A “Down the Rabbit Hole” feature includes further avenues for exploration into the Company’s history. The contents of the sessions, drawn from only-at-San-Francisco-Opera moments not found with similar casts on commercial recordings, are thematically inspired by the 2022–23 Season, providing deeper engagement with the Company’s past presentations of Slavic, French, Italian and German repertoire. The new online hub at /firstcentury provides free access to selected historic recordings from the Company’s distinguished past, along with rare artist interviews, archival photographs, program articles, oral history excerpts and newly captured conversations among past and present San Francisco Opera creative luminaries.Įach Streaming the First Century session, released one per month from September through December, includes two complete historic recordings, audio excerpts from four additional performances and introductions to each preserved audio experience by contemporary scholars, artists and Company members who add historical context and insights. SAN FRANCISCO, CA (September 12, 2022) - As part of its centennial celebrations, San Francisco Opera today released the first installment of Streaming the First Century. Newly Recorded Conversations and Essays Honoringġ00 Years of San Francisco Opera PerformancesĪdditional Interactive Sessions to Be Released Throughout Fall Season Moreover, he inspires splendid playing from the patently uneven ensemble in the San Francisco pit and, unlike his predecessors, takes advantage of the lean textures of the original orchestration.Free Online Hub for Historic Recordings, Archival Interviews, Neil Rosenshein complements him as a mellifluous, properly feverish yet callow Stewa.Ĭharles Mackerras, a Janacek specialist with few peers, pays telling attention to orchestral detail and expressive nuance yet never obscures the grandeur of the score. Wieslaw Ochman delineates the jealousy and, more important, the devotion of Laca with a compelling fusion of power and finesse. And in the potentially hysterical outbursts after Kostelnicka murders Jenufa’s child, she capitalized on steely thrust that bore no trace of the swooping and yelping that have disfigured some of her more abandoned performances in the past.Īlthough Benackova and Rysanek are the undoubted central forces in this “Jenufa,” they do not carry the production alone.
She floated sensuous, insinuating pianissimo tones in the pleading exchange with Stewa. Rysanek sang-really sang-a role often relegated to Sprechgesang rhetoric, and sang it with generosity and point.
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