Readers of this website know that we regularly review the productions of the San Francisco Opera and provide the reviews in the context of the history of this international center for opera performance.
Over the next several weeks, this website will present a four-part series entitled “The Remaking of San Francisco Opera” in which we discuss the progress of recently installed San Francisco Opera General Director David Gockley, and provide extensive analyses of four of the Fall, 2007 San Francisco Opera productions we found of world interest. The four are Glass’ “Appomattox”, Puccini’s “La Rondine” and “Madama Butterfly” and Stravinsky’s “The Rake’s Progress”.
“Snap reviews” of all four have appeared in the assessment of the San Francisco Opera 2007 season: Gockley’s San Francisco Opera in 2007 - Improving Already High Grades. Performances for which more extensive reviews have been posted are identified below.
The Scheduled Cinemacasts
Recently, San Francisco Opera announced the development of contracts with several movie theatre chains throughout the United States to present “cinemacasts” of four of the 2007 San Francisco Opera productions (all of which were highly regarded on this website).
A list of all the cities and towns with movie houses in which these cinemacasts can be seen can be accessed at www.sfopera.com. My performance reviews or other materials that might be of interest to persons deciding whether to go to the cinemacasts, or wishing to have supplementary information on what they will be seeing, are hyper-linked below each description.
Puccini’s La Rondine: March 8, 9, 10 and 11, 2008
For years, major opera companies have ignored this beautiful work, partly because of a feeling that the third act, although filled with wonderful music, was a dissatisfying ending. (The main protagonist, Magda, abandons her passionate lover and returns to her unexciting husband.)
My essay argues that the ending is sophisticated and far more in touch with 21st century attitudes than the story-book ending 20th century critics apparently would have preferred. My extended performance review of a November 2007 performance will appear later as the second part of the “The Remaking of San Francisco Opera” series.
The performance, starring Angela Gheorghiu as Magda and Mischa Didyk as Ruggero, and presented in Nicolas Joel’s beautiful production from Toulouse, was given an “A+” grade by this website.
See: Reflecting on Puccini’s “Rondine “
Saint-Saens’ “Samson et Dalila” March 29, 30, 31 and April 1, 2008
This most durable and accessible example of the French grand opera style was one of two 2007 San Francisco Opera productions this website listed as “Best Bet Revivals” (the “Butterfly” was the other). Utilizing the elegant 1980 sets created by a youthful Nicolas Joel, and starring Olga Borodina (Dalila), Clifton Forbis (Samson) and Juha Uusitalo (High Priest), this performance was graded “A” by this website.
For the performance review, see: Exotic Immersion: “Samson ” in S. F. - September 11, 2007
Mozart’s “Don Giovanni” April 12, 13, 14 and 15, 2008
Mozart’s great masterpiece is presented in an edgy production that demonstrates that Mozart and his librettist Da Ponte had drawn a pretty dark portrait of a charming sociopath. Mariusz Kwiecien emerges as one of the great Don Giovannis in San Francisco Opera history, surrounded by a young and capable cast. The performance received an “A+” rating from this website.
See: Kwiecien Excels in McVicar ’s Dark Side “Don Giovanni ” - S. F. June 2, 2007
Puccini’s “Madama Butterfly” April 19, 20, 21 and 22, 2008
San Francisco Opera’s production of the 20th century’s most popular opera is in the two act form that permits one to experience the vigil that Butterfly, Suzuki and the Boy go through waiting Pinkerton’s return the next morning. It was Puccini’s observance of a live performance of this scene in David Belasco’s play, using the lighting techniques of turn of the 20th century legitimate theatre that attracted him to the idea of creating an opera. San Francisco Opera, utilizing the lighting techniques of turn of the 21st century opera production, memorably updates Puccini’s experience.
First reviewed on this website when it was presented as a 2006 reconceptualization of a 1997 production, the Butterfly (Patricia Racette) and conductor (Donald Runnicles) were lauded, but wishes were expressed for a different Pinkerton and Sharpless. Director Gockley revived “Butterfly” in non-subscription performances the very next season, with the immensely preferable Brandon Jovanovich (Pinkerton) and Stephen Smith (Sharpless) joining Runnicles and Racette. This was rated an “A+” by this website. An extended review of the 2007 production will appear as Part III of the “Remaking” series.
For the review of the 2006 performance, see: Puccini, Yeargan and Racette Team for Masterful S. F. Butterfly - June 18, 2006.