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Curtain S A N F R A NCIS C O O PERA
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A Family Affair Three Generations of the Rigg Family Commit to San Francisco Opera
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ichard and Pamela Rigg first subscribed to San Francisco Opera in 1997 and became donors soon afterwards. According to Pamela, “we felt it was important to support SFO because we enjoyed it so much.” In addition to making an annual gift to support operations, they also contributed to the Endowment, which helps guarantee the opera’s future. The opera has become a family affair for the Riggs. Richard is a member of the Board of Directors, Pamela serves on the Merola Opera Board, and daughter Chandra—whom they introduced to opera at an early age—is a member of Orpheus, a group of younger donors. “Our involvement in SFO seemed to happen organically,” says Pamela, who has always been interested in young artists. Richard’s Board participation was motivated by his desire to “further an art form that combines music, literature, design and
“Our involvement in SFO seemed to happen organically.”
Photo by Drew Altizer
— Pamela Rigg
Letter from David Gockley on page two
Richard and Pamela Rigg attend a special donor event.
theater.” Chandra was drawn to engage with a community of young opera enthusiasts like herself. “I’m inspired by David Gockley’s leadership,” Richard says. “He has a fine artistic sensibility bringing top talent to the house; he knows the importance of sound fiscal management; he is innovative in his outreach to the community with Opera at AT&T Park and the video series for movie theaters. On top of that, he’s always thinking up ways of keeping the company going, with initiatives like the Camerata.” [For additional information about Camerata, see page 4.] As a musician himself, Richard appreciates Maestro Luisotti’s lyrical and impassioned direction of the superb musicians, and Pamela enthuses over the chorus. Chandra chimes in with her appreciation of the staging and stage direction of the operas. As part of a younger generation of patrons, Chandra says, “Orpheus Chandra Rigg is a great way to increase the impact of your donation, and the events give you behind-thescenes access to the operatic process. Plus, I like to feel like I am part of an opera community.” Richard notes, “We also enjoy the Littlefield Intermezzo Lounge where we can meet with our opera friends who over time have become personal friends.” The Opera House is like a second home to the Riggs. The Riggs marvel at the loyalty of San Francisco Opera patrons in the face of the current economic climate. Richard concludes, “even though times are difficult— well, perhaps because times are difficult— people appreciate things of enduring value. This internationally recognized opera company has enduring value and it is our Opera House. The sense of community and of commitment to this art form, despite economic uncertainty, has become even more important.” For more information about legacy giving, contact our planned giving staff at (415) 565-3225. To learn about Orpheus, call (415) 551-6292.
Photo by Kristen Loken
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
opera performed by a truly great artist that this art form becomes a lifelong passion. In this issue, we bring you closer to an artist who has been a frequent presence Welcome back to Behind of late, Brian Mulligan.Brian has delivthe Curtain, a publication exered stunning performances in Faust and clusively for contributors to Werther and will soon delight San FranSan Francisco Opera. I am cisco audiences as Ragueneau onstage ahappy to be in touch with longside Plácido Domingo’s Cyrano. you, our treasured donors, On September 24th, over 32,000 people because especially in times attended our live simulcast of Aida at AT&T like these we want to show Park—a number exceeding even our fondyou the many ways that your investment in this est dreams when we started broadcasting company is making a meaningful impact. to the ballpark in 2007. This issue takes In 1577, in the Florentine Medici Court, a you to our Koret-Taube Media Suite deep group of visionaries known as the Camerata inside the opera house to introduce you helped create what we now know of as opera. to the wonderful team of This fall, San Francisco technical pros enabling us Opera announces a new “Over 32,000 people to deliver San Francisco Camerata, a group of major supporters who will attended our live simulcast Opera to more people than ever. I hope you enjoy help bring to life special of Aida at AT&T Park.” meeting them! projects that are central to Great artists, young singers in training, my vision for this company’s future. Donors electronic outreach … Behind the Curtain who join the Camerata will provide, abovecontinues to show you the many ways we and-beyond their ongoing annual gifts, supare evolving this art form in fresh and export for signature projects—new productions, citing directions, while also building the world premieres, and large scale works of the audiences of the future. Italian repertoire loved by our Maestro Luisot None of this would happen without ti. The Camerata will also make possible speyour generous support. Opera is truly an cial efforts to build new audiences for opera. art form for the entire community. Thank How thrilling it is for me to announce this opyou for making this possible. portunity for contributors to become more involved in the creative process and help promote our standing in the international opera community. To learn more and to meet one of our first Camerata members, please go to page 4. For many, it is that first experience with an David Gockley, General Director
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Behind the Curtain is a publication for contributors to the San Francisco Opera.
Edito r s:
D a n i e l l e D o b so n Judith Frankel
wr iter s:
J u l i e F e i n st e i n A d a m s w w w. j u l i e f e i n s t e i n . c om
Mark Hernandez w w w. b l a z i n g s t a g e . com de sign:
Janette Cavecche w w w. c a v e c c h e g r a p h i cs.c om David Gockley General Director Nicola Luisotti M u si c D i r e c t o r Behind the Curtain is published semiannually 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 301 Van Ness Avenue San Francisco, CA 94102 c o nta c t u s :
General Member: (415) 565-6416 Donor Benefits Hotline: (415) 551-6308 Medallion Society Information: (415) 565-6401 Visit us on the web at:
sfoper a.com C o m pa n y S p o n s o r s Ann and Gordon Getty Foundation John A. and Cynthia Fry Gunn Franklin and Catherine Johnson Mrs. Edmund W. Littlefield Bernard and Barbro Osher Se a s o n S p o n s o r
Corporate Partners
P h o t o b y Te r r e n c e M c C a r t h y
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
F i n d U s o n Fa c e b o o k Did you know that you can follow San Francisco Opera on Facebook (@San Francisco Opera) and on Twitter (@SFOpera) for more up to the minute, behind the scenes news? Our Facebook and Twitter fans experienced our recent live simulcast of Aida at AT&T Park in a whole new way, with special offers, tweets from the artists, and a chance to provide feedback. Check out the post-event buzz from our Facebook fans. Be sure to follow us to join in the fun! “The sound! I love being completely surrounded by the music, lifting, floating, synchronizing our heartbeats with its rhythm. It was magical!” - William Lutes “It’s probably once in a life time chance to see “Aida” at the ball park, under a bright moon in a clear sky with 32,000+ fans. A wonderful experience!” – Eunice Nian
San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund
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“Witnessing the massive record breaking attendance audience all go silent at the same time to hear the first quiet notes from the orchestra pit... flawless and nearly hair raising!” – Cherie Emery Klein
Brian Mulligan and a r ti s t
Patricia Racette in
p r o file
the 2010 summer production of Faust.
From Sharpless to Nixon Baritone Brian Mulligan Delights Audiences in Many Roles
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Photo by Cor y Weaver
rom the moment he enters a room, Brian Mulligan radiates warmth; as soon as he speaks, the deep resonance of his voice envelops you and you know immediately that he is a Baritone. With the undeniable presence of someone born to project to the back row, the fact that he is the only singer in his family comes as a surprise. “My family is from Ireland and they are slightly musical,” he says. “It was only when my voice changed, when I was 17, that I began to sing.” Recognizing Mulligan’s potential, his high school drama teacher arranged a meeting with an opera singer and coach living in their tiny town of Endicott, New York (four hours north of New York City, but close to the TriCities Opera in Binghamton). Which is how Mulligan began training with rising star Todd Geer—who later became an Adler Fellow in 2000. perform Albert in Werther, Ragueneau in With Geer’s encouragement, Mulligan attended Cyrano (alongside Plácido Domingo), and the Eastman School of Music (Geer’s alma mater) Sharpless in Madama Butterfly—a role he has and went on to earn his Master’s at Julliard. performed numerous times, most recently in Mulligan first auditioned for San Francisco Opera 2009 with Anthony Minghella’s celebrated in New York in 2007, but, he says, the crucial production at the English National Opera. audition happened here in San Francisco. During periods of downtime from perform “Greg Henkel is responsible. He had hired me to ing, Mulligan likes to explore all types of music work at Los Angeles Opera while for inspiration. “I recently got into he was Artistic Administrator late-70s gospel,” he reports, citing “Werther is a there, and then when he came to pioneers of the genre and sisters, gorgeous piece, San Francisco Opera, he continued Karen and Twinkie Clark. “They it’s romantic to hire me! Greg is probably one sing with such technical prowess of my biggest supporters—he has and incredible emotion.” and tragic.” given me so, so much. He has Preparing for Albert consumed encouraged me to sing roles and repertoire that Mulligan’s full attention. “Werther is a gorI had never even considered before, like Nixon in geous piece; it’s romantic and tragic. It’s an China, and his belief in my talent has made me incredibly intimate look at this couple who grow as an artist immeasurably.” is doomed.” An intimacy, he adds, empha Mulligan debuted with San Francisco Opera sized by Francisco Negrin’s staging. in 2008 as Marcello in La Bohème, and returned “It’s hard to think about the other characters to the War Memorial stage this past summer as while in the middle of Werther; I feel like I’d Valentin in Faust. For the fall season, he will almost be cheating on Albert!” he laughs. P r e s e r v e T r a diti o n o f G r e a t Sin g in g
Learn how you can help keep San Francisco Opera “a singers house” by going to sfopera.com/greatsingers
Adler Fellows Return to Our Stage Founded in 1977, Adler Fellowships are two-year performance-oriented residencies for the most advanced young artists. The program has trained some of today’s most celebrated opera stars. The Adler Fellows represent artists audiences can expect to see on opera house stages throughout the world. Two of our 2009 graduates are no exception. Soprano Heidi Melton and mezzo-soprano Daveda Karanas have returned to SFO and are working on major assignments. Heidi is covering the title role of Aida and Daveda will appear as Suzuki in Madama Butterfly. Both will return once more in the summer of 2011 for roles in the highly anticipated Ring of the Nibelung. To learn more about the Adler Fellows Program, please visit sfopera.com/adler. PA G E 3
Photo by Cor y Weaver
Photo by Karin Cooper
Photo by Kristen Loken
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Experience the Renaissance
Bob and Laura Cory and Adler Fellow David Lomelí.
Meet the New Cam e r ata
The Corys were the first to sign up for Amici di Nicola, a project to bring rarely performed Italian works to San Francisco. “The energy that Maestro Luisotti brings to opera is unequalled,” Bob says. “We often travel for classical music and have enjoyed wonderful opera performances in Italy. We are delighted to help the company bring to San Francisco some true jewels of the Italian Rep, that are also some of the Maestro’s all-time favorites.”
A New Camerata is Born at San Francisco Opera
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uring the Renaissance, a group of scholars, composers of the day, including Mark Adamo, John artists, and philanthropists known as the Adams, Jake Heggie, Jennifer Higdon, and ChristoFlorentine Camerata joined forces in order pher Theofanidis. to reinvent ancient Greek theater. Instead, it made New Productions history by devising a new art form that came to be Productions created in collaboraknown as opera. Artistic passion, tion with other companies that intellectual curiosity, and philArtistic passion, shed light on repertoire mainstays, anthropic zeal characterized the such as the recent La Fanciulla del Camerata then—and now. intellectual curiosity, West and Werther, as well as the up San Francisco Opera is proud coming The Ring of the Nibelungen and philanthropic zeal. to announce the formation of and The Makropulos Case. its own Camerata: a group of visionary donors who fund the projects that define Modern Masterworks the Company’s international reputation. In addition Productions of 20th-century operas that are becoming to maintaining their annual support of the Company’s (or deserve to become) part of the mainstream canon, infrastructure (“the cake”), Camerata members make such as the recent The Rake’s Progress and Die Tote multi-year gifts in support of high-profile projects (“the Stadt, as well as the upcoming The Makropulos Case. icing”). The goal is to raise $50 million over five years. Repertoire Renewal
S i g nat u r e P r o d u c tions :
Creating productions that define San Francisco Opera Camerata members support productions that reflect a distinctive view of opera as an art form and promote the Company’s standing in the international opera community: Commissions
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Photo by Ruth Nott
The creation and world premiere performances of original operas by some of the most notable
New, homegrown productions of core repertory operas by Mozart, Puccini, and Rossini that will appeal to local audiences for years to come and also provide a source of rental income. B r i g h t e st S ta r s :
Engaging the world’s best singers Camerata members support the very best singers, ensuring thrilling individual performances for local audiences and building on the Company’s evergrowing reputation as a “singer’s house”:
Photo by Kristen Loken
Bob and Laura Cory are committed to helping David Gockley achieve his full vision for San Francisco Opera. “Our experience as Adler sponsors showed us that we can make a real difference for the future of opera,” says Bob.
T h e N e x t G r e at T h i n g
Quite simply the most important singers of our generation, all of whom have thrilled audiences here and must be brought back. Recent examples include Plácido Domingo, Marcello Giordani, Karita Mattila, and Dolora Zajick.
Breakout artists on the cusp of significant careers who deserve the kind of opportunity only a major company can provide. Recent examples include Quinn Kelsey, Lucas Meacham, and Heidi Stober.
Major Debuts
Top tier artists appearing with the Company (and often in the U.S.) for the first time. Recent examples include Stephanie Blythe, Johan Botha, and Danielle de Niese. Role Debuts
Major artists trying significant roles for the first time. Recent examples include Deborah Voigt as Minnie in La Fanciulla del West, Karita Mattila as Emilia Marty in The Makropulos Case, and Marcello Giordani as Radamès in Aida.
A mi c i d i N i c o l a :
Championing one of the world’s most exciting Maestros Camerata members support performances led by Maestro Nicola Luisotti, including the fullblooded Italian repertory that has always formed the heart of the Company, and new repertoire that will enable him to grow and demonstrate aspects of his talents — all to intensify the fiery relationship between the Maestro and local audiences that has garnered wild acclaim and captured the imagination of opera lovers everywhere. V isiona r y O u t r e a c h :
Nurturing the next generation of opera lovers Camerata members support outreach to young people, adult learners, families, and the community-at-large in order to build audiences today, develop the next generation of patrons, and give back to the Bay Area community that supports the Company: E d u c at i o n I n i t i at i v e s
High-quality arts education experiences that make the most of opera’s multi-disciplinary character and acquaint learners of all ages with the art form, incorporating an extended collaboration between educators and teaching artists, comprehensive professional development, and a high level of flexibility. F a m i ly Op e r a P r o d u c t i o n s
P h o t o b y Te r r e n c e M c C a r t h y
Affordable and approachable versions of mainstage operas for families, designed to delight and spark a life-long interest in opera. Free Community Events
P h o t o b y Te r r e n c e M c C a r t h y
One-of-a-kind activities open to anyone and everyone, such as Opera in the Park and Opera at the Ballpark, which annually serve about 50,000 people (Opera at the Ballpark recently attracted record attendance of 32,000!).
How to Join the Camerata Camerata is an exclusive society where members make possible the signature projects that define this Company’s international reputation. In addition to maintaining their annual contributions, Camerata members make special pledges in support of high-profile projects such as premiere productions, great stars, Maestro Luisotti, and visionary outreach. The continued health, success and stature of the company depend on gifts made to this multiyear program. Giving opportunities for the Camerata start at $75,000, payable over three years and range to $300,000 and beyond. San Francisco Camerata members witness opera in the making and have unparalleled behind-the-scenes access to the creative process and artists. For more information on how to make your gift, please contact Jess Levy at 415-565-3283 or jlevy@sfopera.com
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Photo by Cor y Weaver
R e t u r n i n g Fav o r i t e s
Photo by Cor y Weaver
BtC: What do you love most about opera?
Simulcast Sponsor Helps Build Future Audiences Andy Ball, president of Webcor.
Become a Corporate Sponsor Whether you choose to sponsor a mainstage performance, a free outdoor concert or simulcast or a unique education initiative, San Francisco Opera’s corporate sponsorship opportunities are designed to give your company the maximum return on investment. To explore how your company can benefit from a partnership with San Francisco Opera, please contact Kelly Montevago, Director of Corporate Giving at (415) 551-6208 or visit us on the web at sfopera.com/ corporategiving PA G E 6
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AB: I like all forms of performing arts, but opera embodies so many different elements. The symphony has wonderful music—we’ve got that, and we also have these incredible stage sets, which I love because I’m a builder and I studied architecture in college. And we have these incredible costumes, and the singing... quite honestly, I don’t know how any of the other forms compete! BtC: Do you have any especially memorable moments of attending an event at San Francisco Opera? AB: After that experience that I had in Rome, my next most favorite opera event was sitting at AT&T Park viewing the Tosca simulcast. The reflection of light at sunset across the bay, and all the people milling around the field, and kids looking up the screen, transfixed. It was magical. I was proud of San Francisco Opera and pleased to be the lead underwriter for this event.
pera in the Ballpark is sponsored by BtC: What initiatives do you hope to see at San Webcor, California’s premier comFrancisco Opera in the future? mercial builder. We spoke with Webcor president, Andy Ball, about AB: I think that anything David Gockley wants to the relationship between our promote, I’m there. It was his vision two organizations and we “My parents took me to create a program to introduce opera learned that Ball is an ardent at the ballpark. By exposing more to my first opera when fan of opera, particularly when people to opera in different venues, it is performed outdoors. across a much broader age spectrum, I was 5 years old.” you’re not only enlightening people, Behind the Curtain: How you’re creating fans of the future. did you personally become interested in Opera? Just like how I became hooked at a very young Andy Ball: My parents took me to my first age, these are the people who, years from now, will opera when I was 5 years old — La Gioconda, make the contributions to provide the support the at the Coliseum in Rome. It was at night, in opera needs. these ruins, and the stage was all lit up .... I got hooked right then and there. BtC: How did Webcor become involved with San Francisco Opera? AB: Webcor has a long history of being a philanthropic company. I feel that not only do we have a moral obligation to give back to the community, but also part of what makes a healthy community is having a healthy program for the performing arts. We gradually upped our involvement, and the pinnacle has been our threeyear commitment to sponsor Opera at the Ballpark. Before this, we were a fairly significant supporter of Opera in the Park, which was a program I loved. This was during the three years that we were actually in Golden Gate Park, demolishing and rebuilding the California Academy of Sciences.
Take a Behind the Scenes Tour Get to know the committed team of specialists who run the Koret-Taube Media Suite in an exciting video tour on our website at: sfopera.com/mediatour
Koret-Taube Media Suite staff members choreograph shots.
K o r e t - Ta u b e M e d i a S u i t e E x t e n d s O p e r a ’s R e a c h
Photo by Cor y Weaver
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id you know our Koret-Taube Media Suite technical directors and video directors. With more is the first permanently installed broadcast than 45 flat screen video monitors, a broadcast facility for an opera house in video switcher and robotic control the country? It is! stations, the Control Room is “We are a TV And because of the committed linked to high-definition cameras team of specialists who make it hum, studio living in an selectively mounted through out the Koret-Taube Media Suite allows the auditorium. The cameras are opera house.” SFO to reach out to our community positioned to not be disruptive to with an impressive array of highaudience members or to the artists. definition content and educational programs. During a performance, Video Director Frank The suite produces our 30 Opera-Vision nights Zamacona and his team elegantly choreograph a comper season … our LIVE simulcasts to AT&T Park bination of shots — switching from wide angles drawing crowds of 30,000+ … our KQED opera series to close-ups of singers, cast, chorus, orchestra broadcasting to all of San Francisco … our Education and even members of the audience. The team DVDs shared with teachers and students throughout accomplishes all of this while following a precisely the city … our Grand Opera Cinema Series appearing marked score, indicating what every camera should in local venues like The Sundance Kabuki Cinema … cover for every note in the score. The media team is and our web videos including highlights of every opera prepared to improvise in case of any slight change and interviews with artists. We even have a YouTube of blocking, common with artists from performance Channel which now hosts more than 70 short videos to performance. Camera Engineer Calvin Roberts with more than 150,000 global viewers to date. shades every camera lens so that bright stage light The Koret-Taube Media Suite was founded in 2007 doesn’t blow out the artists’ flesh tones. with funding by the Koret Foundation with additional In anticipation of the simulcast of Aida at support by Tad and Dianne Taube. AT&T Park, the media team blocked and re“We are a TV studio living in an hearsed 1,000+ camera shots. Doug Mitchell, Head opera house,” says Jessica Koplos, of Video and Sound Department, continuously Director of Electronic Media. Lotested the fiber optic line from the opera house, cated on the 5th floor of the opera to the ballpark to ensure the feed was clear. house, the suite includes Audio “On September 24th 3,000 patrons enjoyed the and Video Post Production Rooms performance of Aida at the War Memorial Opera and a Central Equipment Room House, while simultaneously, across town at housing 20 servers with over 70 AT&T Park this same performance captivated an terabytes of hard drive space. entirely new opera audience of 32,000,” says Koplos. All are connected through soShe has a tradition of sending hot dogs and garlic phisticated distribution and profries to the Control Room at intermission. “It’s a cessing systems to support the fun way to share the ballpark with the media piece-de-resistance: the Broadcast team” she adds. Control Room, home to a unique Learn more about the technology behind San team of professionals ranging Francisco Opera’s live simulcasts to AT&T Park on from camera operators, engineers, our website at: sfopera.com/dressimulcast.
Leave Your Legacy As a subscriber for over 35 years and a member of the Opera Board, Ruth Short wanted to leave her greatest asset to the company she loves. She made a bequest of her home in her estate plan. “Opera is my passion and San Francisco Opera is my first love. It gives me great satisfaction to leave a significant portion of my estate — my home — to help ensure the Opera’s future.” For more information about bequests contact our planned giving staff at (415) 565-3225 or go to www.sfopera.com. planyourlegacy.org PA G E 7
Recent Event Highlights
upcoming events O c tob e r O c t o be r 1 6 , 2 0 1 0
WFMT Radio Broadcast of Salome by Richard Strauss Photo by Marie-Noëlle Robert
O p e r a in the p a r k
Jennifer MacCready, Hendrik Hulshoff mingle and Baritone Marco Vratogna at the 2010 Opera in the Park Concert at Golden Gate Park.
10:30 am – Your radio
O c t o be r 1 8 , 2 0 1 0
Opera Guild Insight Panel Cyrano de Bergerac – Donors 75+ 6pm – Green Room, Veterans Building
B el C a nt o S o c iet y T e a
Silvia and Larry Lin enjoy themselves at the Green Room in the Veterans Building. This annual event honors SF Opera’s legacy givers.
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WFMT Radio Broadcast of La Rondine by Giacomo Puccini 10:30 am – Your radio
Aida
nov e mb e r
Sallie Huntting and Zandra Rhodes before the 2010-11 opening night performance.
KDFC 102.1 radio broadcast of Event photos by Drew Altizer, Kristen Loken and Cory Weaver.
Die Walküre by Richard Wagner 8pm – Your radio
Join the Rainbow Medallion Society N o v e m be r 7 , 2 0 1 0
The Makropulos Case
Vivian Stephenson and S. Shariq Yosufzai
Final Dress Rehearsal – Donors $1,000+ 2:30 pm, War Memorial Opera House
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Jack Calhoun and Trent Norris
Opera Guild Insight Panel The Makropulos Case – Donors 75+ 6pm – Green Room, Veterans Building
The Rainbow Medallion Society
d e c e mb e r
is a newly formed group of supporters. The Society was
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created to provide fellowship
The Future is Now: Adler Fellows
among its members and
Gala Concert
involvement opportunities with San Francisco Opera’s
7:30 pm – Herbst Theatre, Veterans Building
LGBT community outreach through financial and in-kind support. For more information or to become a member,
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KDFC 102.1 radio broadcast of Faust
please contact Andy Maguire
by Charles Gounod
at (415) 551-6318 or
8pm – Your radio
amaguire@sfopera.com Event photos by Cor y Weaver
General Director David Gockley with Patricia Racette and Beth Clayton.
Membership events are subject to change. Go to calendar at sfopera.com for updates.
Photo by Cor y Weaver
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