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).