Her Juliet was defiant, dedicated, and charismatic.

As she was turned into a Caravaggio’s figure emanating an intense light from within, not only her physical being enlightened every time she came into proximity of Romeo, but her vocal instrument reached heights of the tonal scale which are rarely heard during a mid-week performance like the one we attended.

Not less mesmerizing than that of Pati’s was the performance of soprano Nadine Sierra. Pati’s Romeo was tender in his search for Juliet, childish in the escamotages he used to escape the scrutiny of friend and foes in order to meet his Juliet secretly, and clever in organizing this surreptitious marriage to Juliet. Quality these that in this writer’s opinion place Pati in that unique class of exceptional chanteurs with great aplomb and effortless delivery, even when placed in the riskiest conditions, to which belonged Sinatra, Pavarotti and to which now belongs Boccelli’s. Same enthusiasm, same enthralling acting, same ability to reach and hold a pianissimo in the high range with crystalline clarity, and to produce a rounded sound even in the middle of the dramatic action. The SF Ballet brought Helgi Thomasson’s Romeo and Juliet to Denmark, while the San Francisco Opera after 32 years of absence staged Gounod’s Romeo and Juliet anew.Īnd what a rarefied return was it after such an extended absence! Starting first with the discovery of a new exceptional vocal talent, New Zealand’s understudy tenor Pene Pati, who pushed into the leading role by the abandonment of title character, has risen to the occasion with the heart of a lion and a voice that commands the emotions and delights the hearing.Ī talented tenor with a warm and full-bodied mid-range, Pati’s performance reminded us of the late Salvatore Licitra-a rising opera star who was cut short in his parabola to stardom by the destiny-when he appeared in San Francisco for the Carmen.

One could say that it was the Season of Love again in San Francisco this past summer.

Romeo and juliet san francisco opera