After a wildly successful role debut of Adalgisa at the Metropolitan Opera in the fall of 2013, Jamie Barton returns to the role this fall in our season opening production of Norma. Her San Francisco Opera debut has been similarly successful leaving critics raving that her performance was “a magnificent Company debut with gleaming vocal tone and emotional urgency” (San Francisco Chronicle). All successes aside, Barton’s charming personality shined in a brief interview excerpted below. Enjoy!

Posted: 09/16/2014 by Jamie Barton (Adalgisa, Norma)


Our 2014-15 season opening weekend was a whirlwind of activity, from the opening night gala featuring Bellini’s Norma, to the opening performance of Susannah on Saturday, with the free Opera in the Park concert as a grand finale on Sunday.  Here’s a visual wrap-up culled from the hundreds of social media posts from artists and audience members.



Posted: 09/08/2014 by San Francisco Opera


On Friday, May 17 the San Francisco Opera Orchestra along with Music Director Nicola Luisotti will cross the twinkling Bay Bridge for a rare concert at UC Berkeley’s Zellerbach Hall. The program includes music by Puccini and Brahams, and a Piano Concerto by Italian composer Nino Rota, performed by Giuseppe Albanese.
Posted: 04/17/2013 by San Francisco Opera


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)


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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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