Archive for the ‘Philharmonia Baroque’ Tag

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?!

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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.

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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.

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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).

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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.

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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.

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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.

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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.

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