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)
Are you getting anxious for this year’s Opera at the Ballpark? We presented our first free simulcast at AT&T Park in 2007, and in the years since it has easily become one of the most beloved Bay Area traditions. Last year’s simulcast of Aida attracted an unprecedented crowd of 32,000 people—and that doesn’t count the nearly 3,000 more who were watching back at the Opera House!
Posted: 09/20/2011 by
San Francisco Opera
Opera designer and director John Pascoe created the designs for this fanciful and opulent production of Donizetti's Lucrezia Borgia in 2008 with Washington National Opera and Renee Fleming.
With the opening of our third opera of the season less than a week away, we decided to whet your appetite with John Pascoe's gorgeous costume sketches for this production, which marks the first time we have ever ever presented the opera in our history.
Posted: 09/19/2011 by
John Pascoe (Director & Designer, Lucrezia Borgia)
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)