The opening performance of the series in the War Memorial was on June
9.  Today's *local* broadcast on KALW-FM is of a tape made on June 20.
(Additional performances, with Chen Sue Panariello in the title role, are
scheduled for June 28, July 2 and 5.)

Overall:  The live performance left audience and critics grasping for
superlatives - it was a truly special event.  The broadcast is excellent,
but it doesn't (it cannot) rise to the intensity of the live performance,
at least in perception.  But how good it is to have this proof of the
ephemeral live experience - bravi to all who made it happen after long
years of "radio silence."

Miriam Gauci (Cio-Cio-San) was a revelation live; she sounds wonderful in
the broadcast.  In my 6/9 review I did not mention that she has already
appeared with SFO (Mimi, 1999), simply because I failed to recognize her.
In "Boheme," she was fine, in "Butterfly," she is right up there, with the
best, one of the most sincere, convincing performances in my memory.  The
applause after "Un bel' di" is inevitable at the live performance, but it
seems unfortunate in the broadcast because it breaks the mood of the
"reality" to which Gauci has transported us.

Zheng Cao (Suzuki) is brilliant both live and in the broadcast - you will
hear much from and about this still-young mezzo.

Zoran Todorovich (Pinkerton) was better live.  In the broadcast, you
are more aware of the strain to produce some high notes than during his
outstanding live performance, masking some of the vocal shortcomings.  It
takes a genius to act well in this most cartoonish of all operatic roles.

David Okerlund (Sharpless) presents virtually the opposite of the
Todorovich experience.  Watching his fine stage performance, you may not
be as clearly aware of his vocal splendor than listening to the radio
("where the pictures are better").

The perception of Donald Runnicles' direction is quite different,
according to the medium.  In the house, the symphonic glory of the
SF Opera Orchestra is a clear presence (although never overwhelming
the singers) and in the broadcast, the orchestra is much more in the
background.  I don't know if it's a matter of engineering or the difference
between the listener's place of observation.  Listening to the tape,
however, there are occasional instances of the tempo *seemingly* slowing
down too much; in the live performance, there was an over-arching suspense,
Runnicles sustaining every line - big and small - at all times.  And yet,
the orchestra - every section - comes across brilliantly both times.

Janos Gereben/SF
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