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1-11 of 11
- George Gershwin miraculously melded classical music, popular song, jazz, blues and spirituals in this quintessentially American masterpiece that tells the poignant story of a crippled beggar, the headstrong woman he loves, and the community that sustains them both. San Francisco Chronicle praised Francesca Zambello's production as a "powerful Porgy and Bess...persuasively led by conductor John DeMain and sung by a strong cast headed by Eric Owens and Laquita Mitchell in the title roles.... Owens brought vocal heft and dramatic sensitivity to the part of Porgy. Mitchell gave an evocative performance as Bess, compounded of tempestuous need and penitence." "Dazzling and remarkable!" -San Jose Mercury News "Triumphant! A top-notch, sold-out Porgy and Bess." -San Francisco Examiner
- The definitive Delilah of our day, Olga Borodina has been praised by Allan Ulrich in the San Francisco Chronicle for her "gloriously voluptuous singing." The Russian mezzo-soprano reprises her seductive performance as the tantalizing temptress in an eagerly awaited revival of Saint-Saëns' biblical epic. Tenor Clifton Forbis, whose powerful voice has thrilled audiences from Vienna to Los Angeles, plays the Old Testament hero loses his heart, his hair and finally his strength. Patrick Summers returns to the San Frnacisco Opera podium to conduct the lavish production.
- A forlorn, aged philosopher sets out on a perilous course when he makes a deal with the Devil in this monumental treatment of the Faust tale--an enticingly impressive production from the San Francisco Opera.
- The grandest of grand operas, and a brilliant balance of spectacular pageantry and emotional intimacy. A bitter love triangle plays itself out against a backdrop of war and cultural oppression in this compelling tale of conflicting loyalties and forbidden passion. As Aida, soprano Micaela Carosi's "voice wasn't only luminous; she was alive in the role...every fear, frustration and outburst of love registered in her voice, face, body" (San Jose Mercury News). Tenor Marcello Giordani plays Radames, "mustering a ringing sound and suitably ardent phrasing" in the opera's climax (San Francisco Chronicle). "Mezzo-soprano Dolora Zajick delivered a powerhouse performance as Amneris, cloaking her unstoppable dramatic fury in plush and impeccably controlled tones." -San Francisco Chronicle "As Amonasro, baritone Marco Vratogna emitted gorgeous, orchestra-defying sounds." -San Francisco Classical Voice "Glamour came from Zandra Rhodes's fantastically colorful production. Gold for days, patterns upon patterns (based upon authentic Egyptian designs), and costumes that more than a few singers undoubtedly wished they could take home forever." -San Francisco Classical Voice
- In this melodically rich bel canto masterpiece, a femme fatale renowned for her ruthless pursuit of power reveals poignant vulnerability when she comes face to face with her long-lost son. Soprano Renée Fleming "uncorks the secret inner torments of history's most notorious poisoner. Her best singing was sumptuous and long-lined, airy and ravishingly rich" (San Jose Mercury News). Tenor Michael Fabiano "made a dashing Company debut as Gennaro, breathing vivid life into the role...singing with both graceful lyricism and full-throated ardor" (San Francisco Chronicle). Mezzo-soprano Elizabeth DeShong, "sings like a vocal giant. Her lowest notes have body and depth, the midrange is especially rich, and she propels her secure, full, and rounded highs with aplomb" (San Francisco Classical Voice). Bass-baritone Vitalij Kowaljow "gave a thrillingly robust and commanding account" of Duke Alfonso (San Francisco Chronicle). "The production's execution is first-rate: fine singing, towering sets and outlandishly appealing costumes, as well as a robust chorus and a dazzlingly spot-on performance by the orchestra, conducted by Riccardo Frizza, a bel canto specialist in his company debut" (San Jose Mercury News).
- The heroine of this beloved opera finds herself faced with a dreadful choice: life without dignity or death with honor. Hear some of Puccini's most soaring and captivating music in this classic story of colliding hearts and cultures.
- This evening of one-acts is like a lavish three-course dinner, prepared by a master and promising something for everyone's taste. Not since 1952 had San Francisco audiences had the rare opportunity to enjoy this unique work the way its creator intended-in its entirety and with an ideal cast. "Smartly directed by James Robinson and conducted with sweeping lyricism by Patrick Summers" (San Francisco Chronicle). Soprano Patricia Racette, whose many San Francisco Opera triumphs include her incisive portrait of Cio-Cio San in Madama Butterfly,"tackled all three soprano roles...and emerged triumphant" (San Francisco Chronicle). In the three diverse soprano roles, "Racette modulated the quality and tone of her radiant, muscular sound accordingly. The title role in Suor Angelica is the real soprano showcase, a virtuoso exercise in both soaring vocalism and emotional specificity, and Racette rose superbly to the challenge."
- Bellini's radiant retelling of Shakespeare's Romeo and Juliet is a beacon in the bel canto tradition. San Francisco Opera's co-production features two of the greatest voices in bel canto together for the first time: mezzo Joyce DiDonato and soprano Nicole Cabell. Their compelling duet is one of the finest marriages between two voices in many, many years. The production, directed by Vincent Broussard and featuring costumes by Christian Lecroix, is captured in brilliant HD.
- An idealistic artist, a celebrated singer and a corrupt police chief engage in a fierce battle of wills in this tempestuous tale of cruelty and deception. With its themes of political intrigue, sexual intimidation and official hypocrisy, Puccini's great melodrama set in 1800 is anything but dated. Canadian soprano Adrianne Pieczonka makes her Company debut in the title role. Baritone Lado Ataneli (Scarpia) and Italian tenor Carlo Ventre make up the other sides of this fatal love triangle. Recorded Summer 2009, War Memorial Opera House, San Francisco.
- In this Mussorgsky masterpiece, a Russian czar is haunted by a horrible act he committed years earlier. The concise original version of the opera, focusing on the emotional disintegration of the title character, creates a theatrical experience of searing intensity. Legendary bass Samuel Ramey wowed audiences in the title role, "singing with unflagging stamina, resonance and an air of tragic death, he created a character at once charismatic and fatally flawed" (San Francisco Chronicle). Also from the San Francisco Chronicle: "Tenor Vsevolod Grivnov made a magnificent counterweight...And bass Vitalij Kowaljow gave a weighty, gorgeously precise performance as the monk Pimen."