Curtain S A N F R A N C I S C O OPER A
SPRING 2015
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 SAN FRANCISCO OPERA CONTRIBUTORS
PHOTO BY SCOTT WALL
The Two Women creative team: Music Director Nicola Luisotti, composer Marco Tutino, director Francesca Zambello and General Director David Gockley.
Two Women: From Novel to Opera
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Luisotti proposed composer Marco Tutino and he or five decades, San Francisco Opera has even suggested a suitable subject for the opera: the been a major champion for the creation 1958 novel La Ciociara (Two Women) by Italian of new work, and the summer of 2015 will writer Alberto Moravia (1907–1990). be marked by a truly unique world premiere: Two Women or La Ciociara, an opera in the Grand Historical Background Italian tradition, sung in Italian, based on an Italian A 1960 film based on the literary source and historical events, book starred Sophia Loren by an Italian creative team. “I wanted an opera and Jean-Paul Belmondo, and “I wanted an opera with a with a gorgeous score was directed by Vittorio de Sica gorgeous score so the audience so the audience is and produced by Carlo Ponti. is crazy with delight to see and Loren won an Oscar for her hear it, not cringing in their crazy with delight to role as Cesira, a young widow seats,” says General Director David see and hear it.” who tries to survive the end of Gockley. “It can be challenging World War II with her teenage for composers to write beautiful daughter Rosetta by seeking refuge outside Rome music because critics often condemn them for it.” in the poor, mountainous region of Ciociaria, Gockley credits Music Director Nicola Luisotti where she was born. with the original idea to commission the new The fictional story is set against a historical opera. “Nicola urged us to follow the example background of horrifying mass rapes and killings of the Metropolitan Opera, who gave the world committed in May 1944 by colonial troops from premiere of Puccini’s La Fanciulla del West in Morocco, fighting in Italy under French command 1910.” As a modern day counterpart to Puccini, cont in u e d o n pa ge 6
Marco Tutino, director Francesca Zambello and our very own maestro, Nicola Luisotti. This is quite possibly the first Italianlanguage opera to be premiered in the Just a few days ago the SPRING 2015 United States since Puccini’s The Girl of the curtain rose on our 2015 Behind the Curtain is a semi-annual Golden West debuted at the Metropolitan summer season featuring publication for contributors Opera in 1910. I know you will be fascinated three extraordinary works: to San Francisco Opera. to learn more about this exciting commission Berlioz’s epic masterpiece E DITORS: in our cover story. The Trojans, our lively R o y a C lu n e We are justifiably proud of Adler and production of Mozart’s N ic o la R e e s Merola alumna Nadine Sierra, who is The Marriage of Figaro M ic a h S t a n d le y In-kind A Nworld F R Apremiere N C I S Cof O Two O PWomen, ERA 2 1 0 - 1 1 featured in thisGuild edition’s andS the a0 newly 2% artist profile. As W RITE RS: Corporations 2% her international career blossoms, we are commissioned opera by Italian composer SEASON FINANCIAL SUMMARY Adam Flowers 5% thrilled that she continues to return to our Marco Tutino. N ie l s S w in k e l s Government Individual stage, appearing as Musetta in last fall’s La Thanks to the sustained generosity of patrons Marketing and 2% DE SIG N : Fundraising Donors 70% s Bohème, and as the Countess in this summer’ like you, San Francisco Opera is one of the Box Office 9% J a n e t t e C a v e cc h e Foundations The Marriage of Figaro alongside a dream few opera7%companies in the world that can w w w.c a v e c c h e g r a p h i c s.c o m 19% cast of equally talented young artists. simultaneously mount Administrative productions7%of this CO N T R I B U T I O N S Of course, all the activity that you read size, breadth and quality. In fact, The Trojans David Gockley $33,345,806 about in this edition of Behind the Curtain— is the largest production ever presented on the G e n e r a l D i re c t o r from exhilarating productions on stage to War Memorial Opera House stage. Arriving in Contributions** Nicola Luisotti our sixteen shipping containers (the average 48%upcoming simulcast to AT&T Park— M u s i c D i re c t o r is only possible thanks to the continued production arrives in four!), The Trojans generosity of donors like you. Your support features twice as many performers as a regular San Francisco Opera allows this Company to continue to grow main stage opera, including 24 principal artists, Development Department Production & Artistic* Endowment 301 Van Ness Avenue and thrive, and I couldn’t be more grateful 22 dancers and 76% acrobats, 90 chorus members Operating Revenue*** Draw 12% San Francisco, CA 94102 for your dedication and commitment to us. and 98 orchestra musicians. This is a truly 40% gargantuan work, and I hope you won’t miss C O N TA C T U S : With appreciation, this incredible opportunity to experience it here Membership: (415) 565-6416 in San Francisco. EXPENSES REVENUE membership@sfopera.com This edition $ 7 1of, 0Behind 9 4 , 6 2 0 the Curtain focuses on $ 6 9 , 2 9 3 , 2 0 3 Medallion Society: * includes Media and Opera Center does not include unrestricted bequests another first for San Francisco Opera: the**world (415) 565-6401 *** includes $25M ticket sales premiere of Two Women, an opera conceived David Gockley Visit us on the web at: by the powerhouse creative team of composer General Director sfoSAN per a. cFRANCISCO om OPERA 2013–14 SEASON FINANCIAL SUMMARY
C O M PA N Y S P O N S O R S Norby Anderson Ann and Gordon Getty Foundation John A. and Cynthia Fry Gunn EXPENSES Franklin and Catherine Johnson Edmund W. & Jeannik Méquet Littlefield Fund Steven M. Menzies Bernard and Barbro Osher Jan Shrem and Maria Manetti Shrem Phyllis C. Wattis Endowment Funds Diane B. Wilsey SEASON SPONSOR
P H O T O B Y D R E W A LT I Z E R
DEAR FRIEND OF SAN FRANCISCO OPERA
SAN FRANCISCO OPERA 2013–14 SEASON FINANCIAL SUMMARY
In-Kind 1% Individuals 63%
Fundraising 7%
Production & Artistic 76%
Endowment Draw 13%
San Francisco Opera is supported, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund.
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Guild 2% Foundations 23%
Corporations 5%
Administrative 7% Contributed Revenue 50%
Marketing & Box Office 10% CORPORATE PARTNERS
Bequests 4% Government 2%
EXPENSES $74,119,493
Ticket Sales 30%
REVENUE $73,771,249
Other Operating Revenue 7%
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PROFILE
Nadine Sierra stars as Musetta in last fall’s La Bohème.
“This was happening and it was real.” An Interview with Nadine Sierra
She is the youngest winner to date of both the Metropolitan Opera National Council Auditions and the Marilyn Horne Competition and has performed at such opera houses as Teatro di San Carlo in Naples, Seattle Opera and Tel Aviv’s Israeli Opera, to name but a few. Nadine will be returning to San Francisco this summer as Countess Almaviva in John Copley’s popular production of The Marriage of Figaro. All of this success, however, is due in large part to Nadine’s time as an Adler Fellow, according to the soprano. “I hadn’t expected to meet so many people who are he Adler Fellowship made me grow up,” says legends and superstars and yet work with them as artistic Nadine Sierra, “not just as an opera singer and equals. I found myself working harder just to keep up with artist, but as a person.” This growth has been on the standards of such successful professionals,” she recalls. full display in the soprano’s high-profile roles at San Francisco “Even though I had just finished school, I found myself Opera and on the international operatic stage. in this very high-pressure situation, and A native of Florida, Nadine’s company debut as it helped prepare me professionally but, “I hadn’t expected Juliet and Barbara in the 2011 world-premiere more importantly, emotionally,” the soprano production of San Francisco Opera’s Heart of a says. “Being an Adler helped me learn how to meet so many Soldier by Christopher Theofanidis brought her to work with colleagues at all different people who are legends to the immediate attention of operagoers, despite stages of their careers, from fellow young and superstars.” being only twenty-one at the time. She feels that artists to famous operatic superstars. It this production, more than any other of her Adler has also helped me deal with the intense performances, had the most immediate and resonant impact on pressure and expectations involved in this business.” her young and promising career. Sierra asserts that her plunge into the spotlight as an “I was the first person to touch these characters,” Nadine Adler has directly shaped the performer she is today. says of creating the roles of Juliet and Barbara opposite “It elevated my own performance but also showed me baritone Thomas Hampson in the 9/11-inspired opera. “It was that these international stars aren’t gods and goddesses, amazing to me that I was the first Juliet on that stage. It was but real people who are just like the rest of us.” also the first time I performed on that stage! It was a profound Nadine Sierra may not qualify for the designation moment. That was when I realized this wasn’t a dream, or “just like the rest of us” for much longer. Her talent and nightmare,” she says with a laugh. “This was happening and it intelligence are rightfully taking her to the rarified heights was real.” of international operatic stardom. Nadine also impressed San Francisco audiences with her turns as Papagena in The Magic Flute during her time as an To learn more about how you can support the Adler Fellows Adler Fellow and as Musetta in La Bohème earlier this season. program, visit sfopera.com/friendsoftheadlers.
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P H O T O B Y C O R Y W E AV E R
Brian Jadge and Lianna Haroutounian star in last fall’s Tosca.
SAVE THE DATE
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ark your calendar for Opera at the Ballpark on July 3, 2015 at 7:30pm at AT&T Park. Join us for a free performance of Mozart’s beloved opera The Marriage of Figaro, simulcast live from the War Memorial Opera House. This signature event is perfect for the whole family! For best seating and a chance to win A Grand Night at the Opera, register early at sfopera.com/simulcast.
Spring Challenge WILL YOU MEET THE CHALLENGE?
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The funds raised through the Spring hree weeks ago we launched appeal will support every aspect of the our Spring fundraising appeal Company’s activities, from the productions with a goal of raising $500,000 by featured on our main stage to the the end of our fiscal year on July 31. Our classroom visits to Bay efforts received a huge Area public schools “San Francisco Opera is boost when San Francisco Opera Board President one of the most important made by teaching artists as part of our ARIA Keith Geeslin and his wife cultural institutions in education program. Priscilla stepped forward Keith adds: “The with a remarkable offer to the Bay Area.” remarkable breadth of match new and increased programming undertaken by this Company gifts of $75 or more made as part of is only possible because of the generosity the appeal. of our donors and contributors. I am We asked Keith about what inspired him tremendously grateful to everyone who and Priscilla to make such a generous offer. supports this important work.” “San Francisco Opera is one of the most important cultural institutions in the Bay If you are inspired to make a gift to the Area. Prisca and I are honored to support Spring Challenge fundraising appeal, visit the opera and to do whatever we can to sfopera.com/showyourpassion or use the inspire others to do the same,” Keith told us. envelope enclosed with this newsletter. PA G E 4
B EL C A N TO TEA
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ore than 240 in San Francis Legacy Socie Company. To learn mor Mark Jones at (415) 56
B EL C A N TO TEA
PHOTO BY KRISTEN LOKEN
PHOTO BY KRISTEN LOKEN
PHOTO BY EDGAR LEE
OPERA AT THE B A LLPA RK
guests enjoyed last month’s Bel Canto Tea at the Ritz-Carlton sco. This annual event honors the members of the Bel Canto ety who have each made a legacy gift commitment to the re about legacy giving, visit myplanwithsfopera.org or call 65-3206.
Gail Andersen Stark with David Gockley
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Illustrations: Jacobs Illustration
Agnes Chen Brown with Cathy and Howard Moreland
P H O T O B Y C O RY W E AV E R
co n t i n u e d f ro m p ag e 1
as part of the Allied forces. Tutino’s new opera is directly based on Moravia’s original novel. The entire process has been managed by the Company’s Dramaturg, Kip Cranna. “Of the several dozen commissions that I have been involved with, this is the first opera that is not in English,” says Cranna. “Working with a largely European creative team was more complicated than usual, and the way in which the actual piece took shape was also different. Rather than creating a libretto directly from the novel, the composer first wanted a second librettist, Luca Rossi, to write a script with a synopsis, suggested dialogue and even fairly detailed stage directions.”
GIVING
A BIG
THANK YOU TO OUR MONTHLY GIVERS! PA G E 6
Evocative soul When Francesca Zambello was asked to direct the new opera, she immediately agreed. She has known Antonacci since they worked together in Rome, at the beginning of their careers, and is excited to see her in Two Women. “She has a deep evocative soul,” says Zambello. “She is an operatic version of the protagonist. She has that mystery.” Zambello is also enthusiastic about Tutino’s music, which
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PHOTO BY SCOTT WALL
Anna Caterina Antonacci as Cesira
Villain “envelops you in rich vocal sound and With input from David Gockley, the amazing orchestrations,” she says. “Tutino script went through a series of drafts, uses the full palette of the orchestra to from which composer Tutino really give you those raw and lyricist Fabio Ceresa sensations, those powerful, “Tutino uses the eventually created a libretto. complex feelings that are full palette of the present in this work.” The final version included another bright idea by Maestro orchestra to really “We had a run through of Luisotti in the form of a the opera earlier this year, give you those new villain character. This with Nicola singing all the raw sensations.” Giovanni (a baritone, of roles; he has a great voice,” course) only briefly appears says Gockley. “We could in the novel but is introduced in the opera hear how beautiful the music is. It all as a way to condense the drama. adds up to a good story with strong “We also found a co-commissioner in characters and a composer who was able the Teatro Regio in Turin, Italy and more and willing to write beautiful music. I importantly, we engaged a leading lady: wanted an unabashedly beautiful piece.” Italian soprano Anna Caterina Antonacci adds David Gockley. She is in demand in this San Francisco Opera is deeply country and around the world. I expect a lot grateful to the Phyllis C. Wattis Fund of people are curious to see what she does for New Productions for making the with the role of Cesira. And she will also sing the role of Cassandra in three performances production of Two Women possible. of Berlioz’ The Trojans this summer.”
The props crew positions a vintage 1940’s jeep on the set of Two Women. Refurbishing the vehicle required the Opera’s electrics crew to install a new electric system and the final military look was achieved by Dale Haugo, Scenic Artist in Charge.
ast 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 for as long as you wish to continue, providing an easy and efficient way to provide ongoing support for San Francisco Opera. Learn more about monthly giving at sfopera.com/membership or call (415) 565-3212 to become a monthly giver today.
P H O T O B Y D R E W A LT I Z E R
PHOTO BY KRISTEN LOKEN
GIVING
BENEFITS SPOTLIGHT:
BACKSTAGE TOURS
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Why I Give
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ohn Shott is a San Francisco Opera subscriber and contributor, and a member of the Company’s Bel Canto Legacy Society.
John Shott
which I think are just fascinating. There are classes, there are behind the scenes tours. All of those things give you a greater appreciation of the level of excellence required to consistently put on top quality opera.
How did you first discover opera? For a number of years, I had enjoyed a Why did you join the Bel Canto variety of performing arts and had never Legacy Society? attended opera. To be honest, I was a As an engineer and technologist, I’m little intimidated by opera. But when I used to the fact that many technologies attended my first operas, I found it have a very short lifetime. So when just completely magical—great singers, you think about legacy great musicians in the pit, support, you’d rather spectacular costumes and “You don’t have support something that sets. For me, it’s just the to be extremely you think may well be complete package. here for the long haul, wealthy to consider and I believe that opera is Do you have a a legacy donation.” one of those institutions. favorite opera? I also realize that you My favorite opera is don’t have to be extremely wealthy to Verdi’s Il Trovatore. It really takes you on consider a legacy donation. I could a rollercoaster ride of human emotion, support San Francisco Opera in that family intrigue, class difference and the fashion and help ensure that there impact of revenge on the world. I think will be quality opera productions in it’s an amazing story. the years to come. What have you enjoyed about Why I Give is an ongoing series being an Opera donor? of interviews with members of San Being a donor at San Francisco Opera Francisco Opera’s family of generous has opened many opportunities to see supporters. See more interviews at behind the scenes. We’ve been able to sfopera.com/whyIgive. attend a number of dress rehearsals,
urious about what happens behind the scenes at the War Memorial Opera House? Discover the magic that goes into creating an opera production with a backstage tour by a Guild volunteer docent. These fun and informative tours take you through the theater, the backstage dressing rooms, the prompter box, wig and makeup, and much more. Members and subscribers are eligible for up to four discounted tickets. Members at the $750 Supporting Patron level and above are eligible for two complimentary tickets. Tours dates and capacity are limited. Reserve your spot today by calling (415) 551-6353 or visit tour.reserve@gmail.com.
2015 Summer Season Tour Dates and Times Friday, June 12 11:30am, noon and 12:30pm Saturday, June 20 1pm, 1:30pm and 2pm Thursday, June 25 11:30am, noon and 12:30pm Wednesday, July 1 11:30am, noon and 12:30pm
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PHOTO BY KRISTEN LOKEN
Company Happenings PHOTO BY SCOTT WALL
Kindergarteners at Thornhill Elementary in Oakland perform The Great Kapok Tree, a mini-opera they created as part of San Francisco Opera’s ARIA program.
Participants at The Art of Stage Combat Overture Workshop practice their new skills.
PHOTO BY KRISTEN LOKEN
Director of Audience Development Kristen Jones and Production Operations Manager Lee Helms answer audience questions during a Tosca open curtain intermission.
PHOTO BY KRISTEN LOKEN
Resident conductor Giuseppe Finzi conducts a working orchestra rehearsal of La Bohème.
Principal Tuba Zachariah Spellman demonstrates the cimbasso for opera members attending the rehearsal.
San Francisco Opera supernumeraries greet attendees at Barely Opera, an experimental opera event at The Rickshaw Stop.
PHOTO BY KRISTEN LOKEN
The 2014 Adler Fellows take their bows after The Future is Now: Adler Fellows Gala Concert at the Scottish Rite Masonic Center.