Opera 101—Bang a Gong, Get It On

Tags

Fashion, Opera, Puccini

Calaf contemplates risking it all in Turandot. Photo by Cory Weaver.

Giacomo Puccini, Turandot (1921–1926)
Based on: the plays Turandot by Carlo Gozzi and Turandot, Prinzessin von China by Friedrich Schiller
Notable Cultural Reference: Mission: Impossible – Rogue Nation; Paul Potts audition for Britain’s Got Talent
Setting: Peking, Imperial China

Plot in 101 words or less: A used and abused ancestor has turned the beautiful Princess Turandot against all men. [Insert obligatory #notallmen reference here.] Any man seeking her hand must answer three riddles correctly or lose his head. Never a gender to lack confidence, plenty have rung the challenge gong and failed, but Calaf is sure he’ll succeed despite all advice to the contrary. Meanwhile, ministers Ping, Pang, and Pong wish Turandot were more “likeable” because of course. SPOILER ALERT: Calaf guesses the riddles! Unsatisfied, he manages to create a situation whereby slave girl Liù sacrifices herself because he once smiled at her. Because of course.

Sung in: Italian
Memorable Music: “Nessun dorma”

Martina Serafin as Princess Turandot in Turandot. Photo by Cory Weaver.

I was a bit disappointed when I realized that opening night of the 2017–2018 San Francisco Opera season was going to be Turandot—since I had already seen this production back in 2011 and I remember hating the sets and costumes. Well, the good news is that the sets weren’t as bad as I remembered (though, after four uses they are probably ready for retirement), but the bad news is that the costumes were still mostly god-awful. I mean really…

Raymond Aceto as Timur, Toni Marie Palmertree as Liù, and Brian Jagde as Calaf in Turandot. Photo by Cory Weaver.

Musically speaking, I think this was a stronger production than in 2011 and, what’s more, I could better appreciate it this time because I’ve seen so many other operas in between. Brian Jagde, the former Adler Fellow who so impressed me in Tosca, and, more recently, Carmen, delivered an excellent “Nessun dorma” and Martina Serafin was very convincing as Turandot, particularly when she had her change of heart in Act III. While it is hard to beat Leah Crocetto’s excellent Liù, last-minute replacement Adler Fellow Toni Marie Palmertree did a respectable job, especially in her final number. Raymond Aceto made more of an impression as Timor this time around.

Ping, Pang, Pong contemplate Turandot’s bloody reign in Turandot. Photo by Cory Weaver.

That little one sure can sing!

—my neighbor upon Toni Marie Palmertree’s curtain call

As for those other costumes, I have to say, I didn’t love many of the dresses that made the Chronicle‘s opening night society wrap-up, but two beautiful items that I thought were also on point thematically are below.

Left: Yuka Uehara of Tokyo Gamine in her own creation. Right: Sara Griffith’s inspired modification of her grandmother’s jewelry box. Photos by Gabrielle Lurie for the Chronicle.

Luckily, I managed to surreptitiously snap a few pics of my own for posterity.

  

  

  

There are five more performances of Turandot at the War Memorial Opera House this month, on September 12, 15, 21, 24, and 30. Then it comes back again at the end of the season on November 18, 25, and 28 and December 3, 6, and 9. So there’s no excuse for missing this one. Tickets can be purchased here.

Riddle me this: All’s well that ends well? Photo by Cory Weaver.

Opera Plots in 101 Words or Less, Act II

Tags

Bel Canto, Mozart, Opera, Puccini, Verdi

Today, we continue with the plots of opera “warhorses”—those repertoire standards most likely to be referenced in pop culture. Again, despite any snark below, I love all of these works and heartily recommended them to anyone considering exploring the world of opera. The operas below represent the second half of the top ten most-performed operas in the world: Madama Butterfly, The Barber of Seville, The Marriage of Figaro, Rigoletto, and Don Giovanni. For the first half, please see the previous post in this series: Opera 101—Plots in 101 Words or Less.*

So, if you don’t want to be like the hapless border guard in Hopscotch above, read on and learn how to distinguish the “Figaro!” of The Barber of Seville from the Figaro of The Marriage of Figaro.

SPOILER ALERT: Lots of weddings. And, of course, death. Circle of life don’t you know.

Giacomo Puccini, Madama Butterfly (1904)
Based on: a short story by John Luther Long and a novel by Pierre Loti
Notable Cultural Reference: Fatal Attraction
Setting: Nagasaki, 1904

American naval officer Pinkerton rents a house for his Japanese child-bride, Cio-Cio San (aka Butterfly). Renting should’ve been a clue he wasn’t playing for keepsies—always get the deed, ladies. To make matters worse, her uncle turns the wedding guests against her for converting to Christianity. Pinkerton’s not good for much but manages to knock her up before skipping town. Fast forward three years: Butterfly waits patiently while maid Suzuki knows the score. But, wait, Pinkerton comes back! Unfortunately, he and his new American wife just want the kid. Butterfly celebrates by slicing her throat. Drama queen.
TL;DR: Miss Saigon

Sung in: Italian
Memorable Music: “Un bel dì vedremo” and “Coro a bocca chiusa” (aka the Humming Chorus)

Gioachino Rossini, Il barbiere di Siviglia (The Barber of Seville) (1816)
Based on: a play by Pierre-Augustin Caron de Beaumarchais
Notable Cultural Reference: Bugs Bunny: “The Rabbit of Seville”
Setting: Seville, 18th century

Pretty and rich Rosina is the ward of elderly Dr. Bartolo. Bartolo hopes to marry her once she’s of age, and schemes with music master Don Basilio to keep her secluded until then. Nevertheless, Count Almaviva has managed to woo her with some righteous balcony singing and enlists Figaro(!), Bartolo’s barber, to help him gain access to the house. Letter upon letter makes the rounds—sometimes even turning into laundry lists. Figaro(!) tries to distract Bartolo with a shave, but Bartolo is having none of it. He fails to stop the inevitable wedding, and seems mollified with promises of money, but…

Sung in: Italian
Memorable Music: “Largo al factotum della città” (aka “Figaro!”)

Lucas Meachem is Figaro, the barber of Seville. Photo by Cory Weaver.

Wolfgang Amadeus Mozart, Le nozze di Figaro (The Marriage of Figaro) (1786)
Based on: a play by Pierre-Augustin Caron de Beaumarchais
Notable Cultural Reference: The Shawshank Redemption, Trading Places
Setting: Seville, 18th century

The Marriage of Figaro is (surprise!) about the marriage of Figaro, former Sevillano barber, now valet to Count Almaviva. Although not really because it’s mostly about how the once-smitten count is now a cheating cheater who cheats. The countess (young Rosina all growed up) and her maid Susanna (Figaro’s fiancée) plot to catch him in action. Hijinks ensue, especially when old Dr. Bartolo arrives seeking payback from Figaro for screwing up his plans to screw Rosina. His secret weapon is Marcellina, who turns out to be Figaro’s long-lost mother, so that sort of backfires on him. Or does it? Double wedding!

Sung in: Italian
Memorable Music: Overture, “Non più andrai”

Giuseppe Verdi, Rigoletto (1851)
Based on: a play by Victor Hugo
Notable Cultural Reference: Frasier: “Out with Dad”
Setting: Mantua, 16th century

Rigoletto, a hunchbacked court jester, keeps his beautiful daughter secluded lest she catch the duke’s roving eye. Too late! Gilda has secretly been making googly eyes at him in church. Furious over the jester’s endless mockery, cuckolded noblemen kidnap his “mistress” (i.e., Gilda), bringing her to the duke so he can have his way with her. Rigoletto vows revenge and hires an assassin. Despite knowing the duke’s a no-good scoundrel, Gilda sacrifices herself to save him. Idiot. As Rigoletto dumps the wrapped corpse in the river, he hears the duke singing and discovers it’s Gilda who’s dead. Aw, sad, frowny clown.

Sung in: Italian
Memorable Music: “La donna è mobile”

Wolfgang Amadeus Mozart, Don Giovanni (1787)
Based on: the legends of Don Juan
Notable Cultural Reference: Amadeus, Screamers
Setting: Seville, 17th century

Don Giovanni is a piece of work and serial rapist to boot. Fleeing his latest victim, Anna, he kills the Commendatore, her father. Anna and fiancé Ottavio swear vengeance against this unknown assailant. One of over 2000 (!!) abandoned conquests, Elvira is also looking for vengeance. When Giovanni tries to sex up bride Zerlina, Elvira reveals all and teams up with Anna and Ottavio. Sadly, this hapless trio lets Giovanni escape. But, never fear, the cold dish of revenge is served by the Commendatore, whose statue comes alive to attend a fabulous banquet where demons drag Giovanni down to hell. Well played.

Sung in: Italian
Memorable Music: “Batti, batti, o bel Masetto”, “Madamina, il catalogo è questo”

Tune in next time for Germans, Germans, Germans. Also, a ring. And a dwarf. Or maybe it’s a hobbit. I don’t know, I get them confused.

For the next post in this series: Opera Plots in 101 Words or Less, Act III.

*If you are thinking of commenting that this should be “fewer” instead, please read this first.

Opera 101—Plots in 101 Words or Less*

Tags

Mozart, Opera, Puccini, Verdi

In honor of my late mother, who always wanted to teach a class in what she called “cocktail party culture” (this was before the heyday of “cultural literacy”) and because the subject came up recently on Twitter, I present the first in a series on the plots of well-known operas. So, when the next Marvel movie drops in that obscure opera reference (shout-out to @daisy_razor), you will be prepared.

Summarizing an opera plot is no mean feat, but I’ve tried my best to give you the major plot points and/or themes while keeping each description at or under my self-imposed 101-word limit. While at times this may seem to render the plot nonsensical, believe me, knowing more about it would probably not change that fact.

We start with the top ten most-performed operas in the world (as ranked by Operabase). Opera fans call these the warhorses, that is, popular staples that are used to lure the casual operagoers or newbies into the opera house. Besides Wagner (more on him later), these are the operas most likely to be referenced in pop culture. Despite my snarky attitude below, I love all of these works. They have great music and, if you are so inclined, any one would be a good introduction to the world of opera.

Today I’ll focus on the top five: La traviata, Carmen, La bohème, The Magic Flute, and Tosca. In my next post, I’ll take on Madama Butterfly, The Barber of Seville, The Marriage of Figaro, Rigoletto, and Don Giovanni.

SPOILER ALERT: Someone almost always dies!

Giuseppe Verdi, La traviata (1853)
Based on: a play by Alexandre Dumas (no, not that one, the other one)
Notable Cultural Reference: Pretty Woman
Setting: Paris, ca. 1850

Courtesan and all-around party girl Violetta is doomed (TB, natch), but she’s a hottie so Alfredo loves her anyway. She decides to take a chance on love and retire to the country. All is well until Alfredo’s father comes poking around and, behind his son’s back, convinces this “fallen woman” to leave Alfredo for the sake of his family’s reputation. And she does! She goes to Paris to celebrate with gypsies and matadors, because why not, and throws her new lover in Alfredo’s face. Stupid. Alfredo fights a duel but Violetta is the one who dies in the end.

Sung in: Italian
Memorable Music: “Libiamo ne’ lieti calici” (aka the drinking song)

Georges Bizet, Carmen (1875)
Based on: a novella by Prosper Mérimée
Notable Cultural Reference: The Bad News Bears
Setting: Seville, ca. 1820

Carmen works hard for the money in a cigarette factory. When she cuts a bitch during a fight, head dragoon Zuniga orders minion Don José to arrest her. Carmen uses her wily ways to free herself and José pays the piper with a month’s detention. In the meantime, sexy matador Escamillo comes to town. Oh, and there are smugglers, because why not? After all, José has to flee with someone after fighting Zuniga. Stupid. These life choices eventually bore Carmen, who runs off with Escamillo. Naturally, José then stalks and stabs Carmen during a bullfight. But he’s very sad about it.

Sung in: French
Memorable Music: “L’amour est un oiseau rebelle” (aka the Habanera) and “Votre toast, je peux vous le rendre” (aka Toréador)

Giacomo Puccini, La bohème (1896)
Based on: a collection of short stories by Henri Murger
Notable Cultural Reference: Moonstruck
Setting: Paris, ca. 1830

It’s cold. Guys, it’s so cold, best buds Marcello and Rodolfo burn their “art” to keep warm. But, never fear, musician Schaunard is here, and they all decide to squander his temporary good fortune out on the town with “philosopher” Colline. Sure the rent’s due, but whatevs. Before leaving, Rodolfo encounters Mimì and somehow woos her with tales of life as a poet. Proto–Carrie Bradshaw Musetta joins their party, sending current sugar daddy Alcindoro off to the shoemaker. Later, they stick him with the bill. Flash forward to Mimì with TB. Being poor sucks, y’all, medicine costs money. Mimì dies.

Sung in: Italian
Memorable Music: the duet “O soave fanciulla”

In La bohème, Musetta gets rid of Alcindoro by claiming her shoe needs to be fixed. Sucker. Photo by Cory Weaver.

Wolfgang Amadeus Mozart, Die Zauberflöte (The Magic Flute) (1791)
Based on: the drug-induced fever dream of a Freemason (I’m guessing)
Notable Cultural Reference: Gossip Girl: “You’ve Got Yale!”
Setting: Egypt? Dune? (Again, I’m guessing)

Tamino is chased by a giant snake, faints, and is saved by three ladies-in-waiting. Typical. Lonely bird-catcher Papageno arrives and takes credit for their work. Typical. Nevertheless, these two “heroes” are enlisted to save Pamina, the Queen of the Night’s daughter, from Sarastro, reinforcer of the patriarchy. Magical musical instruments are distributed willy-nilly. Women are promised as prizes left and right. The Queen of the Night sings about hell’s vengeance boiling in her heart, because, of course. Tamino faces many trials but skates by on male privilege. The sun triumphs over the night because men know best and women are evil.

Sung in: German
Memorable Music: “Der Hölle Rache” (aka the one with the high F)

Giacomo Puccini, Tosca (1900)
Based on: a play by Victorien Sardou
Notable Cultural Reference: Quantum of Solace
Setting: Rome, June 1800

Cesare, an escaped political prisoner, seeks refuge in a church where his sister has hidden supplies. Sympathizer Mario, who is painting there, agrees to hide him. Mario loves Tosca but his portrait of Mary Magdalene looks suspiciously like Cesare’s sister. Tosca is mad jealous and Chief of Police Scarpia milks this fact to capture both men and have Tosca for himself. After hearing Mario tortured, Tosca tells all and agrees to submit to Scarpia. However, once he arranges the “mock” execution to save Mario, Tosca stabs him. But, snap! The execution is real, yo! Devastated, Tosca leaps to her death.

Sung in: Italian
Memorable Music: Tosca’s aria “Vissi d’arte”

Holy flying leap, Batman! I didn’t see that coming. Photo by Cory Weaver.

And on that happy note, tune in next time for summaries of Madama Butterfly, The Barber of Seville, The Marriage of Figaro, Rigoletto, and Don Giovanni.

For the next post in this series: Opera Plots in 101 Words or Less, Act II.

*If you are thinking of commenting that this should be “fewer” instead, please read this first.

Opera 101—2014 Figaro Awards

Tags

Awards, Bel Canto, Bellini, Handel, Musicals, Opera, Puccini, Rossini, Verdi

Sans la liberté de blâmer, il n’est point d’éloge flatteur.
(Without the freedom to criticize, there is no true praise.)

—Le Mariage de Figaro by Pierre Augustin Caron de Beaumarchais

Despite falling off the blogging bandwagon and not writing up most of the operas I saw this year, I could not pass up the opportunity to bestow my annual Figaro Awards. Just keep in mind that I may have more commentary than usual since there is no original reference post to explain these opinions.

All operas seen at the San Francisco Opera in 2014, both in the summer (Show Boat, La traviata) and in the fall (Norma, Susannah, Un ballo in maschera, Partenope, La Cenerentola, and La bohème) are eligible for these beauties.

Production I would most readily see again: Partenope. This could have been stronger musically, but Partenope earns this spot because I have never before attended an opera where the audience was so thoroughly enjoying itself, from the opening of the curtain, which drew spontaneous applause, to the closing bow. So, it looks like Handel is two for two for me.

The ensemble of Partenope. Photo by Cory Weaver.

Best ensemble: La bohème. While I’m disappointed not to have seen Leah Crocetto as Mimì (she was in the other cast), this was a solid group all around, with Alexia Voulgaridou as Mimì, Michael Fabiano (who I so enjoyed in Lucrezia Borgia despite his horrific costume) as Rodolfo, Alexey Markov as Marcello, Nadine Sierra as Musetta, Christian Van Horn as Colline, and Hadleigh Adams as Schaunard.

The ensemble of La bohème. Photo by Cory Weaver.

Most disappointing production: La Cenerentola. It’s safe to say I had been looking forward to Rossini’s La Cenerentola for some time. Oddly enough, soon after I asked on Twitter, “Who do I have to sleep with to get the San Francisco Opera to put on La Cenerentola?” I learned that they would in fact be putting it on this season. While the production was perfectly fine, I was expecting to adore it, and I didn’t. So I’m rather glad that this self-professed bel canto whore did not, in fact, have to give it up after all.

Least memorable production: Un ballo in maschera. In that I literally can’t remember anything about it. I know I wasn’t really with it this fall, and we saw this the night before I left for my week-long birthday trip to four different national parks, but I expected something to stand out. Yet it didn’t. Not the plot, not the singing, not the set. So, despite the fact I rather liked the music when I listened to it beforehand, and I vaguely remember that Heidi Stober was delightful (as always), it is conspicuously absent from these awards.

Heidi Stober as Oscar in Un ballo in maschera. Photo by Cory Weaver.

Best production design: Partenope. As mentioned above, the audience burst into spontaneous applause when the curtain rose on this set. La Maratonista agreed that we had never seen that before. The opening scene certainly presented a striking tableau and perfectly captured the interwar Paris vibe they were going for, like something from a Lubitsch film.

Danielle de Niese as the curtain rises on Partenope. Photo by Cory Weaver.

Best costumes: Show Boat. Going into the summer season, I would have thought this award would eventually go to La traviata, Un ballo in maschera, or La Cenerentola, but when all was said and done, these dazzling costumes from Paul Tazewell set a high bar that no other production matched.

The ensemble of Showboat in costumes by Paul Tazewell. Photo by Cory Weaver.

Outstanding performance (male lead): Brandon Jovanovich as Sam Polk in Susannah. This award is almost entirely due to the fact that while other people were singing I often found myself thinking, “Where’s Sam? This needs more Sam.”

A scruffy Brandon Jovanovich as Sam Polk in Susannah. Photo by Cory Weaver.

Outstanding performance (female lead): Sondra Radvanovsky as Norma in Norma. Radvanovsky had a few weak spots opening night, but from the reviews I’ve seen they seemed to have smoothed out quickly over the course of the run.

Sondra Radvanovsky as Norma in Norma. Photo by Cory Weaver.

Outstanding performance (trouser): Daniela Mack as Rosmira in Partenope

Outstanding performance (pinch hitter): Jamie Barton as Adalgisa in Norma. Replacing Daveda Karanas just weeks before opening night, Jamie Barton almost outshone Radvanovsky in the lead role.

Outstanding performance (brothers from different mothers): Michael Fabiano as Rodolfo and Alexey Markov as Marcello in La bohème. While I’d seen this opera before, these two made me realize the story is almost more about friendship than love. I mean, besides Così fan tutte (and let’s not speak of that problematic piece), what other major opera focuses on male friends?

Outstanding performance (sisters from different misters): Sondra Radvanovsky as Norma and Jamie Barton as Adalgisa in Norma. Apparently these two were in opposite casts in these roles at the Met; I’m glad that due to a last-minute withdrawal on the part of Daveda Karanas we ended up getting them both, because they sing beautifully together.

Sondra Radvanovsky as Norma and Jamie Barton as Adalgisa in Norma. Photo by Cory Weaver.

MVP of the season: Christian Van Horn. What wasn’t he in this fall? From his turn as Oroveso in Norma, to Count Ribbing in Un ballo in maschera, to Alidoro in La Cenerentola, and finally Colline in La bohème, he gave solid supporting performances throughout the season.

Christian Van Horn as Alidoro with Karine Deshayes as Angelina in La Cenerentola. Photo by Cory Weaver.

Adler Fellow(s) of the year: Efraín Solís as Dandini, Maria Valdes as Clorinda, and Zanda Švēde as Thisbe in La Cenerentola

Efraín Solís as Dandini, Maria Valdes as Clorinda, and Zanda Švēde as Thisbe in La Cenerentola. Photo by Cory Weaver.

Best choreography: Michele Lynch for Show Boat

Best choreography (honorable mention): the flamenco in La traviata

Favorite program cover: La bohème. I also liked the covers for Showboat and La traviata, but this painting of the rooftops of Paris really captured the world of the opera. Plus, I’m a sucker for Caillebotte.

The Big Sleep award (tie): Norma and Partenope. Neither of these plots makes a lick of sense, but the singing was oh so pretty.

Best coat porn: Show Boat

Realest rain: La Cenerentola

Best (Worst?) use of a cross as hammer: Susannah

Raymond Aceto as Olin Blitch in Susannah. Photo by Cory Weaver.

AT&T award for cutest kids: Oliver Kuntz and Miles Sperske in Norma

Chevy Chase-Gerald Ford award for best pratfalls: Anthony Roth Costanzo as Armindo in Partenope

Joyce Kilmer award for best aria: “The Trees on the Mountains” in Susannah

Nigel Tufnel “none more black” award: La traviata

The set of La traviata was as dark as the soul of Alfredo’s father. Photo by Cory Weaver.

“Things That Go Bump in the Night” award for loudest set changes: La Cenerentola

“Murphy Bed” award for coolest set changes: David Farley for La bohème

Set most likely to be found on Skull Island: Norma

King Kong or Norma? You be the judge. Photo by Cory Weaver.

Harry Belafonte award for best use of bananas: Philippe Sly in Partenope

Plato award for best shadow puppets: Partenope

Jon Bon Jovi “blaze of glory” award: the finale of Norma

The grand finale of Norma. Photo by Cory Weaver.

And last but not least, since I didn’t write up opening night, a few dresses (mostly) not found on stage.

Best Dressed (Paris division): Komal Shah. Once again, a killer Oscar de la Renta gown.

Best Dressed (aficionada division): Chandra Rudd. Kudos for wearing a purchase from the SFO costume sale.

Komal Shah (left) in Oscar de la Renta and Chandra Rudd (right) in Bob Mackie (designed for LuLu). Photo by Alex Washburn, special to The Chronicle.

Best Dressed (animal print division): Joy Binachi. La Maratonista and I were standing next to her in the lobby post-Norma and she just looked so cute.

Best Dressed (feathers division): Sonya Molodetskaya.

Joy Bianchi (left) in Tom Ford and former San Francisco mayor Willie Brown with Sonya Molodetskaya (right) in Vasily Vein. Photo by Alex Washburn, special to The Chronicle.

Finally, as always, a big shout-out to La Maratonista for being such a great opera companion (as well as a bigger person than me when it comes to the harpy in our row) and also to the Intrepid Irishman for stepping into her shoes for Susannah. The 2014–2015 season has been absolutely stellar and I’m looking forward to another great year, starting with the epic Les Troyens and Two Women in the summer season.

Feel free to comment or argue for your favorite (and not-so-favorite) moments of the season below.

Opera 101—A Whore’s Paradise*

Tags

Bel Canto, Handel, Opera, Puccini

While the big announcement for me this week will take place in the pre-dawn hours of tomorrow morning, San Francisco Opera’s announcement of their 2014-2015 season on Monday was like an early Christmas present. Let’s unwrap it and see what we find, shall we?

La Cenerentola at the Opéra national de Paris. Photo by Christian Leiber.

As a self-proclaimed bel canto whore, obviously I’m thrilled by the inclusion of both Bellini’s masterpiece Norma and my long-awaited, favorite-opera-I’ve-never-seen La Cenerentola. And, even if they are insisting on calling it Cinderella, at least I didn’t have to sleep with anyone at the San Francisco Opera to get it here! [Side note: When did the San Francisco Opera decide to use only translated titles throughout their materials? What is up with that? I’m all for using the translation up front for promotional purposes if you so choose, but the subscriber catalog should, at the very least, use both.]

The rest of the fall schedule is almost as exciting. After so enjoying Serse in 2011, I am especially looking forward to Handel’s cross-dressing comedy Partenope, in its company premiere. The opera has been re-set to 1920s Paris, with a production design that looks straight out of a Lubitsch film, so what’s not to like?

Partenope at the English National Opera. Photo by Catherine Ashmore.

Susannah, an American opera set in Appalachia, also intrigues me, particularly because it will feature that all-too-rare sight, a female conductor (Karen Kamensek). Verdi seems to be hit or miss for me, so I’ll reserve judgment on Un Ballo in Maschera for now, but I’ll make sure to listen to a recording soon.

Last on the fall program is Puccini’s La Bohème, which will coincidentally be the last of the Big Ten** to come to San Francisco during my time as a subscriber. La Bohème is actually one of the first operas I ever saw, though for the life of me I can’t remember where. Puccini’s Tosca is also returning by “popular demand” for a special short run. That seems odd, but since it is not officially part of the season, I can’t really complain. And I did in fact pick Tosca as the “production I would most readily see again” in my 2012 Figaro awards. I’m starting to wonder just how often the San Francisco Opera reads this blog.

Les Troyans at the Royal Opera House. Photo by Bill Cooper.

The summer of 2015 will feature two productions sure to interest opera connoisseurs: the world premiere of La Ciociara (Two Women) by Marco Tutino, based on the 1960 De Sica film with Sophia Loren, and the blockbuster production of the 5½-hour epic Les Troyens, the Berlioz masterwork based on Virgil’s Aeneid. I have a special interest in the latter: Besides being the only French production of the season, it also features the return of Sasha Cooke, who I adored in The Gospel of Mary Magdalene (garnering my 2013 Figaro for “outstanding female performance”), and Susan Graham, who earned an “outstanding trouser performance” for Serse in the very first edition of the Figaros back in 2011. Rounding out the summer schedule is Le nozze di Figaro, which was the first San Francisco Opera production La Maratonista and I saw back in the early days of this blog in 2010.

So, while La Maratonista and I both have reasons to be watching our pennies these days, I’m hoping we can scrape enough together to undertake our fifth season as a subscribers. Because this one looks very exciting. And very Italian, which is always a good thing.

On a separate and final note, one of the best pieces of news regarding the coming season was the moving of the start time for all evening performances (except Les Troyens) to 7:30pm. A welcome change, and one I requested not too long ago. Seriously, whoever my fan is over at San Francisco Opera, leave a comment!

La bohème at the Canadian Opera Company. Photo by Michael Cooper.

*My titles bring all the boys to the yard. Sorry if you came here looking for something else besides opera.

**The ten most performed operas of the last five years according to Operabase are La traviata, Carmen, La bohème, Die Zauberflöte, Tosca, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, Rigoletto, and Don Giovanni.