Most people don’t spend their lives at the opera, although depending on the composer and the evening in question, it might seem that way. But I can say that I have been at the opera, actually in this building, 45 of my 49 years. No, I am not a phantom living in some part of the sub-basement near the stream that runs under the theatre. (Yes, there’s a stream and no, there are no people down there floating around in small boats wearing opulent costumes--at least not that we know of.) 
 
Posted: 04/30/2012 by Valentina Simi (Artist Services Coordinator and Assistant to the Music Director)


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


 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)


We are thrilled to be kicking off our official Backstage at San Francisco blog. This first blog post comes from Christopher Theofanidis—the composer of Heart of a Soldier, our world premiere commission based on the book of the same name by James B. Stewart. Heart of a Soldier will have its premiere on September 10, 2011—the eve of the tenth anniversary of the September 11 terrorist attacks. While the opera may be new to all of us, there are many who have been working on it for years now. Read on to gain insight into some of the musical challenges Christopher worked through early in his composing process.

Posted: 08/15/2011 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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