellerbach Hall at UC Berkeley on the musical map, “I had him and his group at Zellerbach many times and he always made a lasting impression. In this hall, well, I can’t wait to hear it—it’s going to be great.”
Soloists alumni from Yale University’s Schola Cantorum
Sherezade Panthaki, soprano
Claire Kelm, soprano
Fabiana González, alto
Dann Coakwell, tenor
Dashon Burton, bass-baritone
Philharmonia Chorale, Bruce Lamott, director
Messiah Facts:
- A performance of Handel’s “Messiah” lasts about 2 1/2 hours. Amazingly, Handel composed the entire oratorio in only 24 days. It was begun on August 22, 1741. The first part was concluded August 28, the second, September 6, the third, September 12, and the instrumentation, on September 14. It is an illustration of Handel’s almost superhuman capacity for work, that at the age of fifty-six he wrote this masterpiece in 24 days.
- Until Wagner’s work in the 19th century, virtually all opera and oratorio texts were written by someone other than the composer. For “Messiah”, Handel set to music the text taken from the literal words of Scripture, and the libretto was arranged by Charles Jennens, who was not satisfied with the music. In a letter written at that time, he says: “I shall show you a collection I gave Handel, called ‘Messiah,’ which I value highly. He has made a fine entertainment of it, though not near so good as he might and ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition; but he retained his overture obstinately, in which there are some passages far unworthy of Handel, but much more unworthy of the ‘Messiah.'”
- “Messiah” is presented in three parts. Part I (the Christmas portion) starts with the prophecy and coming of Christ. Part II (the Easter portion) describes the passion and death of Christ. Part III promises eternal life for believers.
- “Messiah” is the exception to the definition of oratorio because it has no characters or even a plot but it is highly contemplative.
- No hoop skirts! No swords! : The first rehearsal took place on April 8, 1742 in the presence of “a most Grand, Polite, and Crowded Audience,” according to “Faulkner’s Journal.” The same paper, referring to the first public performance, which took place on Tuesday, April 13, 1742, says: “At the desire of several persons of distinction, the above performance is put off to Tuesday next. The doors will be opened at eleven, and the performance begins at twelve. Many ladies and gentlemen who are well-wishers to this noble and grand charity, for which this oratorio was composed, request it as a favor that the ladies who honor this performance with their presence would be pleased to come without hoops, as it would greatly increase the charity by making room for more company.” Gentlemen were also requested to come without their swords. “In this way,” it is said, “the stewards” were able to seat seven hundred persons in the room instead of six hundred.
More About Philharmonia Baroque Orchestra: Now, in its 31st season, San Francisco’s Philharmonia Baroque Orchestra has been dedicated to historically-informed performance of Baroque, Classical and early-Romantic music on original instruments since its inception in 1981. Under the direction of Music Director Nicholas McGegan for the past 26 years, Philharmonia Baroque has defined an approach to period style that sets the current standard. The group has been named Ensemble of the Year by Musical America, and “an ensemble for early music as fine as any in the world today” by Los Angeles Times critic Alan Rich.
PBO performs an annual subscription series in the San Francisco Bay Area, and is regularly heard on tour in the United States and internationally. The Orchestra has its own professional chorus, the Philharmonia Chorale, directed by Bruce Lamott, and regularly welcomes talented guest artists such as mezzo-soprano Susan Graham, countertenor David Daniels, conductor Jordi Savall, violinist Monica Huggett, recorder player Marion Verbruggen, and soprano Isabel Bayrakdarian.
PBO musicians are listed here, along with information about the period instruments they play. In some cases, the instruments are historical treasures dating from the baroque and classical eras. In other cases, the instruments have been produced by modern craftsmen working in the historical tradition.
PBO’s New Recording Label: PBO has made 32 highly-praised recordings on original instruments, including its Gramophone award-winning recording of Handel’s Susanna-for harmonia mundi. In 2011, PBO launched Philharmonia Baroque Productions, its own label and has 5 CD’s out, all of which will be for sale on Sunday at Weill Hall, along with their other older recordings.
The inagural CD for the label was the hauntingly beautiful “Lorraine Hunt Lieberson – Berlioz: Les Nuits d’été / Handel: Arias” featuring the great mezzo-soprano, Lorraine Hunt Lieberson. This was a newly released live recording from 1995 of Hunt singing the Berloiz cycle named after teh French translation of the title of Shakespeare’s “Midsummer Night Dream.” The Handel selections were recorded live in 1991. Hunt Lieberson was born in San Francisco, performed often in the Bay Area on her way up and never lost her Northern, CA identity. She died in 2006 of breast cancer and this is a particularly arresting recording which captures the essentially primal appeal of her distinctive voice.
PBO’s newest CD is Brahams Serenades, which I’ve played continually since receiving it and keep finding inspirational passages that delight me. Writing of the live performance from which the Brahms CD was made, which I did not have the pleasure of hearing, Joshua Kosman of the San Francisco Chronicle said, “Nothing affirmed the power of [the historically-informed] approach like the splendid performance of the Serenade… [McGegan] embraced every opportunity to give the music a musky physicality – especially in the outer movements, whose rhythmic force was arresting.”
PBO performs Beethoven, Symphony 9, 2nd movement (complete), Molto vivace:
Details: Philharmonia Baroque Orchestra performs Handel’s “Messiah” on Sunday, December 9, 2012 at 3 p.m. at Joan and Sanford I. Weill Hall, Green Music Center, Sonoma State University, Rohnert Park.
Tickets are $90 to $35 and can purchased online (click here) OR by phoning the Box Office at (866) 955-6040. Box Office hours: Monday–Thursday 8 a.m. to 4:40 p.m. and Friday 8 a.m. to 6 p.m. OR in person at the Green Music Center (same hours as above). The Box Office is also open 1 hour prior to all performances.
Parking for this Green Music Center performance is included in ticket price. Enter via Sonoma State University’s main campus entrance or its Rohnert Park Expressway entrance (closer to GMC). Park on campus in lots L,M,N and O. For more information, visit gmc.sonoma.edu or phone 1.866.955.6040.
Handel’s “Xerxes” at San Francisco Opera—a hit!
Susan Graham, left, as Xerxes, and David Daniels, as Arsamenes, in San Francisco Opera's production of Handel's "Xerxes,” through November 19, 2011. Photo: Cory Weaver SF Opera.
San Francisco Opera’s premiere of George Frideric Handel’s baroque masterpiece Xerxes is the high point of the company’s fall season to date─one of those rare opera moments where music, singing, acting, and staging all come together to create magic. Xerxes (Serse in the original Italian), dating to 1738, is an opera bursting with beautiful music and a positively twisted love plot. The opera is very loosely based on King Xerxes I of Persia, though there is next to nothing in the libretto or music that recalls that setting. If you haven’t seen a Baroque opera before, this production of Xerxes, which is the most light-hearted of all Handel’s operas, is delightful in all regards. Nicholas Hytner’s production, directed by Michael Walling, originates from English National Opera 1985 production and was last seen in 2010 at the Houston Grand Opera.
On opening day, Principal Guest Conductor/harpsichordist Patrick Summers, who last appeared at SF Opera in September conducting the world premiere of Heart of a Soldier, was exceptional as was the San Francisco Opera Orchestra. Summers played his harpsichord for some of the recitatives along with David Kadarauch, principal cellist. Xerxes is well-known for having been sung originally by a castrato and the role is now usually performed by a mezzo-soprano, contralto or countertenor. Mezzo soprano Susan Graham who specializes in castrati roles was a perfect “Xerxes. ” She was joined by countertenor David Daniels as “Arsamenes,” soprano Lisette Oropesa (Romilda), soprano Heidi Stober as “Atalanta,” contralto Sonia Prina as “Amastris,” Waynes Tigges as “Ariodates, and Michael Sumuel as “Elviro,” and they all put their own stamp on the arias and recitatives. Susan Graham, David Daniels, Heidi Stober and Sonia Prina sang these roles in Houston and were exceptional together again in San Francisco.
The opera began with a clever and humorous touch: at the starting overture, the characters ran out on stage, one by one, as a projected placard on the curtain behind them explained to the audience in a single sentence who they are and what their relationship in this love romp is. King Xerxes is chasing Romidle (his servant Artiodate’s daughter) but she loves Xerxes’ brother, Arsamene, who also loves her. Romilda’s sister, Atalanta, also wants Arasmene, in large part to have some of what her sister has. Amastre, is engaged to Xerxes but he has betrayed her and she returns disguised as man to spy on him. It’s romantic chaos, not to mention tests of sisterly and brotherly love and rank and loyalty as these characters plot, scheme, align with and betray each other, all hoping to end up with their true love. In the end, Arsamene and Romilda are wed and Xerxes’ love is unrequited love.
A scene from Act I of Nicholas Hytner's production of “Xerxes,” directed at SF Opera by Michael Walling. The sets and costumes for this production were designed by David Fielding and the opera is set in London’s elegant Vauxhall Pleasure Gardens, the center of fashionable London in the early 18th century. Photo: courtesy Cory Weaver, SF Opera.
The opera’s action has been transported from King Xerxes’ Persia, circa 475 B.C. to London’s Vauxhall Gardens, the center of fashionable London in the early 18th century, which was Handel’s time. David Fielding’s set is brilliant. Executed in tones of creme and green, it evokes both the historical period it is referencing and the sophisticated vibe of a Veranda magazine spread. It includes many artifacts and references to the Middle East─a region considered exotic, fascinating and dangerous in 18th century London. During this era, England was captivated by the Grand Tour and pleasure gardens like Vauxhall would have displayed all types of artifacts and botanical specimens too. In this set, you’ll see an enormous winged lion topiary recalling the sculptures of Persepolis and a fascinating model of a famous bridge designed for King Xerxes to span the Hellespont (or Dardanelles) which allowed Xerxes and his Persian army to cross from Asia to Europe and invade Greece in 480 B.C. What a surprise when the bridge collapses onstage, mirroring an obscure moment in ancient history that aficionados of historian Herodotus have all but memorized.
Musically, Xerxes is known nowadays mostly for its intoxicating aria “Ombra mai fu,” which is an ode in the form of a song to a tree that Xerxes loved. Whenever I hear this aria I envision the huge tree from Iranian artist Shirin Neshat’s 2002 video installation “Tooba” (the feminine Tree of Paradise cited in the Qur’an) instead of the puny ornamental potted stick tree in this staging. Despite the tree, the four minute aria was sung vibrantly by Graham but her voice did not project well due to her position on stage. Throughout the opera, Graham was in top form, particularly when paired in aria with counter-tenor David Daniels.
Lisette Oropesa (left) and Heidi Stober (right) play sisters Romilda and Atalanta and they both love Arasamenes (Xerxes’ brother). Arasamenes loves Romilda and Xerxes is also infatuated with her but he is engaged to Amastris. Photo: courtesy Cory Weaver, SF Opera.
American sopranos Heidi Stober as “Atalanta” and Lisette Oropesa, who makes her San Francisco Opera debut as “Romilda” were fabulous in both their comedic presence and their hilarious dueling recitative arias expressing their love for Arsamenes were a joy to listen to even in multiple iterations because of the richness of their coloraturas. Special mention goes to Michael Summel who charmed all in his debut as “Elviro,” Arsamentes’ lumbering servant who dons a dress and bonnet and poses as a flower seller.
Xerxes runs three hours and forty minutes, with two intermissions, but the time seems to fly.
Details: Xerxes is at the War Memorial Opera House, 301 Van Ness Ave., San Francisco. Tickets are $29 to $330. Information: www.sfopera.com. Click to purchase tickets on-line:
Wednesday, November 16, 7:00 pm
Saturday, November 19th, 7:30 pm
ARThound 