A Return From The Abyss

Saturday night’s Opera opening nominal star was Juno-esque Olga Borodina as an Italian girl stranded in Algiers;however, all Super binoculars were trained on Supers Ron Mann (in practically every scene as Vlad the Impaler), vivacious Kimberly Thompson, and beautiful Brazilian newcomer Paula Andrea Tomazini as the harem slaves. They even got their own curtain call. Paula read about supering on the Internet, came to the "Bovine Review" and landed this plum role. Veteran Supers were quick to point out that supering isn’t always that plum. Honorable onstage mention should also be made of Supers Eddy Gordillo, Kenn Graddick, and Tom Walsh, who skillfully maneuvered aviatrix Olga into and out of the hot air balloon that wittily spirits her away at the end of the opera.

In the audience that night were glamour girls Laurel Winzler and Irene Bechtel, who was draped in white maribou. Laurel, sporting a French Twist a la Kim Novak, was spotted in the horseshoe post-opera, engaging the phenomenally handsome mayor of San Francisco, Gavin Newsom, in conversation. Apparently they know each other from his pre-politico days. Gavin was overheard telling Laurel how beautiful City Hall looked that night. Kimberly Thompson was a sensation in her Violetta Valery black taffeta and tuille gown – a souvenir from the Costume Shop sale back in July.*

Opening Night announcements were unfortunately marred by a diplomatic gaffe; the Opera Chairman forgot the name of the visiting president of Poland (Aleksander Kwasniewski) and his wife, Jolanta, who had been seated in one of the less prominent boxes. The giggles from the audience were presumably caused by embarrassment at the George W. Bush-ism of it all. An international incident was avoided, however, by Maestro Donald Runnicles’ stirring rendition of the Polish National Anthem, preceding the "Star Spangled Banner." Of lesser note was Maestro’s rendition of the overture to L’Italiana in Algeri, which sounded less like Rossini and more like Gluck to this listener.

Suffering from a glamour hangover, Ulrica dragged herself to Opera in the Park on Sunday. Dashing David Daniels was the star of the show and was seen hanging out and eating pizza at the Super campsite with Rodelinda co-star Paul Szczesiul. Sadly La Borodina declined to participate in the event, obviously forgetting that she had made her American debut at the 1991 Opera in the Park when she was in town, although not singing, with the Russian War and Peace contingent that season.

The program was delightfully full of Adler Fellows, and almost the entire cast of top secret Dr. Atomic. Outgoing General Director Pamela Rosenberg inadvertently brought extra humor to the proceedings, encouraging the audience to “fill out their rifle tickets” and to take advantage of the "fifteen cent discount on ticket prices.” She introduced David Daniels as “not just another countertenor” and then, cringingly, managed to confuse “another countertenor” Adler Fellow Gerald Thompson with Dr. Atomic himself, Gerald Finley. Oh well. We’ll miss her when she’s gone!
Actually we will. She has brought some incredible moments to the War Memorial stage, and her legacy of St. Francois d’Assisse and, no doubt, Dr Atomic, will assure her place in SFO history in much the same way as Terence McEwen's staging of Don Carlos in 1986 and his magnificent Ring Cycle, and Lotfi Mansouri's War and Peace and Dead Man Walking did for them. Pamela has a new job as Intendant (administrative director) of the Berlin Philharmonic, which probably means all those fedoras will be going into deep storage.

And, just for the record, let me say that I think we Supers have been very well treated under Pamela’s leadership, especially in terms of complimentary tickets and other perks, such as invitations to the cast parties (albeit a short-lived bonus). Remember when we couldn’t even rely on bringing a guest to Final Dress?

I’m told that Pamela will be supering in the upcoming Flute for Kids performances, appearing as a tree. Some may say she was born to play the part, but Ulrica is more interested in the strange connections between General Managers and Supers. Lotfi began his operatic career carrying spears and Pamela is ending hers (for now, at least) as one of us. What is the great significance of all this?

I heard that Pamela hasn’t been attending all the rehearsals. My informant hopes that the Production Super Captain will take her aside and explain to her the importance of being on time for all calls. And remember, Pamela, no eating in costume!

Currently installed in the Opera House lobby is an extensive black and white photo-documentation of the entire SF Opera Orchestra taken by our very own Two-Time Hammy Award Winner, John F. (Digital) Martin. It was hard to get close to it because of the crowds and the gowns on Opening Night but it’s an impressive display. Be sure to check it out. John took the photos in the House and at his studio in San Rafael, and should be documenting the chorus and dancers next.

In more Laurel news, that Twisted Sister recently celebrated her fiftieth Birthday, along with veteran Supes Carolyn (Sally Jo LaRue) Waugh and Louis Schilling, with a fabulous East Bay pool party. A hectic rehearsal schedule (and appalling Bay Bridge traffic) prevented Ulrica from appearing at the event, but she was delighted to hear that the following "Who's Who" of veteran Supers attended: Renee DeJarnatt, Mark Huelsman, Katherine Brazaitis, Traude Alpert, Karen Goodwyn, Susan Anderson (joined by her husband, Doug Norby), Andrea Kohlruss, Kimberly Thompson, David Clover, Irene Bechtel, and honorees Louis and Laurel and Carolyn (hosting along with her husband, Paul), plus Super pal Rick Kvistad, from the Opera Orchestra. The best surprise was a visit from Don Stoddard, as upbeat and mischievous as ever! Talk was all about the Costume Sale and the treasures acquired, the recent "who are these people?" cattle call and the state of Supering in general. We raised a birthday toast to the three celebrants and Ian Mishkin, about whom we shared fond memories.

All this talk about birthdays reminds me that a few weeks ago my old friend Licia Albanese was in town to celebrate her (say it isn’t so) 93rd. The Company threw a surprise party, and there to represent the Supernumeraries was our own Tom Carlisle, seen happily libiamo-ing alongside the diva. Tom stayed around for Opera in the Park, but flew out the next day bound for the UK and Deutschland. However, he will return later in the season for his role in La Forza del Destino.

Seems as though the whole City is abuzz with things Atomic. The Supers on the job are keeping it hush-hush, but it sounds as though it’s going to be a spectacular production. Adorable genius director Peter Sellars has been going out of his way, I’m told, to include the Supers (or “Wonderful Acting Contingent,” as they are now known) into every stage of the creative process: the very first Supers-only rehearsal was a small meeting during which he described, in depth and at great length, the forces behind the concept of the opera and why we need opera in our lives. Seems his breadth of knowledge on the subject is immense, and unlike many directors we have known, he is more than happy to pass that knowledge along to the humble players.

Amongst those players is a nice mix of old (over 30) and new (under), including Yvette Rosedale in her first non-cover role, certified circus clown Jeremy Vik, MP, and opera wife John Alexander (his partner is Costume Shop's Jai Alltizer of the Miro-esque hair), Al Heiben in a named part (Lt. Bush, no relation) and, as a sexy WAC, glamorous redhead Lynn Meinhardt.

As reported elsewhere in these pages, the process of staging the opera is the subject of a documentary film by Jon Else, so look for SFO Supers on the big screen. Super Captain Nancy Huie wonders what they will wear to the Oscars! It was very thoughtful of Jon to hand out DVD copies of his 1980 documentary The Day After Trinity to all cast members. It’s an amazing film and available for rent through Netflix—highly recommended.

Speaking of “Forces,” why has SFO suddenly decided to translate the names of all the operas this season? Whilst L’Italiana in Algeri might be a mouthful for some, surely we are all familiar with, and can wrap our tongues around, La Forza del Destino. Seems as though they can’t give the sophisticated SFO audiences credit for being able to come to grips with any title that isn’t a character’s first name (e.g., Norma, Fidelio).

Congratulations to the Supers who traveled thousands of miles and did an outstanding job in two excellent productions (Un Ballo in Maschera and Candide) at Festival Opera in sunny Walnut Creek this Summer. The four guys who worked the latter, Paul Szczesiul, Mike Harvey, Charlie Lichtman and Bjon Farber, had an incredible amount of work to do moving the set units around during this very convoluted opera. From what I saw, all went smoothly despite a reported lack of direction. In fact, it fell on Charlie to map all the set changes and movements. After years of hanging around ASMs and watching them take all those notes, he was able to pull it together at the last minute. Bravo!

On a personal note, Ulrica was delighted to see herself so skillfully impersonated by Patrice Houston in FO’s Ballo, although her entrance from inside a tomb was so much more dramatic a statement than this columnist would ever dare make. Rumour has it that Ulrica and Ballo will return as next season’s SFO opener. However, as we know, nothing is certain at SFO—other than that the new GD, David Gockley, will stage Florenzia en el Amazonas for us.

Spotted at the Candide final dress was former Super Captain Albert Goodwyn, now living in the City and currently stage managing, and appearing, in Much Ado About Nothing for Free Shakespeare in the Park at the Presidio. Performances are on Saturdays at 7:30 and Sundays at 2:30 through September 24th. He hopes Supers will come see him there.

Current Super Coordinator Carrie Murphy seems to be sporting a brand new hairdo every time I see her; each one lovelier than the last and each, apparently, her “real color.”

Well, dear Fan, it's time for me to crawl back under my rock. I promise not to be out of touch for so long. Meanwhile, until we meet offstage left, Addio.
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* Super volunteers at the event managed to have an enjoyable time helping the unlikeliest people try on the most unsuitable outfits for the most incomprehensible reasons. We Supers know what we look good in, though, and Kimberly proved the point. The sale brought out the most colorful strata of San Francisco society. Too bad it only happens once every five years.

Notable Ulricas in Operatic History

Frances Peralta, whose private name is Miss Phyllis Partington, comes of an old English family, members of which are associated with the pioneer history of San Francisco, where Miss Peralata was born and educated. Her father, the late J. H. E. Partington, was a portrait painter of note, and Miss Partington’s art inheritance is shared generally by her generation of the family. Miss Peralta received her vocal training from Victor Maurel, the great baritone, and Jose Mardones, Spanish basso of the Metropolitan, with which company she has been singing for the last six years, her debut following on a tour throughout the country with Antonio Scotti’s Grand Opera Company, wherein she achieved the éclat in principal roles that she has so enhanced in her subsequent career as a Metropolitan star soprano.

From the 1927 San Francisco Opera Association Fifth Annual Season Program, at San Francisco’s Civic Auditorium, under the Direction of Gaetano Merola

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