How many people does it takes to run a performance of Turandot
? More than you might think!
Posted: 11/23/2011 by
San Francisco Opera
My job at San Francisco Opera as video director is to work with the production team, the artists and the media team to direct the capture of each opera for television and theatrical distribution. I have been directing at the opera for 5 years. Rigoletto
was my first plazacast to the civic center and it was very well received. David Gockley had the idea of building an HD suite on the 5th
floor of the opera house and I was fortunate to be hired as the resident video director. I have directed all of the AT&T Ballpark simulcasts and over 25 operas for OperaVision, television and theatrical distribution. Over the last five years, two other directors--Christine Strand and Bob Harnett—have also directed some of the operas.
Posted: 11/18/2011 by
Frank Zamacona (Video Director)
As the lutenist in San Francisco Opera’s 2011 production of Xerxes, I play not only an unusual role in the orchestra, but also a number of unusual instruments not well known to many opera goers. While the traditional opera repertory is not often thought of as utilizing improvisation, baroque music has a rich history of it. Nowhere is this truer than in this production of Xerxes where the harpsichord and I make up what could essentially be called the rhythm section of the orchestra. We play from a bass line, much like what a cellist uses, but we have figured bass (numbers under the bass notes which tell us which harmonies to play) added to our parts. Similar to how a jazz pianist might accompany a song, both the harpsichord the lute family instruments play the harmony, which is improvised in keeping with musical content of the composer.
Posted: 11/05/2011 by
Michael Leopold (Theorbo, Arch Lute and Baroque Guitar, Xerxes)
For our new production of Don Giovanni the design requirement called for 22 large mirrors in ornate gilded frames. The mirrors all needed to be reflective to the audience but also see through, like mirrors in a police lineup room. The design intent was to have each of the mirror’s speed and position controlled independently. Below is one of 30 stunning renderings drawn by set designer Alessandro Camera.
Posted: 10/12/2011 by
Marc Scott (Technical Director)