The panels can move vertically and help change scenes. The members of the chorus pulled together well.įrancesca Zambello's production, directed here by Laurie Feldman, involves background panels that make up a dreamy forest scene. Maestro Nicola Luisotti conducted the orchestra with grace and as usual the woodwinds sounded great. Mezzo Ekaterina Semenchuk (Federica) also had a good first performance on the War Memorial stage, her dark tones contrasting nicely with Crocetto.ĭaniel Sumegi wobbled as Count Walter, while Andrea Silvestrelli was a powerfully evil Wurm. Bilyy's voice has a pleasant weight, the right mixture of heft and lightness. Tenor Michael Fabiano is a dashing Rodolfo, and his voice is similarly attractive, very bright and pretty.Īs Luisa's father, baritone Vitaliy Bilyy had a fine San Francisco Opera debut. Local favorite Leah Crocetto sang the title role without a hint of strain. The two leads (pictured above, photograph by Cory Weaver) were clearly strongest. But there was some beautiful singing in last night's performance.
Part of Verdi's middle period, Luisa Miller does not have the lively tunes of Rigoletto, La Traviata, or Il Trovatore that followed soon after. The opera has a quintessentially Verdian plot: a protective father, an innocent daughter, a secret identity, and a love triangle that ends in a protracted death scene. The 93rd season of San Francisco Opera opened Friday with Luisa Miller, a Verdi rarity only seen on the War Memorial stage a dozen times before.
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