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
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
Tenor Brandon Jovanovich is no stranger to San Francsico Opera audiences. But in recent years, we have seen him transition from singing Puccini (Pinkerton in 2007's Madama Butterfly
and Luigi in 2009's Il Tabarro
) to Wagner (Siegmund and Froh in 2011's Ring
cycle). In his biggest assignment with the Company yet, Jovanovich is currently singing his role debut as the title role of Wagner's Lohengrin
. We asked Brandon a few questions about Lohengrin,
his fellow cast members and his favorite things to do in San Francisco.
Posted: 11/06/2012 by
Brandon Jovanovich (Lohengrin, Lohengrin)
For Los Altos-raised soprano Talise Trevigne, performing the role of Pip, the 14 year-old cabin boy, in Moby-Dick
is the ultimate homecoming. We asked Trevigne five questions about her unique experiences on the Pequod and about being back in the Bay Area for this landmark production.
Posted: 11/01/2012 by
Talise Trevigne (Pip, Moby-Dick)
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)
By now most of you realize that the Opera is celebrating its 90th season of producing opera in the Bay Area. Let’s use the occasion to take a brief backward look at the highlights of this extraordinary institution.
In June of 1922, Italian immigrant conductor Gaetano Merola held the first season of his new opera company at the Stanford football stadium in Palo Alto. This initial success led to the founding of the San Francisco Opera and the Company moved to downtown San Francisco, settling in what is now called the Bill Graham Civic Auditorium, and for two seasons at the Dreamland Auditorium.
Posted: 10/03/2012 by
David Gockley (General Director)