This is mostly a New York month, since like all the cool kids I’m going to the Met to see From the House of the Dead. This will be my first time hearing something at the Met that is not in English and composed before 1960 (my Met operas are Midsummer Night’s Dream, The Great Gatsby, and An American Tragedy). Anyone judging solely from my experience would have a very odd idea of what the Met is about.
In addition to the Janacek, I’m seeing Le Nozze di Figaro and the new Bart Sher production of Les Contes d’Hoffmann.
And after my second, Saturday matinee viewing of House of the Dead, I’m following Esa-Pekka Salonen across Lincoln Center to Avery Fisher Hall, where he is conducting the New York Philharmonic in Bartok’s Music for Strings, Percussion, and Celesta, the Ravel Piano Concerto in G, and La Mer.
I have a few open nights so I’ll see what’s playing when I get there. But the night before I leave I’m seeing One Night, a Schubert/Beckett combo with Mark Padmore singing Winterreise (or, since I believe he’s singing it in translation, Winter Journey) while Andrew West plays the piano and Stephen Dillane recites (I assume) the Beckett.
Back in the Bay Area, San Francisco Performances has some wonderful pianists on its schedule: Angela Hewitt on December 1 and Marc-Andre Hamelin on December 15.
In Berkeley Cal Performances presents Mark Morris’s The Hard Nut, the only Nutcracker worth seeing. (If you disagree with me on that, check out Saturday Matinee’s guide to local Nutcracking. And if Christmas means choral music to you, check out the choral roundup at Iron Tongue.)
Cutting Ball Theater has extended its run of The Bald Soprano until December 12.
Shotgun Players presents that beloved holiday classic, The Threepenny Opera, which was my favorite musical until I discovered Sweeney Todd.