My Operatic #BucketList!

What are those remaining operas I still have not had the good fortune of seeing LIVE…my ongoing #WishList? Here they are! (You were DYING to know, right?) Thankfully, at least 8 of those from my last posted wishlist (from ’09) have been presented locally since that time! 👏👏👏 BRAVI!

AND this is an ongoing invitation to you, ALL San Francisco Bay Area opera companies! Thanks for continuing stray from the standard rep territory, and take risks (as much as your bottom lines will allow)! Your lifetimers SO value it.

My TOP 10 Wish List:

• La Gioconda
  (I understand the libretto may be absurd, but SFO, invite Spanish soprano Saioa Hernández! Strike while the iron’s hot on her voice and acclaim. It was last mounted here in 1988.)

• Capriccio
  (I missed my chance with this one, as it was mounted by SFO in their StraussFest of ’93, the year I arrived here!)
• A Midsummer Night’s Dream
  (This would be a great SFO or West Edge Opera offering, with Aryeh Nussbaum Cohen as Oberon!)
• Cavalleria Rusticana
  (I saw Pagliacci at ROH, but they didn’t present the standard Cav Pag double bill!)
• Les Huguenots
  (never mounted by SFO)
• Ernani
  (SFO planned a production of this 2 seasons ago, but COVID killed it!)
• I Puritani
  (SFO, bring Nadine Sierra back for this!)
• Prodaná Nevěsta (The Bartered Bride)
• Dido and Aeneas
  (never mounted by SFO, it would also be a GREAT West Edge Opera offering)
• Lakme
  (SFO, invite Erin Morley for this!)

Bucket List Overflow – 10 More:

• Wozzeck
• Martha
• Maria Stuarda
• Die Schweigsame Frau
• Mignon
• Anna Nicole
• Susannah
• Otello (Rossini)
  (I know I missed an opportunity to see this on the East Coast earlier this season. Alas!)
• Moby Dick
  (A lapse in judgement for missing this a decade ago at SFO)
• Akhnaten

Local Offerings:

KUDOS to West Edge Opera (formerly Berkeley Opera) for literally specializing in non-standard fare. It’s been a joy to see some of their rare offerings, such as last season’s Ariadne et Barbe-Bleue, and previous Powder Her Face, Pelléas, As One, etc.

And, THANKS to San Francisco Opera for serving up at least 7 of the operas on my previous list: Andrea Chenier, Dialogues of the Carmelites, Les Troyens, I Capuleti e I Montecchi, Falstaff, Lucrezia Borgia, and Roberto Devereux!

And, <HIGH FIVE!> to Opera Parallèle for their recent La Belle et la Bête, an opera I didn’t even know to have on my list, and WHAT a production it was! Keep an eye out for my upcoming TOP 10 LIVE SF Shows in ’22…La Belle made that list!

What operas are still on your #WishList / #BucketList?

I’m MOST excited about seeing Die Frau ohne Schatten at SFO this coming summer season. It’s my favorite opera, and it’ll be my 3rd time seeing it LIVE. It’ll always be on my list!

jcm’s TOP 10 LIVE Shows of ’21!

JAZZ! 🎵 OPERA! 👠 DRAG! 👄 CHORAL! 🎻 ORCHESTRAL! 🎭 THEATRE!

Even with the ongoing uncertainty around live performance during this pandemic, it was VERY nice to have been able to partake in a more robust offering this year, certainly than in ’20, due to theatrical re-openings (all but one here in the SF Bay Area). Here’s a toast to that 🥂, to MUCH more in ’22…as well as to more stability and safety to allow all companies and clubs to be able to run, and performers to work their magic, as they are meant to, and not hang so precariously in the balance, without full ticket sales, or audiences. #FingersCrossed. Well, here we go. Share your favorite shows in the comments…what did I miss?

1) “Cosmopolitan Holiday Music” • Pink Martini, SFJazz, Miner Auditorium, Dec. 4

China Forbes’ voice was as fresh and expressive as ever. It’s truly hard to believe this band has been at it over 25 years, while she still vocally sounds 27…if with the wizened intent and spirit of someone who’s lived more, of course. Her banter with Thomas Lauderdale was entertaining, disarming and sweet. He even stripped down at one point, as a hard sell for one of their merch t-shirts, as he modeled a sample.

The vibe and energy this band produces is like no other…multi-cultural, drawing from classical and other traditions, inclusive, interactive, and essentially joyous.

Their music takes me back to a past era and relationship in my life. My 40th Bday in Palm Springs was literally named ‘n branded “Pink Martini-Land!”…but it was very tender to return to some of that energy, whilst also admiring how the band has evolved, to include more guest singers and POC in their lineup (incl. alluring vocalist Edna Vazquez, from Jalisco & Portland) which felt particularly important, given their musical mission.

Highlights from this program were the fresh, jazzy arrangement of “We Three Kings”; the moody, Croation tone poem “U Plavu Zoru,” featuring an Argentinian violinist; “Exodus,” sung by Portland pianist/singer Jimmy Herrod, which was emotionally overwhelming; their old classic “Hang on Little Tomato,” which makes SO much more sense when you know the back story (it’s a long story)! The FULL setlist can be found here, where I submitted it.

I also fell completely in love with Timothy Nashimoto, one of their long-time members, backup percussionists, and singers. His hips move like no others, and I couldn’t take my eyes off him! The final two songs were Jimmy’s belted anthem “Tomorrow” (no wonder he ended up on America’s Got Talent!), and their traditional 4-EV-R finale: “BRAZIL”!

It was wonderful to stand and dance a bit at our seats on some of the climaxes, and SO good to be back simmering in this wonderful acoustic again, and with the space’s great sightlines.

2) Fidelio • San Francisco Opera, Oct. 14

As one entered the opera house, a projection of Leonore’s back was on the scrim. As the overture progressed, one suddenly realized she was slowly rotating. It was used to VERY great affect. Her feminine silhouette also juxtaposed with her “male drag” look. It felt like a choice that furthered the building drama of the overture, rather than distracting from the music. 

The orchestra began in a slightly disconnected manner for me, with a horn splat and some blurry transitions (after decades of listening to the Klemperer recording with the Philharmonia Orchestra, what can you do?), but they really settled in. And by the end of the overture, led by Eun Sun Kim, they gave us a thrilling and triumphant ride, as they gelled.

The score stands on its own. The love quartet, and prisoner’s chorus one waits intently for decades to see LIVE like this. Both are always rapt. It’s a top 5 favorite opera for me, so I know I bring a lot of my own memories and story to it, and we certainly bring our own so up socio-cultural narratives to it as well. That’s why It feels so timeless. Because this is a story that sadly will never end…incarceration and political prisoners, but ALSO liberation, freedom, and ultimately love.

Anne-Marie Mackintosh’s Marzelline, and Christopher Oglesby’s Jacquino offered more vocal heft than usual, not a soubrette nor a tenorino. That was welcome. Mackintosh really held her own in the large ensembles. I didn’t love her Megan McCain (on The View) styling (hair/wig and Republican-blue costume), and in this modern context the in-office flirting…no, harassment, from Jacquino which in past traditional productions felt “cute” and playful, here was really awkward and felt at odds with the modernity.

The rotating set was stunning, even if when in motion the sound was a bit distracting until it came to rest. I’d say the pay-off was there on the overall approach, and tableaux it enabled.

James Creswell’s Rocco was excellent, embracing the modern feel in his portrayal. A very tonally robust voice, never covered by the orchestra. I felt this context helped his character feel more real and less of a caricature.

Elza van den Heever was stunning. Her primary aria felt heartfelt and earnest. She struck just the right tone of sorrow and yearning. Her top resplendent. As her aria finished and the stage rotated, revealing the prisoners in their cages, it was emotionally overwhelming, supported by this very affective staging. She’d clearly make a great Chrythosemis and Sieglinde. Her bottom not quite as robust…but again, hard to banish the memory of the bottom of legendary mezzo, Christa Ludwig. I did, thankfully see Elsa at the SF Conservatory in the ’90s when she was was just emerging, and still a mezzo…I believe in Ariodante.

Greer Grimsley, dressed in a stiff suit, like an archetypal Republican, brought plenty of nefarious, villainous vibes, and his well known Wotan grandeur. At times he was a little more sizzle than steak. The “BOOs!” that greeted him during the view must be a Don Pizarro role tradition I didn’t know about. He played along well and it was sweetly amusing and apt.

Our introduction to Russell Thomas’ Florestan employed a piece of stunning staging and lighting. His first cry of “GOTT!…” began with a slow crescendo…as if from his soul. (This can’t be easy as a first onstage note for a singer.) I didn’t experience it as singing. He is a STAR. Elemental. Having trained my ear on Jon Vickers for decades, he did not disappoint. Offering shades of Vickers’ ring and percussive approach, but with plenty of his own tone and style. His race no doubt added meaningful additional layers of poignancy, and a haunting quality, as he sat languishing in chains, AND as he was liberated and celebrated.

The finale almost brow beats you with joy, in its almost impossibly sunniness. And I happily took the beating, as Beethoven used every voice percussively. The chorus delivered…making it sound fresh, unfored, and ebullient. And the primarily yellow prisoner costumes added to the sunniness. 

Elza’s bow showed just how grateful SF is to have one of its own back (from SF Conservatory and Merola/Adler). Her aria and her final bow received a very generous response. And she displayed being moved by that as well. It was such a satisfying and transporting night.

3) “The Ho Must Go On!” • Jackie Beat, OASIS, July 2

D’Arcy Drollinger, Owner and Artistic Director of OASIS (and reviewed below in The Golden Girls’ LIVE), understandably chose Jackie Beat to reopen their Cabaret Show lineup after the first wave of COVID began to subside. NOONE can do what Jackie does. She’s a stand-up comedian, writer, performer/singer drag genius, and easily my biggest/greatest drag influence all these years. PLUS she sings all of her material LIVE, and it’s all parody versions rewritten by her. 

The Intro by D’Arcy provided a warm, moving introduction to Jackie and her show. The audience was ALL AGLOW, given how starved we were for live stage shows, and comedy/laughs on this level.

Highlights from the show included: “Don’t Speak,” “Tainted Love” (“Painted Mug”), “If I Could Turn Back Time,” “I Always Feel Like Somebody Watching Me,” Stevie Nicks’ “Stand Back“ (“Back Fat”), “Two Tickets To Paradise” (“Two Dicks Now I’m Paralyzed”), Robyn’s “Dancing On My Own” (“Necromancing On My Own”), Chicago song, Janis Ian’s “At Seventeen” (“In Quarantine”), and “Running with the Devil.” Her cover song titles alone are LOL-worthy…am I right?

It was a real treat. She has a way of ripping you (i.e. an audience member) a new one, BUT you know she loves you and has a great heart. That’s a skill. It’s NO surprise she wrote for the Great Joan Rivers! Even her schtick about shamelessly heckling audience for tips is never grating, always hysterical…as she drags her tip bucket around the crowd, whilst never missing a note (and she deserves every penny 🤣).

Sadly, Jackie contracted COVID this week, and had to cancel her New Year’s shows…she’s doing ok, but send her healing vibes, or some love on her social medias!

The Greatest Love Duets & Arias of Opera

What better time spent on this Valentine’s Day than to bathe in the gifts of the operatic canon. I’ve selected only one from a given composer (i.e. we know Puccini or Verdi alone could fill an ENTIRE list). I tried to balance obvious choices with some less so. Surprisingly, none from Mozart inspired inclusion here.

Some embody a new or even first love (such as the Louise and Rigoletto selections), others a more mature, spiritual love (such as Tristan und Isolde and Die Tote Stadt). I’ve included translation excerpts in a few instances, where the text is particularly purple and ripe. I hope you enjoy this collection.

And, by all means, share your favorites, or any I missed in the comments. it was a challenge to narrow down, as you can imagine. Admittedly, the offerings are much more lean in the baroque realm, and none from modern opera <sad trombone>. And, yes, it’s terribly heteronormative, but alas, if you’re like me, you can project all sorts of fantasies onto these stories too ;-P

So, draw up a warm bubble bath, light some candles, get a great view of the stars, hop in the sack, and push <PLAY!>…

Und du wirst mein Gebieter sein (duet)
Arabella (Richard Strauss)

Depuis le jour
Louise (Charpentier)

“Since the day I gave myself my destiny seems all flower-strewn. I think I’m dreaming under a fairy sky my soul still intoxicated by your first kiss! What a beautiful life! My dream wasn’t a dream! / Oh! I’m so happy! Love is spreading its wings over me! In the garden of my heart sings a new joy!”

Ja vas lyublyu
Queen of Spades (Tchaikovsky)

O Nuit Divresse (duet)
Les Troyens (Berlioz)

“Endlessly intoxicating night of ecstasy.”

Signore ascolta
Turandot (Puccini)

“Her heart is breaking! My, how long I’ve walked with your name in my soul. With your name on these lips!”

Gluck das mir verblieb (duet)
Die tote Stadt (Erich Wolfgang Korngold)

“Joy, that near to me remains, come to me, my true love. Night sinks into the grove, you are my light and day. Anxiously beats heart on heart. Hope itself soars heavenward.”

Mild Und Leise
Tristan und Isolde (Wagner)

“Don’t you see it? Brighter and brighter how he shines, illuminated by stars rises high? …(It) sounds out of him, invades me, swings upwards, sweetly resonating rings around me? …be engulfed — unconscious — supreme delight!”

A te o cara (duet)
I Puritani (Bellini)

Caro Nome
Rigoletto (Verdi)

“Sweet name, you who made my heart throb for the first time, you must always remind me the pleasures of love! My desire will fly to you on the wings of thought and my last breath will be yours, my beloved.”

A levé toi
Romeo et Juliette (Gounod)

Dove sei
Rodelinda (Handel)

Signore deh non partire
L’Incoronazione di Poppea (Claudio Monteverdi)

Mon cœur s’ouvre à ta voix
Samson et Dalila (Saint-Saëns)

“My heart opens itself to your voice.”

Any glaring omissions, or ones you would like to add in the comments? Fire away!

jcm’s Top 10 Show Picks of 2019

I’m gaga reflecting on another rich year of San Francisco Bay Area opera, music, theatre, drag, dance… Welcome to my 11th Annual TOP 10 List! As always, reflecting on these is part of how I enjoy the pleasures of the year all over again, and an essential part of that was sharing in most of these with a good friend. I hope you enjoy perusing them as well. The top two offerings here fulfilled long-standing dreams/wishes to see each LIVE. That alone made them notable for me, even setting the amazing results aside.

What were your top shows/live artists? Share in the comments below…and hope to see you at a venue in 2020!

1) Heart: LOVE ALIVE Tour, Sept. 6

Ann Wilson is in ASTONISHING vocal shape at 69 years old…far beyond what I expected. She cast a heartfelt, passionate, witchy spell, and served up breezy, personable storytelling intros to each song, with a warmth I didn’t expect. 

It dawned on me that perhaps only because she’s still alive and kickin’, is she not considered the legend that Janis Joplin is. I mean, c’mon…this is a GODDESS in our midst! Why aren’t we bowing down before her? Even the masterful Linda Ronstadt can’t sing anymore. And this woman sounds like she’s 35. Plus, she also whipped out a masterful flute solo (ala Lizzo)…who knew?!

Her sister, Nancy is not far behind at 65. It was a nearly spiritual evening, with musical highlights incl. Magic Man, Dog & Butterfly (duet), Love Alive, Mistral Wind, The Boxer (a fantastic cover of a Simon & Garfunkel favorite!), and the fabulous encores: Alone (Ann’s anthem belt), Barracuda, and Stairway to Heaven (picking up on their Kennedy Center Honors’ tribute). Their hits have always been special to me, as my siblings and I used to belt them in our falsettos, racing down Cincy freeways.

This was my first time at the Concord Pavilion, which felt like quite a trek from San Francisco (even with a friend), but in a beautiful, natural, oh so very NorCal setting. It’s similar to Shoreline, but a more dramatic, inspiring location.

2) Rusalka, SF Opera, Jun. 13 (Unofficial Final Dress Review)

My favorite international DIVA, Rachel Willis-Sørensen was in divine, refulgent voice. I always liken her timbre to Golden Age German mezzo Christa Ludwig, but with thrilling, easy high notes. (I’m thrilled to have scored tickets to see her at Opéra National de Bordeaux in 2020 as Donna Anna, in a sold out run.) She was a chameleon throughout the night, and well supported by the costume/wigs/makeup team…Act I: ala The Ring (the 2002 film), Act 2: ala Katy Perry, Act 3: ala Lady Gaga or Bowie in Labyrinth. She is no doubt the full package.

Brandon Jovanovich was virile and passionate, his Czech sounding so idiomatic (to my ears), with just the right throatiness and nasality. Yet another powerful role assumption this finest of dramatic tenors has blessedly brought to our house.

Photo: Cory Weaver / San Francisco Opera

Jamie Barton was hysterical and offered a complete, 3D character. She just simply WAS Jezibaba, with a huge, booming voice. Act I was the highlight, Act III was powerful, and Act II sagged just a bit, based on the less seasoned Foreign Princess. Conductor Eun Sun Kim, recently announced as our new SF Opera Artistic Director (!) lent inspired leadership to the proceedings. I’m proud of the company for this historic promotion.

The opera ballet was surely the most playful and fun I’d ever seen (usually they feel like the bathroom or losenge break to me), with its camp, whimsy, mythic tone, and choreo by Andrew George. The Wood Nymphs were spectacular, particularly Natalie Image, who is a star-in-the-making. All three were perfectly whimsical and absurd. A welcome taste of Bouffon/buffoonery.

3) This Side of Crazy, New Conservatory Theatre Center (NCTC), Oct. 17

After performing some old skool #SouthernGlam in the “Happy Hour is a Drag” pre-show in the NCTC lobby, I stayed to experience the MainStage offering, Del Shores’ world premiere commission. Kate Boyd, scenic designer, offered an amazingly detailed, and intimate set that really drew one into the story, and created a real sense of place. I felt like I was really IN that home. The writing was masterful, with at least 25 quotable, quippy one-liners…surely a Del Shores specialty. Wes Crain curated costumes that with each entrance elicited a gasp or snicker. Just right.

Ditty Blaylock (Christine Macomber, left) & Bethany Blaylock (Amy Meyers, right) / Photo: Lois Tema, New Conservatory Theatre Center

Christine Macomber was a tour de force as the family matron Ditty Blalock, a narcissistic, self involved joy, but wrapped in a messy sort of love. I’d LOVE to know more about her past, and her own trauma. That could easily be a Part II play (calling Del Shores!).

The actresses portraying the Blaylock daughters/sisters were a very well-rounded trio. You could feel their dynamic synergy at all times. Alison Whismore was particularly affecting as the neurotic, chain smoking, gaunt, and just on-the-edge Abigail Blaylock. Cheryl Smith and Amy Meyers were also excellent and committed as the other sisters.

So many laughter and tears. This is silver screen ready! Throw Olympia Dukakis or some celeb in that role (or keep Christine!) and it’ll be the next Steel Magnolias. As Ditty exclaimed to her daughters: “I taught you to have conviction, even when you don’t mean it.” (close, if not exact quote).

jcm’s Top 10 Show Picks of 2017

This year benefited from the serious good will of many friends…sharing comps, gifting me tickets, or taking me as their date. I could nearly call this it the Cheap & Free Top 10 of SF, and yet I’m clear it may not have been so cheap for them, so that’s not quite accurate. Whatever the case, it is with an special level of gratitude that I share my ninth annual jcm’s Top 10 Show Picks of the SF Bay Area.

What were your favorite Bay Area performances of the year? Please share in the comments.

1) La Temple de la Gloire, Philharmonia Baroque, Zellerbach Hall, April 28

QUELLE GLORIEUSE! To see such a lovingly and idiomatically rendered rare gem of French Baroque opera was utterly transporting, from the fantastically pompous overture replete with Falcon Crest-like trills, to the appearance of a queen bedecked in silver Glinda costume, with Statue of Liberty-esque headpiece. It had not been performed since its original debut in 1745!

The cast’s training in early music style showed in their trills, and phrasing, and they were clearly not just putting on this style. It included countless sumptuous french lyric sopranos, and more than one true, ringing haute-contre (incl. the virtuosic Aaron Sheehan). The dance troupe perfectly balanced fluidity and restraint, and was headed by a true baroque dance star, Olsi Gjeci (from Vlorë, Albania). He was entrancing, in embodying qualities of femininity and masculinity, from his white lily entrance, to his Bacchus drunken antics.

Photo; Jeff Phillips

The Philharmonia Baroque Chorale sounded 3X its size in spirit and volume (were they miked?). The orchestra perfectly bubbled and lilted. A fanciful ostrich served up very sexy legs. The costumes would make Mackey or Galliano swoon. Bacchus and Érigone’s impossibly saturated and colorful East Indian-inspired costumes stood out. I could go on. Breathtaking. The Trajan scene was the only scene that dragged a bit for me.

It was allegedly a “million dollar production.” Well, it showed. And to see such a packed house, and hearty response to a baroque opera really says something. BRAVI!!!

Here is a fascinating video showing the making of and preparations for the production.

2) Coco Peru: The Taming of the Tension, Oasis SF, March 8

I inadvertently went to “church” on this eve…and encountered a priestess that made me sob, swoon, and snort. She was sentimental, spiritual, with a heavy helping of sarcasm. She is Coco Peru! I’ve never paid much attention to her (I’ve always been more a fancier of Jackie Beat and Varla Jean), but now I’m a believer.

This artist takes “drag” where it rarely goes…to meaningful places. Through compelling and riotous storytelling, with a sense of intent and conviction that is faultless.

Her setlist included: I Touch Myself, The Fear (Lily Allen cover), Somewhere That’s Green, Nowadays, The Killing Moon (Echo and the Bunnyman cover), and humor/subjects incl. “The circles” (re: a certain Spanish lizard), Liza & Shirley, Chita, love, social media, “yaaassss queen,” theatre etiquette, facial fillers, 8 more years (before retirement)…

“For years I’ve helped young people find their voice. Now I want to say shut the fuck up. Our world is not your reality tv show.”

How did Coco end up above Hamilton? Well, she speaks my language, so it landed right at the center of my heart.

3) HAMILTON, Orpheum Theater, March 9 (SF Premiere!)

I was stunned and awed by Andy Blankenbuehler’s masterful choreography. Sensual, passionate, high concept, organic. Having played in high school theatre with Andy, and connecting with him again at this performance, my lens was no doubt skewed towards his contribution to this iconic show. Every moment rich with choreographic storytelling.

A particular heart palpitation movement the dancers did really resonated to me. Andy titled it the “Martha Graham” moment. A few months later at a local dance workshop through Pop Star Booty Camp, I was able to try a portion of Andy’s “The Room Where it Happens” choreography, taught by Derek Mitchell, resident choreographer. It was a real thrill, and really got under my skin.

Aside from the PBS documentary, and the Tonys, I hadn’t exposed myself to the soundtrack or show in any meaningful way, so I was able to experience this performance very much in the moment, almost as new material. (Truth be told, something about an over-produced sound quality to the soundtrack, and Lin Manuel’s voice didn’t draw me in.) LIVE, it’s a whole other beast.

Photo: Joan Marcus

I favored Emmy Raver-Lampman as Angelica, and Amber Iman in the small part of Maria (with rich, alto, Sarah Vaughan tone). I couldn’t keep my eyes off the male ensemble dancer, Andrew Wojtal, who also played a judge for a blink, among other small roles. He was a major talent, so committed to every movement. I enjoyed qualities about each of the leads, and especially appreciated the rawness and realness of Michael Luwoye in the title role. It was great not having any celebrity casting choices to distract.

The role of the King of England (Rory O’Malley) was indeed much needed humor in the midst of the intensity and great amount of words to take in of the hip hop/poetry slam style of much of the show. The tender and sassy moments (i.e. the Schuyler Sisters) were for me the most accessible, given my lens and tastes.

jcm’s Top 10 Show Picks of 2016

I’m back for my annual musings on the finest SF/Bay Area live performances of the year (#whatiattended)! As always, there’s a very healthy dose of opera, musical theatre, and jazz here, so they are more than well represented. And, I’m well aware of some great shows I had to miss because of my budget, or other commitments, but alas…it’s still a scrumptious array. Reflecting on these is a favorite way I savor and reexperience them once again.

What were your favorite Bay Area performances of the year?

1) Champion, Opera Parallèle, SFJAZZ Center

This unique jazz opera by Terence Blanchard is about the life of world champion boxer Emile Griffith, including his struggle with trauma-related dementia. A deeply affecting, tragic story, with gay content that was very impactful on a personal level. It features a great score, which deserves to land on the stages of the top American opera companies. It was heading to the Kennedy Center next, so it at least also had that audience. Unfortunately, it’s up against Charlie Parker’s “Yardbird” (featuring Lawrence Brownlee), so I fear it’s doubtful two jazz/jazz-oriented operas can have major legs. But, I get ahead of myself. This evening (Feb. 27th) had a sense of event, with Tuck and Patti, and Terence Blanchard in the audience, and lingering in the lobby afterwards as well. And we had the good fortune there of briefly meeting the contemporary opera legend, baritone Robert Orth, who passionately played Howie Albert.

The opening scene was so alive it reached out and grabbed the audience. The orchestral palette was rich, with the percussion and bass real stand outs. The orchestral hand-clapping-as-percussion really resonated. Former Merolini Karen Slack lit up the stage as Emelda Griffith, as did Arthur Woodley as the elder Emile, who was devastatingly real. The Herman’s Hole/”pussy” scene, with its fluid sexual expression was compelling and confusing, reflecting his confusion and the surrounding culture. Victor Ryan Robertson as Benny ‘Kid’ Paret was also very touching, a great physical actor, with a pleasing lyric voice in the midst of all the dramatic voices. A couple of scenes featured an actual boxer/dancer/percussionist who moved onstage in an unstoppable fashion.

Some lighting/projection cues revealed glaring flaws, and a couple of voices sounded tired. Also, where we sat there were frequent challenging sight lines, but it was thrilling to experience this opera in a true hall to jazz.

2) Dolly Tour: Pure & Simple, Shoreline Pavilion (Mountain View)

Not much needs to be said about this legendary woman. There may be many great drag impersonators of her, but there is only 1 Dolly. Her mix of goodness, simplicity, and yet worldliness and acceptance seems to be without peer.

It was a lovely night out as well, reminding me of concerts of my youth at Riverbend in Cincinnati. My favorite songs/moments included “Little Sparrow/If I Had Wings,” “9 to 5,” and two vocal quartets: “I’ll Fly Away,” and “The Seeker,” which skewed more towards bluegrass. Also, “Coat of Many Colors” and her new single “Pure and Simple” were really lovely.

I was in some disbelief that she sang it all live. The nuance and tone was so fresh…as if she was 25 again. She offered many quotable moments. When inviting a handsome band member to the spotlight for a featured musical moment, she shared: “I said I was married I didn’t say I was blind.” Her costumes take a page from Elvis’ book…bell bottoms and sequins for days!

Click here for her full set list

3) Cabaret, National Tour, Golden Gate Theatre

The Emcee, Randy Harrison surely brought in audience based on his Queer as Folk celebrity, but he exceeded my expectations on stage. He offered a more solid, robust voice and technique than I expected, and than most of this role previous exponents had. I also appreciated that he used his voice in a somewhat less caricature-y fashion. He expressed plenty of lithe, engaging movement as well.

Photo: Joan Marcus

Andrea Goss, a petite Sally Bowles, was fantastic, offering a gamine, pixie appeal. Her small-scale delivered a big presence and impression. My date, who has seen a dozen or so Cabaret productions put her in his top 3…the slew of past celebrity Sallys not holding up real great by comparison.

As is often the case with this show, the love story between Fraulein Schneider and Herr Schultz tugged on many a heart string. The set design, and how it was used was engaging throughout, integrating the orchestra in an authentic way, true to the milieu.

jcm’s Top 10 Show Picks of ’14

My show-going in 2014 started out slowly, all thanks to grad school. But, thankfully, by the summer, it was in full swing again. So, there is plenty to gush about on my annual list. Always so grateful for the Bay Area offerings…and no doubt one of the reasons I continue to call it home, especially as travel is a bit fewer and farther between these days. Performer friends, if you’re show’s not on here, I didn’t see it <wink, wink>. I hope you enjoy my musings! What were your favorites of the year?

1. Cher, with Cyndi Lauper, at SAP Center – San Jose

Cher tops my list. Surprised? Cyndi was her opening act, with a voice still in surprisingly rocking’ shape. Can she really be 61? And, for that matter, can Cher really be 68?! (Don’t answer that.) Highlights were “If I Could Turn Back Time,” “Believe” (a remix), a “Gypsies, Tramps & Thieves,” and “Half Breed” carnival-themed set, and a Burlesque-themed set (incl. “You Haven’t Seen the Last of Me”), a duet with Sonny, and a staging in which she was floated above the audience, as if a religious icon (not that she isn’t). The show was really perfectly crafted…and OFFICIALLY her last. It indeed felt like a farewell. No one could pull off what she did. My friends and I had a ball, shaking our tail feathers and lip-syncing from our nose-bleeds once things heated up.

2. Matt Alber, at Great American Music Hall

Matt is the only solo repeater this year. He topped last year’s list. His brother, Lou Jane was the opening act this time. Matt’s set included “The Wind,” “The Stars,” “Field Trip Buddy,” “Rivers and Tides,” “Handsome Man,” “Velvet Goldmine,” “Rescue,” “Make You Feel My Love,” “House on Fire,” “Spectacularly,” “Brother Moon” (duet with brother, Lou Jane), “Always” (a jazzy, ACAP cover), “End of the World,” “Walking on Sunshine,” “Send in the Clowns”. It was a transfixing and warm, familial night. He alternated between piano and guitar accompaniment. His band and some classical instrumentalists joined for various songs, including a sensitively played cello, and his dad sweetly tickled the ivories as well.

3. Karrin Allyson, Jazz at Filoli Gardens

Her smoky tone and easy swagger make her one of my jazz favorites of late. Highlights included “All You Need to Say (Never Say Yes),” which features the moving line: “Search to find true happiness and the world will say yes – yes is all you need to say.” Also, Simon & Garfunkel’s “April Come She Will,” “All I Want” (Joni Mitchell), “What a Difference” (with Kenny Washington), Cat Steven’s “Wild World,” “O Baquino,” and “I Can Do Anything As Long As I Know You Love Me,” a beautiful new song by her. This is also a fantastic, intimate outdoor venue.

4. “Luster,” SFGMC, with Ann Hampton Callaway, at Davis Symphony Hall

This show featured “Tyler’s Suite,” a commissioned tribute to Tyler Clementi. Out of the three SFGMC shows I attended this season, this one was the stand-out. The chorus soloists were surprisingly solid, and the chorus delivered finely textured harmonies. Ann did an improvisational piano solo before which she asked for names and local/SF places of note from the audience, and incorporated them into her song. She had us rolling in the aisles. And that voice! So soulful, nurturing, contralto-ey. Cuts to my heart.

5. Nutcracker, SF Ballet

This production is still very fresh after 10 or so years, and delivers on all its holiday promise. Highlights were the Grand Pas de Deux, featuring Yuan Yuan Tan, and her VERY dashing prince, Luke Ingham (not pictured; I wonder if HE was “taught to be charming, not sincere”), and the magical snow scene, very moving with audible en pointe and snowfall onstage. They do NOT scrimp on the amount…for five minutes your head is in the Sierras. Calling the Zamboni!

6. Norma, SF Opera

The level of musical attunement, and true bel canto shared between Sondra Radvanovksy and Jaime Barton is a rarity these days. It harkened back to the Sutherland/Horne pairing in its best moments. How to say it…Rad’s voice is never not interesting to me. I don’t understand her vocal production, which makes it fascinating. It’s richly textured at best…buzzy at worst. Reminiscent of Callas in the lower range, and belted utterances. She was very liberal with the gossamer pianissimi, and offered some thrilling full-throttle high notes. Barton displayed moments of Horne in her lower chest. She knows how to move, and seems really “in her body,” which offered a sensuality. She’s also the most youthful Adalgisa I’ve yet seen, which made Pollione’s passion all the more believable. The production offered some nice detail, but didn’t inspire, and the Avatar-style makeup was mystifying. Norma’s two children were beyond precious.

7. Jimmy James, at Rebel

Highlights included his impersonations of Cher, Bette (doing “Feliz Navidad“), Barbra, Billie, and Liza (doing “Single Ladies”!!!) had us alternately in tears and stitches. He is a very skilled entertainer, with an incredibly versatile and impressive voice. I hope he’s fast becoming more of a gay household name that he should already be, aside from his ’80s appearances on the talk show circuit as THE perfect Marilyn impersonator.

8. Esalen Work Scholar “Reading,” in the Solarium

It was a privilege to sit in on this informal, private event. It featured teacher John Smith’s “If I Were a Robin,” and included original songs and poems/prose by the students. My emotional response to the event was no doubt stoked by the Big Sur setting, and the crackle of new writers growing their creative wings. Here’s “…Robin” from a previous show.

9. Showboat, SF Opera

What a treat to see this great american musical for the first time, and performed at this level. Standout performances were by Morris Robinson as Joe, and Kirsten Wyatt as Ellie Mae. Patricia Racette’s rendition of my favorite “Bill” was beautifully and movingly handled. Not operatic in the least. Perfectly scaled down. The production was beautiful and really served the piece.

10. Mary Lambert, at the Nourse Theatre

Mary is such an open-hearted, disarming, and authentic artist. She warmly invites you into her unique vision and storytelling. Highlights included “Jessie’s Girl” (cover), “My Body,” “She Keeps Me Warm,” and “No Secret” (encore). Her themes of body image, and mental illness/health are much needed in our current culture. Young Summer was the opening act. She was reminiscent of Lana del Rey.

Other Notable Performances:

• Michael Fabiano, as Rodolfo, La Boheme, SFO, delivered Golden Age tenorial squillo and passion
• Heidi Melton, in recital, SF Performances, SF Conservatory of Music, a Merola/Adler star returns again, incl. idiomatic and stunning Sibelius and Strauss sets
• Jef Valentine, in Panorama, ACT Costume Shop, a beautifully committed and personal vision of the Peter Pan legend
• Sean Patrick Murtagh, in Holiday Test Drive II, Martunis, incl. a perfect, refulgent “Oh Holy Night”

Favorite Drag Show of the Year:

MASCARA “Burlesque,” hosted by the Castro Country Club, featuring irreverent, moving, messy, unforgettable numbers by Uphoria, Serenity Heart, Jada Stevens, Dina Isis, Dusty Porn, and more. All in service of, to inspire, and raise funds for the queer recovery community.

Top 5 Best Movies of the Year (that I saw):

1. The Grand Budapest Hotel
2. Into the Woods
3. Boyhood
4. Love is Strange
5. The Theory of Everything

Check out last year’s list >

Share your favorites. And, here’s a toast to what 2015 brings!

jcm’s Top 10 Performances of ’13

It was another stunning year of live performance in the Bay Area and beyond. I’m forgoing reviews this time, thanks to grad school demands. I’m grateful yet again for the embarrassment of riches…one of the many reasons I gladly call San Francisco home!

1) Matt Alber @ The Rickshaw Stop
Presented by SF Bear Pride
November 8
With NAKIA, Jeb Havens…
Program incl.: Monarch, The River, Velvet Goldmine, Old Wallingford, Tightrope, I Wanna Dance With Somebody, Field Trip Buddy, Hide & Seek, Always (ACAP), End of the World, Yellow, New York, Old Ghosts…
A taste of Matt live

2) Pink Martini @ The Hollywood Bowl
July 19
With China Forbes, Storm Large, Saori Yuki, Ari Shapiro…
Program incl.: Brazil, Zundoko bushi, Splendor in the Grass, Eugene, Hang on Little Tomato, Get Happy/Happy Days medley, And Then You’re Gone/But Now I’m Back medley, Yo Te Quiero Siempre…

(Photo by jcm)

3) Mephistopheles, San Francisco Opera
September 14
With Ildar Abdrazakov, Patricia Racette, Ramón Vargas, Marina Harris…

4) Anything Goes, Broadway Tour, Curran Theatre
January 28
With Rachel York, Fred Applegate, Erich Bergen, Alex Finke…

jcm’s Top 10 SF Performances of ’12

In the midst of the embarrassment of riches jcm partook in this year, above all, it was the year of the art song, “Hasa Diga Eebowa,” and contemporary american opera (and THIS without even having seen Moby Dick ;-(. This was particularly good news for art song and american opera, as it’s more the norm to bemoan their demise these days.

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.

Delicacies: The Finest Light Lyric Sopranos

Why LLS (Light Lyric Sopranos)? Why now?

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.)