Calendar 2013 will be a record year in San Francisco Opera history, with three—count’em—THREE world premieres of brand new operas happening in a seven month period! Our new work for families, The Secret Garden, opens in March at Zellerbach Hall at UC Berkeley, followed smartly by our two new main-stage works, The Gospel of Mary Magdalene in June and Dolores Claiborne in September. My job as Director of Music Administration carries with it the privilege (and sometimes the headache) of nudging these commission projects along from initial conception to opening night. So far I’ve been involved with 14 new commissions (not counting the several that never quite made it all the way), and each project has had its unique challenges. 
Posted: 01/22/2013 by Kip Cranna, Director of Music Administration


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)


Last Saturday, the audience for Verdi’s Rigoletto at the Opera House was joined by a few extra viewers, as some 27,000 fans packed AT&T Park for the annual Opera at the Ballpark simulcast. Despite the cold and some competing events (the Giants at Arizona, Stanford at USC) judging from the Twitter stream it looked like a lot of people enjoyed the opera, the ballpark, and a night out with friends.


Posted: 09/19/2012 by San Francisco Opera


You might recall that back in May we announced our first ever ‘Snap and Post to Win’ contest. The concept was (and is) simple: If you’re out being your fabulous self, attending an opera performance, we want to see you at our Photo Corner! If you share your photo with us, you’ll be entered in drawings for two fabulous prizes!



Posted: 09/06/2012 by San Francisco Opera Social Media


 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)


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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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