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)


The bus stop. It's a place I often find myself spending time as an Adler Fellow. I currently live in the Inner Richmond area, which is a good forty minutes from the opera house, but you can't beat the rent or the myriad of multicultural cuisine just steps from your door. Every morning, I wait for the 38 bus with my fellow passengers in silence, and it never ceases to shock me when someone speaks to me. "How strange!" I think to myself, and wonder what it is about me or my demeanor that invites conversation. What gives people the courage to strike up a chat? Such is the subject matter of LOVE/HATE, a modern love story about two people who meet at...you guessed it...the bus stop. And just as life imitates art, art often imitates life.
Posted: 04/02/2012 by Marina Boudart Harris (Adler Fellow)


It always surprises me how many people ask me if I work for the San Francisco Ballet during the off-season or assume that I am unemployed from the end of the last performance of the fall season until we load in for the summer season in May. I’m here to assure you that I don’t have any trouble keeping busy from December through April.

I always spend the first few weeks of December doing what I call, “picking up the pieces.” This means that I finally answer all those emails that I’ve been putting off because they required more research, and if I’m lucky can get the virtual in-box pared down from 500+ messages to less than 50 that still require some sort of action.
Posted: 02/09/2012 by April Busch (Production Operations Director)


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)


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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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