(L-R) Kenneth Kellogg (Tobias), Tom Corbeil (Tom)
 Nathaniel Hackmann (Raul)

Each year, nearly 800 artists between the ages of 20 and 34 audition at sites across the country and approximately 29 are chosen, making it an illustrious honor to be accepted into San Francisco Opera's Merola Opera Program. The Merola participants, (approximately 24 singers, 5 apprentice coaches and one stage director) receive intensive training for 11-weeks.

A true highlight of the program is the offering of master classes, where some of opera’s most exciting legends transfer their knowledge to the next generation of Merola artists.  Participants have several chances to demonstrate their artistic growth as they perform two fully-staged operas during the summer, a free concert at the Yerba Buena Gardens, and the famed Merola Grand Finale at the War Memorial Opera House.

Merola artists graduate from the program with a clear idea of what their next steps will be musically, artistically and technically as they pursue their careers in opera.  Some students participate in the program for a second summer and a select few go on to become Adler Fellows with the San Francisco Opera.

Andrew Bidlack (Charles)

Thomas Pasatieri  who had been unfairly characterized as  composer-librettist of dense and somber “neo-romantic” operas some  thirty years ago, has reemerged as an artist capable of creating an  enduring comic romp. While still using literary masterpieces for  material (e.g. “Washington Square,” “Seagull”), he has transformed  George Feydeau’s 1907 play “A Flea in Her Ear,” into a 21st century  hoot that delighted the audience at its world premier in San Francisco in early August.

Performed by the artists of  the 2007 Merola Opera Program at the Cowell  Theater, The Hotel Casablanca featured a cast of promising young singers  who handled Pasatieri’s lush lyricism with aplomb.

Tamara Wapinsky (Tallulah) and Paula Murrihy (Lucy)

Among the standouts was Tom Corbeil, a bass-baritone who has already  earned a number of prestigious awards from the Metropolitan Opera  National Council and Musical Merit Foundation. As the affable but  befuddled owner of the “Double T Ranch” somewhere in the heart of  Texas, his comic timing was impeccable. Tenor, Andrew Bidlack also  demonstrated a talent for over-the-top acting. As the clueless “urban  cowboy” responsible for starting all the confusion and sexual intrigue,  he always seemed to be enjoying a private joke about his innocence.

The French playwright, Feydeau, once noted that “the comical is the natural refraction of a drama,” and the underlying threat of murderous  revenge gives this production an added edge. Richard Kagey’s dark and  moody set and direction adds to this surreally menacing tone. Washed  out earth tones give the ranch in act one a tired and down-market look,  and the hotel in the second act is something of a neon-lit nightmare.

All of these noir elements must have met with Pasatieri’s approval, as  he has made quite a name for himself scoring numerous Hollywood films  about crime and mayhem. The composer is also well known for his work  with “divas,” and the young women starring in this production showed  vocal power that at time overwhelmed the intimate confines of the  waterfront venue. Tamara Wapinsky is a soprano with exceptional range,  while Jamie-Rose Guarrine’s bel canto delivery deserves a warmer house  next time.

Joseph Illick, a conductor of remarkable vigor, did a good job with the  17-piece orchestra. He paid less attention to the 9-member cast, but  then again, he may not have had to. These kids were having fun, and  that’s what they’re supposed to have at this early point in their careers.

 

Paul Duclos


Pictures © John Lee