Charisse Loriaux, Cassidy Brown, Jomar Tagatac and Katie Rubin in ‘You Mena To Do Me Harm’ at the San Francisco Playhouse

The 2018-19 season at San Francisco Playhouse opens this week, with a play which had its World Premiere last season in the Playhouse Sandbox Series – its new works program. Christopher Chen’s You Mean To Do Me Harm proved during this run that it had what it takes to move to Mainstage at the Playhouse, delivering the Bay Area playwright’s dream of having a play produced there.

Chen’s plays, according to his website, “… examine the hidden patterns beneath complex systems: socio-political systems, psychological systems, systems of power”. A multi-award-winning playwright, he has had his works performed across the United States, as well as abroad, and among his impressively long list of successes is Caught, which won a 2017 Obie Award for Playwriting, a Drama League Nomination for Outstanding production of a Broadway or Off-Broadway Play in 2015, a Barrymore Award for Outstanding New Play the same year, and a PHINDIE 2014/2015 Critic’s Award for Best New Play. It was named One of the Top Ten Plays of 2016 by TheaterMania, New York City Theater, Theater Dogs and Seattle’s The Stranger.

Daniel bristles at a remark by Ken

Directed by Bill English, You Mean To Do Me Harm revolves around the consequences of an innocuous comment made during a dinner between two interracial couples, opening a Pandora’s box of “Cold War-style paranoia” – raising issues such as Chinese and American foreign relations, the ways in which our lives are affected by our cultural characteristics, and the fragility of personal relations which are the most important to us. Chen describes it as a “…. personal play about the Asian American experience…” and is said to be thrilled that it’s now being given the opportunity to reach a wider audience.

It’s been described as a “… lean, mean, and meticulously crafted drama…” by Huffington Post, as “witty and suspenseful” by the San Francisco Examiner, and “Masterful” by Theater Dogs. Bill English himself says that as the play develops, “….. our grip on what is real and what is imagined starts to slip, as does that of our protagonist, Daniel. Is he being paranoid or victimized by subtle racism? Does he just have an overactive imagination, or are the subtle comments of his wife and friends taking aim at his identity?”

The tension starts to mount

Of the cast who appeared in the Sandbox Series production of You Mean To Do Me Harm, three members are new – Cassidy Brown, Katie Rubin and Jomar Tagatac. Charisse Loriaux appears again in the role she played in the original.

Christopher Chen’s You Mean To Do Me Harm opened at the San Francisco Playhouse on September 18th, and runs until November 3rd. For more information and tickets, contact the box office on 415-677-9596, or visit the San Francisco Playhouse website.

Daniel considers the unfortunate situation which has arisen

Photographs by Ken Levine

Information sourced from:
San Francisco Playhouse program notes
and Christopher Chen’s website

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A scene from Donizetti’s ‘Roberto Devereux’ – Photo: Cory Weaver/San Francisco Opera

San Francisco Opera goes back to Tudor times for the second production of the Fall Season – Gaetano Donizetti’s Roberto Devereux.  The opera opened on Saturday evening, and continues its run on Tuesday, September 11th.  Roberto Devereux is the third in what’s known as Donizetti’s ‘Tudor Trilogy’ – preceded by Anna Bolena and Maria Stuarda  – although the operas were apparently not designed as such.

This Canadian Opera Company production – which is new to San Francisco Opera – stars soprano Sondra Radvanovsky as Elisabetta, and tenor Russell Thomas as Devereux, and is led by Italian conductor Riccardo Frizza.

Sondra Radvanovsky (center) as Elisabetta in Donizetti’s ‘Roberto Devereux’ – Photo: Cory Weaver/San Francisco Opera

Maestro Frizza made his debut with the Company in 2011 with another Donizetti work, Lucrezia Borgia, appearing again with Bellini’s I Capuleti e i Montecchi in 2012, and again in 2014 with Puccini’s Tosca. Having conducted orchestras such as the Maggio Musicale Orchestra in Florence, Rome’s Accademia di Santa Cecilia, London’s Philharmonia Orchestra, and Staatskapelle Dresden, Riccardo Frizza has been appointed first musical director of the Donizetti Festival, the inaugural season of which takes place in November this year.

Roberto Devereux is directed by Stephen Lawless, who headed up productions for the Glyndebourne Touring Opera from 1986 to 1991, where his highly successful production of Benjamin Britten’s Death in Venice was recorded by the BBC for television and video release. He also has the honor of having produced the first ever live telecast of an opera from the Soviet Union to the UK, with his debut production of Mussorgsky’s Boris Godunov for the Kirov Opera in Leningrad. Other companies, aside from San Francisco Opera, for which he has directed include The Royal Opera House, Covent Garden, the Vienna State Opera, Washington, and Los Angeles Opera, and for Nürnberg Opera he directed the complete Ring cycle.

Jamie Barton as Sara and Sondra Radvanovsky as Elisabetta in Donizetti’s ‘Roberto Devereux’ – Photo: Cory Weaver/San Francisco Opera

The libretto for Roberto Devereux is by Salvatore Cammarano, and is thought to have been based largely on Felice Romani’s Il Comte d’Essex – but Cammarano is also said to have drawn for his material on the work of two French authors, Pierre Corneille and Francois Ancelot. Whatever the truth, Donizetti and Cammarano’s interpretation of the story of the romantic association between Elizabeth I and Robert Dudley, Earl of Essex, might not be historically accurate, but it certainly makes a dramatic plot for an opera.

In Donizetti’s opera, Elisabetta is in love with Roberto Devereux, the Earl of Essex, whom she has sent to lead a military expedition to Ireland. Against her orders, he has signed a peace treaty with the Irish rebels, and her advisors, fueled by jealousy of his favored position at Court, use this opportunity to issue a charge of treason against him. Elisabetta faces the terrible choice of acknowledging where her loyalty lies – with her country or the man she loves. She then discovers that he has betrayed her – as well as his friend and ally, the Duke of Nottingham – by conducting an illicit affair with Nottingham’s wife, Sara. When Lord Cecil informs Elisabetta that Parliament has reached a decision and that Devereux faces the death penalty, she is forced to sign his death warrant, but strain of these events causes her to lose confidence in herself, and she relinquishes her crown in favor of King James of Scotland – her nephew and heir to the throne.

Russell Thomas as Roberto and Sondra Radvanovsky as Elisabetta in Donizetti’s ‘Roberto Devereux’ – Photo: Cory Weaver/San Francisco Opera

The 1837 premiere of Roberto Devereux, at the Teatro San Carlo, was only moderately successful, and the work lay largely unperformed from about 1850 until the renewed interest in music of bel canto in the latter part of the 20th century.

The role of Elisabetta is sung by Sondra Radvanovsky, one of the premier exponents not only of the Verdi repertoire, but also acknowledged as one of the finest interpreters of bel canto. Ms Radvanovsky made her San Francisco Opera debut in 2009 as Leonora in Il Trovatore, and returned in 2014 in the title role in Bellini’s Norma – her first performance in the opera. During the 2015-16 season she became the first singer in the history of the Metropolitan Opera to sing the soprano leads of Donizetti’s ‘three queens’ in his Tudor dramas. The New York Times described her performance as Queen Elizabeth as “an emotionally vulnerable and vocally daring performance, a milestone in the career of an essential artist”.

Russell Thomas as Roberto and Jamie Barton as Sara in ‘Roberto Devereux’ – Photo: Cory Weaver/San Francisco Opera

Russell Thomas – described by The New York Times as “a tenor of gorgeously burnished power” – made his San Francisco Opera debut as Pollione in Norma in 2014, and now returns to the Company in another role debut – the title role in Roberto Devereux. Known for his vivid character portrayals, Mr Thomas has more recently appeared in the title role of La Clemenza di Tito at the Salzburg Festival and Dutch National Opera, the title role of Don Carlo at Washington National Opera, Rodolfo in La Bohème at the Metropolitan Opera, Cavaradossi in Tosca with Los Angeles Opera, Ismaele in Nabucco at the Metropolitan Opera, and Mao Tse-Tung in John Adams’ Nixon in China with the Los Angeles Philharmonic.

Mezzo soprano Jamie Barton debuted at San Francisco Opera in 2014 as Adalgisa in Norma, a role which she has more recently performed with the Metropolitan Opera, Houston Grand Opera and Los Angeles Opera. Multi-awarding-winning Ms Barton has recently added yet another trophy to her cabinet – her debut solo album, All Who Wander, has won the 2018 BBC Music Magazine Vocal Award. Joyce DiDonato has said of Ms Barton: “The world has been waiting for this voice for a long time – one that reminds you of how capable the human voice is of creating something of absolute beauty”. Jamie Barton will also appear for San Francisco Opera as Jezibaba in Dvořák’s Rusalka next spring.

A scene from Donizetti’s ‘Roberto Devereux’ with Amitai Pati as Lord Cecil, Sondra Radvanovsky as Elisabetta, Andrew Manea as the Duke of Nottingham and Russell Thomas as the title role. Photo: Cory Weaver/San Francisco Opera

The role of the Duke of Nottingham is sung by Romanian-American baritone Andrew Manea who, as a second-year Adler Fellow, made his Company debut as Marullo in Verdi’s Rigoletto in 2017 and appeared as Marquis d’Obigny in La Traviata last season. As a participant of the 2016 Merola Opera Program, Mr Manea appeared as Iron Hans/Wolf in the production of Conrad Susa’s Transformations.

New Zealand tenor Amitai Pati appears as Lord Cecil. In 2016 he took his first principal role, as Ferrando in Mozart’s Cosi fan tutte, for the Merola Opera Program, having won the Lexus SongQuest in 2012, and was invited to join the Young Singers Project in Salzburg, where he appeared in La Favorite with Elīna Garanča, Juan Diego Flórez and Ludovic Tézier, and took the tenor solo role in a production of Mozart’s Spatzenmesse.

Base-baritone Christian Pursell, a national semi-finalist of the 2016 Metropolitan Opera National Council Auditions, sings the role of Walter Raleigh. His performance as Dandini in the 2017 Merola Opera Program production of La Cenerentola was highly acclaimed, and this season he will be appearing for San Francisco Opera as a jailer in Tosca, as Count Lamoral in Richard Strauss’ Arabella, and as a member of the Angel Quartet in Heggie’s It’s a Wonderful Life.

A scene from Donizetti’s ‘Roberto Devereux’ with Sondra Radvanovsky as Elisabetta – Photo: Cory Weaver/San Francisco Opera

Riccardo Frizza leads the San Francisco Opera Orchestra and Chorus (Director Ian Robertson) in Donizetti’s Roberto Devereux – sung in Italian with English supertitles – until September 27th. For performance dates and tickets, visit the San Francisco Opera website.

Information sourced from:

San Francisco Opera program notes

AllMusic

Sondra Radvanovsky

Russell Thomas

Jamie Barton

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Laura Krumm as Lola, Roberto Aronica as Turiddu and Ekaterina Semenchuk as Santuzza in Mascagni’s ‘Cavalleria Rusticana’ – Photo: Cory Weaver/San Francisco Opera

The launch of the San Francisco Opera Season is always a grand affair – three consecutive days of festivities starting with the annual Opera Ball and the opening production of the Fall Season on Friday, another first night on Saturday, and the annual free Opera in the Park on Sunday, featuring some of the conductors and soloists who’ll be seen throughout the Season.

Opening this evening, September 7th, with the traditional double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, the Company’s Fall Season features a lineup of fabulous productions – including Donizetti’s Roberto Devereux, a new production of Puccini’s Tosca, Strauss’ Arabella, the West Coast Premiere of Jake Heggie’s It’s a Wonderful Life, Bizet’s Carmen, Handel’s Orlando and Dvořák’s Rusalka.

It’s 15 years since Cavalleria Rusticana and Pagliacci were last presented at the War Memorial Opera House, and this new production for San Francisco Opera is by the Argentine tenor, conductor and director José Cura – making his Company debut. Described by Seen & Heard International as “a polymath, a Leonardo da Vinci of our time”, he has set both operas in the La Boca neighborhood of Buenos Aires, well known for its colorful architecture and live tango displays.

Ekaterina Semenchuk as Santuzza (seated at right) and the San Francisco Opera Chorus in a scene from Mascagni’s ‘Cavalleria Rusticana’ – Photo: Cory Weaver/San Francisco Opera

Also making his San Francisco Opera debut in these performances is Italian conductor Daniele Callegari, whose opera repertoire includes Bellini’s Capuleti e Montecchi, Norma and La sonnambula, Bizet’s Carmen, and Donizetti’s Elisir d’amore, Lucia di Lammermoor, Lucrezia Borgia, Les Martyrs and Maria Stuarda.

Italian composer Pietro Mascagni is probably best known for his role in introducing the concept of verismo to the world of opera in the latter part of the 19th century. Already popular in theatre, verismo reflected the lives and passions, violence and honor of everyday people – as opposed to the somewhat distant existences of royalty and the gods – and it accentuated the importance of emotion over beautiful sound.

Cavalleria Rusticana, with a libretto by Giovanni Targioni-Tozzetti, is based on a Sicilian melodrama by Giovanni Verga, and tells of the soldier Turiddu who returns from military service to find that his fiancée, Lola, has married Alfio, a well-to-do wagon owner and driver. In an act of revenge, Turiddu seduces Santuzza, a peasant girl, and Lola becomes so jealous that she starts an adulterous affair with Turiddu. Santuzza publicly betrays the pair, Alfio challenges Turiddu to a duel, and Turiddu pays for his actions with his life.

Roberto Aronica as Turiddu with members of the San Francisco Opera Chorus in Mascagni’s ‘Cavalleria Rusticana’ – Photo: Cory Weaver/San Francisco Opera

This one-act opera – which was composed for a competition held by the music publisher Sonzogno – was written in a hurry, and Mascagni was ultimately too nervous to submit it, but his wife did so on the last day of the competition. Although Cavalleria Rusticana opened to a half-empty house at the Teatro Costanzi in Rome, on May 17th, 1890, it was rapturously received, and has retained its popularity ever since, often being performed in tandem with Leoncavallo’s Pagliacci. Mascagni went on to succeed Arturo Toscanini at La Scala Milan, in 1929.

In this San Francisco Opera production, Russian mezzo-soprano Ekaterina Semenchuk sings the role of Santuzza. Having made her debut with the Company as Federica in Luisa Miller in 2015, Ms Semenchuk returned in 2016 in the role of Amneris in Verdi’s Aïda. A specialist in the 19th-century dramatic mezzo-soprano repertoire, her recent engagements include Eboli in Verdi’s Don Carlo at Teatro all Scala and The Royal Opera House, Covent Garden; Azucena in his Il Trovatore at Rome Opera, the Mariinsky Theatre in St Petersburg and The Royal Opera; Fricka in Wagner’s Das Rheingold at the Edinburgh International Festival; and Lady Macbeth in Verdi’s Macbeth at Los Angeles Opera, opposite Plácido Domingo.

Italian tenor Roberto Aronica returns to the War Memorial Opera House in the role of Turiddu. He debuted with San Francisco Opera in 1993 as Rodolfo in Puccini’s La Bohème, and he has more recently appeared in the title role of Don Carlos at the Royal Opera House, Manrico in Il Trovatore at the Teatro Comunale di Bologna, as Pinkerton in Puccini’s Madama Butterfly at the Gran Teatre del Liceu in Barcelona, Calaf in Puccini’s Turandot at Turin’s Teatro Regio, and Alfredo in Verdi’s La Traviata at the Metropolitan Opera.

Scene from Mascagni’s ‘Cavalleria Rusticana’ – Photo: Cory Weaver/San Francisco Opera

Greek baritone Dimitri Platanias makes his Company debut as Alfio. A gifted linguist, Mr Platanias is known for the rich quality of his voice and for the insight which he brings to his interpretation of the roles he portrays. Among his recent successes are his debuts at the Bayerische Staatsoper in the title role of Verdi’s Simon Boccanegra, and in Nabucco at Palau de les Arts Reina; his performances as Iago in Otello at Oper Frankfurt, Tonio in I Pagliacci at the Osterfestspiele Salzburg and at The Royal Opera House, Covent Garden (both released on DVD), and as Alfio in Cavalleria Rusticana.

The role of Lola is sung by former San Francisco Opera Adler Fellow, mezzo-soprano Laura Krumm, who has has appeared on the stage of the War Memorial Opera House as the Second Maidservant in Strauss’ Elektra, Javotte in Manon, Rosina in Rossini’s The Barber of Seville for Families, Countess Ceprano and a Page in Verdi’s Rigoletto, and a Maid in the world premiere of Tobias Picker’s Dolores Claiborne.

Mezzo-soprano Jill Grove, who appears as Mamma Lucia, last appeared with San Francisco Opera in 2017 in the role of First Maidservant in Elektra. She has previously performed with the Company as Madelon in Andrea Chénier, and Grandmother Buryjovka in Janáček’s Jenůfa.

Amitai Pati as Beppe with the San Francisco Opera Chorus in Leoncavallo’s ‘Pagliacci’ – Photo: Cory Weaver/San Francisco Opera

Ruggero Leoncavallo was a contemporary of Mascagni, and following Mascagni’s success with Cavalleria Rusticana, wrote his own one-act opera in similar style, and submitted it to Sonzogno. Pagliacci – meaning ‘clowns’ or ‘players’ – tells of a performance by a troupe of traveling actors in which the action mirrors what turns out to be a real-life drama, and in which each of the leading players plays a role similar to that of his or her actual counterpart.

Canio is head of the troupe, and married to Nedda. Tonio, a clown, is attracted to Nedda, but she’s involved in a clandestine affair with the villager Silvio. They plan to run away together, but Tonio tells Canio what Nedda has planned, and Silvio manages to escape his wrath. This actuality is similar to the plot of the play, and at this point in the performance, Canio forgets that he’s on stage and insists on Nedda divulging the name of her lover. She tries to continue with the performance, and another actor, Beppe, steps in to prevent Canio from killing Nedda with a knife. Her lover Silvio arrives on the scene, and Canio in his anger stabs both of them.  Pagliacci premiered in a hugely successful performance in Milan, on May 21st, 1892, with Arturo Toscanini conducting.

A scene from Leoncavallo’s ‘Pagliacci’ – Photo: Cory Weaver/San Francisco Opera

In this San Francisco Opera production, Armenian soprano Lianna Haroutounian sings the role of Nedda. Regarded as one of the world’s leading interpreters of Verdi and Puccini, she appeared in the title roles of Aïda at Madrid’s Teatro Real, and Tosca at the Palau de les Arts Valencia during the 2017-18 season.  During this last season, she also made her most recent appearance at San Francisco Opera, in the title role of Madama Butterfly, with which she made her debuts at Seattle Opera and the Staatsoper Hamburg.

The role of Canio is taken by Italian tenor Marco Berti, admired as an exponent of the Verdi repertoire in roles such as – Radamés in Aïda, Riccardo in Un ball in maschera, and the title roles in Ernani and Otello – and that of Puccini, having appeared as Des Grieux in Manon Lescaut, Pinkerton in Madama Butterfly, and Cavaradossi in Tosca. He has also received acclaim for his interpretation of Don José in Bizet’s Carmen, as well as Canio in Pagliacci.

Dimitri Platanias makes his second appearance of the evening as the clown, Tonio, who betrays Nedda and Silvio’s relationship to Canio.

The role of Silvio is sung by American baritone David Pershall, whose most recent appearance for San Francisco Opera was Lescaut in December 2017, following his 2016 debut with the Company as Roucher in Andrea Chénier. Mr Pershall is a graduate of the Merola Opera Program, and has appeared at the Metropolitan Opera in the title role of Rossini’s Il Barbiere di Siviglia, as Schaunard in Puccini’s La Bohème and Lord Cecil in Donizetti’s Maria Stuarda.

Amitai Pati as Beppe, Lianna Haroutounian as Nedda and Dimitri Platanias as Tonio in Leoncavallo’s ‘Pagliacci’ – Photo: Cory Weaver/San Francisco Opera

Beppe is sung by New Zealand tenor Amitai Pati, a participant of the 2016 Merola Opera Program, during which he performed his first principal role as Ferrando in Mozart’s Così fan tutte. An experienced choral singer, he has performed and toured with the New Zealand Youth Choir, Graduate Choir, and the Auckland University Choir. Amitai Pati will appear in two other San Francisco Opera productions this season – as Lord Cecil in Donizetti’s Roberto Devereux, and in Heggie’s It’s a Wonderful Life.

Daniele Callegari leads the San Francisco Opera Orchestra and Chorus (Director Ian Robertson) in the United States premiere of José Cura’s production of Cavalleria Rusticana and Pagliacci, staged in revival by fellow Argentine stage director Jose Maria Condemi.  This Opéra Royal de Wallonie-Liège production is sung in Italian with English supertitles. Performances take place at the War Memorial Opera House between September 7th and 30th. For more information and tickets, visit the San Francisco Opera website.
.
Information sourced from:

San Francisco Opera program notes

Encyclopaedia Britannica

Encyclopaedia Britannica 

Opera Australia

and artists’ websites:

José Cura
Daniele Callegari
Ekaterina Semenchuk
Dimitri Platanias
Laura Krumm
Jill Grove
Lianna Haroutounian
Marco Berti
David  Pershall

ArtsPreview home page

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At SFJAZZ they don’t do anything by halves, and to prove the point, the opening performance of their 2018-19 Season features the fabulous artistry of Cécile McLorin Salvant – lauded as one of the most distinctive and gifted jazz vocalists of her time – and piano virtuoso Sullivan Fortner, considered one of the top jazz pianists of his generation.

Having studied studied under tutors such as Edward Walker at the University of Miami, and later under Jean-François Bonnel at the Darius Milhaud Conservatory in Aix-en-Provence, Cécile McLorin Salvant recorded her first album, Cécile, with Bonnel’s Paris Quintet in 2009. A year later she won the Thelonious Monk competition in Washington DC.

According to Winston Marsalis, McLorin Salvant has “…. poise, elegance, soul, humor, sensuality …. intelligence, depth and grace”. She also has a keen curiosity for the history of American music and the connections which link jazz, vaudeville, blues and folk music. “Her blues are blue. Her swings swing,” wrote Fred Kaplan in The New Yorker, adding: “She has vast, almost operatic range.”

She has two Grammy Awards for Best Jazz Vocal Album, and three nominations to her credit, having become – at the age of 26 – the youngest woman to have won a Grammy in this category, with her second album For One to Love. Her second Grammy came two years later, in 2017, for Dreams and Daggers, recorded partly during live performances, in some of which she was accompanied by Sullivan Fortner, in others by Aaron Diehl (piano), Paul Sikivie (bass), Lawrence Leathers (drums) and The Catalyst Quartet.

With her popularity spreading across Europe and the United States, Cécile McLorin Salvant has now released her fifth album, The Window – a series of duets with Sullivan Fortner – in which (according to her website) “the two are free to improvise and rhapsodize, to play freely with time, harmony, melody, and phrasing”.

Sullivan Fortner – hailed as a virtuoso before he had even completed school – is another artist with a hugely impressive track record. With a Bachelor of Music degree in Jazz Studies from Oberlin Conservatory and a Master of Music in Jazz Performance from Manhattan School of Music, he is also the winner of a Leonore Annenberg Arts Fellowship, of the 2015 Cole Porter Fellowship from the American Pianists Association, and the 2016 Lincoln Center Award for Emerging Artists.

Sullivan Fortner

The Sullivan Fortner Trio has performed at some of the world’s most prestigious jazz venues – including Jazz at Lincoln Center, the Newport, Monterey, Discover, and Tri-C jazz festivals, at Jazz Standard and the Gillmore Keyboard Festival. Fortner himself has appeared with artists such as Dianne Reeves, Wynton Marsalis, Paul Simon, DeeDee Bridgewater, and Etienne Charles, and he leads masters classes at music institutions such as the Oberlin Conservatory of Music, Manhattan School of Music, New Orleans Center for Creative Arts (NoCCA), Purdue University, Lafayette Summer Music Workshop and Belmont University (TN).

Cécile McLorin Salvant and Sullivan Fortner launch the SFJAZZ 2018-19 Season with performances on September 6th (for SFJAZZ members only), and September 7th, 8th and 9th. Demand for tickets is high, but find out more on the SFJAZZ website.

Meanwhile, in the Joe Henderson Lab, Taylor McFerrin – DJ, producer, keyboardist, beatboxer, and composer – is accompanied by drummer Marcus Gilmore with his mix of acoustic and electronic percussion, in a series of dance floor shows of electronic beat jazz. There are two shows nightly, on September 6th (for SFJAZZ members only), and on September 7th, 8th and 9th (open to all). Tickets and more information can be found on the SFJAZZ website.

Information sourced from:

SFJAZZ program notes

and artists’ websites:

Cécile McLorin Salvant

Sullivan Fortner

Taylor McFerrin

ArtsPreview home page