The space, which originally housed SFMOMA, includes an education studio that can also be used as a rehearsal venue, a costume studio, the San Francisco Opera Archive, exhibition galleries, and administrative offices. Wilsey Center for Opera, which consolidates SF Opera's operations on the fourth floor and basement of the Veterans Building. The evening was open to certain San Francisco Opera donors but involved having to call the box office to reserve tickets, as the space only has 299 seats. The English horn accompanying Amelia's "Ma dall'arido stela divulsa" evoked the darkness of night beautifully.SF Opera Lab held the first event at the new Taube Atrium Theater last night.
The fortissimo chords at the beginning of the gallows scene were like gun shots. The orchestra played out & the string sound was heavy. I also enjoyed the hearty singing of baritone Efraín Solis as one of her customers.Ĭonductor Nicola Luisotti led with vehemence & constantly propelled the music, sometimes pushing the singers. Her hefty, potent voice seems to originate from somewhere beneath her feet. It was good to hear mezzo Dolora Zajick as the fortune teller Ulrica. She sounded youthful, bright & a little brash. Soprano Heidi Stober chased her hat a lot as the page Oscar. Tenor Ramón Vargas as the king made a consistent sound that was weighty & dark, & his singing was contained. His voice was cushy & controlled, & he gave me the feeling he was always right on target. The production is double cast, & baritone Brian Mulligan was this evening's Renato. Soprano Julianna Di Giacomo as Amelia sounded strong, resonant & healthy, & the gallows scene & her pleading scene in act 3 were highlights of the evening. Tuesday night I heard Un Ballo in Maschera at the San Francisco Opera.
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