We went to see The Magic Flute for Family on Saturday. Namely, we went to see Honey, I Shrunk the Opera. From 3h15, it got reduced to a lively 2 hours. And it got translated too, because there aren’t too many kids ages six and over who speak German around here. Looking for something to illustrate this post, we found this YouTube clip below: an excerpt of the current run of The Magic Flute. It’s......

This past Wednesday was New-Yorker night in Civic Center: the classical music critic, Alex Ross was promoting his new book at Herbst theater, and we attended the production of the Magic Flute designed by Gerald Scarfe, who regularly illustrates the magazine. Scarfe toned down his usually acidic satirical pen (see the sample from his website that we put after the jump) to cook up sets that are humorous, and respectful of Mozart’s intent. The set,......

Tonight, the SF Indiefest anschlüss continues, with a party celebrating the Coen Brothers' The Big Lebowski at Balazo Gallery (2183 Mission at 18th). Costumes encouraged. (9pm) Two great alcohol-accessorized reading events at the Make Out Room (3225 22nd St between Mission and Valencia): Friday and Saturday night is Mortified's annual doomed Valentine show with teenage stories of hopeless love, awkwardness and pain. (8pm) All this weekend it's the California International Antiquarian Book Fair at......

The San Francisco Opera opened its season last Saturday and picked up right where it left off last time we visited. The Italian Girl in Algiers, just like Cosi fan Tutti, is another joyful and energetic opera, another fun comedy of an opera, which should reach to a wide audience. The continuity is musical as well: Rossini was inspired by the language of Mozart. He actually composed The Italian In Algiers in 1813, a mere 22 years after Amadeus’ last opera. He was 21 years old and composed the opera in 18 days. 18 days! Maybe John Adams will start writing Dr. Atomic soon. To put this in perspective, when we were 21, our main achievement was not to miss dollar pint night for a whole semester. One could hear Mozart’s influence in general, but in particular the piccolo in the overture reminded us of the Magic Flute, as well as the choice of Papatachi as a title for one of the characters echoed Mozart’s wit with Papageno. Again, as for Cosi last season, the performance is displaced in time. However, there start the differences. Cosi was a farce too, but grounded in some seriousness by its setting in the ominous background of WWI. One does wild things indeed when the apocalypse is near. The Italian in Algiers, on the other hand, is costumed for the 1930s, happens in a land of fantasy, and is light all the way. ...