Operatic train wreck in San Francisco, hopes crushed for 3000 opera-goers, impresario’s grand scheme derailed.
At this famous bastion of intellect the biggest drama was the parking. Though the football stadium may have been stuffed, Zellerbach Hall was not.
Forget Herman Melville, forget struggling with deep human complexities. At least those that possessed nineteenth century Americans.
Give me good verses, I’ll give you good music, said Bellini to his librettist Felice Romani. Give me a good director and I’ll give you good opera surely thought San Francisco Opera general director David Gockley.
Four Rigolettos in nine days (for this critic), of twelve Rigolettos in 24 days (are these world records?).
Ciro in Babilonia Matilda di Shaban and Il signor Bruschino in Rossini land.
Rare, very rare repertory that is not even opera stole the show at the sixty fourth Aix Festival.
You pay your money, you takes your chances — that is festival life at its best. Sometimes it pays off and sometimes it doesn’t. The fun is in the risk, so the riskier the better.
Perfection. A seldom used term in critiques of opera performances. There it was, almost (and will be, maybe).
Bad news travels fast. Though you are about to read another version of how American diva RenÈe Fleming failed to bring Lucrezia Borgia alive, let us begin by discussing a few other things you already know.