Natalie Dessay last delighted San Francisco audiences in the title role of 2009's Lucia di Lammermoor and this summer she's back, but not in one of her signature roles. The soprano has appeared as Olympia is Offenbach's The Tales of Hoffmann
many times, but for this Laurent Pelly production, she decided to mix things up and sing a role she has always wanted to sing, the tragic role of Antonia. In today's blog post, Natalie Dessay answers our 5 questions.
Posted: 07/02/2013 by
Natalie Dessay (Antonia, The Tales of Hoffmann)
Next in our Adler Profile series is Jacqueline Piccolino, a Chicago-born soprano and graduate of the University of Illinois’ music program. Previous roles include Arminda in La finta giardiniera with the Merola Program, as well as major roles in Le donne curiose, Sweeney Todd, Les contes d’Hoffmann, Il Barbiere di Siviglia, and Die Zauberflöte. She will also be playing the role of the Countess in Merola’s production of Le nozze di Figaro this July. She made her San Francisco Opera debut, as well as returned to the music of Offenbach, in the role of Stella in our current production of Hoffmann.
Posted: 07/01/2013 by
San Francisco Opera
One of the most riveting scenes of Mark Adamo's opera The Gospel of Mary Magdalene
occurs when Peter is overcome with grief for having denied Jesus three times before his crucifixion.
As the stage is bathed in blood red light, Peter falls to his knees, wailing, "How many times will I remember this? Seven times seven?" This moment of anguish has inspired other composers to some of their most dramatic and poignant music as well.
Posted: 06/27/2013 by
Pardon the gush, but we just adore Susannah Biller. She's talented, funny, a former Adler Fellow and has graced our stage several times. Currently, Susannah is entertaining audiences as Despina in Così fan tutte
—onstage through July 1. The San Francisco Examiner
exclaimed that she "shined in one of opera's great comic roles, befitting a Rossini heroine." We wholeheartedly agree.
Posted: 06/25/2013 by
San Francisco Opera
The Tales of Hoffmann
has become one of the best-loved specimens of nineteenth-century French opera. Yet it represents an outlier within Jacques Offenbach’s prolific catalogue in its experimentalism with genre as well as its protracted genesis. The composer’s source for the libretto was a play by Jules Barbier and Michel Carré, who introduced their five-act “fantastic play” Les Contes d’Hoffmann
in 1851 in Paris, drawing on the wildly imaginative stories by the early-romantic figure E.T.A. Hoffmann.”
Posted: 06/21/2013 by