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Directed by Kevin Newbury, the new production of “Norma” at San Francisco Opera is a very good one, though Friday’s season-opening performance at War Memorial Opera House kept falling short of the benchmark. Whether it will gain the blue ribbon in its six remaining performances is largely up to soprano Sondra Radvanovsky, who sings the demanding lead role of Norma, the high priestess. In many ways, it was a splendid performance that she gave Friday. First, there was her sheer charisma as an actor, as she portrayed the priestess’s heartbreak over Pollione, the general (and the father of her two children), who has taken up with a younger gal — er, priestess.

Combine Radvanovsky’s magnetic presence with her dramatic soprano’s radiance, power beautiful floral handpainted women flat shoes ballet flats handpainted khussa juti ethnic painted shoes handpainted mojari india and prismatic colors, as well as her elegant contouring of phrases and spun-sugar pianissimos, and you had the makings of something memorable, Yet repeatedly at the apex of key coloratura passages, her voice failed her, growing scratchy or breaking outright, as she lost the climactic note, It was like watching an Olympic figure skater as she executes the most graceful and demanding routine, only to fall while landing that crowning, triple axel jump, You figure she can do it, if not this time, then the next, Likewise for Radvanovsky, whose move to the bel canto repertory has been recent, following her long string of successes in dramatic Verdi roles..

She has a stunning partner in mezzo-soprano Jamie Barton, who sings the role of Adalgisa, the younger priestess. If Radvanovsky’s voice can be like a clarion trumpet, Barton’s is like a French horn, with its mysterious sound, deep and wide — a comfort, calling the listener home to the nest. This is her San Francisco Opera debut, and she undoubtedly will be returning, for she is a singer of calming power and grace, of confessional expression. She and Radvanovsky sang like sisters. Their lengthy Act 1 duet — in which the priestesses discover their shared love interest, setting off a conflagration before they calm down and become BFFs once again — was a highlight. Their tightly harmonized voices were like twin kites, flying through coloratura runs and roulades in flawless formation.

Barton brought the best out of tenor Marco beautiful floral handpainted women flat shoes ballet flats handpainted khussa juti ethnic painted shoes handpainted mojari india Berti, who sings the role of Pollione, proconsul of the occupying Roman forces, Their duet was hugely propulsive, as the lovers examined their predicament from every angle, While Berti was inconsistent elsewhere in the performance — pinch-toned or swimming up to and around pitches — here he was solid and ardent, cleanly dispatching his arabesques, And there was a third partner in this dance: the orchestra, conducted by Nicola Luisotti, which performed with precision and expressive clarity throughout the performances..

As Oroveso, Norma’s father and leader of the Druids, bass-baritone Christian Van Horn was commanding, his voice penetrating and well-lathed. A pair of Adler Fellows sang secondary roles: tenor A.J. Glueckert, vigorous and clear-voiced as Flavio, a Roman centurion, and soprano Jacqueline Piccolino, velvety-voiced as Clotilde, Norma’s friend and nanny. Visually, with its impressive detail and shadowy mood of foreboding, this handsome production resembles a page out of a storybook, say, one by children’s book author and illustrator Chris Van Allsburg. David Korins’ towering sets give us the ancient Druid temple, where massive stone bulls’ heads gaze down from the walls and worshippers venerate sacred boughs. As silvery moonlight falls on the temple, we enter an ancient world.

Over the course of the performance, the Druids construct a giant Trojan horse in the temple; with it, they hope to launch a surprise attack on the Roman occupiers, One question, though: Why do Norma’s children — said to be a secret; barely a soul knows about them — live in a little wooden shack in the middle of the often-busy temple?, Jessica Jahn’s costumes also are puzzling: the many male choristers look like proto-Stone Age hunters in their rugged vests, while the women beautiful floral handpainted women flat shoes ballet flats handpainted khussa juti ethnic painted shoes handpainted mojari india wear elegant gowns as if heading off to the ballroom, Norma, too, is something of a fashion plate in her golden gown with sequined top..

It is what it is. Newbury and his colleagues have devised a nifty ending, though. As Norma acknowledges her sins — lust, sex, motherhood — the music mounts, a gradual and nearly unbearable escalation of grief that composer Richard Wagner must have enjoyed. (Wagner was a fan of “Norma.”) Now, as she steps into the Trojan horse with Pollione — in a change of plan, it will become their funeral pyre — she grabs a torch and lights it at its base. Quickly, she and her lover are surrounded by a circle of fire, a mythic touch straight out of Wagner’s “Ring” cycle. But unlike Wagner’s Brünnhilde, who is protected by the circle of flames, this fire will be all-consuming. Goodbye, Norma.

There is someone waiting for you out there, someone who would welcome your attention and fill the empty space in the nest, It’s a cat, dog, bird, reptile, rabbit, or hamster, waiting for a new home at one of the many local animal adoption shelters in our area, According to the 2011—2012 National Pet Owners Survey, 94 percent of pet owners consider their pets to have humanlike personality traits, Some 65 percent of us sing or dance for our pets, and 53 percent of us will take beautiful floral handpainted women flat shoes ballet flats handpainted khussa juti ethnic painted shoes handpainted mojari india time off work to care for a sick pet..

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