jcm’s TOP 10 LIVE SF Shows of ’23!

As I prep to head off to see the Joffrey Ballet Nutcracker in Chicago, which will round out my performing arts year, I reflect back on the SF Bay Area shows I’ve been graced with this year. An ideally satisfying musico-cultural year for me includes opera, jazz, musical theatre, drag (theatre), outdoor festivals, dance, a play (or two) & MORE! 🎻 This year was no exception, with no less an embarrassment of riches, as it was refreshing to get back to a show attendance count a bit closer to my pre-COVID levels. 🎭 As always, there are many local shows I necessarily missed. 🎵 Are there any I left out that were among your favorite(s)? SHARE in the comments…

1) Die Frau Ohne Schatten • SF Opera, Jun 10

The bar is HIGH when you see your favorite opera, by your favorite operatic composer, AND you’ve waited 30 years for your city’s house to mount it. Well, thankfully that bar was more than met! This being only the 3rd time I’ve seen this opera live, no thanks to how rarely it’s mounted, given how difficult it is to stage, and SING!

The score itself and orchestral playing were easily its first notable stars here. Conductor Donald Runnicles had them gloriously wrapped around his (and Strauss’) finger. Their collaboration so rapturous, and with great dramatic impetus and flow.

I had seen this same production at LA Opera 15+ years ago, with the now sadly deceased Inga Nielsen (Empress), and Brian Asawa (Youth Apparition). Prior to attending this remounting, I upheld preference for a different production at Lyric Opera of Chicago (in ’07), with Christine Brewer and Deborah Voigt, given its earthy warmth, and far east aesthetic nods. BUT, on second viewing, and from a very different vantage point (I was in the orchestra in LA), I also grew to love this production and sets. That being said, I do still feel like Hockney’s Turandot is his magnum opus.

photo: Cory Weaver

The Empresses’ final grand entrance here (Act 3, Scene 3), in regal red, against the all-deep-blue set was spellbinding magic. As was the golden fountain, and Phantom of the Opera-like boat affect with the passage of the Empress and Nurse in the previous scene.

Nina Stemme on opening night had been honored with the SF Opera Medal, and deservedly so. She was our very satisfying Brünnhilde over a decade ago. At 60 years old, her technique is still a marvel. She qualifies as the loudest, most thrilling singer I’ve seen, up there with Gwyneth Jones. Her high notes pierce your soul. She brought much gravitas and heart to the role, as well as austerity when apropos.

Linda Watson, also my Dyer’s Wife in LA was fantastic as The Nurse. Seering in her intensity, and stone-like in her physical chilliness and strength. Not a beautiful sound, but an appropriately frightening, haunting one.

Camila Nylund as the Empress didn’t best memories of Rysanek in amplitude, and who could? (as I know from her recordings). But she did present a warm character, with much beautiful singing, even if she didn’t fully warm up until after her entrance “aria”, which includes some moments of Straussian coloratura.

David Butt Philip was tireless, if slightly more compact than desired as The Emperor. And Johan Reuter, as the Dyer was very satisfying, with his warm tone, and increasingly earnest leanings towards his Wife. It was noted that among the soloist, chorus, dancers, this production required a total of 110 personnel!

The theme of partner love of this fairy tale is always overwhelmingly moving to me. The parallel theme of fertility and requisite child-bearing is often cloying and annoying. But, I’m able to focus on the overarching one, and find so much catharsis in that. As Strauss said in ’48: “It has made a deep impression…and music lovers in particular consider it to be my most important work.” YES, we/I do! Thanks Richard.

2) The Lion King • Orpheum Theatre, Dec 14

Somehow, I had avoided and/or missed this theatrical phenom and hit for its first 27 years. I’m sure my general musical theatre cynicism and deference to opera played a role. But, this production proved no less an art. Taymor’s classic production, presented by Broadway SF, felt still fresh and new to me. And thankfully, even being bombarded with marketing for the show for decades, most of it remained a visual surprise.

Mukelisiwe Goba as (Rafiki) offered an exuberance and other-wordliness, with her bright voice and signature tongue clicks throughout. Gerald Ramsey as Mufasa, and Peter Hargrave as Scar were stellar. I loved that both their strong voices were grounded in a bass or baritone bottom, unlike the standard pushed-up tenor usually featured in modern musicals. Mason Lawson as young Simba was a joy. It seemed there was nothing he couldn’t do. But the three character roles of Drew Hirschfield as Zazu, Nick Cordileone as Timon the Meerkat, and John E. Brady as Pumbaa the Wart Hog walked away with the show for me. The laughter that was elicited was genuine, not from some requisite response.

photo: Joan Marcus

The production didn’t have a whiff of standard Disney, which is largely why it feels so fresh. Spiritual and transcendent, the art of the puppetry combined with dance and caricature were wholly transporting and magical.

“Scar’s Sexy Gay Topless Hyena Ballet”, as I named it, was a highlight. A presumably straight man sitting near us laughed through it…I think it just made him uncomfortable, as it was indeed quite evocative and alluring.

3) Omar • SF Opera, Nov 5th

“There need not be shame in our stories, histories, or feelings.” – Julie (paraphrased)

This opera, by Rhiannon Giddens & Michael Abels, which debuted just last year at the Spoleto Festival, leaps to the top of my Greatest Modern Operas list, with this SF Opera production. It was a thrill to be at an opening that was nearly sold out (big in these times).

It was heart-wrenching and joyous to witness the profound telling of this story, about Omar ibn Said, a Muslim man who was forced into slavery, who wrote his own autobiography in Arabic. They’ve created what felt like such a fresh, beautiful, and accessible musical vernacular that is neither too referential nor historic, as well as not patronizing nor preachy.

The first half leans into some ethnic/world music and bluegrass elements. The second half into Gershwin, Spirituals, and American standards a bit. But that’s far too great a simplification of its genius.

photo: Cory Weaver

Omar was perfectly portrayed by Jamez McCorkle. His strong tenor voice and textual clarity were peerless, and with a sincerity that felt beyond performative. Much of the opera, he is an iconic, columnar protagonist force, that others are reacting to, but thankfully he also gets a great final scene to show his stuff. Brittany Renee as Julie (no surname) was stunning, at times reminding me of the tonal lushness of Leontyne Price.

The ancestral mover (Jermaine McGhee as a whirlwind of spinning fabric, ala a Whirling Dervish), was so compelling throughout, creating a visual and conceptual cohesion too. Initially, it made me think it was representing the tempestuous seas they had to cross, and all the associated trauma memories of that.

The nearly ubiquitous chorus, providing a strong community support archetype was lush and passionate and with verve in the right spots. The set design was visually and conceptually rich. 

There is much for us to process and own socio-culturally, and personally in this story. Inflicting this trauma on black folk. But the resilience shown was astounding.

4) Dear San Francisco • Club Fugazi, Sep 21

This experience embodied poetry in motion (and then some literal poetry too). It’s just the sort of artistic creation that SF needs to help shift the downward doom narrative folks are easily latching onto, into an upward spiral! That perception is both a real transition going on in our city, as well as a catastrophizing one. 

The show goes beyond more standard circus and/or flow arts in the way it does its storytelling, essentially a love story to SF, and reveals the stories of the performers as a part of that. I found it therapeutic, thrilling, heartening, and cathartic.

photo: Kevin Berne

Favorite moments were: Shengnan Pan and Enmeng Song‘s “Kong Zhong,” because of their couple’s love and family story intertwined into it. He is a rare virtuosic proponent of this Chinese Yoyo art, and apparently learned it from Shengnan. It’s such an ensemble show it feels impossible to single one performer out. Sereno Aguilar Izzo, from Mexico was a brick shit-house, as they say…DAYUM! A bit like The Rock, but still lithe and flexible. Maya Kesselman, Chloe Somers Walker and Kiran Walton exuded so much sincere joy. Dominic Cruz offered some finely textured singing and guitar work. It was nice to have live music also be a part of this.

One of the performers had stepped in 2 days before and I didn’t even notice he didn’t fit right in. WOW! It was special to be back in Club Fugazi. SF history in itself. Louis Armstrong, Janis Joplin, Robin Williams, and Val Diamond have graced this stage!

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!

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.

my holiday greeting: ’14

My Christmas / holiday / solstice greeting for you, sharing a story of the gravitas and beauty of our humanity, from life in San Francisco…to our world. It combines a music track of mine, with some favorite illustration work.

I hope it resonates to you. ❤

The music track is from “Christmas in the Ballroom” 2011, with solos by myself, Nicholas Patton, and Gina DiRado. Also featured are Ann Assarsson, Ryan James Brandau, Katie Brennan, Ivy Depner, Matt Peterson, Kathleen Pheneger, and Trond Gilberg on piano.

Illustrations are by Nikki Mclure, Paul Madonna, Barrie Maguire, Paul Bommer, Maggie, Marco Cibola, Mike Brennan, Aline Candido, Cathy Trautmann, Clifford Harper, Artflakes, Tugboat Print Shop, and misc. street artists (Berlin, and elsewhere).

I don’t own the rights to these illustrations, and use them humbly and with great admiration for the artists. This is not for any commercial purpose or broad circulation.

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.)

jcm’s Top 10 SF Performances of ’11

It’s time for my third annual Top 10 round-up. These don’t attempt to be comprehensive reviews…but rather an Amuse-bouche of the most stellar performances I witnessed by the Bay, in ’11. How in the world can I compare a Pop Star to a Handel opera, you ask? Well…I warm up the jcm-ulator, and out come the tabulated results. It doesn’t lie. I seem to be trending towards opera, with musicals taking a back seat. Why? They sing louder, higher and without mics?

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!