Sunday, November 20, 2022
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SF Opera’s Orfeo ed Euridice

_DSC1707* Notes * 
Matthew Ozawa’s stunning new manufacturing of Orfeo ed Euridice (Act III pictured, {photograph} by Cory Weaver) opened at San Francisco Opera final week. I attended the second efficiency final night time, and the debuts of Maestro Peter Whelan and countertenor Jakub Józef Orliński as Orfeo had been each spectacular.

The musicians had been specified by fairly an attention-grabbing approach, with the horns subsequent to the bassoons within the final row near the prompter’s field. The flutes and oboes had been simply forward of them, and the clarinet was off to the facet, the place the basses often are. Whelan’s conducting was crisp however not metronomic. The woodwinds and harp had been particularly beautiful.

The unfussy set, designed by Alexander V. Nichols, was primarily a turntable with projections, that are apparently of mind pictures. There are swings, making good use of the vertical house with out having to take any pauses to change the scenes. There are additionally 3 pairs of dancers, meant to symbolize the title couple in several levels of their life collectively. Rena Butler’s choreography felt comfortingly acquainted to me, it was sculptural with out being static, and there was athleticism and acrobatics but in addition magnificence. Jessica Jahn’s costumes in heat shades for Orfeo and funky tones for Euridice had been likewise tasteful, in line with the classical plot.

_DSC3225The refrain sounded highly effective and collectively all through the piece, they supported the principals with out overwhelming them and negotiated the spinning set with ease. The principals are all clearly gifted. I very a lot loved the humor-infused efficiency of soprano Nicole Heaston (pictured, {photograph} by Cory Weaver) as Amore. Heaston sang with wealthy heat and was charming.

The icier sound of soprano Meigui Zhang was appropriate for Euridice. Her voice is clear and sleek, although maybe not very distinctive, it did distinction with each of the others. Zhang did effectively with the dancing and didn’t look misplaced among the many dancers.

The identical could possibly be mentioned of Orliński, the piece opens with him doing handstands and leaps through the overture. I used to be just a little shocked to listen to his voice, I had thought he was one of many dancers. His sound is powerful and clear, very clean all through his vary. His “Che farò senza Euridice?” was full of pathos and really transferring.

* Tattling * 
This was a part of my subscription, and I cherished peering on the orchestra from Field X. I used to be a bit involved concerning the trio of chatty younger males in Field Y, however they had been very a lot into the opera and did not say a phrase through the 90 minute efficiency.

In truth, I had such a pleasant expertise, with out speaking, coughing, cellphones, or watch alarms, that I am a bit hesitant to attend this opera once more, I would like to carry on to this nice reminiscence. However I can be there not less than twice extra, as this opera is uncommon and San Francisco Opera has solely carried out it in a single different season.



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