Jason Victor Serinus

Jason Victor Serinus regularly reviews music and audio for Stereophile, SFCV, Classical Voice North America, AudioStream, American Record Guide, and other publications. The whistling voice of Woodstock in She’s a Good Skate, Charlie Brown, the longtime Oakland resident now resides in Port Townsend, Washington.

Articles By This Author

Washington National Opera Puccini La Rondine
Review

A Shockingly Different La Rondine

Jason Victor Serinus - September 8, 2009

Those of us who saw San Francisco Opera’s production of Puccini’s La Rondine in fall 2007 may think that we know the opera. We don’t. SFO’s Nicolas Joël production, which was reprised at the Metropolitan last season and simultaneously shown in hi-def in many theaters around the world, is not the final word on Puccini’s Johnny-come-lately masterpiece. For that we must turn to the scholarship of Marta Domingo, and Decca’s newly released DVD of her radically revised version of La Rondine for Washington National Opera.

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Preview

Clerestory's Favorite Things

Jason Victor Serinus - September 7, 2009
With a fraternal nod to Julie Andrews, the men of Clerestory are set to open their fall season with more than a few of their favorite things.
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Feature

The Season Ahead: A Preview of Fall Concerts

David Bratman, Georgia Rowe, Janos Gereben, Jason Victor Serinus, Jeff Dunn, Lisa Hirsch, Michelle Dulak Thomson, Scott Cmiel - September 6, 2009

With autumn upon us, the Bay Area's classical music groups are tuning up for hundreds of intriguing events. San Francisco Classical Voice asked several of our critics and editors to comb through the performance announcements available to date and pick their favorite choices for September through December.

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Review

Merola Grand FinaleGrand Beginnings

Jason Victor Serinus - August 25, 2009

For those of us who love opera, the Merola Grand Finale is like a decisive first date. Some singers who parade their stuff before us may have the looks, the glamour, the ease, and the savoir faire for an enjoyable outing.

San Francisco Opera Music Director Nicola Luisotti
Feature

San Francisco OperaEnters the Age of Luisotti

Jason Victor Serinus - August 24, 2009

The Luisotti era is about to begin. Four years after the maestro made his debut in the War Memorial Opera House conducting La forza del destino, to rave reviews, he assumes his new post as music director of San Francisco Opera.

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Preview

Leaving With Love

Jason Victor Serinus - August 17, 2009
The time has come. After 13 years as music director of the Golden Gate Men’s Chorus (GGMC), Joseph Jennings has announced his retirement. Jennings’ farewell concert, which will showcase his ever-adventuresome choice of repertoire and his penchant for pushing his singers’ limits, comes on the heels of his departure as longtime music director of Chanticleer.
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Review

Grand Ensemble Marks Merola Così

Jason Victor Serinus - August 10, 2009
The extra excitement of Merola Opera’s performance of Mozart’s Così fan tutte could be felt on both sides of the metaphorical footlights. As the house lights dimmed on Sunday at the outset of the production in Fort Mason’s intimate Cowell Theatre, you could almost hear the anticipatory questions in people’s minds: Were they about to witness one or more major stars in the making?
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Review

A Full Plate of Previn

Jason Victor Serinus - August 10, 2009
To celebrate André Previn's 80th birthday, Deutsche Grammophon has released André Previn: A Celebration, a six-CD set chock full of his recordings for the DG and Decca labels. Chosen by Previn, the performances highlight his accomplishments as both a conductor and composer of classical instrumental and vocal works.
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Review

Together? And How!

Jason Victor Serinus - July 27, 2009
Those of us who attended violinist Nadja Salerno-Sonnenberg’s opening concert as music director and concertmaster of the New Century Chamber Orchestra (NCCO) can hardly forget her bracing and authoritative playing.
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Review

A Tempest of Torments

Jason Victor Serinus - July 13, 2009

Chromatic gales, emotion-churning dissonances, and vocal writing so torturous it makes you wonder whether the all-star cast is composed of masochists: Such is the score for Thomas Adès’ three-act opera, The Tempest.