Our next Adler Profile features a native of Kiamusze, China: tenor Chuanyue Wang.  A first-year Adler Fellow and graduate of the 2012 Merola Opera Program, Chuanyue is an operatic star in his native China having won numerous talent competition awards including first prize in the Chinese Culture Ministry’s WenHua Competition, the Mandova Competition, the China International Vocal Competition, and the Chinese National Young TV Singers Competition. Prior to his Adler Fellowship, Chuanyue graduated from China’s Central Music Conservatory. This season, Chuanyue made his debut on the War Memorial Opera House Stage as Wagner & Nereo in Boito's Mefistofele and is also covering the role of Fenton in Falstaff.
Posted: 09/20/2013 by San Francisco Opera


Korean Baritone, Joo Won Kang, is a second-year Adler Fellow and made his San Francisco Opera debut as the Second Priest in Mozart's The Magic Flute in 2012.   Joo Won has since been seen on the War Memorial Opera House Stage as Captain Gardiner in Heggie's Moby-Dick, Marullo in Verdi's Rigoletto, and as a Noble in Wagner's Lohengrin.  He was most recently seen as Hermann in this past summer's Tales of Hoffmann.  Prior to his Adler Fellowship, Joo Won was a member of the Young Artist Program at Florida Grand Opera where he sang the role of Giorgio Germont in Verdi's La Traviata and the Duke of Verona in Gounod's Roméo et Juliette. Joo Won will be seen this upcoming fall in the role of Figaro in 'Barber of Seville for Families' in a special English translation on November 24 and 30.     
Posted: 08/19/2013 by San Francisco Opera


American soprano Maria Kanyova made her San Francisco Opera debut in 2012 as Pat Nixon in John Adams's Nixon in China. In this summer's world premiere The Gospel of Mary Magdalene by Mark Adamo, Kanyova graced the War Memorial Opera House stage as Miriam—a performance the San Francisco Examiner called "outstanding."




Posted: 07/12/2013 by San Francisco Opera


"Okay, let's run it again from the same place," says our director Kevin Newbury. "Strong and wrong."

I've come to love that phrase. In rehearsals we have to give ourselves over to our impulses in the moment, to try different moods and reactions before we choose the best one. "The best idea wins," Kevin told us on the first day of rehearsals. Everyone is encouraged to contribute if they have an idea for the tone of a scene or a piece of stage business. But in order for an interesting dramatic moment to emerge, we have to be willing to take a chance that it might fail—"wrong"—and commit to it anyway—"strong." It frees us from the interference of our inner critics and editors and allows us to take our reactions to their most compelling place.

Posted: 07/08/2013 by Stacey Tappan (Seeker and Girl, The Gospel of Mary Magdalene)


One of the most riveting scenes of Mark Adamo's opera The Gospel of Mary Magdalene occurs when Peter is overcome with grief for having denied Jesus three times before his crucifixion.


As the stage is bathed in blood red light, Peter falls to his knees, wailing, "How many times will I remember this? Seven times seven?" This moment of anguish has inspired other composers to some of their most dramatic and poignant music as well.
Posted: 06/27/2013 by Kayleen Asbo


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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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