Webcor Builders Presents Opera at the Ballpark
is an exciting and exhilarating event. It’s quite an experience to enjoy free opera “al fresco” with thousands of fans. For the simulcast attendee, the entire experience lasts a few hours. As a Marketing Associate for San Francisco Opera, my involvement in this event takes a bit more time than that. Ok, a lot more time than that. Ever wonder what it’s like to be one of the many people involved in putting on an event such as Opera at the Ballpark? Below is a timeline of what it’s like to work the event as a member of the marketing team.
Posted: 09/27/2011 by
Sheeda Jamsheed (Marketing Operations Associate)
On Sunday, September 25, some 16,000 fans gathered at AT&T Park, home to World Series champions the San Francisco Giants, to watch and listen as an ice princess melted, bureaucrats blustered, and high notes were hit out of the park. Despite a gloomy weather forecast, those who took a chance were rewarded with a beautiful, mild San Francisco day, including sunshine and sailboats in the bay. For the Opera’s sixth annual ballpark simulcast, Puccini’s Turandot was transmitted live from the Opera House to the Ballpark across 2.5 miles of fiber optic cable.
The relaxed venue lent itself to sharing the experience with others, as scores of tweets from the audience captured an afternoon at the ballpark with Puccini. [All photos from @SFOpera Twitter feed]
Posted: 09/26/2011 by
San Francisco Opera
Through state-of-the-art technology, San Francisco Opera’s simulcast on September 25 will be transmitted in 1920x1080 high definition (HD) to AT&T Park's 103-feet wide Mitsubishi Electric Diamond Vision scoreboard—one of the highest quality outdoor scoreboards in the nation—live from the stage of the War Memorial Opera House. [Left: Members of our Media Team before a performance. Photo by Cory Weaver.]
Posted: 09/22/2011 by
Francis Crossman (Senior Video Editor)
One of the hardest things to do in an opera is to be able to translate a basic question, or set of questions, into something visual which brings them to life in a dramatic context.
“How do you remember the fallen?” was one of the important questions which Donna and I felt threaded the opera and this was answered in many through the main protagonist, Rick Rescorla. [Left: Thomas Hampson, who sings the role of Rick Rescorla in the opera, with Christopher Theofanidis.]
Posted: 09/16/2011 by
Christopher Theofanidis (Composer, Heart of a Soldier)
Returning to San Francisco Opera is especially poignant for me. Although I had already sung some roles professionally beginning in 1972, my big debut was here on the stage of the Memorial Opera House on Sept 13, 1974 as the Maestro di Ballo to Leontyne Price's first Manon Lescaut. Back then there were no apprentice programs, Adler Fellows, or Merola. I was fortunate in that I had worked with Otto Guth, Kurt Adler's right-hand man, at Curtis Institute in Philadelphia where I was completing a post graduate opera degree. Through his recommendation I was invited to sing in San Francisco, where Mr. Adler offered me a number of wonderful roles.
Posted: 09/13/2011 by
Joseph Frank (Emperor Altoum, Turandot)