In capturing the highlights of the year, the performance and production were weighed most heavily, but in the case of new material, the script and score were of course considerations. Oh, and who can help some personal biases slipping in? Not jcm (ie: West Side Story = the greatest show ever written)! SO, here goes…

1) Sandrine Piau, (Susan Manoff, piano) CalPerfs, Hertz Hall

It was as if a gentle, gamine spirit had landed for just an hour or two, gracing us with her rare magic. She left us transfixed, susceptible to the whims of her potent storytelling. The program was studio-ready in its refinement and attention to detail, yet never bland or white-washed. She uses her lyric instrument to full advantage, painting a broad palette of tones and expressions. The very satisfying program featured french, german and english sets of Fauré, Bouchot, Chausson, Mendelssohn, Strauss and Britten, followed by a generous set of encores: “Voyage a Paris,” “Clair de lune,” and Strauss’s “Madchen Blumlein.”

TIE

Karina Gauvin,  (Michael McMahon, piano) Weill Hall at the Green Music Center

The Bay Area has been given a great gift in the form of the new Green Music Center. In structure it is reminiscent of the great Musikverein of Vienna. It is nearly all wood, which is visually rich, and acoustically perfect. In a word, intoxicating. This was the inaugural recital of the hall’s vocal series. They programmed very well, especially as Karina’s Bay Area appearances are rare. Highlights included: “Le Printemp” by Hahn, “Phylidé” and “L’Invitation au Voyage” by Duparc. For her encores, she performed Weill (ie: Weill Hall) and the Scottish “Ae Fond Kiss.” The latter was deeply satisfying. Her english diction is stunning, and her textual delivery particularly soulful. On a personal note, her sister and mother were in the audience, just a few rows in front of me. She shared that this was the rare performance they were able to attend, and dedicated a song to her sister. A special night indeed.

2) The Book of Mormon, National Tour, Curran Theatre

It takes you by the balls, and won’t let you go. I’ve rarely seen the kind of go-for-broke commitment from a cast as this. 21 year-old Grey Hensen, who played Moroni and Elder McKinley, as well as Jared Gertner as Elder Cunningham stole the show. I live for Gavin Creel, but oddly he seemed not to embody the role as much as to act it. Surely he’s settled into it by now, or will fully by its UK West End run. The first 20 minutes have to be the most perfectly crafted portion of almost any Broadway show I’ve seen LIVE. You know…those laughing-and-crying at the same time moments? The vocal power in the ensemble numbers was very impressive. Having an 8 year-old behind us in the audience made the profanity and vulgarity seem even more raucous and saucy.

3) Martin Sexton, The Fillmore

Martin had his audience wrapped around his finger. He has an almost cult-like fan base/following. It transcended the normal acoustic rock performance, as there was something spiritual…almost church-like about the show. Audience participation was frequent and welcomed. He works his falsetto in a particularly vulnerable and sensitive way. I’d liken him to a cross between Jack Black and Jeff Buckley.

4) Einstein on the Beach, CalPerfs at Zellerbach Hall

At times trying, at times transcendent, but never dull. I can’t imagine a finer performance. Surprisingly, Glass, Wilson, and Lucinda Childs were present at this third and final Berkeley performance, and enjoyed vociferous applause in the final bows. Their overseeing of this production is notable, in that it will likely never happen again. More than with any other piece on this list, the material and the performance ensemble were inseparable, as if they entirely emptied themselves to serve and illuminate the work. It’s perhaps no surprise that the two operas nearly always considered in the same breath as the finest contemporary american operas are 4 and 5 on this list. They’ve both been on my wish list for over a decade. What a fortunate year!

5) Nixon in China, SF Opera

The overture and accompanying staging effects were truly cinematic and thrilling in their stage-craftiness. The first image of Nixon was of his face peering intensely out from an airplane window…then he seemingly magically zoomed away into the surrounding clouds before a portion of the actual size airplane (below) appeared. Pat Nixon’s aria “This is Prophetic,” with the projected close-up of Maria Kanyova on the scrim behind was sincere and heartening. Her very warm-blooded, human performance was the highlight of the night for me. Plenty of camp and caricature ensued, particularly in the stream-of-conscious Act 3, balancing out the more dramatic, historic moments.

6) The Normal Heart, A.C.T.

This was a preview performance, so I’m leaving out any minor quips. The piece feels like, and IS a time capsule from the 80′s. And, that served as a sort of gift. It further enlightened me as to why some gay friends from that generation feel so much anger and rage at times. It really opened my eyes to their perspective, especially as I don’t easily identify as an “angry” person in a political sense. The very effecting set presented relevant, historic typographic messages embossed on a white surface. One of the most memorable moments was Emma Brookner’s (Jordan Baker) rant monologue…which was physically directed at the audience. What a ride that was.

7) I Capuletti e i Montecchi, SF Opera

It’s no Norma, but it’s STILL Bellini. This night belonged to the Romeo and Juliette. We were blessed with two stellar divas, who tore into the material. Nicole Cabell’s Juliette was no shrinking violet, or fragile ingenue. She portrayed her in a taut, often mad manner. Their duet scenes and the way in which they were staged were the highlights of the evening. I loved the ethereal, abstract set, which portrayed no specific place or time, and the reflective floor, which at times made them look at is they were floating in space. This encouraged you to see them as archetypes, more than as specific, singular characters. At times DiDonato pressed her voice, perhaps to show her character’s virility and swagger. But, it’s no secret she’s a star, and commanded the stage. Cabell’s portamento and sensuous phrasing slayed me.

8) Stern Grove Presents San Francisco Opera,
featuring Leah Crocetto and Michael Fabiano

Fabiano owned the day. The promise he showed in The Audition was delivered in spades here. I can’t help but thinking of a young Carreras when he performs. They have a similar passion and squillo. He is nothing if not Italianate. Crocetto was a wonderful partner to his successes here. The mics didn’t serve her bright-toned voice, as a resonant acoustic like the War Memorial does. Nadine Sierra’s “Ruhe Sanft” was perfection. I don’t know that I’ve heard a more beautiful rendition, even on recording. Other fresh Adlers added to the program.

9) High, Broadway Tour, Curran Theatre

Kathleen Turner’s star power alone made this a memorable night. The voice itself is legendary, and her conviction so forceful. Despite it flopping on Broadway, it proved an effective piece and worthy performance. Given the struggles of faith portrayed, and the role of Sister Jamison Connelly, I couldn’t help but make comparisons to Doubt, which is the finer script. The progression of the beautiful sponsee Cody’s addition was heart-wrenching.

10) West Side Story, Broadway Tour, the San Jose Center for the Performing Arts

Somehow this was my first experience seeing WSS live. I grew up on the soundtrack, and enjoyed the great pleasure of playing Diesel in a stage production at Broadway By the Bay, but had never seen it from the audience. It was emotionally overwhelming from the first notes of the overture. The production was very lovingly crafted. The dancing was full-out, and the Jets and Sharks were very virile in their movement. The Tony was excellent, and the Maria good enough. I do struggle with the more pop, contemporary Broadway vocal style, as compared to the most light classical style of the original in the 60′s, which I grew up on, but was very satisfied by this production.

Honorable Mentions:

Spunk, CalShakes: A captivating three-part story, including some emotionally devastating pantomime fight choreography between man and woman.

Becoming Britney, The Retro Dome: A rollicking, new musical by Daya Curley and Molly Bell.

Bride of Death, from Thrillpeddler’s Shocktoberfest, Hypnodrome: A melodramatic mystery/horror. This romp, written by Michael Phillis and Flynn DeMarco was loads of zany fun.

Bluebeard’s Castle, SF Symphony: A rare glimpse of this haunting Hungarian opera.

Attila, SF Opera: There is nary a treat like early Verdi.

Performance A-“Broad”:

DragStars Caribbean Cruise: 3 Shows
Highlights: Stacey Layne Matthews impromptu LIVE “Diamonds in the Sky”, Mimi Imfurst’s epic “And I’m Telling You I’m Not Going” mash-up, Morgan McMichael’s Pink medley, Jiggly Caliente’s Missy Elliott/Gangnam Style mash-up, and Manila Luzon’s To Wong Fu “Last Dance” break-down/tribute.

Young talents to watch:

Jacqueline Piccolino as Arminda, La Finta Giardiniera, Merola Program:
a very impressive, emerging spinto soprano

Allegra Rose Edwards as Paris Hilton, Project Lohan, A.C.T.

Michael Phillis as Timothy Truman, Bride of Death, Thrillpeddler’s Shocktoberfest

Adam Theodore Barry as Man 1, Becoming Britney, The Retro Dome

Most bitter, racist, scandalous, funniest gal on stage:

Jackie Beat, Come They Told Him, Rebel: Very few comics can get away with the risks Jackie takes, but the pay-off is great. She’s hysterical.

In April, I attended the Cal Perfs recital of Sandrine Piau at Hertz Hall. I’ll wait until my “Top 10” EOY post to review it, but needless to say, she was sensational. I bought my tickets well in advance, knowing it would be the sleeper of the season.

However, at the time it crossed my mind that the recital came and went without much fanfare, she had no SF Opera presence in this or any season to date, the hall was only half full despite its intimate size, AND even few if any of my opera friends in-the-know had it on their must list. The reasons? Her career has been almost entirely in Europe, she’s essentially a “specialist” (ie: early music, Mozart, and lieder/art song), and she’s an LLS. Unfortunately, this fach rarely commands the same mainstream attention as the big guns, and in more standard operatic fare usually serves ensemble or comprimario roles.

I’ve spent much time on jcm raving about my beloved coloraturas, dramatic sopranos, and at times full lyrics, but it’s time I shed a spotlight on the finest LLS of our time (all of them active). I hope you discover an artist new to you.

Wikipedia shares that an LLS “has a bigger voice than a soubrette, but still possesses a youthful quality.” SO, clearly this doesn’t include the full lyrics, typified by a Fleming, Moffo, or Steber. Their predecessors are Elisabeth Schumann, Bonney, and Cotrubas.

What are the qualities I want in my LLS?

I look for well modulated technique, emission “on the breath” (unless for expressive purposes), singing within one’s “column of sound” (— L. Price), a balance of sweetness and brightness (not too much of one), good taste (which is VERY important in this fach, lest they become cloying), and of course unique interpretive and expressive abilities/gifts.

There’s no hard line drawn between fachs, so some of these singers have characteristics of a coloratura, soubrette, and lyric, but I believe they are at their essence LLS. It should come as no surprise that many of their coloratura skills are astonishing, as a leaner voice is wont to move fast at times.

Karina Gauvin

She was the inspiration for this post, because, she, like Sandrine is offering a Bay Area recital this year (this weekend!), which I’m not going to miss. As with Sandrine, it likely won’t be sold out, has been rather under-marketed, BUT will surely contain some of the finest singing the Bay Area has heard all year. Her holiday album Images de Noël is always a part of my Christmas. I also recommend her Baroque duet album with Marie-Nicole Lemieux: “Streams of Pleasure.”

Sandrine Piau

She is the definition of good taste, portraying a supreme elegance, self-possessed carriage, and pristine tone. Her Mozart aria recital CD is superior to Dessays, but she’s less flashy and more reserved, so not the mainstream marketing darling that Dessay has become. (I admire Dessay’s art too for different reasons.)

Malin Hartelius

I saw Malin as Adele in a Holocaust-themed regie production of The Bat at Salzburg over a decade ago. She was one of the only redeeming qualities of the production. Her voice has a ripe freshness and cushiony support, delivered with a palpable verve.

Genia Kühmeier

Genia embodies qualities of the Viennese school of the 40′s and 50′s, reminding me at times of a young Schwarzkopf or lighter della Casa. She has thoughtful diction and a measured way of phrasing. I kick myself for missing her Pamina at SF Opera a few seasons back. She has all the qualities I want in a Pamina.

Joélle Harvey

Although still at the beginning of her career, she has already emerged as a special artist. I first heard her in the Merola Program. She was easily one of my favorite singers of that ’08 crop. She never seems to push, and has a way of drawing you in to her performance with very smart and spare dramatic choices, not relying on artifice.

Nadine Sierra

Nadine is no doubt on a trajectory to a fuller lyric (as this video selection hints at), but also at the start of her career, still has a youthful freshness. She’s a major talent. Her “Ruhe Sanft” at this year’s SF Opera in the Park had us all spellbound. Some of the seemingly easiest vocal production I’ve ever heard. Get your tix to her second Salon at the Rex this december!

Lisette Oropesa

Her tone strikes me as a sort of Gheorgiu/de los Angeles hybrid. I find that tautness captivating, because of all the expressive colors it allows. She was a standout in SF Opera’s recent Xerxes, and I enjoyed her professionalism and sense of humor in rehearsals, from my perspective as a Supernumerary cover.

Laura Claycomb

Laura is usually billed as a coloratura, but her tone is so unfailingly tender and sweet. I’ve enjoyed her movement towards the fuller lyric rep, as a recent La Rondine audio reveals. I wasn’t initially wooed by her 90′s appearances at SF Opera, such as Fiakermilli in Arabella, but in bel canto roles, and more recently, her voice offers a rounder, warmer quality.

Simone Kermes

She is the most daring and at times demented girl on this list. But, that’s why Opera Queens love her. I’m sharing her most unusual and unexpected recording. It highlights why she belongs on THIS list. At times, I hear Arleen Auger in her tone (NOT in her style). She’s also often classified as a coloratura, as has MAD skills, but I most enjoy her plaintive singing. Benita Valente once said she felt she was a dramatic trapped in a light lyric body. That definitely speaks to Simone.

Ji Young Yang

I had the privilege of sharing the stage with her in the SF Opera world premiere of Appomattox (again, as a Supernumerary). She’s was also a real stand-out in the ’06 Merola crop. She embodies the utter purity and emotional vulnerability that a role like Sophie requires. Tonally, she reminds of me Kathleen Battle in her prime.

AUDIO SAMPLE: Wolf’s So laßt mich scheinen, bis ich werde

Have I unjustly discluded one of your favorite LLS? Do share!

Well, Aaron over at Axels, Loops & Spins answered all of my questions in rather grand fashion. I was pleasantly surprised by his thorough responses, via his blog.

Read his responses in “Post Nice Reflections”

Find out…

“What happened to the House of Sato/Dunjen?…”

“Were Kavaguti/Smirnov decked for their public commentary on the ice?”

“Did Weaver/Poje deserve the bronze?…”

…and more!

There were so many unforgettable moments, more predictably including the tributes to Rudy and Michelle, and LPs/FDs by gold medalists Jeremy Abbott, Davis & White, and Denney & Coughlin. But, brilliance from dark horses Ashley Wagner and Adam Rippon, as well as up-and-comers Jason Brown, Jonathan Cassar and Doug Razzano, and a rallying comeback from Carolyn Zhang were equally thrilling. My top 20 photos reflect some of these moments, and more.

I hope you enjoy the view from my seat!

"Gold": Samuelson & Gilles (8th)

"Sibling Swing": Shibutanis (Silver)

"Longing Lift": Chock & Bates (5th)

"Pensive Meryl"

"Reinventing Waltz": Davis & White (Gold)

"Beauty Blues": Hubbell & Donohue (Bronze)

"Practice Partners"

"Johnny's Hoard"

"Evan Reflects"

"Fellow Cincinnati Native": Christina Gao (5th)

"Powering Through":" Mirai Nagasu 7th

"Black Swan, Indeed": Ashley Wagner (Gold)

"Michelle Pins the Ladies"

"Emerging Duo": Marley & Brubaker (Silver)

"Nessun Dorma": Denney & Coughlin (Gold)

"Elegant Lift": Evora & Ladwig (Bronze)

"Very Personal Statement": Jason Brown (9th)

"The Top 5"

"Stillness": Jeremy Abbott (Gold)

"Men's Pride"

1) RING Cycle, SF Opera  details

With the carefully crafted characterizations of a stage play, this Cycle was a well-deserved hit and had the city abuzz with Wagner. Nina Stemme’s Brünnhilde was an utter triumph, equal parts true Wagnerian and singing actress. Stunning SFO leading role debuts were offered by Heidi Melton as Sieglinde, and Daveda Karanas as Waltraute. There wasn’t a weak link in the cast. Francesca Zambello’s concept was fortunately not too heavy-handed, largely staying out of the way of the story and score…more often informing it, and only periodically misstepping. I found the Industrial Revolution concepts throughout Das Rheingold to be the most iconic and potent. However, the mythic Die Walküre was the emotional highpoint, featuring the burnished, virile tenor of Brandon Jovanovich’s Siegmund. Siegfried was also surprisingly engaging. I had the good fortune of serving as Super Captain and Supernumerary in Walküre and Götterdämmerung.

2) Stacey Kent, Venetian Room, Fairmont Hotel  details

I fell in love with her voice three years ago. After stalking her tour schedule for a Bay Area performance, I got to experience her art live at last. She’s a real pixie…a gentle spirit, with a frail flutter to her vibrato. She completely transported me and her audience, casting a convincing spell. Her palpable, loving connection to her band leader, sax player and husband Jim Tomlinson added to the glow. She embodied “less is more,” drawing us in, rather than overworking her numbers in a too extroverted manner. Her set included lots of brazilian and french songs unfamiliar to me, some off her just released album. Come back soon Stacey!

3) Turandot, SF Opera  details

This was my fifth time seeing this David Hockney production. It’s one of my most beloved productions in my over 25 years of operagoing. The fantastical high-key colors and abstract, graphic shapes appeal directly to my sensibilities. Irene Theorin was the most feminine and visually beautiful Turandot I’ve encountered, but still with the cojones to deliver the amplitude modern audiences have grown to expect in this role. Leah Crocetto’s debut as Liù was a real break-out star turn…vulnerable, loving, and with the perfect emerging spinto for this role. The orchestra and chorus really furthered the story with their committed contributions. A most engaging Ping/Pang/Pong trio, and Ray Aceto, the sexiest (daddy) Timur in memory proved this production is still very much alive.

4) Janice Siegel, The Rrazz Room  details

I discovered Janis, of Manhattan Transfer fame in the late 80′s. Through her recordings, I’ve always felt as if she has spoken directly to me. Her “Short Stories” album with Fred Hersch is one of the most perfect contemporary jazz/cabaret albums. Thanks to the generosity of a theatre colleague, we had front row seats, and sat close enough to get her shout-out to The Cockettes (since we are honorary members). Her set list was practically my own wish list, but with enough songs new to me to keep it fresh. Few singers portray such an effortless singing-as-if-talking delivery, which feels completely authentic, and as natural as story-telling. She also has a spicy, candid NY sense of humor. Highlights included: “Where is love?,” “You’re My Everything,” and “Two Fisted Love.”

5) Jonas Kaufmann, Zellerbach Auditorium, CalPerfs  details

Unfortunately, it appears the Bay Area will have to continue to wait years to see this extraordinary tenor du jour on the stage of the SF Opera. But, at least we got a satisfying dose of him in this recital, with Helmut Deutsch at the piano. Not for a very long time has a tenor come along that has provided the unalloyed pleasure he does, having all the squillo, intensity, and dashing looks of a romantic lead and legendary tenor in-the-making. Although he is his own artist, I’ve always likened him to a Vickers/Wunderlich hybrid (my two VERY favorite tenors). He did not provide as much breadth in the emotional scope of his interpretations, or variation in his tonal palette as someone of Vickers’ stature, BUT what he gave was beautiful and expressive. His tender, high piannissimi are so rare in such a dramatic voice. The program included Schumann’s Dicterliebe, and Strauss songs.

6) Janet Jackson #1’s, Bill Graham Civic Auditorium  video

Thanks to my participation in the BAFM’s “Rhythm Nation,” my interest in Miz Jackson’s tour was piqued. In fact, we performed our FlashMob out front twice beforehand, to much fanfare. The concert was a very satisfying look back at her career. I couldn’t call up a single classic she didn’t do. It was like an emotional romp through my teens and 20′s. We had a ball dancing at our seats, and squeezing out as much Janet choreo as room would allow. Her intimate, new arrangements of some songs kept the surprises coming. A musical/video tribute to Michael was quite moving.

7) Xerxes, SF Opera  details

This Nicolas Hytner production doesn’t belie its years (1985). It’s an unfailingly clever, stylish and nuanced production (those British!). All of the daring decisions enhanced this somewhat confectionary opera. The Supers played a HUGE role in setting the stylized tone of this production. As choreographer Larry Pech told them, each movement should have an almost spiritual intentionality. And, they succeeded! The cast was a who’s-who of early music. The debut of Lisette Oropesa was very promising. I look forward to seeing more from her. Her voice has a complex texture which is rare for lyric sopranos these days (offering shades of Streich’s fragility).

8) Clybourne Park (play), American Conservatory Theatre  details

The poignant mirroring of two generation’s racism was almost embarrassingly real at times. It reminded me that subtle racism can be just as or even more harmful than more overt forms. It left me looking at myself wondering what shards of it dwell in me. The cast performed roles in both generations, so it was fascinating to see an actor try on two very different characters. Red-headed Emily Kitchens was the most strikingly real in both acts. Her deaf speech impediment as Betsy was so spot on, I thought she must be a deaf actress, until she spoke without it in the second act. Betsy was so endearing, never for a moment did she feel a caricature or mockery…a very difficult balance to strike with such a role. Kitchens mused on the challenges here.

9) Nadine Sierra, Salon at the Rex, Hotel Rex (SF Perfs)  details

Hers is arguably one of the great lyric soprano voices of the new generation. There is such an ease to her production. I experienced her natural technique months before in Heart of a Soldier, in which she broke hearts as a barefoot, letter-writing wife, but I had fallen for her much earlier via YouTube. She’s been the belle of the ball at many recent vocal competitions, and for good reason. Highlights were “A Sleeping Bee,” an old Arlen/Garland standard, that was a great discovery for me. My tears flowed freely, thanks to her innocent air, the easy spin of her vocal production, and song choice (and truth be told, my recent break-up). Kudos to her mother for making her practice for at least an hour a day, as she shared. Her song introductions were a bit unfocused and less informing than I would have liked, but she IS only 23. Pianist Tamara Sanikidze added some knee-slapping color to the dialogue. One wasn’t surprised that Tamara and Jackie Horne were friends.

10) Maroon 5 (+ Cheryl Crow & Daughtry), Genentech Gives Back, AT&T Park  videos

Thanks to a friend’s invitation, I tagged along for this annual Genentech concert at AT&T Park. The artists weren’t pre-announced, but there were plenty of rumors. I had joked that it might be such casino-performing has-beens as Sha-Na-Na and The Temptations. But, NO…we got a legit concert. Perhaps I’m wooed by Adam Levine’s bell-like tenor…or his toned physique…or his tattoos…or his moves like Jagger? He is even better in concert than on recordings. A true, charismatic pop-rock star. He gave A LOT on that stage. Cheryl Crow was excellent, not bothering with many/any new ditties, but satisfying with old, crowd favorites. Daughtry was a fine opener.

Honorable Mentions:
Tales of the City, ACT (the “Mouse” of Wesley Taylor was a stand-out)
Mozart’s Requiem, 9/11 Opera in the Park, SFOO & SFOC
Madeleine Peyroux, Palace of Fine Arts
Drowsy Chaperone, Diablo Theatre Company
Assassins, Ray of Light Theatre

Notable Individual Performances (not above):
Christine Goerke as Elektra, Teatro Real, Madrid
      (a career defining assumption, my sole intl. inclusion)
Anita Rachvelishvilli as Carmen, SF Opera
Ji Young Yang german recital, The Music Salon at Salle Pianos, Lieder Alive!

Most Overrated: Rock of Ages Tour, Curran Theatre

Most Improved: SFGMC, Home for the Holidays, Masonic Auditorium

What were you favorites of the year? Did I miss any notables? Next year I’ll hope to have some dance on my list again! Enjoy my past lists here: ’10 Top Ten, ’09 Top Ten.

It makes me wonder…are there polite applause man, sitting man, sleeping man, or worse yet MIA man ornaments too?

Click on the image or link below (and turn up your volume) to enjoy my favorite performance from Christmas in the Ballroom 2011 (a track off our live CD).

It features our chorale of 9 and pianist in a simple, largely unison arrangement of the Holst classic, by Catherine Bennett. So atmospheric and peace-filled.

The photography is from my february visit to beautiful Telluride, CO.

May you have peace and joy!

In the Bleak Midwinter

So, gather up your friends and family for a festive evening of traditional Christmas hymns and carols, as well as contemporary and popular favorites, including a sing-along portion (you know you want to!). The generous spread of hot cider and homemade cookies make it a cozy and family friendly tradition.

Here are the complete details:

A Journey Through the Fire