Soprano Marina Harris is a second-year Adler Fellow. Marina made her debut at San Francisco Opera as Susan Sowerby in the world premiere of The Secret Garden earlier this year and sang multiple roles in the world premiere of The Gospel of Mary Magdalene. This season, she has appeared as Elena in Mephistopheles, a maid in Dolores Claiborne, and Berta in The Barber of Seville for Families. Along with her fellow Adlers, Marina will be featured in The Future is Now: The Adler Fellows Gala Concert TONIGHT, November 27, at 7:30 pm at the Scottish Rite Masonic Center.  You can also catch Marina one last time as an Adler Fellow performing with the San Francisco Gay Men's Chorus in their Holiday Concert "SHINE!" on Friday, December 6. Below, Marina answers our questions about her favorite moments as an Adler, what it's like to work on world premieres, and why she's glad to be a West Coast native.

Posted: 11/26/2013 by San Francisco Opera


Tomorrow evening our phenomenally talented Adler Fellows will perform in their annual The Future is Now: Adler Gala Concert. Founded in 1977 as the San Francisco Affiliate Artists-Opera Program, Adler Fellowships are performance-oriented residencies for the most advanced young singers and coach/accompanists. Under the guidance of San Francisco Opera General Director David Gockley and Opera Center Director Sheri Greenawald, the Adler Fellowship Program offers intensive individual training and roles of increasing importance in San Francisco Opera's main-stage season.

As the year draws to a close for our Adlers, we want to take a moment to highlight some of their key roles in 2013. The Adler Fellows truly are the rising stars of opera, and you can say “You saw them here first!”

Posted: 11/25/2013 by San Francisco Opera


Mezzo-soprano Renée Rapier is a second-year Adler Fellow who made her Company debut in last season's production of Rigoletto. Renée graduated from the University of Northern Iowa, and partcipated in the Merola Opera Program in 2010 and 2011, when she sang Rosina in Il barbiere di Siviglia. She has won numerous awards, including being a national finalist of the Bel Canto Vocal Scholarship Foundation Competition and a national semifinalist at the Metropolitan Opera Council Auditions in 2011. This season she has appeared in three company productions: as Pantalis in Mephistopheles, a Maid in Dolores Claiborne, and most recently as Meg Page in Falstaff. Here, Renée reflects on working with opera legends, her past life as a violist, and how you can tell a lot about a person by how they feel about Arrested Development.

Posted: 11/13/2013 by San Francisco Opera


It’s 6:54 pm and I’m warming up for the opening night of Falstaff; although not in the way one might imagine, scales and such. Instead, I’m doing lunges, hamstring stretches and sun salutations. Just as my muscles are loosening up comes a knock at the door from my (wonderful) makeup artist and the gears of the show begin to move. Soon “Places!” is called and I do one last stretch before I climb into my costume. If there’s one thing I’ve learned, it’s that Falstaff is an athletic event.

Posted: 10/11/2013 by Renée Rapier, mezzo-soprano


Today, pianist Robert Mollicone shares some reflections about his second and last season as an Adler Fellow. After completing his undergraduate and graduate studies at Boston University's College of Fine Arts, Robert was a member of the Spectrum Resident Artist Program at Virginia Opera and the Domingo-Cafritz Young Artist Program at the Washington National Opera. He was a participant in the 2011 Merola Opera Program. As an Adler Fellow, Robert has assisted on productions including The Magic Flute, Nixon in China, Moby-Dick, and The Secret Garden as well as productions with the Merola Opera Program. He has also worked with Boston Lyric Opera, Opera North, and the Baltimore Symphony. This season, he made his conductiong debut with San Francisco Opera at Opera in the Park in September, served as prompter for the world premiere of Dolores Claiborne, and will serve on the music staff of The Flying Dutchman. Below are his thoughts on his first time as a prompter and his first time conducting the San Francisco Opera Orchestra.

Posted: 10/11/2013 by San Francisco Opera


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Introduction

Backstage at San Francisco Opera is a fascinating, fast-moving, mysterious and sacred space for the Company’s singers, musicians, dancers, technicians and production crews. Musical and staging rehearsals are on-going, scenery is loaded in and taken out, lighting cues are set, costumes and wigs are moved around and everything is made ready to receive the audience. From the principal singers, chorus and orchestra musicians to the creative teams for each opera, in addition to the many talented folks who don’t take a bow on stage, this blog offers unique insight, both thought-provoking and light-hearted, into the life backstage at San Francisco Opera.

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