The Reverberate Hills; or The Apotheosis of the Narwhal

(from left to right: baritone Brian Mulligan, director Francesca Zambello, Music Director Eun Sun Kim, General Director Matthew Shilvock) Ye...

Where do you begin with Parsifal ? Where can you end? I was at the first performance of San Francisco Opera 's current revival of Parsif...

I was at the first performance of San Francisco Opera 's superb production of Tristan & Isolde , & went again, last night, to th...

The swans pulled Wagner's Lohengrin into the War Memorial Opera House this past month; I was at the first performance (only to be felled...

Richard Wagner's 200th birthday is on 22 May, two days from today. Here is a current American poet offering refractive tribute to his co...

Though an unfortunate need to accept realities of time and money kept me from seeing a full Ring Cycle at SF Opera last month, I did get t...

On page 18 of the program for San Francisco Opera's Ring Cycle, Francesca Zambello says in her Director's Note: ". . . Wotan gi...

When last we left our Wagnerian hero, he was pondering what step to take, and the fates of gods and men hung in the balance! Then I saw on-...

Gilbert & Sullivan's Trial by Jury was originally intended as a curtain-raiser for the Carl Rosa Opera Company's English premier...

Yesterday I saw Berkeley Opera's final performance of The Legend of the Ring, their revival of David Seaman’s abbreviated adaptation of...

The electric opening night of San Francisco Opera’s production of Die Walkure seems to be turning before our eyes into one of those legend...

I saw Francesca Zambello’s “American” Das Rheingold when it premiered at the Washington National Opera two springs ago; the revival at San F...