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
It’s 6:54 pm and I’m warming up for the opening night of Falstaff
; although not in the way one might imagine, scales and such. Instead, I’m doing lunges, hamstring stretches and sun salutations. Just as my muscles are loosening up comes a knock at the door from my (wonderful) makeup artist and the gears of the show begin to move. Soon “Places!” is called and I do one last stretch before I climb into my costume. If there’s one thing I’ve learned, it’s that Falstaff
is an athletic event.
Posted: 10/11/2013 by
Renée Rapier, mezzo-soprano
The first time I sang in a production of Hoffmann was 2007 in Vienna where I played the four servants. It was a reductive, bizarre, but very enchanting production. I fell in love with the show at that point because it felt like a dream from which I did not want to awake; especially the last act with its gently rocking barcarolle. It’s not an easy show to put on because it’s a big cast and finding someone who can sing the title role can be a struggle, but it’s one of my favourites and I would hope to hear it for the rest of my life.
Posted: 07/02/2013 by
Thomas Glenn, tenor
Natalie Dessay last delighted San Francisco audiences in the title role of 2009's Lucia di Lammermoor and this summer she's back, but not in one of her signature roles. The soprano has appeared as Olympia is Offenbach's The Tales of Hoffmann
many times, but for this Laurent Pelly production, she decided to mix things up and sing a role she has always wanted to sing, the tragic role of Antonia. In today's blog post, Natalie Dessay answers our 5 questions.
Posted: 07/02/2013 by
Natalie Dessay (Antonia, The Tales of Hoffmann)
The Tales of Hoffmann
has become one of the best-loved specimens of nineteenth-century French opera. Yet it represents an outlier within Jacques Offenbach’s prolific catalogue in its experimentalism with genre as well as its protracted genesis. The composer’s source for the libretto was a play by Jules Barbier and Michel Carré, who introduced their five-act “fantastic play” Les Contes d’Hoffmann
in 1851 in Paris, drawing on the wildly imaginative stories by the early-romantic figure E.T.A. Hoffmann.”
Posted: 06/21/2013 by