In the Steve Jobs Opera, 'Genius' Remains Inscrutable
Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work
A Tale of Two 'Traviatas'
‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights
San Francisco Symphony Returns With an Expansive 2021–2022 Season
Animated Opera 'Mi Camino' Explores the Pandemic's Impact on Farmworkers
'The Island We Made': Lip-Sync Opera and High Drag Sing an Ode to Mothers
How the Pandemic May Impact Bay Area Performing Arts for Years to Come
SF Opera’s ‘The Ring’ Streams All Throughout March—For Free
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It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>[aside postID='news_11572666']This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>[aside postID='arts_13921616']Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'The (R)evolution of Steve Jobs' at SF Opera beautifully explores the stubborn, autocratic tech icon.","status":"publish","parent":0,"modified":1705003318,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1146},"headData":{"title":"Review: In the Steve Jobs Opera, 'Genius' Remains Inscrutable | KQED","description":"'The (R)evolution of Steve Jobs' at SF Opera beautifully explores the stubborn, autocratic tech icon.","ogTitle":"Review: In the Steve Jobs Opera, 'Genius' Remains Inscrutable","ogDescription":"'The (R)evolution of Steve Jobs' at SF Opera beautifully explores the stubborn, autocratic tech icon.","ogImgId":"arts_13935378","twTitle":"Review: In the Steve Jobs Opera, 'Genius' Remains Inscrutable","twDescription":"'The (R)evolution of Steve Jobs' at SF Opera beautifully explores the stubborn, autocratic tech icon.","twImgId":"arts_13935378","socialTitle":"Review: In the Steve Jobs Opera, 'Genius' Remains Inscrutable %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In the Steve Jobs Opera, 'Genius' Remains Inscrutable","datePublished":"2023-09-26T20:33:15.000Z","dateModified":"2024-01-11T20:01:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/d02f0e23-202a-4d61-a1e9-b08b0181fdb6/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935387/steve-jobs-opera-san-francisco-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you hear the words “\u003ca href=\"https://www.kqed.org/arts/tag/steve-jobs-opera\">Steve Jobs opera\u003c/a>” and think, “great, a patently desperate attempt to attract tech donors to the arts by presenting a commercial for Apple that fawns over its billionaire CEO,” I am happy to report that you are wrong. \u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, running at the War Memorial Opera House now through Oct. 7, is remarkably enjoyable, and not at all a rose-tinted portrait. It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11572666","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13921616","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935387/steve-jobs-opera-san-francisco-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235","arts_967"],"tags":["arts_10278","arts_763","arts_769","arts_3316","arts_1935","arts_585"],"featImg":"arts_13935378","label":"arts_140"},"arts_13930489":{"type":"posts","id":"arts_13930489","meta":{"index":"posts_1591205157","site":"arts","id":"13930489","score":null,"sort":[1686776720000]},"guestAuthors":[],"slug":"pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work","title":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","publishDate":1686776720,"format":"standard","headTitle":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>[aside postid='news_11848986']The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.","status":"publish","parent":0,"modified":1705005374,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1021},"headData":{"title":"Review: SF Opera’s ‘El último sueño de Frida y Diego’ | KQED","description":"Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.","ogTitle":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","ogDescription":"","ogImgId":"","twTitle":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","twDescription":"","twImgId":"","socialTitle":"Review: SF Opera’s ‘El último sueño de Frida y Diego’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","datePublished":"2023-06-14T21:05:20.000Z","dateModified":"2024-01-11T20:36:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David John Chávez","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13930489/pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11848986","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930489/pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work","authors":["byline_arts_13930489"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_15393","arts_2647","arts_4083","arts_6387","arts_763","arts_769","arts_1071"],"featImg":"arts_13930503","label":"arts"},"arts_13921890":{"type":"posts","id":"arts_13921890","meta":{"index":"posts_1591205157","site":"arts","id":"13921890","score":null,"sort":[1669222800000]},"guestAuthors":[],"slug":"la-traviata-sf-opera-versus-ny-met","title":"A Tale of Two 'Traviatas'","publishDate":1669222800,"format":"aside","headTitle":"A Tale of Two ‘Traviatas’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13921894\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.MAIN_.jpg\" alt=\"A Black woman in a red dress stands against a parlor wall of deep red, adorned with paintings\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m used to New York looking down on the Bay Area, but I never realized until recently that its condescension extended to, of all things, opera. \u003c/p>\n\u003cp>Scene: I’m at Lincoln Center in New York a couple weeks ago to see Verdi’s \u003cem>La Traviata\u003c/em>, and a man nearby strikes up a conversation. When he learns I’m from the Bay Area, he furrows his brow: “Oh, I have heard about San Francisco opera. Not so good.” \u003c/p>\n\u003cp>[aside postID='arts_13919101']Coupled with \u003ci>The New York Times\u003c/i> \u003ca href=\"https://www.nytimes.com/2022/09/11/arts/music/john-adams-antony-cleopatra-opera.html\">weirdly slamming\u003c/a> Berkeley-based composer John Adams’ San Francisco premiere of \u003cem>Antony and Cleopatra\u003c/em>, a original and engrossing work, I had to wonder: what gives?\u003c/p>\n\u003cp>Seeing \u003cem>La Traviata\u003c/em> as a first-time visitor to the Met in New York, I couldn’t help but be a little awed by its elegant red-and-white lobby, ascending chandeliers and famous facade. As for the top-notch performance of Nadine Sierra as Violetta? It brought me to tears. \u003c/p>\n\u003cp>But if the package comes with haughtiness, like so many things in New York do (see: the Yankees’ fanbase, Notorious B.I.G. zealots, \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">whatever this Grade-A horse manure is\u003c/a>), then gimme San Francisco’s brand of opera any day.\u003c/p>\n\u003cfigure id=\"attachment_13921896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/LaTraviataGroup.jpg\" alt=\"A Black woman in a blue dress stands above a crowd engaged in revelry \" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta among members of the ensemble in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I decided to see \u003cem>La Traviata\u003c/em> again, at SF Opera, just a week after seeing it at the Met, to compare. The primary difference is that the casting is simply more interesting. At the Met, Sierra may have the more gossamer timbre. But in San Francisco, soprano Pretty Yende brings a wholly different dimension to the role, extracting more of the wonder and pathos of Violetta’s predicament. (Jonathan Tetelman as Alfredo and Simone Piazzola as Giorgio, both making their SF Opera debuts, deliver convincing performances as well.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The set in New York? Virtually unchanging, save for some furniture swaps, as well as towers of wooden lattice to convey “the country.” In San Francisco, meanwhile, the audience audibly gasped when the curtain rose on the beautiful, decor-laden deep red set for Act II’s party scene. \u003c/p>\n\u003cp>San Francisco’s \u003cem>Traviata\u003c/em> is also directed by a woman, Shawna Lucey — which, considering its tensions over a woman’s place in society and the men who have the power to reduce it, should be the rule for every staging of \u003cem>La Traviata\u003c/em>. \u003c/p>\n\u003cp>In short, the Met is nice, but we’ve got something special here in the Bay Area. I can guarantee one other difference, too: unlike at the Met, a cup of coffee and a cookie at intermission won’t set you back $19.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Traviata’ runs through Saturday, Dec. 3, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/la-traviata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A report on seeing both the Met’s ‘La Traviata’ and SF Opera’s ‘La Traviata’ in the same week.","status":"publish","parent":0,"modified":1705006132,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":509},"headData":{"title":"‘La Traviata’ Review: NY Has Nothing on SF Opera | KQED","description":"A report on seeing both the Met’s ‘La Traviata’ and SF Opera’s ‘La Traviata’ in the same week.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘La Traviata’ Review: NY Has Nothing on SF Opera %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Tale of Two 'Traviatas'","datePublished":"2022-11-23T17:00:00.000Z","dateModified":"2024-01-11T20:48:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13921890/la-traviata-sf-opera-versus-ny-met","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13921894\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.MAIN_.jpg\" alt=\"A Black woman in a red dress stands against a parlor wall of deep red, adorned with paintings\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m used to New York looking down on the Bay Area, but I never realized until recently that its condescension extended to, of all things, opera. \u003c/p>\n\u003cp>Scene: I’m at Lincoln Center in New York a couple weeks ago to see Verdi’s \u003cem>La Traviata\u003c/em>, and a man nearby strikes up a conversation. When he learns I’m from the Bay Area, he furrows his brow: “Oh, I have heard about San Francisco opera. Not so good.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919101","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Coupled with \u003ci>The New York Times\u003c/i> \u003ca href=\"https://www.nytimes.com/2022/09/11/arts/music/john-adams-antony-cleopatra-opera.html\">weirdly slamming\u003c/a> Berkeley-based composer John Adams’ San Francisco premiere of \u003cem>Antony and Cleopatra\u003c/em>, a original and engrossing work, I had to wonder: what gives?\u003c/p>\n\u003cp>Seeing \u003cem>La Traviata\u003c/em> as a first-time visitor to the Met in New York, I couldn’t help but be a little awed by its elegant red-and-white lobby, ascending chandeliers and famous facade. As for the top-notch performance of Nadine Sierra as Violetta? It brought me to tears. \u003c/p>\n\u003cp>But if the package comes with haughtiness, like so many things in New York do (see: the Yankees’ fanbase, Notorious B.I.G. zealots, \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">whatever this Grade-A horse manure is\u003c/a>), then gimme San Francisco’s brand of opera any day.\u003c/p>\n\u003cfigure id=\"attachment_13921896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/LaTraviataGroup.jpg\" alt=\"A Black woman in a blue dress stands above a crowd engaged in revelry \" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta among members of the ensemble in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I decided to see \u003cem>La Traviata\u003c/em> again, at SF Opera, just a week after seeing it at the Met, to compare. The primary difference is that the casting is simply more interesting. At the Met, Sierra may have the more gossamer timbre. But in San Francisco, soprano Pretty Yende brings a wholly different dimension to the role, extracting more of the wonder and pathos of Violetta’s predicament. (Jonathan Tetelman as Alfredo and Simone Piazzola as Giorgio, both making their SF Opera debuts, deliver convincing performances as well.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The set in New York? Virtually unchanging, save for some furniture swaps, as well as towers of wooden lattice to convey “the country.” In San Francisco, meanwhile, the audience audibly gasped when the curtain rose on the beautiful, decor-laden deep red set for Act II’s party scene. \u003c/p>\n\u003cp>San Francisco’s \u003cem>Traviata\u003c/em> is also directed by a woman, Shawna Lucey — which, considering its tensions over a woman’s place in society and the men who have the power to reduce it, should be the rule for every staging of \u003cem>La Traviata\u003c/em>. \u003c/p>\n\u003cp>In short, the Met is nice, but we’ve got something special here in the Bay Area. I can guarantee one other difference, too: unlike at the Met, a cup of coffee and a cookie at intermission won’t set you back $19.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Traviata’ runs through Saturday, Dec. 3, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/la-traviata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921890/la-traviata-sf-opera-versus-ny-met","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_13090","arts_763","arts_3316","arts_585"],"featImg":"arts_13921893","label":"arts_140"},"arts_13919101":{"type":"posts","id":"arts_13919101","meta":{"index":"posts_1591205157","site":"arts","id":"13919101","score":null,"sort":[1663608367000]},"guestAuthors":[],"slug":"antony-and-cleopatra-john-adams-review","title":"‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights","publishDate":1663608367,"format":"audio","headTitle":"‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>[aside postID='arts_12731274']But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n","blocks":[],"excerpt":"In a world premiere at SF Opera, Adams' new opera emphasizes the story's political overtones. ","status":"publish","parent":0,"modified":1705006368,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":326},"headData":{"title":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera | KQED","description":"In a world premiere at SF Opera, Adams' new opera emphasizes the story's political overtones. ","ogTitle":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera","ogDescription":"","ogImgId":"","twTitle":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera","twDescription":"","twImgId":"","socialTitle":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights","datePublished":"2022-09-19T17:26:07.000Z","dateModified":"2024-01-11T20:52:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/79aefa07-a701-4199-a1e8-af1101651dd6/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13919101/antony-and-cleopatra-john-adams-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12731274","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919101/antony-and-cleopatra-john-adams-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_10278","arts_1677","arts_763","arts_3316","arts_585"],"featImg":"arts_13919277","label":"arts_140"},"arts_13899522":{"type":"posts","id":"arts_13899522","meta":{"index":"posts_1591205157","site":"arts","id":"13899522","score":null,"sort":[1624994010000]},"guestAuthors":[],"slug":"san-francisco-symphony-returns-with-an-expansive-2021-2022-season","title":"San Francisco Symphony Returns With an Expansive 2021–2022 Season","publishDate":1624994010,"format":"standard","headTitle":"San Francisco Symphony Returns With an Expansive 2021–2022 Season | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>After an unusual year of adaptation and experimentation, the San Francisco Symphony will be back in full swing with its 2021–2022 season, announced this morning. Returning to Davies Symphony Hall, the orchestra will keep one foot planted in Western classical tradition while exploring diverse musical influences, contemporary compositions and collaborations well beyond the canon.\u003c/p>\n\u003cp>“The past year has been anything but typical, but the musicians, administration, operations team and collaborative partners have more than risen to the task,” said San Francisco Symphony Music Director Esa-Pekka Salonen in a statement. “Now, we have to come to terms with another challenging prospect: that there is no getting back to ‘normal,’ unless we attempt to redefine what it means. The new ‘normal’ for us must be to push boundaries and explore the world around us with openness and curiosity.”\u003c/p>\n\u003cp>The season kicks off with a collaboration with bassist Esperanza Spalding, one of Salonen’s collaborative partners at the orchestra, and the Alonzo King LINES ballet on the \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/opening-night-gala\" target=\"_blank\" rel=\"noopener noreferrer\">Re-Opening Night Gala\u003c/a> on Oct. 1 and an \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/SPALDING-LINES-BALLET\" target=\"_blank\" rel=\"noopener noreferrer\">additional night on Oct. 2\u003c/a>. The orchestra will perform works by San Francisco composer John Adams and jazz saxophonist and composer Wayne Shorter—two living greats—as well as 20th-century Argentinian composer Alberto Ginastera and Mexican composer and violinist Silvestre Revueltas.\u003c/p>\n\u003cp>Other highlights of the season include a new version of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/Julia-Bullock-Historys-Persistent-Voice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>History’s Persistent Voice\u003c/em>\u003c/a> by Julia Bullock, a renowned soprano and another of the orchestra’s collaborative partners. Bullock curated the program as an homage to centuries of creativity from Black artists, and the San Francisco Symphony will debut two new commissions as part of it.[aside postid='arts_13889101']\u003c/p>\n\u003cp>In addition to an Orchestral Series conducted by Salonen, there will be a Great Performer series focused on soloists such as pianist Kirill Kuzman and mezzo-soprano Sasha Cooke, who will perform together in \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/HOW-DO-I-FIND-YOU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How Do I Find You\u003c/em>\u003c/a>, featuring 17 new works written for Cooke during the pandemic. Experimental, multi-media concerts will return as part of the SoundBox series, and family concerts, film screenings, a program conducted by Music Director Laureate Michael Tilson Thomas and more are on the horizon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full schedule of events and ticket information can be found \u003ca href=\"https://www.sfsymphony.org/Calendar\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Kicking off in September, the new season keeps one foot in Western classical tradition while exploring diverse influences and new works. ","status":"publish","parent":0,"modified":1705008137,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":386},"headData":{"title":"San Francisco Symphony Returns With an Expansive 2021–2022 Season | KQED","description":"Kicking off in September, the new season keeps one foot in Western classical tradition while exploring diverse influences and new works. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Symphony Returns With an Expansive 2021–2022 Season","datePublished":"2021-06-29T19:13:30.000Z","dateModified":"2024-01-11T21:22:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13899522/san-francisco-symphony-returns-with-an-expansive-2021-2022-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After an unusual year of adaptation and experimentation, the San Francisco Symphony will be back in full swing with its 2021–2022 season, announced this morning. Returning to Davies Symphony Hall, the orchestra will keep one foot planted in Western classical tradition while exploring diverse musical influences, contemporary compositions and collaborations well beyond the canon.\u003c/p>\n\u003cp>“The past year has been anything but typical, but the musicians, administration, operations team and collaborative partners have more than risen to the task,” said San Francisco Symphony Music Director Esa-Pekka Salonen in a statement. “Now, we have to come to terms with another challenging prospect: that there is no getting back to ‘normal,’ unless we attempt to redefine what it means. The new ‘normal’ for us must be to push boundaries and explore the world around us with openness and curiosity.”\u003c/p>\n\u003cp>The season kicks off with a collaboration with bassist Esperanza Spalding, one of Salonen’s collaborative partners at the orchestra, and the Alonzo King LINES ballet on the \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/opening-night-gala\" target=\"_blank\" rel=\"noopener noreferrer\">Re-Opening Night Gala\u003c/a> on Oct. 1 and an \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/SPALDING-LINES-BALLET\" target=\"_blank\" rel=\"noopener noreferrer\">additional night on Oct. 2\u003c/a>. The orchestra will perform works by San Francisco composer John Adams and jazz saxophonist and composer Wayne Shorter—two living greats—as well as 20th-century Argentinian composer Alberto Ginastera and Mexican composer and violinist Silvestre Revueltas.\u003c/p>\n\u003cp>Other highlights of the season include a new version of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/Julia-Bullock-Historys-Persistent-Voice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>History’s Persistent Voice\u003c/em>\u003c/a> by Julia Bullock, a renowned soprano and another of the orchestra’s collaborative partners. Bullock curated the program as an homage to centuries of creativity from Black artists, and the San Francisco Symphony will debut two new commissions as part of it.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889101","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to an Orchestral Series conducted by Salonen, there will be a Great Performer series focused on soloists such as pianist Kirill Kuzman and mezzo-soprano Sasha Cooke, who will perform together in \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/HOW-DO-I-FIND-YOU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How Do I Find You\u003c/em>\u003c/a>, featuring 17 new works written for Cooke during the pandemic. Experimental, multi-media concerts will return as part of the SoundBox series, and family concerts, film screenings, a program conducted by Music Director Laureate Michael Tilson Thomas and more are on the horizon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full schedule of events and ticket information can be found \u003ca href=\"https://www.sfsymphony.org/Calendar\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13899522/san-francisco-symphony-returns-with-an-expansive-2021-2022-season","authors":["11387"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_10278","arts_763","arts_10902","arts_1367","arts_585"],"featImg":"arts_13849047","label":"arts_140"},"arts_13898567":{"type":"posts","id":"arts_13898567","meta":{"index":"posts_1591205157","site":"arts","id":"13898567","score":null,"sort":[1623343653000]},"guestAuthors":[],"slug":"animated-opera-mi-camino-explores-the-pandemics-impact-on-farmworkers","title":"Animated Opera 'Mi Camino' Explores the Pandemic's Impact on Farmworkers","publishDate":1623343653,"format":"standard","headTitle":"Animated Opera ‘Mi Camino’ Explores the Pandemic’s Impact on Farmworkers | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On June 25, composer and artistic director Héctor Armienta premieres his new multimedia song cycle \u003ci>\u003cspan style=\"font-weight: 400\">Mi Camino\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a depiction of the impact of COVID-19 on farmworkers in the greater Bay Area. The opera is based on interviews with individuals from regional farmworker communities.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Featuring renowned soprano Cecilia Violetta López, and Bay Area-based mezzo-soprano Deborah Rosengaus and tenor Emmanuel Mercado, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mi Camino \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">explores the stories and experiences of farmworkers through virtual storytelling such as animations, avatars, and virtual worlds, combined with footage of the singers themselves. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Due to high-density working and living conditions, California’s agriculture workers have been hard-hit by the pandemic. Researchers at Purdue University have estimated that about \u003c/span>\u003ca href=\"https://apnews.com/article/philanthropy-california-coronavirus-pandemic-united-states-c20deca40645679538bd4e779c3c08f5\">\u003cspan style=\"font-weight: 400\">9,000 agricultural workers in the United States have died of the virus\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. As vaccine availability increases, California has prioritized farmworkers, seeking to bring doses directly to the areas where many work and live. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Mi Camino\u003c/em> is the second installment of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Frontera Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a song cycle created by composer and artistic director Héctor Armienta. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Part I: Cuentos de Peregrinación\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> premiered in 2014 at the Mexican Heritage Theater-School of Arts and Culture in San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cem>‘Mi Camino’ airs online on June 25 and 27. Details \u003ca href=\"https://watch.eventive.org/mi_camino\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The multimedia song cycle draws on interviews with Bay Area farmworker communities.","status":"publish","parent":0,"modified":1705008233,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":218},"headData":{"title":"Animated Opera 'Mi Camino' Explores the Pandemic's Impact on Farmworkers | KQED","description":"The multimedia song cycle draws on interviews with Bay Area farmworker communities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Animated Opera 'Mi Camino' Explores the Pandemic's Impact on Farmworkers","datePublished":"2021-06-10T16:47:33.000Z","dateModified":"2024-01-11T21:23:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"The multimedia song cycle is based on interviews with individuals from the Bay Area's farmworker communities","path":"/arts/13898567/animated-opera-mi-camino-explores-the-pandemics-impact-on-farmworkers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On June 25, composer and artistic director Héctor Armienta premieres his new multimedia song cycle \u003ci>\u003cspan style=\"font-weight: 400\">Mi Camino\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a depiction of the impact of COVID-19 on farmworkers in the greater Bay Area. The opera is based on interviews with individuals from regional farmworker communities.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Featuring renowned soprano Cecilia Violetta López, and Bay Area-based mezzo-soprano Deborah Rosengaus and tenor Emmanuel Mercado, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mi Camino \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">explores the stories and experiences of farmworkers through virtual storytelling such as animations, avatars, and virtual worlds, combined with footage of the singers themselves. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Due to high-density working and living conditions, California’s agriculture workers have been hard-hit by the pandemic. Researchers at Purdue University have estimated that about \u003c/span>\u003ca href=\"https://apnews.com/article/philanthropy-california-coronavirus-pandemic-united-states-c20deca40645679538bd4e779c3c08f5\">\u003cspan style=\"font-weight: 400\">9,000 agricultural workers in the United States have died of the virus\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. As vaccine availability increases, California has prioritized farmworkers, seeking to bring doses directly to the areas where many work and live. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Mi Camino\u003c/em> is the second installment of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Frontera Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a song cycle created by composer and artistic director Héctor Armienta. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Part I: Cuentos de Peregrinación\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> premiered in 2014 at the Mexican Heritage Theater-School of Arts and Culture in San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cem>‘Mi Camino’ airs online on June 25 and 27. Details \u003ca href=\"https://watch.eventive.org/mi_camino\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13898567/animated-opera-mi-camino-explores-the-pandemics-impact-on-farmworkers","authors":["11734"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_11014","arts_763"],"featImg":"arts_13898613","label":"arts_140"},"arts_13894296":{"type":"posts","id":"arts_13894296","meta":{"index":"posts_1591205157","site":"arts","id":"13894296","score":null,"sort":[1616177492000]},"guestAuthors":[],"slug":"the-island-we-made-lip-sync-opera-and-high-drag-sing-an-ode-to-mothers","title":"'The Island We Made': Lip-Sync Opera and High Drag Sing an Ode to Mothers","publishDate":1616177492,"format":"standard","headTitle":"‘The Island We Made’: Lip-Sync Opera and High Drag Sing an Ode to Mothers | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Opera Philadelphia has, of course, spent the last year unable to stage live works in theaters. In response, they started creating original works written for the camera, to be shared and viewed online as part of an ongoing effort to bring a wider range of voices into the repertory. [aside postid='arts_13893676']\u003c/p>\n\u003cp>“Our focus was not doing a pandemic Band-Aid. We needed to make this artistic expression that lived in its own right digitally,” says David Devan, the company’s general director. “For that reason, we don’t see it going away. We see it augmenting our in-real-life performances.” Opera Philadelphia has been using its \u003ca href=\"https://www.operaphila.org/festival/opera-philadelphia-channel/\" target=\"_blank\" rel=\"noopener noreferrer\">new digital channel\u003c/a> to try and expand the canon of contemporary opera, featuring work from Black composers like \u003ca href=\"https://www.npr.org/artists/113090823/tyshawn-sorey\" target=\"_blank\" rel=\"noopener noreferrer\">Tyshawn Sorey\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dsSENWpYqFw\" target=\"_blank\" rel=\"noopener noreferrer\">Courtney Bryan\u003c/a>, and Latina composers like Angélica Negrón, who composed the company’s newest from the project, \u003cem>The Island We Made\u003c/em>, which debuts today.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g7WGgRcSb3w\u003c/p>\n\u003cp>\u003cem>The Island We Made\u003c/em> is a lullaby about mothers, an homage to the labor of childrearing. The lyrics are repetitive: \u003cem>my lungs\u003c/em>, \u003cem>your voice\u003c/em>, \u003cem>you made me\u003c/em>, \u003cem>you fed me\u003c/em>. The music was written by composer \u003ca href=\"https://www.npr.org/2019/12/20/786539476/bal-n-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Angélica Negrón\u003c/a>, who grew up in Puerto Rico in the ’80s. Negrón says that her mother had many friends who were drag performers, so high glamour and high drama were regular parts of her childhood. “Just the immensity and the confidence of them, unapologetic, taking up space, for me was really impactful as a child to have around,” Negrón says. [aside postid='pop_108023']\u003c/p>\n\u003cp>To some, \u003cem>The Island We Made\u003c/em> may not look or sound like opera; there is no storyline in the video, filmed by Matthew Placek, or point at which a singer belts their feelings out to the rafters. In fact, the character we see isn’t even singing—in characteristic drag fashion, Sasha Velour is lip-synching to the voice of an unseen singer, the musician Eliza Bagg.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Island We Made\u003c/em> does share one important aspect with traditional opera—an enormity of feeling. Negrón and Velour wrote it together, around the theme of mother-daughter relationships. Velour recalls speaking to Negrón about their experiences with mothers—Velour keeps her head shaved, and often performs without a wig, in tribute to her mother—about care and of all the ways relationships can be formed in gestures and silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s silence involved there, because my mother’s passed,” says Velour, whose mother lost her hair to chemotherapy. “I can’t speak with her, but I do think about creating space for that relationship in different ways. My drag is a part of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Island+We+Made%27%3A+Lip-Sync+Opera+And+High+Drag+Sing+An+Ode+To+Mothers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Composer Angélica Negrón collaborates with 'RuPaul's Drag Race' winner Sasha Velour on a 10-minute film for Opera Philadelphia.","status":"publish","parent":0,"modified":1705019316,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":489},"headData":{"title":"'The Island We Made': Lip-Sync Opera and High Drag Sing an Ode to Mothers | KQED","description":"Composer Angélica Negrón collaborates with 'RuPaul's Drag Race' winner Sasha Velour on a 10-minute film for Opera Philadelphia.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'The Island We Made': Lip-Sync Opera and High Drag Sing an Ode to Mothers","datePublished":"2021-03-19T18:11:32.000Z","dateModified":"2024-01-12T00:28:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Matthew Placek","nprByline":"Nina Kravinsky","nprImageAgency":"Courtesy of the artist","nprStoryId":"978900735","nprApiLink":"http://api.npr.org/query?id=978900735&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/03/19/978900735/the-island-we-made-lip-sync-opera-and-high-drag-sing-an-ode-to-mothers?ft=nprml&f=978900735","nprRetrievedStory":"1","nprPubDate":"Fri, 19 Mar 2021 13:06:00 -0400","nprStoryDate":"Fri, 19 Mar 2021 05:06:00 -0400","nprLastModifiedDate":"Fri, 19 Mar 2021 10:05:47 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/03/20210319_me_the_island_we_made_lip-sync_opera_and_high_drag_sing_an_ode_to_mothers.mp3?orgId=1&topicId=1106&d=222&p=3&story=978900735&ft=nprml&f=978900735","nprAudioM3u":"http://api.npr.org/m3u/1979056466-e86d04.m3u?orgId=1&topicId=1106&d=222&p=3&story=978900735&ft=nprml&f=978900735","templateType":"standard","featuredImageType":"standard","path":"/arts/13894296/the-island-we-made-lip-sync-opera-and-high-drag-sing-an-ode-to-mothers","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/03/20210319_me_the_island_we_made_lip-sync_opera_and_high_drag_sing_an_ode_to_mothers.mp3?orgId=1&topicId=1106&d=222&p=3&story=978900735&ft=nprml&f=978900735","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera Philadelphia has, of course, spent the last year unable to stage live works in theaters. In response, they started creating original works written for the camera, to be shared and viewed online as part of an ongoing effort to bring a wider range of voices into the repertory. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893676","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our focus was not doing a pandemic Band-Aid. We needed to make this artistic expression that lived in its own right digitally,” says David Devan, the company’s general director. “For that reason, we don’t see it going away. We see it augmenting our in-real-life performances.” Opera Philadelphia has been using its \u003ca href=\"https://www.operaphila.org/festival/opera-philadelphia-channel/\" target=\"_blank\" rel=\"noopener noreferrer\">new digital channel\u003c/a> to try and expand the canon of contemporary opera, featuring work from Black composers like \u003ca href=\"https://www.npr.org/artists/113090823/tyshawn-sorey\" target=\"_blank\" rel=\"noopener noreferrer\">Tyshawn Sorey\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dsSENWpYqFw\" target=\"_blank\" rel=\"noopener noreferrer\">Courtney Bryan\u003c/a>, and Latina composers like Angélica Negrón, who composed the company’s newest from the project, \u003cem>The Island We Made\u003c/em>, which debuts today.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g7WGgRcSb3w'\n title='//www.youtube.com/embed/g7WGgRcSb3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Island We Made\u003c/em> is a lullaby about mothers, an homage to the labor of childrearing. The lyrics are repetitive: \u003cem>my lungs\u003c/em>, \u003cem>your voice\u003c/em>, \u003cem>you made me\u003c/em>, \u003cem>you fed me\u003c/em>. The music was written by composer \u003ca href=\"https://www.npr.org/2019/12/20/786539476/bal-n-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Angélica Negrón\u003c/a>, who grew up in Puerto Rico in the ’80s. Negrón says that her mother had many friends who were drag performers, so high glamour and high drama were regular parts of her childhood. “Just the immensity and the confidence of them, unapologetic, taking up space, for me was really impactful as a child to have around,” Negrón says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_108023","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To some, \u003cem>The Island We Made\u003c/em> may not look or sound like opera; there is no storyline in the video, filmed by Matthew Placek, or point at which a singer belts their feelings out to the rafters. In fact, the character we see isn’t even singing—in characteristic drag fashion, Sasha Velour is lip-synching to the voice of an unseen singer, the musician Eliza Bagg.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Island We Made\u003c/em> does share one important aspect with traditional opera—an enormity of feeling. Negrón and Velour wrote it together, around the theme of mother-daughter relationships. Velour recalls speaking to Negrón about their experiences with mothers—Velour keeps her head shaved, and often performs without a wig, in tribute to her mother—about care and of all the ways relationships can be formed in gestures and silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s silence involved there, because my mother’s passed,” says Velour, whose mother lost her hair to chemotherapy. “I can’t speak with her, but I do think about creating space for that relationship in different ways. My drag is a part of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Island+We+Made%27%3A+Lip-Sync+Opera+And+High+Drag+Sing+An+Ode+To+Mothers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894296/the-island-we-made-lip-sync-opera-and-high-drag-sing-an-ode-to-mothers","authors":["byline_arts_13894296"],"categories":["arts_1","arts_69"],"tags":["arts_6298","arts_763"],"affiliates":["arts_137"],"featImg":"arts_13894297","label":"arts_137"},"arts_13893812":{"type":"posts","id":"arts_13893812","meta":{"index":"posts_1591205157","site":"arts","id":"13893812","score":null,"sort":[1615920713000]},"guestAuthors":[],"slug":"how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come","title":"How the Pandemic May Impact Bay Area Performing Arts for Years to Come","publishDate":1615920713,"format":"audio","headTitle":"How the Pandemic May Impact Bay Area Performing Arts for Years to Come | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A few weeks ago—for the first time in an entire year—I went to see a piece of live theater.\u003c/p>\n\u003cp>As befits these times, \u003ca href=\"https://oaklandtheaterproject.org/binding-ties\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Theater Project\u003c/a>’s latest production, \u003cem>Binding Ties: The 16th Street Station,\u003c/em> was a drive-in experience. It took place in the parking lot outside the historic railroad terminus in West Oakland mentioned in the show’s title. It used the setting as the backdrop for a story about the Black and immigrant Oaklanders who once worked on the railroad.\u003c/p>\n\u003cp>We all sat in our cars, peering through our windshields, as the voice of actor William Oliver III was piped in through our radios.\u003c/p>\n\u003cp>“Oakland is some kind of town, ain’t it?” enthused Oliver, launching into his lines in the guise of a railroad worker with uniform and cap. The audience of cars honked back at him in response.\u003c/p>\n\u003cp>Drive-in shows. Online fundraisers. Rehearsals via Zoom. Welcome to the new reality of producing art in the Bay Area a year into COVID-19. The pandemic has been grueling—as well as transformative—for the local arts community. And now its constituents are using what they’ve learned over the past 12 months to help navigate the road ahead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland Theater Project, for one, has planned its entire new season around the drive-in experience.\u003c/p>\n\u003cp>“This is something we could ask people to come to and still feel like we’re keeping them safe,” says Oakland Theater Project co-artistic director William Thomas Hodgson.\u003c/p>\n\u003cp>Hodgson wants to get audiences out of their cars and into the theater again. But there are some aspects to producing shows in a pandemic that he hopes will stick around—like paying actors a fairer wage.\u003c/p>\n\u003cp>He says his company has been able to up its pay by 50% over last year. That’s possible in a season like this one, where the maximum cast size is five. But this community-oriented company is known for producing shows with much bigger forces.\u003c/p>\n\u003cp>“We’re committed to this. We’re gonna do it,” Hodgson says. “But our mainstay at Oakland Theater Project has been these large cast productions. I don’t know what that looks like in the future.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Opera San José Presents: Wagner's The Flying Dutchman\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/gylTi_haPE0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Similarly to Oakland Theater Project, \u003ca href=\"https://www.operasj.org/?gclid=Cj0KCQiA-aGCBhCwARIsAHDl5x-BWCh9gw6WSala3s5O5jzxt7xQrCNo9z5g5BKRV6pKrUrDkO-soQ0aAgqoEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a> also hopes one day to return to big productions, like its staging of \u003cem>The Flying Dutchman\u003c/em> from 2018, which featured an orchestra, chorus and soloists and required several hours of the audience’s attention.\u003c/p>\n\u003cp>But the pandemic has inspired Opera San Jose to lean into producing one-act and chamber works with small casts and shorter timeframes going forward. One recent example is the company’s video-streamed take on \u003cem>Three Decembers\u003c/em>, a 90-minute-long chamber opera with a trio of performers and piano accompaniment.\u003c/p>\n\u003cp>“Shorter evenings reduce risk and help patrons feel more comfortable,” says Opera San Jose general director Khori Dastoor. “They make a lot of sense to welcome new audiences.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"The Making of THREE DECEMBERS\"' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uTIVoS4o7R8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dastoor is investing heavily in digital tools and training, including offering video content translated into Spanish and Vietnamese. She says her audience is expanding as a result of these efforts, with several thousand new households tuning in this past year versus around several hundred in previous years, both locally and from places as far flung as Germany and Japan.\u003c/p>\n\u003cp>She says her donor base is holding, but she recognizes some traditional opera lovers might not be on board with the digital revolution.\u003c/p>\n\u003cp>“My anxiety and concern is how long it takes for us to get to a model where the people we’ve lost because of our pivot are offset by the new people that are engaging with us for the first time,” Dastoor says.\u003c/p>\n\u003cp>The bicoastal contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a> (based in San Francisco and Hudson Valley, New York) has also been able to reach new audiences with virtual content during the pandemic. In January, the group presented the video world premiere of \u003cem>The Healer,\u003c/em> a work for four dancers in flowing, pleated skirts inspired in part by the COVID-19 pandemic. The piece explores humans’ ability to overcome physical and emotional suffering through the theme of traditional Chinese medicine and holistic practices.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Trailer: \"The Healer\" (2021)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aAMtkWTocgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>RAWdance co-artistic director Katerina Wong says her company has been working hard to adapt a three-dimensional art form to the two-dimensional screen.\u003c/p>\n\u003cp>“How do we still create that sense of connection and intimacy and communication, when so many of us are sitting and watching lots of Netflix or on back to back Zoom calls? It’s really hard to cut through that,” Wong says.\u003c/p>\n\u003cp>Wong says producing high quality video is expensive, especially for small dance companies like hers, but it’s something she plans to pursue even after the pandemic is over. A major financial challenge her company faces is figuring out how to expand access to the art form without sacrificing the quality of live performances when they return.\u003c/p>\n\u003cp>RAWdance relies on donations and grants for survival, including funding from the City of San Francisco. Wong and fellow co-directors Wendy Rein and Ryan T. Smith want to see more government support.\u003c/p>\n\u003cp>“What feels so essential, being located in these cities, is that it’s the signaling of the significance of artists in the community to be culture bearers and culture makers,” Wong says. “And I hope that that can be acknowledged by funding support.”\u003c/p>\n\u003cp>San Francisco Mayor London Breed just announced a proposal to provide $17 million in one-time support to local arts groups. The city’s board of supervisors is expected to discuss the proposal on Mar. 17. But one of the main sources of arts funding, the hotel tax, is down by nearly 90% since last year, and arts groups are worried about making it through.\u003c/p>\n\u003cp>“The short term prognosis is not good,” says San Francisco-based indie band manager \u003ca href=\"https://en.wikipedia.org/wiki/Jordan_Kurland\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Kurland\u003c/a>. He \u003ca href=\"https://brilliantcorners.com/\" target=\"_blank\" rel=\"noopener noreferrer\">represents\u003c/a> groups like \u003ca href=\"https://brilliantcorners.com/#/death-cab-for-cutie/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Cab for Cutie\u003c/a>, \u003ca href=\"https://brilliantcorners.com/#/the-new-pornographers/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Pornographers\u003c/a> and the Bay Area’s own \u003ca href=\"https://brilliantcorners.com/#/toro-y-moi/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>Kurland also sits on the boards of several local arts nonprofits including \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lab\u003c/a> and the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, and says the Bay Area community isn’t just desperate for \u003cem>local\u003c/em> government support. They’re also waiting for \u003cem>federal\u003c/em> aid to materialize from the so-called \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save our Stages Act\u003c/a>, a $15 billion aid package signed into law last December.\u003c/p>\n\u003cp>“That is going to provide some relief,” Kurland says. “But the application process has not begun.”\u003c/p>\n\u003cp>Yet the resilience and creativity he’s seeing across the Bay Area arts community gives Kurland reason for hope. For starters rents have been dropping in the Bay Area. And, he says, as the Bay Area becomes more affordable, the local arts community will bounce back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think there’s opportunity right now,” Kurland says. “I think that is a silver lining from the pandemic.”\u003c/p>\n\n","blocks":[],"excerpt":"The pandemic has been grueling and also transformative. Now artists are using the lessons of the past year to help navigate the road ahead.","status":"publish","parent":0,"modified":1705019345,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1198},"headData":{"title":"How the Pandemic May Impact Bay Area Performing Arts for Years to Come | KQED","description":"The pandemic has been grueling and also transformative. Now artists are using the lessons of the past year to help navigate the road ahead.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How the Pandemic May Impact Bay Area Performing Arts for Years to Come","datePublished":"2021-03-16T18:51:53.000Z","dateModified":"2024-01-12T00:29:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/b040da60-168b-499a-a0a4-acee01114327/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come","audioDuration":425000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago—for the first time in an entire year—I went to see a piece of live theater.\u003c/p>\n\u003cp>As befits these times, \u003ca href=\"https://oaklandtheaterproject.org/binding-ties\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Theater Project\u003c/a>’s latest production, \u003cem>Binding Ties: The 16th Street Station,\u003c/em> was a drive-in experience. It took place in the parking lot outside the historic railroad terminus in West Oakland mentioned in the show’s title. It used the setting as the backdrop for a story about the Black and immigrant Oaklanders who once worked on the railroad.\u003c/p>\n\u003cp>We all sat in our cars, peering through our windshields, as the voice of actor William Oliver III was piped in through our radios.\u003c/p>\n\u003cp>“Oakland is some kind of town, ain’t it?” enthused Oliver, launching into his lines in the guise of a railroad worker with uniform and cap. The audience of cars honked back at him in response.\u003c/p>\n\u003cp>Drive-in shows. Online fundraisers. Rehearsals via Zoom. Welcome to the new reality of producing art in the Bay Area a year into COVID-19. The pandemic has been grueling—as well as transformative—for the local arts community. And now its constituents are using what they’ve learned over the past 12 months to help navigate the road ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland Theater Project, for one, has planned its entire new season around the drive-in experience.\u003c/p>\n\u003cp>“This is something we could ask people to come to and still feel like we’re keeping them safe,” says Oakland Theater Project co-artistic director William Thomas Hodgson.\u003c/p>\n\u003cp>Hodgson wants to get audiences out of their cars and into the theater again. But there are some aspects to producing shows in a pandemic that he hopes will stick around—like paying actors a fairer wage.\u003c/p>\n\u003cp>He says his company has been able to up its pay by 50% over last year. That’s possible in a season like this one, where the maximum cast size is five. But this community-oriented company is known for producing shows with much bigger forces.\u003c/p>\n\u003cp>“We’re committed to this. We’re gonna do it,” Hodgson says. “But our mainstay at Oakland Theater Project has been these large cast productions. I don’t know what that looks like in the future.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Opera San José Presents: Wagner's The Flying Dutchman\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/gylTi_haPE0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Similarly to Oakland Theater Project, \u003ca href=\"https://www.operasj.org/?gclid=Cj0KCQiA-aGCBhCwARIsAHDl5x-BWCh9gw6WSala3s5O5jzxt7xQrCNo9z5g5BKRV6pKrUrDkO-soQ0aAgqoEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a> also hopes one day to return to big productions, like its staging of \u003cem>The Flying Dutchman\u003c/em> from 2018, which featured an orchestra, chorus and soloists and required several hours of the audience’s attention.\u003c/p>\n\u003cp>But the pandemic has inspired Opera San Jose to lean into producing one-act and chamber works with small casts and shorter timeframes going forward. One recent example is the company’s video-streamed take on \u003cem>Three Decembers\u003c/em>, a 90-minute-long chamber opera with a trio of performers and piano accompaniment.\u003c/p>\n\u003cp>“Shorter evenings reduce risk and help patrons feel more comfortable,” says Opera San Jose general director Khori Dastoor. “They make a lot of sense to welcome new audiences.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"The Making of THREE DECEMBERS\"' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uTIVoS4o7R8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dastoor is investing heavily in digital tools and training, including offering video content translated into Spanish and Vietnamese. She says her audience is expanding as a result of these efforts, with several thousand new households tuning in this past year versus around several hundred in previous years, both locally and from places as far flung as Germany and Japan.\u003c/p>\n\u003cp>She says her donor base is holding, but she recognizes some traditional opera lovers might not be on board with the digital revolution.\u003c/p>\n\u003cp>“My anxiety and concern is how long it takes for us to get to a model where the people we’ve lost because of our pivot are offset by the new people that are engaging with us for the first time,” Dastoor says.\u003c/p>\n\u003cp>The bicoastal contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a> (based in San Francisco and Hudson Valley, New York) has also been able to reach new audiences with virtual content during the pandemic. In January, the group presented the video world premiere of \u003cem>The Healer,\u003c/em> a work for four dancers in flowing, pleated skirts inspired in part by the COVID-19 pandemic. The piece explores humans’ ability to overcome physical and emotional suffering through the theme of traditional Chinese medicine and holistic practices.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Trailer: \"The Healer\" (2021)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aAMtkWTocgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>RAWdance co-artistic director Katerina Wong says her company has been working hard to adapt a three-dimensional art form to the two-dimensional screen.\u003c/p>\n\u003cp>“How do we still create that sense of connection and intimacy and communication, when so many of us are sitting and watching lots of Netflix or on back to back Zoom calls? It’s really hard to cut through that,” Wong says.\u003c/p>\n\u003cp>Wong says producing high quality video is expensive, especially for small dance companies like hers, but it’s something she plans to pursue even after the pandemic is over. A major financial challenge her company faces is figuring out how to expand access to the art form without sacrificing the quality of live performances when they return.\u003c/p>\n\u003cp>RAWdance relies on donations and grants for survival, including funding from the City of San Francisco. Wong and fellow co-directors Wendy Rein and Ryan T. Smith want to see more government support.\u003c/p>\n\u003cp>“What feels so essential, being located in these cities, is that it’s the signaling of the significance of artists in the community to be culture bearers and culture makers,” Wong says. “And I hope that that can be acknowledged by funding support.”\u003c/p>\n\u003cp>San Francisco Mayor London Breed just announced a proposal to provide $17 million in one-time support to local arts groups. The city’s board of supervisors is expected to discuss the proposal on Mar. 17. But one of the main sources of arts funding, the hotel tax, is down by nearly 90% since last year, and arts groups are worried about making it through.\u003c/p>\n\u003cp>“The short term prognosis is not good,” says San Francisco-based indie band manager \u003ca href=\"https://en.wikipedia.org/wiki/Jordan_Kurland\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Kurland\u003c/a>. He \u003ca href=\"https://brilliantcorners.com/\" target=\"_blank\" rel=\"noopener noreferrer\">represents\u003c/a> groups like \u003ca href=\"https://brilliantcorners.com/#/death-cab-for-cutie/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Cab for Cutie\u003c/a>, \u003ca href=\"https://brilliantcorners.com/#/the-new-pornographers/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Pornographers\u003c/a> and the Bay Area’s own \u003ca href=\"https://brilliantcorners.com/#/toro-y-moi/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>Kurland also sits on the boards of several local arts nonprofits including \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lab\u003c/a> and the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, and says the Bay Area community isn’t just desperate for \u003cem>local\u003c/em> government support. They’re also waiting for \u003cem>federal\u003c/em> aid to materialize from the so-called \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save our Stages Act\u003c/a>, a $15 billion aid package signed into law last December.\u003c/p>\n\u003cp>“That is going to provide some relief,” Kurland says. “But the application process has not begun.”\u003c/p>\n\u003cp>Yet the resilience and creativity he’s seeing across the Bay Area arts community gives Kurland reason for hope. For starters rents have been dropping in the Bay Area. And, he says, as the Bay Area becomes more affordable, the local arts community will bounce back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think there’s opportunity right now,” Kurland says. “I think that is a silver lining from the pandemic.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come","authors":["8608"],"categories":["arts_1","arts_235"],"tags":["arts_4876","arts_10126","arts_11014","arts_10127","arts_879","arts_10278","arts_763","arts_1072"],"featImg":"arts_13893824","label":"arts"},"arts_13893676":{"type":"posts","id":"arts_13893676","meta":{"index":"posts_1591205157","site":"arts","id":"13893676","score":null,"sort":[1614975984000]},"guestAuthors":[],"slug":"sf-operas-the-ring-streams-all-throughout-march-for-free","title":"SF Opera’s ‘The Ring’ Streams All Throughout March—For Free","publishDate":1614975984,"format":"standard","headTitle":"SF Opera’s ‘The Ring’ Streams All Throughout March—For Free | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>You’ve probably never wondered what the classical composer Richard Wagner has in common with the Grateful Dead. I never did, myself. But in 2018, when I saw San Francisco Opera’s production of the \u003cem>Ring\u003c/em> cycle—Wagner’s 17-hour epic opera of gods, nymphs, giants and valkyries—I couldn’t help but notice the crowd in the $10 standing-room-only peanut gallery at the War Memorial Opera House. These were people decked in flamboyant outfits, who’d camped out in line for cheap tickets, who sometimes slept on the floor during intermissions and who, I learned, \u003ca href=\"https://www.cbc.ca/radio/sunday/the-sunday-edition-for-october-27-2019-1.5335017/ring-heads-of-the-world-unite-1.5335022\" target=\"_blank\" rel=\"noopener noreferrer\">regularly traveled around the world\u003c/a> to see as many stagings of \u003cem>The Ring\u003c/em> as possible.\u003c/p>\n\u003cp>In other words: They were Deadheads. But for opera.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener noreferrer\">being transformed by \u003cem>The Ring\u003c/em>\u003c/a>, especially director Francesca Zambello’s dynamic, modern staging of it, I understood where they were coming from. Like a dewy-eyed Deadhead waxing rhapsodic about Jerry Garcia, I turned into a proselytizing \u003cem>Ring\u003c/em> zealot, urging anyone within earshot to give this slow-moving, 17-hour, 162-year-old opera a chance.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why I’m here to tell you: \u003cem>The Ring\u003c/em> is coming back. For free. All through the month of March, San Francisco Opera is streaming its 2018 production of \u003cem>The Ring\u003c/em>, in its entirety—one of each four parts each weekend, \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>. For those that couldn’t score a miracle ticket in 2018, it’s the perfect opportunity to see this thrilling staging.\u003c/p>\n\u003cp>In addition, SF Opera is hosting \u003cem>The Ring Festival\u003c/em>, a series of talks and interviews from actors, authors and those behind the scenes all about \u003cem>The Ring\u003c/em>‘s themes and impact. Those streams are just $15 each, and also run through the month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And who knows? After March, you too might be putting on a horned helmet and waiting in line at the Opera House next time \u003cem>The Ring\u003c/em> comes around… and you might even see me there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Ring’ streams for free, one installment each weekend, in March. \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Believe me: the slow-moving, 17-hour, 162-year-old opera is worth your time.","status":"publish","parent":0,"modified":1705019387,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":381},"headData":{"title":"SF Opera’s ‘The Ring’ Streams All Throughout March—For Free | KQED","description":"Believe me: the slow-moving, 17-hour, 162-year-old opera is worth your time.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Opera’s ‘The Ring’ Streams All Throughout March—For Free","datePublished":"2021-03-05T20:26:24.000Z","dateModified":"2024-01-12T00:29:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13893676/sf-operas-the-ring-streams-all-throughout-march-for-free","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably never wondered what the classical composer Richard Wagner has in common with the Grateful Dead. I never did, myself. But in 2018, when I saw San Francisco Opera’s production of the \u003cem>Ring\u003c/em> cycle—Wagner’s 17-hour epic opera of gods, nymphs, giants and valkyries—I couldn’t help but notice the crowd in the $10 standing-room-only peanut gallery at the War Memorial Opera House. These were people decked in flamboyant outfits, who’d camped out in line for cheap tickets, who sometimes slept on the floor during intermissions and who, I learned, \u003ca href=\"https://www.cbc.ca/radio/sunday/the-sunday-edition-for-october-27-2019-1.5335017/ring-heads-of-the-world-unite-1.5335022\" target=\"_blank\" rel=\"noopener noreferrer\">regularly traveled around the world\u003c/a> to see as many stagings of \u003cem>The Ring\u003c/em> as possible.\u003c/p>\n\u003cp>In other words: They were Deadheads. But for opera.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener noreferrer\">being transformed by \u003cem>The Ring\u003c/em>\u003c/a>, especially director Francesca Zambello’s dynamic, modern staging of it, I understood where they were coming from. Like a dewy-eyed Deadhead waxing rhapsodic about Jerry Garcia, I turned into a proselytizing \u003cem>Ring\u003c/em> zealot, urging anyone within earshot to give this slow-moving, 17-hour, 162-year-old opera a chance.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why I’m here to tell you: \u003cem>The Ring\u003c/em> is coming back. For free. All through the month of March, San Francisco Opera is streaming its 2018 production of \u003cem>The Ring\u003c/em>, in its entirety—one of each four parts each weekend, \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>. For those that couldn’t score a miracle ticket in 2018, it’s the perfect opportunity to see this thrilling staging.\u003c/p>\n\u003cp>In addition, SF Opera is hosting \u003cem>The Ring Festival\u003c/em>, a series of talks and interviews from actors, authors and those behind the scenes all about \u003cem>The Ring\u003c/em>‘s themes and impact. Those streams are just $15 each, and also run through the month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And who knows? After March, you too might be putting on a horned helmet and waiting in line at the Opera House next time \u003cem>The Ring\u003c/em> comes around… and you might even see me there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Ring’ streams for free, one installment each weekend, in March. \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13893676/sf-operas-the-ring-streams-all-throughout-march-for-free","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_10278","arts_10318","arts_763","arts_3316","arts_5196","arts_585"],"featImg":"arts_13835971","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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