John Adams may be the grand old man of opera these days, but it’s worth bearing in mind that his stage work has always been controversial. Nixon in China (1987) may have entered the global repertoire, but the mix of grand opera and contemporary American politics, powered by a synth-enhanced score, raised more than a few eyebrows at its premiere. The Death of Klinghoffer (1991) – perhaps his operatic masterpiece – drew such virulent protests at its Metropolitan Opera premiere in 2014 that it would take a brave company to stage it today. Adams’ “documentary-style” operas with director Peter Sellars, including Doctor Atomic (2005) and most recently Girls of the Golden West (2017), have equally divided the critics. While some bemoan that Sellars’ libretti are anti-dramatic, others (myself included) see them as a fresh and exciting way of making music theatre that is relevant.

Amina Edris and Gerald Finley in Antony and Cleopatra. Photo © Cory Weaver/San Francisco Opera

When San Francisco Opera commissioned Adams, now 75, for an opera to celebrate its centenary season, they doubtless anticipated some sort of contention. What they probably didn’t expect...