Matthew Washburn
I’ve a confession to make: I used to be a kind of who took Delight celebrations with no consideration, and even went so far as actively avoiding Downtown throughout the Delight weekends. Nevertheless, in mild of current developments, I felt the pressing want to indicate up and get up in help of these occasions. My coronary heart was full of delight to find that I wasn’t the one one, as in each occasions I attended, there was an elevated sense of pleasure and group among the many attendees.
Not content material with simply displaying rainbow LED lights on the façade of the Struggle Memorial Opera Home each June, the San Francisco Opera determined to step up its sport and, on Friday, June 27, it unveiled its very firstDelight Live performance, deliberate to be an annual prevalence. At a time when companies (round right here and past) are withdrawing their help for Delight occasions, the truth that San Francisco Opera adopted via with its plan was mind-blowing, and in itself a purpose for celebration.
The closely marketed live performance, first introduced in February 2024, was to coincide with San Francisco Delight’s 55th Anniversary. It was carried out in partnership with many native organizations, together with The Tenderloin Museum, Nationwide AIDS Memorial (offering sections of the AIDS Memorial Quilt show), Compton’s Cafeteria Riot, Marigold Mission (creating the Interactive Altar of Remembrance), GLBT Historic Society (supplying the LGBTQIA+ Historic Exhibit) and Twin Peaks Tavern. This system was curated by San Francisco Opera’s Managing Inventive Director Gregory Henkel and meant to be “a shared emotional odyssey via the music of LGBTQIA+ composers, artists, and allies, exploring themes of sorrow, craving, authenticity, and resilience.”
Matthew Washburn
San Francisco Opera spared no expense to verify of a memorable night, hiring video artist Tal Rosner to jazz up the Struggle Memorial proscenium and the Dodson Orchestra Shell with projections. What Rosner and his video design staff achieved was nothing in need of breathtaking. The projections – typically summary and colourful, and at different instances imposing and statue-like – really enhanced the music-making, they usually have been a giant hit with the viewers. Rosner and his staff went to nice lengths to review each nook and cranny of the proscenium, as completely different components of it have been sometimes accentuated with completely different colours, highlighting the proscenium’s magnificence.
Two specific moments have been particularly noteworthy: when Jamie Barton carried out Melissa Etheridge’s 2014 “Rebellion of Love,” the projected images (courtesy of the GLBT Historic Society) of homosexual marches over time really introduced the music’s message to life. Equally, the sight of the rainbow flag throughout Brian Mulligan‘s efficiency of “I Am What I Am” from the finale of Act I of La Cage aux Folles introduced me to tears, a poignant reminder of the significance of self-acceptance. San Francisco Opera’s workers members, Justin A. Partier and E. Reed Fisher, ensured that all the things on stage went easily with their vital contributions as lighting and stage administrators, respectively.
The Delight Live performance started curiously with a bit that was a repeat of the season opener’s opening evening, specifically Leonard Bernstein’s Candide Overture, performed by San Francisco Opera’s Caroline H. Hume Music Director, Eun Solar Kim. Kim coaxed an thrilling and playful studying from the Orchestra, significantly throughout the “Glitter and Be Homosexual” instrumental segments! It was so unlucky that she solely performed that piece, as she handed the baton to Robert Mollicone for the rest of the evening.
In addition to Barton and Mulligan, the Delight Live performance additionally featured multitalented trans non-binary mezzo-soprano Nikola Printz, a 2023-24 Adler Fellow and an aerialist! It was Printz who started the operatic first half of the evening with a sterling rendition of “Vesuvio, il mio unico amico” from Jake Heggie and Terrence McNally’s 2015 opera Nice Scott. With richly darkish tones and stylish phrasing, Printz absolutely embodied the titular opera diva, all the way down to their gold getups.
Matthew Washburn
Mulligan, who “got here out” in print just lately, adopted with Yeletsky’s Aria from Pyotr Ilyich Tchaikovsky’s Pique Dame, bringing his ordinary depth and energy to the aria. Two excerpts from Camille Saint-Saëns’s Samson et Dalila closed the operatic alternatives. Barton offered “Mon cœur s’ouvre à ta voix”, much like the 2019 Homecoming Live performance. Sadly, this time, there was an excessive amount of tentativeness in her voice. Mollicone didn’t fare properly in main the San Francisco Opera Orchestra within the Bacchanale, both; to my ears, it sounded approach too tame, too prim and correct. (It’s an orgy, in any case!)
The second a part of the live performance featured an eclectic array of queer cultures, starting from folks, pop, and jazz to disco anthems. Right here, all three soloists shone the brightest, as they have been visibly relaxed and having a great time on stage. Mulligan channeled his internal Judy Garland as he supplied “The Man That Bought Away”, a torch music from the 1954 A Star Is Born, whereas Barton and Printz grouped up because the Indigo Ladies of their “Nearer to Positive”, just lately immortalized in Barbie.
Different highlights included Printz’s daring tackle the feminist anthem “You Don’t Personal Me” and, on the alternative spectrum, Mulligan’s introspective assumption of Freddie Mercury’s “You Take My Breath Away.” showcasing his scrumptious decrease notes. Mulligan and Barton additionally displayed their comedic chops as they traded compliments and insults within the rousing “Bosom Buddies” from Jerry Herman’s Mame. The live performance concluded in excessive spirits with Printz’s tackling Carl Bean’s “I Was Born This Method,” one of many first homosexual disco songs written particularly for the group, assisted by three Adler Fellows: Georgiana Adams, Caroline Corrales, and Thomas Kinch.
Sapphira Cristál, runner-up and Miss Congeniality of RuPaul’s Drag Race Season 16, introduced laughter and superb over-the-top costumes because the emcee, introducing the performers and the items they sang. She established a great rapport with the viewers, though I personally would have favored rather less self-promotion. However, the viewers liked her (one individual even requested for her attire!) and he or she created a joyful environment all through the live performance.
Michael Anthonio
On Delight Sunday, I skipped the Parade and headed to the opposite facet of the Bay (braving the 90°F climate) for an additional first, as Pageant Opera offered Ruggero Leoncavallo’s basic Pagliacci as a part of their free and standard “Opera within the Park” on the Civic Park in Walnut Creek, sponsored by Walnut Creek Civic Delight Basis. Now in its 34th Season, the Firm is “dedicated to presenting rising and native artists in compelling and socially related productions of recent and basic repertoire.”
Though this was the 15th 12 months that Pageant Opera produced its free “Opera within the Park” sequence, this was the primary time with a full-length opera. Sung within the authentic Italian, Pagliacci was offered with out a refrain, accompanied by solely a piano, and enhanced by a narrator offering quick summaries of the story, harking back to what Pocket Opera did throughout Donald Pippin’s time. Pageant Opera additionally supplied English translations of the Italian textual content by way of QR code on their web site, accessible on smartphones.
Pageant Opera made a compelling case for Pagliacci, hardly betraying the truth that they have been doing it for the primary time. (In addition they offered it in Orinda Park three days earlier than Sunday’s efficiency.) The Civic Park’s gazebo (as seen above) successfully acted because the tent for the touring theatrical firm, and the modest props (together with a really humorous KFC bucket) helped to enliven Act II.
Michael Anthonio
Pageant Opera assembled a reasonably robust forged to deliver out the drama and tragedy, most of whom have been Pageant Opera veterans. As Canio, tenor Vincent Chambers sang with conviction, imbuing the position with a way of weariness. It was unlucky that his voice cracked in direction of the top. Lila Khazoum introduced a playful and youthful air to Nedda, completely matched with Liam Daley’s Silvio. Whereas Taylor Thompson portrayed a sympathetic Beppe, I used to be most impressed with Igor Vieira, whose booming voice and wonderful physique language and gestures actually depicted Tonio as a person turning evil and manipulative on account of jealousy. Chun Mei Wilson’s accompaniment really moved the story ahead and considerably supplied a musical basis to the story. On the identical time, Basic Director Zachary Gordin’s commentaries supplied an occasional respite from the heaviness of the drama.
It was really encouraging to see many individuals attend the present regardless of the warmth on that day. Some folks even introduced their children! For probably the most half, the viewers quietly absorbed the drama unfolding earlier than their eyes and cheerfully applauded all of the performers on the finish. There was additionally a raffle for 3 bottles of wine throughout the break. All of it showcased the power of the group, and I applauded Pageant Opera for offering such a automobile for introducing the joys of stay opera to a broader viewers and for serving to to dispel the elitist nature of opera.
All in all, it was really a memorable Delight weekend. Glad Delight 2025, everybody!
