The annual SF Opera summer season is always a treat -- the programmers get a little wild, and the risks, like last year's extraordinary Nixon in China, always pay off in adventurous spirit. (Ticket prices, starting at $22, aren't bad, either).
Honestly, I have no idea how they manage to squeeze all the creativity of three whole productions onstage in the space of one month, but that's opera for you. Kinda magic, kinda crazy, all pretty fascinating.
MUSIC There's no better time for local composer Jake Heggie's 2010 opera Moby-Dick to wash up on our shores, especially in terms of men's fashion. Seriously — peacoats galore, henleys-and-suspenders perfection, button-up trousers, glorious galoshes, and perfectly nor'easter-tousled haircuts, not to mention a stubbly wealth of seafarin' beards. The whole cast, outfitted by ace costume designer Jane Greenwood, might have dropped onto the stage from this fall's All Saints Spitalfields lookbook. Read more »
MUSIC Compared with the smooth operator currently installed in the Oval Office, how nervous Richard Nixon looks now as a representative of America abroad, all stiff grins, rumpled shiftiness, outbursts of awkward rhetoric. Read more »
The Crucible’s “Machine: A Fire Opera” puts a blowtorch on it
First off let’s just all admit that fire is freaking cool. Or, rather, hot. And fire art? That’s about as hot as it gets. ‘Cause it’s art, see, but it’s also fire, and fire is awesome. Unless it’s busy burning down your apartment, then maybe not so much. But we are talking abut fire art right now, and if it’s fire art you want, then the first place you’re going to want to go is West Oakland’s Crucible, one of the most intriguing arts studios in the Bay Area.