Photo by Cory Weaver
Comment about San Francisco Opera's recent commissions, before the anonymous writer saw Tobias Picker's Dolores Claiborne:
I continue to dismay at the lack of logic for composers' tendency to set vocal lines so high and create sounds so harsh and unfamiliar to the western ear.I don't see the point if it doesn't happen in connection with a clear effort at characterization. I center the vast majority of my work on highlighting the relationship between the score and the rhythm and cadence of the language.
I cannot discern either in most of the recent compositions I've experienced at the SFO stage, with the exception of some notable moments in Streetcar and a couple of other pieces. Am I missing another connection or big picture concept that will sweep us all to the next level?
Many others have seen Dolores, and as you can see from Lisa Hirsch's list of reviews, the opera did not receive unanimous acclaim, but there were plenty of positive responses, some putting Dolores in context, and as evinced in comments:
The hundreds of empty seats yawning in the rear third of the orchestra section, reflected, I believe, the public's having been put off by Mary Magdalene and The Bonesetter's Daughter.Despite David Gockley's failure to set those flop commissions straight in the early going, his heroic commitment to new opera is laudable and wholly appropriate in San Francisco. Its public, though, has to support that.
Similarly, SF Mike's blog states:
When the opera commission was first announced, it sounded like a disaster in the making. A cheesy Stephen King novel, a composer more respected than liked, and a recent dismal track record of world premieres at the San Francisco Opera did not inspire confidence.The ensuing backstage drama and rumors didn't offer much hope either. So again, it's a very happy surprise to be able to announce that you should get yourself to the San Francisco Opera for one of the next three performances while Patricia Racette is still giving a master class in operatic acting and singing.