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Geneva Anderson digs into art

San Francisco Opera’s “Luisa Miller” closes with a stand-out performance from tenor Michael Fabiano

American tenor Michael Fabiano, recipient of the 2014 Richard Tucker Award and the 2014 Beverly Sills Artist Award, is Rodolfo in San Francisco Opera’s “Luisa Miller.” Photo: Cory Weaver, SFO

American tenor Michael Fabiano, recipient of the 2014 Richard Tucker Award and the 2014 Beverly Sills Artist Award, is Rodolfo in San Francisco Opera’s “Luisa Miller.” Photo: Cory Weaver, SFO

At San Francisco Opera’s (SFO) Sunday matinee performance of Verdi’s Luisa Miller, all eyes and ears were on tenor Michael Fabiano and rightly so─his Rodolfo was inspired, powerful.  The tall, dashing 30 year-old embodied the aristocrat loved by two women, the son who defies his father and the unwitting pawn in a political intrigue that leads to murder.  How trilling to behold a young singer nail a performance and to find yourself rising to your feet, whopping and whistling for him out of pure joy, knowing in your bones that you have just witnessed one of the great tenors in opera. Fabiano, 30, is the recipient of the 2014 Richard Tucker Award and the 2014 Beverly Sills Award, the first person in history to win both awards in one year.

Sharing the glory was young soprano Leah Crocetto, in the title role, alum of the Adler and Merola programs, who sang beautifully as well.  Actually it’s a match that’s been in the works for some time─ Crocetto and Fabiano sang Mimi and Rodolfo in SFO’s La Bohème in 2014 but never sang together as they were in separate casts.  Each garnered great reviews.  Fabiano went on to sing Rodolfo at the Metropolitan Opera House in December, garnering global attention there as well as at La Scala and the Glyndebourne Festival.  It was thus no surprise to see a few people in the audience on Sunday who had attended the gala season-opening performance and were back for a final dose of this rare, luscious singing.

Verdi’s “Luisa Miller” opened San Francisco Opera’s 2015-16 season. The opera pairs soprano Leah Crocetto and tenor Michael Fabiano as doomed lovers Luisa, a miller’s daughter, and Rodolfo, the son of the local count. Photo: Cory Weaver, SFO

Verdi’s “Luisa Miller” opened San Francisco Opera’s 2015-16 season. The opera pairs soprano Leah Crocetto and tenor Michael Fabiano as doomed lovers Luisa, a miller’s daughter, and Rodolfo, the son of the local count. Photo: Cory Weaver, SFO

The 1849 opera, Verdi’s 15th, is based on Schiller’s play “Kabale and Liebe.”  The plot is insanely unrealistic─Luisa Miller, a commoner, is in love with Carlo, who is really Rodolfo, the son of the local Count, Walter.  Luisa’s protective father distrusts Carlo and schemes behind her back to have her marry Wurm, who works for the Count.  When Wurm (whose name translates appropriately as “Worm”) tells the count that his son is in love with a commoner, the Count orders Rodolfo to marry the recently widowed duchess, Federica who is in the good graces of the Imperial Court.  The rest of the opera revolves around political intrigue, deception and heartbreak and culminates in multiple deaths─Wurm by gunshot and Rodolfo and Luisa by poisoning, just after the truth of their abiding love is revealed, but too late as the poison has been drunk.

Soprano Leah Crocetto sang beautifully, consistently hitting the notes this demanding role calls for while evoking the emotional roller coaster that innocent young Luisa is subject to.  She soared in her Act II, aria “Te puniscimi, O Signore” which was pulsing with feeling as she expressed being torn between her love for Rodolfo and her father.  And right after Fabiano brought down the house with his exquisite Act II aria, “Quando le Sere al Placido,” it was as if she too got a boost from the fumes and came out singing with renewed fire.

Soprano Leah Crocetto is Luisa in Verdi’s “Luisa Miller” at San Francisco Opera through September 27, 2015. Crocetto is a former Adler fellow and Merola alum. As the opera opens, it is Luisa's birthday and the villagers (San Francisco Opera chorus) have gathered to serenade her. The Francesca Zambello production, from 2000, features sets by Michael Yeargan with gorgeous huge paintings. Photo: Cory Weaver, SFO

Soprano Leah Crocetto is Luisa in Verdi’s “Luisa Miller” at San Francisco Opera through September 27, 2015. Crocetto is a former Adler fellow and Merola alum. As the opera opens, it is Luisa’s birthday and the villagers (San Francisco Opera chorus) have gathered to serenade her. The Francesca Zambello production, from 2000, features sets by Michael Yeargan with gorgeous huge paintings. Photo: Cory Weaver, SFO

Russian mezzo soprano Ekaterina Semenchuk has an intrinsically lush, full voice and her SF Opera debut as the widowed duchess, Federica, was enchanting.  It was particularly amusing when she made her entrance drawn in on an enormous horse statue replete with its clunky pedestal, as if it had been dragged there from a European park.  To dismount she had to be lifted down by another cast member. Her singing was nimble and spot-on, from her Act I aria, “Duchessa Duchessa tu m’appelli,” and duet, “Dall aule raggianti di vano,” with Rodolfo to her Act II recitatives.

Russian mezzo soprano Ekaterina Semenchuk makes her San Francisco Opera debut as Federica in Verdi's

Russian mezzo soprano Ekaterina Semenchuk makes her San Francisco Opera debut as Federica in Verdi’s “Luisa Miller.” Photo: Cory Weaver, SFO

Baritone Vitaliy Bilyy as Miller, who has also sung the role at Milan’s La Scala, made his SFO debut and was impressive.  Bass baritone Daniel Sumegi sang Count Walter and imbued him with an appropriately dark character.  The great irony of the opera is that the Count, who conspires to entrap Luisa and her father, ultimately ensnares his own beloved son.

Bass Andrea Silvestrelli sang wonderfully but could have imbued his bland Wurm with even more despicability.  Second year Adler Fellow, soprano Jacqueline Piccolino was impressive as the village girl Laura, whose Act I “Tidesta, Luisa” (sung with the chorus) immediately caught our attention. Her Act III “O Dolce Amica, E Ristorar Non Vuoi,” sung with Lusia and the chorus, again made an impression.

When SFO Music Director, Nicola Luisotti, comes to the podium, and it’s Verdi, one always has the sense that great things are in the pipeline.  It’s amazing how time flies too.  He made his SFO debut in 2005, conducting “La Forza del Destino,” and has been director since 2009.

He started the overture at a healthy clip, as he is prone to do, but, throughout the afternoon, brought the delicacy out in the scoring as well the drama, passion, and color that Verdi infused this score with. The clarinet solo in the overture and horns calls further enlivened the music.  The SFO chorus sang masterfully throughout, starting out as a chorus of simple country folk singing repeating melodies that were expressive and catchy.

The production, a 2000 revival by Francesca Zambello, which I had not seen before, intrigued me, particularly Michael Yeargan’s gorgeous sets.  They included a painted surround backdrop of a dense forest which changed colors, and several very large paintings─ a rustic farmhouse for Miller’s house, an elegant tapestry featuring a hunting scene with leaping hounds for Walter’s castle and, for Act II, a gray honeycomb pattern evoking metal mesh─all suspended from a distracting metal arm that hung over the stage for the duration of the opera.

Dunya Ramicova’s costumes were predictable─the villagers wore peasant costumes; the nobles were elegant in fitted red velvet coats and dresses for the hunt; Rodolfo and Wurm were fitted in green and the count wore an elegant black coat with a white ruffled shirt.  The fitted waists and abundance of fabric in the skirts of Crocetto’s and Semenchuk’s period gowns did nothing to flatter their rounder figures.

Details:  There are no remaining performances of Luisa Miller. For information about the SFO’s 2015-16 season, for which you can still catch all but Luisa Miller, click here. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco.

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September 29, 2015 Posted by | Opera | , , , , , , , , , , , , , , , , , | Leave a comment

Stars in the Making…San Francisco Opera’s Adler Fellows perform “Dramatic Voices, Charming Soubrettes,” at SRJC’s Newman Auditorium this Sunday, March 9

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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

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

March 6, 2014 Posted by | Chamber Music, Opera | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A big Verdi week—San Francisco Opera celebrates the composer’s bicentennial in grand style with the “Requiem,” performed by 312 choristers and musicians from Naples and San Francisco, as the magnificent “Falstaff” continues to mesmerize

Giuseppe Verdi's 200th birthday is being observed by San Francisco Opera on Friday with a huge and historic performance of his choral masterpiece “Messa de Requiem.”  Nicola Luisotti, Music Director of both the San Francisco Opera and Italy's Teatro di San Carlo of Naples will conduct 320 singers and musicians from both companies on stage at War Memorial Opera House with vocal soloists Leah Crocetto, Margaret Mezzacappa, Michael Fabiano and Vitalij Kowaljow.  Photo: Hulton Archive/Getty Images)

Giuseppe Verdi’s 200th birthday is being observed by San Francisco Opera on Friday with a huge and historic performance of his choral masterpiece “Messa de Requiem.” Nicola Luisotti, Music Director of both the San Francisco Opera and Italy’s Teatro di San Carlo of Naples will conduct 320 singers and musicians from both companies on stage at War Memorial Opera House with vocal soloists Leah Crocetto, Margaret Mezzacappa, Michael Fabiano and Vitalij Kowaljow. Photo: Hulton Archive/Getty Images)

San Francisco Opera’s Music Director Nicola Luisotti is preparing to conduct the performance of a lifetime on Friday— Giuseppe Verdi’s choral masterpiece “Messa de Requiem” which will be jointly performed by both his companies—San Francisco Opera and Italy’s Teatro di San Carlo of Naples.  Talk about an of embarrassment riches!  In case you haven’t heard yet, this month marks the bicentennial of the composer’s birth— he was born October 9 or 10, 1813 in the Italian village of Roncole—and the entire world is celebrating.  And the Bay Area is not to be outdone.   Our silver haired maestro will conduct 312 singers and musicians from both companies in the Requiem Mass at War Memorial Opera House on Friday evening—161 choristers (90 SFO  and 71 Teatro di San Carlo (TSC)), 146 orchestra members and four soloists.  In the interest of true cultural exchange, Luisotti has interspersed the SFO and TSC choruses so that a SFO chorus member sits by a TSC member.

An exacting combo of fury and fear, punctuated with hammering chords and explosive bass drum bangs and soft, chillingly quiet moments, the Requiem Mass is one of Verdi’s most striking choral works.  Just as its music is characterized by wild undulations, its message too moves from the otherworldly to the fire and brimstone of inevitable mortality and judgment and back again, making for a deeply penetrating spiritual experience when performed soulfully.  Vocal soloists are soprano Leah Crocetto, mezzo soprano Margaret Mezzacappa, tenor Michael Fabiano and Ukranian bass Vitalij Kowaljow.   It was Crocetto, a former Adler Fellow, who gave an astounding and emotionally riveting performance as Liù in SF Opera’s Turandot  in 2011, working in perfect harmony with Luisotti who seemed to pull every tender ounce of lyricism she had to give.  She’ll have plenty of solo time on Friday as well.

The highly-anticipated performance of the Requiem has been sold out for months.  SF Opera donors and subscribers and those with Italian cultural connections got first dibs on the tickets, leaving slim pickings for regular attendees.  ARThound pounced and was able to purchase some real estate in an outer corner of Row X in the Orchestra, normally nothing to brag about because it’s beneath the dreaded overhang, but cause for celebration in these circumstances.

This unique presentation of the Requiem is offered as part of the worldwide Verdi bicentennial celebration and in recognition of 2013 The Year of Italian Culture in the United States, an initiative held under the auspices of the president of the Italian Republic.

Verdi’s Messa da Requiem premiered in May 1874 in Milan and was composed to commemorate the first anniversary of the death of Alessandro Manzoni, the celebrated Italian writer and one of the leaders of the Italian Risorgimento, the Italian unification movement.  Verdi himself conducted the world premiere of one hundred twenty chorus singers and orchestra of one hundred musicians. The work was immediately hailed as a masterpiece and quickly made the rounds to the world’s leading music capitals where it garnered critical and popular acclaim.  Verdi’s Requiem is set in seven movements: Requiem and Kyrie; Dies Irae; Offertorio; Sanctus; Agnus Dei; Lux aeterna; and Libera me.

Fantastic Falstaff:

SFO also continues its acclaimed run of Verdi’s comedic opera Falstaff.  If you haven’t been to the opera this season, Falstaff is the opera to see—it stars the great Welsh bass-baritone Bryn Terfel, today’s definitive Falstaff, in the lead role, supported by an outstanding cast which includes American contralto Meredith Arwady masterfully singing Dame Quickly.  This Lyric Opera of Chicago production, directed by Oliver Tambosi, with scenery and costumes by Frank Philipp Schlössmann, premiered in 1999 but still feels fresh.  ARThound was lucky enough to catch last Sunday’s (October 20) matinee, the most delightful SFO performance I’ve attended since the inventive Magic Flute in summer 2012, which showcased the fanciful creativity of visual artist Jun Kaneko.

Falstaff, played by Welsh bass baritone Bryn Terfel, schemes to make some extra money by romancing a pair of wealthy wives in Verdi’s comedic opera.  Photo: Cory Weaver, SFO

Falstaff, played by Welsh bass baritone Bryn Terfel, schemes to make some extra money by romancing a pair of wealthy wives in Verdi’s comedic opera, “Falstaff.” Photo: Cory Weaver, SFO

After being wowed by Bryn Terfel’s intimate recital of British sea poems, lieder by Schumann and Schubert, and Celtic songs at Green Music Center on the 13th, experiencing him sing Falstaff at SFO the following weekend was even more special, as I got a taste of the range of his artistry.  His fluid transformation into the fat, lecherous scoundrel Falstaff, is mesmerizing.  His rich voice is so powerful that he filled the expansive War Memorial Opera House as easily as he did the much smaller Weill Hall.

Falstaff was Verdi’s last opera, written when he was near 80 and still at his creative peak.  His only other comedy had been written some 50 years earlier.  Ialstaff is based on Shakespeare’s Merry Wives of Windsor and parts of Henry IV.  In a nutshell, Falstaff, the main figure, is running out of money and looking for a quick solution.  He sets his sights on two rich women at once— Alice Ford (Basque soprano Ainhoa Arteta) and Meg Page (American mezzo soprano and Adler Fellow Renée Napier)— and writes them both love letters.  Of course, he doesn’t fool anyone; the crafty women of Windsor collaborate and out-scheme him and ultimately the “fat Knight” learns his lesson.  Along the way, while dressed in his best red finery, he is stuffed in a laundry hamper by the women and dumped out a window into the Thames, a scene which Terfel mines for all its worth.  

American contralto Meredith Arwady (L) as Dame Quickly and Welsh bass baritone Bryn Terfel as Falstaff.  Arwady’s powerful lower register, charisma, and comedic heft make her a scene stealer. Here, she argues that Falstaff’s being dumped into the River Thames from a large laundry basket was not planned.  Photo: Cory Weaver

American contralto Meredith Arwady (L) as Dame Quickly and Welsh bass baritone Bryn Terfel as Falstaff. Arwady’s powerful lower register, charisma, and comedic heft make her a scene stealer. Here, she argues that Falstaff’s being dumped into the River Thames from a large laundry basket was not planned. Photo: Cory Weaver

While all the women are in top form, Meredith Arwady, a former Adler and Merola alumna, grabs the spotlight as Dame Quickly, the pivotal emissary between the women and Falstaff.  Aside from a rich and glorious voice, she’s got that magic “it” factor that makes her memorable despite the size of her role.  She is on par with Terfel in her contribution to the opera’s magic.   Her Act III invitation to Falstaff/Terfel to get to Herme’s Oak, leaves us wanting more from the duo who are delightful together.   

Nicola Luisotti’s impassioned conducting is one of the production’s main draws. The characters’ words direct the metre and melody of the ensembles in this masterpiece and orchestra helps tell the story with an array of cheers, sighs, grunts and screams.  Last Sunday, Luisotti kept it brisk and energetic and the singers, chorus and orchestra were in perfect sync.  There are many musical highpoints, but Kevin Rivard’s penetrating horn call from Box Z—a distant sound that wafts over the audience—adds rich atmosphere to the Act III recreation of Herne’s Oak in moonlit Windsor Forest.

The magnificent singing, music, staging, and costumes make this the perfect Verdi experience. Sung in Italian with English subtitles.  (4 remaining performances—Thursday, 10.24 at 7:30 PM; Sunday, 10.27 at 2 PM, Wed 10.30 at 7:30 PM and Saturday, 11.2 at 8 PM (all have OperaVision except Sat 11.2)

Details:  The Verdi Requiem is completely sold-out.  A limited number of $10 Standing Room tickets go on sale at 11 A.M. day of performance.  For more information on San Francisco Opera and their upcoming performances, including Falstaff, visit http://sfopera.com/Home.aspx

October 24, 2013 Posted by | Classical Music, Opera | , , , , , , , , , , , , , | Leave a comment

SF Opera’s Marin Opera Guild hosts its annual Champagne Gala this Sunday, August 7, 2011, at San Domenico Music Conservatory in San Anselmo

San Francisco Opera's Adler Fellows will perform this Sunday at the San Domenico Music Conservatory hosted by the Marin chapter of the San Francisco Opera Guild. Photo: courtesy SF Opera

The Marin Chapter of the San Francisco Opera Guild is hosting its 29th Annual Champagne Gala this Sunday, August 7, 2011, at the San Domenico Music Conservatory in San Anselmo.  The fundraiser will feature San Francisco Opera’s Adler Fellows, resident artists of the San Francisco Opera Company, performing songs from Grand Opera and Broadway Classics.  Special guests Ellen Kerrigan and Baker Peeples will also sing.  The proceeds will benefit the Guild’s Opera a la Carte music education program for Marin County schools and its Opera Previews, featuring renowned musicologists offering an in-depth look into the season’s operas.  After the 2 p.m. performance, guests will be able to mingle with the artists and enjoy champagne and savory hors d’oeuvres in the conservatory’s idyllic setting.  

Current San Francisco Opera Adler Fellows: Susannah Biller, soprano; Leah Crocetto, soprano; Sara Gartland, soprano; Nadine Sierra, soprano; Maya Lahyani, mezzo-soprano; Ryan Belongie, counter-tenor;  Brian Jagde, tenor; Brian Jagde, tenor; Daniel Montenegro, tenor; Ao Li, baritone; Ryan Kuster, bass-baritone; David Hanlon, coach and accompanist; Tamara Sanikidze, coach and accompanist.

Opera Previews Sponsored by the Marin Chaper of the San Francisco Guild for the 2011-2012 Season:

 

Mon Aug 29, 2011, 8 p.m. Turandot:      Giacomo Puccini Dr. Timothy Flynn: Olivet College, Assistant Professor of Music, Music Program Director
Thurs Sept 8, 2011, 8 p.m. Heart of a Soldier:      Christopher Theofanidas   Donna DiNovelli Dr.  Mitchell Morris:  Professor of Musicology, UCLA
Mon Sept 19, 2011, 8 p.m. Lucrezia Borgia:   Gaetano Donizetti  Dr. Mary Ann Smart:  Professor of Musicology, U.C. Berkeley 
Mon Oct 10, 2011, 8 p.m. Don Giovanni:   Wolfgang Amadeus  Mozart  Dr. Simon Williams:  Professor & Chair, Theatre & Dance Dept., U.C. Santa Barbara
Mon Oct 24, 2011, 8 p.m. Serse (Xerxes):   George Frideric Handel Dr. Bruce Lamott:  Director, Philharmonia Chorale
Thurs May 31, 2012, 8 p.m. Nixon in China:   John Adams   Dr. Stephen Hinton:  Professor of Music, Stanford University
Mon June 4, 2012 8 p.m. Attila:    Guiseppe Verdi Dr. Alexandra Amati-Camperi Dept Chair, Professor of Music, University of San Francisco

All Opera Previews at held at Villa Marin, 100 Thorndale Drive, San Rafael.  Time: 8 PM lecture; 7:30 PM complimentary tea/coffee and refreshments.  Admission: $10 per lecture or $60 for series.  For information, contact Tenki Davis at 415. 457.1118 or t4tenki@comcast.net.

Details: Champagne Gala begins at 2 p.m. at the San Domenico Music Conservatory, 1500 Butterfield Road, San Anselmo.  Tickets are $50 and can purchased at the event. For further information, contact Anne Zucchi at 415.924.9352, zucchiz@aol.com .

August 4, 2011 Posted by | Opera | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment