One of the things I enjoy most about attending opera is that the music is often so timeless and wonderful that I can see the same show re-imagined hundreds of times and each time it will come to life and touch me in a new and meaningful way. The same thing is true for performing in opera.

Posted: 10/06/2011 by Elizabeth DeShong (Maffio Orsini, Lucrezia Borgia)


As I teach libretto writing at New York University’s Tisch School of the Arts, I’ve been asked what lessons I would draw for my own students from "Heart of a Soldier".
 
Since my approach to writing has always been structural, I chose three moments in the first act as formal examples of how to adapt and make dramatic a work of journalism, as well as the very structure of the act and the reaction to the opera as a whole.
Posted: 09/30/2011 by Donna Di Novelli (Librettist, Heart of a Soldier)


Returning to San Francisco Opera is especially poignant for me. Although I had already sung some roles professionally beginning in 1972, my big debut was here on the stage of the Memorial Opera House on Sept 13, 1974 as the Maestro di Ballo to Leontyne Price's first Manon Lescaut. Back then there were no apprentice programs, Adler Fellows, or Merola. I was fortunate in that I had worked with Otto Guth, Kurt Adler's right-hand man, at Curtis Institute in Philadelphia where I was completing a post graduate opera degree. Through his recommendation I was invited to sing in San Francisco, where Mr. Adler offered me a number of wonderful roles.

Posted: 09/13/2011 by Joseph Frank (Emperor Altoum, Turandot)


Besides reading and re-reading the book Heart of a Soldier by James B. Stewart, I took inspiration from a variety of other sources. Here are just some of the additional works that lent their weight as I wrote the libretto.

 

 

 

Posted: 09/12/2011 by Donna Di Novelli (Librettist, Heart of a Soldier)


Today, we presented our annual Opera in the Park concert as a memorial to the victims of the 9/11 terrorist attacks. The San Francisco Opera Orchestra and Chorus, along with Music Director Nicola Luisotti and four Adler Fellow soloists performed Mozart's Requiem Mass, interspersed with meditational texts read by members of the San Francisco Interfaith Council. Included below are the various readings and prayers which were included in the event.

Posted: 09/11/2011 by San Francisco Interfaith Council


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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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