Although I already had seen performances of the second of the four operas of Wagner’s “Ring of the Nibelung”. Die Walküre, on two occasions [Historical Performances: Die Walküre with Nilsson, Hotter, Rysanek, Suthaus and Rankin, San Francisco Opera in Los Angeles, November 4, 1956 and Historical Performances: Vickers, Shuard, Resnik in “Die Walküre” – San Francisco Opera, October 10, 1963], this was my first chance to be present at a performance of any of the other three “Ring” operas.

Present Day Thoughts on a 1967 “Rheingold”

My reaction to this, my first ever “Rheingold”, was that it was a fine performance with a solid international cast. However, in the retrospect of what soon will be six decades, I regard its 1967 mounting as an important step in the furtherance of several initiatives associated with the San Francisco Opera’s general director (1954-1981), the formidable Austrian emigre Maestro Kurt Herbert Adler.

[Photo: Kurt Herbert Adler, based on the album cover photograph for the 1978 London Records “Adler of the Opera” recording].

IIn my “historical reviews” of San Francisco Opera performances occurring between my first opera in 1955 and the company’s 1967 season, I have alluded to various initiatives of the company’s “Adler years”. These include the following:

(1) Adler’s close association with European conductors and opera administrators, who assisted Adler in identifying major operatic talents (including singers, conductors and stage directors), and,

(2) Adler’s efforts to assist the careers of American artists, which included the creation of one of the first American young artists’ programs (the Merola Program) in 1957.

Adler, who had been San Francisco Opera’s artistic director for four years before being officially named the general director of the San Francisco Opera, the second in its history, in 1957. He succeeded the company’s founding director, Gaetano Merola.

Merola’s tenure had been associated by performances of many of the most important 20th century opera singers from the company’s founding in 1922 through 1953, the year of Merola’s death. Adler had continued Merola’s practice of securing major singers. The Adler era introduced many operatic masterpieces and significant opera productions to the companhy’s performance repertory to strengthen further the company’s international reputation.

A notable absence in San Francisco Opera’s mid-century repertory offerings was Wagner’s four-opera “Ring of the Nibelung”. The four operas had been performed together once by the company in 1935 with a cast for the last three “Ring” operas led by Danish-American heldentenor Lauritz Melchior, Norwegian soprano Kirsten Flagstad and Austrian bass-baritone Freidrich Schorr.

Although “Walküre” was performed in several seasons since that first “Ring”, there was no occasion since 1935 that the last two “Ring” operas had been performed in the same season, although in 1947 Swedish heldentenor Set Svanholm would perform the Siegfried role in “Götterdämmerung” and would return the next season in the title role of “Siegfried”.

Adler had been preparing for a new San Francisco Opera “Ring” during the mid-1960s. The plans included new productions created for San Francisco Opera of each “Ring” opera. Originally, the plan was for Wagner’s grandson, Wieland Wagner, to produce and direct the “Ring” (as well as “Tristan”), but his death the previous year required Adler to develop alternative plans for these productions.

Adler’s plans included “RIng cycles” scheduled for the 1972 season, featuring Swedish Wagnerian superstar Birgit Nilsson as Brünnhilde. The 1967 “Rheingold” and the other three operas – one per year – would be performed in new productions created by German director Paul Hager and Austrian designer Wolfram Skalicki.

It is noteworthy that in San Francisco Opera history, only two artists – Lauritz Melchior in the 1930s and Set Svanholm in the 1940s – had sung the role of Siegfried in both of the operas in which that character appears. The choice of the new “Ring’s” Siegfried was an important consideration.

There was an artist who was particularly associated with both Adler’s investment in young American artists who was both a graduate of the Merola program and had achieved success in performing Wagner roles in Europe. That artist was South Dakota tenor Jess Thomas.

Jess Thomas’ Loge

[Photo: Jess Thomas as Loge; edited image, based on a Robert Cahen photograph, courtesy of the San Francisco Opera Archives.]

Looking back on this “Rheingold” performance decades later, I am aware that only one member of the cast would take part in the 1972 performances of the full “Rings” – Jess Thomas. I suspect that the “Rheingold” performance – a preview of the first part of the Hager/Skalicki production – was an opportunity for Thomas to perform a role in a 1972 “Rheingold”, should the schedule of performances of the four “Ring” operas permit that.

Obviously, Thomas was the candidate for the roles of Siegmund (“Walküre”). and Siegfried in the last two operas. He would become the third tenor in San Francisco Opera history – after Melchior in the 1930s and Svanholm in the 1940s – to sing both of the demanding Siegfried roles.

Less than a month earlier, Thomas had added the dramatic role of Wagner’s “Tristan” to his repertory [Historical Performances: Wagner’s “Tristan und Isolde” starring Jess Thomas, Irene Dalis and Mignon Dunn – San Francisco Opera, November 5, 1967]. His success as Tristan was confimation that he had the vocal durability to assay the lead tenor roles in the second, third and fourth operas of the “Ring”.

“Rheingold” has three tenor roles – Mime, Froh and Loge – the latter being the “trickster” god, known in Norse legend (and to Disney’s Marvel Cinematic Universe) as Loki. Wagner’s Loge is based not only on the Norse Loki, but also incorporates attributes of the “fire god” Logi (thus Wotan’s reference to him as he summons the “Magic Fire” at the conclusion of “Die Walküre”).

Thomas chose to play Loge, showing his acting skills for this significant “character tenor” role. In 1972, the schedule of “Rings” assured he would sing all of the Siegmund and Siegfried performances, with no time available for a Thomas Loge in 1972, but his 1967 Loge is a happy memory.

It is the Wagnerian repertory for which Thomas is best known. I have previously reported on his Wagnerian opera performances as Walther [Historical Performances: Jess Thomas’ Victorious “Die Meistersinger” – San Francisco Opera, September 11, 1965], Tannhäuser [Historical Performances: Jess Thomas’ “Tannhäuser” with Régine Crespin, Janis Martin and Thomas Stewart – San Francisco Opera, October 22, 1966] and Tristan (He also performed the title role of “Lohengrin” in 1965, but my schedule pursuing a college degree prevented me from attending any of his three performances.)

Besides his Wagner roles, I also had seen him perform the roles of Mario Cavaradossi [Historical Performances: “Tosca” with Marie Collier, Jess Thomas and Ramon Vinay – San Francisco Opera, October 21, 1965], and two days later, that of Bacchus [Historical Performances: “Ariadne auf Naxos” with Hillebrecht, Thomas, Grist, Vanni – San Francisco Opera, October 23, 1965].

David Ward’s Wotan and John Modenos’ Alberich

[Photo: Wotan (David Ward, right) and Alberich (John Modenos, left) have very different ideas on how to use the power of the Nibelung Ring; edited image, basd on a production photograph, courtesy of the San Francisco Opera Archives.]

Of the several roles in “Rheingold”, the strongest impression is often made by the artist who plays the King of the Gods, Wotan. Scottish bass David Ward, in his San Francisco Opera debut, proved to be vocally strong and dramatically effective.

Subsequently, Ward traveled with the company to Los Angeles in Spring 1969, where he performed the “Walküre” Wotan. After that he was engaged by the company two more times – as Sarastro in the Fall 1969 production of “The Magic Flute”, and 13 years later, as Heinrich der Vogler in Wagner’s “Lohengrin”. The latter performance took place only a half year before Ward’s death at age 61.

Irene Dalis’ Fricka

[Photo: Mezzo-soprano Irene Dalis; edited Opera San Jose image, from a 2013 article.]

California mezzo-soprano Irene Dalis, who had the previous month sang a series of Isoldes to Jess Thomas’ Tristans performed the role of Wotan’s imposing wife, Fricka.

This was my sixth occasion to attend Dalis performances at San Franciso Opera, where she performed during the 1957 through 1973 seasons. Before her Isolde, I was present for her performances as the Empress’ Nurse [Historical Performances: The Woman Without an Equal: Leonie Rysanek in “Frau ohne Schatten”: San Francisco Opera, September 24, 1960 and Historical Performances: Ella Lee, Dalis, Kuchta, Waechter, Martell in “Frau ohne Schatten” – San Francisco Opera, September 26, 1964], Ortrud [Historical Performances: Sandor Konya, Irene Dalis in “Lohengrin” – San Francisco Opera, October 27, 1960], Marina [Historical Performances: An American “Boris Godunov” Starring Tozzi and Dalis – San Francisco Opera, September 21, 1961[, the Princess Eboli [Historical Performances: Konya, Tozzi, Dalis, Thomas Stewart in “Don Carlo” at San Francisco Opera – September 22, 1962] and Kundry [Historical Performances: Konya, Dalis, Waechter, Tozzi in “Parsifal” – San Francisco Opera, September 12, 1964].

She was my first ever Amne in “Frau ohne Schatten”, Ortrud in “Lohengrin”, Marina Mnishek in “Boris Godunov”, Pricess Eboli in “Don Carlo”, Kundry in “Parsifal” and Isolde.

Dalis sang at San Francisco Opera in ten seasons during the period 1957 through 1973. Although she returned in seasons 1969, 1971 and 1973 for roles in operas by Janacek, Verdi and Richard Strauss, this was her final performance of a Wagner role for San Francisco Opera.

Arlene Saunders’ Freia, Rod McWherter’s Froh and Delme Bryn-Jones’ Donner

[Photo: Soprano Arlene Saunders was Freia; edited image, based on a historical photograph.]

Wotan’s and Fricka’s daughter Freia, whose kidnapping by the giants Fafner is one of the major plot points of “Rheingold”, was sung impressively by soprano Arlene Saunders.

Earlier in the 1967 season Saunders had performed the title role of “Louise” [Maestro Jean Périsson Leads Arlene Saunders, John Alexander, Nicola Rossi-Lemeni and Sona Cervena in Impressive Performance of Charpentier’s “Louise” – San Francisco Opera, October 13, 1967] and as Marguerite in “Faust” [ Historical Performances: Gounod’s “Faust” Starring Kraus, Ghiaurov, Saunders and Wixell – San Francisco Opera, November 4 and November 12, 1967]. She would return to San Francisco Opera once more in 1971, as Eva in Wagner’s “Die Meistersinger”.

Pennsylvania tenor Rod MacWherter portrayed nine roles in seven operas in the 1967 San Francisco Opera season, his only appearances with the company. The most important, to me, were his two Wagnerian assignments, Melot in “Tristan und Isolde” and Froh in “Rheingold”.

The music assigned to Froh, the rainbow god, in the closing scene of “Rheingold” is among the “Ring’s” most stunningly lyrical passages.

Welsh baritone Delme Bryn-Jones performed the role of Donner, the god of thunder, with distinction. He was another artist whose appearances with the San Francisco Opera occurred only during its 1967 season. I previously had reported on his Lescaut [Historical Performances: Dorothy Kirsten and Robert Ilosfalvy in Puccini’s “Manon Lescaut” – San Francisco Opera, October 14, 1967] and Schaunard [Historical Performances: “La Boheme” starring Luciano Pavarotti and Mirella Freni – San Francisco Opera, November 19, 1967].

Mignon Dunn’s Erda, Thomas O’Leary’s Fafner, Josef Greindl’s Fasolt and Robert Glover’s Mime

[Photo: the giants Fafner (Thomas O’Leary, right) and Fasolt (Josef Greindl, left) engage in a fatal argument; edited image, based on a production photograph, courtesy of the San Francisco Opera Archives.

In one of the critical passages in the entire “Ring” mezzo-soprano Mignon Dunn sang the contralto notes of the goddess Erda’s ominous warning ‘Weiche, Wotan, weiche!’, that he must flee from the Ring that the Nibelung Alberich has cursed.

This was the third of Dunn’s impactful 1967 performances of major roles displaying vocal power in the mezzo range. She previously had appeared as Brangäne in “Tristan” and Ulrica [Historical Performances: Leontyne Price Stars in “Ballo In Maschera’s” Boston-version revival – San Francisco Opera, November 18 and 26, 1967]. She would not return to San Francisco Opera during the Adler era which ended in 1981, appearing only one more time, in 1982, as Baba the Turk in Stravinsky’s “The Rake’s Progress”.

Performing the role of Fafner was bass Thomas O’Leary, who had assumed major bass roles during the 1965, 1966 and 1967 seasons, including Arkel in Debussy’s “Pelleas et Melisande”, Sarastro in Mozart’s “The Magic Flute” and Banquo in Verdi’s “Macbeth”. He would not return to the San Francisco Opera after this performance.

This was also German baritone Joseph Greindl’s final San Francisco Opera performance. He appeared only in the 1967 season, previously as Baron Ochs in “Rosenkavalier” [[Historical Performances: Régine Crespin, Sylvia Anderson, Reri Grist and Josef Greindl Shine in Elegant “Der Rosenkavalier” – San Francisco Opera, October 15, 1967] and also as King Marke in the previously mentioned “Tristan und Isolde”.

Canadian character tenor Robert Glover played Alberich’s disloyal servant Mime. Glover had played professional hockey, under his real name of Roy Glover, before being recruited to the 1963 Merola class. He chose the name Robert Glover for his opera performances, including, in mid-1965, his San Francisco Opera Spring Opera debut and in Fall 1965, his main company debut.

Among Glover’s many company performances were as Vitek in the 1965 American premiere in Berg’s “Lulu” and the four character tenor roles in SPOT’s “Tales of Hoffmann” [Historical Performances: Nicholas di Virgilio, Simon Estes Lead Impressive Cast in “Tales of Hoffmann” San Francisco Opera’s Spring Opera Theater [SPOT] – June 23, 1967]. Glover returned for the San Francisco Opera’s 1968 season and the revival of “Rheingold” Mime in the Spring 1969 San Francisco Opera tour to Los Angeles, his final performances for the company.

Sheila Marks’ Woglinde, Marija Kova’s Wellgunde and Sylvia Anderson’s Flosshilde

[Photo: The Rhinemaidens guard the Rhine gold; edited image, based on a prodction photograph, courtesy of the San Francisco Opera Archives.]]

The three Rhinemaidens were performed by Colorado soprano Sylvia Anderson (Flosshilde), soprano Sheila Marks (Woglinde) and mezzo-soprano Marija Kova (Wellgunde).

Anderson, earlier in the season, had starred as Octavian the “Der Rosenkavalier” production cited above. She would perform both lead and ‘comprimario’ roles in the four San Francisco Opera seasons 1967 through 1970.

Marks (a 1966 and 1967 Merola program artist) performed significant ‘comprimario’ roles in the San Francisco Opera’s 1967, 1968 and 1969 seasons, and starred as Countess Almaviva in the company’s 1969 Spring Opera production of Mozart’s “The Marriage of Figaro”.

Kova had performed in the company’s 1966 Spring Opera production of Thomas’ “Mignon” and several ‘oomprimario’ roles in the 1967 San Francisco Opera season.

Maestro Leopold Ludwig and the San Francisco Opera Orchestra

Conducting the San Francisco Opera Orchestra was Maestro Leopold Ludwig, who had been a principal conductor for the company from its 1958 through its 1965 seasons.

Ludwig returned to the company to conduct its 1967 “Rheingold” and 1968-69 “Walküre” productions, but did not return to the company after those “Walküre” performances.

Paul Hager’s Direction and Set Designs by Wolfram Skalicki and Davis L. West

[Photo: David Ward as Wotan; edited image, based on a Robert Cahen photograph, courtesy of the San Francisco Opera Archives.]

German director Paul Hager joined the San Francisco Opera as principal director, beginning with the 1954 season and remained with the company through 1973.

Hager was director, assisted by his wife Ghita Hager, for each of the four operas of the “Ring”, and the presentatation of all four in 1972.

Austrian designer Wolfram Skalicki created the “RIng’s” sets and costumes. Beginning in 1962 and throughout the next decade and a half, Skalicki’s creations were essential to a significant part of the company’s repertory. Productions with set and costume designs attributed to Wolfram and, often, also to his wife Amerei, were revived into the first decade of the 21st century.

Skalicki’s designs were first seen in the 1962 San Francisco Opera season, most notably his original costumes to accompany a Zeffirelli production “Don Giovanni” imported from the Dallas Opera [Historical Performances: “Don Giovanni” with Tozzi, De Los Angeles, Schwarzkopf, Evans and Lewis in Zeffirelli’s Production – San Francisco Opera, October 20, 1962].

The company turned to Skalicki for many new productions, including Tchaikovsky’s “Pikovaia Dama” [Historical Performances: “Queen of Spades” with McCracken, Kirsten, Resnik – San Francisco Opera, October 5, 1963], “Fidelio [Historical Performances: Birgit Nilsson, Jon Vickers, Geraint Evans in “Fidelio” – San Francisco Opera, October 17, 1964], Katerina Ismailova [Historical Performances: Shostakovich’s “Katerina Ismailova” with Marie Collier, Jon Vickers – San Francisco Opera, October 31, 1964] and “Les Troyens [Historical Performances: Crespin, Vickers in first American production of Berlioz’ “Les Troyens” – San Francisco Opera, November 12, 1966].

This would not be my last opera performance of 1967. My next operatic performance would be my first opera presented by an organization that was not the San Francisco Opera or its subsidieary, the Spring Opera Theatre [SPOT].

Elektra (Richard Strauss), San Francisco Opera, June 7(m), 11, 14(m), 19, 23 and 27, 2026.

[Phoro: a scene from Keith Warner’s production of “Elektra”, scheduled for revival by the San Francisco Opera; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Keith Warner’s production of “Elektra”, created for the San Francisco Opera and two European companies is extraordinary. I quote from my 2017 review, cited below: “British director Keith Warner conceptualized the opera as an introspective exploration of the symbolic contents of one’s mind (Elektra’s) that relate to a traumatic event (the murder of her father by her mother and her mother’s paramour). Because Elektra’s story takes place in ancient times in the Mycenae, he decided to set the opera in an antiquities museum.”

Elektra is sung by Austrian soprano Elena Pankratova, in her San Francisco Opera debut. She is joined by Austrian mezzo Michaela Schuster as Klytemnestra, French soprano and former Merola Young Artist and 2005-2007 San Francisco Opera Adler Fellow Elza van den Heever as Chrysothemis, Wisconsin baritone Kyle Ketelsen as Orest and Florida tenor William Burden as Aegisth.

The production’s sets were created by Slovakian designer Boris Kudlicka, the costumes by French designer Kasper Glarner. The revival is staged by German director Anja Kühnhold. Maestra Eun Sun Kim conducts.

For my review of the original production, see: Review: San Francisco Opera’s “Elektra” – Goerke, Pieczonka in a Gory, Gloriously Sung Night at the Museum – September 9, 2017.

Madama Butterfly (Puccini), Santa Fe Opera, July 3, 8, 11, 17, 24, August 3, 8, 10, 15, 20, 26 and 29, 2026.

[Photo: Butterfly (Kelly Kaduce) explains to Suzuki (Elizabeth DeShong) why she must not lose hope in 2010’s performances of Lee Blakeley’s production; edited image, based on a Ken Howard photograph, courtesy of the Santa Fe Opera.]

Santa Fe Opera’s 2026 season opens with a revival of the late British director Lee Blakeley’s impressive production of Puccini’s “Madama Butterfly”, previously performed in the Santa Fe Opera’s 2010 and 2018 seasons.

Taiwanese soprano Karen Chia-Ling Ho (Cio-Cio San), New York soprano Sun-Ly Pierce (Suzuki) and Taiwanese tenor Ya-Chung Huang (Goro) make their Santa Fe Opera debuts.

Pennsylvania tenor Stephen Costello is Pinkerton for the first ten performances. In the August 26 and 29th perofrmances, Pinkerton is sung by Ohio tenor Jonathan Burton.

Pennslvania baritone Jarrett Ott is Sharpless. South Korean baritone Yeong-taek Yang is Prince Yamadori. Chinese tenor Le Bu is the Bonze and California soprano Alissa Goretsky is Kate Pinkerton.

State of Washington Maestro John Fiore conucts. The revival is staged by Illinois director Melanie Becaling. The scenic design and costumes, as in the 2010 and 2018 mountings, are respectively the work of French set designer Jean-Marc Puissant and German costume designer Brigitte Reiffenstuel.

For my reviews of Lee Blakeley’s 2010 and 2018 Santa Fe Opera production, see: Review: Kaduce’s Incandescent Cio-Cio-San, Jovanovich’s Injudicious Pinkerton, Emblazon Blakeley’s “Butterfly” – Santa Fe Opera, July 16, 2010 and Review: A Stunning “Madama Butterfly” Starring Kelly Kaduce – Santa Fe Opera, June 30, 2018.

The Magic Flute (Mozart), Santa Fe Opera, July 4, 10, 19, August 4, 13, 22, 25 and 28, 2026.

[Photo: Designer Robert Perdziola’s costume for the Queen of the Night; edited image from christopherluscombe.com.]

Shakespearean theater and operatic director CHirstopher Luscombe makes his Santa Fe Opera debut, creating a new production of Mozart’s “The Magic Flute” for the company. His production incorporates sets by British designer Simon Higlett and costumes by Pennsylvania designer Robert Perdziola.

Canadian tenor Josh Lovell is Tamino. New York soprano Joelle Harvey is Pamina. Illinois bariotne Will Liverman is Papageno, Romanian bass Alexander Kopecki is Sarastro. and Wisconsin soprano Jeni Houser is the Queen of the Night.

The Queen’s three ladies are VIrginia soprano Jasmin Ward, Maryland mezzo Deanna Ray Eberhart and Illinois mezzo Lauren Randolph. The Speaker is Chinese bass-baritone Le Bu. Connecticut tenor Spencer Hamlin is Monostatos.

English Maestro Harry Bicket conducts.

Eugene Onegin (Tchaikovsky), Santa Fe Opera, July 18, 22, 31, August 6, 12 and 19, 2026.

[Photo: Eugene Onegin (here, Lucas Meachem) in the production’s 2021 Santa Fe Opera premiere.]

Five principal artists are in their debut Santa Fe Opera season, four debuting in this production – Italian baritone Mattia Olivieri (Onegin), Ukrainian soprano Olga Kulchynska (Tatyana), Peruvian tenor Ivan Ayon-Rivas (Lensky) and Azerbijani mezzo Elmina Hasan. Alexander Kopecki is Prince Gremin.

Returning for this production, created for the Santa Fe Opera in 2021, are Italian director Alessandro Talevi, Northern Ireland’s Scenic and Costume Designer Gary McCann and New Zealand choreographer Athol Farmer.

Wisconsin Maestra Keri-Lynn Wilson conducts the first four performances (through August 6). Canadian Maestro Robert Tweten conducts the last two performances (August 12 and 19).

For my review of a 2021 perofmrance of this production, see:Review: Santa Fe Opera’s “Eugene Onegin”, Musically Appealing, Visually Striking – July 24, 2021,

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For discussion of other opera oerformances to be reviewed, that were described in previous posts in this “Quests and Anticipations” series, see:

The San Francisco Opera performances of “La Boheme”, see: In Quest of Santa Fe Opera and San Francisco Opera 2025 and 2026 Productions.

“Boheme” is Puccini’s (and arguably, the operatic repertory’s) most famous work. In the twelve years in which I experienced my first operatic performances, I had only seen “La Boheme” two previous times. Both of these “Bohemes” were star-studded San Francisco Opera performances.

My first “Boheme” was in 1962, featuring Spanish soprano Victoria de los Angeles as Mimi, with Italian tenor Renato Cioni as Rodolfo [Historical Performances: de los Angeles, Cioni, Horne, Baccaloni in “La Boheme” – San Francisco Opera, October 22, 1962].

In 1965, I experienced my second “Boheme”, in which Hungarian tenor Sandor Konya was Rodolfo and Italian soprano Renata Tebaldi was Mimi [Historical Performances: “La Boheme” with Renata Tebaldi, Sandor Konya – San Francisco Opera, September 23, 1965].

The opera’s arias and duets for the Rodolfo and Mimi (and the third act duet between Mimi and Marcello) have always been among my favorite operatic passages

Luciano Pavarotti’s Rodolfo and Mirella Freni’s Mimi

[Photo: Luciano Pavarotti as Rodolfo; edited image, based on a production photograph, courtesy of the San Francisco Opera Archives.]

I was seated in my Sunday matinee seat, awaiting confirmation that the tenor who had created such a buzz with San Francisco critics a few days earlier, was as amazing as the press reported.

Pavarotti’s vocal performance was extraordinary, exhibiting the attractive lyrico-spinto voice which the world would come to love. At this point in the latter half of the 1960s, Pavarotti was still relatively unknown.

Remarkably, in an era when the “stand at the place onstage that best favors your voice and sing from there” operatic tradition was giving way to a greater presence of singers who “act” intelligently. The 32-year old Pavarotti displayed an attention to the stagecraft of the performance’s stage director, Matthew Farruggio.

[Photo: Luciano Pavarotti, right as Rodolfo, with Mirella Freni, left, as Mimi; edited image, based on a production photograph, courtesy of the San Francisco Opera Archives.]

I regard “Boheme” as an excellent vehicle for assessing not only the tenor voice. It is the passages betwen Rodolfo and Mimi that begin with the aria ‘Che gelida manina’ in which Rodolfo formally introduces himself to the enchanting lady who has unexpectedly knocked on his apartment’s door. T

he exchange of arias between Pavarotti and Freni’s Mimi culminates in an ardent duet in which the two artists express their strong attractions to one another that, well sung, is a highlight if the operatic experience.

At the first act’s end, the opera house audience erupted into a sustained ovation. The audience for the third of the San Francisco season’s five strongly-cast “Boheme” performances, confirmed the presence of a new tenor sensation, performing with a world class Mimi.

Pavarotti’s five performances towards the end of San Francisco Opera’s 1967 season proved to be one of the highlights of the final decade and a half of the company’s General Director, Kurt Herbert Adler.

San Francisco Opera provided Pavarotti the opportunity for significant role debuts – Fernando in Donizetti’s “La Favorita”, Rodolfo in Verdi’s “Luisa Miller”, Manrico in Verdi’s “Il Trovatore”, Calaf in Puccini’s “Turandot” and Radames in Verdi’s “Aida”. In addition, Pavarotti’s vocal career was enhanced by his studies with Adler’s Music Director, Otto Guth.

It is instructive, that, although Pavarotti’s San Francisco Opera debut occurred in a Puccini role, that between San Francisco Opera’s 1967 and 1973 seasons, Pavarotti performed six roles – the aforementioned role one by Puccini, in 1967 and 1969, one by Verdi (Riccardo in “Ballo in Maschera”) in 1971 and three by Donizetti (Edgardo in “Lucia di Lammermoor” in 1968 and 1972), Nemorino in “L’Elisir d’Amore” in 1969 and Fernando in “La Favorita” in 1973.

Thus Pavarotti performed a Verdi role in one San Francisco Opera season, a Puccini role in two seasons and three Donizetti roles in four seasons. On the success of his Edgardo, his Nemorino and his Fernando, I had no problem regarding him as the leading ‘bel canto’ tenor of this moment in operatic performance history.

During my 2009 interview Iconducted with the then General Director of the San Diego Opera, Australian-born director Ian Campbell [Interview with San Diego Opera’s Ian Campbell, Part II] he gave his account of key events in Pavarotti’s ascending career in the three years prior to his San Francisco Opera debut. Campbell’s responses in that interview were illuminating insights into keystones in Pavarotti’s career before his 1967 San Francisco Opera debut.

[Photo: Mirella Freni as Mimi; edited image, based on a production photograph, courtesy of the San Francisco Opera Archives.]

The excitement surrounding Pavarotti’s five 1967 performances might have stolen some of the limelight from the debut season of his co-star Mirella Freni. However, she performed brilliantly in the first of five seasons she sang with the San Francisco Opera..

She would not return until San Francisco Opera’s 1983 season, when she performed the title role in another Puccini masterpiece, “Manon Lescaut”, opposite tenor Ermanno Mauro. I have remarked that in my decades of attending San Francisco Opera performances there were two Saturday night performances in which the ovation, which included widespread foot-stomping, was so loud that it seemed to shake the War Memorial Opera House. The first of these perforances was a 1977 “Tosca” with Italian superstar Magda Olivero in the title role. The second was the 1983 Freni-Mauro “Manon Lescaut”.

Also memorable were her three additional seasons – 1985, when Freni performed the title role of Cilea’s “Adriana Lecouvreur” on the season’s opening night; 1986, in which Freni sang the role of Tatyana to her husband Nikolai Ghaiurov’s Gremin in Tchaikovsky’s “Eugene Onegin: and 1988, when she and Pavarotti both returned for performances of “Boheme” that resulted in a recording for DVD.

Ingvar Wixell’s Marcello and Jeanette Scovotti’s Musetta

Swedish tenor Ingvar Wixell was a sonorous Marcello, excelling in the inspired music of the character’s arias and duets.

Wixell had made his San Francisco Opera debut a month earlier as Sergeant Belcore in Donizetti’s “L’Elisir d’Amore” [Historical Performances: Grist, Kraus, Wixell and Bruscantini Excel in Lotfi Mansouri’s Lively Production of “L’Elisir d’Amore” – October 29, 1967]. Earlier in November, Wixell had performed the role of Valentin [Historical Performances: Gounod’s “Faust” Starring Kraus, Ghiaurov, Saunders and Wixell – San Francisco Opera, November 4 and November 12, 1967].

I had admired the vocal fireworks of New York soprano Jeanette Scovotti’s Queen of the Night earlier in the season [Historical Performances: Geraint Evans, Stuart Burrows, Jane Marsh Welcome “The Magic Flute” into the San Francisco Opera repertory – September 23, 1967 and October 8, 1967]. Scovotti’s lustrous coloratura-lyric voice with its gentle vibrato was enlisted for the role of Marcello’s on-again, off-again sweetheart, Musetta, which proved to be my last opportunity to attend a Scovotti performance.

Simon Estes’ Colline, Delme Bryn-Jones’ Schaunard and Other Cast Members

Rodolfo’s and Marcello’s Bohemian roommates Colline and Schaunard were performed respectively by Iowa bass Simon Estes and Welsh baritone Delme Bryn-Jones.

Estes’ association with the San Francisco Opera occurred in June as the Four Villians in Offenbach’s “Tales of Hoffmann”. [Historical Performances: Nicholas di Virgilio, Simon Estes Lead Impressive Cast in “Tales of Hoffmann” San Francisco Opera’s Spring Opera Theater [SPOT] – June 23, 1967]. Estes’ San Francisco Opera debut took place three weekends before this “Boheme” in the lead role of Carter Jones in Schuller’s “The Visitation”.

Bryn-Jones’ performances at the War Memorial Opera House were limited to the 1967 season, when, first, he performed the role of Lescaut [Historical Performances: Dorothy Kirsten and Robert Ilosfalvy in Puccini’s “Manon Lescaut” – San Francisco Opera, October 14, 1967]. A few days after this “Boheme”, he would be Donner in Wagner’s “Das Rheingold”.

In the first act the audience observes Rodolfo’s comic interplay with his three Bohemian roommates as they outwit their rent-seeking landlord, Benoit, performede by Italian bass-baritone Federico Davià

Canadian tenor Alan Crofoot was (rather oddly) cast in the bass role of Musetta’s money-bags date, Alcindoro. Tenor L. D. Clements was the toy-seller Parpignol. Bass-baritone Winther Andersen was a Customhouse Sergeant. Baritone Colin Harvey was a Customhouse Guard.

Maestro Mario Bernardi’s Conducting, Matthew Farruggio’s Direction and George Jenkins’ Production

Canadian Maestro Mario Bernardi continued a demanding San Francisco Opera debut month in which he led the San Francisco Opera Orchestra and Chorus in nine performances – five of “Boheme” and four of “Ballo in Maschera” – between November 11th and 26th.

As with the “Ballo” [Historical Performances: Leontyne Price Stars in “Ballo In Maschera’s” Boston-version revival – San Francisco Opera, November 18 and 26, 1967], both Orchestra and Chorus performed brilliantly under Maestro Bernardi’s direction.

[Photo: Director Matthew Farruggio; edited image of an histsorical photograph.]

The “Boheme” director was Matthew Farruggio, whose career with the San Francisco Opera had, early on, been centered in the Young Artists’ programs and the Spring Opera Theater [SPOT].

[See my remarks about Farruggio in a previous historical performance review [Historical Performances – “Rigoletto” with Glossop, Kraus, Grist and Kreppel – San Francisco Opera, October 16, 1966].

Farruggio would return in 1969 to direct Pavarotti again in “Boheme” (with Dorothy Kirsten). He would continue to direct operas in both the Spring Opera Theater and regular San Franciso Opera seasons through Fall, 1989.

One last opera remained on my performance schedule, Wagner’s “Das Rheingold”, the first salvo in the preparation for complete performances of Wagner’s four-opera “Ring of the Nibelung”, scheduled for the 1972 season.

The “Boheme” sets were a 1957 production. They were among the three San Francisco Opera productions created by Maryland =borndesigner and architect George Jenkins in the company’s 1956 and 1957 seasons.

I saw the other two Jenkins’ productions on their Southern California tours – the “Cosi fan Tutte” [Historical Performances: “Cosi Fan Tutte” with Schwarzkopf, Rankin, Munsel, Lewis and Guarrera, San Francisco Opera in San Diego, October 25, 1956] and the “Ariadne auf Naxos” [Historical Performances: Young Rysanek Promotes Strauss – “Ariadne auf Naxos” at L. A.’s Shrine Auditorium, San Francisco Opera, November 1, 1957].

Jenkins’ “Cosi” production was last performed by San Francisco Opera in 1963. The “Boheme” would be seen in San Francisco in 1969 and 1973 and the “Ariadne” in 1977.

On the third and fourth weekends II attended two performances of”Ballo”, one from my Saturday night seat on November 18, the other eight days later from my first row Sunday matinee seat.

Leontyne Price’s Amelia

[Photo: Amelia (Leontyne Price) searches the land around a gallows for an herb whose properties repress emotions of sexual attraction; edited image, based on a production photograph, courtesy of the San Francisco Opera.]

Saturday night provided my first opportunity of the season to see soprano Leontyne Price, repeating the role of Amelia, that she had sung two seasons prior [Historical Performances: “Ballo in Maschera” with Leontyne Price and Sandor Konya – October 31, 1965].

The revival of Lloyd Burlingame’s 1965 San Francisco Opera production of “Ballo” was a vehicle for Price’s 1967 appearance at the War Memorial Opera House, and for Swedish tenor Ragnar Ulfung to perform one of his most famous roles. The resulting performances, although well-sung, proved to be dramatic misfires for reasons I will explain below.

A Price performance was one of classical elegance. She exhibited a powerful, expressive voice, which I especially associated with the Verdi repertory. She moved through Burlingame’s “Ballo” sets with uncompromising dignity, appearing first for a private meeting with Ulrica, then searching near a gallows for an herb Ulrica recommended, to be discovered their by Riccardo, then her husband Renato and others, then for a fateful scene at her home, and finally for the fatal masked ball.

[Photo: Leontyne Price as Amelia; edited image, based on a production photograph, courtesy of the San Francisco Opera Archives.]

In the 1960s, to date, I had seen Price perform in operas of Mozart [Historical Performances: “Don Giovanni” with Leontyne Price’s Donna Anna – San Francisco Opera, October 15, 1965] and Puccini [Historical Performances: Leontyne Price, Sandor Konya in “Madama Butterfly”: San Francisco Opera, September 28, 1961 and Historical Performances: Leontyne Price, Konya, Shaw in “Tosca” – San Francisco Opera, October 3, 1963].

My most vivid memories of her performances were in the operas of Verdi, at this point consisting of the title role of “Aida” [Historical Performances: “Aida” with Price, Konya, Resnik, Shaw and Tozzi – San Francisco Opera, September 21, 1963], the “Ballo” Amelia, cited above, and the “Forza” Leonora [Historical Performances: “Forza del Destino” with Leontyne Price, James McCracken – San Francisco Opera, October 24, 1963 and Historical Performances: “Forza del Destino” with Leontyne Price, Konya, Wolansky – San Francisco Opera, October 9, 1965].

I saw additional Price performances in the San Francisco Opera Fall seasons of 1968, 1971, 1974, 1979, 1981, 1982 and Summer 1984. The future would include the Leonora roles in both Verdi’s ‘Ernani” and Verdi’s “Il Trovatore”. I would see her as Puccini’s Giorgetta in “Il Tabarro” and in the title role of his “Manon Lescaut”.

Ragnar Ulfung’s Riccardo and Reri Grist’s Oscar

[Photo: Oscar (Reri Grist, left) informs Riccardo (Ragnar Ulfung, right) of information he has about a person accused of suspicious activity; edited image, based on a Robert Cahen photograph, courtesy of the San Francisco Opera.]

Normally, I only pair two or more artists under a single heading if there is a particular reason for doing so.

Norwegian tenor Ragnar Ulfung, in his debut season with the San Francisco Opera, assumed the role of Riccardo. Ulfung achieved international recognition for his role in the Swedish Opera’s 1958 production of “Un Ballo in Maschera”, directed by Swedish director and opera administrator Gören Gentele.

Gentele’s production was based on the reign of Swedish King Gustavus III, who was the historical sovereign whose assassination at a masked ball was the historical subject of Eugene Scribe’s libretto for French composer Daniel Auber’s 1833 opera “Gustave III, ou Le bal masqué,” on which Verdi and his librettists based “Un Ballo in Maschera”.

Sweden’s King Gustavus, whose masked ball assassination took place in 1792, is known for his unconventional sex life, whose “fluidity” included adventurous sexual liasons with men.

In Gentele’s production, Ulfung’s Gustavus was engaged in an obvious gay relationship with his young (male) page Oscar, even while pursuing an affair with Amelia, the wife of his most trusted minister, Renato.

Director Lotfi Mansouri was tasked with a seemingly impossible assignment. Ulfung was engaged to replicate his portrayal of the licentious Gustavus, but to perform it surrounded by the 1965 Burlingame “Ballo” production that transferred the action from the Swedish court to Boston, Massachusetts during the Puritan ascendancy.

It admittedly is unusual to pair the Verdian lead tenor Riccardo with the ‘musico’ Oscar, but this action is emblematic of the results of melding Gentele’s and Ulfung’s hypersexualized presentation of an 18th century King of Sweden’s behavior as if that behavior is taking place in an historical Massachusetts under Puritan control.

Verdi’s music for Oscar, which Grist performed with her bright-sounding lyric coloratura, also worked against the supposed Riccardo-Oscar liaison. Grist excelled in the vocal fireworks of Oscar’s principal arias, the first act ‘Volta la terrea’ and the third act “Saper vorreste”.

We in the audience (I saw two performances) watched a tenor playing a puritanical Boston potentate pawing a soprano cast as a young man in the potentate’s employ. The staging failed the credibility test.

Cornell MacNeil’s Renato

[Photo: Cornell MacNeil as Renato; edited image, based on a Robert Cahen photograph, courtesy of the San Francisco Opera Archives.]

Minnesota baritone Cornell MacNeil performed the role of Amelia’s husband and Riccardo’s trusted advisor, Renato.

This was the second MacNeil operatic performance at which I was present. At age 33, MacNeil performed the lyric baritone role of Valentin in Gounod’s “Faust”, my very first opera, 12 years and 15 days prior to the first 1965 “Ballo I attended. [Seem Historical Performances: Peerce, Albanese, Siepi and MacNeil in “Faust”, San Francisco Opera Fall Tour, San Diego, November 3, 1955].

Now 45, having established himself as a princiapl dramatic baritone at the New York Metropolitan Opera and elsewhere, MacNeil was a forceful presence throughout the performance, most notably in Renato’s great final aria ‘Eri tu’.

Mignon Dunn’s Ulrica

[Photo: Mezzo-soprano Mignon Dunn; edited image of an historical photograph from the Manhattan School of Music.]

Ulrica is the second of three roles that Tennessee mezzo-soprano Mignon Dunn was scheduled to perform for the San Francisco Opera in Fall, 1967.

I had previously reported on her Brangäne [Historical Review: Wagner’s “Tristan und Isolde” starring Jess Thomas, Irene Dalis and Mignon Dunn – San Francisco Opera, November 5, 1967]

As Ulrica, Dunn displayed the deep, dark contours of her lower voice, especially in her showcase aria ‘Re dell’abisso affrettati’.

Perhaps the character of the mysterious Ulrica is the best fit for any of Verdi’s characters when ‘Ballo” is set in Massachusetts, where a woman telling fortunes and invoking spirits would raise suspicions of witchcraft.

Ara Berberian’s Samuel, Federico Davia’s Tom, Allan Monk’s Silvano and Other Cast Members

Three important artists associated with major ‘comprimario’ roles first performed at the San Francisco Opera in the mid-60s – Michigan bass Ara Berberian beginning in 1965, Italian bass-baritone Federico Davià beginning in 1966 and Canadian baritone Allan Monk, beginning in 1967.

Berberian and Davià respectively portrayed the conspiratorial noblemen, Samuele and Tommaso. Monk was the sailor Silvano.

The remaining cast members were L. D. Clements as the Judge and John Beauchamp as Amelia’s Servant.

Maestro Mario Bernardi and Other Crew Members

[Maestro Mario Bernardi; edited image of a historical photograph, from the National Arts Council, Ottawa.]

Canadian Maestro Mario Bernardi made his San Francisco Opera debut conducting the San Francisco Opera Orchestra in the season’s first “Boheme” on November 11, and the season’s first “Ballo” on November 14th. In addition to his busy November 1967 schedule, Bernardi would return for several of the seasons throughout the remainder of the 20th century,.

As noted above, the source material for Verdi’s ‘Ballo in Maschera” was the Eugene Scribe libretto for Daniel Auber’s “masked ball” opera. The very next San Francisco Opera season would include three performances of Daniel Auber’s most famous opera, “Fra Diavolo”, which also had a Scribe libretto. The conductor of those performances, which starred Swedish tenor Nicolai Gedda in the title role, was Maestro Mario Bernardi.

The two seasons in which Lloyd Burlingame’s Boston-based “Ballo” production were presented, were Burlingame’s only productions in San Francisco Opera history. However, the revival’s director, Lotfi Mansouri would have a rich San Francisco Opera career, as both director and administrator, becoming the company’s fourth General Director in its history.

[New York City Opera Choreographer Thomas Andrew; edited image from his 1984 obituary.]

I have always referred to the 1967 season as the “Year of the Ballet”

Choreographer Thomas Andrew, whose professional career was centered at the New York City Opera, was responsible for the choreography of the full ballets for “Gioconda” [Historical Performances”: Chester Ludgin, Grace Bumbry in Verdi’s “Macbeth” – San Francisco Opera, October 6, 1967], “Macbeth” [“Historical Performances”: Chester Ludgin, Grace Bumbry in Verdi’s “Macbeth” – San Francisco Opera, October 6, 1967] and “Faust” [Historical Review: Gounod’s “Faust” Starring Kraus, Ghiaurov, Saunders and Wixell – San Francisco Opera, November 4 and November 12, 1967] and the dances for “L’Elisir d’Amore”. He also created the “masked ball” dances for Verdi’s opera.

This was the only season in which Choreographer Thomas Andrew, then only 35 years old, worked with the San Francisco Opera.

The next day’s Sunday matinee was the occasion for the fourth and final performance of a new production of Wagner’s “Tristan und Isolde” starring South Dakota tenor Jess Thomas and California mezzo-soprano Irene Dalis.

Jess Thomas’ Tristan

Two American opera companies – the San Francisco and Santa Fe Operas – had both, ten years earlier, established new initiatives aimed at promoting operatic careers for American artists. Those initiatives – San Francisco Opera Merola Program and Santa Fe Opera Apprentice Program – were beginning to produce the desired results, a generation of young American artists with broad experience in operatic performance.

South Dakota tenor Jess Thomas’ career, to date, included his enrollment in San Francisco Opera’s newly established young artists’ program and several small roles in the company’s 1957 season. Thomas’ repertory expanded through experiences at German opera houses. and his mid-decade San Francisco appearances performing lead roles in operas of Wagner, Puccini and Richard Strauss.

[Photo: Jess Thomas as Tristan; edited image, based on a Dennis Galloway photograph, courtesy of the San Francisco Opera.]

Few experiences are more important to a singer, whose reputation to date has included Wagnerian roles of the first rank, than his debut in the role of Tristan. Jess Thomas’ ascending importance as a Wagnerian ‘heldentenor’ was important not only to the San Francisco Opera, but also to Wagner’s Bayreuth Festival, whose director, Wieland Wagner, was the grandson of composer Richard Wagner, and the great-grandson of composer Franz Liszt.

The performance I attended at San Francisco Opera’s War Memorial Opera House was an extraordinary performance in itself. It was also a celebration of Jess Thomas as representative of the earliest days of a major movement in operatic performance.

For reviews of Jess Thomas performaces during the 1965 and 1966 San Francisco:Opera seasons, see: Historical Performances: Jess Thomas’ Victorious “Die Meistersinger” – San Francisco Opera, September 11, 1965 for his Walther; Historical Performances: “Tosca” with Marie Collier, Jess Thomas and Ramon Vinay – San Francisco Opera, October 21, 1965 for his Mario Cavaradossi; Historical Performances: “Ariadne auf Naxos” with Hillebrecht, Thomas, Grist, Vanni – San Francisco Opera, October 23, 1965 for his Bacchus; and Historical Performances: Jess Thomas’ “Tannhäuser” with Régine Crespin, Janis Martin and Thomas Stewart – San Francisco Opera, October 22, 1966 for his Tannhäuser.

Irene Dalis’ Isolde

[Photo: Irene Dalis as Isolde; edited image of a Margaret Norton photograph, courtesy of the San Francisco Opera.]

General Director Adler’s conversations with Wieland Wagner had included an expression of interest on Wagner’s part in the possibility of California mezzo-soprano Irene Dalis assaying the soprano role of Isolde (there being successful examples of mezzo-soprano Isoldes in the opera’s performance history). When the decision was made to mount a new San Francisco Opera production of the opera, Dalis was persuaded to add the role to her repertory.

I first saw Dalis perform as the Empress’ Nurse [Historical Performances: The Woman Without an Equal: Leonie Rysanek in “Frau ohne Schatten”: San Francisco Opera, September 24, 1960], a role she repeated four years later [Historical Performances: Ella Lee, Dalis, Kuchta, Waechter, Martell in “Frau ohne Schatten” – San Francisco Opera, September 26, 1964.]

My earliest Dalis Wagnerian performance was her Ortrud [Historical Performances: Sandor Konya, Irene Dalis in “Lohengrin” – San Francisco Opera, October 27, 1960]. The other Wagnerian role I saw her perform was Kundry [Historical Performances: Konya, Dalis, Waechter, Tozzi in “Parsifal” – San Francisco Opera, September 12, 1964].

In addition, I saw her perform Marina Mnishek in a “Boris” performance sung in English [Historical Performances: An American “Boris Godunov” Starring Tozzi and Dalis – San Francisco Opera, September 21, 1961] and Princess Eboli [Historical Performances: Konya, Tozzi, Dalis, Thomas Stewart in “Don Carlo” at San Francisco Opera – September 22, 1962].

Attending the fourth and final performance, I found Dalis’ performance to be vocally sound and dramatically persuasive, but Dalis decided against retaining the role in her repertory, so the performance I attended was the last Isolde of her career.

Mignon Dunn’s Brangäne

[Photo: Mezzo-soprano Mignon Dunn; edited image of a publicity photograph.]

Tennessee-born mezzo-soprano Mignon Dunn had made her San Francisco Opera debut as Brangäne just over two weeks prior to the performance I attended.

Dunn would perform two other roles later in the month, both of which exhibited the power in her lower register. She was Ulrica in four performances of Verdi’s “Un Ballo in Maschera”, revived for soprano Leontyne Price.

Subsequently, she joined Jess Thomas and Irene Dalis in a new production of Wagner’s “Das Rheingold”, peforming the role of Erda.

Dunn would return to the San Francisco Opera once more in Spring 1982, just after the retirement of General Director Adler, to sing the role of Baba the Turk in the John Cox production of Stravinsky’s “The Rake’s Progress”, whose sets were designed by the famous English artist David Hockney.

Josef Greindl’s King Marke, Chester Ludgin’s Kurwenal and Other Cast Members

German bass Josef Greindl, who performed Baron Ochs the previous month [Historical Reviews: Régine Crespin, Sylvia Anderson, Reri Grist and Josef Greindl Shine in Elegant “Der Rosenkavalier” – San Francisco Opera, October 15, 1967], proved an unsteady King Marke. He would sing Fafner in “Das Rheingold” later in the month. All his San Francisco Opera performances were limited to the Fall 1967 season.

This was the final performance of the season for New York baritone Chester Ludgin, culminating an impressive series of principal roles in San Francisco Opera’s 1964 through 1967 seasons that included the title role of Verdi’s “Macbeth” a few weeks earlier [“Historical Performances”: Chester Ludgin, Grace Bumbry in Verdi’s “Macbeth” – San Francisco Opera, October 6, 1967]. Ludgin would be absent from the San Francisco Opera ro the next nine years, returning in 1976 for the world premiere of Imbrie’s “Angle of Repose”, the first of several appearances occurring over the next decade.

Others in the cast included Welsh baritone Stuart Burrows as a Sailor’s Voice; Pennsylvania tenor Rod McWherter (in his most significant role to date) as Melot; Canadian tenor (and former hockey player) Roy Glover as a Shepherd and Australian bass Clifford Grand as a Steersman.

Maestro Horst Stein and the San Francisco Opera Orchestra and Chorus

[Photo: German Maestro Horst Stein; edited image of a publicity photograph.]

Maestro Horst Stein had important assignments at San Francisco Opera’s War Memorial Opera House during the 1965 through 1968 seasons. His debut took place in the opening weekend of the Fall 1965 season with Johann Strauss’ “Die Fledermaus” [Historical Performances: “Die Fledermaus” with Mary Costa, Richard Lewis, Reri Grist – San Francisco Opera, September 18, 1965].

Stein was associated with important new productions of “Elektra”[Historical Performances – Deep Casting, Siercke’s Set Design, Result in A Brilliant “Elektra”, San Francisco Opera, September 24, 1966] and “The Magic Flute” [Historical Performances: Geraint Evans, Stuart Burrows, Jane Marsh Welcome “The Magic Flute” into the San Francisco Opera repertory – September 23, 1967 and October 8, 1967.]

Over the next four seasons Stein would conduct Jess Thomas’ San Francisco Opera role debuts as Lohengrin, Bacchus and Tannhäuser, in addition to his Tristan.

Director Paul Hager’s Production

In the mid-1960s, San Francisco Opera’s General Director Kurt Herbert Adler was engaged in discussions with Wieland Wagner, Richard Wagner’s grandson and Director of Germany’s Wagner-centered Bayreuth Festival, to create a new production of “Tristan und Isolde”, starring Jess Thomas, for the San Francisco Opera..

Wieland Wagner had supported the idea of encouraging mezzo-soprano Irene Dalis to assay the role of Isolde. His death in October, 1966 resulted in Adler’s decision to commission a new Paul Hager “Tristan” production for Thomas and Dalis, with sets by Leni Bauer-Ecsy.

[Photo: Leni Bauer-Ecsy’s 1967 sets for “Tristan und Isolde”; edited image, based on a photograph by an unknown photographer, courtesy of the San Francisco Opera.]

Bauer-Ecsy’s “Tristan” sets would return again in the 1970 season, when the opera was revived for soprano Birgit Nilsson, who performed to the Tristan of Wolfgang Windgassen.

Four years later in the 1974 season, Jess Thomas would perform Tristan to Nilsson’s Isolde in a Dietrich Haugk production, conducted by Maestro Kurt Herbert Adler.

Final Thoughts

In my first dozen years (1955-1967) of experiencing live opera performances (all San Francisco Opera performances at the War Memorial Opera House or on the company’s Southern California tour), tenor Jess Thomas was a dominant presence in my introductions to the German repertory.

Thomas was my first Walther in “Die Meistersinger”, my first Tannhäuser and my first Tristan. In a few days he would be my first Loge in “Das Rheingold” and over the next few seasons my first Siegfried in both “Siegfried” and “Götterdämmerung”.

He would, in 1973, also be my first introduction to the operas of Benjamin Britten, as my first Peter Grimes.

Since the year 2006, I have reviewed each of the opera productions mounted by the San Francisco Opera in the War Memorial Opera House, providing each with a letter grade.

Like the seminars associated with Ph.D. programs, I do not grade “on a curve”, but, instead expect that a San Francisco Opera performance of any opera, like a seminar grade for a doctoral student, should be an “A”. In those cases in which I believe the performance was of more than routine interest (and excellence) I give an A+. In previous calendar years, I have given grades as low as a “C”, but in the most recent years, “B” and “C” grades have been rare. 

(I do not use the performance review to discuss whether the company’s management should have chosen a different opera, different director, or different cast, but review whatever opera performances the company has chosen to present.)

Year 2025 Grades

Grade A+

La Boheme (Puccini)

[Phoro: Rodolfo (Pene Pati, left) and Mimi (Karen Chia-Ling Ho, right) agree to make up and spend a few more months together; edited image, based on a Cory Weaver photograph, courtesy of the San Francsico Opera.]

San Francisco Opera’s June season began with nine performances of Puccini’s “La Boheme”, brilliantly sung by casts of artists, almost all of whom had excelled in previous performances at San Francisco’s War Memorial Opera House.

Three leading parts, that of Rodolfo, Mimi and Musetta were divided between two trios of artists. In six of the performances Samoan tenor Pene Pati was Rodolfo, Taiwanese soprano Karen Chia-Ling Ho was Mimi and Maryland lyric soprano Andrea Carroll was Mimi. For the other three performances, those three roles were performed respectively by Minnesota tenor Evan Leroy Johnson, Australian soprano Nicole Car and Minnesota soprano Brittany Renee.

Those trios were joined by the Marcello of North Carolina baritone Lucas Meachem, the Schaunard of Michigan bass-baritone Samuel Kidd and the Colline of the debuting Romanian bass Bogdan Talos. Spanish Maestro Ramon Tebar conducted.

John Caird’s beautifully conceived production was revived by the San Francisco Opera for the third season, with innovations in staging introduced by debuting New York director Katherine M. Carter.

For my performance reviews, see: Review: A Superbly Performed “Boheme”, Starring Pene Pati, Karen Chia-Ling Ho, Andrea Carroll and Lucas Meachem – San Francisco Opera, June 15, 2025

And also; Review: Nicole Car, Evan LeRoy Johnson, Brittany Renee Lead Alternate “La Boheme” Cast – San Francisco Opera, June 13, 2025.

Grade A+

Idomeneo (Mozart)

[Photo: Idomeneo (Matthew Polenzani, right) comforts the Trojan princess Ilia (Ying Fang, left); edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Mozart’s earliest operatic masterpiece, the post-Trojan war drama “Idomeneo” was mounted by the San Francisco Opera for the fifth time in the past 48 years. The cast was led my a powerful perfromance by Illinois tenor Matthew Polenzani, joined by superb singing by Chinese soprano Ying Fang as Ilia and South African soprano Elza van den Heever.

The production, by Austraian director Lindy Hume, emphasized a scenic design employing projections of scenery meant to represent the land of Crete and its surrounding seas. The San Francisco Opera Chorus had a central role, impressively performing as both Trojans and Cretans.

For my performance review, see: Review: A Colorful Production of Mozart’s Melody-Rich “Idomeneo” – San Francisco Opera, June 14, 2025

Grade A+

Rigoletto (Verdi)

[Photo: Rigoletto (Amartuvshian Enkhbat, right) tries to comfort the dying Gilda (Adela Zaharia, left); edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Powerful vocal and dramatic performances from Mongolian baritone Amartuvshian Enkhbat’s RIgoletto and Romanian soprano Adela Zaharia’s Gilda. The strong cast included Chinese tenor Yongzhao Yu as the Duke of Mantua, Texas bass Peixin Chan as Sparafucile and Washington State soprano J’Nai Bridges as Maddalena..

THe opera was staged persuasively by Argentine-born director Jose Maria Condemi, who himself had participated in San Francisco Opera’s Adler Fellowships for young artists two decades earlier. Condemi’s insightful staging took place in Michael Yeargan’s scenic design, inspired by the pairings of Itlaian artist Giorgio di Chirico.

For my performance review, see: Review: Immensely Satisfying “Rigoletto” Performance Led by Amartuvshin Enkhbat and Adela Zaharia – San Francisco Opera, September 13, 2025

Grade A+

Dead Man Walking (Heggie)

]Photo: Sister Helen (Jamie Barton, left) has been appointed spiritual advisor to the condemned Joseph de Rocher (Ryan McKinny, right); edited image, based on a Cory Weaver photograph courtesy of the San Francisco Opera.]

“Dead Man Walking”, Jake Heggie’s most successful opera to date, premiered at the San Francisco Opera in 2000. The company revived the opera to celebrate its 25th anniversary, under the baton of its origiinal conductor, Maestro Patrick Summers.

The principal leads, the nun Sister Prejean and the condemned murderer Joseph de Rocher were powerfully performed by Georgia mezzo-soprnao Jamie Barton and California baritone Ryan McKinny.

Several artists associated with recent performances of the opera assumed principal and comprimario roles. New Mexico mezzo-soprano Susan Graham, who was Sister Helen for the world premiere returned to San Francisco Opera as de Rocher’s Mother.

For my performance review, see: Review: Jamie Barton and Ryan McKinny Excel in 25th Anniversary Revival of Jake Heggie’s “Dead Man Walking” – San Francisco Opera, September 14, 2025.

Grade A+

Parsifal (Wagmer)

[Photo: Parsifal (Brandon Jovanovich) kneels at the altar which holds the Grail; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

F

Director Matthew Ozawa created an elegant new production of Wagner’s final opera. Ozawa’s “Parsifal” vision is richly influenced by the medieval sources of the legends of King Arthur, his knights, and the quest for the Holy Grail.

Montana heldentenor Brandon Jovanovich leads a vocally resplendent cast of singers, including New York baritone Brian Mulligan as Amfortas, Kwangchul Youn as Gurnemanz, Swiss soprano Tanja Ariane Baumgartner as Kundry, and German bass-baritone Falk Struckmann as Klingsor.

For my performance review, see: Review: Brandon Jovanovich Leads Outstanding Cast in Matthew Ozawa’s Attractive “Parsifal” Production

Grade A+

The Monkey King (Ruo and Hwang)

[Photo: The Monkey King (Monkey King Puppet) emerges from the rock in which he long has been imprisioned; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Chinese composer Huang Ruo and California librettist David Henry Hwang have created a masterful operatic treatment of episodes from the Chinese Ming Dynasty classic novel “The Journey to the West”.

The opera’s lead character in Sun Wukong, named the Monkey King, sung by Chinese tenor Kang Wang and danced by Chinese-born dancer Huiwang Zhang.

The prinipal cast mambers include Chinese soprano Mei Gui Zhang, Chinese mezzo-soprano Hongni Wu, South Korean baritone Jusung Gabriel Park, South Korean baritone Joo Won Kang, South Korean tenor Konu Kim, and Chinese-born bass Peixin Chen. The conductor is Taiwanese-born Maestra Carolyn Kuan, an expert in Huang Ruo’s operatic music.

New York designer Diane Paulus directed a lively production, greatly enhanced by the puppetry of California puppeteer Basil Twist and the projections of South Korean designer Hana S. Kim.

The musical performance and physical production is unlike anything ever presented on the San Francisco Opera stage, and heralds new ways of enhancing the operatic experience.

For my performance review, see: World Premiere Run Review: A Visually Spectacular, Musically Brilliant Production of Huang Ruo’s and David Henry Hwang’s “The Monkey King” – San Francisco Opera, November 16, 202

For my performance grades of San Francisco Opera seasons beween 2006 and 2024, see:

Grading San Francisco Opera Performances for Calendar Year 2024

Grading San Francisco Opera Performances for Calendar Year 2023

Grading San Francisco Opera Performances for Calendar Year 2022

Grading San Francisco Opera Performances for Calendar Years 2020 and 2021

Grading San Francisco Opera Performances for Calendar Year 2019,

Grading San Francisco Opera Performances for Calendar Year 2018,

Grading San Francisco Opera Performances for Calendar Year 2017,

Grading San Francisco Opera Performances for Calendar Year 2016.

Grading San Francisco Opera Performances for Calendar Year 2015,

Grading San Francisco Opera Productions for Calendar Year 2014,

Grading San Francisco Opera’s Productions Of Calendar Year 2013,

Grading San Francisco Opera’s Productions Of Calendar Year 2012,  

San Francisco Opera’s Calendar Year 2011 – Another Year of High Caliber Performances,

San Francisco Opera’s Calendar Year 2010 – Straight “A” Average Trending Higher   

Grading Gockley’s San Francisco Opera 2009: Another Straight A Average,

Gockley’s San Francisco Opera in 2008 – A Straight “A” Average,

Gockley’s San Francisco Opera in 2007 – Improving Already High Grades,

Grading David Gockley’s First Year at San Francisco Opera

I attended the second of eight San Francisco Opera performances in the world premiere run of Huang Ruo’s and David Henry Hwang’s opera “The Monkey King”.

With this new work, San Francisco Opera continued its production of operas based on great Chinese classical literature. Nine years ago the first of these extraordinary operas, Bright Sheng’s and David Henry Hwang’s “The Dream of the Red Chamber” was mounted [World Premiere Review: “The Dream of the Red Chamber” Transforms into a Fascinating Opera – San Francisco Opera, September 10, 2016] and revived six years later.

It is one of the strengths of this production that major voices are enlisted for each role in this large cast.

“The Monkey King” is derived from the first part of a Ming Dynasty classic “The Journey to the West”. The classic relates the extraordinary adventures of Sun Wukong, an immortal being named “The Monkey King”, on his journey towards Buddhist enlightenment.

Kang Wang’s Monkey King

[Photo: Kang Wang as the Monkey King; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

In his San Francisco Opera debut, Chinese tenor Kang Wang displayed a lyric-spinto tenor voice, with the power and durability to excel in this challenging role. His character emerges from a rock where he has been imprisioned for 500 years, and comes under the influence of the compassionate deity Guanyin, who persuades him to begin a journey of enlightenment.

Wang’s character is doubled by the incredible Dancer Huiwang Zhang, dressed in an identical costume. Tenor Wang proved himself to be a gifted physical performer, skilled in dance and body movement. In the opera’s final scenes, the Monkey King, who has amassed power, takes to heart the Buddha’s teaching that one cannot achieve a blissful state by amassing self-serving power or power without compassion.

Born in China to professional opera singer parents, Wang moved to Australia as a teenager, pursuing musical studies at Brisbane’s Queensland Conservatorium. An alumnus of the Theater Basel (Switzerland) and New York Metropolitan Opera’s young artists’ programs, Wang was a 2017 finalist in the BBC Cardiff Singer of the World Competition.

Mei Gui Zhang’s Guanyin

[Photo: the deity Guanyin (Mei Gui Zhang), in her lotus leaf, sails across the sky; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Chinese soprano Mei Gui Zhang performed the role of the deity Guanyin, who commits to following and guiding the Monkey King through his travels. Much of Zhang’s ethereally sung performance was spent sailing above the stage in an enclosure representing a lotus leaf.

This is the second San Francisco Opera opera based on classical Chinese themes in which Zhang has participated. She starred in the company’s 2022 revival of Bright Sheng’s and David Henry Hwang’s opera [Review: A Pleasing Revival of “Dream of the Red Chamber” at San Francisco Opera, June 14, 2022]. Each of the three lead roles in that production – Zhang, tenor Konu Kim and soprano Hongni Wu, perform roles in “The Monkey King”.

Zhang also performed lead roles for San Francisco Opera in two standard repertory operas – that of Euridice [Review: Orlinski’s Astounding, Acrobatic Orfeo: “Orfeo ed Euridice”, San Francisco Opera, November 20, 2022] and of Oscar [Review: Michael Fabiano, Lianna Haroutounian Lead a Beautifully Performed, Intelligently Directed “Ballo in Maschera” – San Francisco Opera, September 15, 2024].

A graduate of New York’s Mannes School of Music and a 2018 alumna of San Francisco Opera’s Merola Program and the Metropolitan Opera’s Young Artists’ program, Zhang represented China in the BBC Cardiff Singer of the World Competition.

Jusung Gabriel Park’s Master Subhuti and Buddha

[Photo: Master Subhuti (Jusung Gabriel Park, left) stands with the Monkey King (Kang Wang, right); edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

In his San Francisco Opera debut season, South Korean baritone Jusung Gabriel Park portrayed Buddha’s disciple, Master Subhuti.

It is Subhuti who realizes the Monkey King’s potential. He commits to guiding the Monkey King towards enlightenment (although warning Monkey King never to reveal that Subhuti was his teacher).

Park, like Mei Gui Zhang’s Guanyin, spent much of final scenes in an enclosure above the stage. He performed as Buddha, counseling the Monkey King on how to achieve true enlightenment.

Park, whose musical training began in South Korea and has included graduate studies abroad, was a prize-winner in Placido Domingo’s Operalia 2021. He also represented South Korea in the 2021 BBC Cardiff Singer of the World Competition.

Joo Won Kang’s Dragon King Ao Guang and Lord Erlang

[Photo: Joo Won Kang as the Dragon King; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Although supporters of Buddha, led by Guanyin and Subhuti are encouraging the Monkey King’s actions, he meets adversaries in both the undersea and celestial worlds to which he travels.

The adversaries include Ao Guang, the Dragon King, who rules the seas, the Jade Emperor who rules the Heavens, and the Jade Emperor’s nephew, Lord Erlang.

The roles of the Dragon King and Lord Erlang both are performed by South Korean baritone Joo Wno Kang,

One of the most fantastical occurrences in the opera is an episode in which the Dragon King responds to the Monkey King’s desire to obtain a powerful weapon for his future endeavors. The Dragon King states that if the Monkey King can lift the giant pillar that holds up the oceans, he can have it as a weapon. When the Monkey King lifts it up, it transforms into the size of a needle, which the Monkey King places behind his ear, as the Kingdom of the Seas collapses.

In the subsequent scenes in the Jade Emperor’s Heavenely Kingdom, Kang appears first as the Dragon King and later as the Jade Emperor’s nephew, Lord Erlang.

A 2011 alumnus of San Francisco Opera’s Merola program, Kang was awarded a two-year Adler Fellowship.

As an Adler, Kang performed four smaller roles, then returned to San Francisco Opera in the role of Ping five years later [Review: San Francisco Opera’s “Turandot” – Sonic Splendor, Visual Delight – September 8, 2017].

Konu Kim’s Jade Emperor

[Photo: the Jade Emperor (Konu Kim, right) grants a request to the Dragon King (Joo Won Kang, left); edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

The corrupt Jade Emperor (South Korean tenor Konu Kim) rules the heavens. He is approached by the Dragon King, who, unhappy with being bested by the Monkey King, requests that the latter be arrested, which the Jade Emperor orders. Kim’s powerful tenor voice was evident in an impressive performance of the rol of the Jade Emperor.

Kim, the 2016 first prize winner in Placido Domingo’s Operalia competition, later participated in the Royal Opera, Covent Garden’s Young Artists’ program..

As cited in my discussion of Mei Gui Zhang’s Guanyin, Konu Kim and Zhang were the romantic leads Bao Yu and Dai Yu in the 2022 revival performances of “Dream of the Red Chamber” and Hongni Wu (see below) was Dai Yu’s rival, Bao Chai.

Hongni Wu’s Venus Star and Crab General

[Photo: Hongni Wu as Venus Star; edited image, basd on a Cory Weaver photograph, courtesy of the San pFrancisco Opera.]

Chinese mezzo-soprano Hongni Wu performed two roles, the small role of the Crab General in the undersea realm and the much larger role of Venus Star in the Jade Emperor’s heavenly realm.

Wu is the one member of the “Monkey King” cast who also performed in the world premiere of Huang Ruo’s and David Henry Hwang’s operatic version of Hwang’s play “M. Butterfly”, which took place at the Santa Fe Opera [World Premiere Run Review: Powerful Performances from Mark Stone and Kangmin Justin Kim in Ruo’s and Hwang’s Compelling “M. Butterfly”- Santa Fe Opera, August 3, 2022].

Additionallly, Wu was one of the trio of artists in this performance who formed the “love triangle” (with Konu Kim and Mei Gui Zhang) in the 2022 “Red Chamber” revival. Earlier this year, Wu performed the role of Cherubino at Santa Fe Opera [Review: Ailyn Perez Joins Santa Fe Opera’s Excellent “Le Nozze di Figaro” Cast – July 31, 2025].

Wu, a graduate of New York’s Manhattan School of Music, and is an alumna of the Royal Opera House, Covent Garden’s Young Artists’ program. In 2018 she was a winnner of the New York Metropolitan Opera’s National Council Auditions.

Peixin Chen’s Supreme Sage Laojun and Other Cast Members

[Photo: Peixin Chen as the Supreme Sage Laojun; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Chinese-born bass Peixin Chen performed the role of the Supreme Sage Laojun, his sonorous deep voice adding gravity to the role.

Chen has performed the role of Sparafucile for both the Santa Fe Opera [Review: Quinn Kelsey, Georgia Jarman – Powerful Performances in Lee Blakeley’s New Santa Fe Opera “Rigoletto” – July 4, 2015] and, earlier this season, for his San Francisco Opera debut [Review: Immensely Satisfying “Rigoletto” Performance Led by Amartuvshin Enkhbat and Adela Zaharia – San Francisco Opera, September 13, 2025 ]

At Houston Grand Opera he has appeared as Don Bartolo [Review: Boogie Nights at Mozart’s “Marriage of Figaro” – Houston Grand Opera, January 30, 2016] and Oroveso [Review: Beautifully Sung “Norma” at HGO Resilience Theater – Houston Grand Opera, April 29, 2018].

Other cast members include four San Francisco Opera Chorus Members – New York tenor Christopher Jackson as the King of the North, Missouri tenor Chester Pidduck as the King of the South, Ohio tenor Jonathan Smucker as the King of the East and Rhode Island bass-baritone William O’Neill as the King of the West.

Dancers Huiwang Zhang’s Monkey King and Marcos Vedoveto’s Lord Erlang

[Photo: Chinese-born dancer Huiwang Zhang as the Monkey King; edited image, based on a Huiwang Zhang instagram photograph.]

The Monkey King in this performance is performed by both an opera singer (Kang Wang) and a dancer (Huiwang Zhang). Exhibiting extraordinary physicality, acrobatic skill and stamina, Zhang at times floats through the air on wires. A dancer for Beijing’s China National Opera/Dance Drama Theater and the Paper Tiger Theater Studio, Zhang joined New York’s Bill T. Jones/Arnie Zane Dance Company in 2017.

Zhang’s experience with opera includes his working with choreographer Sean Curran at Santa Fe Opera and dancing in the Metropolitan Opera’s “Aida” production.

Another paired singer and dancer (South Korean baritone Joo Won Kang and Brazilian-born American dancer Marcos Vedovetto) share the role of the Lord Erlang. The Monkey King and Lord Erlang dancers perform a fight sequence, observed by the heavenly court. Vedovetto is a tenured dancer with the San Francisco Opera.

Maestra Carolyn Kuan and the San Francisco Opera Orchestra and Chorus

[Photo: Maestra Carolyn Kuan; edited image, based on a Charlie Schuck photograph, courtesy of the San Francisco Opera.]

Taiwanese-born Maestra Carolyn Kuan, a specialist in contemporary operas with Chinese subject matter, makes her San Francisco Opera debut as the “Monkey King” conductor.

Maestra Kuan has been the Music Director of the Hartford (Connecticut) Symphony Orchestra since 2011. She has been the conductor for four Huang Ruo World or American premieres.

In 2014, she conducted the American premiere of a revised Huo opera [Review: Santa Fe Opera Shows its Mettle in Mounting Huang Ruo’s “Doctor Sun Yat-Sen” – July 30, 2014]. In 2022, she conducted the world premiere of “M. Butterfly”, referenced above.

Last year, Maestra Kuan conducted the world premiere of another Huang Ruo-David Henry Hwang opera – “An American Soldier” at the Boston Lyric Opera. A recording of that opera has received a Grammy nomination.

Maestra Kuan’s knowledge of Ruo’s music was an invaluable resource to the San Francisco Opera Orchestra and Chorus. She obviously bonded with both entities, guiding them to a surefooted performance of Ruo’s often intricate harmonies.

See also my review Maestra Kuan’s conducting of a Mozart masterpiece [Review: Sean Panikkar, So Young Park Brilliant in Madeline Sayet’s “Magic Flute” – Glimmerglass Festival, July 20, 2015],

For my 2014 interview, see: Rising Stars – An Interview with Conductor Carolyn Kuan.

[Photo: the Monkey King (Kang Wang, center) is surrounded by a legion of monkeys (members of the San Francisco Opera Chorus); edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

The San Francisco Opera Chorus (under the leadership of Pennsylvania Chorus Master John Keene) performed brilliantly.

The Chorus, who are savvy actors in addition to fine singers, appeared in a wide range of costumes representing denizens of the realms through which the Monkey King traveled.

Director Diane Paulus and the “Monkey King” production

[Photo: Diane Paulus; edited image of a Susan Lapides photograph, courtesy of the San Francisco Opera.]

New York director Diane Paulus brought together the many elements of the “Monkey King” production effectivly.

Each of the lands through which the Monkey King traveled were unique environments.

The costumes, created by Chinese designer Anita Vavich were beautifully crafted. The dances by Ohio Choreographer Ann Yee were memorable.

The scenic design employs projected images and often minimaiist staging created by puppeteer Brian Twist (see below).

California designer Basil Twist, Washington Associate Set Designer Sara C. Walsh, South Korean Projection Designer Hana S. Kim and New York Lighting Designer Ayueesmu “Poe” Sakousa, contribute to the absorbing scenery of realms through which the Monkey King passes.

[Photo: projected images and jellyfish puppets create the Dragon King’s undersea realm; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Puppeteer/Puppetry Designer Basil Twist

[Photo: When the Monkey King (Kang Wang, lower right) is given the supposedly meaningless title of King of the Stables, he releases all the heavenly realm’s royal horses (Basil Twist puppets); edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Puppeteer Twist’s team is present throughout the performance, and adds immeasurably to the success of the performance.

These include many variations of various sizes of the Monkey King himself.

The production’s scenic design is immeasuably enhance by the puppets that populate the undersea and heavenly realms.

Huang Ruo’s Composition and David Henry Hwang’s Libretto

The San Francisco Opera continues its exploration of Chinese classical literature, highlighting the continued collaboration of composer Huang Ruo and librettist David Henry Hwang, who created the opera

[Photo: Composer Huang Rao (right) and Librettist David Henry Hwang (left); edited image, based on an Instagram photograph.]

The third ruo/Hwang collaboration since 2022, it is an extraordinary achievement, a brilliant addition to the operatic repertory.

Final Thoughts

I have been attending San Francisco Opera performances since I was in middle school, and have been present in opera houses on three continents to review opera performances for this website. I can attest that “The Monkey King” is unlike anything I have ever seen, and heralds new ways to enhance the opera experience.

I strongly recommend the opera and this production, and look forward to other works on classical Chinese themes from this collaborative team.

The opera was beautifully sung, the singers accompanied by the brilliant sound of the San Francisco Opera Orchestra, led by the company’s Music Director, Maestra Eun Sun Kim.

Brandon Jovanovich’s Parsifal

[Photo: The naive, youthful Parsifal of Act I (Brandon Jovanovich) embraces a pillar of the Temple of the Grail ; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Montana tenor Brandon Jovanovich, whose previous San Francisco Opera Wagnerian performances have helped establish his reputation in the genre, took on the role of Parsifal. Vocally, Jovanovich has shown mastery of Wagner’s ‘jugendlicher heldentenor’ roles, and brought superb vocal control and, when needed, vocal power as Parsifal.

Jovanovich approached the role with a dramatically intelligent portrayal of the character’s very different behaviors in each of the opera’s three acts. In the first act, he is a naive youth (who does not appear until well into the very long – I hour 40 minutes – Act I). Much of his time onstage in that act is spent listening and reacting silently to the the words and actions of Gurnemanz, Amfortas, Kundry and various Knights of the Grail.

Once the Parsifal of Act I begins to understand what is taking place and is drawn to Amfortas and his Temple of the Grail, his lack of sophistication (status as a “fool”) begins to change. Gurnemanz’ words draw him to the Grail Temple and the rituals taking place therein.

In the second act Parsifal engages the dark magic of the sorcerer Klingsor, first resisitng the Flower Maidens attempts to seduce him, and then defeating Klingsor by catching the Holy Spear, with which Klingsor had intended to kill him.

Now in possession of the holy relic that caused Amfortas’ wound, Parsifal has achieved the moral authority to take a leadership role as a Knight of the Grail. Ultimately, Parsifal comprehends the negative impact that Klingsor’s possession of the Spear has on Amfortas’ unhealing wound and the danger Klingsor poses to the Grail itself.

In the final act Parsifal asserts his power, baptizing Kundry, healing Amfortas’ wound, and becoming the King of the Grail Knights.

I have followed Jovanovich’s career closely over the past 18 years. (See my 2010 interview at Rising Stars: An Interview with Brandon Jovanovich.) Parsifal is the fifth Wagnerian role I have seen Jovanovich perform. I was present at his very first Wagnerian efforts, consecutive-day performances, debuting respectively, as Froh and Siegmund, in Francesca Zambello’s productions of the first two operas of the “Ring of the Nibelung” [Review: “Rheingold” Evolves in First Full Zambello “Ring” – San Francisco Opera, June 14, 2011] and [Review: Power Singing, Powerful Imagery in Zambello’s “Walküre” – San Francisco Opera, June 15, 2011].

For my reviews of Jovanovich’s San Francisco Opera performances as Lohengrin, see [Review: Jovanovich is a Joy in Luisotti’s Luminous “Lohengrin” – San Francisco Opera, October 20, 2012] and as Walther, see [Review: McVicar’s Magical, Masterful “Meistersinger” – San Francisco Opera, November 18, 2015]. I have also reviewed his performance as Siegmund in Chicago [Review: Chicago’s Imaginative New “Walküre”: Goerke, Owens, Jovanovich, Strid Excel – Lyric Opera, November 30, 2017].

I also reviewed his Houston Grand Opera performance in the title role of Verdi’s “Don Carlos” (in the original French five-act version that restored some cuts made for its Parisian premiere). I reviewed his Aeneas in Lyric Opera of Chicago’s production of Berlioz’ “Les Troyens”, and his Sam Polk in San Francisco Opera’s production of Floyd’s “Susannah”.

Other roles included the Prince in Dvorak’s “Rusalka” (Chicago and San Francisco), Luigi in Puccini’s “Il Tabarro” (San Francisco), Pinkerton in Puccini’s “Madama Butterfly” (San Francisco, Los Angeles and Santa Fe) and as Don Jose in Bizet’s “Carmen” (Chicago, Los Angeles and Munich, Germany).

[Photo: Parsifal (Brandon Jovanovich, left) is embraced by his mother, Herzeleide (dancer Charmaine Butcher, right); edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Production designer Ozawa’s emphases are no 21st century imposition of contemporary thought on a 19th century operatic masterpiece. They highlight references as to what makes Parsifal tick, found in the works of the 12th century French poet Christien de Troyes and the 12th century cleric Geoffrey of Monmouth. They absorb other sources of the legends of King Arthur, the Knights of the Round Table, and the Quest for the Grail and the mystical properties it possesses.

Surveying the “Arthurian” sources, a fool is an unsophisticated youth, untutored, say, in the demands of knighthood. Wagner’s text makes reference to Parsifal’s father, the knight Gamuret, who was killed in battle before Parisfal’s birth. Medieval Arthurian sources let us know that, in addition to Gamuret, several of Parsifal’s elder brothers, also knights, were killed in battle.

Parsifal’s mother, Herzeleide, was determined to raise her son in a rural place, away from any contact with the influences that would expose her only surviving son to the perils of knighthood. The first act costume that Jovanovich wears (see photo above) is the kind of apparel a rural youth not destined for knighthood might wear.

In Ozawa’s production. Parsifal is embraced by the Mother who attempted to protect him from the dangers of being a Knight in Quest of the Grail, thereby blessing Parsifal’s transformation from an “unsophisticated fool” to an enlightened Knight of the Grail.

Brian Mulligan’s Amfortas

[Photo: Brian Mulligan as Amfortas; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

New York baritone Brian Mulligan was cast as Amfortas, the current King of the Knights of the Grail, who suffers from a severely painful wound caused by the Holy Spear, inflicted by the sorcerer Klingsor.

Mulligan possesses a rich, warm baritone that is prerequisite for this role, and the dramatic presence to convey unceasing painful agony. Wearing New York designer Jessica Jahn’s inventive costumes created for his role, Mulligan proved to be a sympathetic Amfortas.

Mulligan has proven to be an effective Wagnerian baritone at the San Francisco Opera, performing in two operas of Francesca Zambello’s “Ring of the Nibelung”, as Donner  [Review: Another Zambello Ring Cycle Begins – Wagner’s “Das Rheingold”, San Francisco Opera, June 19, 2018]. and as Gunther [Review: Theorin, Brenna Triumphant in Zambello’s “Götterdämmerung” – San Francisco Opera, June 24, 2018]. Mulligan was also “The Crucible”‘s John Proctor in Zambello’s Glimmerglass Festival production [Review: Mulligan, Barton, Zambello, Paiement Make the Case for “The Crucible” – Glimmerglass Festival, August 5, 2016].

Two seasons ago he sang the ‘heldenbariton’ role of Telramund in the production of “Lohengrin” conducted by Eun Sun Kim [Review: A Musically, Visually Satisfying “Lohengrin” – San Francisco Opera, October 15, 2023].

Mulligan is a versatile performer, appearing in such varied roles as President Nixon [Review: 25 Years Old, “Nixon in China” Arrives at San Francisco Opera, June 8, 2012], Yeletsky [Review: Robert Carsen’s Brilliantly Refocused “Pique Dame” – Zurich Opera, May 3, 2014], and Sweeney [Review: Searing Performances by Brian Mulligan and Stephanie Blythe for San Francisco Opera’s First “Sweeney Todd” – September 12, 2015].

{Personal note: Baritone Ryan McKinny, who performed at the San Francisco Opera earlier this season, and who has sung the role of Amfortas at Wagner’s Bayreuth Theater, shared with me his thoughts on the relevance of Amfortas and other characters in the opera to matters of the present day [Guest Commentary by Ryan McKinny: Why We Need Parsifal]).

Kwangchul Youn’s Gurnemanz

[Photo: Kwangchul Youn as Gurnemanz; edited image of a Cory Weaver photograph, courtesy of the San Francisco Opera.]

South Korean bass Kwangchul Youn performed the role of Gurnemanz, the character whom Wagner entrusted to present long passages of exposition. It is he who explains the history of the Grail and the knights that guard it, the origin of Amfortas’ wound and the prophecy about the arrival of a compassionate “fool”. Youn’s powerful bass voice and physical endurance made for an impressive performance

Youn was the Gurnemanz in January 2024 Houston Grand Opera performances of “Parsifal” conducted by Maestra Kim. Since that time he has had four assignments at the San Francisco Opera under Maestra Kim’s baton. In the 2023-24 season he was Sarastro [Review: Barrie Kosky’s Production of Mozart’s “The Magic Flute” – San Francisco Opera, June 2, 2024].

In 2024-25 Youn performed the role of King Marke in the performance of “Tristan und Isolde” referenced above, and was a soloist in a performance of Beethoven’s Ninth Symphony [Review: Maestra Eun Sun Kim, San Francisco Opera Orchestra, Chorus and Soloists Celebrate 200th Anniversary of Beethoven’s “Symphony Number Nine” – October 26, 2024].

Tanja Ariane Baumgartner’s Kundry

[Photo: Kundry (Tanja Ariane Baumgartner) in her Act 1 costume; edited image, based on a Cory Weaver photograph, courtesy of the San Fnancisco Opera.]

In her San Francisco Opera debut season, Swiss soprano Tanja Ariane Baumgartner took on the role of Kundry. Dressed at the beginning in a fantastical costume from designer Jahn, Weingartner gave a vocally solid, rousing portrayal of this woman of mystery.

Kundry is unlike almost every other Wagnerian character, who is either an immortal god or a mortal being with a human lifespan. Kundry, like the Dutchman in Wagner’s “Der Fliegende Holländer”, is no immortal, but both Kundry and the Dutchman are spellbound by a curse specific to them that prevents either from aging until someone comes into their life (Senta for the Dutchman; Parsifal for Kundry) who breaks the spell.

Baumgartner gave a textbook reading of how to sing the complex harmonies Wagner wrote for this vibrant personality.

This was my first opportunity to hear Weingartner in person, whom I was scheduled to see in 2020 in a Lyric Opera of Chicago presentation of Sir David Pountney’s “Ring of the Nibelung”. Alas, the premiere of the complete Pountney “Ring” became a victim of the Covid-19 pandemic. Her San Francisco Opera appearance as Kundry was balsam for my wound left by the canceled “Ring”.

Falk Struckmann’s Klingsor and Other Cast Members

[Photo: Falk Struckmann as Klingsor; edited image of a Cory Weaver photograph, courtesy of the San Francisco Opera.]

German bass-baritone Falk Struckmann returned to the San Francisco Opera to perform the role of the villainous Klingsor, the enemy of the Knights of the Grail.

Struckmann’s San Francisco Opera debuts (as Alberich in the three operas of Francesca Zambello’s “Ring” in which the character appears) took place in 2018. [See Review: Another Zambello Ring Cycle Begins – Wagner’s “Das Rheingold”, San Francisco Opera, June 19, 2018 and Review: An Heroic, Passionate “Siegfried” – San Francisco Opera, June 22, 2018 and Review: Theorin, Brenna Triumphant in Zambello’s “Götterdämmerung” – San Francisco Opera, June 24, 2018.

Struckmann’s highly dramatic bass-baritone, well suited for the sinister Alberich, was equally effective for the evil Klingsor. His acting was effective also, Struckmann presenting a vivid portrait of one of the great Wagnerian villains.

The Voice of Titurel was performed by British bass David Soar. The First and Second Knights were Adler Fellows South Carolina tenor Samuel White and South Korean bass-baritone Jongwon Han.

The First Esquire and First Flower Maiden were performed by California soprano Eliza Sunshine. The Second Esquire and Third Flower MIIiden were performed by Iowa soprano Laura Krumm.

The Third and Fourth Esquires were performed by Welsh tenor and Adler Fellow Thomas Kinch and by Georgia tenor Christopher Oglesby.

The Second, Fourth, Fifth and Sixth Flower Maidens were sung, respectively, by Illinois soprano and Adler Fellow Georgina Adams, California soprano Jana McIntyre, British Columbia soprano and Adler Fellow Olivia Smith and Missouri soprano and Adler Fellow Caroline Corrales. California mezzo-soprano Nikola Printz was a Voice.

California Dancer Charmaine Butcher assayed the role of the Mother.

Maestra Eun Sun Kim and the San Francisco Opera Orchestra and Chorus

For the past several seasons, the company’s Music Director, Maestra Eun Sun Kim, has chosen both a Wagner and Verdi opera to conduct. These pairings have included “Lohengrin” and “Il Trovatore” in 2023-24 and “Tristan und Isolde” and “Ballo in Maschera” in 2024-2025.

In each of these seasons, the Wagner-Verdi pairings have been exciting musical journeys, in which Maestra Kim and the San Francisco Opera Orchestra have demonstrated the special bond that has evolved in their exploration of these works. “Parsifal” was her choice for the 2025-26 San Francisco Opera season, matched with Verdi’s “Rigoletto”.

It is this season’s “Parsifal” that has demonstrated just how special Maestra Kim’s association with the San Francisco Opera Orchestra has become. The Orchestra’s performance under Kim’s leadership, was revelatory. It was thrilling to be present for it.

“Parsifal” abounds in beautiful orchestral passages, beginning with its overture, that introduces the ‘leitmofivs’ for the holy objects of the Grail and the Spear around which the dramatic action of the opera takes place.

The previous night, under Maestra Kim’s direction, the San Francisco Opera Orchestra demonstrated its ability to perform Beethoven’s Fifth Symphony and the complex orchestral works of Manuel de Falla at world class levels. A half-day later it returned to the War Memorial Opera House for this stunningly beautiful presentation of “Parsifal”, one of Wagner’s finest works.

The San Francisco Opera Chorus, as always, performed Wagner’s music impressively, under the leadership of Pennsylvania chorus director John Keene. There were 72 choristers for this production. Combined with the 19 principal singers and nine dancers, there were 100 vocal artists on stage.

Matthew Ozawa’s Production

[Photo: The Temple of the Grail; edited image, based on a Cory Weaver photograph,, courtesy of the San Francisco Opera.]

California director Matthew Ozawa’s creative team included Illinois choreographer Rena Butler, English set designer Robert Innnes Hopkins, New York costume designer Jessica Jahn and Japanese lighting designer Yuki Nakase Link.

The several sources of inspiration for Wagner’s libretto for “Parsifal” include the extant literature from English and French story-tellers, regarding King Arthur’s Knghts of the Round Table, and the Quests that several of the Knights pursued, searching for the Grail. Ozawa’s production respects these sources and presents beautifully-conceived visual images of the Temple of the Grail.

One of the memorable features of the production are the Hopkin’s set designs, in particular the first Act’s transformation from a forest scene to the Temple of the Grail that is constructed before our eyes.

Ozawa’s ending celebrates the transformation of both Parsifal and Kundry. Parsifal has transformed from a sheltered, unsophisticated youth to become King of the Knights of the Grail. The once spellbound Kundry has been baptized by Parsifal and released from her curse. The two characters lift the Grail from its place of repose and, both holding it, come to the front of the stage together.

Photo: Kundry (Tanya Ariane Baumgarner, left) and Parsifal (Brandon Jovanovich, right); jointly hold the Grail; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

For previous reviews of Matthew Ozawa’s San Francisco Opera productions, see Review: Beethoven’s “Fidelio”, An Excellent Cast for Matthew Ozawa’s Powerful Production – San Francisco Opera, October 17, 2021 and Review: Orlinski’s Astounding, Acrobatic Orfeo: “Orfeo ed Euridice”, San Francisco Opera, November 20, 2022.

For the most recent reviews of previous set designs by Robert Innes Hopkins at San Francisco Opera, see: Review: “La Traviata” Delightful New Production, Well-Received Debuts by Yende, Tetelman and Piazzola – San Francisco Opera, November 22, 2022 and Review: Donizetti’s Delightful, ‘Must See’ “Elixir of Love” Starring Pene Pati and Slatka Zamecnikova – San Francisco Opera, November 19, 2023..

Recommendation

I strongly recommend Matthew Ozawa “Parsifal” production, its cast and the musical performance.

In the first weekend of November, I had the attended the American premiere of Schuller’s “The Visitation” on Friday night. On the following Saturday night, I saw the season’s second of five performances of Gounod’s “Faust”. I would attend both the second and the fifth, the latter of which occurred on my Sunday subscription series eight days later.

The opera was revived as a vehicle for tenor Alfredo Kraus and for the San Francisco Opera debut of Bulgarian bass Nicolai Ghiaurov.

“Faust” had been my first-ever opera, that I saw as a high school freshman, with a cast consisting of major mid-20th century opera recording stars [Historical Performances: Peerce, Albanese, Siepi and MacNeil in “Faust”, San Francisco Opera Fall Tour, San Diego, November 3, 1955]. San Francisco Opera’s 1967 mounting of the opera provided me the opportunity to see my second and third-ever performances of the work.

Alfredo Kraus’ Faust

[Photo: Alfredo Kraus as Faust; edited image from a youtube post.]

The role of Faust was a signature role of Canary Island Spanish tenor Alfredo Kraus. His attractive lyric tenor was used to great effect throughout the performance. It was stunning in the role’s principal aria ‘Salut demeure, chaste et pure’, one of the most beloved lyric tenor arias in the French operatic repertory.

Faust was Kraus’ fourth San Francisco Opera role. Previously, he had sung the roles of Arturo [Historical Performances: Sutherland, Kraus Introduce “I Puritani” to San Francisco Opera – September 20, 1966], the Duke of Mantua [Historical Performances – “Rigoletto” with Glossop, Kraus, Grist and Kreppel – San Francisco Opera, October 16, 1966 ] and Nemorino [Historical Review: Grist, Kraus, Wixell and Bruscantini Excel in Lotfi Mansouri’s Lively Production of “L’Elisir d’Amore” – October 29, 1967].

Kraus’ masterful interpretation of each of these four roles – Arturo, the Duke, Nemorino and Faust – provide evidence of Kraus’ significance in the history of operatic performance. I was able to have seen and heard him in each of these San Francisco Opera performances when he was still in his late 30s,

Kraus was famous for his attention to maintaining a voice equipped to sing these lyric tenor roles, where vocal expressiveness and agility rather than vocal power were regarded as dominant virtues. A consequence of Kraus’ care in maintaining a ‘leggiero’ vocal quality is that he continued to perform opera beyond age 70.

Following the Sunday matinee on November 12, Kraus departed from the Was Memorial Opera House and would not return to the San Francisco Opera for a period of 18 years. Then, in 1985, I would see a sixth Kraus performance, in the title role of Massenet’s “Werther” (with Renata Scotto as Charlotte), the fifth of the five roles which I saw Kraus perform.

Arlene Saunders’ Marguerite

[Photo: Marguerite (Arlene Saunders, right) and Faust (Alfredo Kraus, left) sing of a night of love; edited image, based on a production photograph, courtesy of the San Francisco Opera Archives.]

Arlene Saunders was an attractive Marguerite with a beautifully sounding lyric coloratura voice. She performed Marguerite’s major arias, espcially the Jewel Song, ‘Je ris de me voir si belle’, to enthusiastic audience applause. She and Kraus performed the great Garden Scene duet ‘O nuit d’amour, ciel radieux’ memorably.

Marguerite was the second of three roles Saunders would perform in the 1967 season, preceded by Louise [Maestro Jean Périsson Leads Arlene Saunders, John Alexander, Nicola Rossi-Lemeni and Sona Cervena in Impressive Performance of Charpentier’s “Louise” – San Francisco Opera, October 13, 1967]. Saunders would perform one additional role in the 1967 season, Freia in Wagner’s “Das Rheingold”.

Saunders would return to the San Francisco Opera in the 1971 sseason to perform the role of Eva in Wagner’s “Die Meistersinger”, her final assignment with the company.

Nikolai Ghiaurov’s Mephistopheles

[Photo: Bulgarian bass Nikolai Ghiaurov; edited image of an historical photograph.]

In his San Francicsco Opera debut, Bulgarian bass Nikolai Ghiaurov sang the role of Mephistopheles. He was a memorable presence throughout the performance.

As with the other cast principals, each of whom has a famous “showstopper” aria, Ghiaurov’s presentation of the golden calf aria, ‘Veau d’Or’, was warmly received.

Gounod’s Mephistopheles has chosen a woman for Faust who lives in a specific community. There she interacts with Valentin, her soldier brother, with Siebel, a youthful suitor wanting to become her boyfriend, and with Dame Martha, her neighbor.

If the Biblical Devil is the personification of evil, Gounod’s Mephistopheles is a much more nuanced character. He certainly possesses the supernatural powers that I would expect any true Devil to have, but Instead of an evil-through-and-thourgh Devil, Mephistopheles is socially adept, charming when he needs be (such as distsracting Marthe to allow Faust and Marguerite to have time alone).

He appears even to have a sense of himor. This provides the artist performing the role with opportunities to use a range of acting skills, which Ghiaurov displayed throughout the performance

[Phoro: Faust (Alfredo Kraus, right) watches Mephistopheles (Nikolai Ghiaurov, left); edited inage, based on a production photograph, courtesy of the San Francisco Opera Archives.]

In the 1967 San Francisco Opera season, Ghiaurov and his future wife, Mirella Freni, both performed contermporaneously for the San Francisco Opera, although in diffferent operas (Freni in “La Boheme” with Luciano Pavarotti). Freni and Ghiaurov would marry 11 years later.

At the end of the 1967 “Faust” performance run, Ghiaurov left the War Memorial Opera House, not to return again until 16 years later, when he appeared in the title role of Mussorgsky’s “Boris Godunov”.

Between and 1986 and 1988 and in 1990, he appeared in a single role each year, beginning in 1986 as Prince Gremin in Tchaikovsky’s “Eugene Onegin” with his wife, Mirella Freni as Tatyana.

Ghiaurov showed his comic skills in 1987 as Don Basilio to Renato Capecchi’s Don Bartolo in Rossini’s “Il Barbiere di Siviglia”. In 1988 he participated as Colline in a telecast of Puccini’s “La Boheme” with Freni and Pavarotti (released on DVD). His final appearances at the San Francisco Opera were in 1990as Prince Khovansky in Mussorgsky’s “Khovanschina”.

Sylvia Anderson’s Siebel, Ingvar Wixell’s Valentin and Other Cast Members

Photo: Siebel (Sylvia Anderson, on dais, center) and Valentin (far right. partially obscured)

The role of Siebel, the youth enamored of Marguerite, was sung by Colorado-born mezzo-soprano Sylvia Anderson, a former San Francisco Opera Adler Fellow.

Anderson had made her San Francisco Opera debut earlier in the season, singing what was to become her signature role, Count Octavian, which she performed over 100 times in her career. I saw her in the role on the Sunday matinee that took place two weekends earlier [Historical Reviews: Régine Crespin, Sylvia Anderson, Reri Grist and Josef Greindl Shine in Elegant “Der Rosenkavalier” – San Francisco Opera, October 15, 1967]. I would see her once more in the 1967 season, as one of the Rhinemaidens in Wagner’s “Das Rheingold”.

Anderson would sing 17 roles over in each of the four seasons between 1967 and 1970 (including the title role of Bizet’s “Carmen” for a student matinee), but Octavian and Siebel (the latter a role she would repeat in 1970 with an otherwise different cast) were the only “trouser roles” (Anderson playing a young man) she sang for the San Francisco Opera.

[Photo:: the crowd of villagers surround Valentin (Ingvar Wixell, center left, on dais)) smf Siebel (Sylvia Anderson, center, on dais); edited image, based on a production photograph, courtesy of the San Francisco Opera Archives.]

Few debuting artists (if any) in San Francisco Opera history have attempted (and succeeded at) a performance schedule as intense as Swedish tenor Ingvar Wixell, which began with his San Francisco Opera debut as Belcore in Donizetti’s “L’Elisir d’Amore) on October 21.

Over the next 35 days Wixell would perform 15 times in four roles, three times as Belcore, three times as Held in “The Visitation”, five times as Valentin and five times as Marcello in Puccini’s “La Boheme”. This feat included such challenges as a three day period, consisting of a Marcello performance sandwiched between two Valentins.

Wixell’s ability to endure challenging schedules while performing at high artistic levels in both dramatic and comic roles insured that he would become an invaluable contributer to San Francisco Opera performances over the next two decades.

Two smaller roles were performed by esteemed veterans of San Francisco Opera, baritone Allen Monk, in his San Francisco Opera debut season as Wagner,. Czech soprano Sona Cervena, who performed a principal role earlier in the season in Charpentier’s “Louise”, was Marguerite’s neighbor, Dame Marthe.

I had not seen “Faust”, my first opera, for a dozen years. Just as my first opera matched two major recording superstars (Jan Peerce and Cesare Siepi) as Faust and Mephistopheles, the 1967 “Faust” matched operatic recording superstars – Kraus and Ghiaurov – in those same roles.

Maestro Jean Périsson and the San Francisco Opera Orchestra and Chorus

San Francisco Opera’s 1967 main season consisted of 13 operas, two of which -“Faust” and “Louise” – were French. The two French productions shared the conductor (Maestro Périsson) , French director Louis Erlo, the prima donna, Arlene Saunders, cast member Sona Cervena, and the choreographer, Thomas Andrew.

Having conducted the performance of “Louise” [Maestro Jean Périsson Leads Arlene Saunders, John Alexander Nicola Rossi-Lemeni and Sona Cervena in Impressive Performance of Charpentier’s “Louise” – San Francisco Opera, October 13, 1967], Maestro Périsson led the San Francisco Opera Orchestra and Chorus in what was welcomed as an authentically French approach to Gounod’s score.

Louis Erlo’s Direction, Wolfram Skalicki’s Sets, and Thomas Andrew’s Choreography

French director Louis Erlo’s relationship with the San Francisco Opera had begun the season before in a production that introduced (in an abridged version) Berlioz’ “Les Troyens” to American audiences [Historical Performances: Crespin, Vickers in first American production of Berlioz’ “Les Troyens” – San Francisco Opera, November 12, 1966].

In the previous San Francisco Opera season, Erlo, in addition to “Troyens”, had directed a performance of Bizet’s “Carmen” which was the occasion of Grace Bumbry’s San Francisco Opera debut in the title role.

The San Francisco Opera “Troyens” sets were created by Austrian designer Wolfram Skalicki, who also produced the sets for the Erlo-directed production of “Faust”.

[Photo: Wolfram Skalicki’s sets for the Church Scene in “Faust”; edited image, based on a production photograph, courtesy of the San Franciisco Opera Archives.]

In the previous San Francisco Opera season, Erlo, in addition to “Troyens”, had directed a performance of Bizet’s “Carmen” which was the occasion of Grace Bumbry’s San Francisco Opera debut in the title role.

Besides his two French repertory assignments for the 1967 San Francisco Opera season, Erlo was enlisted to direct Verdi’s “Macbeth” [“Historical Performances”: Chester Ludgin, Grace Bumbry in Verdi’s “Macbeth” – San Francisco Opera, October 6, 1967“.], in which Bumbry portrayed Lady Macbeth.

Thomas Andrew, the 35-year old principal choreographer at the New York City Opera, a position he held since 1962, was present for the full 1967 San Francisco Opera season. He developed the ballet for the season-opening production of Ponchielli’s “La Gioconda” [Historical Performances: “La Gioconda” with Leyla Gencer, Renato Cioni, Grace Bumbry and Maureen Forrester – San Francisco Opera, October 1, 1967].

Following the “Gioconda”, Andrew directed the dancing for all three of Erlo’s directorial assignments, including, for “Faust”, the full ballet for the usually cut Walpurgis Night scene. In addition to the full ballets for “Gioconda” and “Faust”, Andrew created the choreography for the virtually never-performed “Macbeth” ballet.

In addition to the three full ballets, Andrew also choreographed the dancing in “Louise” and “L’Elisir d’Amore” and was preparing the “masked ball” dancing for the yet to open production of Verdi’s “Un Ballo in Maschera”.

1967 was to be Andrew’s only season with the San Francisco Opera. He succumbed to a fatal infection in 1984 at age 52,

Coda

After my Friday and Saturday night San Francisco Opera performances, I returned to the War Memorial Opera House the next afternoon for the Sunday matinee in which I saw my first-ever performance of Wagner’s “Tristan und Isolde”.

On the 25th anniversary of its San Francisco Opera world premiere, Jake Heggie’s opera “Dead Man Walking” was presented again at the site of its first performance. The conductor of the world premiere, Maestro Patrick Summers, returned for the anniversary revival, as did mezzo-soprano Susan Graham who created the role of Sister Prejean in the first performances. In the revival, she assumed the role of Mrs Patrick de Rocher, mother of the condemned man of the opera’s title.

The revival brought together a distinguished cast of veterans of past San Francsico Opera performances. I attended the opening performance of the revival. The opening performance was the occasion for General Director Matthew Shilvock to host Sister Helen and to award the esteemed San Francisco Opera medal to composer Jake Heggie.

Jamie Barton’s Sister Helen Prejean

[Photo: Jamie Barton as Sister Helen Prejean; edited image, based on a Cory Weaver photograph, courtesy of the San Francsico Opera.]

The protagonist of the opera is Sister Helen Prejean. The operatic character is based on the published 1993 memoirs of the “real-life” Sister Helen, a nun in a Louisiana-based Roman Catholic order [See her photo at the end of this review].

Her memoirs detail her commitment to abolishing the death penalty, as a result of her interactions as spiritual adviser to two convicted murderers. (These two men were consolidated into one character, named Matthew Poncelet in the 1995 Hollywood movie “Dead Man Walking”. In Heggie’s 2000 opera (incorporating plot revisions) the condemned man was named Joseph de Rocher.

For the revival, Sister Helen was played by Georgia mezzo-soprano Jamie Barton. Possessed with a voice with the power to perform principal roles in Wagnerian opera and the vocal flexibility to excel in the bel canto works of Donizetti and Bellini, Barton proved an excellent casting choice for this role. Her vocal power and vocal expressiveness was in evidence throughout her performance

Barton is onstage throughout most of the opera. Much of character’s arc is concerned with the consequences of her conviction that the killing of a human being should never be sanctioned, no matter what the criminal act of which that person has been proven guilty.

Sister Helen’s decision to meet and in turn involve herself as a spiritual advisor to de Rocher is challenged in consecutive scenes with a member of her order, the chaplain of the prison in which de Rocher is incarcerated, the prison’s warden and the families of de Rocher’s victims. Ultimately, she is given permission to become de Rocher’s spiritual adviser. In a poignant climactic scene Sister Helen is allowed to touch de Rocher’s head as he is led away for execution.

[Photo: As Joseph de Rocher (Ryan McKinny, right) is led away to be executed, his spiritual adviser, Sister Helen (Jamie Barton, left) is permitted to touch the condemend man’s head as a farewell gesture; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.

“Dead Man Walking” is the seventh San Francisco Opera production in which Barton has appeared, which includes her debut as Adalgisa [Review: Sondra Radvanovsky’s Stunning Season Opening “Norma” – San Francisco Opera, September 5, 2014]. Other roles included Fricka [Review: Francesca Zambello’s Iconic “Walküre” – San Francisco Opera, June 20, 2018] Sara [Review: World’s Best Ever “Roberto Devereux” Performance: Radvanovsky, Thomas, Barton, Frizza – San Francisco Opera, September 8, 2018] and Jezibaba [Review: “Rusalka”- Beautiful Singing, Insightful Drama – An Opera “Not to be Missed” – San Francisco Opera, June 16, 2019].

I have praised Jamie Barton’s perfornances in many diverse roles. Her performance history includes roles in two unjustly neglected mid-20th century works – the Maharanee in Menotti’s 1963 comedy [Review: Loving “The Last Savage”: Over the Top Menotti Charms at Santa Fe Opera – August 5, 2011 ] and Elizabeth Proctor in Ward’s 1961 dramatic opera [Review: Mulligan, Barton, Zambello, Paiement Make the Case for “The Crucible” – Glimmerglass Festival, August 5, 2016].

Ryan McKinny’s Joseph de Rocher

[Photo: Ryan McKinny as Joseph de Rocher; edited image, based on a Cory Weaver photograph; courtesy of the San Francisco Opera.]

California baritone Ryan McKinny has recently been associated with the role of Joseph de Rocher, performing it for 2019’s performances of the opera at the Lyric Opera of Chicago and for the opening of the New York Metropolitan Opera’s 2023-24 season. He is one of five members of the 2023 Met opera production (also including Susan Graham, Chad Shelton, Raymond Aceto and Rod Gilfry) participating in this San Francisco Opera revival.

In the revival performance, McKinny proved to be a physical performer. He used his dramatic baritone to effect a convincing portrait of a dangerous man seething with anger. (Composer Heggie and his librettist, the late Terrence McNally, created a scene at the opera’s beginning, showing two teenagers being murdered by Joseph de Rocher and his brother Anthony, so as to confirm their guilt from the opera’s start). Over time, Joseph’s interactions with Sister Helen, and the failure of all his appeals of his death sentence, allows him to respond to Sister Helen’s spiritual counseling.

“Dead Man Walking” is the second San Francisco Opera production in which McKinny has appeared, having created the role of Clarence [World Premiere Review: Adams’ “Girls of the Golden West”, San Francisco Opera, November 21, 2017].

See my reports on McKinny performances elsewhere in such roles as Leone [Review: Domingo’s Towering “Tamerlano” Bajazet -Los Angeles Opera, November 22, 2009], Rigoletto [Review: Dramatic, lyrical and powerful: Ryan McKinny’s Rigoletto Role Debut – Houston Grand Opera, January 24, 2014], Count Almaviva [Review: An Elegant “Marriage of Figaro” – Korea Opera Festival (Seoul Arts Center) May 10, 2015] and Don GIovanni [Review: Outstanding Cast for “Don Giovanni” in Kasper Holten’s Vibrantly Visual Production – Houston Grand Opera, April 27, 2019].

See also my interview [Rising Stars: An Interview with Ryan McKinny] and also his thoughts based on his performances as Amfortas in Wagner’s “Parsifal” at Germany’s Beyreuth Festival [Guest Commentary by Ryan McKinny: Why We Need Parsifal].

Susan Graham’s Mrs. Patrick de Rocher

[Photo: Susan Graham as Mrs de Rocher; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

This is the second time that Susan Graham has appeared in “Dead Man Walking” at San Francisco Opera, the first time as Sister Helen in the 2000 world premiere. Graham’s appearances are powerful, vocally and histrionically, in any role she undertakes. She was a forceful presence in scenes in which, at her son’s request accompanied by Sister Helen, she pleaded for her son’s life, even while surrounded by the relatives of the teenagers her son murdered.

Susan Graham’s debut role at the San Francisco Opera was Minerva in Monteverdi’s “Il Ritorno d’Ulisse in Patria” in 1990, the first of nine roles (including two in “Dead Man Walking”) over the past 35 years. These include the roles of Iphigénie [Review: Night at the Museum – “Iphigénie en Tauride” Springs to Life at San Francisco Opera – June 17, 2007], Ariodante [Review: Graham, Swenson, Prina Luminous in San Francisco Opera’s Stellar “Ariodante”, June 15, 2008], Xerxes [Review: Graham, Daniels, Prina Excel in Elegant, Witty “Xerxes” – San Francisco Opera, October 30, 2011] and Dido [Review: Susan Graham, Hymel, Antonacci in a Magnificent “The Trojans” from Sir David McVicar – San Francisco Opera, June 7, 2015]..

See my reports on Graham performances as Marguerite [Review: Berlioz’ Faust Fantastique – Lyric Opera Does “Damnation” – Chicago, March 8, 2010], the Composer [Review: Goerke, Claycomb, Graham in Stylishly Accessible “Ariadne auf Naxos” – Houston Grand Opera, April 29, 2011], the Grand Duchess [Review: Susan Graham’s Star Glows in Offenbach’s Sexy, Witty “Grand Duchess of Gerolstein” – Santa Fe Opera, June 28, 2013 ] the Witch [Review: A joyous “Hansel and Gretel” in Doug Fitch’s enchanting production – Los Angeles Opera, December 9, 2018 ] and Geneviève [Review: Passionately Sung, “Pelléas et Mélisande” in Netia Jones’ Attractive, Introspective Production – Santa Fe Opera, July 28, 2023 ].

See also my interview, Return to New Mexico: An Interview with Susan Graham.

Brittany Renee’s Sister Rose

[Photo: Sister Rose (Brittany Renee, right and Sister Helen (Jamie Barton, left) discuss Rose’s reservations about Helen’s role as spiritual advisor to a convicted murderer; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.]

Early in the opera, Sister Helen encounters the first of the many persons who will discourage her campaign against capital punishment in general, and her work to save the life the convicted murderer, Joseph de Rocher, in particular.

Sister Rose, portrayed by New York soprano Brittany Renee, advocates for Sister Helen dedicating her energies to their Order’s work with the educational needs of young children, rather than involving herself in such a controversial public policy issue as abolishing the death penalty. Even in disagreement, Renee’s attractive soprano voice and her character Rose’s appreciation for Helen’s sincerity, won her sympathy.

Brittany Renee’s debut role was Julie in “Omar” [See Review: Ovations for “Omar”, Giddens’ and Abels’ Remarkable Opera – San Francisco Opera, November 5, 2023], followed by Musetta [Review: Nicole Car, Evan LeRoy Johnson, Brittany Renee Lead Alternate “La Boheme” Cast – San Francisco Opera, June 13, 2025].

Chad Shelton’s Father Grenville

[Phoro: Chad Shelton, who performs the role of Father Grenville; edited image, based on a Cory Weaver photograph, courtesy of the San Francisco Opera.

A proponent of Helen’s Catholic faith who revealed his intolerance for Sister Helen’s connecting with de Rocher was the prison chaplain, Father Grenville. He prejudges de Rocher as incorrigible and unworthy of Sister Helen’s intercession.

Grenville is played by Texas tenor Chad Shelton, who has impressive credentials as both principal tenor and a character tenor, excelling in a wide range of roles.

Chad Shelton made his San Francisco Opera debut as Brigadier General Edward Alexander in the 2007 world premiere of a “documentary opera” [see Review: The Remaking of San Francisco Opera, Part I – Glass’ “Appomattox”, October 14, 2007.]

Shelton’s operatic career includes principal roles in contemporary operas, including Mao Tse-Tung [Review: San Diego Opera’s “Nixon in China” with Pomponi, Kanyova, Kim and Shelton – March 20, 2015], King Charles II, World Premiere Review: A Triumphant “Prince of Players” for Composer Carlisle Floyd, Baritone Ben Edquist – Houston Grand Opera, March 5, 2016 and multiple personages in the life of Lorenzo da Ponte [World Premiere Review: Superb Performances from Thomas Hampson and Luca Pisaroni in O’Regan and Caird’s “The Phoenix” – Houston Grand Opera, April 26, 2019].

Raymond Aceto’s George Benton

[Phoro: Bass Raymond Aceto, who performs the role of prison warden George Benton; edited image of a publicity photograph, courtesy of the San Francisco Opera.]

The fourth veteran of the New York Metropolitan’s 2023 “Dead Man Walking” production is Ohio bass Raymon Aceto, who returns to the San Francisco Opera after an absence of several seasons. Performing the role of the warden George Benton, Aceto’s height and sonorous bass exuded the authority of the prison’s chief functionary.

Raymond Aceto’s San Francisco Opera debut role was Monterone in “Rigoletto” in 1997, the first of 13 roles over 17 seasons, including Hunding [Review: Power Singing, Powerful Imagery in Zambello’s “Walküre” – San Francisco Opera, June 15, 2011], Olin Blitch [Review: Racette, Aceto, Jovanovich in Brilliant New Production of “Susannah” – San Francisco Opera, September 6, 2014] and Fafner in two “Ring” operas [Review: Another Zambello Ring Cycle Begins – Wagner’s “Das Rheingold”, San Francisco Opera, June 19, 2018 and Review: An Heroic, Passionate “Siegfried” – San Francisco Opera, June 22, 2018].

Aceto’s credits in other venues include the Comte de Grieux [Review: Kaufmann Astonishes, Dessay Enraptures, in McVicar “Manon” – Lyric Opera of Chicago, October 15, 2008], Sparafucile [Review: 21st Century Verdi – Hvorostovsky, Ciofi, Kim, Aceto in McVicar’s Illuminating “Rigoletto” – Royal Opera House, Covent Garden, October 11, 2010] Baron Scarpia [Review: Echalaz, Jagde, Aceto Open Santa Fe Opera Season in Wonderfully Sung “Tosca” – June 29, 2012] and Ashby [Review: Impressive, Compelling – “Girl of the Golden West” at Santa Fe Opera, July 1, 2016].

See also Rising Stars: An Interview with Raymond Aceto, Part 1 and Rising Stars: An Interview with Raymond Aceto – Part 2 and A Discussion of Susannah’s Olin Blitch and Tosca’s Scarpia (and other subjects) with basso Raymond Aceto

Rod Gilfry’s Owen Hart and Other Cast Members

[Photo: Baritone Rod GIlfry, who performs the role of Owen Hart; edited image, based on a publicity photograph.]

Another “Dead Man Walking” veteran associating his prestigious career with the 25th anniversary revival is California baritone Rod Gilfry, playing Owen Hart. As father of the murder victims, Hart expresses his fury at de Rocher’s actions. As the execution nears, Hart shows sign of a change of mind on whether de Rocher’s execution should occur. Gilfry is a superb singing actor, who is totally believable in the roles he chooses.

Rod Gilfry’s San Francisco Opera debut rooe was Valentin in Gounod’s “Faust”, the first of ten roles in ten seasons, including Lionel [Review: Zajick is Victor in “Maid of Orleans” – San Francisco Opera, June 18, 2006], Mr. Potter [Review: Jake Heggie’s Revised “It’s a Wonderful Life” – San Francisco Opera. November 25, 2018], and the father-in-law [American Premiere Review: Saariaho’s and Oksanen’s “Innocence”- a Milestone in the Dramatic Possibilities of Operatic Performance – San Francisco Opera, June 1, 2024].

Elsewhere, I have praised Gilfry performances at the Glimmerglass Festival as Frank Butler [Review: Deborah Voigt, Rod Gilfry Romp in Irving Berlin’s “Annie Get Your Gun” – Glimmerglass Festival, August 12, 2011], at the Santa Fe Opera as Don Alfonso [Review: “Cosi Fan Tutte” – World Class Singing, Deconstructed Staging – Santa Fe Opera, July 26, 2019 and at the Los Angeles Opera as Eurydice’s Father [World Premiere Review: Matthew Aucoin’s “Eurydice” at the Los Angeles Opera, February 1, 2020].

Tennessee bass-baritone Philip Skinner was the Second Prison Guard. (Skinner, who made his San Francisco Opera debut in 1985, was an 1986 and 1987 Adler Fellow with over 380 performances with the company, earning the San Francisco Opera Medal during the company’s centennial year. At the San Francisco Opera medal ceremony for Jake Heggie, General Director Martin Shilvock noted that Heggie was sharing the stage with two other San Francisco Opera Medalists, Susan Graham and Philip Skinner.

Adler fellowship graduate California mezzo-soprano Nikola Printz was Jade Boucher. Current Adler fellows were Missouri soprano Caroline Corrales as Kitty Hart, South Carolina tenor Samuel White as Howard Boucher, Delaware baritone Olivier Zerouall as a Motorcycle Cop, Michigan baritone Samuel Kidd as the First Prison Guard, and Utah soprano Mary Hoskins as a Paralegal.

Members of the San Francisco Opera Regular Chorus were Florida soprano Danielle Cheiken as Sister Catherine, Oregon mezzo-soprano Whitney Steele as Sister Lillianne, Virginia mezzo-soprano Sally Mouzon as the First Mother, California soprano Liesl McPherrin as Mrs. Charlton, California tenor Kevin Gino as the First Inmate, Minnesota baritone William Lee Bryan as the Second Inmate, Missouri tenor Chester Pidduck as the Third Inmate, North Carolina baritone John Fulton as the Fourth Inmate and California baritone Nikolas Hackley as the Fifth Inmate.

Maestro Patrick Summers and the San Francisco Opera Orchesetra and Chorus

[Phoro: Maestro Patrick Summers; edited image, based on an Abby Steinhauer photograph, courtesy of the San Francisco Opera.]

Indiana Maestro Patrick Summers, the Artistic and Music Director of the Houston Grand Opera, led the San Francisco Opera Orchestra and Chorus in a passionate performance of Heggie’s tonally rich, sophisticated musical score.

Summers, who was on the San Francisco Opera’s musical staff during the years preceding “Dead Man Walking” world premiere, has conducted 35 operas mounted by the San Francisco Opera since his 1990 assignments of Johann Strauss’ “Die Fledermaus” and Mozart’s “Cosi fan Tutte”.

Summers has conducted the world permieres of six of the eight operas that Heggie has created so far, including his first, “Dead Man Walking”. Other conducting assignments have included a second San Francisco Opera world premiere [World Premiere Review: Hampson’s Heroic “Heart of a Soldier” at the War Memorial – San Francisco Opera, September 10, 2011], a new Wagner production [Review: Grimsley, Lindstrom Launch a Sonically Lavish, Visually Dazzling “Flying Dutchman” – San Francisco Opera, October 22, 2013] and a new to San Francisco Opera offering [Review: Searing Performances by Brian Mulligan and Stephanie Blythe for San Francisco Opera’s First “Sweeney Todd” – September 12, 2015]

A Few Thoughts on San Francisco Opera’s Administrative Leadership 2000-2025

The 2000 world premiere production of “Dead Man Walking” had been directed by Illinois director Joe Mantello (later of “Wicked” fame) with sets by Connecticut director Michael Yeargan.

San Francisco Opera’s general director at that time was Iranian-born director Lotfi Mansouri, who was in the final months of his tenure. He was to be succeeded by the newly appointed General Director Pamela Rosenberg. It was Rosenberg who expressed a desire to give more emphasis to European opera productions.

Mansouri, in his autobiography, describes the reaction of two German directors visiting the company to prepare for Rosenberg’s announced production of Messiaen’s “Saint François d’Assise”. Mansouri recorded their dismayed reaction to a performance of “Dead Man Walking” as “Das ist so Amerikanisch” and “Das ist so Hollywood”. That reaction suggested a different mindset as to what should constitute contemporary opera.

Whether or not the reaction of these two German guests were reflective of Director Rosenberg’s administration, her successor in 2006 was former Houston Grand Opera General Director David Gockley, whose assistant director was Matthew Shilvock.

Soon after the arrival of Gockley and Shilvock in San Francisco, Heggie’s chamber opera “Three Decembers”, which premiered in Houston in 2008, was presented soon after by San Francisco Opera. Heggie’s operas “Moby Dick” and “It’s a Wonderful Life”, conducted by Summers, followed in 2012 and 2018.

Director Leonard Foglia and Set Designer Michael McGarty

[Photo: Director Leonard Foglia; edited image of a publicity photograph for the Arizona Opera.]

In 2001, less than a year later after its world premiere, a new “Dead Man Walking” production was commissioned by a seven opera company consortium consisting of Opera Pacific, Cincinnati Opera, New York City Opera, Austin Lyric Opera, Michigan Opera Theater, Pittsburgh Opera and Baltimore Opera. The new production was first seen in 2002 at Opera Pacific, a company that existed at that time in Orange County, California.

Opera Pacific hired Massachusetts director Leonard Foglia to direct their new “Dead Man Walking” production , with sets by Michael McGarty. That production also employed creative designers associated with both Heggie’s operas and San Francisco Opera productions, including New York Costume Designer Jess Goldstein and New York Lighting Designer Brian Nason. That production, mounted by dozens of opera companies in the United States and elsewhere in the world, was performed at the Lyric Opera of Chicago in 2019. The production is now owned by Lyric Opera.

[Photo: A section of sets used for the revival, originally created by Michael McGarty for Opera Pacific in 2002.]

In the section of this review that follows regarding composer Jake Heggie, I list four world premiees of Heggie operas that I covered. Two of these, “Moby Dick” at The Dallas Opera and “It’s a Wonderful Life” at Houston Grand Opera were directed by Foglia, as was the world premiere of Higdon’s “Cold Mountain” at Santa Fe Opera that I also reviewed [See World Premiere Review: All-Star Cast and Crew, Ardent Audience Ovation for Higdon’s “Cold Mountain” – Santa Fe Opera, August 1, 2015].

Opera Commposer Jake Heggie and the San Francisco Opera Medal

[Photo: Composer Jake Heggie, wearing the San Francisco Opera medal that was just presented to him by General Director Matthew Shilvock; edited image, based on a Matthew Washburn photograph, courtesy of the San Francisco Opera.]

In the seasons prior to the “Dead Man Walking”‘s world premiere, both Summers and Jake Heggie were San Francisco Opera employees, Summers on the musical staff and Heggie in public relations.

Heggie’s long association with the San Francisco Opera. was celebrated with the presentation of the San Francisco Opera medal to Heggie by General Director Matthew Shilvock at the conclusion of this opening performance of the 25th anniversary revival.

Over the past 15 years, I have had the privilege of reporting on the world premieres of four of Heggie’s operas, at The Dallas Opera [World Premiere Review: Heggie’s Theatrically Brilliant, Melodic “Moby Dick” at Dallas Opera – April 30, 2010] and [World Premiere Review: Heggie’s “Great Scott” is a Great New Opera, Hilarious, Endearing, Sophisticated, Profound – The Dallas Opera, October 30, 2015] at the Houston Grand Opera [World Premiere Review: Jake Heggie’s Celestial Transformation of “It’s a Wonderful Life” – Houston Grand Opera, December 2, 2016] and at the San Francisco Opera’s Merola Program [World Premiere Review: Jake Heggie’s Faustian Fantasy “If I Were You” – Merola Opera Program, San Francisco, August 1, 2019].

In addition, I have reviewed the introduction of “Moby Dick” to the opera companies of San Diego [Review: A Majestic West Coast Premiere for Heggie’s “Moby Dick” – San Diego Opera, February 18, 2012], San Francisco {Review: Another Opera House Conquered – Ovations for Heggie’s “Moby Dick” at San Francisco Opera, October 10, 2012] and Los Angeles [Review: Maestro Conlon Captains Another Successful Launch for Heggie’s “Moby Dick” – Los Angeles Opera – November 22, 2015] and of another Heggie opera to Opera San Jose [Streamed Performance Review: Susan Graham, Efrain Solis, Maya Kherani Shine in Heggie’s and Scheer’s “Three Decembers”, Opera San Jose, December 3, 2020].

San Francisco Opera General Director Matthew Shilvock and Sister Helen Prejean

[Below: San Francisco Opera’s General Director Matthew Shilvock (right) meets with Sister Helen Prejean (left), whose Memoirs were the basis for the opera “Dead Man Walking”.

As part of the “Dead Man Walking” quarter century celebration, Director Matthew Shilvock invited Sister Helen Prejean to once again honor the San Francisco Opera by appearing with him on the War Memorial Opera House stage, to receive an ovation from the audience, virtually all of whom remained for the ceremonies at opera’s end.

This review is also an opportunity to commend the San Francisco Opera and its current General Director Matthew Shilvock for his dedication and the dedication of the company he administers to contemporary opera. His support of operas with cultural messages, including “Dead Man Walking” Giddens and Abels’ “Omar” and Saariaho and Oksanen’s “Innocence”, reflect well on the important institution he captains.

Recommendation

I recommend the opera, production and cast of the San Francisco Opera’s 25th anniersary mounting of Jake Heggie’s opera “Dead Man Walking”.