The latest productions of the San Francisco Opera, Boris Godunov by Moussorgsky and Donizetti’s The Elixir of Love, provided two extremes on the operatic spectrum: a dark quasi-historical drama about power, betrayal and murder, versus a whimsical romantic comedy about love, courtship, and clumsy insecurities.
This October, the city’s concert-goers could choose between such exotic locations as Poland and Greece with a rare performance of symphonic music by Szymanowski, and Mozart’s first major opera Idomeneo (The King of Crete).
The latest productions of the San Francisco Opera, Boris Godunov by Moussorgsky and Donizetti’s The Elixir of Love, provided two extremes on the operatic spectrum: a dark quasi-historical drama about power, betrayal and murder, versus a whimsical romantic comedy about love, courtship, and clumsy insecurities.
This October, the city’s concert-goers could choose between such exotic locations as Poland and Greece with a rare performance of symphonic music by Szymanowski, and Mozart’s first major opera Idomeneo (The King of Crete).