Brian Jagde is a tenor and third year Adler Fellow at San Francisco Opera.  He will make his mainstage leading role debut as Cavaradossi in Puccini's Tosca on Friday, November 16, 2012 - you can catch him for 5 more performances on November 20, 24, 27, 29 and December 2.  Brian made his SFO Debut in 2010 as Joe in Puccini's La Fanciulla del West and has been seen since in roles in Aida (Messenger), The Makropulos Case (Janek), and Lucrezia Borgia (Vitellozzo) and he has covered the leading roles of Pinkerton in Madama Butterfly, Christian in Cyrano de Bergerac, and Don José in Carmen.  He was seen as Don José in the 2011 presentation of Carmen for Families - an abridged 2-hour version in English presented on the War Memorial Opera House stage with other members of the Adler Fellowship Program.
Posted: 11/16/2012 by San Francisco Opera


How did you come to work on Moby-Dick and what was the early process?

We were getting ready to premiere Three Decembers in Houston (2008) and very close to the end of the process when Jake and Gene approached me about Moby-Dick. It was impossible for me to say no the challenge of staging Moby Dick, but even harder to pass up the opportunity to work with Jake and Gene again. Nothing had been written at that point, so I was part of the project from the very beginning and the three of us worked through it as a team.

I work on a lot of new pieces, and I’m often with them from the start. In this particular process with Moby-Dick, we all found our way through this massive book together, looking at it from three distinct points of view: Gene the words, Jake the music, and me concentrating on the structure of the story.
Posted: 10/18/2012 by Leonard Foglia (Director, Moby-Dick)


"I quite enjoy trying to understand the personality of the performer." –Harry Silverstein, Rigoletto Stage Director






Posted: 09/24/2012 by San Francisco Opera


Much like baseball fans, we here at San Francisco Opera count down the days until the opening of the Fall 2012 opera season. But as we were strolling around the City, enjoying the last days of summer, we realized that San Francisco was practically tailor-made for the five fall operas. We found so many connections between our beloved city and the fall season that we had to share them!



Posted: 08/24/2012 by San Francisco Opera


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)


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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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