James Keolker is a professor of opera studies at the Fromm Institute at the University of San Francisco and is the author of an award-winning book on Puccini and his contemporaries.
Articles by this Author
Giacomo Puccini’s Tosca has a fabled past at San Francisco Opera, with some 34 highly successful productions in the company’s 86-year history, and starring such imperious Toscas as Renata Tebaldi, Dorothy Kirsten, Leontyne Price, and Montserrat Caballé. Their vocally romantic lovers were sung by such leading lights as Jussi Bjoerling, Placido Domingo, or Luciano Pavarotti, while the likes of Tito Gobbi, Ingvar Wixell, and James Morris strode the stage as their fierce nemesis, Baron Scarpia.
Some things in life are perfect and should never change. For me they are the first whiff of fall, the creamy bite of chocolate cake, the zing of a great wine — and watching the Lamplighters Music Theatre perform Gilbert and Sullivan's The Mikado, especially as it was viewed Friday night at the Lesher Center for the Arts in Walnut Creek.
San Francisco Opera has described this as “A Season of Glamour,” and that boast was certainly fulfilled with the company's new and exuberant production of Puccini’s La Rondine. It was long overdue, the last having been in the War Memorial Opera House House in 1934, with Lucrezia Bori and Dino Borgioli in the leading roles and S.F. Opera founder Gaetano Merola conducting.
All photos by Terrence McCarthy
The 50th year of the highly merited Merola Opera training program ended with a flourish of young hopefuls at the San Francisco War Memorial Opera House on Saturday evening with a Grand Finale concert, assisted by members of the San Francisco Opera Orchestra. As a result, there was stardust in the eyes of many, and in the voices of a few.
The current Festival del Sole in the Napa Valley took a stellar leap forward Saturday evening with both the talent it featured and the place in which that talent was showcased. The ever-impressive countertenor David Daniels, the dazzling young soprano Danielle de Niese, and the redoubtable Philharmonia Baroque Orchestra with Nicholas McGegan were the talent, while the imposing new Castello di Amorosa. a winery-cum-castle set amid the hills and vineyards of the upper Napa Valley near Calistoga, was the monumental site. It was a concert to be savored and long remembered.
Bizet’s Carmen is an opera seething with emotion, drama, and theatricality, but it was only in the last two acts that these potent elements were fully realized at UC Davis’ production on Sunday at the Mondavi Center, which featured principals from the San Francisco Opera Adler Fellows. The first half of the work seemed more like a tenuous dress rehearsal.