A life on the road can get lonely from time to time. Brian Jagde, our Pinkerton in this summer's Madame Butterfly, is no exception to the rule. Thankfully he has his trusty companian Cav with him where ever he goes! Brian most recently appeared on the San Francisco Opera stage in our 2012 production of Tosca. Where has Brian and Cav been since? Let's find out in our Operatic Doggie Diary!
Posted: 06/18/2014 by
Brian Jagde (Pinkerton, Madame Butterfly)
The first time I sang in a production of Hoffmann was 2007 in Vienna where I played the four servants. It was a reductive, bizarre, but very enchanting production. I fell in love with the show at that point because it felt like a dream from which I did not want to awake; especially the last act with its gently rocking barcarolle. It’s not an easy show to put on because it’s a big cast and finding someone who can sing the title role can be a struggle, but it’s one of my favourites and I would hope to hear it for the rest of my life.
Posted: 07/02/2013 by
Thomas Glenn, tenor
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)