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From the very apex of Society, thronging to the Opera Ball to the ranks of us, the proletariat, taking in the free Opera in the Park on Sept. 13, a cross section of San Francisco will be involved with opera’s big weekend. The decades-old free opera concert in Golden Gate Park draws an audience of about 20,000.The San Francisco Chronicle-sponsored Opera in the Park will feature Sondra Radvanovsky, Ewa Podleś, Marco Berti, Brandon Jovanovich, Quinn Kelsey, and Adler Fellows, with the concert conducted by Luisotti.
The dressy parade of the Opera Ball comes in three layers:
- A cocktail reception at 5 p.m.
- The opera itself, curtain going up at 7 p.m., and then, following the demise of everybody but bad-guy Count di Luna (Dmitri Hvorostovsky, a rather decent fellow in real life)
- The real ball (dinner, drinks, dancing, and “further celebration”) takes place in City Hall from 10 p.m. to 1 a.m. or thereabouts
There are also two important preseason, end-of-summer events coming up: the Merola Program’s Grand Finale in the Opera House at 7:30 p.m., Aug. 22; and the Stern Grove Festival’s final program, at 2 p.m., Aug. 23, featuring Marco Berti (the troubadour of Trovatore) and Adler Fellows Leah Crocetto, Daveda Karanas, Heidi Melton, and Tamara Wapinsky.
As if that weren’t enough, another major event in connection with the opening of the season is the Sept. 19 Webcor Builders free live simulcast of Trovatore in the AT&T Ballpark. This will be General Director David Gockley’s fourth such offering: The initial 2007 Samson and Delilah drew some 15,000 fans, the 2008 Lucia di Lammermoor 23,000, and the June 2009 Tosca netted 27,000.
Unless the city is finally getting some significant moisture from the sky on the appointed date, the Opera’s first Verdi in the Giants’ outdoor home — complete with garlic fries — may well swell to 30,000. That would mean the equivalent of 10 sold-out performances in the War Memorial Opera House.
As to the main event in all this, it’s well and good that Luisotti’s calling card will be Il trovatore, the most Italian composer’s most Italian opera — a nonstop series of rhythmic, melodic, pulsating arias, duets, and ensemble numbers. (If you think there are too many mentions herein of La Bella Italia, consider that it was an all-Italian board that gave birth to the San Francisco Opera in 1923.)
If you want to Twitter about Trovatore, you could go along with the Opera’s own “suspenseful story of a corrupt count, a dashing warrior and a Gypsy who plots to avenge her mother’s wrongful death” — well below the 140-character limit, and doing a fair job.
The production in the War Memorial features Marco Berti in the title role, with Sondra Radvanovsky as Leonora, Stephanie Blythe as Azucena, Dmitri Hvorostovsky as Count di Luna, and Burak Bilgili as Ferrando.
David McVicar is director, while Charles Edwards designed the sets for the production, coming from the Chicago Lyric and New York’s Metropolitan Opera. The setting is updated from Spain in 1409 to the early 19th century, and it draws inspiration from Goya’s series of etchings called The Disasters of War.More about San Francisco Opera »
On Program IV of the festival, Aug. 3-5, Mendelssohn is represented by three of his Songs Without Words (Op. 19, No. 6; Op. 85, No. 2; and Op. 67, No. 4), Jalbert by his 1998 Piano Trio. Also in the running: the Beethoven Kreutzer Sonata (Op. 47), and Brahms’ Piano Quartet No. 2 in A Major, Op. 26. [email protected] programs are always generous.
The program is called “Mendelssohn Perspectives,” and its purpose is to “illuminate the music of Mendelssohn’s predecessors and heirs.” Selections from the eight volumes of Songs Without Words well represent the romantic-lyrical-ethereal sound that’s part of Mendelssohn’s essence.
The Kreutzer was a Mendelssohn performance favorite, while the Brahms is called — somewhat vaguely — representative of “the latter half of the Romantic journey begun by Beethoven and propelled by Mendelssohn.”
And Jalbert? He “gives voice in our own time to the Mendelssohnian ideal of expressive pathos combined with impeccable design,” intones the festival announcement. If that sounds too general, “let’s look at the record,” and therein find another Mendelssohnian characteristic: fecundity.
Jalbert (“JAL-burt”), born in New Hampshire and gallivanting around the country virtually nonstop, has been making a deep impression around the Bay Area for almost a decade now. In 2002 alone, he made his mark as composer in residence with Barry Jekowsky’s California Symphony in Walnut Creek, and showed up on the program of Jeffrey Kahane’s farewell concert as he was leaving the Santa Rosa Symphony.
The same year, Jalbert began his residency with Kahane’s Los Angeles Chamber Orchestra, premiering his work called Les Espaces infinis. It was described in an enthusiastic Los Angeles Times review as a piece “holding the listener through a canny blend of instrumental colors and combinations, chromatic but not dissonant, and ultimately pleasing.” It is the kind of characterization that often appears in reviews of his works.
Jalbert’s contributions to the Walnut Creek orchestra continued for years, even before he garnered the Rome Prize, the BBC Masterprize, and — more recently — the Chamber Music Society of Lincoln Center’s 2007 Stoeger Award.
His 1998 Piano Trio — a bold, craggy, expansive work — has been performed around the country and in Europe. As a “typical Jalbert,” it combines modal, tonal, and dissonant harmonies, but reassuringly settles in some sort of tonal center.
The first movement is titled “Life Cycles.” It was inspired by the sound of the “really really fast” heartbeat of his first son that Jalbert heard before the boy was born — “the pulse becoming the inspiration for the music.”
The second movement, “Agnus Dei,” is slow and lyrical, following the three-part structure of the prayer for which it’s named. It is dedicated to Mother Theresa, who died at the time of the Trio’s composition.
For a still-young composer (a profession in which everybody under 60 is considered “young”), Jalbert has a significant CD presence, including his Chamber Symphony performed by Kahane’s L.A. Chamber Orchestra; his Visual Abstract by the Pittsburgh New Music Ensemble; Wood/Metal Music by the University of Houston Percussion Ensemble; the Trio (on the [email protected] program) from Cedille Records; and a handful more. Remarkable.
Amazingly productive, Jalbert has recently completed L’Œil écoute (The eye listens) for film/digitally created images with live music, premiered by the Pittsburgh New Music Ensemble earlier this month; Sonata for Piano, premiered in Houston last month; String Trio, premiered by the commissioning Janaki String Trio in Los Angeles; Autumn Rhapsody for string orchestra, premiered by the Vermont Symphony; String Quartet No. 4, premiered by the Escher String Quartet at the Caramoor Festival last summer, and being performed on the Escher tour of Europe this year; and Sonata for Cello and Piano, premiered by David Finckel and Wu Han at the Aspen Music Festival.
New Jalbert projects include a string quartet for the Emerson, and Quattro Mani for piano duo and percussion.More »
But Bizet did much more than Carmen (and his Pearl Fishers does pop up often), Leoncavallo’s Pagliacci is just one of his 11 operas, and so on. What’s at work here is the popularity of one work, often at the expense of others.
The 1890 Cavalleria rusticana is what Pietro Mascagni (1863-1945) is known for, though he actually produced 16 other operas and operettas. His Iris is an especially fine example of an unjustly neglected opera, and the 1891 L’amico Fritz (Friend Fritz) — the subject of our sermon today — is a splendid piece, coming soon to your neighborhood.
One of two operas staged by and for the 2009 Merola Program participants, L’amico Fritz will be performed at Cowell Theater on July 24 and 26. (The other Merola production is Mozart’s Cosi fan tutte, Aug. 7 and 9.)
Unlike the blood-and-gore verisimo of Cavalleria rusticana, Mascagni’s second opera, L’amico Fritz, is a “lyric comedy,” closer to operetta than opera. It is based on the novel L’ami Fritz by Émile Erckmann and Pierre-Alexandre Chatrian, taking place in a French community of Jews. (Although this has nothing to do with the opera, it’s worth noting that the Judeo-Alsatian community has a thousand years’ history.)
The story opens with a bet (shades of Così fan tutte!) between landowner/bachelor Fritz Kobus (sung by tenor Nathaniel Peake), and his friend, Rabbi David (baritone Aleksey Bogdanov).
Fritz stakes his vineyard on the bet that he will never marry. What and why the rabbi puts up against that is unclear. Of course, we all know how all this will work out, so not to worry about details.
The wager is greatly handicapped by the presence of the beauteous Suzel (soprano Sara Gartland), daughter of one of his tenants. Three acts, some minor complications, some gorgeous music, and the “Cherry Duet” later — excuse the spoiler — then the couple unites and the rabbi returns the vineyard to Suzel as a wedding present.
Warren Jones conducts members of the San Francisco Opera Orchestra, and the stage director of the black-box production is Nic Muni. Other Merolini in the cast are Yohan Yi, Eleazar Rodrìguez, Susannah Biller, and Maya Lahyani.
The opera’s one and only local main stage production goes all the way back to 1924, on a double bill with Gianni Schicchi. It had a remarkable cast: Tito Schipa, Giuseppe de Luca, and Thalia Sabanieva; Gaetano Merola himself conducted. In 1976, Spring Opera produced L’amico Fritz with Vinson Cole, Frederick Burchinal, and Leona Mitchell.More »