Met Season, 2019-20: More of the Same

Gosh, not long ago a prominent opera commentator was calling SF's season boring. Here's what has dropped at the Met:

• All-male-composer season
• Twenty-four operas
• One opera written after 1950 (Ahknaten)
• Eight written after 1900 (Turandot, Tosca, Butterfly, Ahknaten, Katya Kabanova, Porgy & Bess, Rosenkavalier, Wozzeck)
• Three Mozart (Flute, Nozze, Cosi)
• Five Puccini (Turandot, Tosca, Butterfly, Manon Lescaut, Boheme)
• Three Verdi (Traviata, Macbeth, Simon Boccanegra)
• Two Massenet (Manon, Werther)
• One each: Handel (Agrippina), Glass (Ahknaten), Rossini (Cenerentola), Berlioz (Damnation), Wagner (Hollander), Janacek (Katya Kabanova), Donizetti (Maria Stuarda), Gluck (Orfeo), Gershwin (Porgy), Tchaikowsky (Queen of Spades), R. Strauss (Rosenkavalier), Berg (Wozzeck)
• In Italian: 14
• In French: 3
• In German: 4
• In English: 2
• In Czech: 1
• In Russian: 1

I could certainly put together a season of ten operas I'm willing to see out of the 25 above, but it's  otherwise a pretty boring season: Simon Boccanegra, Agrippina, Ahknaten, Damnation, Katya, Orfeo, Porgy, Queen of Spades, Rosenkavalier, and Wozzeck.

UPDATED, since I managed to overlook La Boheme in my original counts and since I was off by one in my count of post-1900; Tosca just makes it.

Analyzing the SFO Season

War Memorial Opera House

Photo by Lisa Hirch

First, an addition to my earlier article: the SFO communications department. tells me that they will  send out a press release in early February with casting updates for the summer season. I'm not sure whether this will be limited to the replacement for David Daniels, but surely that singer will be included. Second, come the spring, there will be announcements about developing artistic matters. This could include the mystery commission ("exciting female composer") and perhaps any others that are in the works.

Over at Parterre Box, this has been termed a boring season, a contribution to SFO competing with Lyric Opera to be the most boring opera company. Well, I don't know about that! For an eight-opera season, it's damn good. Taking a closer look:

• Verdi opera not heard here in more than 30 years.
• French opera not heard here in more than 30 years.
• German opera not heard here in 16 years.
• English opera not heard here in 15 years.
• Revival of a Baroque opera production, nearly unheard of, after several years.
• Revival of a Puccini opera not heard here in 13 years.
• New opera co-commissioned by the company.
• Desperately needed new production of a great opera, with an intriguing Konzept.

I mean, the closest thing to overplayed here is Nozze, which I admittedly did not see in its last two bring-ups. I'm not going to complain too too much.

I have some areas of concern. The casting includes a lot of debuting artists, and there will undoubtedly be some misses among the hits. But here's a singer cancellation record that worries me: 

2015 SF Troyens - sang half the performances

2015 SFe Rigoletto - withdraws from half, then all, of the performances (note that rehearsal period overlapped with Troyens performances)

(can't easily find 2016 & 17 info)

2018 BayStaats Vepres - cancels  most performances (March, illness)

2018 Met Romeo - cancels (illness) (April)

2018 Paris Huguenots - cancels ten days before opening (illness)

2019 Paris Troyens - withdraws from 4 of 7 (illness), then remaining 3 (family)

That's what I know about Bryan Hymel's record of cancellations in SF and elsewhere. I do hope he'll stay well and will be able to sing opening night.

I see from reading Steven Winn and Joshua Kosman's reports on the season that Matthew Shilvock gave us similar comments during our respective interviews. (That's one of the functions of a communications department: they help you figure out possible and likely question and the answers.) I wrote about my questions in order of priority, which is why I covered the music director situation first; that seems to me to be a very big ongoing issue. SFS hired Esa-Pekka Salonen mighty fast, especially for a conductor who nobody thought was available. I understand the opera's caution; Nicola Luisotti was basically hired on the strength of La forza del destino, and, well, everybody had high hopes, but I certainly found him a disappointment over the long haul. 

Given the conductors who are returning next season whom I'd consider to be in the running, it might be that SFO 1) wants to see them more than once 2) wants to see them in more than one operatic repertory. So we have Gaffigan (Carmen, Ernani), Renes (Nixon, Billy Budd), Franklin (Turandot, Hansel, Adler program), and Nanasi (Elektra, Nozze). Moulds, conducting two Handel operas, is a specialist. I'm not sure whether Christie is in the running, although maybe everyone is.

Also, regarding my interview, let me make explicit what is stated less than baldly in the interview:

• There isn't enough money for a longer season at current quality levels.
• There isn't enough money to have Opera Lab programming because main stage quality can't be compromised.

The budget for next year is not yet approved, but it will be around what it has been for the last few years. The company loves its donors, and is working to find more, but clearly any changes to the budget, length of season, etc. will be in the long run, if at all. This is especially sad with respect to Opera Lab, which was launched with high hopes for alternative performances, Baroque performance, and, well, innovation.

Lastly, I'm glad that there are a whole bunch of Black singers in leading roles this season; both Nozze and Ernani have two Black singers in leading roles. This is part of the diversity we need in opera in America. But the company has other problems: it's an all-white-male composers season and seven of the eight are dead; additionally, it's an all-male conductors season and an all-male directors season. That is going in the wrong direction.

San Francisco Opera 97th Season, 2019-20

Edward Parks as Steve Jobs

Photo: Ken Howard / Santa Fe Opera

San Francisco Opera today announced its 97th season, which opens on September 6, 2019. Like 2018-19, next season will have eight operas, still down from the 9 or 10 that the company has performed recently, and far down from the 11 to 13 staged at the turn of the 21st century.

The company remains without a music director heading into 2019-20, and in an interview, General Director Matthew Shilvock noted that they're "still in a very exciting period of discovery and exploration. We're still getting to know new conductors, with three new ones this season and reacquainting ourselves with Lawrence Renes, who conducted 2012's Nixon in China. I believe that a [potential] music director has to go through the full rehearsal and production cycle, as well the audience engagement process. The music director does a lot to set the musical values of the company."

Asked about the possibility of the retirement or departure of orchestral principals, who would typically be hired by the music director and a musician committee, Shilvock noted that the company is working closely with the orchestra on the protocols for such an eventuality, should it take place before the appointment of the next music director. As for the length of the season, he said that while the company regularly explores how to lengthen the season, it's most important to maintain the artistic quality that San Francisco Opera audiences expect, rather than try for greater quantity.

Of the eight productions in 2019-21, six are new to SFO, with two revivals. The season cannily balances the season across a wide chronological span, from Baroque opera, through Mozart, 19th century German and Italian works, and into the 20th and 21st centuries.

Edward Parks as Steve Jobs

Photo: Ken Howard / Santa Fe Opera

At the 21st century end of that range, the season includes an eagerly-awaited San Francisco Opera co-production, Mason Bates' The (R)evolution of Steve Jobs, which premiered in Santa Fe in 2017 and focuses on the life of the Silicon valley icon and Apple founder. SFO will use the Santa Fe Opera production, with its original cast and conductor.

Shilvock said that Bates and librettist Mark Campbell have made some changes, expanding and deepening the role of Laurene Powell Jobs. These changes will be heard for the first time at the upcoming Seattle Opera production. "It's very exciting for us, as a company, to be involved in the process of developing a new work in it formative years," said Shilvock. "We're planning some exciting events to go with the production, and we think it will be a great entry point to opera with members of the tech community. It explores the stresses of competition and the tension between work and family, and our hope is that people will see the opera a not just a biography, but reflective of the community."

2014 production of Partenope

Photo: Cory Weaver / San Francisco Opera

The two revivals are Olivier Tambosi's 2006 production of Puccini's Manon Lescaut, which stars Liannna Haroutounian in the title role and Brian Jagde as her lover Des Grieux, former music director Nicola Luisotti conducting, and Christopher Alden's production of Handel's Partenope, first seen here in 2014. Daniela Mack and Alek Shrader remain from the original cast, with soprano Louise Alder making her company in the title role. Countetenors Franco Fagioli and Jakub Józef Orlinski also make company debuts. The recent Adler Fellow Hadleigh Adams rounds out the cast. Christopher Moulds conducts; he will also conduct this season's Orlando.

Bryan Hymel

The season opens with Gounod's Romeo and Juliet, an opera not seen at SFO in 31 years. It will star Bryan Hymel (last seen as Enée in Les Troyens) and Nadine Sierra as Shakespeare's lovers, with Lucas Meachem as Mercutio and James Creswell as Frian Lawrence. Former Adler Fellows (and husband and wife) Pene Pati and Amina Edris sing the lovers inthe final performance. Yves Abel return to the podium.

Billy Budd

Photo: Alastair Muir

The fall season continues with the return of Britten's Billy Budd, in a production from Glyndbourne Opera that stars debuting baritone John Chest as Billy, tenor William Burden as Captain Vere, and bass-baritone Christian Van Horn as Claggart, with Renes conducting. Matthew Shilvock has commented in the past about the importance of staging 20th c. classics, including the operas of Benjamin Britten, and this is the first fruit of that commitment.

Michael Sumuel, Figaro in Le Nozze di Figaro

Jeanine de Bique, Susanna in Le Nozze di Figaro

An exciting new production of The Marriage of Figaro will also be featured in the fall season. Directed by Michael Cavanaugh (Nixon, Lucia di Lammermoor, Susannah), it will be the first of a planned series of new productions of the three great Mozart-da Ponte operas, with Cosi fan Tutte and Don Giovanni to follow. In Cavanaugh's staging, the three operas will be moved to a mansion located in the United States, and Cosi and Don Giovanni will be relocated in time.  Michael Sumuel returns to the company as Figaro, with debuting soprano Jeanine De Bique, a native of Trinidad, as Susanna. Henrik Nánási will conduct.

Le Nozze di Figaro

Production design by Erhard Rom

Asked about the possibility of intersectional interpretation of the works, since Figaro will star two Black singers, Shilvock remarked that"as we worked through the new productions with Cavanaugh, the idea of transporting the revolutionary fervor from [18th century Europe to the revolution fervor of America at that time made a lot of sense. The exploration of racial tensions isn't a requirement, but the casting will help explore the development of race relations in the United States. It will be a powerful way to help audiences engage with the opera."

Hansel and Gretel

Cory Weaver / San Francisco Opera / Royal Opera

The fall season closes with a new co-production, with the Royal Opera, Covent Garden, of Englebert Humperdinck's Hansel and Gretel, starring Sasha Cooke and Heidi Stober as the siblings and Michaela Martens and Alfred Walker as their parents, with Robert Brubaker as the Witch. This production has already been seen in London.

Partenope and The (R)evolution of Steve Jobs will be performed during the summer of 2020, as will a new production of Verdi's early opera Ernani. Last seen here in 1984, the Lyric  Opera of Chicago production will star Russell Thomas, making his role debut as Ernani, and debuting soprano Michelle Bradley as Elivra. Simone Piazzola and Christian Van Horn round out the cast, with James Gaffigan conducting.

The season does not include any productions at the Taube Atrium Theater. In response to this questiion, Shilvock said that the entire Wilsey Center "has been transformative for the company, by bringing together so many functions under one roof, transforming communications among the different groups, and giving us a new and important space for orchestra rehearsals when the opera house pit can't be used. The Center is in active and regular use by the company, but it's expensive to put on performances in the Atrium Theater, and main stage performance quality takes priority. We don't have current plans for productions there because of the financial challenges of adding new programming elements."

In closing, Shilvock remarked that he's very excited about the debuting singers, such as sopranos Louise Alder and Jennifer Davis [the Countess in Nozze] and about the many role debuts as well, including Thomas as Ernani and Bryan Hymel as Romeo. "Singers are very appreciative of the welcoming nature of our audience, and so they are happy to take on new roles for us. I'm proud of the number of debut we have this season and of the opportunities we give to these singers."
Season summary:

• Romeo et Juliette, Gounod, with Bryan Hymel (Romeo), Nadine Sierra (Juliette), Lucas Meachem (Mercutio), James Creswell (Friar Lawrence), conducted by Yves Abel. Opéra de Monte Carlo / Teatro Carlo Felice co-production directed by Jean-Louis Grinda. Pene Pati and Amina Edris sing the title roles for one performance. September 6 to October 1, 2019.
• Billy Budd, Britten, with John Chest (Billy), William Burden (Vere), Christian Van Horn (Claggert), conducted by Lawrence Renes. Glyndbourne Opera production directed by Michael Grandage. September 7 to 22, 2019.
• Le Nozze di Figaro, Mozart, with Michael Sumuel (Figaro), Jeanine De Bique (Susanna), Levente Molnár* (Count Almaviva), Jennifer Davis** (Countess Almaviva), Serena Malfi* (Cherubino). Conducted by Henrik Nanasi. New production directed by Michael Cavanaugh. October 11 to November 1, 2019.
• Manon Lescaut, Puccini. Lianna Haroutounian (Manon Lescaut), Brian Jagde (Des Grieux), Anthony Clark Evans (Lescaut), Eric Halvorson (Geronte). Conducted by Nicola Luisotti. Production directed by Olivier Tambosi, seen in San Francisco in 2006. November 8 to 26, 2019.
• Hansel and Gretel, Humperdinck. Sasha Cooke (Hansel), Heidi Stober (Gretel), Robert Brubaker (Witch), Michaela Martens (Gertrude), Alfred Walker (Peter). Conducted by Christopher Franklin. Performed in English. Directed and production designed by Antony McDonald. Co-production of San Francisco Opera and Royal Opera, Covent Garden. November 15 to December 7, 2019.
• Ernani, Verdi. Russell Thomas (Ernani), Michelle Bradley (Elvira), Simone Piazzola (Don Carlo), Christian Van Horn (Don Ruy Gomez de Silva). Conducted by James Gaffigan, directed by Jose Maria Condemi. Lyric Opera of Chicago production. June 7 to July 2, 2020.
• Partenope, Handel. Louise Alder (Partenope), Daniela Mack (Rosmira), Franco Fagioli (Arsace), Jakub Jozef Orlinsky (Armindo), Alek Shrader (Emilio), Hadleigh Adams (Ormonte). Conducted by Christopher Moulds. English National Opera and Opera Australia production by Christopher Alden; revival directed by Ray Rallo. Last seen in SF in 2014. June 12-27, 2020.
• The (R)evolution of Steve Jobs, Bates. Edward Parks (Steve Jobs), Sasha Cooke (Laurene Powell Jobs), Garrett Sorenson (Woz), Wei Wu (Kobun Chino Otagawa). Conducted by Michael Christie. Directed by Kevin Newberry. Commissioned by San Francisco Opera, The Santa Fe Opera and Seattle Opera with support from Cal Performances and co-produced with Indiana University Jacobs School of Music. San Francisco Opera premiere. June 20 to July 3, 2020.

Click this for the full SFO press release.