The room can be configured in a variety of ways, and the challenging acoustic - the 30-foot-high ceiling is great for monumental physical artworks but less forgiving on the human voice - is rectified by an acoustic system of 24 microphones and 75 loudspeakers discreetly placed to adjust reverberation. And the Lab's programming is curated by someone well-positioned to take on this challenge: Director Elkhanah Pulitzer has a track record for staging gutsy operas, as evidenced by her bold production of Lulu for West Edge Opera last summer that featured full nudity. The space is a physical manifestation of the series it hosts, SF Opera Lab. The freshly launched programming concept seeks to appeal to those interested in unorthodox performing arts offerings that involve both the human voice and theater. These include seats with cup holders, an octagonal lighting catwalk, and a state-of-the-art sound system. It also has unabashedly contemporary features more reminiscent of a modern-day multiplex movie theater than an opera house.
Once a sculpture court for the San Francisco Museum of Modern Art, the 299-seat theater retains many neoclassical elements of its original 1932 beaux arts design such as arched niches and garlanded detailing. Mezzo-soprano Zanda Švēde performs the 'Habenera' from Bizet's 'Carmen' at a donor preview of the Taube Atrium Theater. The Taube Atrium Theater is the centerpiece of the Wilsey Center for Opera, which opened on the 4th floor of the recently refurbished Veterans Building in San Francisco's Civic Center neighborhood at the end of February. “It’s about you making something happen.San Francisco Opera (SF Opera) has opened a new small venue and with it comes an experimental performance series aimed at drawing in a younger audience. We did this thing,” SFJAZZ executive director Kline said at the show’s outset.
“What tonight is about is the music and our community. Her nimble duet with Harland earned the night’s first standing ovation, and a vibrant later turn with Tyner and Joe Lovano on “Walk Spirit, Talk Spirit” conjured the restless spirit of John Coltrane.Ī two-saxophone front line of Lovano and Joshua Redman offered another highlight in a free-blowing “Blackwell’s Message,” and, in maybe the night’s greatest moment for cross-generational pollination, Frisell, Redman and Tyner joined John Handy and vibraphone great Hutcherson for “Blues on the Corner.” Hutcherson might have looked worryingly frail with oxygen tubes trailing from his suit, but he punched his instrument with a taut, ageless grace. Spalding, her signature puff of hair wound into a wrap, continued her run as the anointed talent of the moment in jazz, and she again justified her standing with performances that showed that, as accomplished as she is as a vocalist, she’s an even better bass player.
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