A leader among international opera companies for nine decades, San Francisco Opera was founded by Gaetano Merola (1881–1953) and incorporated in 1923. The Company's first performance took place on September 26, 1923 in the City's Civic Auditorium (La Bohème, with Queena Mario and Giovanni Martinelli, conducted by Merola). Originally presented over two weeks, San Francisco Opera's season now contains approximately 75 performances of ten operas between September and July.

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San Francisco Opera inaugurated its current home, the War Memorial Opera House, with a performance of Tosca on October 15, 1932 (Claudia Muzio, Dino Borgioli, and Alfredo Gandolfi sang the principal roles in a production conducted by Merola). The venerable beaux arts building holds the distinction of being the first American opera house that was not built by and for a small group of wealthy patrons; the funding came thanks to a group of private citizens who encouraged thousands of San Franciscans to subscribe.

Since 1923, San Francisco Opera has presented the United States debut performances of numerous artists, including Vladimir Atlantov, Piotr Beczala, Inge Borkh, Boris Christoff, Marie Collier, Geraint Evans, Mafalda Favero, Tito Gobbi, Sena Jurinac, Mario del Monaco, Anna Netrebko, Birgit Nilsson, Leontyne Price, Margaret Price, Leonie Rysanek, Elisabeth Schwarzkopf, Giulietta Simionato, Ebe Stignani, Renata Tebaldi, and Ingvar Wixell; conductors Marco Armiliato, Gerd Albrecht, Valery Gergiev, Charles Mackerras, Georg Solti, and Silvio Varviso; and directors Francis Ford Coppola, Harry Kupfer, and Jean-Pierre Ponnelle.

Gaetano Merola and Kurt Herbert Adler were the Company’s first two general directors. Merola led the Company from its founding in 1923 until his death in 1953; Adler headed the organization from 1953 through 1981. Legendary for both their conducting and managerial skills, these two leaders established a formidable institution that is internationally recognized as one of the top opera companies in the world and heralded for its pioneering productions and roster of international opera stars. Following Adler’s tenure, the Company was headed by three visionary leaders: Terence A. McEwen (1982–1988), Lotfi Mansouri (1988–2001) and Pamela Rosenberg (2001–2005). David Gockley became San Francisco Opera’s sixth general director in January of 2006 after more than three decades at the helm of Houston Grand Opera.

Since its inception, San Francisco Opera has embodied a spirit of innovation by presenting the world premieres of Blood Moon (1961), Angle of Repose (1976), The Dangerous Liaisons (1994), A Streetcar Named Desire (1998), Dead Man Walking (2000), Arshak II (2001) and Doctor Atomic (2005). Under David Gockley’s leadership, the Company has added five new operas to that list: Philip Glass and Christopher Hampton’s Appomattox (2007); Stewart Wallace and Amy Tan’s The Bonesetter’s Daughter (2008); Christopher Theofanidis and Donna Di Novelli’s Heart of a Soldier (2011); Nolan Gasser and Carey Harrison's The Secret Garden (2013), a co-commission with Cal Performances at UC Berkeley; and Mark Adamo's The Gospel of Mary Magdalene (2013). Future commissioned works include Dolores Claiborne (fall 2013) by Tobias Picker and J.D. McClatchy and La Ciocara ("Two Women") by Marco Tutino and Luca Rossi (summer 2015).

Gockley is committed to broadening and diversifying audiences for San Francisco Opera, and during his first months as general director he took opera to the center of the community with a free outdoor simulcast-the first in the Company's history-of Puccini's Madama Butterfly in May 2006. Subsequent simulcasts included Rigoletto in October 2006, reaching 15,000 people in San Francisco and Stanford University's Frost Amphitheater and Don Giovanni in June 2007, which was broadcast to 7,000 people in four theaters across Northern California. In September 2007, San Francisco Opera began its tradition of presenting simulcasts at San Francisco Opera’s AT&T Park, home of the 2010 and 2012 World Series champions, the San Francisco Giants. The seven simulcasts since then have drawn more than 200,000 opera lovers across the Bay Area.

In 2007, Gockley led San Francisco Opera to take these innovations even further and created the Koret-Taube Media Suite. The first permanent high-definition broadcast-standard video production facility installed in any American opera house, the Koret-Taube Media Suite gives the Company the permanent capability to produce simulcasts and other projects including OperaVision, where retractable screens provide full stage, close-up and mid-range ensemble shots in high-definition video for patrons in balcony seats. Gockley ushered in another first for San Francisco Opera in the spring of 2008 when the Company presented four operas—La Rondine, Samson and Delilah, Don Giovanni and Madama Butterfly—in movie theaters across the country. These operas, in addition to twelve other titles, are now available to theaters and performing arts venues as part of the Company’s Grand Opera Cinema Series. In 2007 Gockley also launched radio partnerships with San Francisco’s Classical 102.1 KDFC and the WFMT Radio Network in Chicago, returning regular San Francisco Opera broadcasts to the national and international radio airwaves for the first time in 25 years.

San Francisco Opera’s first two general directors, Merola and Adler, regularly conducted for the first six decades of the Company’s history. In 1985, the Company appointed Sir John Pritchard as its first permanent music director, and he was followed by Donald Runnicles in 1992. During his tenure, Runnicles has championed new repertory ranging from the world premieres of John Adams’s Doctor Atomic (2005) to Conrad Susa’s The Dangerous Liaisons (1994), in addition to the spectacular American stage premiere of Olivier Messiaen’s Saint François d’Assise (2002) and the West Coast premiere of Stewart Wallace’s Harvey Milk (1996). After 17 years with San Francisco Opera, Maestro Runnicles stepped down as music director in August 2009, and Nicola Luisotti, an exciting star in the opera world, took the reins beginning in the 2009–10 season.

Born and raised in Italy, Maestro Luisotti made his international debut in 2002 leading a new production of Il Trovatore at the Stuttgart State Theater. He has since led productions at the Royal Opera, Covent Garden (Il Trovatore, Madama Butterfly, Turandot), the Metropolitan Opera (Tosca, La Bohème, La Fanciulla del West), the Vienna State Opera (Simon Boccanegra), Madrid’s Teatro Real (Il Trovatore), Paris Opera (Tosca), the Canadian Opera Company (Un Ballo in Maschera), Genoa’s Teatro Carlo Felice (Il Viaggio a Reims, Simon Boccanegra), Munich’s Bavarian State Opera (Tosca) and Frankfurt Opera (Il Trittico), among others. He made his debut in Japan with a staged production of Tosca at Suntory Hall and has established growing relationships with the orchestras of Zagreb, Sofia, Genoa, NHK, Tokyo Symphony, Munich’s Bavarian Radio Orchestra and Rome’s Santa Cecilia Orchestra. Luisotti also serves as principal guest conductor of the Tokyo Symphony and was appointed music director of the Teatro di San Carlo in Naples in 2012.



David Gockley

General Director
Considered a major innovator in American opera for nearly four decades, David Gockley has been the sixth general director of San Francisco Opera since 2006  and is passionately committed to the premise that opera is a living art form that speaks to a variety of audiences.

Meet David Gockley

Nicola Luisotti

Music Director

Italian conductor Nicola Luisotti has been music director of San Francisco Opera since the fall of 2009 and holds the Caroline H. Hume Endowed Chair.

Meet Nicola Luisotti

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Box Office: (415) 864-3330


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301 Van Ness Avenue
San Francisco, CA 94102
Phone: (415) 864-3330

Box Office Hours:
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