I worked in the rehearsal department for three seasons and after leaving that position, I was prepared to do just about anything.  I could spit out any one of a hundred phone numbers faster than you could pull out your iPhone.  People marvel at that, and I marvel that they marvel. It was just second nature to me and anyone else who worked here.  You have to be ready to do anything at a moment’s notice.  During the 1989 earthquake, one of my co-workers was at the ER with a singer who had injured her ankle during a performance while the rest of us phoned all remaining artists to be certain everyone was OK.  Thankfully, all were fine, and one of our mezzos even invited all of the other artists to her apartment for a chicken dinner.  The very next morning we had set up camp at the Masonic Auditorium where we proceeded to perform a week’s worth of opera there in concert version.  
Posted: 05/04/2012 by Valentina Simi (Artist Services Coordinator & Assistant to the Musical Director)


Most people don’t spend their lives at the opera, although depending on the composer and the evening in question, it might seem that way. But I can say that I have been at the opera, actually in this building, 45 of my 49 years. No, I am not a phantom living in some part of the sub-basement near the stream that runs under the theatre. (Yes, there’s a stream and no, there are no people down there floating around in small boats wearing opulent costumes--at least not that we know of.) 
 
Posted: 04/30/2012 by Valentina Simi (Artist Services Coordinator and Assistant to the Music Director)


 We cannot wait to unveil our brand new production of The Magic Flute, designed for us by visual artist and sculptor Jun Kaneko. His whimsical, colorful and creative production features unique and stunning costumes and a playful world that comes to life through complex projections. One of the (many) challenges that comes with presenting a brand new production is finding appropriate images to promote the opera months in advance, often times when the sets and costumes are yet to be built. This time we really lucked out and had the unique opportunity to have a photo shoot with one of the stars of the show a couple of months before he gets to town to begin rehearsals.
 
Posted: 04/18/2012 by San Francisco Opera


As a native New Yorker, if someone had told me 3 years ago that I'd be working with the San Francisco Opera today, I'd have thought they were crazy. But, here I am, in California, having graduated from Merola and finished with my 2nd year as an Adler, and a lot has changed. One could say it has actually jump-started my career in singing because the past 2 years as an Adler were the first that I've sustained my income solely from singing. I've been coached into many roles, been given the time to learn a technique that works for me, and worked with a lot of the people we call stars in the opera business.
Posted: 02/01/2012 by Brian Jagde (Adler Fellow)


Did you see Joyce DiDonato this past Saturday in the Met’s cinema presentation of The Enchanted Island? I have seldom seen such perfection as was evident in every aspect of her performance. Joyce has now arrived at the pinnacle of her profession.





Posted: 01/25/2012 by David Gockley (General Director)


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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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