opera

An elegant blonde in off-white straight skirt, coat and black pumps sings, “I like order … straight margins, brief conversations.” She is Ivonne, head secretary of the steno pool, and we feel we know her – her primness, her insistence on order, her unwavering devotion to distance and form. She stands before the audience, as if it were a mirror in the company bathroom, and she instructs on the neatest, most efficient way to apply lipstick: Cherries in the Snow, Revlon’s finest: “the...

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It’s oddly ironic that Frank Capra’s 1946 film “It’s a Wonderful Life” was released by his production company Liberty Films. For the film and the opera, revised from its 2016 premier, both look at freedom as seen by an American Everyman who wants to rid himself of the shackles of small-town living and capitalist venality, and live a larger, grander life. A life he has freely constructed out of his imagination and idealism. The opera version that opened this Saturday at San...

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Arabella, lovely Arabella, positioned to buy her family out of debt through marrying off her beauty to the highest bidder, but searching wistfully for Mr. Right. Can the two inharmonious approaches to love resolve into one happy ending? In Richard Strauss’ opera they do indeed. And in the San Francisco Opera production that opened on Tuesday they resolve, like Tobias Hoheisel’s production design, from black and white into varieties of gray. Nonetheless suggesting, somehow, that an...

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The Opera House curtains open on an elaborately decorated Roman church, its walls deep scarlet, the religious paintings over the altar and on the left side of the apse painted in the fleshy and darkly sensual style of the late Renaissance. There, in front of an easel, the painter Cavaradossi contemplates his portrait of Mary Magdalene and sings about feminine beauty and love. In San Francisco Opera’s Sunday performance of Puccini’s Tosca, “Recondita armonia” revealed all the...

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San Francisco Opera opened its season with two of the most famous one-acts of verismo opera, which are often presented together: Cavalleria Rusticana and Pagliacci. In a well-considered version of these two operas, production and set designer José Cura linked the two operas by placing them in the same neighborhood of Buenos Aires and interweaving the characters. Cavalleria opens the evening’s performance. As the day dawns in the colorful streets of La Boca, a...

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Categories: opera