Vo l u m e I I I • F a l l 2 0 1 1
Curtain S A N F R A NCI S C O O PERA
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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 SAN FRANCISCO OPERA CONTRIBUTORS
“On behalf of the entire Company, I want to express my enormous gratitude to Maria and Jan. Their generosity is driven by their love of opera and their enthusiasm for continuing this Company’s great legacy in the Italian repertoire at a world-class level.” – David Gockley
Letter from David Gockley on page two
Photo by Drew Altizer
In Support of Italian Repertory The Legacy Continues
After the show, Maria waited by the stage door, in the wind and rain, hoping to meet Scotto. “The doorman took pity on me and Nicola Luisotti, Jan Shrem, Maria Manetti Farrow and David Gockley. brought me to her dressing room. I held her hands and spoke to her in Italian—she didn’t Chairs of the Amici di Nicola of Camerata, Jan speak English then. I told her how much I enjoyed Shrem and Maria Manetti Farrow establish Great the performance and started crying, and she started Interpreters of Italian Opera Fund. crying with me! From that time, I became very good his September, Jan Shrem and Maria friends with her.” Manetti Farrow made a $3 million gift to Maria had the privilege of being involved in the San Francisco Opera and assumed the volearly discussions surrounding Nicola Luisotti’s apunteer leadership role of Chairs of the Amici di pointment as Music Director. “I am very pleased to Nicola of Camerata. Their generous contribution observe how he has taken Italian opera to new also establishes the Great Interpreters of Italian heights at the War Memorial Opera House,” she says. Opera Fund, an effort to bring today’s She smiles, “The first time I saw most compelling artists in Italian Luisotti conduct, I went backstage “We want to repertoire—singers, designers, and and it was love at first sight. Nicola directors—to San Francisco Opera. is from the same part of Italy as I am, motivate other “Every time that I help in fundraisViareggio, near Florence. There are ing, I only do, after first I do!” promany jokes and sayings that are very supporters.” claims Maria in her captivating Italian typical of the area, and he and I—we — Maria Manetti Farrow accent. The couple would like others were laughing like crazy!” to consider their gift an invitation. “We Jan Shrem was introduced to opera want to motivate other people to support great in 1948 at the University of Utah, where his houseinterpreters of German, Russian, English, and mates played opera continuously. “The music has alFrench opera. There must be this type of donor in ways enthralled me,” he says. During his first career the Bay Area!” in publishing and his second career as vintner-owner During her childhood in Florence, Maria fell of Clos Pegase winery, Jan founded and built multiple in love with opera at age 13 at a production of art galleries and a performance venue. La Bohème with Renata Tebaldi. She moved to the “Being that opera is an obsession for me, and ItalUnited States in 1973 and inaugurated her relaian opera is the primary part of it, it is a pleasure to tionship with the San Francisco Opera that same share my enthusiasm with Maria’s overwhelming enyear at Madama Butterfly, featuring Renata Scotto. thusiasm. That’s what brought us together. The artists “She was superb! She was so light—like a butterdo so much for us, it is important for us to do somefly. The singing was divine!” thing for them.”
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On page five, two of our orchestra musicians share their thoughts about playing for Maestro Luisotti—principal bassoonist Rufus Olivier Jr. and his son who is also a Legacy is a word much bassoonist, Rufus David Olivier. on our minds at the Opera Finally, this issue introduces you to anthese days. Earlier this other donor in our Bel Canto Society, Mary year, I agreed to extend Nilan. Facing decisions about how to direct my tenure at San Francisyour estate can seem daunting. But it inco Opera for another five spires me to hear the stories of people like years. I have been thinkMary who choose to remember San Franing about what kind of legacy I want to leave cisco Opera in their estate plans. Growing the Company, artistically and financially. our endowment is a cherished goal of mine. We are fortunate to have a legacy of support I made a legacy commitment to San Franfrom leading philanthropists who have helped cisco Opera, and I invite you to consider us retain our world-class status. On the cover doing the same. of this issue, you will meet our A world-class opera “Without your support, newest Company Sponsors, company is part of what Jan Shrem and Maria Manetti we would be just another makes San Francisco one Farrow. Jan and Maria’s magnificent new gift derives from regional opera company.” of the most exciting cities in the world. Thank you their deeply personal connecfor choosing to invest in San Francisco tion to the art form, and their desire to be esOpera. Without your support, we would be pecially supportive of the Italian works most just another regional opera company. Inloved by our Music Director, Nicola Luisotti. stead, we are actively building our legacy, Now in his third season at San Francisco evolving this art form in fresh and exciting Opera, Maestro Luisotti continues to honor our directions, and building the audiences of history as a company founded by the local Italthe future. ian community. This season’s Turandot has been a breakaway hit, attracting a record number of newcomers to the opera house. Next summer, Maestro conducts the same production of Attila David Gockley, General Director he brought vividly to life recently at La Scala.
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Behind the Curtain is a publication for contributors to San Francisco Opera.
ED I T O RS:
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J a n e t t e C a vecch e w w w. c a v e c c h e gr a ph ic s.c om D a v i d G o ckley G e n e r a l Dir e c tor N i c o l a L uis o tti M u s i c D i r e c tor 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 N TA C T U S :
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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 Jan Shrem and Maria Manetti Farrow SEASON SPONSOR
BEL CANTO LEGACY SOCIETY Thank you to the following San Francisco Opera supporters who have joined the Bel Canto Legacy Society since August 1, 2010, and are helping to build the Company’s future through bequests and other legacy gifts: Carol Arnold
Donald & Jacqueline Jacobberger
Cinda & Spence Perry
Elizabeth Lawler Ashley
Dr. Devorah Joseph in memory
Susan Rowland
Steve & Ina Bauman
San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund
of Irving Joseph
Karl Ruppenthal & Jo Maxon
Robert Henry Bellamy
Diana Dollar Knowles
Christine Selle
Dawne Bernhardt
Christine Stevens Kradjian
Natalie O. Shuttleworth
John D. Burke
George F. Lucas
Ms. Joan M. Silva
Anne Dauer CORPORATE PARTNERS
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DEAR FRIEND OF SAN FRANCISCO OPERA
& Thomas Rothgiesser
Eric Stevens
Philip M. Eisenberg*
Andrew F. Maguire
Mr.* & Mrs. Paul A. Tuttle
Lucille V. Fjoslien
Mrs. Thelma Marken
S. Grace Williams
Barbara Jean Fopp
Burt and Deedee McMurtry
Sylvia Stein Wright
Nancy G. Geller
Mary L. Nilan
Anonymous (3)
Marsha Irwin
Dante Noto
Contact Mark Jones, Director of Endowment and Legacy Giving, at (415) 565-3206 if * deceased you’d like information about making your own legacy gift. PA G E 2
Photo by Scott Wall Photo by Drew Altizer
PROFILE
Singing to Win An Interview with Adler Fellow Leah Crocetto
“How do you get from the Olive Garden Restaurant to Cardiff, Wales?” Answer: “Ask Leah Crocetto. She knows the way.” Question:
“Growing up I loved Ella Fitzgerald, Bob Dylan, the Rat Pack,” the young soprano Leah Crocetto remarks. “I was interested in jazz and musical at Opera in the theater, but my dream was to sing opera. I got Park 2011. a lot of attention at a young age, but I wasn’t ready. I ended up getting a degree in theater.” couldn’t do.” She is now in her third year Leah moved to New York City to try to make as an Adler Fellow. “The Adler program it as an actor and singer. “I did a lot of six a.m. started my career,” she says. “The training auditions. That’s when the ‘nobodies’ could get and opportunities are exactly what I in,” she remembers. “I tried to break into the needed. Plus I met Maestro Luisotti and jazz circuit, and that meant a lot of late nights. my manager. It’s opened a lot of doors.” Basically I did anything as long as I could When asked about the people who have make it to the Times Square Olive Garden by 2 sponsored her fellowp.m., when my shift started.” “The Adler program ship, Leah’s response When her father became is heartfelt. “I couldn’t ill, Leah planned to return started my career. have done this without home. “I had a duty to my The training and help. No way. Martin family. But my dad said no, opportunities are and Corazon Sanders you’re going back to opera.” Smiling, she adds, “You need exactly what I needed.” have been unbelievably generous, as has the that permission when you’re Field Foundation. I’ve lived with my the oldest daughter in an Italian family.” sponsor Jim Heagy for three years now. It led to a key break: she auditioned for They are all extensions of my own family.” and was accepted into San Francisco Opera’s This fall, Leah undertook her first prinMerola Opera Program. “I had never done a cipal role at San Francisco Opera: Liù in role or even a scene,” she recalls. “I was so Puccini’s Turandot. “It’s perfect for me, both green that I didn’t know what I could or
SPONSOR
Photo by Cory Weaver
Leah Crocetto and Jim Heagy
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dramatically and vocally.” With a laugh she observes, “The vocal approach is similar to jazz—heavy in the middle with a lot of floating high notes.” Her upcoming performances also include a Poulenc Gloria with the Berlin Philharmonic, the Female Chorus in The Rape of Lucretia with Houston Grand Opera, and Anna in Maometto II with Santa Fe Opera. Earlier this year, she represented the United States at the BBC Singer of the World Competition in Cardiff, Wales, one of only twenty singers chosen for the prestigious event. “It was the most stressful experience of my life,” Leah says. “But I was really prepared, and I couldn’t have been happier with how I did.” While she didn’t win, the consensus among many was that she should have. Shrugging, Leah says simply, “These days, when I want to win I don’t get sidetracked.”
RISING
S TA R
Jim Heagy is committed to the Adler Fellows program. As an Adler sponsor, he has given valuable financial support to young artists at a time in their careers when they were on the cusp of success. “My experience as an Adler sponsor has been one of the most fulfilling things I have ever done,” he says. Jim has sponsored Adler Fellows for the past four years. He currently supports soprano Leah Crocetto. “To hear her sing the part of Liù in Turandot this year at San Fransisco Opera, and to see her receive a standing ovation, was indeed rewarding to me,” he says. Jim encourages anyone who is interested to learn more. “Getting to know a young artist on the rise is a great ‘insider experience’ that should not be missed” he says. For details on sponsoring an Adler Fellow, contact Bonita Hagbom at (415) 551-6244 or bhagbom@sfopera.com PA G E 3
Photo by Randi Paul
G E T T I N G T O
K N O W
M A E S T R O Bor n in Viareggio, Italy — Directed local church choir at age 11 Rufus David Olivier and Rufus Olivier, Jr.
— Trained as a pianist, with secondary degrees in composition, trumpet, and voice
F a t h e r - S o n B a s s o o n i s t s T h a t P l a y To g e t h e r, S t a y To g e t h e r
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wanted to play,” Rufus Jr., says. “But Rufus very musician is trying to David’s playing the bassoon made it a little play like a singer,” says Rufus easier for us. I had former students and Olivier, Jr., principal bassoonist teachers that I could send him to.” with San Francisco Opera since 1980. “It’s Throughout the elder player’s decades like Toscanini said, ‘The voice is the first with the Company, he has, of course, played instrument of the orchestra.’ Being around for numerous extraordinary singer and opera singers for 30 years is like being conductors. He recalls, “My first opera was in a major conservatory all of your life!” Samson and Delilah, with Placido Domingo His son, Rufus David Olivier, has been and Shirley Verrett. If even a flake of that in such a conservatory all of his life. Acting beautiful music rubs off on second bassoon with San you, you’re doing okay. It opens Francisco Opera since 2009, “I look to my with bassoon. The very first Rufus David says, “I very right and there’s note you hear in the orchestra literally grew up with these is just one bassoon alone. Kurt musicians. When I’m playing my dad. It’s a very Herbert Adler was watching Aida and I look around my every move!” and it’s basically my family good thing.” His son’s comparatively all around me—who also shorter career has already led happen to be world-class him to perform in renowned venues around musicians—and I look to my right and the world, including Musikverein of Vienna there’s my dad. It’s a very good thing.” and New York’s Carnegie Hall. Both father As a child, Rufus David began with clariand son feel that working with Maestro net, but a bequest from a member of San Nicola Luisotti is a great opportunity. Francisco Opera’s staff changed his career Rufus David says, “He really lets the orpath. “John Hoover, who was the music chestra play. The different colors, sounds, inlibrarian here and a student of my dad’s at nuendos, crescendos, the whole spectrum. You San Francisco State, willed his bassoon to can hear the audience getting the emotions.” me after passing away. I had never actually “He’s a perfectionist, which I like,” adds played a bassoon until then. I’d still be Rufus Jr. “There is no middle with him. He has playing clarinet if it wasn’t for John!” a lot of drive and a lot of fire, and an incredible “I pretty much let him follow his own sense of humor. It’s fun and very exciting.” gifts, what he wanted to do and what he PA G E 4
Spent his early professional years as a rehearsal pianist at Milan’s La Scala, and as chorus director for La Fenice in Venice — Professional debut: Il Trovatore at Stuttgart State Opera, 2002 — Led many critically acclaimed productions at major opera houses in London, New York, Paris, Vienna, Munich, Madrid and Tokyo, among others — San Francisco Opera debut: La Forza del Destino, 2005. Retur ned to conduct La Bohème in 2008 following his appointment as music director in 2007 — Also serves as principal guest conductor of Tokyo Symphony
P h o t o b y Te r r y M c C a r t h y
Focus on the Players
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P h o t o b y Te r r y M c C a r t h y
Q&A with Maestro Nicola Luisotti: 1 ) What do you think about the major gift from Jan Shrem and Maria Manetti Farrow in support of Italian repertory at San Francisco Opera? I am so grateful to Maria and to Jan for their generous donation, but also for the spirit that comes behind this donation. They love opera and they are stepping forward to help create a stable future. 2 ) Why should donors support San Francisco Opera and Italian work in particular? Not one of us can live without music. As for Italian work in particular, I can only say that in the opinion of many, the most important repertoire is still found in the great works of Italian opera. This is not to say that there aren’t many great works outside the Italian repertoire. Of course there are. But I am Italian and I can see how the line of opera goes back to its very beginning in my home country. In a way, you can say we are the inspiration for all that came after.
P h o t o b y Te r r y M c C a r t h y
3 ) How has your tenure at San Francisco Opera allowed you to explore the Italian repertory in ways you might otherwise not have been able to do? David Gockley and I have a great relationship. We constantly discuss strategies for the future. We are very respectful of our different backgrounds, and we listen to each other with humility. This combination so far has created great results.
Nicola Luisotti, San Francisco Opera Music Director
4 ) What special adjustments did you request for the fall production of Turandot, to ensure a beautiful orchestral sound? Well, I am sure that in Puccini’s time, they had no amplified banda! Since I want always to be true to the music,
Maestro Luisotti in rehearsal
I thought perhaps the best thing to do is just find a place backstage where we could locate the musicians so they could be heard. I worked with my wonderful music staff and we accomplished this. Love, passion, talent and patience can create a magical evening. 5 ) What recent productions are you most proud of? I am proud of all our productions. That might sound like a cliché. But honestly for each production, whether it is a rarely performed work like Fanciulla del West or something familiar like Madama Butterfly, each time I look for a new discovery in the score that I can bring alive for the audience. It is exciting to prepare for next summer’s Attila, which was a great success at La Scala. Working with Italian actor and film director Gabriele Lavia, as we are doing twice this season, is a wonderful experience for me. The theater comes fully alive with the Italian language and, of course, with the music. 6 ) Share your thoughts about the Nicola Luisotti and San Francisco Opera Orchestra concerts in conjunction with Cal Performances on October 28 and June 3. This is a dream I’ve had since the earliest talks I had with David Gockley. We have two great orchestras here in San Francisco, but one plays mostly in the pit. I want to change that and also give our amazing players the chance to show their talents on stage playing pure symphonic repertoire. As our musicians challenge themselves with different ways of playing, we will see enhanced musicality across the board. I am grateful to David for making this happen, and to Matias Tarnolpolsky, Director of Cal Performances, for bringing our great orchestra to the Zellerbach Hall in Berkeley. Every opera lover should come out to hear their orchestra on stage and share in this exciting new experience for our players. To learn more about Maestro Nicola Luisotti, go to sfopera. com, and click on About and People. PA G E 5
ENSURE THE
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O P E R A’ S F U T U R E B Y
Opera is Life Magnified
Gifts through a revocable living trust 401(k), IRA, SEP or similar retirement plan beneficiary designations Gifts to the San Francisco Opera Pooled Income Fund Charitable remainder trusts Charitable lead trusts Life insurance policy beneficiary designations Retained life estates
Photo by Will Hamilton
To learn more about making a legacy gift, contact Mark Jones, Director of Endowment and Legacy Giving at (415) 565-3206 or visit us on the web at www.sfopera.planyourlegacy.org
Bel Canto Society members Terri and Bob PRyan AGE 6
Bel Canto Society Member Mary Nilan Explains Why She Made the Commitment
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ary Nilan’s motivation to support San Francisco Opera is simple and straightforward. “Art is important,” she says. “It is a reflection of our society. Without it, life would be awful.” Financially supporting the San Francisco Opera was a given for Mary, who is a member of the Medallion Society and the Bel Canto Legacy Society. “In the end it comes down to: where do you want to spend your hard-earned money? I don’t really have any close relatives, so you have to decide where you want your estate to go. I encourage my friends to do this too. It’s a no-brainer.” Mary has a personal connection to this particular art form. “Opera is life magnified,” she says. “Opera is not just entertainment. It’s about falling in love, being betrayed, conflict, comedy, death,
season tickets ever since.” “Why did it take so long? I was busy with life. I had so many other things going on that it didn’t even occur to me. I wish I had done it earlier. Music has always been a constant in my life. I have to have music around.” Her eclectic CDcollection, covering everything from Bach to Nirvana, reflects her broad taste. But opera is something else, she says. “Opera, done well, chokes me up and brings tears to my eyes. To me, it encompasses so much. It’s not just the music, but also the acting and the storytelling and lessons of life.” For information about joining the Bel Canto Society, contact Mark Jones at (415) 565-3206 or mjones@sfopera.com.
“Opera, done well, chokes me up and brings tears to my eyes.” lessons in life.” In fact, opera has become such a part of Mary’s own life that she now sports a tattoo of San Francisco Opera’s starburst logo on her right arm. “I always wanted a tattoo but could never find the right image until a friend suggested the San Francisco Opera logo.” “I have been into opera for the past 20 years, roughly,” she says, “but I didn’t get intensely involved until several years ago. For some reason I had never been to the San Francisco Opera House, which had been on my list for a long time. So for my birthday I bought myself a ticket to Otello. I was immediately hooked and have bought
Dancing mirrors on the set of the 2011 production of Don Giovanni.
Photo by Cory Weaver
Gifts to San Francisco Opera Association through a will provision
Photo by Bill Posner
L E AV I N G A L E G A C Y Legacy gifts, whether large or small, demonstrate a deep commitment to San Francisco Opera. A variety of legacy giving strategies can meet your needs and also provide a continuing source of financial support for the Company:
PROFILE
Photo by Scott Wall
Greg Weber, Director of Production
Beyond the ‘Hemp House’ An Interview with Director of Production Greg Weber
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ome things about opera will never change: the timelessness of the music, the power of the emotions, the tradition of great singing. But other things can and must change—most notably, the tools of stagecraft. No one understands this more than the professionals who work behind the scenes—and the donors who support them. Earlier this year, San Francisco Opera completed a major upgrade to its stage technology. “Until very recently, we were a ‘hemp house,’” explains Greg Weber, the Company’s Director of Production. “It took manual operation of ropes [originally made of hemp] to move set pieces
in and out of the ‘fly’ [the cavernous area directly over the stage].” The new system utilizes computer-controlled rigging and motors. It was made possible through the generosity of a single donor— someone who envisioned both the artistic and practical benefits. “This installation makes us the most advanced opera house in North America,” Greg says. “We can do things that other companies can’t, which means a better visual experience for our audience.” The new system is also a “We ’ re fo r t u n a t e boon to the people backstage. “We’ll be able to work in a t o h a ve a b e a u t ifu l, way that is faster, safer and more efficient,” Greg says. h is t o r ic a lly The capabilities of the s ig n ific a n t h o me .” new system were fully showcased for the first time in this season’s Don Giovanni. “Think of ‘dancing mirrors,’” says Greg, referring to the production’s chief visual feature. “We had 21 huge mirrors suspended above the stage that could be configured 27 different ways.” To put that into perspective, Greg says, “The audience was literally seeing something they’ve never seen before. In fact, no opera audience in the country has seen anything like this.” When planning for the future, San Francisco Opera still faces unique challenges. “We have the smallest backstage area of any top ten opera company,” Greg says. “To give just one example, our fly accommodates sixty six line sets [a mechanism to bring scenery, lighting, etc. in and out of the fly]. By comparison, a newly-built opera house would have around one hundred. We’re fortunate to have a beautiful, historically-significant home, but we’re limited in the kinds of alterations we can do to the building.” As the new fly system shows, investing in production capacity has an immediate and clear payoff. “It’s better for those who sit in the audience and for those who work on the stage,” Greg asserts.
S TA G E P R O D U C T I O N R E Q U I R E S M A N Y H A N D S While the new rigging system is a big improvement, stage production is still a labor-intensive process at San Francisco Opera. Here are some of the manual steps that remain, and a wish list of improvements:
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Sets are transported to and from the Opera House in trucks, which are currently unloaded by hand. A loading dock would allow sets to be rolled out of the trucks directly into the “patch” (the storage area on the west side of the Opera House). n
Once sets are in the Opera House they are moved manually between the stage and the “patch.” A tracked system of scenery wagons would permit whole components to be rotated with relative ease. n
The deck (stage floor) is outdated. A reinforced deck would accommodate the weight of modern scenery and an would facilitate better use of the area beneath the deck. n
Space beneath the stage floor is underutilized. Expanded trap room and understage storage would help provide quicker scene changes and more flexible stage designs. n
Still being used are the original stage elevators, which are slow and noisy. New stage elevators would speed operations.
PA G E 7
RING EVENT Donors Christine Miller and Gary Glaser meet tenor Jay Hunter Morris (Siegfried) at a donor event.
upcoming events NOVEMBER NOVEMBER 27, 2011 Carmen for Families
Photo by Kristen Loken
Tickets on sale 2pm – War Memorial
P h o t o b y Te r r e n c e M c C a r t h y
Photo by Drew Altizer
Recent Event Highlights
R I N G C A S T PA R T Y
Photo by Scott Wall
Photo by Drew Altizer
Opera House
OPERA IN THE PARK Tenor William Burden performs at Opera in the Park on the 10th anniversary of 9-11.
Rheinmaidens Renee Tatum, Stacey Tappan and Lauren McNeese enjoy an opportunity to mingle with donors at the Ring Cast Party.
DECEMBER DECEMBER 1, 2011 The Future is Now: Adler Fellows Gala Concert 7:30 pm – Herbst Theatre, Veterans Building DECEMBER 3, 2011 Celebrating Frederica von Stade 7:30 pm – Herbst Theatre, Veterans Building DECEMBER 4, 2011 Carmen for Families Tickets on sale 12pm – War Memorial Opera House
DECEMBER 4, 2011 KDFC radio broadcast of
Webcor Builders President Andrew Ball, Corrine Winter, Webcor Vice President Shelley Doran and David Gockley at AT&T Park during the live simulcast of Turandot. Webcor has sponsored the ballpark simulcasts since 2007.
Götterdämmerung by Richard Wagner 8pm – Your radio at 90.3 in San Francisco; 89.9 in the North & East Bay
JANUARY J A N U A RY 2 4 A ND 2 8 , 2 0 1 2 The Magic Flute in HD 7pm / 10:30am Kabuki Cinemas, San Francisco
Families enjoyed special activities at the ballpark simulcast. B A L L PA R K P H O T O S B Y: L I N D A M A N Y I S H A
Membership events are subject to change. Go to calendar at sfopera.com for updates.
Turandot onscreen from the field level.
Photo by Cor y Weaver
Opera in the Ballpark 2011