San Francisco Opera's Idomeneo
Lindy Hume's new production of Mozart's sublime opera highlights the tension between people and their environment, nature becoming increasingly untenable the longer Idomeneo avoids fulfilling his vow. Stunning projections of craggy coastlines and raging seas reverberate with Mozart's majestic score.
San Francisco Chronicle subscribers can enter to receive tickets to see this spectacular production.
WHEN
Tuesday, June 17, 2025
Show start time: 07:30 PM
Raffle winners will pick up tickets via Will Call. Only active San Francisco Chronicle members are eligible to win. To enter, please fill out all the fields in the form before noon on June 10. Multiple entries will not be considered. Winners will be drawn randomly and notified via email by 3:00 p.m. on June 10.
Note: You will need to know the account number of your subscription to enter this raffle. If you do not have it, please contact customer service at 800-310-2455, by email, or go to the Subscriber Services site.
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I've heard rumors — I feel like the casting director had a big part in it. I'm just very, very happy that it happened that way. SEEKevin Kline, Cate Blanchett, and every 'Disclaimer' Emmy acting submission What was that conversation like? He started telling me the whole story from beginning to end. About two minutes in, I interrupted him and said, just so you know, I have read the book. He didn't like that I'd read the book. I think he wanted me to experience it firsthand from the script. I thought I was going to get brownie points! And then he said, "Would you like to do this?" And there was obviously only one answer that I was going to give. We talked about some of the nudity and sex scenes, just to make sure that that was all understood up front. And other than that, he was just like, "OK, well, I need you here in three days." So I packed up my whole life and got on a plane. How did you get yourself into character that quickly? 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And I think luckily, I was able to stay afloat. You don't have time to worry about things. You're on to the next thing. Being able to work with a director like him, you can trust that he's going to either fire you or not move on until he gets it. He's not really going to settle for mediocre. And so I just think having that confidence, that trust in him meant that I knew it was going to be OK in terms of going back and forth, I used music a lot, because I think that's the quickest way — a song can change your whole demeanor immediately. And so I have playlists. I had a playlist for one version and a playlist for the other version, and I would just need a few minutes to listen to some music to hone back in on whichever version we were doing. What kind of direction did Alfonso give you? He doesn't. 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And he was like, "Yeah, we're not gonna do it. We're just gonna let it be you." I just bawled my eyes out. I couldn't believe it, and I felt so, so honored that that they would decide to do that. Did you ask him why he changed his mind? I'm not really sure. I think maybe it just wasn't necessary in the end. When you're doing scenes like that, I think there is something really personal about it maybe doesn't feel quite right. I was very happy. It was really kind of affirming. Every step of the way, the confidence that Alfonso put in me made me grow as an actor, and he is my fairy godfather. I'm forever in his debt. What did you take away from the experience? The main takeaway is to be able to trust that I can do it, to have the confidence. I remember we were at dinner quite early on, and Louis Partridge asked Alfonso who his favorite actors were that he's worked with, and Alfonso said it was the ones who actually weren't actors like in Roma. 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