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Geneva Anderson digs into art

Review: San Francisco Opera’s “Lucia di Lammermoor”─ Soprano Albina Shagimuratova subs as Lucia and is spectacular!

Russian coloratura soprano, Albina Shagimuratova sang the role of Lucia as a last minute stand-in for San Francisco Opera’s final performance of “Lucia di Lammermoor” on Tuesday, October 28th like she was born to the role. Unruffled by foreign staging and charged with creating believable chemistry with singers she hadn’t practiced with, she wowed the audience with her ability to shine under pressure. . She most recently sang Lucia at the Metropolitan Opera in 2014-15, so she knew the part well and used the role’s insanely demanding vocal runs, gorgeous arias and ensemble parts to showcase her extraordinary voice and acting talent. Shagimuratova is Queen of the Night in SFO’s “Magic Flute” which runs through November 20, 2015. Photo: SFO

Russian coloratura soprano, Albina Shagimuratova sang the role of Lucia as a last minute stand-in for San Francisco Opera’s final performance of “Lucia di Lammermoor” on Wednesday, October 28th. Unruffled by foreign staging and charged with creating believable chemistry with singers she hadn’t practiced with, she wowed the audience with her ability to shine under pressure. . She most recently sang Lucia at the Metropolitan Opera in 2014-15, so she knew the part well and used the role’s insanely demanding vocal runs, gorgeous arias and ensemble parts to showcase her extraordinary voice and acting talent. Shagimuratova is Queen of the Night in SFO’s “Magic Flute” which runs through November 20, 2015. Photo: SFO

The footnotes for Russian soprano Albina Shagimuratova’s fall 2015 season at San Francisco Opera (SFO) might read “The Queen rises,” affirming that the last minute drama that occurs behind the scenes in opera can be as exhilarating as what we see on stage.  Before the curtain rose on Wednesday night’s final performance of Donizetti’s Lucia di Lammermoor, SFO’s General Director, David Gockley, unexpectedly appeared on stage to deliver “goods news and bad news.”  Soprano Nadine Sierra , who had been getting rave reviews for her Lucia, was suddenly ill.  (Sierra herself was a late replacement for German soprano Diana Damrau who withdrew unexpectedly in September citing personal reasons.)  The good news was that Russian coloratura soprano, Albina Shagimuratova, knew the role of Lucia by heart and had agreed to sub, just hours ago, for Sierra.

Shagimuratova had wowed audiences with her dynamic Queen of the Night in the 2012 world premiere of SFO’s The Magic Flute. She, however, had very recently been ill herself and had been too sick to sing Queen of the Night in last Sunday’s matinee performance of the company’s Magic Flute, which was just two and a half days earlier.  Many of us who are devoted Sierra fans were sad that we would miss her but elated that Shagimuratova, the beloved Queen, had risen from her bed to take on one of opera’s most demanding roles.

Shagimuratova, who most recently sang Lucia at the Metropolitan Opera in 2014-15, did more than seize the moment─she was on fire.  She took us all along with her on Lucia’s tumultuous descent from fragility into madness and executed the famous third act Mad Scene with mesmerizing finesse.  Her co-stars, too, delivered the goods, particularly the dazzling Polish tenor Piotr Beczala as Edgardo, Lucia’s secret lover and baritone Brian Mulligan as Lucia’s brother, Enrico.  And after Sunday’s performance, we’ll all be watching out for the gorgeous Latvian mezzo soprano Zanda Švēde, a second year Adler fellow, whose lovely voice and stunning red hair made the most of her small role as Alisa, Lucia’s handmaid.

Presiding at the podium, Nicola Luisotti brought a stirring and lush performance from the SFO orchestra and chorus that incisively captured Lucia’s emotional fragility and supported the characters’ most passionate moments.  Of the dozen or so Donizetti operas that are considered masterpieces, Lucia is the pinnacle─it contains opera’s most gorgeous and powerful music and abounds with opportunities for vocal embellishment, lush harmonizing and drama.  It’s no wonder that this bel-canto (literally “beautiful singing”) masterpiece has been performed in 23 seasons at SFO. This new SFO production, directed by Michael Cavanagh and designed by Erhard Rom, the team behind SFO’s wonderful Susannah in 2014 and Nixon in China in summer 2012, is sure to become a more frequent staple in SFO’s repertoire.

Gaetano Donizetti’s “Lucia di Lammermoor” and “L’elisir d’amore” (“The Elixir of Love”) are among the 25 most frequently performed operas in the world every year. SFO has performed “Lucia” in 23 seasons. A sad irony is that Donizetti, who crafted Lucia’s and Anna Bolena’s brilliant scenes of psychosis, spent his own final years locked away in a Paris insane asylum. Thirteen years after “Lucia’s” premiere, he died psychotic and paralyzed from untreated syphilis. His French publisher left a memoir suggesting that Donizetti had been driven insane by an imperious soprano, who had forced him to make damaging changes to his last grand opera. Portrait of Gaetano Donizetti, Italian pictural school (17th century) from Bologna’s Civico Museo Bibliografico Musicale.

Gaetano Donizetti’s “Lucia di Lammermoor” and “L’elisir d’amore” (“The Elixir of Love”) are among the 25 most frequently performed operas in the world every year. SFO has performed “Lucia” in 23 seasons. A sad irony is that Donizetti, who crafted Lucia’s and Anna Bolena’s brilliant scenes of psychosis, spent his own final years locked away in a Paris insane asylum. Thirteen years after “Lucia’s” premiere, he died psychotic and paralyzed from untreated syphilis. His French publisher left a memoir suggesting that Donizetti had been driven insane by an imperious soprano, who had forced him to make damaging changes to his last grand opera. Portrait of Gaetano Donizetti, Italian pictural school (17th century) from Bologna’s Civico Museo Bibliografico Musicale.

Act 3’s Mad Scene─  The main reason for Lucia’s enduring popularity is the Act 3’s Mad Scene.  Great Lucias become one with the music to embody a young woman ripped apart by inner demons.  Lucia, mourning her mother’s recent death, has been coerced by her brother Enrico, her closest remaining relative, into an arranged marriage and has been crushed by the loss of her true love, Edgardo.  On their wedding night, she stabs her new husband to death and wanders delirious amongst the wedding guests in a bloody nightdress with her hair a tangled mess.  Shagimuratova’s singing had been so captivating for the first two acts, particularly Act 1’s “Quando rapito in estasi,” which brought me to my feet, we knew we were in for a treat.  Indeed, she left nothing in the tank.  Her interpretation of  “Il dolce suono…Spargi d’amaro pianto” was chilling, embellished with amazing trills and cascades that showcased the power and sheer beauty of her voice in its highest register.  The cadeneza passages, played evocatively by Principal Flute Julie McKenzie from the pit, were very well-coordinated, as if it had been practiced several times.  It rightfully earned an ovation with prolonged whistles and whoops and left me with the impression that, for this Lucia, her final exit was a form of victory over the men who had controlled her in one way or another.

Polish lyric tenor, Piotr Beczala, is Edgardo. In Act 3, Edgardo learns that Lucia has died and he stabs himself with a dagger hoping to be reunited with her in heaven. He sings “Tu che a Dio spiegasti l’ali.” Photo: Cory Weaver, SFO.

Polish lyric tenor, Piotr Beczala, is Edgardo. In Act 3, Edgardo learns that Lucia has died and he stabs himself with a dagger hoping to be reunited with her in heaven. He sings “Tu che a Dio spiegasti l’ali.” Photo: Cory Weaver, SFO.

Polish tenor Piotr Beczala as Edgardo, Lucia’s lover, oozed with such virility and tonal mastery that now I feel compelled to follow his career.  His initial physical encounters with Shagimuratova/Lucia, a new partner, seemed somewhat stiff though, particularly the scene in Act 1where he is comforted by Lucia and lays his lead in her lap but their passion grew more believable as the opera progressed.  His grappling with what he perceives as Lucia’s betrayal was enthralling and in the richly textured “Chi me frena in tal momento” sextet that ends Act II, when he bursts in insisting that he still loves Lucia, he was blazing.  In the finale, the punishing, demanding Wolf-Crag” scene, Beczala gifted us with rapid, jarring shifts in emotion, bel canto at its best.

In Act 3, Lucia’s lover, Edgardo (of Ravenswood), Polish tenor Piotr Beczala, is challenged to a duel by her brother, Enrico, American baritone Brian Mulligan at Wolfscrag, where Edgardo lives. The opera’s plot is driven by an intergenerational feud between the Ravenswoods and the Ashtons of Lamermoore, making Lucia’s love for the Edgardo forbidden and driving Lucia’s brother to go extremes to ensure that she ends her relationship with Edgardo. Director Michael Cavanaugh and designer Erhard Rom set this new SFO production in a dystopian near future; the staging has a clean stark feel that is accentuated by dramatic lighting and projections of natural landscapes. Photo: Cory Weaver, SFO

In Act 3, Lucia’s lover, Edgardo (of Ravenswood), Polish tenor Piotr Beczala, is challenged to a duel by her brother, Enrico, American baritone Brian Mulligan at Wolfscrag, where Edgardo lives. The opera’s plot is driven by an intergenerational feud between the Ravenswoods and the Ashtons of Lamermoore, making Lucia’s love for the Edgardo forbidden and driving Lucia’s brother to go extremes to ensure that she ends her relationship with Edgardo. Director Michael Cavanaugh and designer Erhard Rom set this new SFO production in a dystopian near future; the staging has a clean stark feel that is accentuated by dramatic lighting and projections of natural landscapes. Photo: Cory Weaver, SFO

And pitted against him, as Enrico, was powerhouse American baritone Brian Mulligan, fresh from his masterful lead in SFO’s Sweeney Todd.  And much like that deranged barber, his Enrico also acted from sheer desperation─he was aware of his sister Lucia’s desires and her fragility but torn by his need to save the Lammermore line as well as to ensure his own future.  In Act 3’s tour de force showdown between Enrico and Edgardo, both Mulligan and Beczala seemed to be feeding off of each other, singing gloriously and ratcheting up the drama.

Turning heads─ It was impossible to miss the sleekly coiffed redhead mezzo Zanda Švēde, Lucia’s handmaid Alisa.  The tall slim beauty was a vision in Mattie Ullrich’s Max-Mara like costuming  From the moment she sang her Act 1warning to Lucia to break up with Edgardo, her impassioned voice had me.  She was particularly impressive in Act 2’s sextet against much more seasoned singers.  Also making the most of his small role and SFO debut was French bass-baritone  Nicolas Testè as Raimundo, the Chaplan.

Act 2’s sextet “Chi mi frena in tal momento” (“What restrains me at this moment”), one of Italian opera’s greatest ensemble moments, set in Ravenswood Castle. Piotr Beczala (Edgardo) in foreground. Then, from left to right─Nicolas Testé (Raimondo) in brown; Brian Mulligan (Enrico) with blond hair and beard, Chong Wang (Arturo) in plaid; and Zanda Švēde (Alisa) in red dress. Photo: Cory Weaver, SFO

Act 2’s sextet “Chi mi frena in tal momento” (“What restrains me at this moment”), one of Italian opera’s greatest ensemble moments, set in Ravenswood Castle. Piotr Beczala (Edgardo) in foreground. Then, from left to right─Nicolas Testé (Raimondo) in brown; Brian Mulligan (Enrico) with blond hair and beard, Chong Wang (Arturo) in plaid; and Zanda Švēde (Alisa) in red dress. Photo: Cory Weaver, SFO

For this new production, rather than the 17th century hills of Scotland, Michael Cavanaugh’s staging sets Sir Walter Scott’s story in “modern-mythic Scotland, a dystopian near future where the lines are blurred between family, country and corporation.” The sets relied on clean-cut marble slabs which opened and closed in various configurations and a huge stone obelisk center stage to impart a stark cool ambiance that was accentuated by dramatic lighting and projections of rolling ocean waves, thunderous skies and hilly Scottish landscapes.

Mattie Ullrich’s costumes ranged from sleek unadorned dresses in charcoal hues to the wedding party’s traditional long full-skirted ball-gowns in jewel tones with intriguing flower headdresses.  The flowers were so large they enforced the association of women as walking flowers, mere stylized objects.  Poor Shagimuratova presumably had to make do with what was available at the last minute─unattractive Victorian-style dresses with lots of gathers around the waist and bodice, the very worse costuming for a slightly round figure.  Her sumptuous voice was all the adornment this beauty needed to make her mark.

Details:  There are no remaining performances of Lucia di Lammermoor.   You can catch Albina Shagimuratova as Queen of the Night in The Magic Flute which has 7 remaining performances and runs through November 20, 2015.  For information about SFO’s 2015-16 season, click here. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco.

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November 1, 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 chance to hear the future of opera—delightful, affordable, favorite excerpts from well-known operas—the Merola Grand Finale concert is this Saturday, August 17, 2013

The 2013 Merola Opera Program Fellows on the steps of War Memorial Opera House.  The fellows conclude their intensive summer training program with the Grand Finale Concert on August 17, 2013.  Photo:  Kristen Loken

The 2013 Merola Opera Program Fellows on the steps of War Memorial Opera House. The fellows conclude their intensive summer training program with the Grand Finale Concert on August 17, 2013. Photo: Kristen Loken

Every summer, the Merola Opera Program concludes with its delightful Grand Finale concert, featuring the current year’s Merola fellows singing excerpts from major operas on the stage of the War Memorial Opera House, the home of the San Francisco Opera (SFO).   This summer’s concert is Saturday, August 17, at 7:30 PM.   All 23 of the 2013 Merolini will sing and the entire production will be staged by George Cederquist, the 2013 Merola Apprentice Stage Director.  John DeMain, Director of the Madison Symphony and Artistic Director of the Madison Opera, will conduct the San Francisco Opera Orchestra and Merolini in a program featuring beloved classics by Barber, Bernstein, Britten, Gounod, Handel, Korngold, Massenet, Monteverdi, Offenbach, Purcell, Rossini and Wagner sung in Italian, French, German, and English.  If you, or someone accompanying you, are somewhat new to opera, the 17 selections are a perfect introduction to opera—they are all classics, the excerpts are short and varied and feature gorgeous orchestral music and were chosen by the singers to showcase their unique vocal talents.   And, it goes without saying; the concert is both a launchpad and an opportunity to meet the next generation of opera luminaries, in the formative phases of their careers.  These young Merola singers will go to sing major roles in the world’s leading opera houses.

“The Merola Grand Finale is, for all of us Merolini, one of the highlights of the summer.  It’s our chance to show how much we’ve grown and how much potential we have,” said 2013 Merola Apprentice Stage Director George Cederquist. “My goal is to create a staged concert that is celebratory, beautiful and fluid. This is not the time for highly conceptual work. My aim is to help my singer-colleagues sound great, act great and look great, and I intend to do just that.”  Cederquist, was one of only 10 Americans to receive the 2011-2012 German Chancellor Fellowship from the Alexander von Humboldt Foundation and the first Stage Director ever to win this prestigious award. Next season, he will be Resident Artist Stage Director at Pittsburgh Opera under the mentorship of General Director Christopher Hahn.

The songs to be performed (but not in the order of performance) and the singers are as follows:

Lohengrin (Wagner)
“Mein lieber Schwann”
Lohengrin: Issachah Savage (tenor)

Lohengrin (Wagner)
“Ortrud! Wo bist du?”
Elsa: Aviva Fortunata (soprano)
Ortrud: Daryl Freedman (mezzo-soprano)

Billy Budd (Britten)
“Claggart, John Claggart, beware!”
Captain Vere: Robert Watson (tenor)
Billy Budd: Alex DeSocio (baritone)
John Claggart: Thomas Richards (bass-baritone)

Manon (Massenet)
“Restons ici … Voyons, Manon … J’ai marqueé l’heure de depart”
Manon: Maria Valdes (soprano)
Des Grieux: Pene Pati (tenor)

Vanessa (Barber)
“Is it still snowing? … Must the winter come so soon? … Do not utter a word”
Erika: Rihab Chaieb (mezzo-soprano)
Vanessa: Linda Barnett (soprano)

Il ritorno d’Ulisse (Monteverdi)
“Dormo ancora?”
Ulisse: Joseph Lattanzi (baritone)

La Cenerentola (Rossini)
“Ma dunque io sono un ex? … Un segreto d’importanza”
Dandini: Efraín Solis (baritone)
Magnifico: John Arnold (bass-baritone)

Ariodante (Handel)
“Vanne pronto, Odoardo … Voli colla sua tromba”
Il Ré: Rhys Lloyd Talbot (bass-baritone)

Luisa Miller (Verdi)
“Il padre tuo … Tu punisicmi, o signore … A brani, a brani, o perfido”
Luisa: Jacqueline Piccolino (soprano)
Wurm: David Weigel (bass-baritone)

Sapho (Gounod)
“Où suis-je? … O ma lyre immortelle”
Sapho: Zanda Švēde (mezzo-soprano)

Die Freischütz (Weber)
“Nein, länger trag’ ich nicht die Qualen … Durch die Wälder, durch die Auen”
Max: Casey Finnigan (tenor)

Ascanio in Alba (Mozart)
“Dal tuo gentil sembiante”
Fauno: Alisa Jordheim (soprano)

La belle Hélène (Offenbach)
“C’est le ciel qui m’envoie”
Hélène: Kate Allen (mezzo-soprano)
Paris: Matthew Newlin (tenor)

Die tote Stadt (Korngold)
“Mein Sehnen, mein Wähnen”
Fritz: Chris Carr (baritone)

Dido and Aeneas (Purcell)
“Thy hand Belinda … When I am laid in earth”
Dido: Katie Hannigan (mezzo-soprano)

Candide (Bernstein)
“Make our garden grow”
Candide: Pene Pati (tenor)
Cunegonde: Maria Valdes (soprano)
Old Lady: Kate Allen (mezzo-soprano)
Governor: Casey Finnigan (tenor)
Maximillian: Rhys Talbot (bass-baritone)
Pangloss: David Weigel (bass-baritone)
Chorus: tutti Merolini

More about Merola:  Guided by Sheri Greenawald, San Francisco Opera Center Director and internationally acclaimed soprano, the Merola Opera Program is an independent nonprofit organization which operates in collaboration with the San Francisco Opera.  Founded in 1957 and named for San Francisco Opera’s urbane and forward-thinking founder, Gaetano Merola, the Program is recognized as one of the most prestigious operatic training programs in the world. The Merola Opera Program typically receives more than 800 applications for approximately 30 positions. Throughout the summer, the Merola artists participate in master classes and private coachings with opera luminaries and give several public performances.  Participants—who include singers, apprentice coaches and an apprentice stage director—also receive training in operatic repertory, foreign languages, diction, acting and stage movement.  The Merola Opera Program fully underwrites each participant’s travel, housing, coaching and educational expenses, as well as all production costs associated with the summer schedule and a weekly stipend for each participant. Program alumni include Joyce di Donato, Sylvia McNair, Patricia Racette, Ruth Ann Swenson, Carol Vaness, Deborah Voigt, Anna Netrebko,Susan Graham, Dolora Zajick, Brian Asawa, Jess Thomas, Thomas Hampson, Rolando Villazón, and Patrick Summers.

Details:  The Merola Grand Finale is Saturday, August 17, at 7:30 p.m. at War Memorial Opera House, 301 Van Ness Avenue, San Francisco (across from City Hall).  One of the last Beaux-Arts structures built in the United States, the Opera House seats 3,146, with 200 standing room places. Tickets:  $25 to $45. Purchase online here (all Merola events are listed under “Other Productions”) or in person at the San Francisco Opera Box Office in the lobby of the War Memorial Opera House at 301 Van Ness Avenue. The Box Office is open from 10 a.m. to 5 p.m. on Monday and from 10 a.m. to 6 p.m. Tuesday through Friday. Tickets may also be ordered by calling 415-864-3330.   There is a special student ticket rate of $15, but these tickets can only be purchased in person at the Box Office with proper identification. There will also be a reception beginning at 10 p.m. downstairs in the Opera House Café. Each ticket for the reception is an additional $50.

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 20 to 30 minute back-up on Highway 101 South from Petaluma through Novato due to wine country traffic and road work related to highway expansion. 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)

August 15, 2013 Posted by | Opera | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment