This year, San Francisco Opera came out... to celebrate LGBT pride by marching in the SF Pride Parade. Adding this to our Rainbow Series Subscription, LGBT focused receptions and events, and the decoration of the opera house with rainbow lights, San Francisco Opera is proud to support our LGBT friends, family, and community. The whole group, including Tosca, five of Scarpia's henchmen, and the many volunteers who marched in the parade, was made up of SFO staff members, supernumeraries, bravo club members, and donors – a collaboration representative of the whole San Francisco Opera family.
Below are some photos from this exciting event.
Posted: 06/30/2014 by
San Francisco Opera
On Friday, May 17 the San Francisco Opera Orchestra along with Music Director Nicola Luisotti will cross the twinkling Bay Bridge for a rare concert at UC Berkeley’s Zellerbach Hall. The program includes music by Puccini and Brahams, and a Piano Concerto by Italian composer Nino Rota, performed by Giuseppe Albanese.
Posted: 04/17/2013 by
San Francisco Opera
I began supering in 1985, with a brand new complete Ring
cycle. Since then, I’ve done all the classics—Carmen, La Bohème, Rigoletto
, etc. etc. —as well as my share of more obscure pieces. However, the one thing I’ve never done is a brand-new, hot-off-the-presses, world-premiere opera—until now!!! [Photo Left: Laurel Winzler in her English maid costume from The Secret Garden.
Posted: 03/06/2013 by
Laurel Winzler (Supernumerary, The Secret Garden)
Calendar 2013 will be a record year in San Francisco Opera history, with three—count’em—THREE world premieres of brand new operas happening in a seven month period! Our new work for families, The Secret Garden
, opens in March at Zellerbach Hall at UC Berkeley, followed smartly by our two new main-stage works, The Gospel of Mary Magdalene
in June and Dolores Claiborne
in September. My job as Director of Music Administration carries with it the privilege (and sometimes the headache) of nudging these commission projects along from initial conception to opening night. So far I’ve been involved with 14 new commissions (not counting the several that never quite made it all the way), and each project has had its unique challenges.
Posted: 01/22/2013 by
Kip Cranna, Director of Music Administration
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)