Love/Hate: A Modern New Opera for 21st Century Audiences
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The last date listed for Love/Hate was Sunday April 15, 2012 / 7:00pm.
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Called "the most forward-looking American ballet company on the continent" (Contra Costa Times), San Francisco Ballet rarely disappoints in its selection and performance of innovative, genre-defining works. For this exciting triple bill, SF Ballet presents the world premiere of Hummingbird by Liam Scarlett, a contemporary ballet wunderkind who, at only 26, was recently appointed artist-in-residence at The Royal Ballet. The program also includes the return of Helgi Tomasson's masterful The Fifth Season and Serge Lifar's elegant Suite en Blanc, a brilliant showcase of French neoclassicism featuring "a parade of stunning individual and Hollywood-big corps performances" (San Jose Mercury News). Learn More
Reviews & Ratings
Love/Hate gleefully deploys an array of styles from pop and jazz to serialism and classical opera, to reflect the stream of consciousness of the characters and their own cultural references – including the Doors and the 5th Dimension, to name just two. Perla and Bailis, friends since their time at Yale School of Music, have had the opportunity to collaborate on many projects but Love/Hate is their most ambitious to date. For Perla, a composer and pianist whose work has been met with equal acclaim in both classical and jazz arenas – he recently won the USA Songwriting Competition in the jazz category, and has also enjoyed classical commissions from Oakland East Bay Symphony, Seattle Opera, Houston Grand Opera, and the Paul Dresher Ensemble –_ Love/Hate_ is his first full-length chamber opera. For Bailis, the piece heralds a return to creative life after nearly a decade as the director of ODC Theater.
Together Perla and Bailis set out to update the form of the opera buffa for 21st century audiences. “What Rob has done [in the libretto for Love/Hate is much like The Marriage of Figaro_,” says Perla. San Francisco Opera Center Director Sheri Greenawald agrees: “_Love/Hate,” she says, “is an intimate opera and also a very touching one. It is a welcome challenge for the Adler Fellows, and I think audiences will sense their natural connection with the material.”
But how many chamber operas take on the subject of sexual identity? “It’s a little like Canterbury Tales meets Milan Kundera with a splash of Dr. Ruth,” jokes Bailis. “One of the conspicuous ways Love/Hate departs from the comic opera tradition is in telling a love story between a man and a woman who have each had same-sex relationships in the past. This is part of the fun!”