Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Maria Kanyova

James Robinson's production of Adams' Nixon in China hits its stride at San Diego Opera. 

The bits of conversation I overheard during intermission and in the aisles after the world première of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera were assorted variations of “so, what did you think?” World premières are, indeed, auspicious occasions that privilege first-nighters to experience the work before anyone else has molded or influenced their thoughts about it.

“Nibble, nibble, like a mouse – who is nibbling at my house?” As a preschooler, I used to giggle with glee when I would hear this quote from the wicked witch in Hansel and Gretel. No doubt the story was dark, yet Eloise Wilkin’s delightful illustrations and the touching message of brother/sister love enticed me to return frequently to this beloved tale during nightly story time.

It’s difficult to believe that the current run of John Adams’ Nixon in China at the San Francisco Opera marks the opera’s local premiere. Adams is not only one of the leading composers of his generation, but he is also a celebrated local hero.