Director Mark Lamos' strong original production in Michael Yeargan's luridly colorful set design was seen as recently as 2017. We haven't waited long for the return of Verdi's vengeful "Rigoletto" (Sept. It also dovetails with Beethoven 250 celebrations. Beethoven's triumph of love and freedom asserts the overarching theme of the season: outsiders fighting back, for good or ill, against oppression. 1 with Beethoven's glorious "Fidelio." Music Director Designate Eun Sun Kim conducts a new SFO production from director Matthew Ozawa set in a government detention facility. Rather than wedging the first opera between hours of pre- and post-performance revelry, 2020's opening trims down to an 80-minute concert featuring New Zealand tenor Pene Pati and coloratura soprano Albina Shagimuratova.Īfter the glamorous Gala free-for-all Sept. Shilvock (a congenial Matthew to you and me) also cites patron feedback for the big format change opening night. Better-designed seats also promise improved sight lines. It also messes with SF Ballet's programming, but the need is obvious, and in the tradition of the house, patrons come first. A recent conversation with SFO General Director Matthew Shilvock helped explain choices and changes in the Company's 98th season.Ī major replacement project for the War Memorial Opera House's aging seats shortens the fall season and moves the summer series to spring. There are some bold and baffling surprises, but the reasons are smart and balanced. Mozart is good for you.A first look at the San Francisco Opera's 2020-21 season announcement is predictably exciting.
The previous occasion was in 1981 when celebrated basso-cantabile Cesare Siepi, then 58, sang six performances along with lyric baritone Giuseppe Taddei who was 68 at the time and retired fourteen years later. What’s really in play here is that it may be the first time in thirty-six years that a true basso-cantabile has sung the title role at San Francisco Opera. Nine years later, they are in The City appearing in the opposite roles. The matinee performance and broadcast featured bass-baritone Erwin Schrott as “Giovanni” and Ildebrando D’Arcangelo as “Leporello”. For instance, on September 27, 2008, at the Met.
Given the long list of recordings and certain wild cards of creative license, i.e., vocal fachs (categories), physical traits, commercial appeal, sexual chemistry, and factoring-in those who have gone Beyond – the possibilities for trading and bargaining the Dream Team are endless, especially for the title role and Leporello. Don Giovanni is one of those operas that really-serious opera buffs can re-cast all day long.
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