It was cold in New York in February, 2008 when I flew into LaGuardia airport, but not too cold.  After years of living in Lexington, KY, where I raised a son and worked on a Master’s in Vocal performance at the University of Kentucky Opera Theatre, I always flew into the busiest airport of my hometown for opera auditions with the romantic head of a twenty-something professional virgin from the midwest—this, when I was anything but.
Posted: 06/17/2014 by by Earl Hazell, (Extra Chorus, Show Boat)


Albanian tenor Saimir Pirgu knows a thing or two about Alfredo Germont—the dashing young man who falls in love with, is heart-broken by, reconnects with, and ultimately loses the love of his life. He has performed La Traviata around the world at many of the most important opera houses and opposite some of opera's most saught-after leading ladies as the fickle, beautiful and terminally ill courtesan Violetta. He returns to San Francisco Opera to perform the role with Nicole Cabell as Violetta and Vladamir Stoyanov as Giorgio Germont. What has Saimir learned from his many portrayals of Alfredo? We asked him 5 questions to find out.
Posted: 06/10/2014 by Saimir Pirgu (Alfredo, La Traviata)


On Saturday, November 9, we hosted our 2nd free Community Open House, featuring fun events and activities for all ages. It's such a joy to open the doors of the beautiful War Memorial Opera House to droves of people who may have never even been inside before. The 2013 Open House included many diverse presentations and opportunities to connect with opera in new ways, including onstage musical demonstrations; sing-alongs with the San Francisco Opera Chorus and San Francisco Opera Adler Fellows; stage combat workshops; costume, wig and makeup demonstrations; a costume photo booth; an opportunity to meet San Francisco Opera General Director David Gockley; and family activities throughout the opera house lobbies including a scavenger hunt, prop-making, costume crafts, and more, with workshops designed for both adults and families. 
Posted: 11/18/2013 by San Francisco Opera


It is not surprising that many people assume Herman Melville wrote his classic novel Moby-Dick on Nantucket, a small island off the coast of Cape Cod in Massachusetts. It is, after all, the setting for much of the book, home port to the Pequod and home to many of the story’s most central characters. But in reality, Melville never set foot on the island before Moby-Dick was published in 1851. He wrote the book at a secluded farm in Pittsfield, Massachusetts, over 100 miles from the nearest large body of water.

An excerpt from the Berkshire Historical Society explains:

Posted: 10/30/2012 by The Berkshire Historical Society


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)


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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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