Honoring Black History Month at San Francisco Opera
Kenneth Overton (b. 1967)
Kenneth Overton is lauded as one of the most sought-after baritones of his generation. Overton's most recent appearance at the San Francisco Opera was as Suleiman in the innovative new opera, Omar (2023). His history with the Company dates back to memorable engagements in Porgy and Bess (2008–2009), La Fanciulla del West (2009–2010), and Billy Budd (2019–2020).
An artist whose accolades include three GRAMMY nominations and a GRAMMY win for Best Choral Performance, Overton found himself reeling during the arts' abrupt pandemic shutdown. He channeled his energy into uplifting the stories of Black opera pioneers, everyone from Jessye Norman and George Shirley to Leontyne Price, through projects like his YouTube series, "Black Opera Live," and his forthcoming documentary, Black Opera And We, shining a long-overdue spotlight on these towering figures.
Overton's passion for fostering Black opera talent dates back to 2010 when he co-founded Opera Noire of New York, a platform supporting Black artists and composers while providing vital community and resources for African American singers. His dedication to performing, storytelling, and paving new pathways continues to enrich San Francisco Opera and the opera world at large.
1. Omar (2023-24) / Cory Weaver; 2. La Fanciulla del West (2009-10) / Terry McCarthy; 3. Porgy and Bess (2008-09) / Terry McCarthy
Julian Bagley (b. 1892-1981)
Julian Bagley was an award-winning writer, published author, and intrepid traveler, who became a beloved part of the War Memorial Opera House. He was an advocate for the Opera House even before construction began, and his involvement has had a profound impact on the company to this day. Bagley reflected the values of the Company with his warmth, engagement, and vast knowledge of opera lore. .
By 25 years old, Julian Bagley had won his first writing contest and graduated from the Hampton Institute with a degree in Agriculture. After serving in WWI, he wrote for The Crisis under none other than W. E. B. Du Bois, penning articles that included "Vagabonding in a City of Opera Seats.” His travels took him across the globe to the world's foremost museums, theaters, and opera houses, all while honing a prolific writing career that would span decades.
When Bagley turned 30, he decided he wanted to live among writers in a city known for its support for the arts. Arriving in San Francisco in 1922, Bagley managed a small waterfront hotel and immersed himself in the city's elite and bohemian circles. His writing portfolio grew with publications like Candle Lighting Night in Bodidlee and short stories such as Children of Chance. When backroom discussion between ultra wealthy men and city officials began about building the War Memorial Opera House, Bagley took the opportunity to join in shaping the future of the Bay Area's performing arts scene. He saw himself in the new building as a concierge of sorts, sharing his in-depth knowledge about opera and engaging with stars and patrons alike. He pitched his well-conceived position to the city manager and was hired.
From the House's grand debut in 1932 and onward, Bagley's congeniality became a staple of every performance. Foreign dignitaries, international celebrities, and local opera-goers all looked forward to the warm welcome he provided, and many took pride in signing his legendary guest book—so much so that he had to fend off those who wanted to sign the book twice. "There simply wasn't room," said Bagley. His genuine connection with patrons turned him into an unofficial tour guide and historian for the Opera's community.
After nearly five decades of dedicated service, Bagley retired from his position in 1971, leaving behind a legacy of hospitality and bridging communities through music, literature, and authentic human connection. In an oral interview the following year, he reflected on his journey—captured in his book, Welcome to the San Francisco Opera House.
1. With American mezzo-soprano Marilyn Horne (1960); 2. American Heritage Book Cover, Candle Lighting Time in Bodidalee; 3. With Joan Sutherland, I Puritani (1966) / African American Museum and Library at Oakland
Angel Blue (b. 1984)
Few vocalists embody the vibrancy and warmth of California quite like Angel Blue, whose rich soprano and deeply felt performances have garnered acclaim around the globe. Today, Angel Blue's trophy case includes two GRAMMY Awards, the 2020 Beverly Sills Award, and the 2022 Richard Tucker Award, testaments to the sincerity she brings to some of opera's most cherished roles. In the fall of 2023, she triumphantly returned to San Francisco Opera, captivating audiences as Leonora in Verdi's Il Trovatore. Her partnership with the Company stretches back to 2009 when she made an unforgettable debut as Clara in Porgy and Bess.
Beyond the stage, Angel is known for her remarkable commitment to uplifting the next generation of singers. During the pandemic lockdown of 2020, she launched Faithful Friday, an online talk show featuring interviews with individuals whose dedication and resilience she found inspiring. Viewers praised the program as "uplifting" and a beacon of hope, celebrating the empathy and passion distinguishing Angel's career both on and off the stage.
Mabel P. Robinson (b. 1939)
Mabel P. Robinson was an artist whose career spanned from Broadway to television, to the stage of the War Memorial Opera House, and beyond. As a performer, director, and choreographer, she transformed countless lives through her passion for mentorship.
A graduate of The Juilliard School, Robinson boasts a dazzling resume: dancer for Alvin Ailey, Martha Graham, Talley Beatty, and Louis Johnson; performer in Broadway hits; and pioneering actress in American television. She made theatrical history as the first African American woman to run two Broadway shows at once: starring as Dancing Mary in Your Arms Too Short to Box with God while also working as the choreographer and assistant director on a revival of Porgy and Bess.
In our 1976–1977 production of Porgy and Bess, Robinson served as both choreographer and assistant director, underscoring the heart and soul of what San Francisco Opera stands for: artistry, innovation, and community.
Beyond her stage triumphs, she authored The Glory of Gospel (which opened the 1997 National Black Theatre Festival) and Mahalia Queen of Gospel (produced in 2005 and 2007 at that same festival). She also founded the North Carolina Black Repertory Company (NCBRC) Teen Theatre Ensemble. Her passion for fostering new talent is also reflected in the Mabel P. Robinson Emerging Artist Awards, which help support and uplift the next wave of creative visionaries.
This dedication to cultivating talent, paired with her countless contributions to theater, dance, and opera exemplifies the community spirit that remains central to San Francisco Opera's mission.
1. Porgy and Bess (1976-77) / Performance Program; 2. Artist Celebration Excellence Awards (2022); 3. North Carolina Black Rep Company (2023)
Calvin Eugene Simmons (b. 1950-1982)
Few figures in modern classical music have left as significant a legacy in so short a time as Calvin Eugene Simmons. Born and raised in San Francisco, Simmons was already blazing his path by age eleven and conducting the San Francisco Boys Chorus under the mentorship of Madi Bacon. In his early twenties, Simmons truly made his mark with San Francisco Opera, taking on the roles of repetiteur and assistant conductor under then-General Director Kurt Herbert Adler.
While studying piano and conducting at the Curtis Institute under the renowned Rudolf Serkin and Max Rudolf, Simmons found an opportunity to return to his hometown to assist with San Francisco Opera productions. Between 1972 and 1975, he worked closely with Adler's esteemed roster of singers and collaborators. By age 28, he was already a sought-after conductor, conducting San Francisco Opera’s production of La Bohème and Dmitri Shostakovich's Lady Macbeth of Mtsensk, among other challenging works.
In 1978, Simmons was appointed Music Director of the Oakland Symphony, the first African American to hold a principal conducting role with a major U.S. orchestra. At a mere 28 years old he brought a fresh vision to the ensemble, expanding the repertoire and broadening its appeal.
Tragically, Simmons' life was cut short at age 32 in a canoeing accident. Yet his impact on San Francisco's cultural scene, forged under Adler's mentorship at San Francisco Opera, endures to this day. He broke racial barriers for orchestral and operatic conductors and left behind a legacy of vibrant, innovative music-making that continues to inspire emerging talents in classical music.
1. “The African American Performer on the San Francisco Stage,” Museum of Performance + Design; 2. The Curtis Institute of Music Class photo (1973) / Curtis Archives; 3. San Francisco Gate / Johnny Miller
Rhiannon Giddens (b. 1977)
When you think of Rhiannon Giddens, words like "eclectic," "groundbreaking," and "soul-stirring" might come to mind. That fusion found new life in Omar, an opera for which she co-composed and wrote the libretto. Her extraordinary work came to San Francisco Opera in the fall of 2023, where Omar enthralled audiences in a production that many have called a high-water mark of contemporary opera. Under Giddens' creative vision, the War Memorial Opera House resonated with music that felt both intimately personal and sweepingly universal, an homage to the spiritual core of American music and a testament to the boundless possibilities of modern opera.
Omar received widespread acclaim and earned the Pulitzer Prize for Music, a milestone recognizing Giddens' masterful blend of artistry and authenticity. The Pulitzer committee described the work as "an innovative and compelling opera about enslaved people brought to North America from Muslim countries, a musical work that respectfully represents African as well as African American traditions, expanding the language of the operatic form while conveying the humanity of those condemned to bondage."
Whether she's fronting a folk band, writing a Pulitzer Prize-winning opera, or exploring new frontiers in classical performance, Rhiannon Giddens continues redefining the landscape of American music.
Simon Estes (b. 1938)
Simon Estes stands as a towering figure in the world of opera, education, and humanitarianism. A bass-baritone of extraordinary versatility, Estes has been an essential figure in San Francisco Opera history: debuting in the 1960s, collaborating with legendary colleagues like Leontyne Price and Luciano Pavarotti, and gracing the stage of the War Memorial Opera House in operas from La Bohème to Der Fliegende Holländer. Beyond the stage, however, his passion for mentorship, empowerment, and global philanthropy cements his standing as a visionary in opera and an inspiration worldwide.
Estes's tenure with San Francisco Opera spans decades, from his earliest appearances in the Spring Opera Theater (Les Contes d'Hoffmann) (1967) through iconic productions like Wagner's Tristan und Isolde (1980-81), Aida (1981-82), and Carmen (1981-82). He quickly established himself as a commanding presence onstage while forging memorable partnerships with the Company's top-flight artists.
Crucial to Estes's legacy is his unwavering commitment to breaking down barriers for future generations of Black singers. He encourages young talents to step confidently onto the world's stages through masterclasses, private coaching, and personal advocacy. Estes's mentorship underscores a conviction he's often voiced: that classical music urgently needs broader inclusion and that emerging musicians of all backgrounds deserve equal opportunities to thrive. His example has set a precedent of excellence, instilling a sense of possibility in a new generation of operatic trailblazers.
Estes's work as an educator is equally remarkable. When he's not on the road performing, Estes devotes his time to nurturing students both musically and personally, sharing insights gleaned from a career that's traversed the world's grandest stages.
From the War Memorial Opera House to classrooms and concert halls across the world, Simon Estes exemplifies how opera can be a platform for transformation, both musically and socially. His tireless advocacy proves that the most outstanding achievements come when we devote our talents to the service of others.
1. L'Africaine (1972) / Carolyn Mason Jones; 2. Tristan und Isolde (1980-81) / Ron Scherl; 3. Carmen (1981-82) / Ron Scherl
Leontyne Price (b. 1927)
We conclude with the iconic Leontyne Price, whose star power graced the War Memorial Opera House stage for many performances between 1957 and 1993. Price's journey here began when she made her major opera house debut as Madame Lidoine in the U.S. premiere of Dialogues des Carmélites. Just a few weeks later, she stepped onto the stage as Aida, taking on the role at the last minute after Antonietta Stella was forced to withdraw due to appendicitis. Price triumphantly excelled into one of her signature roles as Aida. This unexpected turn of events quickly became opera lore, setting the course for Price's extraordinary worldwide career.
Price's portrayal of the Ethiopian princess Aida revealed her luminous voice and regal stage presence. Deeply moved by the role's depiction of a Black princess consigned to servitude, Price imbued every note with heartfelt passion and dramatic urgency, qualities that would become hallmarks of her performances for decades to come. In subsequent seasons, she took on Verdi's Leonora in Il Trovatore (where she performed alongside Swedish tenor Jussi Björling) and later dazzled audiences as she expanded her repertoire across Europe and the United States.
From her first performance at San Francisco Opera, Price made history as the first African American soprano to achieve such international recognition. It is impossible to speak of Price's career without noting that she was the first African American opera superstar and one who shattered the racial barrier at the Metropolitan Opera. Returning to the War Memorial Opera House throughout her career, she inspired new generations of music lovers and underscored Opera's power to transcend boundaries. By the time she bowed with San Francisco Opera in 1993 for the last time, she had become an icon whose artistry embodied both freedom and extraordinary vocal finesse.
As we reflect on Leontyne Price's life in music, we celebrate a legend whose unwavering dedication to artistic excellence and fearless presence on our stage shaped the future of opera. In the history of the San Francisco Opera, her performances remain milestones that remind us how transformative art can be and how one artist's indomitable spirit can resonate through history.
1. Il Trovatore (1958) / Bill Cogan; 2. Il Trovatore (1981-82) / Ron Scherl; 3. Aida (1983-84) / Ron Scherl