The “opera in jazz” follows the life of aging, dementia-scarred prize fighter Emile Griffith.
Opera San Jose’s Carmen, which opened on Feb. 13, works well for the opera neophyte.
Less musically brilliant than the Rossini favorite, Giovanni Paisiello's Barber of Seville still provided plenty of sparkle and musical comedy.
The young company makes the most of its strong cast in a compact, economical staging.
A harrowing performance of the final duet of Eugene Onegin made this gala far more than a parade of star turns.
Gordon Getty and Claude Debussy’s one-acters on Edgar Allen Poe’s classic have different strengths and weaknesses.
The Conservatory’s “by the Brook” Carmen was a vital emotional experience.
Led by a funny, natural Figaro, the S.F. Opera revival of Barber of Seville is frothy entertainment.
Pageantry there is, but the S.F. Opera’s production of Wagner’s Meistersinger von Nürnberg reveals the small, human moments that make this comedy timeless.
The company’s latest production of Mozart’s classic opera misses the mark dramatically and emotionally.
