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Tenor Michael Fabiano is Lieutenant BF Pinkerton and soprano Karah Son is Cio-Cio-San in Giacomo Puccini’s “Butterfly” co-produced by Japanese director Miyamoto Amon at the new San Francisco Opera Lady,” Saturday through July 1 at the War Memorial Opera House in San Francisco, the company’s first performance of summer 2023. (Photo courtesy/SF Opera/Cory Weaver)
The familiar tale of a Japanese girl abandoned by her child’s American father; the rarely played out tale of returning to the spirit world if she doesn’t acquire a human shadow within three days — and her husband turned to stone…
The Bay Area composer’s all-new opera follows famed Mexican artist Diego Rivera’s last wish: to see his dead wife Frida Kahlo again.
The San Francisco Opera will kick off its 2023 summer season on Saturday with Giacomo Puccini’s “Madame Butterfly,” the first decent opera by the art form’s newcomer, telling The story of teenage Cio-Cio-San (aka Butterfly) falling in love with the U.S. Navy Lieutenant BF Pinkerton with a blue-eyed child who was later rejected, leading to a tragic end for Butterfly, as some A gruesome ending, one might say.
Company music director Eun Sun Kim leads the orchestra in a new co-production with Japanese director Amon Miyamoto. Tenor Michael Fabiano played the role of Pinkerton and soprano Karah Son played Butterfly. Mezzo-soprano Kim Hyo-na plays Suzuki, Butterfly’s maid; baritone Lucas Meachem is American consul Sharpless; tenor Julius Ahn is Goro, a marriage broker. Adler Fellows Mikayla Sager as Kate Pinkterton and Jongwon Han as Bonze. Kenzo Takada designed the costumes, Boris Kudlicka designed the sets and Fabio Antoci designed the lighting.
Based on a play by David Belasco, set on the hillside overlooking Nagasaki Harbor around 1900, “Madame Butterfly” is considered a haunting lyric when it was It premiered not long ago, reflecting the West’s new fascination with Japan. Puccini explored Japanese themes in his music, but it was still Italian.
What are you listening to? Love duet, “Good day” aria, “Humming chorus”, “Flower duet” and butterfly farewell to her child “You? You? You? You? Piccolo Idio!
The show will run until July 1st.
The 1919 opera was rarely staged – it premiered in San Francisco in 1959 – Richard Strauss’ Die Frau ohne Schatten (Woman Without a Shadow) was the second work and is credited with the composition The greatest work of writer and playwright Hugo von Hoffmannsthal.
Set in the mythical past, the story tells the fairy tale of an empress, half-elf, half-mortal, who lives in fear of a curse: if she doesn’t gain a figure within three days, it’s her curtain. More specifically, the spirit world will reclaim her – and turn her husband to stone.
Sung in German with English subtitles, the production returns to the Opera House for the first time in 30 years, with a design and production by renowned artist David Hockney. Sir Donald Runnicles, the former music director of the San Francisco Opera, leads the orchestra on a score that some critics have found unsettling, harmonically unstable but consistently inventive, as the two lovers find emotional and spiritual harmony. Redemption, full of warmth and beauty. Roy Rallo directs this new to San Francisco stage.
The cast is led by Swedish soprano Nina Sturm as Dale’s wife. Finnish soprano Camilla Nylund plays the queen; American soprano Linda Watson plays the nurse; baritone John Reuter plays hard-working businessman Barack; and British tenor David Bart Phillips plays the emperor.
What to listen to: “Mir anvertraut,” in which Barack and his wife are deep in the earth, yearning for each other; and “Nun will ich jubeln,” in which the queen gets her own by refusing to accept the shadow at the cost of Barack and his wife’s happiness Shadow, for her actions freed the Emperor, and the two couples were reunited.
Showings start Sunday and run through June 28th.
Summer performances conclude with the groundbreaking new opera “El Ultimo Sueno de Frida y Diego” (Frida and Diego’s Last Dream) by Gabriela Lena Frank.
Based on a story by Pulitzer Prize-winning playwright Nylo Cruz, this opera follows the death of Frida Kahlo, wife of Mexican artist and muralist Diego Rivera, three years after her death.
On El Dia de los Muertos (Day of the Dead) in 1957, a sick and lonely Rivera made one last wish: to see her again. who is listening Hades.
Argentinian mezzo-soprano Daniela Mack stars as Carlo, who lives a tormented life in her later years only to have the chance to be brought back to life on the Day of the Dead. Mexican baritone Alfredo Daza, who created the role of Rivera during its world premiere at the San Diego Opera last October, returned to San Francisco, where he and Mack ) began their careers as Adler Fellows.
Chilean soprano Yaritza Veliz sang the role of Catrina, guardian of the dead; American tenor Jack Ingba was young actor Leonardo, who briefly returns to the living world disguised as an actress by Greta Garbo.
Shows start June 13th and run through June 30th.
The company’s 100th anniversary season concluded with a concert with artists on June 16th at 6 pm. Tickets are available.
if you go
San Francisco Opera
War Memorial Opera House
301 Van Ness Avenue
Tickets: Available from $10 (standing only) to $464 at the San Francisco Opera Box Office by calling (415) 864-3330 or online at sfopera.com.
Live Options: www.sfopera.com/digital/Livestream/
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