Despite a listenable score, the simple story line never fully engages in this loose homage to García Márquez.
Karen WeinsteinLos Angeles,
Reader beware. This is not a review for the opera cognoscenti whose weary ears may be seeking newer, less familiar fodder. You know who you are. This is a review for the reader who may be a touch tired of ...
A new production of a timeless classic has a few weak links but enough heart and love to compensate.
Suzanne WeissSan Francisco,
Some things never go out of style: basic black, young love, “La Bohème.” Reputed to be the most often performed opera in the canon, Puccini’s tale of the consumptive seamstress, the impoverished poet and their high-spirited, if equally penniless, friends ...
A simple little opera becomes hugely moving in this laudable production.
Suzanne WeissSan Francisco,
The Curlew River runs fast among the fens, dividing East from West, person from person. So goes the description in Benjamin Britten’s stirring little opera, “Curlew River.” Part medieval mystery play, part Noh drama (the libretto, by William Plomer, was ...
French mezzo Karine Deshayes in the title role leads a wonderful cast in Rossini's bel canto gem.
Suzanne WeissSan Francisco,
Instead of a fairy godmother, we have a wise old tutor and the glass slippers are now a pair of diamond bracelets. Aside from that, everything is as usual — only funnier — in Rossini’s operatic version of the timeless ...
These strangely paired short operas display the best (and worst) of the director's concepts.
Karen WeinsteinLos Angeles,
Why pair Baroque "Dido and Aeneas" with Bartok's 20th century "Bluebeard's Castle"? According to program notes by director Barrie Kosky of the Komische Oper Berlin they have much in common. His most convincing argument is that they are "two operas ...
Blessed by a stupendous soprano and dashing tenor, this rendition of Puccini's tragic Roman romance nevertheless has a few rough edges and a notably lackluster Act I finale.
Suzanne WeissSan Francisco,
Take one good-looking couple, she a fantastic soprano and he a very good tenor, add a not-very-threatening villain, a heavy-handed conductor, mix well and bake for a little over two hours. What comes out of the oven is San Francisco ...
Abandon your preconceptions about how Handel should be presented. This brilliant production and stellar cast will turn every one of them upside-down.
San Francisco,
Near the end of Act I of this decidedly comic British production of “Partenope,” in its company premiere at San Francisco Opera, a breeze wafts through an open window, billowing the diaphanous curtain in seductive swirls. That undulating fabric is ...
Though the women in this production do their best, they cannot save their miscast and lackluster male counterparts from keeping Verdi's tuneful work earthbound.
Suzanne WeissSan Francisco,
What better way to celebrate the birthday of Giuseppe Verdi than with his famous costume party? And so it was that I found myself on October 10 at the San Francisco War Memorial Opera House raising a metaphorical glass to ...
While updating Verdi's tale of star-crossed romance to the Roaring Twenties is open to debate, this production remains true to his glorious music.
Karen WeinsteinLos Angeles,
The question: To be or not to be faithful to the original setting of an opera is known to evoke passions as intense as those expressed by the originalists fighting with the rest of us who think the Constitution should ...
Patricia Racette, stunning in the title role, is matched in vocal power by tenor Brandon Jovanovich and bass Raymond Aceto in a new and moving production of Carlisle Floyd's tale of lust and hypocrisy in 1930s Tennessee.
Suzanne WeissSan Francisco,
“Ain’t it a pretty night,” sings the soprano and, whenever “Susannah” is in town, the night is more than pretty. It’s gorgeous.
Carlisle Floyd’s 1955 work, written when he was only 27, may be the quintessential American opera ...
