San Diego Opera 'Carmen' shines in the smaller roles
As seen on opening night Saturday, San Diego Opera’s production of Bizet’s “Carmen” offered some beguiling vocal performances. Unfortunately these were Carmen’s friends, Mercédès (soprano Priti Gandhi) and Frasquita (soprano Rachel Copeland), neither of whom could be said to have the opera’s leading roles. They were delightful, however, and the highlights of the evening came from them and from their smuggler cohorts, Dancaïre (baritone Jeff Mattsey) and Le Remendado (tenor Joseph Hu). All four of these characters, of course, join Carmen for the delightful quintet, “Nous avon en tête une affaire.” So, there you have good news first. Never let it be said I do not emphasize the positive!
When Lise Lindstrom made her Met debut as Turandot, I was sitting fourth row center. She was the first Ice Princess I could actually sense melting, vocally and physically; it was as if the color worked its way from her fingertips to her cheeks until she appeared to be consumed by fever.
San Diego Opera’s 46th International Season opens on Jan. 29 with Giacomo Puccini’s grand “Turandot” and marks the company debut of American soprano Lise Lindstrom in the title role.
On La Traviata's opening night, sitting in my row during Act I, Ailyn Pérez was drafted in to sing Violetta. And she – and the company – turned it into a triumph.
You'd think that an economic downturn would be no place for repertory gambles, and certainly not for that grande dame of grandiosity, Aida. In fact, the need to be lean is challenging opera houses across the country to explore options and operas they might not have considered in more flush times, whether that means staging a Verdi grand opera with just a few bells and whistles or commissioning an exciting new work.
Greer Grimsley has skirted the fast track, carving out an honorable career path on his own terms. Today, his imaginative acting and elegant musicianship have made him a favorite at U.S. regional companies and around the world. F. PAUL DRISCOLL chats with the New Orleans-born bass-baritone about his ever-evolving artistry.
Josuha Hopkins returns to Santa Fe Opera this month for a repeat of his cheeky, streetwise Papageno in Tim Albery's 2006 production of The Magic Flute, and for his first Sid in a new staging of Albert Herring.
After making her acclaimed Company debut with San Diego Opera in Romeo and Juliet, American soprano Ailyn Pérez made her way to Berlin’s Deutsche Staatsoper Unter den Linden for her role debut as Amelia in Simon Boccanegra.
With its stellar production of "La Traviata" this week, San Diego Opera ends its season on a high night, actually lots of high notes, and all of them well landed by the opera's talented cast.
"…if there are any tickets left and you don’t have one, get one"
"This La Traviata is top-notch in every way and well worth a visit to downtown San Diego."
It takes a lot of nerve to run an opera company, whether it’s an internationally acclaimed institution in London or Vienna, one of the large-scale companies scattered across the American landscape from San Francisco to Chicago, or one of the 10 or so major regional companies, like San Diego.
In chronological order, the International Season at the San Diego Civic Theatre consists of Puccini’s “Turandot” (Jan. 29 and Feb. 1, 4, 6), Strauss’ “Der Rosenkavalier” (April 3, 6, 9, 12), Gounod’s “Faust” (April 23, 26, 29 and May 1) and Bizet’s “Carmen” (May 14, 17, 20, 22).
Apparently the bump was unexpected. When the normal starting time arrived, the house curtain parted and San Diego Opera General and Artistic Director Ian Campbell stepped out, presumably to give a speech about subscribing to next season's operas -- Turandot, Der Rosenkavalier, Faust and Carmen. Eventually, Campbell delivered a pitch, but it was admittedly a stall as well. He announced there would be a slight delay. Backstage, resident conductor Karen Keltner was suiting up to replace debuting maestro Renato Palumbo, who'd been stricken suddenly ill. According to a San Diego Opera spokesman Monday morning, "The Maestro became very ill a few minutes before curtain and it was decided, with just a few minutes to spare, that Karen would go on. The Maestro has just confirmed that he has recovered and will be conducting the remaining performances."
Backstage at the San Diego Civic Theatre, dressing room No. 6 has a new name on the door: Maestro Renato Palumbo. And for good reason.
On the Tuesday after Easter, I spoke by phone with British baritone Alan Opie who was enjoying the warm temperatures and blue skies of San Diego. He was in town to sing the part of the elder Germont in the San Diego Opera production of La traviata. Since he had only recently arrived, he had only been to one rehearsal.