It was Opening Night at the Opera on Saturday, for the short summer stretch of the season; Gounod's Faust is an over-roasted chestnut, on the top ten most performed list at most major opera houses. But for the occasion, that's not a bug. It's a feature to re-acquaint oneself with the art form after the spring break. Familiarity breeds comfort, and this production (from the Lyric Opera of Chicago) won't challenge this feeling of coming back to a well worn slipper. Still, with a few outstanding moments and some nice promotional discounts (code faustdeal10), it's quite enough for a very pleasant evening out. more ›

Even though it's Puccini, the SF Opera has run Il Trittico (the triptych) only twice before Wednesday night's opening. And for the first time on this stage, the same soprano, Patricia Racette, is singing the lead in all the three one-act pieces, a rare feat since they are all so varied: the first one is drenched in tragic realism, the second one in religious transcendence and the last one is a rubicund farce of stolen heritage. The same baritone, Paolo Gavanelli, is also singing the male lead in all pieces, scoring the middle point on a technicality, since it's an all nun affair in a convent. more ›

We learned yesterday that star soprano Patricia Racette had to withdraw from singing today in the Verdi Requiem at the SF Opera house, and will be replaced by Adler fellow Heidi Melton. Racette, a recent hit in Madame Butterfly, was to sing the Requiem for the first time. No disrespect meant to the up-and-coming Heidi Melton, who will nail it, but that's a bummer. Racette and Stephanie Blythe, that was a spectacular tag team. Nonetheless, the SF Opera orchestra and choir, under the baton of departing music director Donald Runnicles, will be on the stage for once, not in the pit. That should be an exciting farewell to the maestro. more ›

Oh, those nifty New Yorkers; it's all about them. As usual. Why? Because David Gockley, General Director of the SF Opera, announced that the company will start producing HD broadcasts of performances for theaters all across the states. Lovely, right? But the NYT then turns it into some kind of pissing contest because they did it first. Hrumph. more ›

The current run of Madama Butterfly had deja vu written all over it again: same set; same soprano; Patricia Racette in the role of Cio-cio-san, the Japanese wife betrayed by the American officer; same Suzuki (Zheng Cao), Cio-cio-san's maid. We had seen the show a year and a half ago, and the only thing missing in the current run was the simulcast on the Civic Center plaza. more ›

Thesis: classic Italian opera represents the core tradition of the art form and success as a singer means being able to master the genre. Anti-thesis: opera is an evolving live form, and the work of contemporary composers is relevant, forget about the old dead ones. Synthesis: let’s toss a little bit of everything on the wall, old and new, domestic and foreign, we’ll see what sticks, and call it the Merola Grand Finale. more ›

If you ever wished to stand up and stretch, or God forbid, leave, in the middle of attending an opera, the SF Opera is there for you. They don't provide you with concerts you want to run away from, but with a bunch of casual opportunities to appreciate the lyrical arts al fresco. They have a concert in Stern Grove (July 30th), they have the annual Opera in the Park in Sharon Meadows in the Golden Gate Park (September 10th). But those are mid-day, bring-your-sun-screen, let's-see-nature, mix-and-match-your-arias performances. It's fun, but it is not a whole opera, where you can follow the story from beginning to tragic end. more ›