Why I Keep Wearing a Mask and Dining Outside at Restaurants

The Monday before last, that is, October 9, I had dinner with a friend - outdoors. On Friday, I emailed him to say it was great to see him (it was!) and he'd had a positive COVID test that morning. There was quite a lot of nail-biting on my part until I'd had two negative test and he had figured out that probably he and other friends, all testing positive, had been exposed the following night when they were out together. 

Whew.

But...on Sunday, I had lunch with a friend - again outdoors - and then we sat next to each other for a long, long opera. I wore a mast during the performance, but chatted with various people ummasked at intermission. And this morning my friend, who has been under the weather since yesterday, tested positive. This is a friend who has been extremely cautious throughout the pandemic and its current more endemic phase.

I am once again biting my nails, and once again urging people to wear masks when you're on public transit, in public places, in stores, anywhere where you don't know everyone else's status, etc. Masking is most effective when everyone does it, and I am doing my bit with the masking.

Cast Change Announcement, Tanglewood Edition

Also COVID-19 edition. Received from the BSO:

With great regret, after testing positive for COVID-19, cellist Yo-Yo Ma must withdraw from this week’s scheduled Tanglewood appearances: today’s 2 p.m. Open Cello Workshop at Ozawa Hall as well as the open rehearsal and concert with the Boston Symphony in the Shed on Saturday, August 12, and Sunday, August 13, respectively.

Soprano Renée Fleming has graciously agreed to step in to join the BSO on Sunday, performing songs by Richard Strauss in place of the Shostakovich Cello Concerto No. 1 that was originally scheduled to be performed with Mr. Ma. The remainder of the program, under the direction of BSO Music Director Andris Nelsons, is unchanged. Saturday’s 10:30 a.m. open rehearsal will proceed with Ms. Fleming, Maestro Nelsons, and the BSO.

Click here for photos and bio of Renée Fleming

UPDATED PROGRAM DETAILS

 

Saturday, August 12, 2023

10:30 a.m., Shed

Open Rehearsal, BSO Sunday, August 13 program

 

Sunday, August 13, 2023
2:30 p.m., Shed
Boston Symphony Orchestra
Andris Nelsons, conductor
Renée Fleming, soprano
Julia ADOLPHE, Makeshift Castle

Richard STRAUSS, Songs with orchestra

STRAVINSKY, Petrushka (1947 version)

Best wishes to Mr. Ma for a swift and complete recovery. That's a nice program and the kind of thing Fleming is very good at.

Backstage Protocols

There's been some reporting about changing COVID-19 protocols for performing arts audiences, for example, Joshua Kosman's article about San Francisco Opera retaining its masking requirement, but not much that I have seen about what's happening offstage. That is, how are arts organizations protecting their performers and crew, whether instrumentalists, singers, actors, stage crew, or ushers?

You might remember that earlier in the pandemic, San Francisco Symphony and West Edge Opera both had to cancel a performance because of late-breaking positive COVID tests.

I asked San Francisco Opera and San Francisco Symphony about their current protocols, and here's what these organizations told me. I'm planning to ask around a bit more; many organizations know me from my reviews.

• San Francisco Opera: "The Company continues to meet with the team of UCSF doctors who have guided us since the beginning of the pandemic. We have testing protocols in place for aerosol generating activities (rehearsals and performances) that are responsive to the community risk level."
• San Francisco Symphony: "Our current protocols require that musicians receive symptomatic testing, and chorus and vocal soloists are tested prior to each service. Additionally, the San Francisco Symphony requires full vaccination for all musicians and staff to participate in any Symphony-sponsored activities at Davies Symphony Hall, Zellerbach Rehearsal Hall, or any other locations of such activities. Our current protocols were made based on guidance received from the San Francisco Symphony’s Health and Safety Task Force—which includes medical professionals from UCSF and private practices—and the organization remains as nimble as possible and we may adjust protocols in response to new guidance as we receive it."

So...I certainly see some potential gaps here: "responsive to the community risk level" might mean that testing depends on case rates in San Francisco or some larger geographic area. "Symptomatic testing" means that people with asymptomatic cases aren't getting tested. Do wind players generate less aerosolized risk than singers? As expressed, that is the assumption.

San Francisco Opera Yields

War Memorial Opera House and Veterans Building

Van Ness Avenue, San Francisco

Collection of Lisa Hirsch

Well, damn. Here's the text of an email that went to SFO patrons a little while ago:

Health and Safety Updates

NEW PROTOCOLS IN PLACE BEFORE YOUR NEXT PERFORMANCE

As we start the new year, we would like to thank you for helping us keep our fellow patrons, employees, and artists safe during our Centennial Season. Our collective efforts allowed this landmark season to take place without delay or cancellations.

After discussing our current health and safety protocols with our advisory group of University of California, San Francisco (UCSF) doctors led by epidemiologist Dr. George Rutherford, we have decided to adjust our Covid policies.

Effective February 1, 2023, proof of Covid-19 vaccination and masking is no longer required to attend San Francisco Opera performances in the War Memorial Opera House or Wilsey Center.

We continue to encourage patrons to wear a mask when attending a performance to protect themselves. San Francisco Opera will have masks available upon request.

In addition, drinks will now be allowed in the theater during performances. 

If you have questions about this change, please visit sfopera.com/visit/safety or call the Box Office at (415) 864-3330.

What a disappointment. An enraging disappointment, I should say: SFO is no longer the local big-organization holdout against the pretense that the COVID-19 pandemic is over and we can all go back to normal.

If you think that the pandemic is over, I call the following to your attention:

• The NY Times reports that the seven-day rolling average is 54,000 new cases in the US.
• Worldwide, there were around 278,000 new cases.
• About 482 people died in the US. That's a new 9/11 every 6.2 days.

 

Disparate Health & Safety Requirements

At San Francisco Opera, policy updated August 25, 2022:

Updated August 25, 2022
All patrons aged 5 and older must show proof of full vaccination (defined as two weeks after your final shot), along with a matching photo ID. If bringing a child under the age of 5, who is not eligible for the vaccine, please call the Box Office to purchase tickets. Children under the age of 5 will be required to show proof of a negative "rapid" antigen test taken within one calendar day prior to entry or a negative PCR test taken within two calendar days prior to entry.

For information on how to get a vaccine, visit https://covid19.ca.gov/vaccines

All patrons must wear well-fitted masks that cover their nose, mouth, and chin when inside the facility unless they are actively eating or drinking. A non-vented N95 mask is strongly recommended as a well-fitted mask to provide maximum protection. A well-fitted mask does not include a scarf, ski mask, balaclava, bandana, turtleneck collar, single layer of fabric or any mask that has an unfiltered one-way exhaust valve. Audience members who fail to follow the Front of House safety protocols will be promptly removed from the performance venue.

At San Francisco Symphony:

PATRON SAFETY AT DAVIES SYMPHONY HALL

The health and safety of our patrons, musicians, staff, and volunteers is our top priority. This page will be updated on an ongoing basis.

(Updated August 9, 2022)

MASK REQUIREMENTS

Based on the advice of the San Francisco Symphony’s Health and Safety Task Force, a face covering is recommended but no longer required for entry into Davies Symphony Hall. There will be a limited number of KN95 or equivalent masks available at Davies Symphony Hall for those patrons that request them.  

VACCINATION POLICY

Patrons 12 and older must show proof of full vaccination (electronic, photo, or paper copy). 

Patrons under age 12 must show proof of full vaccination or a negative COVID-19 test (PCR test taken within 2 days of event entry or an antigen [rapid] test taken within 1 day of event entry. See “Testing Requirements” below for more information. 

“Full vaccination” is defined as two weeks after completion of the two-dose regimen of Pfizer or Moderna vaccines, one dose of Johnson & Johnson vaccine, or other WHO authorized COVID-19 vaccine. At this time, proof of booster shots is not required.

The San Francisco Symphony requires full vaccination for all musicians, staff, and volunteers to participate in any Symphony-sponsored activities at Davies Symphony Hall, Zellerbach Rehearsal Hall, or any other locations of such activities.

You can guess that I'm a lot happier about SF Opera's mask-required policy, which will limit the spread of COVID if anyone in the WMOH is infected. Come ON, SFS, what are you thinking? You have many more programs and more opportunities to spread the coronavirus. Go back to requiring masking. It's better for us all. 

Oncoming

The first COVID cancellation of the summer but maybe not the last.

For immediate release - 07-06-2022 - New York City – Teatro Nuovo has made the difficult decision to postpone its performances of Maometto Secondo and La Sonnambula due to a surge of Covid-19 cases within the company. The performances were scheduled for July 9, 10, 13, and 14 at the Kasser Theater (Montclair NJ) and the Rose Theater (Jazz at Lincoln Center).
 
“We are heartbroken for our performers, who worked right up to the cusp of dress rehearsals, and terribly sorry to disappoint our ticket-holders,” said General Director Will Crutchfield in announcing the cancellations, “but safety comes first. Notwithstanding our daily tests and masking requirements, this devious virus found a way in, and spread very aggressively once it was here. We will reschedule the two operas at the earliest possible moment, so that fruits of these past four weeks’ labor will eventually reach the public.”

Kasser Theater: Patrons will be automatically refunded. Please contact the box office in person or by phone 973-655-5112 if you do not receive a refund.

Rose Theater at Jazz at Lincoln Center: Patrons will be automatically refunded. Please contact the box office in person or by email at boxoffice@jazz.org  if you do not receive a refund. Please do not email any credit card information.

The Shape of Things to Come, 2021-22 Edition

The coronavirus cancellations and postponements are starting again.

• I've suspended my jujitsu classes indefinitely because of how contagious Omicron is.
• Music@Menlo has postponed its planned benefit to March 13. Their email didn't include the original date.
• Tulsa Opera has postponed Tobias Picker’s opera Emmeline from Friday, February 25 and Sunday, February 27 to their 2022-23 season.
• The Presidio Theater and and The Laboratory for Global Performance and Politics have cancelled the February 16-27 performances of Remember This: The Lesson of Jan Karski, which would have starred David Strathairn.
• San Francisco Performances cancelled the Saturday, February 12 Dublin Guitar Quartet performance at Herbst Theatre.
• Music at Kohl Mansion cancelled the Sunday, February 13 performance by Ida Kavafian and cellist Peter Wiley with members of Philadelphia’s Curtis Institute of Music.  
• Playful People Production moved their performances of The Pirates of Penzance to February 18—20 and 25—27.
• Boston's Odyssey Opera has postponed to the fall its planned March 19, 2022 performance of TROIKA, a trio of one-act operas by Rachmaninoff.

Received at 4:20 p.m. on January 11, from Green Music Center:

Yesterday, amid a local and regional surge in COVID-19 cases due to the Omicron variant, Sonoma County Public Health Officer, Dr. Sundari Mase, issued a health order restricting gatherings of large groups of more than 50 people in indoor settings and groups of more than 100 people in outdoor settings.

In accordance with the recent health order, the Green Music Center is canceling the following events through February 11th:

January 21: New Century Chamber Orchestra

February 5: Family Day with Alphabet Rockers 

How long before other counties catch up?

Updated: February 9, 2022 

* The American Masters are defined here as Gershwin, Copland, Bernstein, and Ellington. I mean.

** NCCO and Symphony San Jose's programs both included Appalachian Spring, which MTT conducted in November with SFS.

Older Cancellations and Postponements 

• American Bach Soloists postponed their NYE program.
• S.F. Chamber Orchestra has cancelled its NYE programs; h/t Tod Brody for this news.
• Wild Up postponed its Darkness Sounding festival from January to sometime in the spring.
• PROTOTYPE postponed its 10th anniversary festival from January, 2022, to January, 2023.
• Left Coast Chamber Ensemble has postponed its planned January program, "Living in Color", to May 22 and 23.
• Wagner concert, billed as "The Greatest Wagner Concert Ever!", postponed from January 15 to a date to be determined. This concert was to have featured soprano Othalie Graham and the Vallejeo Festival Orchestra under Thomas Conlin.
• Cutting Ball Theater postpones their upcoming show, Honestly, I’ve Never Wanted to Bash Someone in the Head with a Baseball Bat More Than I Do Right Now. 
• Berkeley Symphony has postponed its January 16 chamber music concert to June 26.
• Shotgun Players, Berkeley, has cancelled their upcoming production, Babes in Ho-lland, which was to have run from January 20 to February 6, 2022.
• Itzhak Perlman's upcoming West Coast performances have been postponed. I am aware of Seattle, SF, LA and Escondido postponements.
• SF Performances has cancelled Steven Isserlis and Connie Shih's January 29 recital, because of visa issues related to the pandemic.
• Lyric Opera of Chicago postpones Missy Mazzoli's Proving Up, which was to have opened on January 22, to a future season.
• Stanford University has cancelled all indoor events through January 28.
• American Bach Soloists has cancelled its January 21-24, 2022 program, "Sweet Harmony."
• Symphony San Jose has postponed their planned "American Masters"* program from January 22 and 23 to April 2 and 3; in addition, the program will be performed at the San Jose Center for the Performing Arts rather than the California Theatre.
• New Century Chamber Orchestra has cancelled its Green Music Center concert; see the note from January 11 about Green.**
• NCCO has now cancelled all of its January concerts. If you're a ticket holder, you can exchange for a future program, donate the value of your ticket, or get a refund.
• Earplay is postponing its planned January 31 program to Fall, 2022.

San Francisco Symphony to Require Proof of Boosters

Davies Symphony Hall

Photo by Lisa Hirsch

I guess this is good, but I'm waiting to see which programs get canceled in the next few weeks. Not sure that I will be hanging out with up to 2500 people at Davies in the near future.

THE SAN FRANCISCO SYMPHONY ANNOUNCES UPDATED SAFETY PROTOCOLS FOR CONCERTS AT DAVIES SYMPHONY HALL

 

Beginning February 1, 2022, San Francisco Symphony to require all eligible patrons, staff, and performers to show proof of COVID-19 booster, for entrance into Davies Symphony Hall

 

SAN FRANCISCO, CA—The San Francisco Symphony today announces updated safety protocols for audiences attending live performances at Davies Symphony Hall.

Beginning February 1, 2022, for those eligible, the SF Symphony will begin requiring proof of a COVID-19 booster—received at least one week prior to each event—for entrance into Davies Symphony Hall.

This expands upon the Symphony’s current requirement (in effect through January 31, 2022) that all patrons, performers, volunteers, and staff ages 12 and up present proof of full vaccination against COVID-19 for entry into the venue, and audience members between the ages of 5 and 11 show proof of full vaccination against COVID-19 or a negative COVID-19 test (PCR test within 48 hours of the event, or antigen [rapid] test within 24 hours of the event). Audience members ages 2 to 4 must show proof of a negative COVID-19 test (PCR test within 48 hours of the event, or antigen [rapid] test within 24 hours of the event). All patrons are required to wear a face mask while attending performances and, at this time, drinks are not permitted inside the performance hall.

Full vaccination is defined as completion of the two-dose regimen of Pfizer or Moderna vaccines, one dose of Johnson & Johnson vaccine, or other WHO authorized COVID-19 vaccine administered two weeks or more in advance of the concert. Beginning February 1, 2022, the Symphony requires up-to-date vaccination, defined as two weeks following full initial vaccination until eligible to receive a booster and, for those eligible, one week after receiving a booster.

These protocols are in accordance with policies enacted by San Francisco Department of Public Health. For further details about health and safety protocols at Davies Symphony Hall, visit www.sfsymphony.org/Home/Safety.  

For information on COVID-19 booster eligibility, visit sf.gov/information/get-your-booster.

Openings at San Francisco Symphony

Louise M. Davies Symphony Hall

Photo by Lisa Hirsch

You might recall that San Francisco Symphony had an unusual number of retirements last season and this, for reasons that surely include existing plans, the pandemic, and - who knows? - a new music director coming in. In addition, principal cellist Michael Grebanier died at 82 after a period of ill health. (See the links below for my previous comments on this.)

If you want to follow along with the audition process, the organization's audition page is public and always contains interesting information; I once tipped off a couple of people about a not-yet-announced retirement because I spotted a planned audition. The page is here. As you can see, the preliminary and semi-final rounds of the principal flute and principal cello auditions have been held, with the final rounds coming soon. 

Watch for guest artists in those chairs, because typically the final candidates get a week of playing with the orchestra to see how they work with Salonen, members of their section, the concertmaster, etc. And how they sound with the orchestra. (Noting that there have been guests in the first flute chair at the last two concerts - I believe different flutists - but I do not know whether they are regular guests or auditioning. Ya gotta have flutes in the flute section, after all. But I did not see anyone unfamiliar playing first cello, because Peter Wyrick and Amos Yang are both fully able to fill that seat.)

Previously:

• Retirements, Many of Them, at San Francisco Symphony
  
• Further Thoughts on SFS Retirements
  

 

Friday Photo

Front Page of The NY Times

May 24, 2020

It didn't have to be this way, and now, 18 months later, we're at 700,000 deaths. 

At this point, 95% or more of deaths are among the unvaccinated.

Visa Issues

Big sigh over visa issues at the NY Phil....

Alessio Bax To Make His New York Philharmonic Debut Replacing 
Leif Ove Andsnes in Works by Clara and Robert Schumann
October 14–16, 2021, at the Rose Theater at Jazz at Lincoln Center

Pianist Alessio Bax
Photo credit: Marco Borggreve

 

Pianist Alessio Bax will replace Leif Ove Andsnes, who is unable to enter the United States due to visa issues. Bax will make his debut with the New York Philharmonic in these performances led by Music Director Jaap van Zweden, October 14–16, 2021. The program — featuring Clara Schumann’s Romance in A minor for solo piano, Robert Schumann’s Piano Concerto, and Brahms’s Serenade No. 2 — is unchanged. 

and at the Boston Symphony:

BOSTON SYMPHONY ORCHESTRA ANNOUNCES ARTIST CHANGE IN PROGRAMS TAKING PLACE AT SYMPHONY HALL OCTOBER 7-12 

With great disappointment, Dutch pianists Lucas and Arthur Jussen have had to withdraw from their BSO performances, October 7, 8, 9, and 12, at Symphony Hall, due to unprecedented delays in the issuing of their travel visas. 

The program will remain the same with the Philadelphia-based Naughton sisters, Christina and Michelle, making their BSO debuts performing Mozart’s Concerto in E-flat for Two Pianos, K.365. The opening two works on the program are Strauss’s Love Scene from Feuersnot and Death and Transfiguration.

San Francisco Opera: The Homecoming

Vase of Roses

War Memorial Opera House

September 10, 2021

Photo by Lisa Hirsch

Last night, SFO put on what would, in past years, have been a fancy opening gala. After the horrors of the last 18 months, the company sensibly opted for a less glittery affair. From a musical standpoint, the concert they presented was more satisfying than some opening nights I've been too, where the pre-concert speeches and slightly soused rowdiness of the crowd made the performances less enjoyable than they might have been.

The program showcased the company's new music director, Eun Sun Kim, soprano Rachel Willis-Sørensen, and mezzo-soprano Jamie Barton, and wow, it was quite a showcase. Here's what they performed:

Leichte Kavallerie (Light Cavalry), Franz von Suppé - Overture

La Traviata, Giuseppe Verdi - “È strano … Sempre libera”

La Favorite, Gaetano Donizetti - “O mon Fernand”

Louise, Gustave Charpentier - “Depuis le jour”

Don Carlo, Giuseppe Verdi - “O don fatale”

Anna Bolena, Gaetano Donizetti - “Dio che mi vedi in core”

Aida, Giuseppe Verdi - “Fu la sorte”

Rusalka, Antonín Dvořák - Polonaise

Rusalka, Antonín Dvořák - “Song to the Moon”

Samson et Dalila, Camille Saint-Saëns - “Mon Coeur s’ouvre à ta voix”

Capriccio, Richard Strauss - Mondschein musik (Moonlight Music)

Norma, Vincenzo Bellini - “Mira, o Norma”

If you think you don't know the Light Cavalry Overture, believe me, you do; there's a section that I think I have never not known. Not only have I never heard it in concert before, unless I played it in the Teaneck summer band long ago, I can't remember seeing it on a program, though von Suppé's overtures used to be staples. That was a fun opening. 

The other orchestral excerpts were well played, though I am not a fan of Capriccio and I wish they'd played the "Royal Hunt and Storm" from Les Troyens instead, although....you do need an offstage chorus for that ("Italie! Italie!). Anyway, Kim's conducting throughout was mighty impressive, in and of itself, for the musicality and beauty of the selections, and for her support of the singers. SFO is so lucky to have her, and I'm looking forward to hearing her in, say, Wagner and Strauss and more recent music, as well as the mostly-19th c. fare on this program.

The vocal excerpts....were uniformly stunning. I mean, is there anything that Willis-Sørensen and Barton can't sing??? Oh, probably, but this selection was great. I had no idea that Willis-Sørensen could move her voice so well; the fioriture in "Sempre Libera" were just fine, and to the other sections of the scene, she brought a world of colors. 

Barton is really a force of nature, spectacular inn "O don fatale" and luscious in "Mon coeur." (Speaking of Les Troyens, if I were hypothetically casting a revival of it, I'd ask her which of the leading mezzo roles she'd like to sing.)

The duets were great, and I was surprised at how well "Fu la sorte" worked for two voices that aren't exactly cut like Italian spinto voices. All in all, it was a very satisfying evening of music making.

Oh, you were wondering what they wore? Kim wore black trousers and a black jacket. Here are photos of the three stars. The sequins don't look as glittery as they should. 

First half of program. 

Second half of program

Rolling My Eyes

Yesterday, San Francisco Symphony sent around this press release:

RAGNAR BOHLIN CONCLUDES 14-YEAR TENURE AS SAN FRANCISCO SYMPHONY’S CHORUS DIRECTOR

—The San Francisco Symphony today announces that Ragnar Bohlin will step down as the Orchestra’s Chorus Director at the end of August 2021. 

Bohlin began his tenure as Chorus Director of the San Francisco Symphony in March 2007. Under his leadership, the San Francisco Symphony Chorus received a Grammy for Best Choral Performance for the recording of Mahler’s Symphony No. 8 with Michael Tilson Thomas and the San Francisco Symphony. With the San Francisco Symphony and Chorus, Bohlin has conducted such works as J.S. Bach’s Christmas Oratorio and Mass in B minor, Handel’s 

Messiah, Arvo Pärt's Te Deum, and a cappella works such as Poulenc’s Figure Humaine. Bohlin is also the founding Artistic Director of the professional chamber choir Cappella SF with which he has recorded four CDs. In March 2013, he was awarded the Cultural Achievement Award from the Swedish-American Chamber of Commerce in San Francisco, and in 2018 the Michael Korn award from Chorus America. 

“In his fourteen years as Chorus Director, Ragnar has been a vital part of the San Francisco Symphony’s artistic leadership,” said San Francisco Symphony Interim CEO Matthew Spivey. “He is a gifted and expressive musician and has led the San Francisco Symphony Chorus through countless artistic achievements and memorable performances. He will be greatly missed, and we wish him well as he embarks on his next chapter.”

San Francisco Symphony Chorus performances in the 2021-22 Season include Ludwig van Beethoven’s Symphony No. 9; George Frideric Handel’s Messiah; Johannes Brahms’s Alto Rhapsody, Nänie, Gesang der Parzen, and Schicksalslied; Jack Perla’s arrangements of “Give Me Jesus,” “Come Thou Fount of Every Blessing,” and “My Soul’s Been Anchored in the Lord”; and semi-staged productions of Igor Stravinsky’s opera-oratorio Oedipus Rex and his Symphony of Psalms. The San Francisco Symphony will engage guest chorus directors to prepare these performances; more information about guest directors will be announced at a later date.

I thought that this was unfortunate in multiple ways; first, that with such a short notice period, SFS is without a chorus director with the season opening in around a month, second, that he has been an outstanding chorus director. Under his direction, the already-excellent SFS Chorus became more precise, diction improved, and general musicality seemed to get better.

But when I looked around for more information, I found Lily Janiak's Chron article, in which the headline and subhead say it all:  San Francisco Symphony Choral Director Ragnar Bohlin resigns over vaccine mandate;  Bohlin has been outspoken about his anti-vaccination views on his Facebook page.

Big sigh. The article has quotations from Bohlin, whom Janiak phoned, and SFS confirmed that this was why he resigned. I mean, a choir rehearsal was an early super-spreader event in this pandemic! There could be immunocompromised people in the SFS chorus! The room they rehearse in is not huge and I don't know how good the ventilation is. So, a lot of sighing and eye-rolling from here. (Including at the "critical thinker" over on Twitter who admired Bohlin standing up for his beliefs. I don't find it all that admirable when someone is willing to endanger others in the middle of a pandemic.)

Department of Déjà Vu

A to-the-point press release that came in this morning:

GOLDEN GATE JAZZ FESTIVAL AUGUST 27-29 TO BE POSTPONED

San Francisco, CA, August 11, 2021 – The inaugural Golden Gate Jazz Festival—announced for August 27-29, 2021 at the Presidio Theatre in San Francisco—has been postponed, and new dates will be announced. The Festival is being rescheduled out of concern for health and safety amid ongoing changes in local COVID-19 guidelines and requirements for public events. Tickets will be automatically refunded by the ticket vendor, City Box Office. Ticket buyers can contact City Box Office for more information about refunds by emailing info@cityboxoffice.com.

Dammit. It didn't have to be this way. 

desert in

desert in teaser

Courtesy of Boston Lyric Opera and Long Beach Opera

A new review of mine at SFVC, of the collaborative opera miniseries desert in.  It's very cool! Go see it (in the comfort of your own home)!

Oof.

War Memorial Opera House Interior

Photo by Lisa Hirsch

A dismaying press release from the Merola Opera, SFO's young singer training program. This sounds....bad:

Based on an abundance of caution the acclaimed Merola Opera Program has announced a programming update for its Merola Grand Finale, to be presented live July 31 atthe Golden Gate Park Bandshell. Following an occurrence in which artist health and safety COVID protocols were compromised by a number of participants, the decision has been made to prioritize the well-being of young artists, faculty, staff, and other participating artists, and to proceed with a reduced number of onsite participants and a greater focus on virtual training for the duration of this year’s program. 

 

After exploring numerous possible alternatives, it has been determined that this difficult step would help ensure the safest environment for the final week and a half of the summer training program and the Merola Grand Finale. Says Jean Kellogg, Executive Director of the Merola Opera Program, “It was a heartbreaking decision, but the safety of our young artists and production team is paramount.” 

I mean...health and safety protocols compromised by a number of participants? A wild party of some kind? People drinking to excess? Everybody leaving their masks home? Ouch, in any event. The press release continues: 

The public will still have the opportunity to enjoy a free outdoor performance featuring outstanding young artists from the Merola Opera Program performing a thrilling array of selections from some of opera’s most brilliant works. The Merola Grand Finale will be presented at 2:00pm, Saturday, July 31, at the Golden Gate Park Bandshell, John F. Kennedy Drive and Hagiwara Tea Garden Drive, San Francisco. Admission is FREE and open to the public. (Limited reserved seating is available for Merola members Gold Circle and above.) 

 

All Merola participants can be seen next month in “Back Home: Through the Stage Door,” a digital production filmed on location in early July at the historic Herbst Theatre, with the entire 2021 Merola ensemble performing classics and lesser known gems. Free on-demand streaming of “Back Home: Through the Stage Door” will be available to Merola members beginning August 13, and free to the public beginning August 27. For more information or to become a Merola member, visit www.merola.org.

 

San Francisco Opera Center Artistic Director Carrie-Ann Matheson and General Manager Markus Beam noted, “The health and well-being of our artists, faculty, and staff has been and must remain our top priority,” adding that some participants will continue their Merola summer training virtually. The 2021 Merola Stage Director Audrey Chait, as originally announced, will direct the Merola Grand Finale. 

 

Santa Fe Opera 2021 Casting Updates

Santa Fe Opera has just announced some cast changes, all owing to international travel restrictions. From the press release:

Santa Fe, NM — The Santa Fe Opera announces the following casting updates for the 2021 Season opening on July 10 and running through August 27: Laurie Feldman will direct The Marriage of Figaro after a concept by French Director Laurent Pelly, who is unable to travel to Santa Fe due to international travel restrictions and has therefore been following rehearsals and the progress of the production from France. Bass-baritone Nicholas Brownlee makes his company debut in the title role in The Marriage of Figaro and Bottom inA Midsummer Night’s Dream, replacing British baritone Ashley Riches who is unable to travel to Santa Fe due to international travel restrictions. Baritone Lucas Meachem and soprano Sara Jakubiak replace French-Canadian baritone Etienne Dupuis and Australian soprano Nicole Car in the roles of Eugene Onegin and Tatyana in Eugene Onegin. The real-life husband and wife are unable to travel to Santa Fe due to international travel restrictions. They write, “We are saddened by the situation and wish wholeheartedly we could have been allowed to perform these special roles in such a special place.” Lastly, lighting designer Rick Fisher replaces London-based lighting designer Matt Haskins in Eugene Onegin; Haskins is unable to travel to Santa Fe due to international travel restrictions. 

San Francisco Opera 2021-22 Season

War Memorial Opera House

December, 2019

Photo by Lisa Hirsch

Yes, it's several days after the season announcement and I'm just getting to blog about the upcoming SFO season. It is...incredibly cautious, in repertory, scheduling, and health. They are very clear that this is a "transitional" season. The centennial season, 2022-23, had better be a humdinger, after this. NOT THAT THEY ARE BREATHING A WORD ABOUT IT.

Regarding health, here's how the fall season will start, at least through the performances of the opening opera:

• Upon entry, patrons will be required to show proof of full vaccination (defined as two weeks after final shot) or a negative COVID-19 PCR test taken within 72 hours of performance or antigen test taken within 1 day of performance (paper or electronic/photo documentation), along with a photo ID.

• All patrons—including those who have received a COVID-19 vaccine—will be required to wear a face mask while attending performances.

• Safety protocols include enhanced cleaning practices and availability of hand sanitizer stations throughout the building. Ventilation systems in the War Memorial Opera House meet Center for Disease Control (CDC) guidelines. All front-of-house and backstage employees will follow rigorous safety protocols including a vaccination requirement.

• The Box Office will seat one production at a time and use buffer seats (keeping one seat free between parties).

• Tickets must be purchased in advance either by phone or online; at this time, tickets are not available for in-person purchase.

• All ticket exchange fees are eliminated for the current season. Exchanges will be accepted up to two hours before the performance. 

• For a touchless experience, tickets will be delivered digitally (print-at-home and mobile). In lieu of printed program books, a digital program will be available. 

• The Opera is working with the War Memorial and Global Gourmet to offer concessions to patrons, including limited food and beverage service. Plans for pre-opera talks are being developed. More information will be available soon.

SFS is selling seats up to capacity, for contrast. That business of the Box Office seating one production at a time? Yikes. That's a lot of overhead. Of course, the possibility of updating the above does mean that by August, SFO could decide to just send out a season's worth of tickets to subscribers.

The fall season will be done in stagione style, where only one opera at a time is performed. That will reduce costs: each production has to be set up and struck just once. Too bad if you're coming from another location: you'll have to return for each production instead of coming for a busy weekend with three operas.

I'm getting briefly up on a soapbox here to say that Global Gourmet, which replaced the previous food service provider, isn't as good. The buffet was diminished and the one dessert I had was allegedly panna cotta, but it had the texture of something much denser. Also, for a while coffee was served on an honor system of some kind, where you bought a cup and then served yourself. That reverted to the person behind the counter having to serve you, which wildly slowed down the lines. Look, Seattle Opera has had an honor system for coffee since 2003 and it works very well for them! There are multiple stations on every floor where you leave your cash, grab a cup, and drink as much as you'd like. I saw something like this in Disney Hall last time I was there, too. It works! Trust your patrons! Make life easier for us!

On the positive side

Eun Sun Kim takes charge as SFO's music director!

The seat replacement project is complete!

There are accessibility improvements!

On the not-so-positive side

On to the actual season, which, well, see for yourself:

• Aug. 21, 27, 29, Sept. 3, 5 - Puccini’s Tosca - Kim, conductor;  Shawna Lucey, stage director; Robert Innes Hopkins, production designer; the cast includes Ailyn Perez, Michael Fabiano, and Alfred Walker
• Sept. 10 - “Live and in concert: The Homecoming” in the War Memorial and a free live simulcast to Oracle Park, conducted by Kim,  featuring Rachel Willis-Sorensen and Jamie Barton
• Oct. 14, 17, 20, 22, 26, 30 - Beethoven’s Fidelio - new production,   Kim, conductor; Matthew Ozawa, stage director; Alexander V. Nichols, production designer; the cast includes Elza van den Heever,  Russell Thomas, Greer Grimsley, James Creswell, Soloman Howard,  Anne-Marie MacIntosh, Christopher Oglesby
• Nov. 21, 23, 27, Dec. 1, 3 - Mozart’s Cosi fan tutte - new production,  Henrik Nanasi, conductor;  Michael Cavanagh, stage director; Erhard Rom, production designer; the cast includes Nicole Cabell, Irene Roberts, Ben Bliss, John Brancy, Ferruccio Furlanetto, Nicole Heaston
• Dec. 10 - “The Future is Now” Adler Fellows Concert (in Herbst Theater)
• June 4, 10, 12, 15, 18, 21, 26. July 2 -  Mozart's Don Giovanni - new production, Bertrand de Billy, conductor; Michael Cavanagh, stage director; Erhard Rom, production designer ; the cast includes Etienne Dupuis, Adela Zaharia, Carmen Giannattasio, Amitai Pati, Luca Pisaroni, Christina Gansch, Soloman Howard
• June 14, 17, 19, 23, 25, July 1, 3 - Bright Sheng’s Dream of the Red Chamber - Darrell Ang, conductor; Stan Lai, stage director; Tim Yip, production designer; cast includes Meigui Zhang, Yijie Shi, Hyona Kim, Karen Chia-ling Ho, Hongni Wu, Sabina Kim, Guang Yang
• June 30 - Verdi Concert, Kim conductor, with Nicole Car,  Arturo Chacon-Cruz, Soloman Howard

One Puccini, one Beethoven, two Mozart, one Sheng, plus concerts. That's right, it's a season of five operas. LA Opera, which generally has a much smaller budget than SF, and whose endowment is literally one-tenth of SF's, has a much more varied season, which is a shocker. 

What do I like here? Well, we'll see more of Eun Sun Kim. That Tosca cast is attractive, and it's nice that SFO has noticed that more than one tenor knows the role of Cavaradossi. (Fabiano should be wonderful.) Willis-Sorensen and Barton are both terrific singers. Elza van den Heever (welcome back) after thirteen years) and Russell Thomas, nice pairing! It's always good to revive a company commission, but I admit: I would have picked Dolores Claiborne over Dream of the Red Chamber. Still, I have to commend this.  I'm happy to see some of these singers back and I look forward to hearing those who are new to me.

What don't I like? Timidity. Also, Don Giovanni, which presumably will be in the international version, which is too long and incoherent for my taste. It's....kind of a dull season.

What do I hope for? Well, considering the works left on the sidelines by the pandemic: Der Zwerg, The Revolution of Steve Jobs, and The Handmaid's Tale. Maybe we'll get those in the centennial season or some other future season. It's no secret that SFO is one of several organizations that commissioned the new Saariaho opera, which the Aix-en-Provence Festival premieres this summer. What about the opera John Adams is allegedly working on for SF, Anthony and Cleopatra?