Our production of Rigoletto
was created back in 1997 by Michael Yeargan with costumes designed by Constance Hoffman. The costumes along with the sets are rich with color and drama, yet they also allude to the dark and sinister underbelly of the court.
Posted: 09/24/2012 by
San Francisco Opera
Sitting around a table enjoying happy hour with a couple of my brother’s friends, I casually mentioned that I had attended a performance of The Marriage of Figaro
and really enjoyed it. One friend, who I shall do the service of not naming, said “Anna, I didn’t realize you attended operas!” “Oh!,” I replied, “it’s one of the great perks of working at San Francisco Opera—I get to see every production we do!” “Wait,” he said, “you work
at the Opera?” He started laughing, and unfortunately continued: “I imagine you and seven other people crammed around a table sewing a bustier or something.”
Posted: 08/31/2012 by
Anna Sopko Wright (Sr. Marketing Manager, Subscriptions)
There was a palpable energy in the War Memorial Opera House air in the months leading up to The Magic Flute
premiere on June 13. None of us could wait to see this new production full of bold, colorful scenery and costumes by internationally acclaimed artist Jun Kaneko. When Jun and his wife Ree visited San Francisco Opera's Props department and Costume Shop in March, it was the first time they saw Jun's sketches come to life.
Posted: 06/27/2012 by
San Francisco Opera
It all started innocently enough. Nine year-old Natalie Beier, who always loved art and fashion, needed to do research on costume design for an upcoming school production of Anne of Green Gables. For her research, she came to the opera with her family, went to the library, and ultimately got a very special glimpse into San Francisco Opera's Costume Shop. And for the budding costume designer, a once-in-a-lifetime opportunity arose: to be a supernumerary or "super" chick in this summer's production of The Magic Flute
Posted: 06/20/2012 by
Natalie Beier ("Super" Chick and Budding Costume Designer)
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)