When I started thinking about how to compose the Secret Garden
stage, my reference points were three locations: India, Yorkshire, and childhood. I happen to have personal experience of all three, which helped me visualize how they might weave together in Mary's life: moments of petulance, real loss, sadness, curiosity, energy, and a powerful, ultimately healing relationship with the natural world.
Posted: 01/14/2013 by
Naomie Kremer, Visual Designer
Stage moms and Glee teeny-boppers take note: we're on the lookout for young performers between the ages of 9-21 for our upcoming production of The Secret Garden
. No, not that Secret Garden
but a NEW
world-premiere operatic version with music by Bay-Area teamed composer (and architect of the Music Genome Project
) Nolan Gasser and librettist Carey Harrison.
Posted: 09/16/2012 by
San Francisco Opera
Before he was an opera singer, Tongan-born tenor Ta’u Pupu’a (seen in the roles of Omaha and Robert in
Heart of a Soldier) was an athlete. A linebacker in the NFL, to be exact. Pupu’a was drafted by the Cleveland Browns and then the Baltimore Ravens before a career-ending injury motivated him to go back to his first love: singing. How does a football player make this unconventional career transition? We had the same question. Read on to hear Ta'u's story in his own words. Check back again soon to read more about the connections between football and singing...there are more than you may think!
Posted: 10/24/2011 by
Ta'u Pupu'a (Omaha and Robert, Heart of a Soldier)
We know that Heart of a Soldier closed its run last month, but we can't resist adding a couple of additional blog posts submitted by people involved in the show. There were just so many creative contributions! This first one is from projection designer S. Katy Tucker.
On September 11th, 2001 I was about to start my second day of work as a studio assistant for an artist in Soho. I'd moved to New York City one week before, taking a semester away from college.
Posted: 10/22/2011 by
S. Katy Tucker (Projection Designer, Heart of a Soldier)
When people ask me what my job is at the opera, I typically tell them to think of my position as a project manager for the productions as a whole. It’s not my job to do the actual work of construction or to be inspired to create the design. My job is to make sure that the designs are done on time, on budget and as close to the designer’s intention as is conceivable. It has it moments of creativity and of rote mathematics. It has it moments of exciting involvement and concise detachment; but mostly it has its moments of managing large expectations.
Posted: 10/20/2011 by
Andrew Farley (Assistant Technical Director)