• Opera SJ-Live-Leoncavallo's Pagliacci
    Mark your calendar, we have tickets for Series B (first Sunday Matinee) and we will be sitting, Row F, Seats 10 and 12 More details to follow. In the meanwhile, here are a few links for your reading pleasure: https://en.wikipedia.org/wiki/Pagliacci https://www.britannica.com/topic/Pagliacci Tickets available from https://www.operasj.org/tickets/Pagliacci

    California Theatre

    345 S 1st St · San Jose, CA

  • Met Live-Muhly-Marnie
    To find a theater where you can view these extraordinary productions, visit this page: https://www.metopera.org/season/in-cinemas/theater-finder/ Many of the theaters with new lounge chairs require advance purchase of tickets, so make sure you plan ahead. SUNG IN ENGLISH with English MET TITLES ESTIMATED RUN TIME 2 HRS 52 MINS with 1 intermission Composer Nico Muhly (https://en.wikipedia.org/wiki/Nico_Muhly) unveils his second new opera for the Met with this gripping reimagining of Winston Graham’s novel, set in the 1950s, about a beautiful, mysterious young woman who assumes multiple identities. Director Michael Mayer and his creative team have devised a fast-moving, cinematic world for this exhilarating story of denial and deceit, which also inspired a film by Alfred Hitchcock. Mezzo-soprano Isabel Leonard sings the enigmatic Marnie, and baritone Christopher Maltman is the man who pursues her—with disastrous results. Robert Spano conducts. Music by Nico Muhly, libretto by Nicholas Wright, based on the novel by Winston Graham Commissioned by the Metropolitan Opera A co-production of the Metropolitan Opera and English National Opera

    Needs a location

  • Brad Wade's free Palo Alto opera talk on Ruggero Leoncavallo's "Pagliacci"
    Leoncavallo's highly dramatic "Pagliacci" is coming soon to Opera San José, with performances from November 17th through December 2nd. You can see a brief description at https://operasj.secure.force.com/ticket Before each of OSJ's productions, Brad Wade researches the opera and then gives public lectures on it around the Bay Area. This evening in Palo Alto you will hear about Pagliacci's composer/librettist, where his story material came from, and how Leoncavallo created such a riveting opera from it. In addition, Brad will summarize the plot, hand out excerpts from the libretto, and play the corresponding musical passages as you follow along. If you would like to come early for dinner with Brad at 5:30pm, POST A COMMENT BELOW to that effect, and you will be included in our reservation for Szechwan & Hunan cuisine at Jing Jing, 443 Emerson Street, Palo Alto CA 94301, http://www.jingjinggourmet.com/ This is not an O.A. exclusive event. There will also be folks attending who are not in this meetup group. Here is the opera's performance calendar: Saturday, November 17,[masked]:00 PM Sunday, November 18,[masked]:00 PM Tuesday, November 20,[masked]:00 PM Sunday, November 25,[masked]:00 PM Friday, November 30,[masked]:00 PM Sunday, December 2,[masked]:00 PM Tickets can be purchase online at https://operasj.secure.force.com/ticket or by calling the OSJ ticket office at[masked]

    Sheppard Mullin law offices

    379 Lytton Ave · Palo Alto 94301, CA

  • Met Live-Puccini-La Fanciulla del West
    To find a theater where you can view these extraordinary productions, visit this page: https://www.metopera.org/season/in-cinemas/theater-finder/ SUNG IN ITALIAN with English MET TITLES ESTIMATED RUN TIME 3 HRS 22 MINS (2 intermissions) ACT I A miners’ camp in California, 1849–50. At sunset at the Polka Saloon, Nick, the bartender, prepares for the miners’ return from the hills. Jake Wallace, a traveling minstrel, sings a sentimental song that causes Jim Larkens to break down in tears. The men collect money for his passage back home. Trin and Sonora both bribe Nick to help them win the heart of Minnie, the owner of the bar, with whom all the men are in love. Sid cheats at cards, and Jack Rance, the camp’s cynical sheriff, marks him as an outcast. The Wells Fargo agent Ashby arrives with news of the imminent capture of the Mexican bandit Ramerrez and his band. An argument breaks out between Rance and Sonora, each claiming Minnie will be his wife. Things almost get out of hand when Minnie herself appears. The men calm down and sit to listen to Minnie’s bible teaching. Later, alone with her, Rance confesses his love to Minnie (“Minnie, della mia casa”). But she is not interested and, recalling her happy childhood, paints a different picture of her ideal love (“Laggiù nel Soledad”). A stranger appears in the bar, introducing himself as Dick Johnson from Sacramento. Minnie recognizes him as a man she once met on the road. The jealous Rance orders Johnson to leave town, but when Minnie declares that she knows him, the others welcome Johnson. As he and Minnie dance, the miners drag in a man named Castro, one of Ramerrez’s band. Castro pretends that he will lead them to their hideout. He then whispers to Johnson—who is in fact Ramerrez—that he let himself be captured to lure the miners away from the saloon, in order for Johnson to rob it. The men depart with Castro, and Minnie and Johnson are left alone. She tells him about her simple life and that she is still waiting for her first kiss. When she shows him the hiding place where the miners keep their gold, he replies that as long as he is nearby, nobody will harm her or touch the gold. She shyly invites him to visit her in her cabin later that evening. ACT II In Minnie’s cabin in the mountains, the Indian woman Wowkle sings a lullaby to her baby and bickers with the child’s father, Billy Jackrabbit. Minnie arrives and excitedly prepares for her meeting with Johnson. Alone with him, she gives in to his declarations of love and they kiss. Johnson, full of doubt as to how to tell her about his true identity, is about to leave, but she asks him to stay for the night as it has begun to snow. When several shots are heard, Johnson hides in the closet. Rance appears with some of the men and tells Minnie that they are concerned for her safety—they have discovered that Johnson is Ramerrez. Minnie claims to know nothing and the men leave. She then angrily confronts Johnson, who makes excuses about his past and declares that when he met her he decided to give up his former life. Deeply hurt, Minnie sends him away. Another shot rings out. Johnson, wounded, staggers back into the cabin and Minnie hides him in the attic. Rance returns, certain he has found his man, and demands to search the room. Minnie refuses and the sheriff is about to give up when a drop of blood falls on his hand from above. Johnson is forced to surrender, but Minnie has an idea—she challenges Rance to a game of poker. If he defeats her, she will give herself to him; if he loses, Johnson goes free. Minnie cheats and wins. Rance leaves. ACT III Johnson has been nursed back to health by Minnie. Again on the run from Rance and his men, he is eventually captured in the forest. As the miners prepare to hang him, Johnson asks for one last mercy—that Minnie believe him free and far away (“Ch’ella mi creda”). Rance is enraged, but the men hesitate.

    Needs a location

  • Met Opera-Saint-Saëns-Samson et Dalila
    To find a theater where you can view these extraordinary productions, visit this page: https://www.metopera.org/season/in-cinemas/theater-finder/ Many of the theaters with new lounge chairs require advance purchase of tickets, so make sure you plan ahead. COMPOSER Camille Saint-Saëns LIBRETTIST Ferdinand Lemaire SUNG IN FRENCH with English MET TITLES ESTIMATED RUN TIME 3 HRS 20 MINS (2 intermissions) When mezzo-soprano Elīna Garanča and tenor Roberto Alagna joined forces for a new production of Carmen at the Met, the results were electrifying. Now this star duo reunites for another sensual French opera when they open the season in the title roles of Saint-Saëns’s biblical epic Samson et Dalila. Darko Tresnjak, who won a Tony Award for Best Direction of a Musical in 2014 for A Gentleman’s Guide to Love & Murder, makes his Met debut directing a vivid, seductive staging, featuring a monumental setting for the last-act Temple of Dagon, where the hero crushes his Philistine enemies. Sir Mark Elder conducts the first new Met production of the work in 20 years. ACT I Palestine, 1150 B.C. In a square in Gaza, a group of Hebrews beg Jehovah for relief from their bondage to the Philistines; Samson, their leader, rebukes them for their lack of faith. When the Philistine commander, Abimélech, denounces the Hebrews and their God, Samson kills him and leads the Hebrews away. The High Priest of Dagon comes from the Philistine temple and curses Samson's prodigious strength, leaving with the slain man's bier. An Old Hebrew praises the returning Samson. The outer walls of the temple disappear to reveal Samson's former lover, the Philistine woman Dalila, who invites him to come that night to her nearby dwelling. She and her maidens dance seductively for Samson, who becomes deaf to the Old Hebrew's dour prophecies. ACT II In the vale of Sorek, Dalila calls on her gods to help her ensnare and disarm Samson, promising the High Priest to find a way to render the hero powerless. Samson appears, passionate in spite of himself; when Dalila has him in her power, she feigns disbelief in his constancy and demands that he show his love by confiding in her the secret of his strength, weeping when he refuses. Samson hears rolling thunder as a warning from God but cannot resist following Dalila inside. Not long afterward, having finally learned that the secret of Samson's strength is his long hair, she calls to hidden Philistine soldiers, who rush in to capture and blind Samson. ACT III In a dungeon at Gaza, the sightless Samson pushes a grist mill in a circle, praying for his people, who will suffer for his sin. He hears their voices castigating him. During a bacchanal in the Temple of Dagon, Dalila and the High Priest taunt Samson. When they force him to kneel to Dagon, he asks a boy to lead him to the two main pillars of the temple. Samson prays to Jehovah to restore his strength, and with a mighty effort he pulls down the pillars and the temple, crushing himself and his foes.

    Needs a location

  • Puccini's La bohème, at West Bay Opera in Palo Alto
    Join us for "La bohème" the 1st of 3 productions in West Bay Opera's (WBO's) 63rd season. If you are unable to make this date, other "Bohème" performance dates are: * Sunday October 14, 2018 @ 2pm (talk back following performance) * Saturday October 20, 2018 @ 8pm * Sunday October 21, 2018 @2pm Call the box office [masked]) now production season subscription ($129 - $189 for adults) or for single ticket purchases ($65 - $85 for adults). Summary from Wikipedia https://en.wikipedia.org/wiki/La_boh%C3%A8me According to its title page, the libretto of La bohème is based on Henri Murger's novel, Scènes de la vie de bohème, a collection of vignettes portraying young bohemians living in the Latin Quarter of Paris in the 1840s.

    Lucie Stern Theater

    1305 Middlefield Road · Palo Alto, CA

  • Met Live-Verdi-Aida
    To find a theater where you can view these extraordinary productions, visit this page: https://www.metopera.org/season/in-cinemas/theater-finder/ Many of the theaters with new lounge chairs require advance purchase of tickets, so make sure you plan ahead. Aida's World Premiere: Cairo Opera House, 1871. COMPOSER: Giuseppe Verdi LIBRETTIST: Antonio Ghislanzoni SUNG IN ITALIAN with MET TITLES IN ENGLISH ESTIMATED RUN TIME: 3 HRS 36 MINS including two intermissions ACT I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command his army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter. Radamès dreams that victory in the war would enable him to free her and marry her (“Celeste Aida”). But Amneris loves Radamès, and when the three meet, she jealously senses his feelings for Aida. A messenger tells the King of Egypt and the assembled priests and soldiers that the Ethiopians are advancing. The king names Radamès to lead the army, and all join in a patriotic anthem. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king (“Ritorna vincitor”). She prays to the gods for mercy. In the temple of Vulcan, the priests consecrate Radamès. Ramfis orders him to protect the homeland. ACT II Ethiopia has been defeated, and Amneris waits for the triumphant return of Radamès. When Aida approaches, the princess sends away her other attendants so that she can learn her slave’s private feelings (Duet: “Fu la sorte dell’armi”). She first pretends that Radamès has fallen in battle, then says he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris, determined to be victorious over her rival, leaves for the triumphal procession. At the city gates the king and Amneris observe the celebrations and crown Radamès with a victor’s wreath (Triumphal scene: “Gloria all’Egitto”). Captured Ethiopians are led in. Among them is Amonasro, Aida’s father, who signals his daughter not to reveal his identity as king. Radamès is impressed by Amonasro’s eloquent plea for mercy and asks for the death sentence on the prisoners to be overruled and for them to be freed. The king grants his request but keeps Amonasro in custody. The king declares that as a victor’s reward, Radamès will have Amneris’s hand in marriage. ACT III On the eve of Amneris’s wedding, Ramfis and Amneris enter a temple on the banks of the Nile to pray. Aida, who is waiting for Radamès, is lost in thoughts of her homeland. Amonasro suddenly appears. Invoking Aida’s sense of duty, he makes her agree to find out from Radamès which route the Egyptian army will take to invade Ethiopia. Amonasro hides as Radamès arrives and assures Aida of his love. They dream about their future life together, and Radamès agrees to run away with her. Aida asks him about his army’s route, and just as he reveals the secret, Amonasro emerges from his hiding place. When he realizes that Amonasro is the Ethiopian king, Radamès is horrified by what he has done. While Aida and Amonasro try to calm him, Ramfis and Amneris step out of the temple. Father and daughter are able to escape, but Radamès surrenders to the priests. ACT IV Radamès awaits trial as a traitor, believing Aida to be dead. Even after he learns that she has survived, he rejects an offer by Amneris to save him if he renounces Aida. When he is brought before the priests, he refuses to answer their accusations and is condemned to be buried alive. Amneris begs for mercy, but the judges will not change their verdict. She curses the priests. Aida has hidden in the vault to share Radamès’s fate. They express their love for the last time while Amneris, in the temple above, prays for Radamès’s soul.

    Needs a location

  • Opera SJ-Live-Mozart's The Abduction from the Seraglio
    Mark your calendar, we have tickets for Series B (first Sunday Matinee) and we will be sitting, Row F, Seats 10 and 12 More details to follow. In the meanwhile, here are a few links for your reading pleasure: http://www.mozart.com/en/timeline/work/abduction-seraglio/ https://en.wikipedia.org/wiki/Die_Entf%C3%BChrung_aus_dem_Serail Tickets available from https://www.operasj.org/tickets/the-abduction-from-the-seraglio/

    California Theatre

    345 S 1st St · San Jose, CA

  • Brad Wade's free opera talk on Mozart's The Abduction from the Seraglio
    Mozart's opera The Abduction from the Seraglio is coming to Opera San José in two weeks, with performances from the 15th through the 30th of September. You can see a brief description at https://www.operasj.org/tickets/the-abduction-from-the-seraglio/ Before each of OSJ's productions, Brad Wade researches the opera and then gives public lectures on it around the Bay Area. This evening in Palo Alto you will hear about The Abduction's composer and its librettist, where their story material came from, and how Mozart turned it into such a scintillating opera. In addition, Brad will summarize the plot, hand out excerpts from the libretto, and play the corresponding musical passages as you follow along. No special reservation is needed for this evening's free talk, but if you would like to come early for dinner with Brad at 5:30pm, post a comment below to that effect, and you will be included in our reservation for Indian cuisine at Janta, 369 Lytton Ave., Palo Alto CA 94301, http://www.jantaindianrestaurant.com This is not an O.A. exclusive event. There will also be folks attending who are not in this meetup group. Here is the opera's performance calendar: Sa September 15 at 8:00 pm Su September 16 at 3:00 pm Th September 20 at 8:00 pm Su September 23 at 3:00 pm Fr September 28 at 8:00 pm Su September 30 at 3:00 pm Tickets can be purchase online at https://operasj.secure.force.com/ticket#details_a0Sf[masked]xkPwEAI or by calling the OSJ ticket office at[masked]

    This Meetup is past

    Sheppard Mullin law offices

    379 Lytton Ave · Palo Alto 94301, CA