Behind the Curtain - Fall 2009

Curtain S A N F R A NCIS C O O PERA

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B E H I N D

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A P u b l i c at i o n E x c l u s i v e ly f o r Sa n F r a n c i s c o Ope r a C o n t r i b u t o r s

Il Trovatore Triumphs at AT&T Park San Francisco Opera Attracts New Audiences with Outdoor Simulcasts

B “People feel comfortable at the ballpark.”

Letter from David Gockley on page two

ack in 2006, when San Francisco Opera General Director David Gockley first read about the San Francisco Giants’ plan to install a 103-foot-wide high definition screen at AT&T Park, he knew a perfect marriage of two pastimes was about to occur. He called the Giants immediately, and found them to be very receptive to partnering with San Francisco Opera to present a free simulcast.

Today, watching opera at AT&T Park has become another time-honored tradition in a city known for its vibrant arts scene. San Francisco Opera’s live from the mainstage simulcast of Il Trovatore on September 19, 2009 drew over 25,000 people to AT&T Park, many of whom were experiencing opera for the first time.

Making opera accessible to the widest possible audiences is an important part of this Company’s mission, and a fulfillment of David Gock-

ley’s dream. Even as budgets are trimmed in light of recent economic challenges, free access to community events remains a high priority.

And thanks to the tremedous support of San Francisco Opera sponsors and donors, free opera simulcasts at AT&T Park are now an important part of our performance season. Support for Il Trovatore at the ballpark was provided by Webcor Builders, Charles Schwab, Chevron, United Airlines and ACCO Engineered Systems. (Webcor Builders has committed to a multi-year sponsorship of the simulcasts.) Additional funding was made possible by an Excellence Award from The Wallace Foundation and a grant from the James Irvine Foundation.

Plans for free outdoor simulcasts began in January 2006, with the arrival of Gockley and Assistant General Director Matthew Shilvock, as both had previous experience producing similar events during their tenures at Houston Grand Opera.

Before teaming up with the Giants, the Opera successfully produced two simulcasts: Madame Butterfly in fall 2006, and Rigoletto in spring 2007, broadcast in the Civic Center and Frost Amphitheater at Stanford.

In summer of 2007, Don Giovanni was simulcast live from the mainstage at War Memorial Opera House to the Wells Fargo Center in Santa Rosa, the Mondavi Center in Davis, Zellerbach Hall on the campus of UC-Berkeley, and to Yerba Buena Center for the Arts in San Francisco.

However, this approach had continued on page 2

Over 25,000 people attended the free, live-from-the-mainstage simulcast of Il Trovatore on September 19, 2009. Photo by Edgar Lee

a r ti s t

D ea r F r i e n d o f Sa n F r a n c i s c o Ope r a

Fa l l 2 0 0 9 , I s s u e N o . 1

Behind the Curtain is a publication for contributors to the San Francisco Opera.

Editors:

Judith Frankel Danielle Dobson

writers: Julie Feinstein Adams www.juliefeinstein.com

Mark Hernandez www.blazingstage.com design: Janette Cavecche www.cavecchegraphics.com

David Gockley General Director Nicola Luisotti Music Director

Behind the Curtain is published semi-annually by the Development Department at San Francisco Opera.

If you have any address changes or would prefer not to receive this publication please contact:

San Francisco Opera Development Department War Memorial Opera House 301 Van Ness Avenue San Francisco, CA 94102 For more in f o r m ati o n c o nta c t u s :

General Member: (415) 565-6416 Donor Benefits Hotline: (415) 551-6308 Medallion Society: (415) 565-6401 Visit us on the web at: w w w. s f o p e r a . c o m

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Welcome to Behind the Curtain, a publication exclusively for contributors to San Francisco Opera. I am delighted to bring back this regular communication because we want to show you the many ways that your investment in this Company makes a meaningful impact.

Although final audited numbers are not yet available, preliminary figures show that annual operating contributions from our valued donor community last year totaled $35.9 million. This represents a tremendous outpouring of support from people like you despite a difficult economy.

In addition to contributions, we sold nearly $24 million in tickets while also trimming the budget by over $3 million, so despite operating in the most challenging economy in decades, the Company ended the fiscal year (ending July 31, 2009) without an operating deficit. No one will forget the artistic achievements of the 2008-09 season, including the sold-out world première of Bonesetter’s Daughter, star turns from luminaries like Ramón Vargas and Angela Gheorghiu, record attendance at the AT&T Park simulcast of Tosca, and an absolutely unforgettable Porgy and Bess.

In this and future issues of Behind the Curtain, we will keep you informed of events as well as

Tr o v a t o r e Tr i u m p h s

its drawbacks because the from page 1 Company had to truck in and erect all of the necessary equipment and facilities to make these nights possible. With the new high definition screen in place at the ballpark, not to mention the presence of all the necessary facilities, the concession stands, the ample seating, and the aura of baseball, the shift to the new location was the obvious next step.

Another advance that enabled the largescreen simulcasts was the installation in 2007 of San Francisco Opera’s Koret-Taube Media Suite, the only permanent HD broadcast-standard video production facility installed in an American opera house. Thanks to a grant from the Koret Foundation and additional funding from Tad and Dianne Taube, the opera house was fitted with high definition cameras positioned to capture every detail of the action onstage.

In choosing which productions to broadcast, probable weather conditions are a major consideration. However, the company also selects story continued

the many unsung heroes at San Francisco Opera. From the technical and production people who work unseen backstage on performance nights, to the up-and-coming young artists on the horizon, Behind the Curtain will keep you connected to the complex processes and fascinating people that drive this Company.

Behind the Curtain will also present the many ways we are building the audiences of the future.

In this issue, you get an inside look at two vital ways we are reaching out to new opera lovers: the free simulcasts at AT&T Park and Opera ARIA, our new program bringing opera to K-12 classrooms.

None of this would be possible without your generous support. These days, when arts nonprofits face depleted endowments and reduced ticket sales, it is more important than ever to give to organizations that bring you joy. A great opera performance brings people together in amazing ways, and reminds us of our shared community and humanity. Thank you for making this possible.

David Gockley, General Director P.S. If you would rather not receive future issues of Behind the Curtain, see the contact information to the left for removing yourself from the mailing list.

based on the pieces that will offer the highest drama, the most vivid visuals, and a touch of welcoming familiarity: “We pick operas that people will recognize parts of even if they don’t really know them, Shilvock says.”

In Fall 2007, the company broadcast Samson and Delilah at the ballpark. Over 15,000 people attended that show. The second production, Lucia di Lammermoor in 2008 drew an even larger crowd. By the third ballpark event, Tosca in spring of 2009, attendance rose to 27,000 people, filling all but the topmost tiers of the stadium. 82% of the households who signed up online for that event were new to the Company’s database.

“People feel comfortable at the ballpark.

They can boo and cheer. People are eating hot dogs and garlic fries, and they’re watching with rapt attention,” says Shilvock.

He adds, “It’s all about introducing new audiences to opera, giving people a chance to experience it without the formality of the opera house.

But it’s also for our fans. People love this whether they are seasoned opera-goers or newcomers.”

profile

Quinn Kelsey Returns after La Bohème Success Yo u n g S t a r - i n - t h e - M a k i n g Inspired by Maestro Luisotti

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hen 31 year-old Quinn Kelsey was engaged as Count di Luna for this fall’s Il Trovatore, taking over two performances from the legendary Dmitri Hvorostovsky, he broadcast the news on his blog: “It’s a HUGE honor and a privilege to get the call for this job. San Francisco is a wonderful town, and the company is a really great place to work.”

Keeping the War Memorial Opera House stage bright with both seasoned stars and up-andcoming young artists like Kelsey is a top priority for General Director David Gockley. In fact, a Quinn Kelsey performs with Adler Fellow David Lomeli at special fund, The Great Singers Fund, has been Opera in the Park 2009. launched to assure San Francisco Opera’s future as P h o t o b y C o ry We a v e r a “singer’s house.” (See related article for details.)

Kelsey, a native of Hawaii, brims with a geniality that belies his football player-like size.

Think gentle giant. “I’ve always been immersed in and I still make my home in Chicago.” music,” he notes. “My mother sang classical and Kelsey made a big splash with his San sacred music, and my father sang mostly folk and Francisco Opera mainstage debut as Marcello rock. It seemed natural that I would also sing.” in the 2008-09 La Bohème. “A lot of it has To this day, Kelsey enjoys singing rock music, to do with Maestro Luisotti. I definitely feel counting Jimi Hendrix among his favorites, as well that he believes in what I’m doing. He can be as the heavy metal band Metallica. “I very demanding, but he also draws was really sorry to have missed them “I’ve always a lot more out of me than I thought during their recent tour,” he says. possible. It’s not about making a As a teenager, he performed with been immersed big sound. It’s about robustness of the Hawaii Opera Theatre chorus, interpretation.” in music.” attracting the attention of the lead Despite his success—he is already artists. “They’d listen and say, ‘Wow, booked three years in advance— that’s good what you’re doing.’ It was then that I Kelsey is remarkably level-headed. “Everything realized I had a shot.” From here, he “made a series has been a step up, never a step back,” he notes. of connections. The [San Francisco] Opera Center “Music has been the constant in my life from used to do a residency at Hawaii Opera Theatre. childhood—so much so that it has become They heard me and asked me to audition. I did second nature. Even though I’m young, I have Merola in 2002.” The next year he was accepted a feeling of arrival. I am very blessed.” to the Ryan Opera Center at the Lyric Opera of Visit Quinn Kelsey’s website, with a link Chicago. “That was huge. I did a lot of roles there, to his blog, at quinnkelsey.com.

Meet The Maestro

Get to know the Maestro in an intimate video chat on our website at: sfopera.com/luisottichat

Fund Preserves Tradition of Great Singing

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o preserve San Francisco Opera’s reputation as a singer’s house, board member Joan Traitel and her husband David inaugurated The Great Singers Fund in 2009. All gifts made to this Fund help San Francisco Opera continue to bring the most talented singers–stars like Quinn Kelsey, Natalie Dessay, Thomas Hampson and Anna Netrebko–to our stage every season.

To contribute, contact your Development Representative or call Stacy Cullison at (415) 565-3225.

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Real Opera Singers Delight School Audiences

Learning to Love Opera at an Early Age Nott created and managed education programs for the Metropolitan Opera Guild and New York City Opera, so she came with broad experience.

Still, the first thing she did at San Francisco Opera was to listen. “During my first four months, I sat down with educators and arts coordinators to learn what they wanted and needed. ‘Give me a wish Local students attend list,’ I said. They did.” a final dress rehearsal After a semester-long pilot, Opera ARIA (Arts at the opera house.

Resources in Action), the Company’s new K-12 Ph o t o b y S t ev e F is ch arts education program, is set to launch.

“We’re doing something unique in this country,” says Nott. “Students and educators have direct ed u c a ti o n contact with our performers and craftspeople. And this is just beginning.”

Opera ARIA Program Makes a Generous funders assured a strong start for Difference for K-12 Students the program. Support came from the William Randolph Hearst Foundation, the Walter and alk to an ardent opera lover, and you are Elise Haas Fund, the Kimball Foundation, the likely to find someone who was introducSan Francisco Foundation, the Zellerbach Family ed to the art form as a child. But in these Foundation and a host of individual contributors days of diminished funding for from the San Francisco Opera family. the arts, most schools offer little Corporate funders include Wells Fargo, “We’re developing or no music education, especially Bank of America, Union Bank, Vodafone, for students at schools in un- the audience of the Gap Inc. and Capitol Group. derprivileged neighborhoods.

In 2008-09, Opera ARIA reached future for opera.”

When David Gockley arrived in forty classes at eleven Bay Area public San Francisco, one of his most schools. This year, the program will at cherished goals was to bring opera to everyone– least double in size. Each participating class in the and to develop opera’s audiences of the future. year-long program receives up to thirty visits from He invited Ruth Nott to become Director of a teaching artist and seven from guest artists. “Our Education, and tasked her with building a worldprimary goal is for students to appreciate opera. We class education department, fully interwoven with have to make it relevant to what they’re doing now.” the quality of the Company’s mainstage work.

Even in its pilot year Opera ARIA made a real

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Ruth Nott Director of Ed u c a t i o n

Ruth has extensive experience running opera education programs in New York City.

K id s L e a r n W h i l e Sin g in g

First grade students learn about opera in the classroom as part of San Francisco Opera’s ARIA arts education program.

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impact. More than 1,000 students, teachers, teaching artists and guest artists enjoyed life-changing experiences when opera came into classrooms. Another 2,000 students, parents and family members attended performances and other culminating events produced and performed by Opera ARIA participants.

Opera ARIA also took students out of their classrooms for an intense look at how real opera is produced. Participants were impressed by the magic of stage production when they visited our scene shop in San Francisco’s Dogpatch neighborhood and our costume shop South of Market. Students, teachers and teaching artists also came to the War Memorial Opera House to attend final dress rehearsals of main stage performances and go on special tours.

Opera ARIA is less a traditional program and more a flexible framework. “The educators are in the driver’s seat,” Nott says. “They determine how to integrate opera into their classrooms. We can work with any subject. Not just performing and visual arts, but also literature, social studies, history.”

Nott shares examples from the 2008-09 pilot year.

“We helped a sixth grade class make a mini-opera based on Sarah Palin’s attempt to remove beluga whales from the endangered species list; they then performed it for their fellow students and families.”

Some schools used the program for cross-class collaborations. At a Spanish language immersion school, three 5th grade classes created a libretto based on Don Quixote. “At a middle school, three classes collaborated on making an opera out of Homer’s Odyssey, with each class taking up a different component. The drama class wrote the libretto. The visual arts class made the sets, props, and costumes.

The instrumental music class played an existing Odyssey overture and some original music.”

Opera ARIA is integral to several San Francisco Opera education programs Nott is directing, including more family opera productions, and opera education workshops for families and for adults.

“We are proud to receive the financial support of our community to produce these programs. And we will check in constantly to make sure that we continue to meet community’s needs.”

For more information about Opera ARIA, please contact the San Francisco Opera Education Department at sfoeducation@sfopera.com or at (415) 551-6294.

Adler Fellows Shine in Local Classrooms Adlers Lucas Meachem and Kimwana Doner with students onstage at the War Memorial Opera House.

P ho to by Terrence M cCarthy

“We

want opera singers in our classrooms, the same ones who perform at the Opera House!”

“That is the number one request we get from educators,” says Ruth Nott, San Francisco Opera’s Director of Education. She approached Opera Center Director, Sheri Greenawald, about having the Adler Fellows fill this role for Opera ARIA. “It seemed logical,” Nott says.

“The Adler Fellows are in residence for most of the year. They’re exceptional up-and-coming artists who perform on the main stage. And they’re young. Students can identify with them.”

Greenawald was enthusiastic about the collaboration. “I agreed without hesitation to work with Ruth on these education programs,” she says, “Being able to inspire others is always a goal for an artist, so having the Adlers use their glorious instruments to inspire youngsters is satisfying for both sides of the proscenium.”

So far, every class participating in Opera ARIA asked for the Adler Fellows—and got them. A typical visit includes live performance and a discussion. “The Adlers’ personal stories are as interesting to the students as the singing,” Nott says.

For their part, the Adlers have taken to the assignment with all their inimitable energy and talent. Soprano Leah Crocetto says about her school visit experiences: “Thank you for making us a part of this. It has truly been an honor to go into the schools and make a little a bit of difference. Each time we went, something was special.”

Founded in 1977, Adler Fellowships are two-year performance-oriented residencies for the most advanced young artists. To learn more about this renowned young artist training program, please view our new video Rising Stars: The Adler Fellows on our web site by visiting sfopera.com/risingstar.

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costume

shop

Artisan Nails the Details In Age of New Media, Opera Is Still Hands-On for Jersey McDermott

Jersey McDermott displays the armor she created for 2007-08’s production of Tannhäuser.

P h ot o b y Da ni e l l e Dob son

T h e Un s u n g H e r o e s o f T a nn h ä u s e r

How many people does it take to create one of San Francisco Opera’s innovative productions?

In addition to the beautiful craftsmanship of artists like Jersey, the 2007 production of Tannhäuser required: 92 musicians 174 performers (including 10 principal artists) 101 personnel behind the scenes That means that for every principal artist there were 35 people in the orchestra pit, chorus, dressing rooms or backstage.

actually bring the designs to life. “The process can be challenging—figuring out which materials work best and how to make something look good.” Among her favorite assignments so far has been 2007-08’s Tannhäuser. “I made all the armor. I also liked The Merry Widow; it was fun making three sets of period-looking jewelry for all of those ladies.”

Jersey is one of about forty full-time eet Jersey McDermott, San Francisseasonal workers who work at the Costume co Opera’s Craft Artisan. “If it’s worn Shop for six to nine months each year. “This but it’s not a garment, it’s my responkind of work isn’t the most lucrative, but the sibility. For example, masks, armor, jewelry— people here are in it more for the sake of the all of these are in my world.” craft than the money.”

How does someone become “It’s unusual for a company to “For new a craft artisan at a major opera have a full-time craftsperson like productions, I company? Jersey had studied art me,” Jersey notes. But it’s that and moved to San Francisco to make things from kind of detail work that makes work in commercial jewelry deSan Francisco Opera’s productions scratch.” sign. She joined San Francisco among the best in the country.”

Opera as temporary staff for Parsifal To learn more about the work in 1999, and has been with the Company for being done at the San Francisco Opera Cosseven seasons. tume Shop, please view the online video at Back in her studio in the Costume Shop, sfopera.com/costumeshop any visitor would be impressed by the variety of materials, from metal and clay to leather and plastic, as well as glue guns, mannequins, and other tools of the trade. “For new productions, I make things from scratch. For rentals, I adapt what they ship to us.” Take the current Il Trovatore. “We didn’t have enough high boots for the men’s chorus, so I made gaiters—thirteen pair! Put them on over standard boots, and it looks like the real thing.”

What Jersey likes most about her job is working with designers. Typically, the designer A costume craftsperson’s tools of the trade. gets all of the attention, but people like Jersey P hot o b y D a ni e l l e D ob s on

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Ensure the Opera’s Future by Leaving a Legacy PA G E 6

Legacy gifts, whether large or small, demonstrate a deep commitment to San Francisco Opera. Bequests, trusts, retirement plans and other planned giving strategies can both meet your needs and also provide a continuing source of financial support for the company.

stove as the centerpiece of the set.

Since then, they have befriended people in the Costume Shop, the chorus, and young artists training in the Merola and Adler programs.

Bob is also known as one of the most popular leaders of the Opera House tours offered to the public on Saturday mornings.

By making a generous annual donation, the Ryans are also Leadership Silver Circle members of San Francisco Opera’s Medallion Society, qualifying them for special benefits, including attendance at dress rehearsals and access to the Littlefield Intermezzo Lounge during intermission. “You have to support your passion, and for us that is opera,” they say.

The Ryans contribute because they are committed to preserving the art form they cherish. “If you want to see the arts survive, it is important to support them,” Terri says Opera enthusiasts about their decision to name the Opera in their Terri and Bob Ryan will. “We don’t have children, so in a way the in their home away from home. opera really is our family. We wanted the opera P h o t o b y Wi l l H a mi l t o n family to benefit, so we made a legacy gift.”

When they are not attending the Opera, Bob is a manager at AT&T and Terri is a systems analyst at Wells Fargo. Still, it’s hard to imagine them anywhere but the Opera House.

How could they possibly attend three or four performances of each San Francisco Opera Te r r i a n d B o b R y a n : S u b s c r i b e r s , production? On many performance nights, Standees and Legacy Donors the Ryans can be found in the Standing Room areas of the House, along with fellow members of the Standees Association. f all our opera enthusiasts, surely “The Standees are an actual dues-paying Terri and Bob Ryan work hardest to organization of about 50 people who regularly earn their reputation as Company pay for standing room tickets ($10),” Bob Groupies. Medallion Society members, legacy says. The Ryans host potlucks donors and members of the “You have to for the Standees, and join other Opera’s little-known Standees Standees at outdoor events Association, the Ryans simply support your including Opera in the Park, live for San Francisco Opera. passion, and for where they arrive hours before “We love this art form bethe performance with a tarp cause it has everything–singing, us that is opera.” “about the size of Indiana.” acting, orchestra and beautiful

In the end, it all comes artistry on the sets,” Bob says. back to opera. “We have a great understanding The Ryans attend many performances because, of what it takes to put on these amazing they say, every performance is different. productions,” say Bob and Terri, who were Bob and Terri first attended a performance even at the Opera House in 1989 when the together during the 1973-74 season: a proLoma Prieta Earthquake struck. duction of La Bohème, which featured a huge

Opera for Life

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Rin g Ci r c l e M e m b e r s En j o y Un p a r a l l e l e d Access

Would you like an intimate look at how the world’s most monumental work of performance art is produced?

Join the San Francisco Opera Ring Circle and experience the excitement of Wagner’s operatic masterpiece in the theater and behind the scenes.

As a member, you will enjoy increased seating priority, behind-the-scenes events, and intimate social opportunities with the artists, production team, and your fellow sponsors during San Francisco Opera’s Summer 2011 Ring Circle presentation.

Ring Circle memberships start at $5,000 with additional exclusive access benefits at higher membership levels.

For more information about joining the Ring Circle, contact Marissa Axell at (415) 551-6239 or maxell@sfopera.com.

To learn more about how to make a legacy gift to the San Francisco Opera, please contact Sam Leask, Director of Planned Giving at 415-565-3206 or you can visit us on the web at www.sfopera.planyourlegacy.org.

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Recent Event Highlights

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T h e Da u g h t e r o f t h e R e g im ent F in a l Dre s s R e h e a r s a l – Donors $1,000+ 1:00 pm - War Memorial Opera House

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Brian James and S. Shariq Yosufzai relax before the 2009 Opera in the Park Concert at Golden Gate Park. Maestro Nicola Luisotti conducts Italian favorites at this popular outdoor concert, his first as Music Director.

W F M T R a d i o B ro a d c a s t of To s c a b y G ia c o m o Pu c c i ni 10:30 am - Your radio.

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O p e r a G u ild I n s ig h t Pa n e l Sa lo m e – Do n o r s $ 7 5 + 6pm - Herbst Theatre, Veterans Building

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Opera Board member Ira Dearing celebrates with chorus extra James Jones at the festive opening night cast party of Porgy and Bess.

Salome Final Dress Rehearsal – Donors $3,000+ 3:00 pm - War Memorial Opera House

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WFMT Radio Broadcast of La Traviata by Giuseppe Verdi 10:30 am - Your radio

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Barbara Walkowski and Heather Wolf mingle at the St. Regis Hotel before the 2009 President’s Dinner, an event honoring the Company’s most generous contributors.

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W F M T R a d i o B ro a d c a s t of Don Giovanni b y Wo lf g a n g Am a d e u s Mo z ar t 10:30 am - Your radio.

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Paul and Ding Young enjoy themselves at the 2009 Bel Canto Society Tea at the St. Regis Hotel. This annual event honors San Francisco Opera’s legacy givers.

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K D F C 1 0 2.1 radio broadcast of Porgy & Bess 8pm - Your radio.

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General Director David Gockley greets Cynthia Fry Gunn and John Gunn before the season 2009-10 opening night performance of Il Trovatore.

Event photos by C o r y We a v e r a n d Dre w A ltize r

Membership events are subject to change.

Go to calendar at sfopera.com for updates.

T h e F u t u re i s N o w : Ad le r F e llo w s G a la C o n c er t 7:00 PM - Herbst Theatre, Veterans Building

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San Francisco Opera’s 2010-11 Season Announcement – Donors $7,500+ War Memorial Opera House

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KDFC 102.1 radio broadcast of La Traviata by Giuseppe Verdi 8pm - Your radio.