One of the things I enjoy most about attending opera is that the music is often so timeless and wonderful that I can see the same show re-imagined hundreds of times and each time it will come to life and touch me in a new and meaningful way. The same thing is true for performing in opera.

Posted: 10/06/2011 by Elizabeth DeShong (Maffio Orsini, Lucrezia Borgia)


I am insufficiently blonde. Sigh. Yes, having blondish hair was one of the main reasons I was wrangled into playing the Super Bride in Heart of a Soldier in the first place. But after our first dress rehearsal, the artistic team realized that with my natural hair curled and coiffed into a style of the era, I looked more like a hippie Flower Child bride. Not, unfortunately, like a big-haired girl from the Lone Star state. Which is what I am supposed to be.
Posted: 10/04/2011 by Kristen Jones (Senior Leadership Gifts Officer & Super Bride, Heart of a Soldier)


It looks like I've been enlisted again. I play Dexter and Dex in Heart of a Soldier this season, an experience that has woven a lot of events and people together causing me to reflect on the nature of heroism and love. I served as a US Marine from 1991 to 1997, achieving the grand rank of Sergeant. During that time I was lucky enough to be employed with the air wing as an air traffic controller, and later as a computer programmer with Marine Corps Combat Development Command in Quantico.
Posted: 10/01/2011 by Daniel Snyder (Dexter & Dex, Heart of a Soldier)


As I teach libretto writing at New York University’s Tisch School of the Arts, I’ve been asked what lessons I would draw for my own students from "Heart of a Soldier".
 
Since my approach to writing has always been structural, I chose three moments in the first act as formal examples of how to adapt and make dramatic a work of journalism, as well as the very structure of the act and the reaction to the opera as a whole.
Posted: 09/30/2011 by Donna Di Novelli (Librettist, Heart of a Soldier)


Karl Eikenberry is a retired United States Army Lieutenant General and former United States Ambassador to Afghanistan. At the invitation of San Francisco Opera Board Chairman, John Gunn, he and his wife attended a recent performance of Heart of a Soldier. Now a distinguished fellow with the Freeman Spogli Institute for International Studies at Stanford University, Eikenberry felt compelled to write down his thoughts after the performance.


Posted: 09/28/2011 by Karl Eikenberry


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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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