Nearly five years ago, I made the difficult choice to leave behind my then 15 years of training and experience as a solo pianist, and embark on a master’s degree in Collaborative Piano. Little did I know then that the huge amount of work, responsibility, and study that degree and my subsequent apprenticeships demanded would culminate in my current profession as a coach/accompanist here at San Francisco Opera. In searching for the skill set that would make me an ideal candidate for an Adler position here (I must confess here that coming here to SFO was a longtime dream of mine), I was lucky enough to get my hands dirty in the rehearsal rooms, orchestra libraries, coaching studios, and orchestra pits of Virginia Opera, Boston Lyric Opera, and Washington National Opera, doing my best to learn as much as I could experientially about every cog in this Rube Goldberg machine we call opera!
Posted: 07/05/2012 by
Robert Mollicone (1st Year Adler Coaching Fellow)
“What do you mean when we spin Nixon on the banquet table?” My head cocked to one side the way my dog Earl’s does when I ask him to do something new.
For at least seven rehearsal meetings my “Supers” table partner and I had been practicing the choreographed banquet scene for Nixon in China. The table is at least five feet in diameter.
Posted: 06/21/2012 by
Tess Uriza Holthe (Super, Nixon in China)
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)
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)
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)