By this time, every opera lover knows that each summer something very special is happening in the world of opera  – in Santa Fe, New Mexico.  The Santa Fe Opera presents a season of five operas all summer in its resplendent outdoor (but covered) opera house-in-the-desert in the hills just north of Santa Fe.  It is hard to imagine a more delightful summer setting with the wildly colorful sunsets to the West and the 12,000 foot Santa Fe Peak to the East – all in an enchanting opera center which includes everything you might need.

[Below: the New Mexico sun sets on the Santa Fe Opera; edited image of a promotional photograph for the Santa Fe Opera.]

Some patrons arrive early to enjoy an elegant Tailgate dinner – some with candles, ice buckets of champagne and wine, flowers, and crystal glasses.  Your Tipster has been enjoying the Santa Fe Opera now for more than two decades, and he is also in New Mexico on business often, so here are his suggestions and recommendations.

Summer Opera Festival Season 2011

After last year’s blockbuster summer season, one had to wonder what The Santa Fe Opera would do – or could do – for toppers. I reviewed the 2010 show-stopper comedy-screamer Britten’s “Albert Herring” which I rated the best production of this wonderful piece I have ever seen – soon to be seen in Los Angeles, and to me one of Santa Fe’s best productions ever (see Superlative: Britten’s “Albert Herring” Brings Big Time Laugh-in to Santa Fe Opera – August 25, 2010.)!!  Well fear not: this Summer Festival Season opens with Gounod’s fabulous French masterpiece “Faust”, which your website host and I just saw in San Diego on April 23, 2011 in a sensational production.

The Santa Fe Opera has never done this glorious masterpiece before, so alas, amidst all the thunder, lightning and errant winds auditioning for the Santa Fe Opera — at unbelievably convenient moments – we all will be treated to this hyper-dramatic feast. This is the Stephan Lawless production featuring Ailyn Perez (just seen in San Diego’s fabulous “Faust”) as the hapless Marguerite whose travails end this piece in an emotional bombshell, with Bryan Hymel and Dimitri Pittas sharing the role of the misguided Dr Faust who signed the ill-advised (I wasn’t his lawyer) contract with Mephistopheles forking over his soul for an earthly joy-ride – don’t you try this, you’ll regret it as does Faust in this production.

[Below: Marguerite (Ailyn Perez) prays for her soul; edited image, based on a Ken Howard photograph, courtesy of the San Diego Opera.]

Once again we are treated to Puccini’s sublime La Boheme which has graced the Santa Fe stage many times (this reprises the Paul Curran production of 2007), – a number of years ago I was there when unforgetable help from the heavens appeared at the end of Act I when Mimi pretends to have lost her key in the darkness, and Rodolfo embraces her to some of the most ecstatic music ever – just as major thunder and lightning appear as if on cue. It doesn’t get better than this, and although management in the front office would like to take credit, it’s Mother Nature who should (and did) take the applause!!! Ana Maria Martinez is our Mimi opposite her lover starring David Lomeli. Bring tissue – there’s not a dry eye in the house after this one!!

Next, for those of us who Go For Baroque, is  another first for Santa Fe, the first American production of Vivaldi’s (think of his Four Seasons done daily on every classic radio station in the world) opera “Griselda” in which famed stage director Peter Sellars (he just did the Met’s Nixon in China which many of you saw in HD-Live) is in charge [guaranteeing surprises], with famed counter-tenor David Daniels both returning to Santa Fe, featuring Meredith Arwady as Griselda opposite Isabel Leonard as Costanza. I have a CD of this piece, and it’s ripping !!! LA Opera’s choral and also opera conductor Grant Gershon debuts in Santa Fe in this one — you won’t be disappointed!

Another first in Santa Fe is Gian Carlo Menotti’s comic-opera “The Last Savage” which I’ve never seen nor heard, but the composer’s famed and beloved Amahl and the Night Visitors is the one opera most often seen by Americans, mostly on TV but also in nearly every college and high school — I just reviewed it as Pasadena, CA inaugurated a brand new opera company with this crowd pleaser.

The sets and costumes for Savage are by the estimable Allan Moyer, and the story-line is, ”Kitty Scattergood, the daughter of a famous Chicago millionaire, is in India with her father. She refuses to get married until she has made her mark as an anthropologist. The only way she can do this is by finding the last savage man on earth, but of course he doesn’t exist”  – that’s how Santa Fe Opera introduces this piece!! Sounds like great fun.

Finally rounding out the season, is 20th C composer Alban Berg’s Wozzeck which received its debut in Santa Fe ten years ago, which production is revived this year. This is a very modern Psycho-opera – almost suggesting Freud Meets Alfred Hitchcock in a truly gritty Hollywood-esque opera-noir thriller. International sensation Richard Paul Fink stars in this very tense, very gripping piece — definitely not a comedy!!

Getting to Santa Fe

You can’t fly into Santa Fe on commercial flights (except the small puddle-jumpers).  You need to fly into Albuquerque (airport code ABQ), whose attractive, in places stunning, airport is decorated with Southwestern art, and filled with good restaurants, bars and shops.  If you are renting a car, take a bus directly from the baggage zone to the Rental Auto plaza, which is also most attractive.

To drive to Santa Fe, take Interstate 25 North to Santa Fe (signs tell you exactly where to go). The drive takes slightly less than an hour with a lot of terrific Southwestern scenery along the way.  Get off of the freeway at Saint Francis Drive (NOT Cerrillos Road), heading west into town.  THEN turn right on Saint Francis Drive, then take a right on Paseo de Peralta, which encircles old Santa Fe (reminding me of a miniature “Ringstrasse”).  From Paseo de Peralta you can get to everything.

There are convenient shuttle busses going from the Albuquerque Airport to Santa Fe.  These are operated by the Sandia Express Shuttle (888.775.5696,www.sandiashuttle.com).

One can use Amtrak (www.Amtrak.com) to get to Albuquerque’s marvelous old train station, and you can arrange shuttle service from there to Santa Fe.  Amtrak’s Southwest Chief also stops at Lamy, a town 18 miles south of Santa Fe.  You can arrange for transportation from Lamy on the Lamy Shuttle (505.982.8829) to Santa Fe.  But caveat: It’s a long, long train ride from almost everywhere and the Orient Express does not get to Albuquerque.

Getting to the Opera

There is a most convenient opera pick-up van that I have used for years, as parking near the opera involves a long walk (sometimes, when it is raining, a very long walk) in the full parking lots downhill from the opera house.  It also presents the dilemma of a snailpace slow exit after the opera, as there is only one lane to accommodate three large parking lots of cars.

My advice: Take the Bus! South Western Adventures (505.455.2700) charges $25 a person round trip and will pick you at at your hotel in old Santa Fe and deposit you at the opera box office plaza.

If you are driving from Santa Fe, just get back on the Paseo de Peralta and go to North Guadalupe. Go North on Highway 84/285 (the signs say Taos). Guadalupemerges into 84/285.  You cannot possibly miss the well-marked Opera exit.  From the Paseo it takes about 10 to 20 minutes to get there and to park, and another 15-20 minutes of walking.

Lodging

[Below: the patio of the newly opened Inn of the Five Graces; resized image of a promotional photograph.]

As might be anticipated, Santa Fe has many fine lodgings in classic Santa Fe style.

A truly celestial new lodging facility, having no equal in all of New Mexico, is now open for this Summer Season – it’s Inn of the Five Graces.

[Below: an interior room at the Inn of the Five Graces; resized image, based on a promotional photograph for the Inn of the Five Graces.]

Adjacent to the New Mexico State Capitol building, across the street from America’s oldest church,  occupying rooms some of which are more than four centuries old, at 150 East De Vargas St, Santa Fe 87501, Reservations 866 992-0957 at www.FiveGraces.com .

This will knock your socks off — totally Santa Fe, totally sublime — and it’s the one and only celebrated Relais & Chateaux lodging in New Mexico, and should be.

[Below: a bedroom interior at the Inn of the Five Graces; promotional photograph for the Inn of the Five Graces.]

They can arrange a shuttle to pick you up at the door and bring you back from the opera, fabulous bar, excellent restaurant “on campus” (it is a campus). At least pop in for a drink and you’ll be sold on the spot. I can think of nothing that lives up to New Mexico’s license-plate logo better as The Land of Enchantment. This is it!!!

[Below right: the Inn and  Spa at the Loretto, photograph by Tom.]

A superb choice is the famed Inn and Spa at the Loretto, which looks like a great Pueblo and is adjacent to the beautiful stone Loretto Chapel. It has excellent dining and many art galleries, with all of the “action” of old Santa Fe outside the door.  I have dined here countless times and often have stayed here as well. (800.727.5531, www.innatloretto.com).

The largest hotel is the very elegant, high-end Eldorado, 309 W San Francisco St (800.955.4455, www.ElDoradoHotel.com), which dominates the west end of the old town.

Very comfortable in the tradition of old Santa Fe, with lovely, flowery, fountain-filled courtyards, is the Inn on the Alameda, 303 W Alameda (888.984.2121,www.inn-alameda.com, at which many opera friends, who want to splurge a bit, often stay.

[Below: The La Plazuela Restaurant, in the courtyard of the La Fonda Resort; photograph by Tom.]

In old Santa Fe is the legendary, historic La Fonda at 100 E San Francisco, 800.523.5002, www.LaFondaSantaFe.com, which has a fabulous tower-bar overlooking all of Santa Fe and a wonderful Indian painted, stained-glass enclosed restaurant, La Plazuela, absolutely setting the standard of how a Santa Fe restaurant ought to look.

The Rockefeller Resorts. www.RockResorts.com, has the swank, top-of-the-line La Posada de Santa Fe at 330 E Palace Ave; 866.331.7625, but this one is pricey.

Most of the national chains have properities in the surrounding environs, most on Cerrillos Road (in an area that does not remotely look like the image one has of Santa Fe). Further out is a classic Holiday Inn at 4048 Cerrillos, 505.4646, having that chain’s usual amenities.

Dining

[Below right: Santa Fe style cooking at the Coyote Cafe; photograph by Tom.]

Food is an art form in Santa Fe, which has a wealth of fine dining spots.  Some are famous for inventing now-popular Santa Fe style cuisine, like the nationally famous Coyote Cafe and Rooftop Cantina, 132 W Water St, 505.983.1615.

Also recommended is the Santacafe surrounding an elegant Territorial style 19th century building.  There, many opera singers dine on their off-nights, as do many others you saw at the opera.  It is at 231 Washington Avenue, 505.984.1788, www.santacafe.com.  Their menu is online, and reservations are imperative.

[Below left: one of the wall decorations at the Coyote Cafe.; photograph by Tom.]

In the Eldorado Hotel (noted above) is a highly recommended eatery of high Santa Fe style: The Old House, 309 W San Francisco (505.995.4530,www.OldHouseRestaurant.com.  Another of my favorites is the very affordable Pranzo in the Sanbusco Center at 545 Montezuma. Book early (505.985.2656)

Perhaps the most opulent restaurant is The Compound at 654 Canyon Road, 505.982.4355.  There you will find elegant tables with white tablecloths, gourmet cuisine, and often Santa Fe Opera cast parties!

For wonderful al fresco dining in the very shadows of the Loretto Chapel (described in the Sightseeing section below), resonant church bells ringing, fountains splashing, “Kiva” fireplace, white linens, is Luminaria in the garden along side the chapel overlooking a remarkable sculpture garden, featuring a very USA menu and a terrific bar — we picture this to entice your visit — you’ll be back again and again like many other opera-goers!

[The Luminaria Restaurant behind the Loretto Chapel; photograph by Tom.]

There are many other fine places to eat in Santa Fe, and restaurants change frequently there.  However, the group listed above are my particular favorites for opera nights.  Don’t miss dinner at La Fonda’s La Plazuela, whose atmosphere is unsurpassed. Be sure to book early (505.982.5511).  You will see why!

Shopping

If you are not dressed in Santa Fe style, you will look out of place, rather like showing up in a a black pin-striped suit on Waikiki Beach! Nearly everyone has on something of Santa Fe, with virtually every lady jingling with silver, turquoise or red coral jewelry.

A great many shops are available to help you look Santa Fe! And there are a seemingly endless array of art galleries.  One of the most elite – that will have original Georgia O’Keeffe, Frederick Remington, Thomas Moran, Thomas Hill, etc. - is the Gerard Peters Gallery (1011 Paseo de Peralta, 505.954.5700,www.GPGallery.com).

Outstanding for fine Indian-made silver, jewelry, fabrics belts, etc. is Packard’s on the Plaza (505.983.9241 or 800.648.7358, www.packards-santafe.com, across the street from La Fonda).

[Below: Dried peppers and geraniums in front of a shop in Taos reflect the ambience of Northern New Mexico; photograph by Tom.]

The old town is very small, and as you walk up and down the charming, narrow streets, you will be treated to innumerable interesting shops.  Don’t miss the many (most upscale) shops on famed Canyon Road. By all means get the large glossy-paper super-deluxe Santa Fe catalogue (the best in the USA) fromwww.TheCatalogues.com.  It’s available everywhere in town.

For you dog-fanciers, don’t miss Emilia Poochie, whose dog gladrags are fabulous – at 708 Canyon Road, #3, 800.627.0599, www.emiliapoochie.com. And a truly exceptional collection of architectural items, doors, marble fountains, table, etc. from India and adjacent lands, as well as Southwestern fabrics of all kinds is the campus of Seret & Sons, 224 Galisteo, 505.988.9151, www.SeretandSons.com.

Sightseeing

[Below right: the Cathedral Basilica of Saint Francis of Assisi; photograph by Tom.]

Santa Fe is indeed a destination itself and it doesn’t disappoint.  Certainly see the great Cathedral Basilica of St Francis of Assisi (324 Cathedral Place).

[Below: the Cathedral Basilica, photograph by Tom.]

Also recommended is the gorgeous Loretto Chapel at 207 Old Santa Fe Trail (with the excellent Luminaria Restaurant, described above, just in back).

Also plan to see the Museum of Fine Art (107 W Palace Ave; 505.476.5072), as well as the Georgia O’Keeffe Museum of Art at 217 Johnson Street, 505.946.1000,www.okeeffemuseum.org, (the O’Keeffe gets my three stars!).

Many of you have asked about seeing where Georgia O’Keeffe lived and can it be seen? Yes indeed, and this is some of New Mexico’s best scenery along the Chama River near her home Ghost Ranch in the vicinity of Abiqu. You will instantly see where her landscape paintings came from – she just looked outside her Hacienda! It’s about a 45-60 minute drive from Santa Fe’s plaza, and it’s best to get your hotel concierge to show how to get there – have lunch on the way back at the lovely Rancho Chimayo Restaurante I note below (it’s at 351 NM County Rd 98) near the famed Santuario Chimayo [P.S. don't miss this!].

Museum Hill is the location of three fine Museums –  the Museum of Spanish Colonial Art (750 Camino Lejo, 505.982.2226, www.spanishcolonial.org), Museum of Indian Arts and Culture (Camino Lejo at Old Santa Fe Trail, www.indianartsandculture.org), and the Museum of International Folk Art (706 Camino Lejo, 505.476.1200, www.internationalfolkart.org).

Other Music

Performing concurrently with much of the opera season (for your “off” nights) is the celebrated Santa Fe Chamber Music Festival (239 Johnson St; 888.221.9836,www.santafechambermusic.org) and the Santa Fe Desert Chorale (800.905.3315, www.desertchorale.org).

In July 2011, the Santa Fe Chamber Music Festival, held July 17- August 22, 2011, has its second artist-in-residence, international opera star Dawn Upshaw, who will sing five concerts of three programs. She will perform Bach’s Cantata 199 (Mein herze schwimmt im blut) in an all Bach night with Violinist Hope Daniel. Upshaw will also perform Osvaldo Golijov’s autobiographical song cycle Ayre, which Golijov wrote especially for Upshaw. Elevent festival artists will participate on that evening.

[Below: Dawn Upshaw is the Artist-in-Residence for the 2011 Santa Fe Chamber Music Festival; edited image, based on a promotional photograph.]

Most certainly see the Maria Benitez Teatro Flamenco at the Lodge at Santa Fe (866.435.2636, 505.955.8562).  This is as good as flamenco gets in the USA.  Maria Benitez (www.MariaBenitez.com, 505.982.2645) performs around the nation, including performing in operas.  For Santa Fe Opera she appeared recently in its explosive production of Bizet’s Carmen.

Side Trips

[Below left: the Chimayo Sanctuary; photograph by Tom.]

A very easy and extraordinarily beautiful drive is to Chimayo, just north of the opera, where you will want to experience the quite special Santuario Chimayo, where, it is said, the earth has curative powers.  Pope John Paul II came to find out, as have thousands of pilgrims, in this site often called the Lourdes of the Southwest.  You will see some of the discarded crutches and canes of persons who experienced recoveries – an emotional site.

Nearby, and not to be missed is the Rancho Chimayo Restaurante, 351 NM County Road 98, in a large old family home serving authentic Northern New Mexico cuisine (505.351.4444).

The drive up to Taos is utterly spectacular through the Gorge of the Rio Grande and takes about an hour and a half. Go up US Highway 84, past the opera.  In the forgettable town of Espanola, take US Highway 68 to Taos.

[Below: the Gorge of the Rio Grande; photograph by Tom.]

Topping the dining scene (especially lunch) in Taos is Doc Martin’s at the venerable, old and adorable Taos Inn on the main road through town (there’s no other way to go!) at Bent St, parking in the rear. It is filled with curiosities and historical pieces, including an antique Spanish madonna.

[Below: the Madonna in Doc Martin's Restaurant; edited image, based on a photograph by Tom.]

It is New Mexico style at its best — and authentic — with a superb menu including smashing Southwest dishes, fine wine list including extraordinary New Mexico wines (hint: Gruet chardonnay which gets *** from me), full bar and reeking with charm.

[Below: Doc Martin's Restaurant in the Taos Inn; photograph by Tom.]

I and many others lament the loss of the popular and delightful Apple Tree Restaurant in Taos where I often saw the great southwest painter R C Gorman plus many from the opera crowd who clearly knew where to go.

East of Santa Fe and only about 45 minutes driving distance are the Pecos Mission ruins – surely one of the most dramatic ruins sites in America, sitting on a high slope overlooking the Valley of the Pecos River and surrounded by drop-dead beautiful desert scenery.  It is worth the effort to visit Pecos National Historic Park, which has a good museum.

[Below: the ruins of the Pecos Mission; photograph by Tom.]

For an easy, but hugely rewarding short drive from Santa Fe, go up to Santa Fe Peak (12,000+) in the lush Santa Fe National Forest, which is but 14 miles from the Plaza in Old Santa Fe.

You just head north on Washington Street, crossing the Paseo de Peralta with the vast, pink Scottish Rite Temple on the northwest corner, and turn right on Artist Road (the sign says to  Hyde Park and also Highway 475).

Voila! You are on your way through the very striking scenery, soon arriving in the great forests of aspen trees which turn Day-Glo yellow in the Fall.  Next come lofty pines, flowering meadows, running streams and spectacular distant scenery.

[Below left: a vista in the Santa Fe National Forest; photograph by Tom.]

When you arrive at the Santa Fe Super Chief Ski Lift, park and walk about.  The chairlift runs on weekends throughout the summer and affords a fantastic experience, riding up to the summit where it is possible to see 150 miles into Arizona, Colorado and most of New Mexico. Indeed, you are so high and it is so clear that the curvature of Mother Earth can be observed.  It can be jolting to realize we have such a small planet!

If you are visiting Taos, there is an equally easy drive up into the Taos Ski Area, which also is spectacularly beautiful.

FYI.  We recommend and praise some of the hotels, restaurants and stores in the Santa Fe area.  Rest assured, we neither receive nor accept “consideration” or other gratuities for any of these mentions.  (Would we have credibility if we did?)  Your Tipster has dined at all of these restaurants many times, knows all of these hotels and stores, and makes these recommendations from years of satisfied personal experience.  You may notice some places that would like you to visit them are missing; not everything is praised.

[Below: the Pharoah Akhnaten; resized image, based on a photograph of the artifact in the Egyptian Museum, Cairo.]

It’s “Akhenaten” (aka Akhnaten) - and aka Pharoah Amenhotep IV - fabled golden King Tutankamun’s Dad – an opera about the dramatic arrival, rise, reign, and untimely departure of Egypt’s first Ruler envisioning just one God –  instead of the pantheon of Egyptian dieties including crocodiles, cats, Anubis, Sekhmet, et al, many of whom we see in Verdi’s masterpiece Aida – also sited in ancient Egypt as is Akhnaten - and many other operas too like Handel’s “Julius Caesar” [Giulio Cesare], Massenet’s “Thais”, Rossini’s “Moses in Egypt”, et al.

Amenhotep IV ruled for five years before changing his name to Akhenaten, which means He Who is Beneficial to The Aten, which refers to the disc of the sun itself. He named his son Tutankaten which means The Living Image of The Aten which is the giver of all life -whose wonderful images invariably show the disc of the sun with multiple arms reaching out to bless and enrich the earth and mankind. He abandoned the ancient capital of Thebes (now called Luxor which I have visited) from which the Pharoahs had ruled for more than a thousand years, moving his capital 180 miles north, constructing a magnificent, imperial city he named Amarna - some remnants still remain in what is now called Tel el Amarna.

But upon his death around 1344 BCE his son, then nine-years-old, King Tut took over and shortly renounced virtually everything his father had overturned, returning to the ancient pantheon of gods, changing his own name to Tutankamun which means The Living Image of Amun – the senior god of this era was Amun – returning his court back to Thebes where the pharoahs ruled into Roman times. The succceeding pharoahs erased almost all evidence of Akhnaten with seemingly a vengeance.

[Below: the funeral mask of King Tutankamun; resized image, based on a photograph of the artifact in the Egyptian Museum, Cairo.]

All of us have seen the paintings and the immense statuary of the pharoahs – almost always appearing  in productions of Verid’s “Aida” - and almost always looking very young, very fit, very godlike – but not Akhnaten. Instead, for reasons not yet fully understood, he had himself portrayed in paintings and statuary as an effeminate figure with protuberant lips, a big pot, a slumping posture, but still arrayed in all the glitter of the pharoahs – also well-seen in every production of “Aida” I’ve ever seen.

This highly dramatic and original piece by celebrated American composer Phillip Glass, debuted in Stuttgart, Germany in 1984 with a production designed by famed theatre-opera producer Achim Freyer (who just did LA Opera’s extraordinary – and controversial Wagner Ring), was first presented in the USA at Houston Grand Opera in October 1984 where I was privileged to see it -and be swept away as your Website host William and I were at Phillip Glass’ masterpiece “Appomattox” (about the end of America’s Civil War) seen in San Francisco in 2007 – utterly an American War & Peace, a sensational, deliriously dramatic, gut-wrenching saga of Wagnerian scale which both William and I felt is a monumental American operatic masterpiece.

Mr Glass has done other biographical operas, like “Einstein on the Beach”, one about Mohandas Ghandi “Satyagraha“, “Galileo Galili”, “Kepler” and hopefully more to come. This one focuses on the seventeen year reign of Pharoah Akhnaten whose world-famed wife was Nefertiti whose spectacular, gorgeous bust (now in Berlin) has to be the most famous ancient Egyptian work of art extant (Egypt wants it back, Germany emphatically says nein).

Mr Glass however, has created a trilogy, in his own words, based upon the enormous impact three hugely important figures have had upon human history: Einstein on the Beach assesses the great scientist Albert Einstein, Satyagraha evaluates Ghandi as a monumental political epoch-changer, and Akhnaten weighs the impact this singular man had upon religion.

Which brings us to the present turmoil in Egpyt in which President Mubarak has been besieged by those seeking more freedoms after one of the longest reigns in Egyptian history exceeded only by several ancient Pharoahs, many of whom also faced rebellion by the populace. Will Mr Mubarak get a Pyramid?

The Story in three Acts, is presented partly in the Egyptian language and is explained by a narrator in some detail — much needed by way of background to fully understand what’s happening. Act I opens with the death of Akhnaten’s grandfather Amenhotep III and the very opulent funerary arrangements so important in ancient Egypt — this is what the pyramids are all about, after all !! Then comes the grande coronation scene of Amenhotep IV, his given name with lots of lush,  brilliant music, followed by him singing after a long period of dramatic scenes, in praise to his Creator, and is joined by his stunning and now world-famed wife Nefertiti.

[Below: the bust of Queen Nefertiti; resized image, based on a photograph of the artifact in the Neues Museum, Berlin, from the collections of the Aegyptisches Museum, Berlin.]

Act II is five years later in Thebes with priests singing in praise to Amun-Ra, but shortly Amenhotep IV (soon to be Akhnaten) and his coterie attack the ancient temples and what he holds to be their antiquated religious doctrine, when suddenly the temple’s roof opens to reveal the rays of the sun (Aten) splashing in the temple’s environs, thus symbolically ending the reign of Amun-Ra and the beginning of Aten’s era. Later on very rich, romantic music accompanies Akhnaten and Nefertiti singing poems to each other in a very delicious musical scene.

The final scene of Act II is in the capital built by Akhnaten with brass fanfare and dancing, with a hymn to the one and only God Aten. Off stage a chorus sings Psalm 104 in Hebrew — giving force to the concept that Akhnaten was the originator of monotheistic religion.

Act III opens with the enemies of Akhnaten attacking his city, but he and Nefertiti seem oblivious to his world about to be sacked and disappear. Major figures of the old order of Amun appear in this dreadful scene resulting in the City of The Sun being destroyed and the Royal family murdered.

Amidst the ruins, the scene changes to modern-day Tel El Amarna with our narrator appearing as a tourist guide describing the splendor which once was. In the very moving, intensely dramatic Epilogue, the ghostly Royal Family re-appears wandering and singing amidst the ruins, and the opera ends with theme music from Glass’s Einstein on The Beach, one of the Glass trilogy noted above of Einstein, Akhnaten and Satyagraha tying together these three works as did Wagner with his Ring.

This production is in Long Beach’s large Terrace Theatre (like LA Opera’s Dorothy Chandler Auditorium at LA’s Music Center downtown) the directions to which we have set out below, plus where to park, where to stay nearby, and where to dine — some excellent choices like (hint) L’Opera Ristorante across the street !!

Tickets are available by phone at 562-432-5934, FAX 562 683-2109 and also online at www.longbeachopera.org and hurry, as this one may well sell out. It’s followed by a rollicking comedy by Dmitri Shostakovitch – Moscow, Cherry Town — coming up May 15, 18 and 22. This is a screamer about Moscovites scrambling, arguing, fighting, etc to get a new apartment in a time of severe housing shortages where bribes, rank, who-you-know, etc dominate the saga of those wanting in a glistening new Stalinesque apartment complex, all entangled in Soviet bungling and corruption — sounds like LA doesn’t it!!! I saw a Russian production of this and laughed myself silly, or sillier than usual . .   .  !!

Getting there and Parking

All the LA area freeways can take you to the Long Beach Freeway heading south to Long Beach. Keep going and follow the “Downtown Exits” signs to Shoreline Drive onto which the Long Beach Freeway (the 710) blends. Turn left at Pine Avenue then a right on Seaside Way to the parking areas.

The Long Beach Center For The Performing Arts (LBPAC) is up on the street level with Long Beach Opera in the Center Theater in back of the main building.

[Below: a daytime view of the Long Beach Center for the Performing Arts; photograph by Tom.]

The LBPAC (which we picture here) is at the bottom of Long Beach Blvd as it dead-ends on Ocean Blvd. At night the fountains are especially colorful, as we show!

[Below: a night-time view of the fountains in front of the Long Beach Performing Arts Center; photograph by Tom.]

You can exit the Long Beach Freeway slightly earlier if you want to drive to the restaurants we recommend below – get off on 6th Street going left and go to Long Beach Blvd turning right. You can’t miss LBPAC straight ahead at Ocean Blvd with its wonderful fountains (attracting all the appreciative resident sea gulls)! There is nearby street parking downtown and also parking lots.

Where to Stay

Looking directly at the LBPAC — by far the most convenient location — is the Westin Long Beach at 333 East Ocean Blvd at 562.436.3000 www.westin.com/longgbeach – by all means call, as you don’t have to pay rack rates. We picture this one for you to show how convenient it really is.

[Below: the Westin Long Beach, closest recommended hotel to the Long Beach Performing Arts Center; photograph by Tom.]

Another excellent choice close to the bayfront on Rainbow Harbor is the Hyatt Regency Long Beach at 200 South Pine Ave (you’ll see it if you follow our guide to parking noted above) at 562.491.1234. www.hyattregencylongbeach.com .

[Below: the Hyatt Regency Long Beach, in the vicinity of the Long Beach Performing Arts Center.]

All the usual chains are in Long Beach as well, but a really fun-dramatic stay is aboard the great ocean liner Queen Mary, which is also a floating hotel: www.QueenMary.com at 800 437-2934. Roaming the decks in the evening after dinner is totally unforgetable!!

[Below: a night-time view of the Queen Mary, now a hotel and entertainment center in Long Beach, California; photograph by Tom.]

The Dining Scene

Fortunately, downtown Long Beach has some fine restaurants very close at hand, and the tops for ambience and oh-so-appropriate since you’re going to the Opera – is L’Opera, a short block-walk away at the NW corner of Pine Ave and 1st Street, 101 Pine Ave at 562.491.0066 www.lopera,com  - very elegant, fine wines, white linen, flowers, tuxedoed waiters.

[Below: the front door of the restaurant, L'Opera, in Downtown Long Beach; photograph by Tom.]

From the Long Beach Peforming Arts Center (LBPAC)  just walk across the street going to the left of the fountains, crossing Ocean Blvd and walk the short hop to Pine, turn right and you’ll see it on the corner. The waitstaff sings opera (what did you expect given the name?) some of whom are terrific. Valet parking available – we picture this lovely restaurant.

For fine fresh seafood, excellent oyster bar, wines, cocktails, etc is the very traditional King’s Fish House just up the block from L’Operaon the corner of Broadway at 100 West Broadway 562.432.7463 www.kingsseafood.com . It comes off like an upscale London pub (see our photo).

Also in the operatic tradition, just a bit further at 301 Cedar Ave, is La Traviata serving the traditional elegant Northern Italian cuisine, named after Verdi’s beloved Opera, so what else? They, too, have waiters doing operatic numbers. From the LBPAC same directions as going to L’Opera, but instead of turning right on Pine, go two more short blocks to Cedar Ave and turn right. It’s www.LaTraviata301.com in a very elegant 19th Olde World setting.

[Below: the Long Beach Pike area, across from the Hyatt Regency and a short drive from the Long Beach Performing Arts Center; photograph by Tom.]

But for a truly unusual dinner setting, how about going aboard the the great British Ocean Liner The Queen Mary which is moored right in back of LBPAC. Very easy drive and well marked – you won’t miss her. You want the very elegant top-deck (i.e. First Class deck – you don’t want steerage class, do you?) named after Sir Winston Churchill, Sir Winston’s 562.435.3511 www.queenmary.com and sirwinstons@queenmary.com .

Credits

As always, none of us at Opera War Horses seek nor receive any goodies for our recommendations. Your Tipster has dined in all of these restaurants often and has stayed at the recommended hotels.

Tom Rubbert

See also Tom’s Reviews of Long Beach Opera at: Richard M. Nixon and Mao Zedong Dance at Smashing Long Beach Opera “Nixon in China” – March 20, 2010

and  Vivaldi’s Revenge for Montezuma: 30 Year Old Long Beach Opera Mounts American Premiere of “Motezuma” – March 28, 2009.

Tom’s review of the December 16th performance is posted below:

Night Visitors to Visit Amahl in Historic Pasadena Playhouse

It’s Christmas Season – when many of us swoon to the glorious music of Handel’s Messiah, and certainly to one of its most overwhelming numbers: Rejoice, Rejoice, Rejoice Greatly   .    . Well, here it’s Christmas Season and a new opera company has arrived on the scene – Intimate Opera of Pasadena at www.intimateopera.net. (They dub it IOP) - Rejoice !

And to add lustre to this wonderfully happy news is that they celebrate their Gala Opening with Gian Carlo Menotti’s adorable “Amahl and the Night Visitors” at their new home a block from my Pasadena offices – the venerable, lovely, and yes intimate old Pasadena Playhouse - the State Theater of California – at www.pasadenaplayhouse.org . It’s just off Green Street on South El Molino # 39 in the Theater District of Pasadena just south of the Rose Parade route on Colorado Blvd. You can’t miss it -easy, cheap parking across the street, safe on the streets as well. Excellent restaurants highlighted below – the world famed Cordon Bleu academy of cooking is a block away!!!

[Below: the courtyard of the Pasadena Playhouse; photograph by Thomas Rubbert.]

Contrary to what some nay-sayers might be won’t to say upon the opening of a new venture in times like these, this is no Amateur Hour Shew by any means. Metropolitan Opera stars who have also graced the stages in San Francisco, San Diego, Los Angeles etc command our stage with a superb team of highly experienced professionals who know their business. From those of us who love this, the most challenging, opulent, glorious (and expensive) of the performing arts – a most hearty WELCOME to IOP which plans Puccini’s “Madame Butterfly” in 2011 and Verdi’s “Rigoletto” in 2012 (LA Opera’s most recent presentation).

“Amahl” is a distinctly Twentieth Century piece written for NBC television and seen by millions on Christmas Eve, 1951 (I saw this telecast later and absolutely loved it). It has become a tradition on TV and I submit more Americans have seen this one-act tear-jerker than have seen any other opera, by any other composer, ever! Across the land are many, many local productions. I’ve seen it from coast-to-coast over the years, and place it along side the lush Christmas opera of Humperdinck – the very Wagnerian “Hansel & Gretel” which I also love (and watch every year on DVD several times!).

[Below: Gian Carlo Menotti, in 1950, the year he was composing "Amahl and the Night Visitors"; based on a historical photograph from spoletofestival.it.]

Menotti was a prolific composer who attended the famed Curtis Institute of Music in Philly with the likes of Leonard Bernstein (who hardly needs introduction) and fellow-American-composer Samuel Barber – with whom Menotti developed a lifetime friendship. Menotti founded the celebrated Spoleto Festival USA (and earlier its equivalent in Europe), wrote something like two dozen operas – some well known – earning a Pulitzer prize for two (“The Consul” in 1950, and “The Saint of Bleeker Street” in 1955), having written his first opera at age eleven “The Death of Pierrot” – and what were you doing at eleven??

He passed at 95 in 2007 leaving the world much the richer for all his contributions – most certainly including “Amahl and the Night Visitors” which very probably is his most appreciated legacy. Indeed, next summer Santa Fe Opera features Menotti’s “The Last Savage“ which your website host William will be reviewing. LA Opera has done Menotti pieces as well.

The short story of “Amahl” - in this one-act short opera – happens on the very first Christmas Eve, all taking place in and around the small, rustic hut of the young lad Amahl and his impoverished, widowed Mom, with the crippled Amahl, needing a crutch to get about, but loving to play his shepherd’s flute-like pipe – nearby there are shepherds ” . . . in the fields, abiding o’er their flocks by night” (day too!). His tune is haunting, lillting and lovely - this sets the action in motion.

[Below: Mezzo soprano Suzanna Guzman (left), being interviewed by Dallas Opera media director, Suzanne Calvin; edited image, based on videography by Cody Rubio, courtesy of the Dallas Opera.]

Gradually appearing out of the darkness in resplendant raiment are Three Kings - Amahl is very excited and asks such probing questions a kid would ask, like “  .  .   .is your blood really blue? And of course, what goodies are they carrying with them and where are they going? Meanwhile the neighbor-shepherds come in filled with curiosity, and upon being told of the royal’s quest, they present humble gifts of local fruits and veggies to the Three Kings who are most graciously appreciative – they are Kaspar, Balthasar and Melchior who have a page to help things along – they tell Mom they are seeking The Child, singing “Have you seen a Child the color of wheat, the color of dawn?”

As night settles in, Amahl urges Mom to come out to see the beautiful night sky brilliantly illuminated by an immense new star ” . . .  as big as a window . . . “. The thrilled Shepherds, led by Amahl, are enticed to dance, ending up in an exciting, fast-paced Tarantella to the delight of all.

Mom, desparately poor but seeing all this wealth on her floor, secretes one of the precious gifts, but just then the Page awakens, and a brawl ensues, with Amahl lighting upon that Page to rescue Mom who simply wants to present some of the Three King’s gold to the Christ Child, but the Three Kings intervene and observe the Christ Child has no need of the gold. Mom begs them to take back the gold for The Child. Meanwhile Amahl wants to present his crutch to the Babe in the Manger having asked Kaspar if maybe he has some magical jewel to help cure his crippled leg.

But just then a miracle transforms the scene - Amahl cannot only walk now without his crutch, but dances and prances in Joy! The royals beam in happiness at this miraculous event. As the Three Kings prepare to depart to the Manger Scene to behold the Christ Child bearing their gifts, Amahl asks to join them – they happily so invite him, and as they leave on their sacred quest, Mom and Amahl sing an incredibly emotional duet “I shall miss you very much”. As this entourage take their leave, Amahl plays his flute with the same lilting tune that opened this lovely fable.  I guarantee you there’s not a dry eye in the house!!

The Cast: Two local opera-singers done good – gracing the stages at NYC’s Metropolitan Opera, Los Angeles Opera, San Diego Opera, San Francisco Opera, inter alia, are mezzo-soprano Suzanna Guzman (no rookie in LA – she’s done 39 productions here in LA alone!) and worked with composer extraordinaire Gian Carlo Menotti personally.

[Below: Tenor Greg Fedderly (right) attends a Los Angeles Opera performance with soprano Amanda Squitieri; edited image, based on a photograph from the Los Angeles Opera.]

She is Mom opposite comprimario-tenor Greg Fedderly who graces LA’s stage very often (seemingly everywhere else these days!), singing King Kaspar, baritone Robin Buck as King Melchior (no rookie either – 45 roles all over the world with mentors like greats Birgit Nilsson, Hans Hotter, Placido Domingo et al!. Greg Fedderly most recently did the comic role of Monostatos in Mozart’s sublime “The Magic Flute” where he brought down the house with screaming laughter – a role he will reprise at the Met shortly.

[Actor Malcolm McDowell as Mr Linderman on the NBC television series, Heroes,  promotional photograph.]

Bass baritone Cedric Berry does King Balthazar (Met Auditions winner and frequent LA Opera artist like in LA’s productions of Rossini’s “Barber of Seville”, Puccini’s “La Boheme” and , Saint-Saens’ “Samson et Dalila”, Gounod’s “Faust”, Britten’s “Billy Budd” - again hardly the new kid on the block).

The Page is Benito Galinda, and our lad-sopranos as Amahl are Caleb Glickman alternating with Leighton Sackby, all conducted by Pasadena Master Chorale Founder and Director Jeffrey Bernstein – again no rookie on the LA classical music scene to say the least – from 1997 to 2007 director of chorale music at local Occidental College when he’s not composing music, leading world chorale tours, hopefully taking time out to have dinner occasionally – having music degrees from such schools as Harvard and Yale plus our own UCLA.

The Production Team. The Founder and General Director of IOP is Wendy Kikkert – her team includes stage director Stephanie Vlahos hailing from Yale University and a graduate of NYC’s world-famed Julliard School – she’s also a singer having performed with LA Opera and also having worked with famed conductor Pierre Boulez (will be here in LA to conduct next March!!), conductor-composer Andre’ Previn, composer John Adams, et al.

Dessert Served after Intermission! This is truly sweet – it being the Christmas Season well-known actor Malcolm McDowell (Stanley Kubrick’s A Clockwork Orange; John Carpenter’s Halloween) will read Welsh Poet Dylan Thomas’ A Child’s Christmas in Wales after the intermission – beverages, goodies available in the lovely courtyard.

Tickets: This production opens on Dec 16, and there are performances on Friday Dec 17, 2010 at 8:00, ditto on Saturday Dec 18 which also has a 2:00 PM Matinee, and a 2 PM Matinee Sunday Dec 19. Pull IOP’s website at www.intimateopera.net and phone for tix at 626 274-7372.

Dining less than a block away: On “campus”, overlooking the attractive fountained courtyard of the Pasadena Playhouse, is an excellent dining spot (crowded), “Elements Kitchen” (see the website for phone). A stone’s throw down Green street less than a block on the same side of the street is Zagat rated Maison Akira (713 E Green St at 626 796-9501) which is a superb French-Asian Fusion spot worthy of major attention.

Just up El Molino at  641 East Colorado Blvd (NW corner) is Hawaii’s terrific Roy’s Hawaiian Fusion Cuisine about 250 feet away at 626 356-4066.  Around the corner on Lake Ave just 2 short blocks east of the Theater and a smidge down (south) 141 South Lake Ave is an outstanding North Italian destination restaurant Celestino’s (valet parking) at 626 795-4006. All these are within very easy walking distance.

Epilogue: Legend (and Gian Carlo Menotti) have it that as a child, Menotti was crippled in a leg not aided by unsuccessful medical treatment, being ultimately taken to a Holy Shrine in Italy – shortly thereafter he was no longer crippled!!  Sound familiar?

See also: Tom’s New Year’s Pleasure: “Phantom of the Opera” in Vegas. For a discussion of the Bracebridge Dinner at Yosemite’s Ahwahnee Hotel, see: Tom’s Winter of Content: Midwinter Opera in Sunny Southern California 2007-08.

Tom’s review of the December 16, 2010 performance of “Amahl”:

Gala Opening Night Production Reviewed: This was an extraordinary night for not only Pasadenans but Southern California Opera lovers alike: the opening presentation of a brand new opera company with a very spirited crowd gathered in Pasadena Playhouse’s most salubrious courtyard we have pictured, where I recognized many, many opera-loving friends coming to enjoy – and support our newly welcomed cultural asset. Pasadena has enjoyed opera before over the years in its grande, very European Civic Auditorium – such as visits by San Diego Opera, and others – but these were road shows (most welcome indeed) but not by our own resident opera company. All of us wish IOP the best of all possible luck.

And they produced the goods – a superb, highly polished, very professional presentation!! “Amahl and the Night Visitors” is usally presented by local colleges and churches, and occasionally by smaller, local performing groups, but this was not a home-town, local-yokel show – far fom it. IOP made a decision to have the reading of A Child’s Christmas in Wales first, which was read fabulously by Malcolm McDowell seated comfortably by a table as snowflakes projected on the scrim fell softly. Then without intermission, the curtains rose for the Opera with a large set of Amahl’s rustic abode with a blazing fireplace around which all the action took place.

IOP played the piece as a comedy – very effectively – when it fit. The laughs started when there was rapping at the door – as Amahl opens it he beholds a King, jumping back to tell his Mom who is disgusted with him at seeing such ridiculous things, then another knock, another King! Then three – Mom is bug-eyed at the spectacle of Three Kings and their resplendant Page parading in. Gregg Fedderly enters as King Kaspar carrying a huge birdcage with a brilliantly-plumed parrot inside, provoking more laugh-lines.

The cast was very well balanced – Suzanne Guzman as Mom got by far most of the singing – and as always, she was terrific and garnered the most applause. Greg Fedderly was a true comic, but didn’t get many long lines to sing. Later – after the show in talking with him, he said he loved the chance to have fun in this role and being able to do it in Pasadena!

The Shepherds turned out to be essentially a dance-troupe who gave a super show ending with the Tarantella noted above – clearly the high point in the music. This total charmer was a treat for all, very much appreciated by the audience, and most worthy for all to see in a most comfortable house!!

Tom Rubbert

Some patrons arrive early to enjoy an elegant Tailgate dinner – some with candles, ice buckets of champagne and wine, flowers, and crystal glasses.  Your Tipster has been enjoying the Santa Fe Opera now for more than two decades, and he is also in New Mexico on business often, so here are his suggestions and recommendations.

The Summer of 2010

The Santa Fe Opera’s 2o1o season includes four new productions, including three operas never before performed by the company. The season opener is a new production of Puccini’s “Madama Butterfly”, starring Kelly Kaduce (Butterfly), Brandon Jovanovich (Pinkerton), Elizabeth DeShong (Suzuki) and James Westman (Sharpless) with Conductor Antony Walker making his Santa Fe Opera debut. Lee Blakeley is director, Jean-Marc Puissant is Scenic Designer, with Brigitte Reiffenstuel’s costumes.

[Below: Tamino (Charles Castronovo) embraces Pamina (Ekaterina Siurina) in a revival of Mozart's "The Magic Flute"; edited image, based on a Ken Howard photograph, courtesy of the Santa Fe Opera.]

A revival of Tobias Hoheisel’s production of Mozart’s “Magic Flute” stars the husband and wife team of Charles Castronovo (Tamino) and Ekaterina Siurina (Pamina). Erin Morley shares the role of the Queen of the Night with Audrey Elizabeth Luna. Andrea Silvestrelli is Sarastro. Tim Albery is the revival’s stage director. Lawrence Renes conducts. (Alek Shrader will perform Tamino on August 27th.)

The first Santa Fe Opera performances of Britten’s “Albert Herring” stars Alek Shrader is the title role, with Christine Brewer, Celine Shafer, Jill Grove and Kate Lindsey. Sir Andrew Davis conducts. Paul Curran directs a new production for which Kevin Knight designed the sets and costumes.

Leonard Slatkin conducts the world premiere and all five performances of Lewis Spratian’s “Life is a Dream”, starring James Maddalena, Ellie Dehn, Roger Honeywell and John Cheek. Kevin Newbury is stage director. Sets are by David Koring and costumes by Jessica Jahn.

A new production of Offenbach’s “Tales of Hoffmann” in its company premiere, stars Paul Groves as Hoffman, Erin Wall as Hoffmann’s four obsessions (Stella, Olympia, Antonia and Giulietta), Gidon Saks as the four villains (Lindorf, Coppelius, Dr Miracle and Dapertutto) and David Cangelosi in the character roles of Andres, Cochenile, Frantz and Pittinacchio. Kate Lindsey is Nicklausse.  Stephen Lord conducts. Christopher Alden is stage director, Allen Moyer set designer with Constance Hoffman’s costumes.

Getting to Santa Fe

You can’t fly into Santa Fe on commercial flights (except the small puddle-jumpers).  You need to fly into Albuquerque (airport code ABQ), whose attractive, in places stunning, airport is decorated with Southwestern art, and filled with good restaurants, bars and shops.  If you are renting a car, take a bus directly from the baggage zone to the Rental Auto plaza, which is also most attractive.

To drive to Santa Fe, take Interstate 25 North to Santa Fe (signs tell you exactly where to go). The drive takes slightly less than an hour with a lot of terrific Southwestern scenery along the way.  Get off of the freeway at Saint Francis Drive (NOT Cerrillos Road), heading west into town.  THEN turn right on Saint Francis Drive, then take a right on Paseo de Peralta, which encircles old Santa Fe (reminding me of a miniature “Ringstrasse”).  From Paseo de Peralta you can get to everything.

There are convenient shuttle busses going from the Albuquerque Airport to Santa Fe.  These are operated by the Sandia Express Shuttle (888.775.5696, www.sandiashuttle.com).

One can use Amtrak (www.Amtrak.com) to get to Albuquerque’s marvelous old train station, and you can arrange shuttle service from there to Santa Fe.  Amtrak’s Southwest Chief also stops at Lamy, a town 18 miles south of Santa Fe.  You can arrange for transportation from Lamy on the Lamy Shuttle (505.982.8829) to Santa Fe.  But caveat: It’s a long, long train ride from almost everywhere and the Orient Express does not get to Albuquerque.

Getting to the Opera

There is a most convenient opera pick-up van that I have used for years, as parking near the opera involves a long walk (sometimes, when it is raining, a very long walk) in the full parking lots downhill from the opera house.  It also presents the dilemma of a snailpace slow exit after the opera, as there is only one lane to accommodate three large parking lots of cars.

My advice: Take the Bus! South Western Adventures (505.455.2700) charges $25 a person round trip and will pick you at at your hotel in old Santa Fe and deposit you at the opera box office plaza.

If you are driving from Santa Fe, just get back on the Paseo de Peralta and go to North Guadalupe. Go North on Highway 84/285 (the signs say Taos). Guadalupe merges into 84/285.  You cannot possibly miss the well-marked Opera exit.  From the Paseo it takes about 10 to 20 minutes to get there and to park, and another 15-20 minutes of walking.

Lodging

As might be anticipated, Santa Fe has many fine lodgings in classic Santa Fe style.

[Below right: the Inn and  Spa at the Loretto, photograph by Tom.]

A superb choice is the famed Inn and Spa at the Loretto, which looks like a great Pueblo and is adjacent to the beautiful stone Loretto Chapel. It has excellent dining and many art galleries, with all of the “action” of old Santa Fe outside the door.  I have dined here countless times and often have stayed here as well. (800.727.5531, www.innatloretto.com).

The largest hotel is the very elegant, high-end Eldorado, 309 W San Francisco St (800.955.4455, www.ElDoradoHotel.com), which dominates the west end of the old town.

Very comfortable in the tradition of old Santa Fe, with lovely, flowery, fountain-filled courtyards, is the Inn on the Alameda, 303 W Alameda (888.984.2121, www.inn-alameda.com, at which many opera friends, who want to splurge a bit, often stay.

[Below: The La Plazuela Restaurant, in the courtyard of the La Fonda Resort; photograph by Tom.]

In old Santa Fe is the legendary, historic La Fonda at 100 E San Francisco, 800.523.5002, www.LaFondaSantaFe.com, which has a fabulous tower-bar overlooking all of Santa Fe and a wonderful Indian painted, stained-glass enclosed restaurant, La Plazuela, absolutely setting the standard of how a Santa Fe restaurant ought to look.

The Rockefeller Resorts. www.RockResorts.com, has the swank, top-of-the-line La Posada de Santa Fe at 330 E Palace Ave; 866.331.7625, but this one is pricey.

Most of the national chains have properities in the surrounding environs, most on Cerrillos Road (in an area that does not remotely look like the image one has of Santa Fe).  A recommendation on Cerrillos Road, where inexpensive rates are usually available is the Lamplighter Inn at 2405 Cerrillos, 800.767.5267, across the street from a large shopping mall, and about ten minutes from the Old Town.  Further out is a classic Holiday Inn at 4048 Cerrillos, 505.4646, having that chain’s usual amenities.

Dining

[Below right: Santa Fe style cooking at the Coyote Cafe; photograph by Tom.]

Food is an art form in Santa Fe, which has a wealth of fine dining spots.  Some are famous for inventing now-popular Santa Fe style cuisine, like the nationally famous Coyote Cafe and Rooftop Cantina, 132 W Water St, 505.983.1615.

Also recommended is the Santacafe surrounding an elegant Territorial style 19th century building.  There, many opera singers dine on their off-nights, as do many others you saw at the opera.  It is at 231 Washington Avenue, 505.984.1788, www.santacafe.com.  Their menu is online, and reservations are imperative.

[Below left: one of the wall decorations at the Coyote Cafe.; photograph by Tom.]

In the Eldorado Hotel (noted above) is a highly recommended eatery of high Santa Fe style: The Old House, 309 W San Francisco (505.995.4530, www.OldHouseRestaurant.com.  Another of my favorites is the very affordable Pranzo in the Sanbusco Center at 545 Montezuma. Book early (505.985.2656)

Perhaps the most opulent restaurant is The Compound at 654 Canyon Road, 505.982.4355.  There you will find elegant tables with white tablecloths, gourmet cuisine, and often Santa Fe Opera cast parties!

For wonderful al fresco dining in the very shadows of the Loretto Chapel (described in the Sightseeing section below), resonant church bells ringing, fountains splashing, “Kiva” fireplace, white linens, is Luminaria in the garden along side the chapel overlooking a remarkable sculpture garden, featuring a very USA menu and a terrific bar — we picture this to entice your visit — you’ll be back again and again like many other opera-goers!

[The Luminaria Restaurant behind the Loretto Chapel; photograph by Tom.]

There are many other fine places to eat in Santa Fe, and restaurants change frequently there.  However, the group listed above are my particular favorites for opera nights.  Don’t miss dinner at La Fonda’s La Plazuela, whose atmosphere is unsurpassed. Be sure to book early (505.982.5511).  You will see why!

Shopping

If you are not dressed in Santa Fe style, you will look out of place, rather like showing up in a a black pin-striped suit on Waikiki Beach! Nearly everyone has on something of Santa Fe, with virtually every lady jingling with silver, turquoise or red coral jewelry.

A great many shops are available to help you look Santa Fe! And there are a seemingly endless array of art galleries.  One of the most elite – that will have original Georgia O’Keeffe, Frederick Remington, Thomas Moran, Thomas Hill, etc. - is the Gerard Peters Gallery (1011 Paseo de Peralta, 505.954.5700, www.GPGallery.com).

Outstanding for fine Indian-made silver, jewelry, fabrics belts, etc. is Packard’s on the Plaza (505.983.9241 or 800.648.7358, www.packards-santafe.com, across the street from La Fonda).

[Below: Dried peppers and geraniums in front of a shop in Taos reflect the ambience of Northern New Mexico; photograph by Tom.]

The old town is very small, and as you walk up and down the charming, narrow streets, you will be treated to innumerable interesting shops.  Don’t miss the many (most upscale) shops on famed Canyon Road. By all means get the large glossy-paper super-deluxe Santa Fe catalogue (the best in the USA) from www.TheCatalogues.com.  It’s available everywhere in town.

For you dog-fanciers, don’t miss Emilia Poochie, whose dog gladrags are fabulous – at 708 Canyon Road, #3, 800.627.0599, www.emiliapoochie.com. And a truly exceptional collection of architectural items, doors, marble fountains, table, etc. from India and adjacent lands, as well as Southwestern fabrics of all kinds is the campus of Seret & Sons, 224 Galisteo, 505.988.9151, www.SeretandSons.com.

Sightseeing

[Below right: the Cathedral Basilica of Saint Francis of Assisi; photograph by Tom.]

Santa Fe is indeed a destination itself and it doesn’t disappoint.  Certainly see the great Cathedral Basilica of St Francis of Assisi (324 Cathedral Place).

[Below: the Cathedral Basilica, photograph by Tom.]

Also recommended is the gorgeous Loretto Chapel at 207 Old Santa Fe Trail (with the excellent Luminaria Restaurant, described above, just in back).

Also plan to see the Museum of Fine Art (107 W Palace Ave; 505.476.5072), as well as the Georgia O’Keeffe Museum of Art at 217 Johnson Street, 505.946.1000, www.okeeffemuseum.org, (the O’Keeffe gets my three stars!).

Museum Hill is the location of three fine Museums –  the Museum of Spanish Colonial Art (750 Camino Lejo, 505.982.2226, www.spanishcolonial.org), Museum of Indian Arts and Culture (Camino Lejo at Old Santa Fe Trail, www.indianartsandculture.org), and the Museum of International Folk Art (706 Camino Lejo, 505.476.1200, www.internationalfolkart.org).

Other Music

Performing concurrently with much of the opera season (for your “off” nights) is the celebrated Santa Fe Chamber Music Festival (239 Johnson St; 888.221.9836, www.santafechambermusic.org) and the Santa Fe Desert Chorale (800.905.3315, www.desertchorale.org).

In July 2010, the Santa Fe Chamber Music Festival has its first artist-in-residence, the great international opera mezzo, Susan Graham, who will sing two performances (July 18 and 19) of Jake Heggie’s “The Deepest Desire: Four Meditations on Love” and two performances (July 25 and 26) of Mahler’s “Das Lied von der Erde”.

[Below: Susan Graham is the Artist-in-Residence for the 2010 Santa Fe Chamber Music Festival; edited image, based on a photograph from the San Francisco Opera.]

Most certainly see the Maria Benitez Teatro Flamenco at the Lodge at Santa Fe (866.435.2636, 505.955.8562).  This is as good as flamenco gets in the USA.  Maria Benitez (www.MariaBenitez.com, 505.982.2645) performs around the nation, including performing in operas.  For Santa Fe Opera she appeared recently in its explosive production of Bizet’s Carmen.

Side Trips

[Below left: the Chimayo Sanctuary; photograph by Tom.]

A very easy and extraordinarily beautiful drive is to Chimayo, just north of the opera, where you will want to experience the quite special Santuario Chimayo, where, it is said, the earth has curative powers.  Pope John Paul II came to find out, as have thousands of pilgrims, in this site often called the Lourdes of the Southwest.  You will see some of the discarded crutches and canes of persons who experienced recoveries – an emotional site.

Nearby, and not to be missed is the Rancho Chimayo Restaurante, 351 NM County Road 98, in a large old family home serving authentic Northern New Mexico cuisine (505.351.4444). [Note: this restaurant is temporarily closed, due to reconstruction after a destructive kitchen fire. It is expected to reopen in mid-September, 2009.]

The drive up to Taos is utterly spectacular through the Gorge of the Rio Grande and takes about an hour and a half. Go up US Highway 84, past the opera.  In the forgettable town of Espanola, take US Highway 68 to Taos.

[Below: the Gorge of the Rio Grande; photograph by Tom.]

Topping the dining scene (especially lunch) in Taos is Doc Martin’s at the venerable, old and adorable Taos Inn on the main road through town (there’s no other way to go!) at Bent St, parking in the rear. It is filled with curiosities and historical pieces, including an antique Spanish madonna.

[Below: the Madonna in Doc Martin's Restaurant; edited image, based on a photograph by Tom.]

It is New Mexico style at its best — and authentic — with a superb menu including smashing Southwest dishes, fine wine list including extraordinary New Mexico wines (hint: Gruet chardonnay which gets *** from me), full bar and reeking with charm.

[Below: Doc Martin's Restaurant in the Taos Inn; photograph by Tom.]

I and many others lament the loss of the popular and delightful Apple Tree Restaurant in Taos where I often saw the great southwest painter R C Gorman plus many from the opera crowd who clearly knew where to go.

East of Santa Fe and only about 45 minutes driving distance are the Pecos Mission ruins – surely one of the most dramatic ruins sites in America, sitting on a high slope overlooking the Valley of the Pecos River and surrounded by drop-dead beautiful desert scenery.  It is worth the effort to visit Pecos National Historic Park, which has a good museum.

[Below: the ruins of the Pecos Mission; photograph by Tom.]

For an easy, but hugely rewarding short drive from Santa Fe, go up to Santa Fe Peak (12,000+) in the lush Santa Fe National Forest, which is but 14 miles from the Plaza in Old Santa Fe.

You just head north on Washington Street, crossing the Paseo de Peralta with the vast, pink Scottish Rite Temple on the northwest corner, and turn right on Artist Road (the sign says to  Hyde Park and also Highway 475).

Voila! You are on your way through the very striking scenery, soon arriving in the great forests of aspen trees which turn Day-Glo yellow in the Fall.  Next come lofty pines, flowering meadows, running streams and spectacular distant scenery.

[Below left: a vista in the Santa Fe National Forest; photograph by Tom.]

When you arrive at the Santa Fe Super Chief Ski Lift, park and walk about.  The chairlift runs on weekends throughout the summer and affords a fantastic experience, riding up to the summit where it is possible to see 150 miles into Arizona, Colorado and most of New Mexico. Indeed, you are so high and it is so clear that the curvature of Mother Earth can be observed.  It can be jolting to realize we have such a small planet!

If you are visiting Taos, there is an equally easy drive up into the Taos Ski Area, which also is spectacularly beautiful.

FYI.  We recommend and praise some of the hotels, restaurants and stores in the Santa Fe area.  Rest assured, we neither receive nor accept “consideration” or other gratuities for any of these mentions.  (Would we have credibility if we did?)  Your Tipster has dined at all of these restaurants many times, knows all of these hotels and stores, and makes these recommendations from years of satisfied personal experience.  You may notice some places that would like you to visit them are missing; not everything is praised.

Other  highlights of the Fall season (September through December) include a new production of Wagner’s “Siegfried”, the third episode of the Achim Freyer “Ring” production; and the always amazing Placido Domingo starring in the title role of Handel’s “Tamerlano”.

As an early holiday present for Los Angeles opera-goers, two teams of stars, all well-liked by this website, perform in Rossini’s “Barber of Seville”. Tickets for the  superstar trio of Juan Diego Florez, Joyce di Donato and Nathan Gunn may sell out early, but the alternate trio of Dmitri Korchak, Sarah Coburn and Lucas Meachem also should be seen and heard.

Your website host, William, is scheduled to review all of these performances, including both “Barber” casts. (For ticket information, see the Los Angeles Opera’s website - www.laopera.com).

Attending Opera in L. A.  – Tom’s Tips

[Below: the Dorothy Chandler Pavilion at night, with Los Angeles Music Center fountains in the foreground; photograph by Tom. ]

If you were to review the statistics on who holds either full or partial season tickets to the Los Angeles Opera, you would see that relatively few live in Downtown Los Angeles or nearby neighborhoods. Many opera patrons never come downtown for any other purpose than to see opera and know little about the area surrounding the opera house.

Your Tipster has worked in Downtown Los Angeles for over 48 years and has had offices there for 22 years, within walking distance of the Opera.  So, here are some of Tom’s Tips when coming into Downtown Los Angeles for opera.

From the Hollywood Freeway Traveling East: When coming downtown on the Hollywood Freeway (101) from the Westside suburbs, get off at Hope Street (just past the famed “stack” of freeways) and turn left immediately on Temple Street, then turn right on Grand.  The parking lot underneath the Music Center is on your right.

From the Hollywood Freeway Traveling West: When traveling from cities in Eastern Los Angeles County, the Inland Empire Counties or Central Orange County (such as from Covina, Riverside and Santa Ana), use the Grand Avenue exit, turning right on Grand and traveling directly to the Music Center. You are deep below the tall buildings of the Downtown “slot”.

From the Pasadena Freeway Traveling South or Harbor Freeway Traveling North: From the Northern suburbs, such as Pasadena, Glendale and Arcardia, use the Pasadena Freeway (Interstate 110 South).  From Southern suburbs such as Long Beach and Palos Verdes, take the Harbor Freeway North (Interstate 110 North).

From either direction get off at the 4th St Downtown exit, which is one-way eastbound, and turn left on Olive Street, which dead-ends at the courthouse.  Turn left at that point (on 1st Street), and travel to Grand Ave, where you turn right to the Music Center.

Where to Park: Los Angeles Opera performs at the Dorothy Chandler Pavilion within the Los Angeles Music Center, not far from Los Angeles’ Civic Center.  Parking near the Los Angeles Music Center becomes ever more problematic as formerly available parking lots disappear for new construction.

Your best and most reliable bet is parking under the Music Center itself.  The entrance into and exit from that parking lot are both located at one location – which is mid-block on Grand Avenue on the West Side between First Street and Temple. The cost of the parking lot is typically $10, depending on when you arrive, but it can be a nightmare getting out after the opera.

An excellent alternative (much easier to get in and out of and cheaper) is under the new Cathedral of Our Lady of the Angels, which is on Temple Street between Hill and Grand with an entrance off Hill Street just 200 feet north of Temple (or, alternatively off Temple just 100 feet west of Hill on the North side of the street). It is a block and a half walk to the Dorothy Chandler, alongside the new Cathedral. (Do see the Cathedral’s spectacular interior!)

Never park on any of the surface streets, even though empty parking spots might tempt you.  You do NOT want to find out why not to park there.

The Luxury Express: For those living on L. A.’s West Side, Tom highly recommends the opera’s new round-trip bus service, the Los Angeles Opera Luxury Express from the West L. A. area, which leaves from the federal building at 11000 Wilshire Blvd., just East of the San Diego Freeway (Interstate 405).  For 15 dollars total cost, you get a round-trip to and from the opera, and can park your car at the federal building, where you board the bus.

For a 7:30 p.m. curtain (which most evening performances have), the bus leaves the federal building at 5:45 p.m.  For a 7:00 p.m. curtain (such as for “Tristan”), the bus leaves at 5:15 p.m.  Seat reservations are required, and are on a first-come, first served basis.  Reserve your seat at 213.972.8001.  (Food and beverages are allowed on the bus for those who wish to have their dinner on the way there.)

Avoid Public Transportation: Your Tipster strongly recommends avoiding taking city buses to and especially from downtown late at night, nor using the light rail Metro lines after performances.  (The Metro Red Line’s “Civic Center” station on Hill Street is one block from the Music Center between Temple and First.)

Plan to Arrive Early: As one would anticipate, traffic coming in and leaving Downtown Los Angeles in every direction is very heavy, so allow plenty of time if you plan to arrive after 2:30 p.m.  If you are really early, you may enjoy the nearby Museum of Contemporary Art at 250 S. Grand Avenue, two blocks from the Music Center.  It has a very good lunch at Patinette (another of Joachim Splichal’s group of elegant Patina Group restaurants, located within the museum).  It is open until 4:30 p.m., later on Thursday evenings.

Where to dine:

[Below: Walt Disney Concert Hall, the landmark designed by architect Frank E. Gehry, across the street from the Los Angeles Music Center, photograph by Tom.]

The dining scene at the Music Center is excellent and can accommodate any budget. One of the most elegant and newest is the spectacular Frank Gehry-designed Disney Hall on 1st Street at Grand – directly across from the Chandler Pavilion.  The superb Patina Group’s flagship, the Patina Restaurant (213.972.3331), is located there, with reservations required.  (The Patina Group holds the restaurant and catering contracts with some of the most famous performing arts centers, including not only the restaurants of the Los Angeles Music Center, but the War Memorial Opera House, where the San Francisco Opera performs).

On the “campus” of the Music Center, on top of the Chandler Pavilion is The Fifth Floor, a very opulent (but pricey) buffet, commanding a terrific view of the Music Center and Downtown.  Reservations may be made at 213.972.7333.

[Below: a view of the Los Angeles Music Center Plaza at night; photograph by Tom.]

Directly underneath the Chandler is Tom’s favorite restaurant from every standpoint, Kendall’s Brasserie (entrance on Grand Ave., just steps away from the Music Center parking lot).  It is a classic Parisienne brasserie, with dark wood panelling, and the blackboard of information about the current specialties.  It features fresh oysters, clams, lobster and crab, braised shortribs and lamb shank.  Always book in advance (213.972.7322), and be aware that the restaurant is always busy before a performance, although latecomers can usually get service at the elegant bar in a pinch.

In the warm months, a delightful outdoor alternative is the Pinot Grill – facing the gushing fountains and the colossal Dove of Peace sculpture on the Music Center’s vast plaza – featuring a barbeque which is lots of fun and affordable.  It is open year-round (telephone 213.972.3190).  It has great views of the Civic Center, the Chandler, the Cathedral and the classic Los Angeles sights.

Facing the Pinot Grill is the Spotlight Cafe, which features sandwiches and salads to go.  Just take a seat at a table on the plaza and enjoy an inexpensive quickie meal.  Lincoln Center in New York City has nothing like these amenities.  Of all the opera houses in the United States, Los Angeles’ is the best for promoting an environment of convenient nearby dining!

Although none of the other options are really as convenient as the fare in and around the Music Center, there are other options to mention.  Seattle’s famed McCormick and Schmick has a Los Angeles restaurant located in the Library Tower on the fourth floor level at 633 West 5th St (telephone 213.972.7322).  It operates a free opera shuttle.

[Below: a view of the Los Angeles skyline from the Maguire Gardens, outside of the Cafe Pinot; photograph by Tom.]

Also nearby is the very lovely Cafe Pinot, an easy and cheap cab ride away, which opens onto the very grand Library’s lush Maguire Gardens and fountains at 700 West 5th and Flower Streets (213.239.6500). It is another Patina Group restaurant and one of your Tipster’s favorites in L. A.

But Tom’s most favorite L. A. seafood restaurant is the incomparable and justly celebrated Water Grill at 544 South Grand (at 5th Street, telephone 213.891.0900).  Use their valet parking.

All in all, you will eventually get accustomed to and actually enjoy Downtown Los Angeles, which is so rapidly changing as the badly needed major urban restoration takes place. (FYI, despite our lavish praise of the restaurants mentioned above, we neither request nor accept goodies or “considerations” from them.  Would we have any credibility if we did?)

In celebration of the Fall Season, we are re-publishing Tom’s Tips for enjoying opera in San Francisco.

Tom’s San Francisco Tips

The grandest opera house in the West -without any doubt – is the War Memorial Opera House.  It is the long-time home of the San Francisco Opera which, for more than eighty-five years, has enriched the West with – again without doubt – consistently the West’s best opera, and on a World-class-scale!

[Below: a view of San Francisco's War Memorial Opera House, from across Van Ness Avenue; photograph by Tom.]

They were presenting true grand opera long before there was any significant opera in Los Angeles, or any at all in Vancouver BC, Seattle, Portland, Santa Barbara, Orange County, San Diego, Phoenix, Houston or Denver!

Your Tipster is a native San Franciscan and the Third Generation of San Francisco Opera patrons, growing up and living there for years, and annually attending their performances for more than fifty years! My opera-adoring San Francisco grandmother often took me as a youngster (in my sailor suit!), and I got hooked! As a personal note, my grandfather’s ornamental iron works company created, built and installed most of the decorative bronze and iron art works in the Opera House as well as for the grand City Hall!

[Below left: San Francisco City Hall, viewed from outside of the War Memorial Opera House (seen at right); photograph by Tom.]

Your Website host William has similarly enjoyed the San Francisco Opera for decades, and the primary focal point of the website is the San Francisco Opera – tracing its performance history with thorough analysis, and reviewing performances at other opera houses as well.

Also as background, your Tipster’s family includes former long-term San Francisco music and opera critic – Arthur Bloomfield – who authored the definitive Fifty Years of The San Francisco Opera to commemorate the Opera’s Golden Anniversary in 1972.  Bloomfield’s work, updated in 1978, relates San Francisco Opera’s history since its opening night at the Civic Auditorium on Grove Street (Puccini’s “La Boheme”) on Sept 26, 1923. (Bloomfield’s book is still in the  S. F. Opera shop!).

But there’s more: Arthur Bloomfield is also a dining and food author-critic having written the bestseller Guide to San Francisco Restaurants in the 1970s, then in 1987 his San Francisco (and environs) Arthur Bloomfield’s Restaurant Book and most recently his acclaimed memoir cookbook The Gastronomical Tourist: Memories and Recipes of a Bistro Crawler at Home and Abroad (see this at www.TheGastronomicalTourist.com ). We often researched these San Francisco restaurants together and still do!

Getting there

The majority of Season subscribers and a significant number of intermittent patrons don’t live in San Francisco.  Many of the latter (and visitors to the Bay Area) need some guidance as to arriving, parking, etc. Hence this Labor of Love writing these hometown tips.

The Opera House is on the corner of a major thoroughfare, Van Ness Avenue, at its intersection with Grove Street, across the street from the fabulous architectural gem, City Hall. There is plenty of bus service on Van Ness, stopping right out in front of the opera house. There is a subway (BART) which has a major station at “Civic Center” – this is a three block walk through the Civic Center – not especially inviting late at night after the opera.

Parking

The best parking, by far, is in the parking structure to the rear of the House, between one-way northbound Franklin Street (which parallels Van Ness) and one-way southbound Gough Street.  Its main entrance is at 360 Grove ($12) – very secure and convenient. The next-best safe parking is under Opera Plaza, entering on Golden Gate Avenue between Van Ness and Franklin ($18 and 2 blocks away).

Parking under the Civic Center is not recommended at night due to safety. A Tom’s Tip from Experience: Never park on any surface street parking location near the Opera House – car break-ins are now epidemic in San Francisco, so opt for our recommended parking locations – in the long run it’s much more affordable than replacing broken glass. Ditto LA – sorry about this.

If you’re flying in to either Oakland Airport (OAK) or S.F. International Airport (SFO), you can take the fast, safe and convenient BART trains directly to the underground Civic Center station noted above: www.BART.gov.com . Fare from OAK = $3.55, from SFO = $5.35, and fares downtown on Market Street are similar.

Getting tickets

Go online to www.SFOpera.com to view the season and order your tickets ASAP at www.SFOpera.com/buy . In my judgment, at the War Memorial, you can’t sit too close to the front orchestra in the middle. Indeed, your main website host, William, sits front-row-center at the left elbow of the conductor!

The telephone number for tickets is 415.864.3330. But if you’re in town and haven’t bought tickets, do pop in the box office in the lobby, and in a pinch and they have nothing you like, often you can do very well out in front of the House “on the steps” where some ticket-holders are holding up available tickets for sale. They can’t scalp under S.F. law. I’ve bought this way innumerable times over years.  (Be sure to have lots of cash.)

Dining Options

Next to the recommended parking structure and on the way to the opera is Jardiniere at 300 Grove Street, on the Northwest corner of Franklin, 415.861.5555 – www.Jardiniere.com – which is superb, fine wines and bar service and couldn’t be more convenient. It is always jammed – booking far in advance is imperative. Everyone has discovered this delight.

An easy block away is a marvellous French Bistro – Absinthe – 398 Hayes St at the Northeast corner of Gough, 415.551.1590 – serving classic Onion Soup Gratinee’ , terrific fresh oysters, wonderful pate’, Cassolet, etc. It is very crowded by the knowing opera and symphony patrons – do your early booking ASAP.

Also an easy block away is an outstanding seafood eatery of long standing, the Hayes Street Grill, 324 Hayes St, 415.863.5545 – www.HayesStreetGrill.com – in classic olde San Francisco style like Jack’s used to be or Tadich Grill remains - coat hooks on the walls, etc. Excellent selection of really fresh seafood including scrumptuous Petrale Sole, swordfish, yellowtail tuna, etc. Crisp, prompt service. Always book reservations in advance.

There is a very upscale, very lovely spot just in back of the House at 333 Fulton, the appropriately named Ovation in the elegantly cozy Inn at The Opera, 415.863.8400 – www.InnAtTheOpera.com – quiet, formal service with gorgeous tables of crystal, silver, flowers, etc. It doesn’t get more romantic than this! (Bring money!)

For a true Destination pre-opera Sunday brunch-without-equal, if you’re attending a Sunday Matinee: The Garden Court at the majestic Palace Hotel (built in 1875), 2 New Montgomery St at Market, a short cab ride from the opera (caution: if you’re driving, don’t use valet parking; it’s $25!!). This is, sans doubt, one of the most magnificent dining rooms in the United States! Think marble columns, stained glass-domed roof, immense crystal chandeliers – yours truly learned to dance (at Cotillion!!) in here! Their Sunday brunch has few equals — 415.512.1111, www.SFPalace.com , and that includes the Palm Court in New York’s elegant Plaza Hotel @ 5th & 59th.

[Below: the Garden Court of the Palace Hotel, photograph by Tom.]

If you’d like to dress down and have a cup of capuccino with the locals along with Pub-grub, try Tosca Cafe, 242 Columbus Ave in “North Beach” (aka home of the the Hippies and Flower Children of the 1960s), where the jukeboxes sing out opera arias! You likely have not heard the voice of Pavarotti in a setting like this!  He himself enjoyed it when in town from time to time!

And if you want to enjoy great Irish Coffee where it was invented, take the Powell-Hyde cable car (the green ones) from Powell Street downtown to the bayfront (best cable car ride in town by far – hang on tight!) to the Buena Vista Cafe at Hyde & Beach.

For unsurpassed, fresh oysters-on-the-halfshell of sublime succulence, head for the famed old Ferry Building at the very bottom (i.e., Easternmost section) of Market Street, on the bayfront. In the North end of this now-fabulous marketplace is Hog Island Oyster Company which is a complete oyster bar with much else (baked too). These oysters are grown North of San Francisco, are incredibly fresh – simply scrumptuous as the late Julia Child would say. BART, the Muni, and the waterfront trolleys all stop in front. With some California chardonnay these are, well, utterly memorable!

Who knows, you might find a pearl, but you will find terrific San Francisco Bay views. Hint: the Larkspur Ferry is right there, which affords a very affordable, spectacular Bay cruise to and from Larkspur across the Bay. This rides gets my ***!

The ultimate glitzy San Francisco bar is on the ground level of the St Francis Hotel on Powell between Geary & Post – go in, turn left, go up three steps, and voila! – it’s smashingly palatial. And the bar with the best view is the famed Top of the Mark, meaning the Mark Hopkins Hotel at California & Mason (big red cable cars in front, which meet with the green ones at California & Powell).

Lodging

[Below right: San Francisco's St Francis Hotel, across Powell Street from Union Square; photograph by Tom.]

San Francisco is famed for its grande hotels — with grande prices, like the gilded, marble-columned pre-earthquake-fire Fairmont on top of Nob Hill 950 Mason at California (the famed cable cars right there) – 415.772.5000, www.Fairmont.com. This, like the St Francis on Powell, the Sir Francis Drake (also on Powell with cable cars in front), are quite (but not always) expensive. Call – you might be surprised if it’s a weekend when it’s much less than the rack-rates.

All of the national chains are well represented all through S.F. – showing their usual lack of charm with few exceptions, but there is a very attractive, elegant small hotel downtown with very competitive pricing – The Prescott, 545 Post St between Mason and Taylor, looking at the famed Bohemian Club in a fine, safe area loaded with the great stores, galleries and shops. This one is very popular with the Southern California Opera crowd (me too!) – it has a Club Level with a stunning private bar for pre- or post-opera drinks and is a short cab ride from the opera. Inside is Wolfgang Puck’s very popular Postrio restaurant. Incidentally, cabs are much cheaper (and more convenient) in S.F. than having a rental-car -primarily because the cost of parking is extremely high. Also, trying to navigate S.F.’s narrow, one-way streets at night is problematic if you don’t know S.F. well.

Of the affordable chain-accomodations, I feel perhaps the best is the Holiday Inn at Fisherman’s Wharf (1300 Columbus Ave, 415.771.9000) which is in the center of the “action” and close to lots of good nearby restaurants. For great seafood, including the best cioppino in town,try Scoma’s, overlooking the fishing boat fleet on Pier 47, 415.771.4383 - www.Scomas.com. Close by are the highly entertaining Pier 39, and the Cannery and Ghirardelli Square, with many shops and restaurants to explore, two cable car lines, the Maritime Museum, and much else to see and do - www.HolidayInn.com.

There is another Holiday Inn within easy walking distance of the Opera House (0.4 mile), often used by and catering to lawyers and business people, thanks to its close proximity to the Courts and the Civic Center, with good, safe parking. Don’t look for glamour here – it’s strictly business, but affordable, at 50 8th Street, just south of Market Street, 415.626.6103.

For unsurpassed old San Francisco lore – and glamor – the Palace Hotel (noted above for brunch) is a fine selection and can be surprisingly affordable. The rooms are huge, towering ceilings, superbly furnished, worth splurging. The great operatic tenor Enrico Caruso was staying here after he sang Don Jose in Carmen the night before the great Earthquake and fire of April 18, 1906. It is said he fled S.F.- screaming out Italian expletives in his incomparable tenor voice, vowing never to return.  He definitely did not leave his heart in San Francisco . . .!

Above, I noted the cozy-formal Inn At The Opera. The rooms are small but fabulously decorated, and come with a wonderful European style Buffet breakfast. Tops for convenience to the opera (just steps away), along with a lovely dinner and after-opera brandy accompanied by the classics from the concert grand Steinway.

Sightseeing

I could go on and on, however there are myriad S.F. guides already, but of the guides I’ve seen, the best, by far, is the Knopf Guides San Francisco (Alfred A Knopf Inc – get it from www.Amazon.com cheap). This is fabulous, but most importantly, the extremely knowing input is by locals and Knopf Guides gets an A+ for their homework. If you don’t know S.F. well, by all means get the Knopf guide, as it will really make your visit memorable.

[Below: one of the towers of the Golden Gate Bridge, from one of the San Francisco's many points for scenic views; photograph by Tom.]

F.Y.I. As always, despite all the recommendations and praise, we neither receive nor accept tips or other compensation from any of these locations — all are based on a lifetime’s personal experience (and that of Arthur as well!) having dined in all of these restaurants often and staying in all of these hotels (and many unmentionable others too!). When I had to leave my beloved hometown, I definitely left my heart in San Francisco . . . .

Tom

Long recognized by loyal Wagnerians (a militant breed if ever there was!) Seattle Opera has presented full four-opera cycles of Wagner’s Ring of the Nibelungs for more than three decades.  Starting in 1975, Seattle Opera’s founding General Director Glynn Ross made it happen and did so for the next nine consecutive summers, adding Tristan und Isolde in 1980 and 1981.

[Below: 321 Mercer Street, the home of the Seattle Opera; photograph by Tom.]

Then in 1983, current General Director Speight Jenkins – an almost equally ardent Wagnerite -succeeded Glynn Ross running  Seattle Opera. In 1986 he presented a brand new Ring with the now famed flying horses (full size horses flying across the stage, ridden by shrieking Valkyries!), and that Ring was repeated in 1987, 1991 and 1995.

Meanwhile, Jenkins added all of Wagner’s remaining major operas, starting with Tannhauser in 1984, Flying Dutchman and Die Meistersinger in 1989, Lohengrin in 1994, a reprise of Tristan und Isolde in 1998 and Parsifal in 2003! All of this was in addition to his regular fall-winter seasons and other summer presentations as well, such as this August’s production of Verdi’s Aida.

Excepting the very first in 1975, I have attended the Ring productions each year they were presented, and I have seen all of Seattle’s other Wagner productions, and other Seattle Opera presentations as well.  Because work has brought me to Seattle et environs for more than 45 years, my Tom’s Tips for Seattle are based on long experience.

This summer (August 2009) Seattle Opera will present three Ring cycles, of Seattle’s very traditional, very “green” sets which premiered in 2001, returning with many improvements in 2005.  These are by far the visually best productions I have seen anywhere – and I have attended Ring cycles at the Met, at San Francisco Opera, Chicago Lyric, Flagstaff Arizona, the Mariinsky/Kirov production seen in Orange County (and reviewed by your website host, William), and at both Berlin’s major companies, Deutsche Oper Berlin (DOB) and Staatsoper unter den Linden.  I also have collected Rings on videotape, laservideodisc (remember those?) and DVDs.

It’s still possible to order tickets for cycles and individual performances of the August 2009 Rings at www.SeattleRing.com or at www.SeattleOpera.org although this year, as in 2001 and 2005 some Ring cycles sold out long before opening night! The audience comes from throughout the United States and at least 18 countries abroad.  A great many Seattle patrons come from Germany, where they are underwhelmed with bizarre Eurotrash Rings so often presented there.  (In Berlin, I attended a musically sensational DOB Ring, marvelously conducted by the renowned Christian Thielemann, but much of it took place in the grubby Berlin subways just after World War II.  It garnered thunderous Booooooos from multitudes (including me).

But Seattle Opera presents a regular fall season as well – this year including three Verdi standards, “La Traviata”, “Il Trovatore” and “Falstaff” and Hagen’s “Amelia” (American premiere).

Getting There

[Below: a view of the top of the Space Needle from the Seattle Center, home of the Seattle Opera; photograph by Tom.]

Seattle Opera presents their productions at Marion McCaw Hall in the Seattle Center, which includes a playhouse and Pacific Northwest Ballet. It’s located at 321 Mercer Street, between 3rd Avenue North and 4th Avenue North.

The Seattle Center is the site of the 1962 World’s Fair (I was there!) for which Seattle’s signature icon – the 607 foot high Space Needle – was built.  It peeks over the roof of McCaw Hall.

Also premiered at the World’s Fair was America’s first successful commercial Monorail www.SeattleMonorail.com), which runs from downtown to the Space Needle, from which it’s an easy walk to the opera.  (See the ad we have pictured)  It’s lots of fun and the way to go if you are staying downtown near its terminus.  You board on Pine Street between 4th and 5th in a lovely, open square festooned with flowers.

[Below right: advertisement for the Seattle Monorail.]

The Monorail is by far the best way to get to the opera if you prefer not to drive.

There’s no subway and the buses have long delays late at night – and it’s not fun waiting for a bus in the rain.  Cabs are very pricey to and from downtown and almost impossible to find after dark.

Parking

There’s one best place to park – the Mercer Street Garage, a multilevel parking structure, with a covered (much needed!) bridge to the Opera House.  It’s always available and is safe.  If you are coming from downtown, come out north on 5th Avenue and make a half right turn onto 5th Avenue North.  You will pass under the Monorail. Keep going, crossing Mercer to Roy Street, turn left and you can enter the structure (on your left) from either 4th Avenue North or 3rd Avenue North.

I don’t recommend other parking – the alternatives are too far away and the area is too dark.

Where to Stay

Seattle Center boasts 74 acres with lots to see for everyone from baseball to kids arcades, but the nearby motels are generally unappealing with one notable exception – the legendary Edgewater (www.EdgewaterHotel.com) where you can fish from your window overlooking Puget Sound.  There are great views and the maritime “sound effects”.  I have often enjoyed it.

[Below: the Georgian Room within the Fairmont Olympic Hotel; photograph by Tom.]

But the best is downtown within easy walking to the Monorail.  The venerable, elegant old Fairmont Olympic Hotel (411 University between 4th and 5th, 206.621.1700, www.Fairmont.com) is superb with all of the amenities, such as you’d expect from New York’s Plaza Hotel or Palace Hotel, San Francisco’s Palace Hotel or Fairmont or St Francis or L.A.’s Biltmore.

The Georgian Room, its very upscale restaurant, is without equal for opulence in the Pacific Northwest.  Sunday Brunch there is fabulous, and the Garden Court is unsurpassed for a drink and tidbits after the opera.

The large chains have comfortable properties in the downtown area. I have enjoyed stays at the Seattle Hilton, Holiday Inn Crowne Plaza and Seattle Sheraton.  However a small charmer down the street is the Sorrento (900 Madison Street; 206.343.6156), whose Hunt Club dining room is a jewel and whose Fireside Room Bar is delightful for an after-the-opera cognac.

Don’t try to stay across Lake Washington in Kirkland or Bellevue, because getting across the lake in heavy traffic to arrive at the opera on time can be maddening.  Seattle does have considerable rush hour traffic, and the streets around Seattle Center will be quite congested.  (Downtown they have covered much of the Interstate 5 Freeway with gorgeous parks!)

The Dining Scene

Seattle has all of the restaurant chains represented and is home to the very first Starbucks, but it’s Seafoodies’ Heaven Found! For really top oysters, fresh Dungeness crab and choice salmon, try Shuckers in the Fairmont Olympic Hotel downtown (see above).  Located on the southwest corner at 4th and Seneca, it’s decorated with olde style, carved wood panels.  Order their spectacular Geoduck (pronounced gooey-duck) stew, a scrumptuous clam chowder.

Also in the seafood department are several notable McCormick & Schmicks, the best and most formal being at 722 4th Avenue downtown (with valet parking, 206.682.3900).  Another winner is Harborside, on the west shore of Lake Union (1200 Westlake Avenue, 206.270.9052), where you watch the seaplanes take off and land, while enjoying top flight (pardon the pun) seafood dining.

There’s no better formal dining in town than in the hyper-elegant, aptly named Georgian Room at the Fairmont Olympic Hotel, where you will recognize the opera crowd each time you are there.  The pianist at the concert grand Steinway plays Chopin, Mozart, Gershwin and snippets of Phantom of the Opera. It doesn’t get any better in all of the Pacific Northwest.

Westin Hotels operates the Cafe Impromptu inside the Opera House, with an attractive fast menu and a full bar.  It’s very popular and always crowded.

[Below left: a view of Canlis Restaurant; courtesy of Canlis.]

The best overall, you ask? My nominee is Canlis at 2576 Aurora Avenue North, overlooking Lake Union and the snowcapped Cascade Mountains (206.283.3313, www.canlis.com) where you are surrounded by the corporate giants Microsoft, Oracle,and  Amazon.com.  Yuppie zillionaires from these firms come to Canlis to graze on the goodies.  The restaurant specializes in very elegant Asian/Pacific Northwest fusion. Bring money!

Action in Town

Don’t miss Pike Place Market at the bottom of Pike Street.  Everyone proclaims this as the nation’s best.  There are incredibly fresh berries and fruit, and flowers galore, but the seafood is nothing short of spectacular.

[One of many Pike Place merchants displays his wares; photograph by Tom.]

Where else are there professional salmon-slingers when a sale is made, who send the freshest of fresh salmon flying to the wrap counter? There are mountains of huge, fresh Dungeness crab, acres of oysters (some are immense, but should be avoided) and dozens of artisanal craft vendors, accompanied by many eateries of every description.

Parking is tough, but have patience.  It’s an easy walk from many of the downtown hotels.  This is where Starbucks started.

For terrific (and cheap, though very breezy) fun, go down to the Ferry Terminal and take the Ferry (cars and pedestrians both are welcome) across Elliott Bay west to Bremerton.  The vistas are dazzling when it’s sunny.  Bring your camera! The ride back to the terminal rewards one with overwhelming views.

For another water event, consider the boat tours of Puget Sound offered by Argosy Cruises (www.ArgosyCruises.com).  I recommend the white tablecloth gourmet dinner served aboard the elegant old-time, Royal Argosy (www.RoyalArgosy.com).

The Seattle Art Museum (www.SeattleArtMuseum.org at 100 University, downtown, is excellent, with an especially rich variety of Pacific Northwest artifacts and art.  Additionally, the Seattle Asian Art Museum (1400 E Prospect, 206.654.3100) is loaded with East Asian treasures, especially bronzes and porcelain.

If you allow 40 minutes for the drive, one can visit the Seattle area’s wine country.  At Woodinville, discover a French-style chateau surrounded by lush grounds where you can enjoy un piquenique with wine. The  Saint-Michelle (www.Ste-Michelle.com) and Columbia (www.ColumbiaWinery.com) wineries are neighbors.

What to See Nearby

[Below left: a view of Mount Rainier from a meadow within the Mount Rainier National Park; photograph by Tom.]

When it’s clear you can see Mount Rainier looming majestically to the South.  By all means, put this lovely drive on the top of your list of side-trips. You travel through deep forests, past lakes, rivers, flower-spangled meadows and finally the knock-your-socks-off ascent up the mountain.

I recommend going to Paradise Lodge where a fine lunch is available in a quintessentially National Parks-style Lodge.

Just out of the door and above it are the views in every direction, including famed Mount Saint Helens, which still smokes (despite the Surgeon General’s caveats).  The best route is to go south to Tacoma on Interstate 5 and then east to Mount Rainier.  It’s very well marked, but get an AAA map.  It will hugely increase your pleasure.

If a visit to Mount Rainier National Park sounds like too much mountain hiking, why not take the Jet Boat from Pier 69 (just below the Space Needle) on the Victoria Clipper across Puget Sound (www.VictoriaClippers.com)?

The waters inside the Sound are usually calm, and the trip takes two to two-and-a-half hours, depending on the weather.  Aboard they serve light snacks and have a fine bar.  The arrival into Victoria’s Inner Harbour is worth the super-scenic trip alone.  It’s awe-inspiring! (This may be an over-used term, but it really fits this scene.)

[Below left: the Empress Hotel in Victoria, British Columbia; photograph by Tom.]

Harborside, one sees the very, very grand old Empress Hotel, surrounded by a bevy of fine porcelain shops, especially on Government Street), vending the best English dishware conceivable.  By the bye, Victoria is far more British than England herself! When the Jet-Boat lands and you get through customs (be sure to bring your passport!), make a bee-line straight for the Empress so that you don’t miss High Tea. At the Empress they have raised high tea to an art form – it’s not to be missed.

There’s a Victoria Harbour boat tour (250.708.0201).  Caveat: the Canadian dollar has sharply increased in value relative to the U. S. dollar, so things are no longer as cheap as they were.  Still, there’s lots of good dining.  For lunch, try the Brasserie L’ecole at 1715 Government Street (an easy walk), 250.475.6260.  I give’em 2 stars!!

[Below right: the skyline of Vancouver, British Columbia; photograph by Tom.]

If a fast boat trip is not your cup of (English) tea, then drive up Interstate 5 to Vancouver British Columbia, a two hours 15 minute drive through majestic countryside.

To many, Vancouver is the Queen of Cities on the Pacific Coast, offering everything a great city could.  You cannot do better than staying at the old, green-copper-crowned, chateau-like Fairmont Hotel Vancouver (900 W Georgia Street; 866.540.4452, www.fairmont.com). It has a grand bar, outstanding dining, exceptional location, and all the amenities.

For lunch it’s the Raincity Grill (1193 Denman Street; 604.685.7337).  Alternatively, in gorgeous Stanley Park, surrounded by incredible flowers, consider Seasons in the Park Restaurant (405 W 33rd Avenue at Cambie Street; 604.874.8008) – a real jewel.

As always, our praise and recommendations are from personal experience.  I have dined at all these restaurants many times, and stayed at or dined at all of the hotels, taken the trip to Mount Rainier multiple times, ridden the boat to Victoria often and driven to Vancouver frequently.  We neither receive nor accept any “consideration”, goodies or tips.  All we say is “Enjoy”.

This post is the first in the series of three Tom’s Tips on opera-going in Northern Germany. This post will highlight Cologne (Koeln), followed by the Tom’s Tips for Hamburg and Berlin. Interspersed between the Tom’s Tips will be William’s reviews from the Hamburg Staatsoper (See Michael Schade, Nmon Ford, Gabriele Frola Brilliant in Hamburg’s New “Death in Venice” – April 19, 2009), Berlin Staatsoper, and Deutsche Oper Berlin.

Your Tipster Tom has been in these cities many, many times and has lived in Germany, attending opera whenever possible, which is often in this country absolutely crazy about opera.

 Savoring Operatic Eau de Cologne in Germany’s Roman “Colonia”

Way back in 33 BC sword-bearing Roman legionaires arrived on the banks of the Rhein River, laying siege to the locals, creating a new Roman Colony – the people involved in this venture are of note: Julia Agrippa (Roman General Germanicus’ daughter) married emperor Claudius (remember the BBC’s TV series I, Claudius?) and ultimately by Imperial Decree this colony came to be called Colonia Claudia Ara Agrippinensium – aka Cologne.

[Below: a view of the Rhein River's West Bank with the historical city of Cologne in the foreground; edited image of a Ventura Carmona photograph for the European Union Travel organization.]

This evolved into a major Roman center of power, although they also seized much more land north, including earlier at Trier on the banks of the Mosel River and in Frankfurt.

Cologne, having a truly strategic location on the main-trade-route Rhein in South-Central Germany, became a very large city of commerce - and religion. One of the greatest Gothic cathedrals in all Christendom grew up here, the stupendous Cologne Cathedral (Koelner Dom) started around 1248 and not finished until 1880 or so (still not finished . . . ); it is utterly spectacular and dominates the skyline from the river.

[Below: the Cologne Cathedral; edited image of a photograph by FJK71 in accordance with GNU Free Documentation.]

The statistics are amazing: the interior length of the great cathedral is a football field length plus another 172′! It’s 142′ high inside and the magnificent towers are 515′ – the tallest of any church in Europe.

Much change has taken place in recent years to improve the hastily rebuilt city of which 90%+ was destroyed in World War II. Thus, the part of town where the opera house is located is almost entirely “new” (i.e., just over a half-century old) as is most of the old city, except some remnants of the many large churches. 

Much of the rebuilt areas reflect this budget-no-frills construction, but they are indeed making embellishments constantly, many being restored to look like the “olde days” before World War II.

Getting to the Opera

The Opera is at Offenbachplatz # 1 around which are other theaters, including the Grossstaedtische Repertoiretheater. There is adequate and well marked parking in this area to which you could easily walk from the old town (1/4 -1/2 mile). 

[Below: the Cologne Opera House at Offenbachplatz; edited image, based on a photograph by Naatiu.]

Just go to the south end of the old city hall - Altes Rathaus - and its delightful Market Square, and head due west on Obenmarspforten Strasse going past the 1950s controversial-modern St Kolumba church on your right.  Keep going and Offenbachplatz will be on your left. Phone 22 10.

But don’t expect many household-name world-stage opera super-stars – this is a smaller, regional opera company like many throughout Germany – certainly producing wonderful opera at least the equal of most of America’s regional opera companies.

 Dining Scene

This is beer country and the locals enjoy suds immensely in the many Beergardens spotted about town and especially along the riverfront (both west and east banks) watching the traffic of huge, riverboats, which is most colorful.

The beer steins are immense too – don’t be alarmed when the locals bang these on the wooden tables for more!! Try the Brauhaus Goldener Pflug at Olpener Strasse 421, 310 56 31 www.brauhaus-goldener-pflug.de which is what you’d expect a German beer-pub to look like, with excellent rustic-local fare.

Another of this genre - for centuries – is Em Kruetzche at Am Frankenturm 1, 258 08 39 www.emkruetzche.de . Look for the picture of the day in 1999 when Bill Clinton, Tony Blair and eight other heads of state dropped by for a meal!

For one with knock-out views from across the river from the Dom is at the Hyatt Regency Hotel’s Beer Gardens which is just across the big bridge by the Cathedral (Hohenzollern Bridge). Their restaurants are also fine, all at Kennedyufer 2, 828 12 34.

This is where your Tipster brings guests! Pull them up at www.cologne.regency.hyatt.de . Incidentally, you can walk across that big bridge adjacent to the Dom, which is the Hohenzollern Bridge – tote your camera, the photo-ops are stunning!

For dining in the grande tradition is Hanse Stube in the elegant (and expensive) Excelsior Hotel Ernst, @ Trankgasse 1, 270 34 02 www.excelsiorhotelernst.de . 

But for fun and local color, try the market squares by the old Rathaus which have everything for you on-the-hoof, such as my favorites: sausages roasted on the wood-coals with local mustard washed down with local dark beer! If you’re lucky, there will be a local ooom-pah-pah band livening the scene!

 Where to Stay 

My hands-down favorite (and where website host William stays) is the Hyatt Regency noted above. It’s a fabulous location, best views, affordable, easy access and good food. All the usual chains are in Cologne, some eminently forgettable.

[Below: the view of the Gross St Martins (left) and Cologne Cathedral (right) from the Hyatt Regency's promenade on the Rhein's East Bank.]

Right by the great cathedral is that Hotel Excelsior Ernst noted above, but bring money – do call them (27 01) as I have secured much cheaper rates.

Very popular with many Americans is the hotel in the watertower – Hotel in Wasserturm – @ Kaygasse 2, 200 80 which has a fine restaurant on the top (11th) floor affording terrific views (bring your camera) and elegant cuisine.

What’s to See?

Everyone sees the three-star worthy great cathedral first – so should you! It’s one of Europe’s most imposing Gothic creations lovingly preserved despite all the horrors which occured all around it in World War II.

Adjacent is a first-class museum of Roman antiquity, the Roman-German Museum built on the foundations of a Roman mansion. Very close by is a superb museum of art – the Wallraf-Richartz Museum @ Martinstrasse 39 loaded with paintings by such masters as Rembrandt, Tiepolo, Boucher, Albrecht Duerer, Renoir, Cezanne, Monet, Van Gogh, Gauguin (but, oddly, none of mine!).

A short walk south is the imposing, castle-like Gross St Martin church which you can’t miss seeing from over at the Hyatt – it’s just to the left of the Dom. The Monastic Brothers and Sisters of Jerusalem now reside at Gross St Martin, and provide a stunningly simple and beautiful choral prayer service with Matins at 12:30 p.m. and Vespers at 6 p.m. These are sung as German Gregorian chants and, although it is a religious service, it is open to the public.

There are some delightful short river cruises too. If you can schedule it, consider a KD (Koeln-Dusseldorfer) Rhein riverboat cruise upstream (South) to the quaint medieval looking town of Linz am Rhein. It is a 5 hour 20 minute cruise to Linz, passing along the Rhein at the interesting industrial town of Wesseling, the previous West German capital of Bonn, and the resort town of Koenigswinter, among others. Consider having a late lunch in Linz. You can return in an hour or less on trains from Linz back to Cologne.

But in the three-star, not-to-be-missed category is the sensational country chateau-like palace Bruehl, aka Schloss Augustusburg www.schlossbruehl.de 8-11 miles south of town (depending where you’re staying), many tours available.

[Below: an interior of the Palace Bruehl, photograph by Tom.]

This screamingly-wild rococo fantasy is the concoction of Francoise de Cuvillies, without doubt the architectural Mozart of his era. The grounds are Versailles-like, but the interior rooms are so over-the-top gilded-grand as to make the rooms at Versailles itself look under-decorated!

Cuvillies did opera houses too all over Europe, including at Versailles, Munich, St Petersburg, etc. Don’t miss this – the staircase (Treppenhaus) is exceeded by very few anywhere, which we picture (above) for your enticement. 

 Caveats

If you’re driving, by all means get a map of the city and the area – these are readily available. Driving is very easy and comfortable and there is plenty of easy parking is in the city.

Caveat: If you’re driving across the inner city bridges into the city, exercise extreme caution as everyone has their camera out the windows taking pictures (really good views coming in) paying no attention to driving. Fender-benders are constant.

Caveat 2: gasoline (benzine) is very expensive: around $5.50 – 6.25/gal, sold by the liter.

Caveat 3: As in Berlin, you must have a parking meter machine receipt wherever you park in the inner city other than the parking structures or lots. Look for the Parkschein machine, one for each block. You put in Euros for the amount of time you want, and then place your receipt which shows everything behind the windshield on the dashboard where the metermaids (they’re everywhere) can read it. Parking without this is verboten!

Cologne is a city reeking with tradition, good local food and good cheer. The locals cherish the good life, and reflect that lifestyle.You’ll thoroughly enjoy being here, and then exploring more of Germany from here, like the former capitol Bonn just to the south, a very lovely, easy drive, where Beethoven was born (excellent museum). Have fun!

Tom

(To access the “Phantom” review, see: Tom’s New Year’s Pleasure: “Phantom of the Opera” in Vegas.)

Since we have also commented on other shows presented in Vegas, many of our readers wanted some additional tips, especially on the Las Vegas dining scene, as well as some side trips in the area.

Tom’s Tips for Unique Fun in Las Vegas

By now, nearly everyone has been to Vegas at least once and has a rather good idea of what they want to do, where to dine, which shows to see and how rapidly to empty the wallet or purse with utmost skill.

It is not your Tipster’s intent to pretend to be a comprehensive tour guide, but from decades of delightful and frequent experience (since I love Las Vegas!) here are a few, very special highlights which you may not yet have tried, or that have escaped your notice.

[Above left: the Caesars Palace swimming pool and spa area; below right: the Fountain in the Venetian Hotel's main lobby; photographs by Tom.]

Today, Las Vegas has evolved on a truly world scale and morphed itself into Fun City.  It is not so much the Gambling capital or Sin City any more, even though gambling is (as is sin) readily available.  But it now features many of the most spectacular restaurants in the United States. 

It has by far the best shows in the most dazzling venues, and an unexcelled collection of Over the Top hotels and resorts – The Bellagio, Caesars Palace, The Wynn, Paris, The Mandalay Bay  and of course The Venetian, home of Phantom. 

Some of these hotels sport the most overwhelming swimming pool and spa venues conceivable, such as that of Caesars Palace.  Vegas is now an adult’s fabled Disneyland Gone Berzerk!

[Below left: castings of statues from Karnak at the Luxor Hotel in Las Vegas; photograph courtesy of Tom.]

Full scale reproductions of some of the world’s greatest architecture is flaunted, like in the marvelous Egyptian Luxor, the splendid  Garnier  Opera House at Paris, or the Doge’s Palace at the Venetian are just three examples. 

You begin to think like Dorothy in The Wizard of Oz: “Toto, I’ve a feeling we’re not in Kansas anymore”.

Off Day Side Trips

Even visitors who think they have seen it all, probably have not been to the beautiful Red Rock Canyon, easily reached from the Strip in less than half an hour. It’s best in the cool months, when there are wildflowers in profusion, with a well-maintained “loop” drive covering the entire area.

This affords close-up approaches to some of the grander views. The area is similar to Arizona’s red-rock Sedona and Oak Creek Canyon (although without the river!) and you get a view of the Strip as you drive about.  It’s very much worth the visit.  It doesn’t even remotely resemble anything that you associate with Vegas!

[Below right: Mount Charleston, only a few miles from the Las Vegas Strip, in winter; photograph by Tom.]

The same is true of the Mount Charleston – also very close to the Strip.  It’s best seen in midwinter, when there is skiing, vast snowdrifts, towering pines – an Alpine experience few even know exists in this area.

Another very new and most dramatic destination is Lake Las Vegas, in the Southeast area (Henderson) of Metropolitan Las Vegas.  It’s surrounded by multi-million dollar villas and palatial waterfront mansions. 

The resorts here are truly grande and include the Moroccan-themed Loews (which began life as a Hyatt Regency resort).

The posh  Ritz Carlton (at 1610 Lake Las Vegas Parkway, Henderson, Nevada) replicates an olde Tuscan Village, here named MonteLago Village Resort (Remember, this is Vegas!), with a replica of Florence’s most-photographed Ponte Vecchio bridge across the Arno River!

The ultra-elegant  Medici Cafe and Terrace at the Ritz (702.567.4700) is excellent, certainly in keeping with restauarants at other Ritz properties.  Get an Las Vegas area map and don’t miss Lake Las Vegas, Red Rock Canyon and Mount Charleston.

Further out, but still nearby (30 miles southeast at the Arizona-Nevada border is Hoover Dam and the Lake Mead Reservoir, which surprisingly few Vegas visitors venture over to see. 

[Below left: the Red Rock Canyon, just a few miles from the Las Vegas Strip; photograph by Tom.]

Start at the Hoover Dam Visitor Center (which charges a fee, but is included with the $11 Powerplant Tour, with discounts for persons age 16 under and 62 or above, and active military and their dependents). Plan not only to walk across the top of the dam, but take the Powerplant tour of the dam’s inside .  You don’t have an idea of how big it is  and what an engineering feat was achieved until you take the tour.  It’s almost, but quite not quite, like winning a Jackpot.  (Yes, some of us do win, once in a long while!) 

For those who are especially fascinated by this engineering marvel, there are longer guided tours (not wheelchair accessible) for persons age 9 and above, at a $30 per person charge, with no discounts available.

Where to Stay

[Below left: the front desk of the Paris Resort and Casino; photograph by Tom.]

All of the national chains are here, but no American city has anything even remotely like the Glitz City knockout resorts. Everyone has their favorite, but the “high end” hotels like the Bellagio Hotel, Wynn Las Vegas Resort and Country Club and Caesars Palace often have specials  and reduced rates from Sunday through Thursday, especially during the hot weather. 

The rooms at Wynn are luxurious beyond belief, and Caesar himself would have been supremely comfortable in the marble-everywhere bathrooms at Caesars Palace.  I shop the websites like Orbitz.com  and Travelocity.com to see what bargains might be available.

The Dining Scene

Dining in Vegas is almost overwleming.  New on the scene is the stylish lakeside Daniel Boulud Brasserie at Wynn (702.770.3310) where you look at a Yosemite-like forest with waterfalls and enjoy the most incredible $35 hamburger ever (with foie gras and other exotic trimmings) – worth every nickel.

The lakeside bar next door at the bottom of the Wynn Resort escalators is a must.  It is fabulous in the evenings when there are surreal motion picture projections on the huge waterfalls across the lake!

[Below left: Napoleon's Bar in the Paris Hotel; photograph by Tom.]

Incidentally, speaking of bars, do not miss the gilded grandeur of Napolean’s Bar in Paris at number 28, where one may enjoy the finest cigars, acompanied by the best in sherry or cognac relaxing in unsurpassed elegance.

Many of the great American restaurants are represented in Las Vegas.  Your hotel will have the full shopping list.  Reservations are a must in all of the top spots.

A classic wood-panelled, Gentlemen’s Club style chop house is The Capital Grille (702.932.6631) in Fashion Show Mall, across Las Vegas Boulevard from Wynn. (Take the escalators to the third level.) It is very affordable (part of the large family of Capital Grille restaurants) with huge glasses of wine.

Joe’s Seafood Prime Steak and Stone Crab (702.782.9222), under the new and colossal Imperial Rome scale Forum Shops at Caesars Palace is unexcelled for seafood. (The restaurant is the third of the famous Joe’s Seafoods also located in Miami Beach and Chicago.) It is always busy and always terrific, with the best stone crab claws in town. (Bring money!)

[Below right: the Mon Ami Gabi Restaurant, on the Las Vegas Strip; photograph by Tom.]

My overall favorite restaurant with a view is the Mon Ami Gabi, named for the renowned Chef  and Owner Gabino Sotelino (who also oversees his four restaurants, based in the Chicago area and Washington DC suburbs). 

The Las Vegas site (702.944.4224) is on the Strip near the Paris Resort’s Eiffel Tower. From Moni Ami Gabi one can view the Bellagio’s 125 foot high gushing fountains, and the Las Vegas Strip street “action”. This is a classic Parisian bistro reeking with French panache – affordable with a very broad menu and crisp, attentive, professional service.  It has the best garlic/butter/lemon/wine escargots in captivity.

[Below right: the Hofbrauhaus; photograph by Tom.]

For lots of noisy (um-pah-pah) fun, go to the Hofbrauhaus, located at 4510 Paradise Road at Harmon Avenue (across from the Hard Rock Hotel and Casino). It bills itself as the world’s only “faithful recreation” of its affiliated restaurant, Munich’s iconic Hofbrauhaus Munchen. (And both restaurants are designed to prominently promote Munich’s HB Beer.)

With its immense steins of HB direct from Germany, hearty fare and raucous laughter, the Hofbrauhaus is like a trip to Munich.  (702.853.2337; www.HofBrauHausLasVegas.com).

In contrast, Andre’s French Restaurant in the Monte Carlo (702.798.7151) is another of my favorites for a quiet, calm evening in the formal French tradition.  

(It is one of Chef/Owner Andre Rochat’s three Las Vegas Restaurants, that include the Alize at the Palms Casino Resort and the original Andre’s at 4321 W. Flamingo Road.)

For Nevada’s only three-star entry in the Michelin Guide, is the magnificent and very expensive Joel Robuchon French Restaurant  (702.891.7925), which is guarded by the huge gold lion which commands Las Vegas Boulevard at the MGM Grand. (Perhaps this is why Michelin so lionizes Andre’s.)  Note that no Southern California restaurant received three Michelin stars. 

The only California restaurant honored with three Michelin stars is Thomas Keller’s French Laundry in the Napa Valley.  Your Tipster is sending you to Keller’s Bouchon at the Venetian (702.414.6200, www.bouchonbistro.com)  at the Venezia Tower on the top of the Venetian Resort Hotel and Casino, whose lobby entrance to Bouchon is palatial beyond belief.

There are literally legions of other restaurants for every budget, with every hotel, casino and resort haing a generic (but often quite good) buffet heavy on shrimp – the ones at Caesars Palace, Bellagio and Wynn are outstanding and not overly pricey. With lots of available pickings, I have tried to highlight what I have found to be the best of the best.

Finally, although you could possibly spot Phantom’s composer Sir Andrew Lloyd Webber or producer Harold Prince at a Phantom performance in Las Vegas from time to time, you’re very  likely to have an  Elvis sighting. He is alive, well, and prospering in Vegas – and in more than one location at a time! 

Meanwhile, don’t curse those nickel and diming slots and gambling tables so strongly as you emerge from the casinos broke.  How do you think they built those multi-billion dollar hotels and casinos? But do have fun in Fun City!

Many California-based opera lovers are discovering the fact that Orange County (the California county whose coastline to the South borders San Diego County and, to the North,  Los Angeles County) now has superb grand opera in a magnificent opera house surrounded by unsurpassed amenities.

The principal architect for the very grand Segerstrom Hall (wherein the operas are presented)  was your Tipster’s neighbor for years. Knowing your Tipster’s love of opera and his own, he often discussed the opera house design criteria. It was to accommodate fully the Met’s and New York City Opera’s productions, those of San Francisco Opera, as well as Seattle Opera’s and Chicago Lyric Opera’s also.  And much of that has happened, and more, such as the four operas in Russia’s celebrated Mariinsky Theatre/Kirov production of Wagner’s “Ring of the Nibelungs”, seen in Orange County before the Met saw it. 

The performances are at the Orange County Performing Arts Center - www.ocpac.org – which is in Costa Mesa, five minutes from Orange County’s John Wayne International Airport (to book a flight, use symbol SNA). OCPAC is on Town Center Drive, two blocks from its intersection with Bristol Street (north) opposite the famed South Coast Plaza shopping center.

[Above right: the Orange County Performing Arts Center, Costa Mesa, California, courtesy of Opera Pacific; below right: boats moored in nearby Newport Harbor, photograph by Tom.]

You can’t miss the opera house as you turn east on Town Center Drive coming either north or south on Bristol (this is the best way to get there) where you’ll see a great Arch (on the scale of the Arch of Triumph in Paris – either in Las Vegas or in France!) at the terminus of the street.  Under the Arch are the box offices (park free in the round-about) and the entrances. Tickets at 800 34-OPERA.

Arriving by Freeway

If you’re coming north or south on the San Diego Freeway (Interstate 405), get off at Bristol-North and turn right on Town Center Drive. When coming east or west on the Costa Mesa Freeway (State Route 55) get off at MacArthur towards the big buildings (signs indicate “Performing Arts Center”) and go on MacArthur Boulevard to Bristol Street, turning left to Town Center Drive where you turn left again.

Orange County has become very urban of late, meaning lots of heavy traffic. When I first lived here the land now occupied by the Performing Arts Center and South Coast Plaza were bean fields!  Be sure to allow abundant time to get there as the 405 and 55 freeways are jammed almost always in every direction. Sorry about that, but there’s no other realistic way to go!

Where to Park

Parking is close, cheap and convenient (a winning combo): best bet is in the Center Tower Garage structure off Sunflower,  the entrance to which is on the south side of Sunflower. If you’re coming north or south on Bristol Street, turn east on Sunflower and go just past Park Center Drive –  it’s on your right. Equally close is on Park Center Drive itself when you go north from Town Center Drive – entrance to the structure is on your left. There is no option of surface street parking, but you can park free and safely in the gigantic parking lots opening on to Bristol at South Coast Plaza.

Where to Dine

[Below left: one of Orange County's world class shopping centers, Fashion Island in nearby Newport Beach; photograph by Tom.]

The dining scene is close and convenient. The cultural complex of the Orange County Performing Arts Center is on a “campus” which includes Segerstrom Hall (the opera house), the new Renee & Henry Segerstrom Hall (symphony hall), and the South Coast Repertory Theater (Tony Award playhouse), with a large, leafy park adding to the delight.

Opening on to this park is the Westin South Coast Plaza Hotel (a Starwood Hotel – entrance on the park or 666 Anton Blvd – 714.540.2500). In this very lovely hotel is the very upscale Patina Group “Pinot Provence” – an instant trip to France with wonderful fresh oysters, steamed mussels in wine/garlic/dill sauce, roast duck breast, etc. at 714.444.5900. Booking is imperative on an opera night.

Also on “campus” is Scott’s South Coast Plaza at Bristol North and Anton (NE corner), whose street address is 3300 Bristol Street.  The restaurant is Orange County’s member of San Francisco’s justly celebrated “Scott’s Seafood Bar & Grill” family. Reservations should be made at 714.979.2400. It has the best Petrale sole in Southern California, plus fresh crab, divine oysters, clams, heavenly clam chowder, etc. They offer valet parking ($5) and let you come in after the opera.

Then there’s the new “Market Cafe” in the Renee & Henry Segerstrom Hall (on their performing nights only), operated by the Patina Group (714.429.7650). They have terrific Black Forest ham & Swiss sandwiches on dark rye bread, and a knockout tuna salade nicoise.

In the opera house there is a good (but crowded) bar.  Also, there is a small coffee shop with sandwiches and cookies, which is always very busy, and whose seating is limited.

Just across Bristol in the South Coast Plaza shopping area are many, many restaurants of every variety conceivable. Most require lots of walking and/or driving, but they are convenient and there is a fairly easy walk across a pedestrian bridge that crosses over the six lane Bristol Street, permitting safe access into or from the “campus” park.

Those intrigued by celebrity-owned restaurants should seek out The Clubhouse at 3333 Bristol Street – 714.708.2582 - co-owned by Hollywood stars Kevin Costner and Robert Wagner and golf greats Jack Nicklaus and Fred Couples. This is like a 19th Century Gentleman’s club par excellence – steaks, prime rib, chops, great bar, huge Riedell glasses of wine, and huge helpings – definitely guy’s food!

Where to Shop, and/or Spend the Weekend

The South Coast Plaza shopping area now matches any shopping anywhere, certainly including Beverly Hills, New York, Chicago, Las Vegas or Palm Springs. Try Bulgari, Burberry’s, Chanel, Cartier, DKNY, Gucci, Hermes, Hugo Boss, Salvatore Ferragamo, Tiffany & Co, Versace, Yves Saint Laurant, Harry Winston, Bloomingdale’s (immense), Saks Fifth Ave, Macys, Nordstrom, etc. Every opportunity to separate you from your cash is wonderfully convenient before the opera or maybe over the weekend! 

[Below left: the Montage Resort and Spa in Laguna Beach; photograph by Tom.]

If you want to spend some time before or after the opera, maybe a weekend as noted, you could not surpass for convenience the Westin South Coast Plaza Hotel noted above. Just in back of the opera house is the less pricey Wyndham Hotel at 3350 Avenue of the Arts, 714.751.5100.

If you’d like to spend more on shopping and less on lodging, there’s the affordable Holiday Inn on Bristol just west of the San Diego Freeway a half-mile from South Coast Plaza. But if you want a glamorous vacation, there are abundant offerings in nearby Newport Beach such as the very opulent “Island Hotel” at 690 Newport Center Drive – 949.759,0808 – a 5 Diamond Award “Leading Hotels of the World”, adjacent to supremely elegant, drop-dead ocean view Fashion Island shopping center loaded with fine shops and many, many restaurants.

[Below right: the Saint Regis Resort in Dana Point, a few miles from the Orange County Performing Arts Center; photograph by Tom.]

Then, of course, there is the utterly glamorous “Montage” resort in Laguna, the spectacular St Regis, and also the Ritz Carlton resort (caveat: bring money!).

Once again, F.Y.I.: even though we are generous in our praise of these restaurants and lodgings, we neither receive nor accept goodies, tips, etc. The recommendations are from our own personal, favorable experience. Your Tipster has dined at all of these restaurants many times, and knows the hotels well.  

Tom.   

Watch for William’s review of the opening night performance of Floyd’s “Susannah” (May 14, 2008) at Opera Pacific, to be posted here soon.