Matthew Washburn
I’ve a confession to make: I used to be a kind of who took Pleasure celebrations without any consideration, and even went so far as actively avoiding Downtown throughout the Pleasure weekends. Nonetheless, in mild of latest developments, I felt the pressing want to point out up and get up in assist of these occasions. My coronary heart was full of delight to find that I wasn’t the one one, as in each occasions I attended, there was an elevated sense of pleasure and neighborhood among the many attendees.
Not content material with simply displaying rainbow LED lights on the façade of the Struggle Memorial Opera Home each June, the San Francisco Opera determined to step up its sport and, on Friday, June 27, it unveiled its very firstPleasure Live performance, deliberate to be an annual prevalence. At a time when companies (round right here and past) are withdrawing their assist for Pleasure occasions, the truth that San Francisco Opera adopted by way of with its plan was mind-blowing, and in itself a purpose for celebration.
The closely marketed live performance, first introduced in February 2024, was to coincide with San Francisco Pleasure’s 55th Anniversary. It was executed in partnership with many native organizations, together with The Tenderloin Museum, Nationwide AIDS Memorial (offering sections of the AIDS Memorial Quilt show), Compton’s Cafeteria Riot, Marigold Undertaking (creating the Interactive Altar of Remembrance), GLBT Historic Society (supplying the LGBTQIA+ Historic Exhibit) and Twin Peaks Tavern. This system was curated by San Francisco Opera’s Managing Inventive Director Gregory Henkel and meant to be “a shared emotional odyssey by way of the music of LGBTQIA+ composers, artists, and allies, exploring themes of sorrow, craving, authenticity, and resilience.”
Matthew Washburn
San Francisco Opera spared no expense to ensure of a memorable night, hiring video artist Tal Rosner to jazz up the Struggle Memorial proscenium and the Dodson Orchestra Shell with projections. What Rosner and his video design crew achieved was nothing in need of breathtaking. The projections – typically summary and colourful, and at different occasions imposing and statue-like – really enhanced the music-making, they usually had been a giant hit with the viewers. Rosner and his crew went to nice lengths to check each nook and cranny of the proscenium, as completely different elements of it had been sometimes accentuated with completely different colours, highlighting the proscenium’s magnificence.
Two specific moments had been particularly noteworthy: when Jamie Barton carried out Melissa Etheridge’s 2014 “Rebellion of Love,” the projected pictures (courtesy of the GLBT Historic Society) of homosexual marches over time really introduced the track’s message to life. Equally, the sight of the rainbow flag throughout Brian Mulligan‘s efficiency of “I Am What I Am” from the finale of Act I of La Cage aux Folles introduced me to tears, a poignant reminder of the significance of self-acceptance. San Francisco Opera’s workers members, Justin A. Partier and E. Reed Fisher, ensured that every little thing on stage went easily with their vital contributions as lighting and stage administrators, respectively.
The Pleasure Live performance started curiously with a bit that was a repeat of the season opener’s opening evening, specifically Leonard Bernstein’s Candide Overture, performed by San Francisco Opera’s Caroline H. Hume Music Director, Eun Solar Kim. Kim coaxed an thrilling and playful studying from the Orchestra, notably throughout the “Glitter and Be Homosexual” instrumental segments! It was so unlucky that she solely performed that piece, as she handed the baton to Robert Mollicone for the rest of the evening.
Apart from Barton and Mulligan, the Pleasure Live performance additionally featured multitalented trans non-binary mezzo-soprano Nikola Printz, a 2023-24 Adler Fellow and an aerialist! It was Printz who started the operatic first half of the evening with a sterling rendition of “Vesuvio, il mio unico amico” from Jake Heggie and Terrence McNally’s 2015 opera Nice Scott. With richly darkish tones and chic phrasing, Printz absolutely embodied the titular opera diva, all the way down to their gold getups.
Matthew Washburn
Mulligan, who “got here out” in print not too long ago, adopted with Yeletsky’s Aria from Pyotr Ilyich Tchaikovsky’s Pique Dame, bringing his traditional depth and energy to the aria. Two excerpts from Camille Saint-Saëns’s Samson et Dalila closed the operatic picks. Barton offered “Mon cœur s’ouvre à ta voix”, much like the 2019 Homecoming Live performance. Sadly, this time, there was a substantial amount of tentativeness in her voice. Mollicone didn’t fare nicely in main the San Francisco Opera Orchestra within the Bacchanale, both; to my ears, it sounded approach too tame, too prim and correct. (It’s an orgy, in spite of everything!)
The second a part of the live performance featured an eclectic array of queer cultures, starting from folks, pop, and jazz to disco anthems. Right here, all three soloists shone the brightest, as they had been visibly relaxed and having an excellent time on stage. Mulligan channeled his interior Judy Garland as he provided “The Man That Bought Away”, a torch track from the 1954 A Star Is Born, whereas Barton and Printz grouped up because the Indigo Women of their “Nearer to Nice”, not too long ago immortalized in Barbie.
Different highlights included Printz’s daring tackle the feminist anthem “You Don’t Personal Me” and, on the other spectrum, Mulligan’s introspective assumption of Freddie Mercury’s “You Take My Breath Away.” showcasing his scrumptious decrease notes. Mulligan and Barton additionally displayed their comedic chops as they traded compliments and insults within the rousing “Bosom Buddies” from Jerry Herman’s Mame. The live performance concluded in excessive spirits with Printz’s tackling Carl Bean’s “I Was Born This Approach,” one of many first homosexual disco songs written particularly for the neighborhood, assisted by three Adler Fellows: Georgiana Adams, Caroline Corrales, and Thomas Kinch.
Sapphira Cristál, runner-up and Miss Congeniality of RuPaul’s Drag Race Season 16, introduced laughter and superb over-the-top costumes because the emcee, introducing the performers and the items they sang. She established an excellent rapport with the viewers, though I personally would have preferred rather less self-promotion. However, the viewers beloved her (one particular person even requested for her clothes!) and he or she created a joyful environment all through the live performance.
Michael Anthonio
On Pleasure Sunday, I skipped the Parade and headed to the opposite facet of the Bay (braving the 90°F climate) for an additional first, as Competition Opera offered Ruggero Leoncavallo’s basic Pagliacci as a part of their free and fashionable “Opera within the Park” on the Civic Park in Walnut Creek, sponsored by Walnut Creek Civic Pleasure Basis. Now in its 34th Season, the Firm is “dedicated to presenting rising and native artists in compelling and socially related productions of recent and basic repertoire.”
Though this was the 15th 12 months that Competition Opera produced its free “Opera within the Park” collection, this was the primary time with a full-length opera. Sung within the unique Italian, Pagliacci was offered with out a refrain, accompanied by solely a piano, and enhanced by a narrator offering quick summaries of the story, harking back to what Pocket Opera did throughout Donald Pippin’s time. Competition Opera additionally offered English translations of the Italian textual content by way of QR code on their web site, accessible on smartphones.
Competition Opera made a compelling case for Pagliacci, hardly betraying the truth that they had been doing it for the primary time. (Additionally they offered it in Orinda Park three days earlier than Sunday’s efficiency.) The Civic Park’s gazebo (as seen above) successfully acted because the tent for the touring theatrical firm, and the modest props (together with a really humorous KFC bucket) helped to enliven Act II.
Michael Anthonio
Competition Opera assembled a reasonably sturdy solid to deliver out the drama and tragedy, most of whom had been Competition Opera veterans. As Canio, tenor Vincent Chambers sang with conviction, imbuing the position with a way of weariness. It was unlucky that his voice cracked in direction of the top. Lila Khazoum introduced a playful and youthful air to Nedda, completely matched with Liam Daley’s Silvio. Whereas Taylor Thompson portrayed a sympathetic Beppe, I used to be most impressed with Igor Vieira, whose booming voice and glorious physique language and gestures actually depicted Tonio as a person turning evil and manipulative as a consequence of jealousy. Chun Mei Wilson’s accompaniment really moved the story ahead and considerably offered a musical basis to the story. On the similar time, Normal Director Zachary Gordin’s commentaries offered an occasional respite from the heaviness of the drama.
It was really encouraging to see many individuals attend the present regardless of the warmth on that day. Some individuals even introduced their youngsters! For essentially the most half, the viewers quietly absorbed the drama unfolding earlier than their eyes and cheerfully applauded all of the performers on the finish. There was additionally a raffle for 3 bottles of wine throughout the break. All of it showcased the power of the neighborhood, and I applauded Competition Opera for offering such a car for introducing the joys of stay opera to a broader viewers and for serving to to dispel the elitist nature of opera.
All in all, it was really a memorable Pleasure weekend. Comfortable Pleasure 2025, everybody!
