I have received several inquiries into why we are performing our upcoming Magic Flute in English. It’s a good question that deserves an explanation.
 
In Mozart’s time (late 1700’s), Italian was the language of opera. The genre of Italian “opera seria” crossed the Alps and settled in Austria, Germany and England in particular. Audiences in Austria attended “court operas,” supported by the nobility and presented in theaters that were near–or a part of–royal or lordly palaces. One can remember the image of Mozart’s operas being performed in Vienna’s Burgtheater in the film Amadeus. Lots of powdered faces, white wigs and bitchy courtiers. After Cosi fan tutte, Mozart fell out of favor with the Austrian court and lost his salaried position. He was also losing his health.
 
Posted: 03/12/2012 by David Gockley (General Director)


Jun Kaneko, renowned Japanese-American visual artist, is the Production Designer for our new production of The Magic Flute, opening June 13, 2012. His ceramic, bronze, and glass sculptural work and two-dimensional artwork appears in numerous international solo and group exhibitions annually and is included in approximately fifty museum collections. He has realized almost thirty public art commissions in the United States and Japan. His previous opera productions were Madama Butterfly for Opera Omaha (2007) and Fidelio for the Opera Company of Philadelphia (2008).
Posted: 03/06/2012 by Jun Kaneko (Production Designer, The Magic Flute)


It always surprises me how many people ask me if I work for the San Francisco Ballet during the off-season or assume that I am unemployed from the end of the last performance of the fall season until we load in for the summer season in May. I’m here to assure you that I don’t have any trouble keeping busy from December through April.

I always spend the first few weeks of December doing what I call, “picking up the pieces.” This means that I finally answer all those emails that I’ve been putting off because they required more research, and if I’m lucky can get the virtual in-box pared down from 500+ messages to less than 50 that still require some sort of action.
Posted: 02/09/2012 by April Busch (Production Operations Director)


Lauré Campbell has served as San Francisco Opera’s orchestra librarian for an incredible 41 seasons. From just down the hall from the orchestra pit, Lauré’s job has been to acquire the sheet music for each production – whether from the Company’s own library or another source, mark it up to the necessary specifications, and have it ready for each member of the orchestra. Retiring this spring, we asked Lauré a few questions about what’s changed during her tenure, what hasn’t, and what she’ll miss most.

Posted: 01/24/2012 by Lauré Campbell, Orchestra Librarian


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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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