San Francisco Chronicle Review of Opera Girls From Golden West

* Notes *
Concluding night's earth premiere of John Adams' Girls of the Golden West (Act I Scene 1 pictured, photograph by Stefan Cohen) at San Francisco Opera had some gorgeous singing and playing. But neither the music nor the artful, elegant stagecraft could save a stilted and tedious libretto.

Tellingly, the best moment of the opera is without words. The music for Lola Montez'south Spider Trip the light fantastic held my attention later the monotony of lines and lines of narration from Gold Blitz era main sources. It helps that ballerina Lorena Feijóo looked fantastic in her red, white, and blueish ruffles and danced with absolute conviction.

The playing seemed very much together nether the direction of Maestro Grant Gershon, and the woodwinds sounded particularly lovely. The chorus too had a cohesiveness to be admired. In fact all of the singing and acting was impressive, from the supernumerary miners and dancing girls up to the youthful leads.

Much, if not all, of the opera's text comes from original sources rather than from librettist/director Peter Sellars, and as such, in that location is a lot more telling than showing. At that place is little in the way of dialogue and information technology isn't ever easy to understand what exactly is going on since the characters sing at us rather than interact with each other. This is peculiarly prominent for Matriarch Shirley, whose words are all her ain, drawn from her letters. In this leading role is soprano Julia Bullock and her fine voice seems wasted on lines enumerating mining terms she doesn't understand and the like.

The parts of the libretto that work best are based on songs or poetry, every bit with the miners' songs sung by the chorus or the Cantonese rhymes brought to life past talented soprano Hye Jung Lee every bit prostitute Ah Sing. Mezzo-soprano J'Nai Bridges is a dignified Josefa Segovia, a Mexican-American woman who kills her would-exist rapist Joe Cannon and is subsequently judged guilty of murder and hanged. Her words come from poems by Alfonsina Storni.

I really wanted to similar this opera equally it features John Adams, my dwelling land, and a brilliant cast that includes many people of color. But sadly I institute myself rather bored, specially during the first deed (the i brilliant spot existence Davóne Tines' aria as Ned Peters at the finish). It felt more similar a discombobulating lecture in a dream than an opera, though I'll give the slice another chance next week, as it is in my subscription.

* Tattling *
The orchestra level and boxes looked very total, and continuing room had a respectable crowd at the rail. A standee did collapse during Act I, but was apparently fine and did non demand to be taken out of the hall.

The audition was very polite, and tried to clap subsequently some of the main arias, but was most enthused by the Spider Dance. The opera did go a standing ovation, though I might have heard someone mutter that Peter Sellars deserved a pie in the face.

SF Opera's Girls of the Golden West Review

* Notes *
Last night's world premiere of John Adams' Girls of the Golden Westward (Human action I Scene i pictured, photo past Stefan Cohen) at San Francisco Opera had some gorgeous singing and playing. But neither the music nor the artful, elegant stagecraft could relieve a stilted and tedious libretto.

Tellingly, the best moment of the opera is without words. The music for Lola Montez's Spider Dance held my attention later the monotony of lines and lines of narration from Gold Rush era primary sources. It helps that ballerina Lorena Feijóo looked fantastic in her red, white, and blue ruffles and danced with absolute conviction.

The playing seemed very much together under the direction of Maestro Grant Gershon, and the woodwinds sounded peculiarly lovely. The chorus likewise had a cohesiveness to be admired. In fact all of the singing and interim was impressive, from the supernumerary miners and dancing girls upward to the youthful leads.

Much, if not all, of the opera'south text comes from original sources rather than from librettist/director Peter Sellars, and equally such, there is a lot more telling than showing. There is little in the fashion of dialogue and information technology isn't e'er easy to sympathise what exactly is going on since the characters sing at us rather than interact with each other. This is especially prominent for Dame Shirley, whose words are all her own, fatigued from her letters. In this leading function is soprano Julia Bullock and her fine voice seems wasted on lines enumerating mining terms she doesn't understand and the like.

The parts of the libretto that piece of work best are based on songs or verse, as with the miners' songs sung by the chorus or the Cantonese rhymes brought to life by talented soprano Hye Jung Lee as prostitute Ah Sing. Mezzo-soprano J'Nai Bridges is a dignified Josefa Segovia, a Mexican-American woman who kills her would-exist rapist Joe Cannon and is after judged guilty of murder and hanged. Her words come from poems by Alfonsina Storni.

I actually wanted to like this opera as it features John Adams, my dwelling house state, and a brilliant cast that includes many people of color. Only sadly I plant myself rather bored, especially during the offset act (the 1 bright spot being Davóne Tines' aria equally Ned Peters at the end). It felt more like a discombobulating lecture in a dream than an opera, though I'll requite the piece some other chance next week, as information technology is in my subscription.

* Tattling *
The orchestra level and boxes looked very full, and standing room had a respectable oversupply at the rail. A standee did collapse during Act I, simply was apparently fine and did not demand to be taken out of the hall.

The audience was very polite, and tried to handclapping after some of the principal arias, but was near enthused by the Spider Trip the light fantastic toe. The opera did go a standing ovation, though I might accept heard someone mutter that Peter Sellars deserved a pie in the face up.

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Source: https://operatattler.typepad.com/opera/2017/11/sf-opera-girls-of-the-golden-west-review.html

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