Extraordinary diva, Angela Gheorghiu pulled out of opening night after act one. It was news when she made it to the end of the second performance. Here is what happened at the third performance.
Who is Patricia Racette? Sexually ripe Nedda, maternal Cio-Cio-San, neurotic Sister Angelica? But now the jealous Tosca? And without question Mme. Racette has again proven herself the Puccini heroine par excellence of this moment.
Operatic train wreck in San Francisco, hopes crushed for 3000 opera-goers, impresario’s grand scheme derailed.
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?).
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.
Los Angeles has been good to Turandot. The gritty 1984 Andre Serban production inaugurated an opera company in Los Angeles where a mere eight years later L.A. Opera bestowed the splendid Luciano Berio ending upon the world in an uber-pompous Gian-Carlo del Monaco production.
The house lights dimmed, SFO General Director David Gockley instructed us to stand and sing the Star Spangled Banner. This crucial moment revealed the intentions and complexities of this fine production at San Francisco Opera.