On Saturday, November 9, we hosted our 2nd free Community Open House, featuring fun events and activities for all ages. It's such a joy to open the doors of the beautiful War Memorial Opera House to droves of people who may have never even been inside before. The 2013 Open House included many diverse presentations and opportunities to connect with opera in new ways, including onstage musical demonstrations; sing-alongs with the San Francisco Opera Chorus and San Francisco Opera Adler Fellows; stage combat workshops; costume, wig and makeup demonstrations; a costume photo booth; an opportunity to meet San Francisco Opera General Director David Gockley; and family activities throughout the opera house lobbies including a scavenger hunt, prop-making, costume crafts, and more, with workshops designed for both adults and families.
Posted: 11/18/2013 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)
Nearly five years ago, I made the difficult choice to leave behind my then 15 years of training and experience as a solo pianist, and embark on a master’s degree in Collaborative Piano. Little did I know then that the huge amount of work, responsibility, and study that degree and my subsequent apprenticeships demanded would culminate in my current profession as a coach/accompanist here at San Francisco Opera. In searching for the skill set that would make me an ideal candidate for an Adler position here (I must confess here that coming here to SFO was a longtime dream of mine), I was lucky enough to get my hands dirty in the rehearsal rooms, orchestra libraries, coaching studios, and orchestra pits of Virginia Opera, Boston Lyric Opera, and Washington National Opera, doing my best to learn as much as I could experientially about every cog in this Rube Goldberg machine we call opera!
Posted: 07/05/2012 by
Robert Mollicone (1st Year Adler Coaching Fellow)