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!
Happy Christmas to you!
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!
Enjoy an updated and edited version of my previous post on San Francisco Opera’s “Notes from Valhalla: The RING Blog”:
Two years ago I began a journey into the fire…into San Francisco Opera’s new production of Wagner’s Ring Cycle. That journey comes full circle (pun intended) this month.
It all started when I was invited to collaborate on the iconic brand image and identity for this Ring (with the fantastic design and marketing studio Mission-Minded). This alone was a dream come true. I had become an official Wagner-phile when I experienced SFO’s previous naturalistic production in 1999, with my dear operagoing friend Gil. (Watch the documentary Sing Faster for a great glimpse of that beloved production.)
The creative process began with a meeting with Director Francesca Zambello and General Director David Gockley, to discuss the particular approach of this new production (shared with ENO and WNO, but not yet performed in its entirety). The goal: to highlight the concept of destruction and rebirth, and portray a dose of the production’s modernity, including an accessible and familiar visual vernacular. (The production employs a trailer, projections of power lines and electrical towers, an office building board room, a stylish, contemporary bedroom…to mention just a few of these modern nods.)
The iconic image evolved in a direction that also took a tragic nod from 9/11, using the burning and fall of city skyscrapers to show the destruction of a civilization, parallel with that of nature (via a forest). Perched atop this, a reborn/renewed female visage…a triumphant Brünnhilde. The photo-illustration was made up of 15 or so separate images.
Since I run my design biz from my home office, I have the freedom to follow my musical whims throughout a workday. But, I tend to craft a pretty predictable soundtrack. Almost without fail, I start the day with the equivalent of aural wallpaper: low-key, instrumental, classical music (ie: KDFC, or an iTunes playlist). It helps me focus, and offers just the right flavor and vibe to support my work, as I find my daily mojo.
Around the time 11:30 – noon rolls around, I normally make a switch over to jazz. I’ve grown to love 1.FM, Adore Jazz, a primarily vocal jazz station offered on iTunes. By the time 4pm hits, I’m usually on my way to pop, rock, bluegrass, or dance. Unless it’s friday, in which case I make that transition much earlier. But I digress…
Adore Jazz has introduced me to a slew of artists I’d likely not otherwise know. For that I am very thankful. I wanted to share and highlight a few of the best discoveries. Perhaps you jazz/vocals aficionados already know these singers well, but they feel to me to be unjustly under the radar, and were certainly outside of my mainstream. I’m not sure why this is so, as I’ve quickly grown to consider them some of the finest, certainly of the contemporary crop.
In trying to describe Stacey Kent to a friend, I likened her to a modern-day Blossom Dearie. She has an impossibly sweet tone. Coming from another artist, it could threaten to be cloying, but her delivery is so honest, it never rings false. She feels very much a product of a different time (ie: 50s-60s)…not only calling to mind Blossom, but also Astrud Gilberto.
Stacey, a Jersey girl, has been nominated for a Grammy, so I suppose she’s hardly a best-kept secret, but I’ve never heard another vocal-phile reference her, or heard her recordings in another venue or on a different station.
The stats helper monkeys at WordPress.com mulled over how jumping clapping man did in 2010, and here’s some interesting data on how the year looked!:
The Blog-Health-o-Meter™ reads Wow!
Madison Square Garden can seat 20,000 people for a concert. jcm was viewed about 68,000 times in 2010. If it were a concert at Madison Square Garden, it would have performed about
In 2010, I had 85 new posts, growing the total archive to 170 posts. I uploaded 265 pictures, taking up a total of 45mb. (That’s about 5 pictures per week.)
The busiest day of the year was February 16th with 1,469 views. The most popular post that day was Olympic Reigns Ending: Likelihoods or Naysaying?.
Where did they come from?
Some visitors came searching, mostly for cheeseburger, olympics 2010,
2010 olympics, vancouver olympics, and cheese burger. (“Cheeseburger”?…REALLY?!)
Attractions in 2010
These are the posts and pages that got the most views in 2010.
Olympic Reigns Ending: Likelihoods or Naysaying? July 2009
“Cheese Berger” July 2009
jcm’s ‘10 Olympics’ Podium Predictions Contest January 2010
Missteps, Falls & Wet Tushes March 2009
Heidi Melton: The Official Berlin E-Interview January 2010
It’s that time again! I’m serving up my second annual Top 10 LIVE Performances of the year. It’s a follow-up to my ‘09 list. Sadly, there are no Broadway shows on this list. I plan on remedying that in 2011!
1. Die Walküre, San Francisco Opera (Details)
This production offered one of the finest casts that could possibly be assembled for this opera (and The Ring) in the current operatic landscape. The production said some new things, and offered a few fresh perspectives, but didn’t try too hard, or overshadow the score. Maestro Runnicles is a Wagnerian master, and he and the orchestra rose to the occasion again. Yeah, I was a “Supernumerary” in the production, but I was able to watch much of it from the orchestra during rehearsals, and even accounting for my bias, this would still takes my top spot. Enjoy my full review here.
2. Scalpel! The Musical, Brava Theatre (Details)
Can you say fun? It had me at the opening number, with countless heals and drag runway walks. It was the first show I’ve seen in the Brava, and I immediately loved this venue…the warm lighting, the urban ambience, and the straight, raked seating offering direct views. Even with all the camp and hijinks, the entire cast was completely committed to the material. This was the second mounting of the show, and my fingers are crossed that it returns yet again. Apparently, there was a bit of a curse on the production, with multiple cast injuries (including a very unfortunate broken leg for leading man, Mike Finn), but they pushed through, with some quick and fortuitous replacements and prevailed. Picturing Sara Moore as “poop-raking” TV reporter Kitty Kelly (“Hardballs” host) still makes me laugh.
3. Heidi Melton: Salon at the Rex, The Rex Hotel (Details)
To hear Heidi Melton plead in spoken french AND debut her chest voice was alone faint-worthy, and positively scintillating. And, to hear her in repertoire much outside her core operatic rep and comfort genres was a treat (ie: Irving Berlin and Kurt Weill cabaret, and Korngold songs). Her rendition of Berlin’s “Always” left not a dry eye in the audience. (Her Noe Valley Chamber Music Recital a few weeks before was also very beautiful). No thanks to the Adler “Future is Now” concert, which was on the same night, the recital was over all too soon (evidenced by a jcm quotation here and here)! I stuck around and imbibed and dined at the bar…I wanted to savor the spell Heidi had cast.