Honoring Women’s History Month at San Francisco Opera
Eun Sun Kim
In the world of opera, where artistry meets precision and emotion intertwines with discipline, Maestro Eun Sun Kim stands as a beacon of brilliance. Beginning her tenure as the Caroline H. Hume Music Director of San Francisco Opera 2021, Kim has redefined leadership in the opera world, cementing her place as one of the most dynamic and visionary conductors of our time. Her career is marked by groundbreaking debuts at the Metropolitan Opera, Wiener Staatsoper, Royal Opera House Covent Garden, Opéra national de Paris, and Teatro alla Scala, along with important appearances with the New York Philharmonic and Berlin Philharmonic. Her profound interpretations and dedication to excellence showcase her virtuosity—a legacy that continues to inspire audiences, musicians, and the very soul of opera itself.
A defining aspect of Kim's artistic philosophy at San Francisco Opera is her deliberate engagement with the works of Verdi and Wagner, two giants of 19th-century opera who represent contrasting yet complementary approaches to the art form. Verdi's works, rooted in the Italian bel canto tradition, require a keen sensitivity to vocal phrasing, rhythmic precision, and emotional immediacy. With Wagner's epic grandeur and philosophical depth, his operas demand a conductor who can navigate complex harmonies and sustain long, dramatic arcs. Wagner's "Gesamtkunstwerk" (total artwork) pushes the boundaries of harmony and orchestration, while Verdi's operas explore profound human emotions and social themes. Kim has established herself as one of the foremost conductors of these two giants –bridging the gap between them through her versatility and intellectual depth.
As she prepares for her highly anticipated 2025-26 season, Eun Sun Kim continues to push boundaries and redefine what is possible. Her upcoming engagements include Verdi's Rigoletto and a brand-new production of Wagner's final opera, Parsifal, paving the way for Wagner's monumental Ring cycle in a future season. These projects underscore her ever-expanding influence and unwavering commitment to excellence, solidifying San Francisco Opera's place as one of the most important opera companies in the world.
Maestro Eun Sun Kim's career is a testament to the power of passion, vision, and hard work. She is not just a conductor; she is a storyteller, a leader, and an artist who has dedicated her life to the beauty and power of opera. Her greatness lies in connecting with the music, the musicians, and the audience.
1. Eun Sun Kim and the San Francisco Opera Orchestra / Kristen Loken; 2. San Francisco Opera; 3. Stefan Cohen
Barbara A. Wolfe
In 2024, Barbara A. Wolfe made history as the first woman elected Board Chair of San Francisco Opera, a landmark moment in the Company's 103-year legacy. Her appointment is a reflection of her leadership and profound dedication to opera.
Barbara Wolfe's passion for opera was sparked at an early age, nurtured by her parents' contrasting musical tastes—her mother's love for Puccini's sweeping verismo and her father's admiration for the refined elegance of Mozart and Beethoven. In junior high, a pivotal moment came when her teacher played Strauss' Salome for the class: the raw, expressionistic intensity of the 'Dance of the Seven Veils' left a mark on her. As a student at Mills College, her growing devotion to the art form led her to volunteer as an usher for San Francisco Opera's Sunday matinees, immersing herself in the world of grand opera from the front lines. Over the years, her passion evolved into ensuring opera remains vibrant and accessible for future generations. She has championed productions from Wagner's Ring cycle (2017-18) to Omar (2023-24) that resonate deeply with audiences and enrich San Francisco's cultural landscape.
As Chair, Wolfe guides the Board through complex challenges, fostering transparency and innovation. Her vision is clear: positioning San Francisco Opera as a forward-thinking institution that embraces new technologies, diverse storytelling, and contemporary works. "This is one of the great creative houses in America," Wolfe said. "I am excited to work with Jack [Calhoun], Matthew [Shilvock], and our extraordinary Music Director, Eun Sun Kim, as we shape the Company for a bold future."
Through her leadership, Wolfe ensures that San Francisco Opera remains a vibrant and inclusive cultural hub, inspiring audiences of all ages and backgrounds.
1. With Matthew Shilvock. Opera Ball (2024-25) / Drew Altizer 2. Matthew Washburn 3. With Romano Bracco and Jack Calhoun, Opera Benefactors Party (2023-24) / Drew Altizer
Louise Dana
Louise Dana's remarkable life is deeply intertwined with the origins of San Francisco Opera. Born in 1904 in Italy, she immigrated to San Francisco as a young girl. Her family's friendship with Gaetano Merola, the Company's founding director, set the stage for her extraordinary journey.
Straight out of Heald Business College at just 16, Dana became the Company's first full-time employee, managing ticket sales, artists’ details, financial records, and even arranging transportation for patrons coming into the city and traveling to performance locations. Her tireless efforts were instrumental in organizing the Company's first productions (1922), Pagliacci, Carmen, and Faust.
Despite financial challenges, Dana remained steadfast in her role with Merola and worked for 1 ½ years without pay to ensure the Opera's survival. Her passion and ability to connect with the community galvanized support, laying the foundation for one of San Francisco's most cherished cultural institutions. Dana's legacy endures as a symbol of resilience and determination, reminding us that behind every great institution are individuals who pour their heart and soul into its creation.
1. Plaque dedication honoring Louise Dana’s dedication, located in War Memorial Opera House
Pamela Rosenberg
Pamela Rosenberg's tenure as General Director (2001-2005) marked a transformative chapter in San Francisco Opera's history. As the first American-born leader and the only woman to hold the position, she redefined the Company as one of the most innovative opera institutions in the U.S.
Rosenberg's strategic initiative, "Animating Opera," introduced thematic programming and expanded the repertoire to include 20th and 21st-century works. Despite inheriting a company in financial distress and the economic downturn in the Bay Area, exacerbated by the dot-com bust and the aftermath of 9/11, she remained committed to artistic integrity, staging groundbreaking productions like Olivier Messiaen's Saint François d'Assise (2002-03) and the world premiere of John Adams' Doctor Atomic (2005-06).
From 2010 to 2018, Pamela Rosenberg was deputy chairwoman of the Berlin-Brandenburg Academy of Sciences and Humanities Senate. She is a member of the supervisory Board of the Barenboim-Said Academy in Berlin and the Board of the Karajan Academy of the Berlin Philharmonic. In 2016, she initiated 'Mit Mach Musik,' an integration programme giving 300 refugee children instrumental instruction from professional musicians at 15 locations in Berlin and Potsdam.
Her emphasis on contemporary music and visionary productions set new artistic standards, proving that opera's relevance depends on innovation and its ability to impact audiences profoundly. "Art that challenges can sustain people," Rosenberg remarked. "It encourages reflection and connection." Her impact with artistic experimentation and risk-taking continues to inspire, showcasing the transformative potential of the performing arts.
1. With Mit Mach Musik students (2016) / San Francisco Opera 2. Magic Flute for Students. Rosenberg as The Tree (2005) /San Francisco Opera 3. San Francisco Opera (2001) / Terrence McCarthy
To learn more about Pamela Rosenberg, please visit the San Francisco Opera Company's oral history project, a collaboration with the Bancroft Library at the University of California, Berkeley.
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Sara Jobin
Sara Jobin made history in 2004 as the first woman to conduct subscription performances on San Francisco Opera's mainstage, shattering a glass ceiling that had stood for over 70 years. She played an essential role in 31 productions at the War Memorial Opera House as part of the music staff.
Jobin's odyssey began in the late 1990s when she distinguished herself as a Musical Preparation specialist. Her work on Dead Man Walking (2000-01) reflected her passion for operas that tell meaningful, contemporary stories. From Parsifal (1999-00) to Tosca (2001-02), Jobin demonstrated unparalleled versatility, seamlessly blending traditional opera with bold storytelling. Her dedication to contemporary works like Appomattox (2007-08) showcased her ability to connect with modern compositions that reflect societal challenges.
Frustrated with opera plots in which women frequently die to uphold patriarchal narratives, Jobin has consistently championed contemporary American works. She has premiered four American operas, including one by Mohican composer Brent Michael Davids, and has an additional sixteen American operas in her repertoire. In 2020, under her baton, Carnegie Hall Live broadcast a duet from Derrick Wang's bipartisan comedy Scalia/Ginsburg as a tribute to Ruth Bader Ginsburg. Her first recording, featuring Frederica von Stade, showcased the music of Chris Brubeck.
Jobin stands as a pioneer for women conductors and continues to inspire, setting a standard for leadership in the arts
1. Joey Wharton and Rachel Boxley 2. (2016) / Kenneth K. Lam 3. Conducting in San Francisco / Robert Cummerow
Francesca Zambello
Francesca Zambello's career at San Francisco Opera is a story of innovation, resilience, and transformative artistry. Over the decades, she has redefined what opera can be by pushing boundaries, embracing bold ideas, and connecting deeply with audiences. Francesca Zambello is an internationally recognized opera and theater director, currently serving as the Artistic Director of the Washington National Opera at the Kennedy Center since 2012 and the General Director, ex-officio of the Glimmerglass Festival.
Zambello's idea of introducing supertitles to San Francisco Opera's stage in 1983 for a performance of La Traviata helped revolutionize opera's accessibility, making the art form relatable to a broader audience. Her iconic productions, from La Bohème (1988-89) to Wagner's full Ring cycle (2011), showcased her ability to balance artistic vision with the needs of performers and audiences alike.
Her adventurous spirit led her to stage Arshak II (2001-02), a 19th-century Armenian opera never before performed in its original version, and later, Show Boat (2013-14), the San Francisco production by Zambello, conducted by John DeMain, and featuring a cast drawn from both opera and Broadway. She was honored for her work with the San Francisco Opera Medal.
Throughout her illustrious career, Zambello has been showered with accolades befitting her transformative impact on the opera world. In 2015, the San Francisco Opera honored her with the prestigious Medallion Society Award, celebrating three decades of artistic brilliance. France recognized her contributions to the arts in 2008, bestowing her the title of Chevalier des Arts et des Lettres, while Italy followed suit in 2020, naming her a Knight of the Order of the Star of Italy. In 2018, she was inducted into the esteemed Academy of Arts & Sciences, a testament to her enduring influence on the cultural landscape.
Zambello's contributions demonstrate her creativity and devotion to making opera accessible and relevant. Her work serves as a reminder of the power of storytelling, the importance of community engagement, and the enduring magic of opera.
1. Marc Hom 2. Glockley presents Francesca with San Francisco Opera Medallion Society Award (2015) / Courtesy of Francesca Zambello 3. Two Women Tech Rehearsal (2014-15) / Scott Wall
Listen to Francesca Zambello's three-part interview on STREAMING THE FIRST CENTURY, Down the Rabbit Hole.
LISTEN HERE
Susan Graham
Few voices in modern opera have captured the artistry, depth, and versatility of Susan Graham. Hailed by The New York Times as "an artist to treasure," Graham's career spans decades and four centuries of repertoire. From the noble heroines of Les Troyens (2014-15) to the youthful, energetic Octavian in Der Rosenkavalier (2000-01), Graham has conquered some of the most demanding roles in the operatic canon.
Her path to operatic stardom began when she was accepted into the Merola Opera Program, San Francisco Opera's renowned training program for emerging artists. As a recipient of the Schwabacher Award in 1987, Graham honed her craft under the guidance of industry experts, laying the foundation for a career that would take her to the world's greatest stages. Her connection with San Francisco Opera remained a defining element of her career, with many of her most significant roles performed on the War Memorial Opera House stage.
Graham's performances at San Francisco Opera showcased her immense vocal ability and dramatic depth. The role of Sister Helen Prejean in Dead Man Walking (2000-01) was written specifically for her; she will revisit the opera in the role of Mrs. De Rocher as part of our 2025-26 Season's 25th-anniversary celebration of the opera. She carries a legacy of extraordinary talent and dedication, inspiring new generations of opera lovers from Merola and beyond.
1. Ken Friedman 2. Terrence McCarthy 3. Cory Weaver
Diane Paulus
A Tony Award-winning director and the Artistic Director of the American Repertory Theater (A.R.T.) at Harvard University, Diane Paulus creates bold, immersive, and genre-defying productions that have earned her widespread acclaim. With a career that bridges Broadway, opera, and experimental theater, she has reimagined classic works while pioneering new narratives that challenge and inspire. This fall, her visionary direction will take center stage at San Francisco Opera with the world premiere of The Monkey King (November 14-30, 2025).
Diane Paulus defines her career by reimagining the familiar and pushing artistic boundaries. At the heart of Paulus' work is a belief that theater and opera should be immersive, visceral experiences. She champions audience engagement, pushing beyond traditional staging to create live, interactive, and emotionally resonant productions. Her approach has revitalized opera, blending traditional elements with contemporary techniques to make the art form more accessible and engaging.
This fall, Diane Paulus joins San Francisco Opera for the first time as director of the world premiere, The Monkey King, a groundbreaking new opera by Huang Ruo and David Henry Hwang. Based on the 16th-century Chinese novel Journey to the West, the production will blend opera, puppetry, dance, and Buddhist sutras into a visually stunning and theatrically ambitious experience. Paulus' ability to merge pageantry with storytelling makes her the ideal director to bring this mythical epic to life. With Paulus at the helm, The Monkey King promises to be one of the most innovative productions of the 2025-26 season, offering a fresh, unforgettable operatic experience.
1. Susan Lapides 2. With set designer Scott Pask / Jon Chase, Courtesy American Repertory Theater, Harvard 3. Tony Awards ( 2013) / Photo courtesy of Diane Paulus
Thea Musgrave
"Yes, I am a woman, and I am a composer. But rarely at the same time." – Thea Musgrave.
Thea Musgrave has composed bold, dramatic music that defies labels for over seven decades. While she acknowledges women's challenges in classical music, she has never let gender define her career. Instead, her true mission has been to champion contemporary music, ensuring new voices are heard.
Born in Scotland in 1928 and now based in the United States, Musgrave has left an enduring mark on the international music scene. Her prolific career spans orchestral works, chamber music, and over a dozen operas, many of which center on strong, complex female protagonists. One of her most significant contributions was Three Women—Queen, Mistress, Slave (1998), a concert piece created for the San Francisco Women's Philharmonic. This powerful work weaves together excerpts from her operas Mary, Queen of Scots –performed at Curran Theatre by San Francisco Spring Opera (1979), Harriet, the Woman Called Moses (1985), and Simón Bolívar (1995), telling a unified story of female resilience and agency. Though Musgrave resists being labeled a "woman composer," her operas consistently spotlight women who defy expectations. Her works rewrite the traditional narrative of opera, portraying women as leaders, revolutionaries, and architects of their destinies. San Francisco Opera is excited to co-produce a new production of Thea Musgrave's Mary, Queen of Scots with the English National Opera for the 2026-27 season. "This is one of the great operas of the 20th century, and it brought new consciousness to so many of us," said Matthew Shilvock, the Tad and Dianne Taube General Director. "This is a story with so much resonance today, a musical score that seizes you with intensity, urgency, and heart; it is an artistic experience."
Musgrave studied with the legendary Nadia Boulanger in Paris and her groundbreaking work has earned her numerous accolades, including the Koussevitzky Award, two Guggenheim Fellowships, and honorary degrees from institutions in the UK and the U.S. Her legacy is not just in the awards she has won, but in the doors she's opened for future generations of composers.
When asked what advice she would give to young composers, Musgrave's response was characteristically candid: "Don't do it unless you absolutely have to because it's very tough." Her life's work proves that she had to—not because she was a woman, but because music was her calling.
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1. (1966) National Portrait Gallery London / Mander and Mitchenson Theatre Collection 2. (2010) / Kate Mount 3. With ENO's Mary, Queen of Scots' director, Stewart Laing (2025) / San Francisco Opera
Guest Spotlight:
Marian Anderson
Marian Anderson's voice was more than a musical marvel—it was a catalyst for change. Born in 1897 in Philadelphia, she rose from modest beginnings to become one of the most revered contraltos of the 20th century. Her odyssey was defined by extraordinary talent, resilience, and a resolve to break racial barriers in the arts.
From a young age, Anderson's love for music shone brightly. Singing in her church choir, she earned the nickname "The Baby Contralto" and quickly became a local star. By her early twenties, she was performing at the National Baptist Convention, a pivotal moment that launched her toward international acclaim. Nevertheless, her path was far from easy. After being denied admission to a prestigious music school because of her race, Anderson refused to be deterred and found mentors who recognized her talent. In 1925 she won a major singing competition that gave her a New York Philharmonic performance. This achievement propelled her into the spotlight, but even as her fame grew, she faced persistent segregation and discrimination.
Anderson made her San Francisco Symphony debut on March 5, 1937, on the War Memorial Opera House stage, singing music by Mozart and Verdi. Two years later the defining moment of her career came when the Daughters of the American Revolution barred her from performing at Washington, D.C.'s Constitution Hall due to their whites-only policy. With the support of First Lady Eleanor Roosevelt and the NAACP, Anderson instead performed on the steps of the Lincoln Memorial. On April 9, 1939 she stood before a crowd of 75,000 people, her voice resonating across the National Mall. Millions more listened on the radio as she delivered a performance that transcended music—it became a powerful statement of racial equality and the unifying force of art.
On March 10, 1958, Anderson returned to the San Francisco Symphony with renowned pianist Franz Rupp. Marian Anderson passed away in 1993, but her legacy lives on. She was more than a singer; she was a trailblazer who used her voice to challenge injustice and inspire hope. Her story reminds us that music is not just entertainment—it is a tool for unity, a call for equality, and exemplifies the enduring strength of the human spirit.
1. Backstage with Music Director Pierre Monteux at the War Memorial Opera House (1937) / San Francisco Symphony