San Francisco Opera Principal Oboist Mingjia Liu knows it takes a whole lot of time and preparation for any orchestra member to prepare their music for an opera performance. What many people do not realize is that playing the oboe includes a whole other type of preparation--reed preparation. In this video, Mingjia explains the unique task he tackles every single day before he even lifts his instrument out of the case.
Posted: 11/14/2011 by
Mingjia Liu (Principal Oboe)
Inexplicable things happen to me in London. Several years ago I made an early morning visit to Westminster Abbey, that great reliquary of historical memory, and found it almost empty and utterly silent, a rare state for one of the world’s great tourist magnets. I intended to spend a few quiet moments at the memorial stone of my favorite composer, George Frideric Handel (1685–1759), the great German-born composer, Italian-trained, and rightly claimed by England as their own.
Posted: 11/11/2011 by
Patrick Summers (Conductor, Xerxes)
Kyle Brisby is a supernumerary in our current production of Handel's
Xerxes. As one of several Super Wardens, he is required to silently walk, act and even move furniture around the stage with perfect timing. Of particular importance to this production, Kyle must look exactly identical to his other Super Wardens--all wearing black costumes with entirely white, bald heads. Photographer Michael Harvey took pictures of the entire process as makeup artist Lisa Patnoe transforms Kyle Brisby from a 21st century guy into a truly
Posted: 11/08/2011 by
Kyle Brisby (Super Warden, Xerxes)
As the lutenist in San Francisco Opera’s 2011 production of Xerxes, I play not only an unusual role in the orchestra, but also a number of unusual instruments not well known to many opera goers. While the traditional opera repertory is not often thought of as utilizing improvisation, baroque music has a rich history of it. Nowhere is this truer than in this production of Xerxes where the harpsichord and I make up what could essentially be called the rhythm section of the orchestra. We play from a bass line, much like what a cellist uses, but we have figured bass (numbers under the bass notes which tell us which harmonies to play) added to our parts. Similar to how a jazz pianist might accompany a song, both the harpsichord the lute family instruments play the harmony, which is improvised in keeping with musical content of the composer.
Posted: 11/05/2011 by
Michael Leopold (Theorbo, Arch Lute and Baroque Guitar, Xerxes)
Last night my husband Jet and I went to see and hear the San Francisco Opera’s production of Giacomo Puccini’s “Turandot.” It was the late composer’s last musical work, brilliant, intense and complicated. What followed for us was both a revelation and an epiphany that made us shine a light on our own musicianship.
Posted: 11/03/2011 by
Paula DeFries (First time opera-goer)