Archive for the ‘top 10 list’ Tag
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!
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.
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.
It’s time for my seventh annual Top 10 Bay Area round-up. Seventh?! Can it be? As always, this doesn’t attempt to be a comprehensive Bay Area review list, more a fun way to highlight what was most memorable for me in ’15. As a student working full-time, there are plenty of great offerings I have to pass on (i.e. dance and plays are sadly missing from this Top 10), but this tradition is a constant reminder of the embarrassment of riches we have to draw upon here. No doubt one of the things that keeps me in the Bay Area, despite the ever-unfriendly cost of living. Care to share your favorites of ’15?
1) Stacey Kent, Venetian Room, The Fairmont Hotel
Stacey was near the top of my list in ’11. She was slated to return to SF in ’13, but had to cancel. After that long wait, she returned at last again this year. She and her band were as transfixing as before. Few can weave the spell she does. There is a sort of personalized intimacy about her craft.
In some patter between songs she shared that she had taken part in the commemorative Corcovado festival honoring the Cristo Redentor monument in Rio de Janeiro, telling magical stories of meeting and working with the great Marcos Valle. With excited humility she said that one of the Brazilian jazz greats had upheld her to the younger generation as the model for modern bossa nova technique (perhaps more than even the current native Brazilian singers, was the assumption). I wasn’t surprised by this. Her clean, distinct, but always compelling tone and delivery are like a modern day Astrid, or Blossom Dearie. Never to be mistaken for another, but in that lineage.
In this concert she performed This Happy Madness, Só Danço Samba, The Face I Love (Marcos Valle), Waiter Oh Waiter, O Barquinho, The Changing Lights, So Nice, One Note Samba, How Insensitive, Waters of March (duet with husband, Jim Tomlinson), I’ve Grown Accustomed to His Face, and Ice Hotel.
After she performed “How Insensitive” she said “I be that hit home.” To see if that’s true, check out the lyrics here.
2) Les Troyens, Opening Night, SF Opera
This opera sat on my wishlist for decades. There was a false start during the Rosenberg era, when it was announced but pulled due to the onset of the recession. It was last mounted at SFO in the late ‘60s. So rarely performed, and so challenging to mount, it’s no surprise it took so long for the SFO to do so. It was worth the wait.
Opening night held three surprises. The first was the 25th Anniversary of Susan Graham’s debut with SFO. The second was the onstage presentation to La Graham of the SF Opera Medal by David Gockley. This whole affair was very moving, and included long, rapturous applause. During her acceptance speech, she spoke about her debut as Minerva, in Ulysses, as well as notable memories from Iphigenie…, and Xerxes. The third was that this was one of only a few performances that included stellar high tenor Bryan Hymel, as he pulled out early in the run.
The orchestra, chorus, and ballet were essential to the production’s success. Highlights included Graham’s devastating Adieu, fière cité, during which she stood onstage alone, in front of a plain black curtain, and appeared to be welling up as she sang. The audience was rapt. The Nuits d’ivresse duet was sensual and intoxicating, with Hymel particularly tender and affecting. He had a more slender voice than expected, but a thrilling top, which he is lauded for. Chong Wang and Rene Barbera delivered glorious ariettes of sorts. Antonacci proved her singing-actress status. Sasha Cooke was stunning, offering a dark, clarinet-like tone. She seemed a true vocal successor to Susan, and it felt as if one could see a passing of the torch here, in their particular vocal fach. The metallic-looking horse was a stunning, giant malleable puppet, not unlike the dragon from the SFO Ring Cycle. Berlioz’s orchestration was like a soothing bath.
3) Mighty Real, The Brava Theater
This musical based on the life of local, SF legend Sylvester was the love-child of a gay couple from NY. Broadway producers had turned it down, but they championed this important SF story. One of them, Anthony Wayne starred in the title role. Another producer, Cheryl Lee Ralph, was present, and offered a moving speech after the bows. She shared that “Sylvester was a man who walked in the light of his own truth.” Indeed. The musical made that loud and clear. And they brought him very much to life.
Many from the local City of Refuge fellowship were in the audience. This added to the aliveness of the show, through audience reactions. Wayne as Sylvester offered a falsetto that never faltered and stellar storytelling abilities. The supporting cast was very memorable, especially the women who portrayed Martha Wash and Tina Turner (in Proud Mary). It made me long for the disco days, which I am too young to have fully experienced (aside from a long-time Donna Summer obsession via cassettes).
It shared a story of sadness and loss, but also transcendence. It was deeply moving to mix with men seated near us who lived through this SF era.
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
4. Love is Strange
5. The Theory of Everything
Share your favorites. And, here’s a toast to what 2015 brings!
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
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
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…
3) Mephistopheles, San Francisco Opera
With Ildar Abdrazakov, Patricia Racette, Ramón Vargas, Marina Harris…
4) Anything Goes, Broadway Tour, Curran Theatre
With Rachel York, Fred Applegate, Erich Bergen, Alex Finke…
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.”
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.
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!
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.
I just discovered a colleague’s very stylish blog, and was inspired by her post asking “What Defines You?,” and her subsequent personal list. As a bit of a Top 10 List addict, I was fast on my way to rounding up my own. I’ve left jcm off the list, as it’s eminently clear that this blog defines me, but that’s just too easy, eh? Here they flow, in random order:
My 7th Birthday Photo
This photo (May ’77, Cincy, OH) conjures up the warm, sentimental feelings of uncomplicated youth, and a loving connection with my family. Although my folks aren’t pictured here, their nurturing presence is all around (and on the other side of the camera). The Winnie the Pooh cake was likely by my special request. I love the retro feel of the old square prints, with rounded corners.
There is a simplicity to my memories of childhood, and of these such moments…no crowded party, or branded birthday theme (seemingly requisite these days), just closeness and joy. I’m so thankful to have the foundation that my upbringing provided me. Funnily enough, CJ has a photo that is almost exactly the same (parallel lives?). Now, just two months from my 40th bday, I suppose I’m a bona fide “adult”!?
“Peristeriona” Ceramic Vase
This vase holds all the memories of CJ’s and my beautiful around-the-world journey together…Hong Kong to Greece to Senegal. It was something I had dreamt of doing for decades, while I racked up frequent flyer miles!
We purchased this in a charming little shop on Sifnos, an authentic, less touristy Greek Island option that we both long to return to one day. The yellow and black colors call to mind the brilliant glow of the sun, and the contrasting shadows, on the traditional white structures and breezy hillsides.
CJ and I have the gift of travelling very well together, and our time on this island was one of our most special yet…divine food, a white-knuckle scooter ride through the hills, and lots of R&R by the sea.
In the quieter, darker, colder days of January, in addition to looking ahead to what the year will bring, and setting goals, it’s always especially nice to reflect back on the previous year, to recall and relive some of its finest moments. So, it is in that spirit that I share my Top 10 LIVE Performances List for the year.
1. Hair on Broadway (8/2): I’ve certainly said enough about this love-rock musical on my blog in the past 6 months, but for good reason. Attending the acclaimed Broadway production with CJ and some dear friends was deeply moving, and a wonderful way to further launch me into my ACLO production. Although the singing style was more “pop” than I’d like (relative to the original productions), when seeing it live, any stylistic qualms fell away, and the raw honesty of the production swept me away. Steel Burkhardt was a surprisingly good understudy for Will Swenson, as Berger.
2. Heidi Melton Recitals: (2/4) Her Salon at the Rex featured Purcell, Berg, Messiaen, Debussy, and Bolcom; (10/20) Her LIEDER ALIVE! recital second half at the SF Conservatory featured Wagner’s Wesendonck Lieder. Now in Berlin preparing for her Deutsche Oper Berlin debut, and just off her Met debut in Elektra, she thankfully gave San Francisco two satisfying recitals before her departure. The first was very casual in spirit, much like the salons of old, I imagine…a great artist sidled up to the piano, friends and fans with cocktails in hand, and the artist just telling stories, in words and song. Perfect! The second prooved her Wagnerian chops in the demanding Wesendonck.
3. The Cockettes’ Pearls Over Shanghai (8/15): Straight from The Cockettes’ closet and into The Thrillpeddlers’ Hypnodrome…this irresistable tale is told in glitter, technicolor, pasties, and skin, with raw, campy delivery, and a bawdy flavor. I am happy to now be a part of this production, its first revival since its creation in the late ’60s. John Waters just graced our audience. Don’t miss it!
5. Donizetti’s La Fille du Régiment at SF Opera (10/22): This Pelly production is an example of a fresh take on an opera that enhances a classic, not apologizes for or covers it up. Diana Damrau and Juan Diego Florez struck the perfect balance of bel canto purity and knee-slapping hijinx. It was genuinely funny throughout…true laughter spilled forth from the audience, not just the polite opera-laughter one is accustomed to. Meredith Arwady’s turn as The Marquise de Berkenfeld was beyond her years in comedic timing, and positively ebullient.
6. Next to Normal on Broadway (8/2): Like really good therapy…onstage. Vocal chops for days from all 6 performers. Alice Ripley may be crazy, but she’s perfect in this role, and the show lives up to its buzz.
7. Verdi’s Requiem at SF Opera (5/29): This was a moving farewell for Donald Runnicles. Heidi Melton and Stephanie Blythe melded beautifully. Melton stepped in last minute for an ailing Patricia Racette. The performance just crackled with emotion and commitment. And, how special to experience a sacred choral masterwork in our opera house!
8. Gershwin’s Porgy & Bess at SF Opera (6/12): To finally hear this score performed live in its original operatic context was a true thrill, especially after growing so fond of pop and jazz renditions for decades. Laquita Mitchell and Eric Owens lovingly gave 120%.
9. Rossini’s Semiramide at Caramoor (7/31): In this case especially, it’s hard to separate memories of the setting and journey from the performance itself, but the warm summer air, cultivated audience, and Queer Opera Punk friends in tow helped make it very memorable. It starred bel canto masters Angela Meade, Vivica Genaux, Lawrence Brownlee, and Daniel Mobbs. And, how lovely to discover my old choir friend Heather Meyer in the chorale!
10. Paul Taylor Dance Company at YBCA (5/2): This Program C included Arden Court, (Music by William Boyce: Symphonic Excerpts), Private Domain (Music by Iannis Xenakis: Atrees), and Offenbach Overtures (including La Grande-Duchesse de Gerolstein and Berbe-Bleue Overtures). Unfortunately, this year held few dance performances for me, but, at least included this one! CJ’s high school acquaintance Rob Kleinendorst is a long-time company member. The Offenbach was absolutely hysterical, not the sort of tone I expected from the company. A real fresh surprise! Last time I saw their tour, I was floored by their dramatic, apocalyptic Promethian Fire. Although not intentional, it felt like a 9/11 tribute. Well, this Offenbach couldn’t be more different, and shows their breadth.
Honorable Mentions: South Pacific Tour, GG Theatre, SF; American Idiot, Berkeley Rep (World Premiere, and Broadway-bound); Kylie Minogue concert, Fox Theatre, Oakland, CA; Pink Martini in concert, Davies Symphony Hall, SF; Souvenir, with Judy Kaye and Donald Corren, Geary Theatre, SF; SF Opera Auditions for the General Director (David Gockley) highlights: Michael Sumuel’s “O! Du mein holder Abendstern”, Ryan Belongie’s “Cara Sposa” and Nathaniel Peake’s “Salut demeure chaste et pure” and “Ah! lève-toi soleil!”.
Overrated/Yawners: In the Next Room: The Vibrator Play, Berkeley Rep (now on Broadway?! I fell asleep.); Billy Elliot on Broadway (some great moments and some great dancing do not a great musical make).