When I found out I was going to be the assistant conductor for Moby-Dick, I knew it meant that I was going to have to read the book. My attitude about that prospect was probably very much like yours. Sigh. But the choice was unflinching: Either I'm going to read Moby-Dick now, when I have every possible motivation and sufficient time, or I'm just never going to read it. Short of actually going on an extreme whaling vacation, I couldn't think of a more obvious circumstance to do something that I've long said I wanted to do. I'm happy I read it, and it made me feel more prepared, but it was unnecessary. Heggie's Moby-Dick does not need a primer to appreciate it, to explain it or even to fill in the blanks, it stands on its own as a thrilling and genuinely dramatic modern opera. But let's back up.
Posted: 10/22/2012 by
Joseph Marcheso (Assistant Conductor, Moby-Dick)
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
Since announcing the world première of Mark Adamo’s The Gospel of Mary Magdalene for the Spring/Summer of 2013, many subscribers have asked me why we chose to do an opera on this subject. My response is that this is one of the world’s great stories in a new and exciting version, written and performed by some of the most extraordinary artists in opera today. Some, though, have expressed bewilderment. “Mary Magdalene, sure: but a Gospel of Mary? My Bible includes only the Gospels of Matthew, Mark, Luke, and John! How can this be an opera?”
Posted: 03/28/2012 by
David Gockley (General Director)
Inexplicable things happen to me in London. Several years ago I made an early morning visit to Westminster Abbey, that great reliquary of historical memory, and found it almost empty and utterly silent, a rare state for one of the world’s great tourist magnets. I intended to spend a few quiet moments at the memorial stone of my favorite composer, George Frideric Handel (1685–1759), the great German-born composer, Italian-trained, and rightly claimed by England as their own.
Posted: 11/11/2011 by
Patrick Summers (Conductor, Xerxes)
Kyle Brisby is a supernumerary in our current production of Handel's
Xerxes. As one of several Super Wardens, he is required to silently walk, act and even move furniture around the stage with perfect timing. Of particular importance to this production, Kyle must look exactly identical to his other Super Wardens--all wearing black costumes with entirely white, bald heads. Photographer Michael Harvey took pictures of the entire process as makeup artist Lisa Patnoe transforms Kyle Brisby from a 21st century guy into a truly
Posted: 11/08/2011 by
Kyle Brisby (Super Warden, Xerxes)