When a colleague in production called to ask if I would be willing to be a supernumerary in Carmen
my first thought other than – why not!? – was “I have to call Bill.” Bill Klaproth and his wife Roberta are founding members of the Opera’s Medallion Society, longtime subscribers, and two of the most lovely people I have had the privilege of getting to know. When Bill retired in 1990, he decided it was the perfect time to become more involved with the Company, and he applied become a Supernumerary. He’s never looked back. Since 1990, he has appeared in dozens of operas, and is currently supering in his fourth Turandot
as one of the soldiers.
Posted: 11/28/2011 by
Bonita Hagbom (Individual Giving Officer) and Bill Klaproth (Supernumerary)
My job at San Francisco Opera as video director is to work with the production team, the artists and the media team to direct the capture of each opera for television and theatrical distribution. I have been directing at the opera for 5 years. Rigoletto
was my first plazacast to the civic center and it was very well received. David Gockley had the idea of building an HD suite on the 5th
floor of the opera house and I was fortunate to be hired as the resident video director. I have directed all of the AT&T Ballpark simulcasts and over 25 operas for OperaVision, television and theatrical distribution. Over the last five years, two other directors--Christine Strand and Bob Harnett—have also directed some of the operas.
Posted: 11/18/2011 by
Frank Zamacona (Video Director)
For our new production of Don Giovanni the design requirement called for 22 large mirrors in ornate gilded frames. The mirrors all needed to be reflective to the audience but also see through, like mirrors in a police lineup room. The design intent was to have each of the mirror’s speed and position controlled independently. Below is one of 30 stunning renderings drawn by set designer Alessandro Camera.
Posted: 10/12/2011 by
Marc Scott (Technical Director)
I am insufficiently blonde. Sigh. Yes, having blondish hair was one of the main reasons I was wrangled into playing the Super Bride in Heart of a Soldier
in the first place. But after our first dress rehearsal, the artistic team realized that with my natural hair curled and coiffed into a style of the era, I looked more like a hippie Flower Child bride. Not, unfortunately, like a big-haired girl from the Lone Star state. Which is what I am supposed to be.
Posted: 10/04/2011 by
Kristen Jones (Senior Leadership Gifts Officer & Super Bride, Heart of a Soldier)
“Do you have to wear your glasses? No? Then I want them off. And do you have high heels with you? Yes? Good. Go put them on. I want you wearing heels.”
These are some of the first words spoken to me by director Francesca Zambello as I enter my maiden rehearsal for Heart of a Soldier. Having just come from a day at work, I had changed into flats and put on my glasses--which I typically only wear for driving, movie watching, or making sure flying stage knives aren’t headed my way--so that I would be better prepared for what the night would hold. It was clear in that moment that my journey from mere civilian to Supernumerary (or ‘Super,’ for short) was underway.
Posted: 08/29/2011 by
Kristen Jones (Senior Leadership Gifts Officer)