Darlings of the opera world, the wife and husband duo of soprano Amina Edris and tenor Pene Pati returns to the Bay Area—where they were Adler Fellows in San Francisco Opera’s prestigious training program, and where both have enjoyed career-launching star turns in major productions in recent years. Edris, who was born in Egypt and raised in New Zealand, portrayed a “tonally luxuriant” (San Francisco Chronicle) Cleopatra in the world premiere of John Adams’ Antony and Cleopatra last season, and Pati, who was born in Samoa and also grew up in New Zealand, was a sensation in his transition from understudy to headliner in Gounod’s Romeo and Juliet three seasons before. In recital, expect all the vocal power, charisma, and dramatic flair these extraordinary singers bring to the opera stage, in a varied program of songs traversing eras and continents.

This performance is made possible, in part, by Annette Campbell-White.

MATINEE MUSICALE PRESENTS PENE PATI AND AMINA EDRIS

Voici un récital qui combine plusieurs éléments rares avec ce duo d’étoiles montantes de la planète lyrique : composé du ténor samoais Pene Pati, comparé à nul autre que Pavarotti, et de la rayonnante soprano égyptienne Amina Edris, ce couple qui s’est rencontré en Nouvelle-Zélande nous fait vibrer dans une combinaison de solos et de duos puisés à différentes sources du répertoire. Le pianiste Robert Mollicone dépeint magnifiquement à leurs côtés le paysage musical.

Offenbach’s Songbird is a reduced version of French operetta La Périchole. The scene is 1920’s New Orleans, and musicians Songbird and Piquillo have fallen on hard times and are desperate for a better life.

A tale of true love, capers, villains and confusion. Despite a series of dizzying events, they prove love conquers all. Don’t bet against Songbird!

Offenbach’s Songbird is a reduced version of French operetta La Périchole. The scene is 1920’s New Orleans, and musicians Songbird and Piquillo have fallen on hard times and are desperate for a better life.

A tale of true love, capers, villains and confusion. Despite a series of dizzying events, they prove love conquers all. Don’t bet against Songbird!

Robert assists conductor Ramón Tebar in this production new to SF Opera. With no money, no confidence, and no hope of winning the hand of the alluring hotel owner Adina, the young waiter Nemorino entrusts his chance of romance to a quack salesman and a dubious bottle of. . . magic elixir.

Passions bubble to the surface in Gaetano Donizetti’s effervescent comedy The Elixir of Love, a quest for passion and romance on the sunny Mediterranean Riviera.

Director Daniel Slater and designer Robert Innes Hopkins create a sun-soaked world of pleasure where cocktails flow freely and hot-air balloons glide across the sky—a harkening back to Federico Fellini’s La Dolce Vita, brought to musical life under the baton of conductor Ramón Tebar in his company debut.

Robert assists conductor Ramón Tebar in this production new to SF Opera. With no money, no confidence, and no hope of winning the hand of the alluring hotel owner Adina, the young waiter Nemorino entrusts his chance of romance to a quack salesman and a dubious bottle of. . . magic elixir.

Passions bubble to the surface in Gaetano Donizetti’s effervescent comedy The Elixir of Love, a quest for passion and romance on the sunny Mediterranean Riviera.

Director Daniel Slater and designer Robert Innes Hopkins create a sun-soaked world of pleasure where cocktails flow freely and hot-air balloons glide across the sky—a harkening back to Federico Fellini’s La Dolce Vita, brought to musical life under the baton of conductor Ramón Tebar in his company debut.

Robert assists conductor Ramón Tebar in this production new to SF Opera. With no money, no confidence, and no hope of winning the hand of the alluring hotel owner Adina, the young waiter Nemorino entrusts his chance of romance to a quack salesman and a dubious bottle of. . . magic elixir.

Passions bubble to the surface in Gaetano Donizetti’s effervescent comedy The Elixir of Love, a quest for passion and romance on the sunny Mediterranean Riviera.

Director Daniel Slater and designer Robert Innes Hopkins create a sun-soaked world of pleasure where cocktails flow freely and hot-air balloons glide across the sky—a harkening back to Federico Fellini’s La Dolce Vita, brought to musical life under the baton of conductor Ramón Tebar in his company debut.

Robert assists conductor Ramón Tebar in this production new to SF Opera. With no money, no confidence, and no hope of winning the hand of the alluring hotel owner Adina, the young waiter Nemorino entrusts his chance of romance to a quack salesman and a dubious bottle of. . . magic elixir.

Passions bubble to the surface in Gaetano Donizetti’s effervescent comedy The Elixir of Love, a quest for passion and romance on the sunny Mediterranean Riviera.

Director Daniel Slater and designer Robert Innes Hopkins create a sun-soaked world of pleasure where cocktails flow freely and hot-air balloons glide across the sky—a harkening back to Federico Fellini’s La Dolce Vita, brought to musical life under the baton of conductor Ramón Tebar in his company debut.

Robert assists conductor Ramón Tebar in this production new to SF Opera. With no money, no confidence, and no hope of winning the hand of the alluring hotel owner Adina, the young waiter Nemorino entrusts his chance of romance to a quack salesman and a dubious bottle of. . . magic elixir.

Passions bubble to the surface in Gaetano Donizetti’s effervescent comedy The Elixir of Love, a quest for passion and romance on the sunny Mediterranean Riviera.

Director Daniel Slater and designer Robert Innes Hopkins create a sun-soaked world of pleasure where cocktails flow freely and hot-air balloons glide across the sky—a harkening back to Federico Fellini’s La Dolce Vita, brought to musical life under the baton of conductor Ramón Tebar in his company debut.

Robert assists conductor John Kennedy in this Pulitzer-winning work new to SF Opera. Writing is the preservation of identity in the new opera Omar from Grammy award-winning artist Rhiannon Giddens and composer Michael Abels. A true story of an indomitable faith enshrined in a two-hundred-year-old autobiography in an opera acclaimed by The New York Times as a “sweeping achievement.”

In the early 1800s, Islamic scholar Omar Ibn Said is forcibly taken from his village in West Africa and sold into slavery in Charleston, South Carolina. Attempting to flee, he is imprisoned in Fayetteville and taken to the plantation of another slaveholder, eager to convert him to Christianity. There Omar records his story in Arabic, transforming his world into an expansive canvas of text and faith, profoundly realized in Kaneza Schaal’s transcendent production.

Robert assists conductor Ramón Tebar in this production new to SF Opera. With no money, no confidence, and no hope of winning the hand of the alluring hotel owner Adina, the young waiter Nemorino entrusts his chance of romance to a quack salesman and a dubious bottle of. . . magic elixir.

Passions bubble to the surface in Gaetano Donizetti’s effervescent comedy The Elixir of Love, a quest for passion and romance on the sunny Mediterranean Riviera.

Director Daniel Slater and designer Robert Innes Hopkins create a sun-soaked world of pleasure where cocktails flow freely and hot-air balloons glide across the sky—a harkening back to Federico Fellini’s La Dolce Vita, brought to musical life under the baton of conductor Ramón Tebar in his company debut.

Robert assists conductor John Kennedy in this Pulitzer-winning work new to SF Opera. Writing is the preservation of identity in the new opera Omar from Grammy award-winning artist Rhiannon Giddens and composer Michael Abels. A true story of an indomitable faith enshrined in a two-hundred-year-old autobiography in an opera acclaimed by The New York Times as a “sweeping achievement.”

In the early 1800s, Islamic scholar Omar Ibn Said is forcibly taken from his village in West Africa and sold into slavery in Charleston, South Carolina. Attempting to flee, he is imprisoned in Fayetteville and taken to the plantation of another slaveholder, eager to convert him to Christianity. There Omar records his story in Arabic, transforming his world into an expansive canvas of text and faith, profoundly realized in Kaneza Schaal’s transcendent production.

Robert assists conductor John Kennedy in this Pulitzer-winning work new to SF Opera. Writing is the preservation of identity in the new opera Omar from Grammy award-winning artist Rhiannon Giddens and composer Michael Abels. A true story of an indomitable faith enshrined in a two-hundred-year-old autobiography in an opera acclaimed by The New York Times as a “sweeping achievement.”

In the early 1800s, Islamic scholar Omar Ibn Said is forcibly taken from his village in West Africa and sold into slavery in Charleston, South Carolina. Attempting to flee, he is imprisoned in Fayetteville and taken to the plantation of another slaveholder, eager to convert him to Christianity. There Omar records his story in Arabic, transforming his world into an expansive canvas of text and faith, profoundly realized in Kaneza Schaal’s transcendent production.

Robert assists conductor John Kennedy in this Pulitzer-winning work new to SF Opera. Writing is the preservation of identity in the new opera Omar from Grammy award-winning artist Rhiannon Giddens and composer Michael Abels. A true story of an indomitable faith enshrined in a two-hundred-year-old autobiography in an opera acclaimed by The New York Times as a “sweeping achievement.”

In the early 1800s, Islamic scholar Omar Ibn Said is forcibly taken from his village in West Africa and sold into slavery in Charleston, South Carolina. Attempting to flee, he is imprisoned in Fayetteville and taken to the plantation of another slaveholder, eager to convert him to Christianity. There Omar records his story in Arabic, transforming his world into an expansive canvas of text and faith, profoundly realized in Kaneza Schaal’s transcendent production.

Robert assists conductor John Kennedy in this Pulitzer-winning work new to SF Opera. Writing is the preservation of identity in the new opera Omar from Grammy award-winning artist Rhiannon Giddens and composer Michael Abels. A true story of an indomitable faith enshrined in a two-hundred-year-old autobiography in an opera acclaimed by The New York Times as a “sweeping achievement.”

In the early 1800s, Islamic scholar Omar Ibn Said is forcibly taken from his village in West Africa and sold into slavery in Charleston, South Carolina. Attempting to flee, he is imprisoned in Fayetteville and taken to the plantation of another slaveholder, eager to convert him to Christianity. There Omar records his story in Arabic, transforming his world into an expansive canvas of text and faith, profoundly realized in Kaneza Schaal’s transcendent production.