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


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)


Last Sunday, a few intrepid tweeters braved the (not so bad) traffic of one of the busiest weekends in San Francisco history to post their impressions of the final dress rehearsal of Jake Heggie and Gene Scheer's Moby-Dick before tonight's Bay Area premiere.




Posted: 10/10/2012 by San Francisco Opera


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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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