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 F O R S A N F R A N C I S C O OPERA SUPPORTERS AND SUBSCRIBERS
Embracing Change Challenging Perceptions of What Opera Can Be
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space. “Every week is full of surprises,” she says, an Francisco Opera is expanding into the “and I’ve learned to do things that I certainly historic Veterans Building adjacent to didn’t anticipate.” the War Memorial Opera House. On the One of those unexpected challenges was a top floor, construction of the Diane B. Wilsey changing awareness about the Wilsey Center’s Center for Opera is nearing completion, and mission and in particular its everything is on track for relationship to the Opera’s the first performance in the “A testing ground and mainstage programming. brand-new Dianne & Tad Taube Atrium Theater in incubator for new ideas Elkhanah notes, “In the process of developing the programming early March, 2016. and working methods.” for the Center, giving it a logo The Wilsey Center brings and a name, it evolved into most of the Company’s creative what we have now titled SF Opera Lab. This new and administrative talents together onto one programming initiative doesn’t have to live integrated campus. In addition to the 299-seat exclusively at the Wilsey Center; it can take place Taube Atrium Theater, the Wilsey Center also at any number of venues across the City or even houses the Norby Anderson Costume Shop, the Bay Area.” the John M. Bryan Education Studio, the Hume Over the last few weeks, Elkhanah has been Family Gallery and the Edward Paul Braby San developing a mission statement for SF Opera Lab Francisco Opera Archive, as well as offices and with a focus on developing experimental programs conference rooms. that will attract and engage new audiences. Elkhanah Pulitzer, the first Director of “Its mandate is essentially to help challenge Programming for the Wilsey Center, is involved in every facet of opening this new Continued on page 6
P H O T O B Y K E YA R T
The Triplets of Bellville performed live.
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Behind the Curtain is a semi-annual publication for San Francisco Opera supporters and subscribers.
EDI T O R S:
Roya Clune J e n n i f e r J o rd a n Nicola Rees
WR I T ER S:
Niels Swinkels Adam Flowers D ESI GN:
Janette Cavecche David Gockley General Director Nicola Luisotti Music Director M a t t h e w Sh i l v o c k Gene r a l D i r e c t o r D e s ign ate San Francisco Opera Development Department 301 Van Ness Avenue San Francisco, CA 94102 C O N TA C T U S :
Membership (415) 565-6416
Earlier this fall I had the great pleasure of congratulating Matthew Shilvock on his appointment as the next general director of San Francisco Opera. I couldn’t be more delighted with the choice that the Opera’s Board of Directors has made. Matthew has been at my right hand throughout my tenure here and I am confident that under his visionary leadership San Francisco Opera will grow and thrive in new and exciting ways. You can learn more about Matthew in the profile on the facing page. Meanwhile, I am savoring every moment of my final season as general director. This is a year filled with major milestones, from signature productions such as Die Meistersinger von Nürnberg and next summer’s Don Carlo to the opening of the much-anticipated Diane B. Wilsey Center for Opera in March. You can learn about the recently announced inaugural season for the Wilsey Center’s Dianne & Tad Taube Atrium Theater in our cover story featuring an interview with Wilsey Center
Medallion Society (415) 565-6401
PHOTO BY TERRENCE MCCARTHY
DEAR FRIEND OF SAN FRANCISCO OPERA
Director of Programming Elkhanah Pulitzer. The opening of the Wilsey Center also heralds a significant expansion of our education programs for adults, students and families as we take full advantage of the Center’s new John M. Bryan Education Studio. More information about these exciting developments can be found on page 4. Finally, on page 5 I am delighted to share with you an interview with husband and wife Daniela Mack and Alek Shrader, former Adler Fellows and Merolini who both appear on our stage this fall. As I look back on my last 10 years here at San Francisco Opera I am filled with gratitude for all the artistic achievements you have made possible through your generous contributions as supporters and subscribers. I look forward to sharing the remainder of this thrilling season with you and to joining with you to welcome Matthew into his new role at San Francisco Opera. With gratitude,
David Gockley, General Director P H O T O S B Y P E T E R D A S I LVA / C O R Y W E AV E R
Visit us on the web at:
sfoper a.com
s foper a.com/blo g C O M PA N Y S P O N S O R S Norby Anderson The Dolby Family Ann and Gordon Getty Foundation John A. and Cynthia Fry Gunn Franklin and Catherine Johnson Edmund W. and Jeannik Méquet Littlefield Fund Steven M. Menzies Bernard and Barbro Osher Jan Shrem and Maria Manetti Shrem Dianne and Tad Taube Phyllis C. Wattis Endowment Funds Diane B. Wilsey SEASON SPONSOR
CORPORATE PARTNERS
San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund
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TAKE THE GOCKLEY OVATION CHALLENGE
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fter 10 years of David Gockley’s leadership, San Francisco Opera is stronger than ever. During David’s tenure, San Francisco Opera has presented a new American Ring cycle, 10 world premieres, innovative new productions of classics like The Magic Flute and landmarks such as Mefistofele and The Trojans. Thanks to David’s visionary leadership, the Company has reached more people than ever with community events such as Opera at the Ballpark and an expanded range of educational programs, DVD releases, radio and TV broadcasts and other media initiatives. To honor David in his final season, a group of lead donors is offering a $2.5 million fundraising challenge to the entire San Francisco Opera family. You can take the challenge by making a new or increased gift to support the exciting programs and initiatives of David’s final season. All new and increased gifts received by July 31,2016 will count towards the Gockley Ovation Challenge. Take the challenge! Visit sfopera.com/GockleyChallenge for more information.
P H O T O B Y S I M O N PA U LY
New Directions An Interview with General Director Designate Matthew Shilvock
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n September 22, 2015, Matthew Shilvock was announced as San Francisco Opera’s seventh General Director, a position he will assume on August 1, 2016. Matthew joined San Francisco Opera in 2005 and has served as the Company’s Associate General Director since 2010. As Associate General Director, Matthew oversees five departments: Music Operations (orchestra, chorus, dancers, and commissions), Electronic Media, Education, the San Francisco Opera Center, and Rehearsal. Since March 2015, he has also served as the interim director of development. Matthew has led some of General Director David Gockley’s signature initiatives over the past decade including the creation
of vanguard media and education programs that have dramatically expanded the Company’s local and international reach. He managed the development of the free
“I am committed to ensuring that we remain on the forefront of artistic excellence and innovation.” live opera simulcast program—which to date has attracted audiences of more than 240,000 to San Francisco’s AT&T Park and other civic venues—and successfully negotiated a media rights framework that made possible commercial releases on home video, television and the internet.
Matthew has worked with the Company’s labor partners to sustain a positive, solution-oriented approach. He has worked closely with David Gockley, the Board of Directors, and the Company’s senior executive team to develop strategic frameworks to stabilize the Company’s finances. Speaking about his appointment, Matthew says “San Francisco Opera has a long tradition of finding, nurturing and celebrating the very finest talents. That is as vibrant a part of the Company’s activities today as it ever has been, and I am committed to ensuring that we remain on the forefront of artistic excellence and innovation, whether on the glorious stage of the War Memorial Opera House, or through the exciting new possibilities Director of of the Diane B. Wilsey Center for E dWe u c awill t i o nbring to this Company Opera. R u t h N o tartists t the very finest and the most compelling productions, creating holistic presentations that move, transform, empower and entertain audiences.” Matthew was born in Kidderminster, England in 1976. He read music at Christ Church, Oxford University, and holds a master’s degree in public administration from the University of Massachusetts Amherst, with a specialization in nonprofit administration. Matthew resides in Marin County with his wife Kate and their two children. Learn more about Matthew and his appointment at sfopera.com/ GeneralDirectorPress.
2014–15 SEASON BY THE NUMBERS
AT&T
PAR
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30,000
8,296
estimated Opera at the Ballpark attendees
number of students in ARIA (K–12) & University programs
83 number of hours of professional development available to educators
510
73
number of adults who attended Overture workshops
number of original mini-operas created by students
1,606
39,730
number of family members at movie screenings and exploration workshops
number of adults at Pre-Opera Talks
13,000
estimated Opera in the Park attendees PA G E 3
EDUCATION
Learning and Engagement for All Ages Opening the Bryan Education Studio
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n addition to the exciting programming Wilsey Center’s John M. Bryan Education being planned for the new Dianne & Studio will provide these programs with Tad Taube Atrium Theater, the opening a dedicated home and allow for new and of the Diane B. Wilsey Center for Opera in expanded initiatives such as an Opera February 2016 will also ARIA Festival, family “We can’t wait mark a major expansion exploration workshops and of San Francisco Opera’s movie screenings, early to throw open Education programs. childhood workshops and the doors.” The Opera’s Education music and spoken word Department, founded by performances by and for David Gockley in 2008 and led by Director teens and their families. of Education Ruth Nott, already produces “The opening of the Wilsey Center an ambitious range of in-depth programs and the Bryan Education Studio helps for children, students of all ages, families us realize David Gockley’s long-held and seniors. Now the addition of the dream of sharing the Opera’s learning and
FAMILY EXPLORATION WORKSHOPS
Students participating in our Opera ARIA (Arts Resources In Action) Network program will share mini-operas created in their classrooms at the Wilsey Center for a two-day festival open to the community.
The entire family will enjoy these interactive workshops focused on our family-friendly productions and Opera in an Hour movies.
These one-hour versions of popular San Francisco Opera performances are the perfect way to introduce children to opera. Combined with a live introduction, it’s a truly engaging experience!
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PHOTO BY SCOTT WALL
NEW EARLY CHILDHOOD WORKSHOPS NEW TEEN MUSIC AND SPOKEN WORD Lighting crew finalize proPROGRAM AND PERFORMANCE jections during a technical Developed in partnership with another community organization, these interactive workshops will engage parents and their toddlers with multiple aspects of opera.
P H O T O B Y E L L E N S T. T H O M A S
FREE OPERA ARIA FESTIVAL
PHOTO BY KRISTEN LOKEN
FREE OPERA IN AN HOUR MOVIE SCREENINGS
PHOTO BY KRISTEN LOKEN
PHOTO BY BOB HEMSTOCK
Expanded Education Programs at a Glance
engagement programs directly with our community,” comments Ruth. “We can’t wait to throw open the doors and invite new and returning participants inside to learn about the magic of opera and how it is relevant to them, their culture and their community.” Learn more about San Francisco Opera’s expanded education offerings and how you can support them at sfopera.com/FriendsOfEducation. For a limited time, San Francisco Opera’s Education Committee will match all new and increased gifts made in support of education programs.
rehearsal. Teens will participate in a multi-session program to create an operatic story based on a theme of their choice, then share it in a free public performance utilizing their talents of singing and spoken word.
Daniela Mack and Alek Shrader in The Barber of Seville
Singing Together Husband and Wife Alek Shrader and Daniela Mack
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P H O T O B Y C O R Y W E AV E R
without having to explain anything ezzo-soprano Daniela Mack to them,” she says. “We’ve both and her husband, tenor Alek learned the demands of our work Shrader, are enjoying enviable over the years, and we each know careers on the international operatic stage. exactly what the other needs They met while they were both participating leading up to a show, or how the in the Merola Opera Program in 2007 other needs to decompress once and were married in 2011 after successful work is over for the Adler Fellowships. day. We also love Now, after the birth of “Focusing on our to work together! their baby daughter family doesn’t Sharing the stage Evangelina in January, as often as we have they are choosing to put make our choices affords us more their young family at the any easier.” time together in a center of their professional profession that can at decisions. times be quite lonely.” “We both gave up two engagements Alek and Daniela appeared each when we found out we were together on the War Memorial pregnant. They were interesting projects Opera House stage in The Barber with great companies and we didn’t want of Seville during the 2013–14 to give them up,” Alek says. “Luckily, Season, and again in last season’s everyone was extremely understanding. acclaimed production of Partenope. It might be because we like to work for This season Alek sings David in good companies that themselves operate Die Meistersinger von Nürnberg at like a family.” the same time Daniela performs Despite the numerous complications Rosina in The Barber of Seville, and attendant with merging a new baby and the timing is no coincidence. two burgeoning careers, being an “Focusing on our family doesn’t make opera-centered family has its advantages. our choices any easier, but it certainly “We bring a built-in chemistry to our clarifies them.” says Alek. “We are a package deal as performers,” says Alek. couple who love to sing. It is our career, Daniela also enjoys being part of an and it is our dream.” operatic team. “There is comfort in Daniela adds, “To me, being the best knowing that your partner understands mother I can be and providing for my exactly what you experience at work
daughter includes being the best performer I can be. There is a new purpose in my singing, which is rejoicing in the beauty of the world and the music that I learn, and sharing that beauty with our daughter.” Luckily for San Francisco Opera patrons, Daniela and Alek are also sharing it with all of us.
Emerging Stars Fund and Emerging Star of the Year With the renewal of another magnificent three-year commitment, Jan Shrem and Maria Manetti Shrem have expanded their support of opera artists through the establishment of the Emerging Stars Fund. Daniela Mack and Alek Shrader are among 11 virtuoso singers whose appearances during the 2015–16 Season are being sponsored by the Fund. In addition, one artist will be selected as the Emerging Star of the Year by a jury made up of the Opera’s General Director David Gockley, Director of Artistic and Music Planning Gregory Henkel, and Jan and Maria. Audience members will be invited to vote for their Emerging Star of the Year choice online; more information will be available soon at the Opera’s website.
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P H O T O B Y K E YA R T
Performance of Winterreise.
and former Adler Fellow Deborah Voigt, in which she shares insights into the struggles and joys of her career both on and off the stage.” SF Opera Lab will also offer a chamber music series featuring three unique evenings curated by San Francisco Opera Orchestra members in collaboration with the Adler Fellows to create an up-close-and-personal experience of music-making in an intimate space. “Programming for the Wilsey Center is about more than just filling seats,” Elkhanah says. “Attracting a younger The Center will also provide opportunities to create collaborative partnerships
Continued from page 1
PHOTO BY HEIDI GUTMAN
with Schubert’s evocative song cycle perceptions and be a forum for an intimate, Winterreise featuring German baritone stripped-down musical and theatrical Matthias Goerne in a theatrical production experience, which is very different designed by South African artist William from what we do on the main stage. That Kentridge. Then we present is why I am thinking of it more Svadba, an a cappella chamber in terms of the Opera’s R&D opera for six female voices branch: a testing ground and written by Serbian-Canadian incubator for new ideas and composer Ana Sokolovic. working methods across the Svadba, which means ‘wedding’ entire Company, with an active in Serbian, tells of a group of flow of creative energy back and women who gather to celebrate forth between the Wilsey Center on the evening before one of and the Opera House.” them is to be married. The Center will also provide April presentations include opportunities to create Deborah Voight 10 live screenings of the 2003 collaborative partnerships with animated French film The Triplets of other Bay Area community organizations Belleville, which was nominated for two and expand San Francisco Opera’s presence Oscars and will be performed with a and visibility in the Bay Area arts scene. live chamber orchestra, a chanteuse and Meanwhile, the first season of sound effects. And we conclude with programming at the Taube Atrium Theater Voigt Lessons, an evening with soprano has taken shape. “We start in March
A BIG THANK YOU TO OUR
with other Bay Area community organizations.
crowd and having them share their experience with their friends would be a success. Other metrics for success highlight shifting attitudes about how musical theater gets made, about embracing innovation, and how that in turn can influence our approach to presenting work on the Opera’s main stage. SF Opera Lab is not your parent’s opera, but also not opera light or chamber opera. It is a litmus test for what opera can be and can become.” You can provide direct support for the programming and activities of this exciting new initiative. Visit sfopera.com/LabPartners to learn more.
Last fall, San Francisco Opera launched its new Monthly Giving Program and we’ve been thrilled with the response so far. When you become a monthly giver, you don’t have to remember to renew your gift each year or send in a pledge payment. Your selected contribution amount is automatically charged to your credit or debit card every month until you tell us to stop, offering an easy and efficient way to provide ongoing support for San Francisco Opera. Call (415) 565-3212 to learn more and become a monthly giver today.
MONTHLY GIVERS!
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J A C O B I L L U S T R AT I O N
2016 PROGRAMS Winterreise Composed by Franz Schubert Markus Hinterhäuser, pianist Matthias Goerne, baritone William Kentridge, designer
Svadba
PHOTO BY KRISTEN LOKEN
MARCH 11–13
Why I Give
Composed by Ana Sokolovic APRIL 2–10
The Triplets of Belleville Directed by Sylvain Chomet Composed by Benoît Charest Featuring Le Orchestra Terrible de Belleville APRIL 14–23
Voigt Lessons Deborah Voigt, soprano MAY 6 AND 8 Chamber Music Concerts Featuring members of the San Francisco Opera Orchestra and the Adler Fellowship program DATES TO BE ANNOUNCED
Visit sfoperalab.com for details of performance dates and ticket pricing.
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erith Overstreet is a San Francisco Opera subscriber and contributor and, together with her husband Brian, a proud parent of Bruno, Amelia and Lily. How did you first discover opera? I’m lucky to have grown up in a family with an appreciation for music and art. My mom started taking me to opera when I was young and now, having kids of my own, I think it’s incredibly important to expose them to opera as well. If you can foster a love for opera and the musical arts in a child, then they are going to grow up to be an opera supporter. You have a special interest in the family opera program at San Francisco Opera. Why? The family opera program at San Francisco Opera is one of my great passions. I think it’s wonderful to have a format where you can expose children
to opera. The fact that they take a wonderful story full of what I call “BTs” (Big Tunes) and condense it into a two-hour format that’s sung in English with English supertitles, makes something that can be a sometimes difficult medium to approach much more accessible for children. Why do you support San Francisco Opera as a donor? I support San Francisco Opera because it’s a cultural institution for our community. There’s no other art form that brings together such glorious music, such gifted musicians and singers and such amazing, spectacular sets. For me it’s the grandeur and the scope of opera that always captures my heart. It’s just tremendously big and it’s absolutely glorious. Why I Give is an ongoing series of interviews with members of San Francisco Opera’s family of generous supporters.
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PHOTO BY SCOTT WALL
Company Happenings
PHOTO BY BOB HEMSTOCK
PHOTO BY SCOTT WALL
Over 30,000 gather at AT&T Park to watch The Marriage of Figaro, simulcast live from the War Memorial Opera House.
General Director David Gockley awards stage director Francesca Zambello and Principal Guest Conductor Patrick Summers with the San Francisco Opera Medal—the highest honor bestowed by the Company to an artistic professional.
P H O T O B Y D R E W A LT I Z E R
Opera lovers of all ages enjoy a beautiful day at Golden Gate Park and show-stopping performances by the stars of the 2015 —16 season.
PHOTO BY SCOTT WALL
P H O T O B Y S T E FA N C O H E N
P H O T O B Y S T E FA N C O H E N
Kindergarteners at Yick Wo Elementary in San Francisco perform their culminating performance as part of San Francisco Opera’s ARIA (Arts Resources in Action) school program.