It is impossible to not own an opinion on the concern of building a mosque within the environs of the massacre which is now known through the corridor of history as ’9/11′. While one immediately owns a flinch reaction to the very idea of such an occurrence, Islam itself does not merit vilification. The issue facing western societies today regarding Islam has generally been one of its own making. There are many branches of Islam which are as diverse as one may find in the main religions of Christianity or Judaism or Hinduism for example. Back in the day when one attended university in Atlanta, evangelicals were wingnuts from the back roads of Tennessee and not much regarded by mainstream America at that time. Today in evangelical regions of Judaic Israel, female candidates who run for election are regarded as sluts simply for showing their face on posters. In India, the caste sytem ingrained within Hinduism is unfortunately alive and well. A religion as vast and varied as Islam is assuredly not exempt.

Nevertheless, to wholly vilify the religion of Islam in its entirety, is as ridiculous a concept as one would think of if the same were to occur with the other great religions of the world. More fundamentally, there is indeed a byproduct from the decades of insular living post WW II from which derived a more xenophobic society globally. It has been a slow process which arrived to us today most sereptitiously, combining many distinct emergences of the modern age. Notably the Internet, whose intent was to widen the world, yet has narrowed perspectives to only what we wish to see. Not to mention the 20 second media sound bite: only the most shocking aspects are used so that attention deficit disorder does not set in. Society forged today by our own hands, is now too fearful, wary and weak, becoming most inclined to accept all too readily what is fed without questioning. It has become the norm to react rather than to behave proactively with understanding and logic. Responsibility resides within those individuals who think it correct and reasonable to be herded by the fashion of the moment.

There is indeed an element of Islamic society which has bastardised the great religion to suit thier own deficient structure. Arab society remains patriarchal in its element, which has given rise to notional misinterpretations of the great Koran. In the 1950′s, Arab women largely dressed in a most secular manner with national garb maintaining positioning for traditional festivals (Islam is the first great religion which actually gave women equal rights). However, consider that same society whose traditions have been largely patriarchal, the rise of women could not be tolerated within certain male quarters. What man, who from birth, had become quite used to being waited on hand and foot was going to give up such servitude willingly? None. Ergo, when the radical few chose to manipulate Islamic code to suborn women, there was a deafening silence from within. Today women are veiled where their grandmothers were not. This notable silence from within assuredly would embolden those radical elements within Islam which western society now take as the complete voice of Islam. However, one must consider what circumstance that occurred in Islam, is the same which gave voice to the Religious right evangelicals in America who so assiduosly dominated the George W. Bush agenda and that society as well. There exists no wall of immunity for herd mentality.

A few years ago a major Bollywood film by the name of Jodhaa Akbar was released. The overt theme was of tolerance for other religions. It was a predictable love story set in 16th century India tracing the romance between the great Islamic Mughal Emporor Jalaluddin Mohammad Akbar, and the Hindu Rajput Princess Jodhaa Bai. Jodhaa Akbar starred perhaps the two most extraordinarily beautiful examples of the female and male form on the planet: Miss Aishwarya Rai as Jodhaa, and Mr. Rithik Roshan as Jalaluddin. The music (it is a Bollywood film and there must be music) was composed by the Tamil A.R. Rahman, who is also accorded legendary status similar to Miss Rai and Mr. Roshan. Mr. Rahman who is of the moderate Sufi sect of Islam, writes some of the most timeless and brilliant music known in that sphere of the world. COMMANDOpera offers two clips of one hymn from the film: ‘Khawaja Mere Khawaja’. The first is taken from the actual movie in which Mr. Rahman himself leads the hymn in most interesting make up. The hymn has become so popular to all in India, Mr. Rahman performs the work in a concert this year in the second clip.

The American Lyric Theater came to the attention of COMMANDOpera last season as the group which effectively brought the new American work, The Golden Ticket, to fruition. This is a most interesting and important organisation who could have had their mission statement lifted directly from the pages of this venue, such is the consonance of thought. For example this is part of the read in their ‘Background’ information:  ”One of the most fundamental concepts behind ALT’s vision is understanding that opera did not become unpopular. Historically, opera was made unpopular in the United States as it was removed from popular culture.  During the mid-nineteenth century in America, culture was divided into popular and elite arenas as the social elite gravitated towards arts and cultural organizations. By framing culture according to their own tastes and sensibilities, the wealthiest members of society gained control of opera by taking it out of the marketplace that had, up to that point, catered to a broad public. By insisting upon only presenting foreign language works in specially created venues, which themselves fortified a code of behavior that was deemed “appropriate” for cultural enrichment, a small but powerful portion of society effectively removed opera from the sphere of popular entertainment in the United States.”

They further write: “Until ALT started the Composer Librettist Development Program (CLDP), there was not a single full-time training program for opera composers and librettists at any opera company in the United States. Almost every opera company in the country has a Young Artist Program to mentor emerging singers, and over the past 25 years, these programs have proved immensely successful at improving both the artistic level and the career success of American singers around the globe. Imagine what could happen if the same sort of opportunities were available for operatic writers. ALT is doing more than imagining this – we are making it happen. The CLDP has been designed to address the absence of appropriate mentor ship for our writers.”

Composer Librettist Mark Adamo works with Mezzo Soprano Jennifer Rivera. 

When COMMANDOpera received the announcement of the new roster of resident artist’s, there could be no question this venue would investigate with great interest. In speaking with Mr. Lawrence Edelson, COMMANDOpera was given to understand selections were made on the basis of excellence within the art form these composer’s and librettist’s are traditionally at home. Fashioning new operatic works without question owns a series of priorities and nuances unique to the art form. One does not follow the same rules say, if one were writing a stage play, or composing jazz. Which is what makes the work of the ALT so very critical not only for the survival of Opera within the American mainstream but abroad. Stylistic diversity in Opera is not a new theme, but perhaps one which has been misplaced for the last 50 years. Recent history has shown a marked lack of enthusiasm of theatres to infuse new blood into the repertoire, preferring to maintain the status quo with old works. This is unacceptable. If Wagner could emerge at the same time as Verdi, COMMANDOpera does not understand why new rhythms cannot be incorporated into the art form. The keepers of Opera have lost their way in maintaining Opera as a vibrant living art form which is of interest to modern tastes. Blood, nudity, and impropable ‘updates’ only take the genre down a solitary dead end.   

Composer Daniel Catan advises Librettist Emily Conbere and Composer Alexandra Vrebalov.

The ascendant eight are comprised of four librettists and four composers. The residency is for one year in New York. Those who are selected must make themselves available to be in New York for that period. Through out the year, these already elite artists will be under the tutelage of some of the most respected names in American Opera, attending regular workshops and classroom curriculum. It is not for the feint of heart, particularly if one is an established artist within their own discipline. COMMANDOpera is much taken with the extraordinary talent of these individuals, whose biographies can be found here. Librettists include, Mr. Tony Asaro, Miss Rochelle Bright, Miss Maggie-Kate Cloeman, and Mr. David Simpatico. The Composers are, Mr. Christopher Cerrone, Mr. Gerald Cohen, Miss Justine F. Chen, and Miss Nkeiru Okoye.

The interview was recorded on video via SKYPE which is the tool of choice for communication within the industry, and is in six parts.  The discussion marks the first such interview COMMANDOpera will undertake throughout the season, of which a number are already under negotiations. Bear with COMMANDOpera on this first outing which will undoubtedly revolutionise the content readers may enjoy from this venue as a norm in the future. Finally readers across the globe may now know Crew Mantle as something more than the scribe behind the veil of their screen. Please send no mail as to the likeness of voice to Mr. Clinton, as one has heard the parallel time and again.

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

COMMANDOpera will quote the official release from the DALLAS Opera of a few minutes ago:

The Dallas Opera is thrilled to announce that the internationally acclaimed Italian baritone, Paolo Gavanelli, has agreed to sing the title role in the company’s Spring revival of Giuseppe Verdi’s RIGOLETTO.  The production opens Friday, March 25, 2011 at 7:30 PM in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Downtown Dallas.

Mr. Gavanelli has performed the role more than 200 times in prestigious venues around the globe and is widely considered “the foremost Verdi baritone of his generation” (Hugh Canning, The Sunday Times).

As Dominic McHugh of MusicalCriticism.com wrote in 2007, “Probably the most tremendous performance of a Verdi opera I’ve ever heard was at the Royal Opera House on 10 June 2005 when Sir Edward Downes led a stellar cast including Anna Netrebko and Piotr Beczala in Rigoletto.  But it was the singer in the central role that really made an impact: Italian baritone Paolo Gavanelli…frankly, I don’t imagine I’ll ever hear it performed more convincingly…he has made the part his own the world over.”

Born in Padua, Mr. Gavanelli studied law and music simultaneously before making his debut as Leporello in DON GIOVANNI, and swiftly achieved star status among audiences from Covent Garden to New York’s Metropolitan Opera.

In 2005, Mr. Gavanelli was honored with the prestigious Bavarian title of “Kammersänger.”  Three years later he was nominated for a Grammy Award for his outstanding portrayal of Germont in a Bavarian State Opera live recording of Verdi’s LA TRAVIATA (conducted by Zubin Mehta) praised by John Nemaric of Audiophile Audition as “the most beautiful, heartfelt voice for this part (Giorgio Germont) you ever heard.”

“It’s a great, great coup,” says Dallas Opera Artistic Director Jonathan Pell.  “We’ve made efforts in the past to bring this tremendous artist to Dallas but schedule conflicts made it an impossible dream—until now.  And the chance to experience this Verdian masterpiece with Paolo, Laura Claycomb and James Valenti sharing the Winspear stage is exciting beyond words!”

COMMANDOpera now gives readers the opportunity to know what Dallas Opera theatre goers will know when Mr. Gavanelli appears.

Mr. Gavanelli: ‘Cortigiani, vil razza dannata’ Paris 1996.

Werther will premiere on the boards of the San Francisco Opera the evening of September 15th for a total of six performances. The run will be under the baton of maestro Emmanuel Villaume whom COMMANDOpera first wrote about here. This new production (and the artists renderings found in this article) of Werther arrives from the mind of the internationally acclaimed Director/Set and Costume designer Mr. Louis Desiré  (readers must visit his web page) and is a co-production with Lyric Opera of Chicago. Mr. Frances Negrin will direct the performances, with lighting by Mr. Duane Schuler. Each are critically acclaimed internationally for their respective work, which makes this production particularly special to those who are aware.

Exclusive Image to COMMANDOpera courtesy of the San Francisco Opera.

Now if the production talent the SFO were bringing to bear on this Werther, the vocal resources are virtually unmatched in this repertoire. Werther: Mr. Ramón Vargas, Charlotte: Miss Alice Coote, Sophie: Miss Heidi Stober, Albert: Mr. Brian Mulligan, The Bailiff: Mr.Christian Van Horn, Schmidt: Mr. Robert MacNeil, Kätchen: Miss Susannah Biller, Brühlmann: Mr. Austin Kness, Johann: Mr. Bojan Knezevic. COMMANDOpera is obliged to note Mr. Vargas is particularly credible for the role of Werther, which requires a smokey angularity to the vocal instrument. Her is Mr. Vargas this year in a performance of Werther.

Mr. Vargas: ‘Porqoui me réveiller’.  Weiner Staatsoper April 2010. ‘Amateur Video Warning’.

Is there anyone on the planet today who matches the creamy, rich mezzo vocal instrument of the British artist Miss Alice Coote? COMMANDOpera finds Miss Coote to be a rarity in sheer vocal beauty from this range. Although there is no extant audio of the artist as Charlotte, listen to her ‘Cara speme, questo core’ from Giulio Cesare. One can only imagine that Miss Coote will bring the house down when she essays Charlotte, such is the unmatchable elegance and quality of her work.

Miss Coote sings Sesto’s air from Giulio Cesare by Handel.    Paris 2006.

Not often is such work noted in pages today, as personal philanthropy of this level seems a product of another age. Often when moneyed individuals donate, the sum in question is not often six figures, and comes with a thousand strings attached. This has never been the way with Dr. Varis, which is why she is so very richly esteemed by COMMANDOpera. Truly a great woman.

THE DALLAS OPERA 2010-2011 SEASON SINGLE TICKETS GO ON SALE TO THE GENERAL PUBLIC TUESDAY, SEPTEMBER 7, 2010 AT 10 A.M.

Single tickets will be priced, starting at $25 and may be purchased conveniently online at dallasopera.org or by calling The Dallas Opera Ticket Services office at 214.443.1000. Season subscriptions for all five productions start at just $90, FLEX three-performance subscriptions, and “Build Your Own” subscriptions are on sale now! The productions of the 2010-2011 Season, “Dangerous Desires,” are:

·        DON GIOVANNI by Mozart (Oct. 22, 24m, 27, 30, Nov. 5 & 7m, 2010)

·        ANNA BOLENA by Donizetti (Oct. 29, 31m, Nov. 3, 6, 12 & 14m, 2010)

·        ROMEO & JULIET by Gounod (Feb. 11, 13m, 16, 19, 25 & 27m, 2011)

·        RIGOLETTO by Verdi (March 25, 27m, 30, April 2, 7 & 10m, 2011)

·        BORIS GODUNOV by MUSSORGSKY (April 1, 3m, 6, 9, 15 & 17m, 2011)

COMMANDOpera is STRONGLY advising you move immediately if you are in the region and plan to attend performances and grab your seats NOW. A source close to the theatre has informed this venue there is going to be a MAJOR and CRITICAL announcement regarding one of these performances. COMMANDOpera will bring this news to readers immediately upon a public announcement by the theatre in question.

CRITICAL UPDATE:

COMMANDOpera will be conducting a number of important video interviews via Skype throughout the season. The original interview with the artist contained sound distortions which could not be corrected, and thus Miss Harris has generously agreed to redo the interview Tuesday morning.

Canada where equal marriage rights were written into law some years ago, should be viewed as a case study for the country south of the border. One would be remiss if one did not advise Canadian society has not become a modern day Sodom and Gomorrah subsequent to enacting the law. Canada historically enjoys the dual pleasure of a special closeness with both Europe and America, which perhaps explains why the country maneuvers itself liberally on sociological issues, and conservatively on fiscal issues.

Mr. Keith Boag is a journalist who for years has been employed at the Canadian Broadcasting Corporation, aka the CBC. Mr. Boag is known to just about every single Canadian on the planet as a deep intellectual, whose prescience on matters political is like no other. Recently Mr. Boag moved to L.A. as the West Coast correspondent for the CBC. As it happens, Mr. Boag and this writer know each other rather well. When his analysis on Prop 8 came out the other day, one was not taken aback by his trademark icy logic, as readers look to this style with great pleasure. The column was a most illuminating read which COMMANDOpera will share with its global readership. The link to Mr. Boag’s article is to be found here.

Direction, set design and lighting are by Mr. Guiseppe Frigeni, with costumes by Miss Amélie Haas. The performances will largely be under the baton of Mr. Lothar Koenig, who is esteemed by COMMANDOpera for his tasteful and decorous work. Mr. Anthony Negus will take to the podium for two performances. Mr. Denis O’Neill is Florestan, Miss Lisa Milne is Leonore, Miss Elizabeth Donovan is Marzelline, Mr. Robin Tritschler is Jaquino, while Mr Robert Hayward and Mr. Phillip Joll split Don Pizarro, Mr. Clive Bayley and Mr. James Croswell do likewise for Rocco. This is a rather extended run which explains the unusual amount of artist movement.

Miss Einarsdóttir sings ‘Zeffiretti lusinghieri’ Idomeneo.

If this vocal instrument were in itself not enough for readers to head to Reykjavik for this Rigoletto, try the Tenor instrument of Mr. Jóhann Valdimarsson. The sublime and supple texture to this mans voice is rarely heard on this side of the Atlantic.

Mr. Jóhann Valdimarsson sings ‘Recondita armonia’ Tosca.

Perhaps given the excellence of the vocal artists which the theatre engages, COMMANDOpera would advise a performance of this production be recorded for wider global distribution.

For those who are unaware, the St. Petersburg and world premiere took place on 21 February, 1886 using the Rimsky-Korsakov version. Also in St. Petersburg on 27 October 1893, the opera was presented by artists of the Russian Opera Society. The Russian Private Opera presented the Moscow premiere at the Solodovnikov Theater on 12 November 1897 conducted by Mr. Michele Esposito, with scene designs by Mr. Konstantin Korovin, Mr. Apollinary Vasnetsov, and Mr. Sergey Malyutin. There were 1910 and 1911 productions in the two cities, the first by the Zimin Opera in Moscow, while the second was at St. Petersburg’s Mariinsky Theatre and conducted by Mr. Albert Coates.In 1913 the opera reached Paris where Mr. Emil Cooper conducted a performance at the Théâtre des Champs-Élysées of a Diaghilev production. The orchestration was made collaboratively by Mr. Igor Stravinsky and Mr. Maurice Ravel. However, Mr. Feodor Chaliapin was unwilling to sing Dosifei to any orchestration other than Rimsky-Korsakov’s. So the Parisians heard some hybrid version which appeared unsuccessful, and this orchestration was forgotten. Only the finale, which was composed by Maestro Stravinsky, has survived and was published in 1914. Occasionally it replaces the finale of  Maestro Dmitri Shostakovich’s version in some productions, such as Maestro Claudio Abbado’s 1989 production in Vienna.

Miss Borordina ‘Marfa’s song’ The 1960 production from the Mariinsky.

The production which will be conducted by Mr. Jan Michael Horstmann, is double cast with Miss Elisabete Matos, Mr. Nikolai Andrei Schukoff, Mr. Christopher Maltmann, Mr. Gerd Grochowski and Miss Cécile van de Sant for first two performances. For the final two, Miss Danielle Halbwachs, Mr. Norbert Ernst, Mr. Markus Eiche, Mr. Gerd Grochowski and Miss Cécile van de Sant will appear. Here is an excerpt of the original version with Miss Matos in perhaps not the best voice when this was filmed:

Miss Matos sings ‘o malheureuse Iphegenie’ Oviedo.

Miss Pankratova, ‘Non la sospirir la nostra casetta’ Tosca.

Mr. Miroslav Dvorsky, ‘Una furtiva lagrima’. L’elisir d’amore.

Mr. Jason Stearns, Te Deum. Tosca.

Miss Piezoncka: Elsa’s Dream Lohengrin.

Crossing the North Sea from Riga to London on board the Thetis in 1839, amid the howling wind and the crashing waves, Wagner heard the sailors tell the legend of the cursed sea-captain. The story, also told by Heinrich Heine, is recounted by Senta on her first appearance: rounding a dangerous cape during a storm and refusing to give up, the Dutchman defies Satan and is condemned to roam the seas for evermore unless a woman is willing to give up her life for him. In a troubling confusion of legend and real life, the Dutchman suddenly stands before Senta and stretches out his hand to her… The storm raging outside is perhaps less powerful than the one that shakes the heart. Recounting the impossibility of living and of redemption, Der fliegende Holländer is above all, and before Götterdämmerung, an opera about wished-for apocalypse.

Mr. Morris Der Fliegende Hollander Opening Monologue, 2006.

Amongst the mail recieved yesterday was a note from Cincinnati Opera which really needs to be shared. It seems the company posted its twenty first consecutive operating surplus for its 90th season which is a feat to be noticed by other theaters. Ticket income alone reached 99%of its goals. Most amusing for this venue was the companies targeted attendance of 21,200. Did they reach it? Indeed. They surpassed it by 210 seats for a total of 21, 410 seats over eight performances which rounds out to around 2,930 seats per evening. One can easily appreciate Cincinnati Opera knows how to do it, regardless of the economic fashion of the moment. The company is bringing in some big Gunns next season…. including a fellow by the name of Nathan.

Mr. Pomeroy gives a hint of his Duke of Mantua. Kansas City 2010.

COMMANDOpera would be remiss to a cross section of readers, if one did not show an excerpt of the Gilda, Miss Sarah Coburn. Miss Coburn does waif rather well, and therefore one may expect a worthy Gilda from her. This is a artist who gives her all in any performance she undertakes, and though she owns a vocal instrument which has a mind of it’s own, Miss Coburn is a must see live. Here is Miss Coburn in rehearsal as Lucia in Cincinnati.

Miss Coburn Lucia Mad Scene Rehearsal. 2008.

The first run cast is as follows; Graf Almaviva: Mr. Alexey Kudrya, Bartolo: Mr. Maurizio Muraro, Rosina: Miss Maite Beaumont, Figaro: Mr. Levente Molnár, Basilio: Mr. Burak Bilgili, Fiorello: Mr. John Chest, Ambrogio: Mr. Rüdiger Trebes, Berta: Miss Hanna-Elisabeth Müller. COMMANDOpera does notice some seriously high end vocal resources in this tornee, in particular, the extremely talented Mr. Alexely Kudrya. A vocal talent not heard enough off the continent. Although COMMANDOpera could have selected an air from Barbiere, here is a necessary viewing of Mr. Kudrya for the uninformed:

Mr. Kudrya; airs of Lenski and Tamino. Moscow 2006.

SAN FRANCISCO OPERA 2010 NATIONAL BROADCAST SERIES ON THE WFMT RADIO NETWORK BEGINS AUGUST 28 WITH VERDI’S OTELLO CONDUCTED BY MAESTRO NICOLA LUISOTTI. 

The weekly WFMT series of San Francisco Opera Performances will be streamed globally through October 23. Here is the full guide courtesy of the SFO.

Saturday, August 28 at 10:30 a.m. – Guiseppe Verdi’s Otello. South African tenor Johan Botha stars as the flawed warrior Otello in Verdi’s masterwork. Soprano Zvetelina Vassileva sings the role of Otello’s faithful and falsely accused wife Desdemona and baritone Marco Vratogna is the manipulative soldier Iago.  The cast also features mezzo-soprano Renée Tatum (Emilia), tenor Beau Gibson (Cassio), and bass Eric Halfvarson (Lodovico). San Francisco Opera Music Director Nicola Luisotti conducts. Sir Peter hall production; Stephen Barlow, director.  [Recorded Fall 2009] COMMANDOpera would highly advise taking in this broadcast to see why Mr. Botha was eviscerated by the critics, while others were left unscathed (and in the case of Mr. Vratogna: went wild). 

Saturday, September 4 at 10:30 a.m. – Wolfgang Amadeus Mozart’s The Abduction from the Seraglio. A Spanish nobleman sets out to rescue his beloved from the harem of a Turkish Pasha in Mozart’s effervescent comedy. Soprano Mary Dunleavy (Constanze) and tenor Matthew Polenzani (Belmonte) head an exceptional cast featuring soprano Anna Christy (Blonde), bass Peter Rose (Osmin) and tenor Andrew Bidlack (Pedrillo). The performances feature the United States operatic debut of German conductor Cornelius Meister. Chas-Rader Shieber, director.  [Recorded Fall 2009]

Saturday, September 11 at 10:30 a.m. – Giacomo Puccini’s Il Trittico. A triptych that runs the gamut from heart-wrenching tragedy to sparkling comedy, audiences have the rare opportunity to enjoy Il Trittico in its entirety, the way its creator intended. Soprano Patricia Racette portrays the heroine in each of Il Trittico’s three one-act operas—Giorgetta (Il Tabarro), Sister Angelica (Suor Angelica) and Lauretta (Gianni Schicchi)—joined by baritone Paolo Gavanelli (Michele/Il Tabarro and Gianni Schicchi), tenor Brandon Jovanovich (Luigi/Il Tabarro) and contralto Ewa Podleś (The Princess/Suor Angelica). The cast also features mezzo-soprano Catherine Cook and bass Andrea Silvestrelli. San Francisco Opera Principal Guest Conductor Patrick Summers conducts.  James Robinson, director.  [Recorded Fall 2009]

Saturday, September 18 at 10:30 a.m. – Guiseppe Verdi’s Il Trovatore. San Francisco Opera Music Director Nicola Luisotti conducts Verdi’s suspenseful tale of a corrupt count, a dashing warrior and a Gypsy who plots to avenge her mother’s wrongful death. The illustrious cast features soprano Sondra Radvanovsky (Leonora), mezzo-soprano Stephanie Blythe (Azucena), tenor Marco Berti (Manrico) and baritone Dmitri Hvorostovsky (Count di Luna), with bass Burak Bilgili (Ferrando) and mezzo-soprano Renée Tatum (Inez). David McVicar production; Walter Sutcliffe, director.  [Recorded Fall 2009]

Saturday, September 25 at 10:30 a.m. – George Frideric Handel’s Ariodante. Mezzo-soprano Susan Graham (Ariodante) stars in Handel’s tale of jealousy, betrayal and ultimate triumph, also featuring soprano Ruth Ann Swenson (Ginevra), soprano Veronica Cangemi (Dalinda), contralto Sonia Prina (Polinesso) in her U.S. debut, tenor Richard Croft (Lurcanio) and bass-baritone Eric Owens (King of Scotland). San Francisco Opera Principal Guest Conductor Patrick Summers, conductor; John Copley, director.  [Recorded Summer 2008]

Saturday, October 2 at 10:30 a.m. – Gaetano Donizetti’s La Fille du Régiment. One of Donizetti’s best-loved works, La Fille du Régiment (The Daughter of the Regiment) tells the story of Marie, a rambunctious tomboy raised by the soldiers of the 21st Regiment and Tonio, the native Tyrolean boy who loves her. The cast is headlined by dazzling coloratura soprano Diana Damrau as Marie and celebrated tenor Juan Diego Flórez as Tonio, with bass-baritone Bruno Praticò as Sulpice and contralto Meredith Arwady as the Marquise of Berkenfeld. Ukranian conductor Andriy Yurkevych makes his U.S. debut.. Laurent Pelly, director.  [Recorded Fall 2009]

Saturday, October 9 at 10:30 a.m. – Giacomo Puccini’s La Fanciulla del West. A love triangle set during the California Gold Rush, Puccini’s La Fanciulla del West (The Girl of the Golden West) returns to San Francisco in celebration of its centenary. The all-star cast is led by soprano Deborah Voigt in her role debut as Minnie and Italian tenor Salvatore Licitra in his role debut as the bandit Dick Johnson. Baritone Roberto Frontali is Sheriff Jack Rance, with tenor Steven Cole (Nick), bass Kevin Langan (Ashby) and baritone Timothy Mix (Sonora). San Francisco Opera Music Director Nicola Luisotti conducts. Lorenzo Mariani, director.  [Recorded Summer 2010]

Saturday, October 16 at 10:30 a.m. – Richard Strauss’s Salome. German soprano Nadja Michael stars as the pathological seductress Salome in Richard Strauss’s masterpiece based on Oscar Wilde’s play. Tenor Kim Begley sings the role of King Herod with bass-baritone Greer Grimsley as Jokanaan (John the Baptist). The cast also features mezzo-soprano Irina Mishura (Herodias) and tenor Garrett Sorenson (Narraboth). San Francisco Opera Music Director Nicola Luisotti conducts. Seán Curran, director; Jim Robinson, Consulting Director.  [Recorded Fall 2009]

Saturday, October 23 at 10:30 a.m. – Giacomo Puccini’s La Rondine. Angela Gheorghiu stars as Magda de Civry in Puccini’s rarely-performed gem. Tenor Misha Didyk is the naïve young man (Ruggero) who falls in love with the worldly Magda in this Italian take on Viennese operetta. Soprano Anna Christy (Lisette), tenor Gerard Powers (Prunier) and bass-baritone Philip Skinner (Rambaldo) round out the cast. Ion Marin, conductor; Nicolas Joel production; Stephen Barlow, director.  [Recorded Fall 2007]