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Curtain S A N F R A NCIS 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 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
Assuring a Strong Future E n d o w m e n t D o n o r s B a r b a r a Wa rd a n d R o y Wo n d e r G i v e i n M a n y Wa y s
“We have to perpetuate this fabulous tradition of opera.” — Barbara Ward
Letter from David Gockley on page two
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hen retired San Francisco Judge Hon. Roy L. Wonder married Barbara Ward in 2007, he brought more than his love and devotion to the union. “He brought symphony tickets!” says Barbara. Likewise, Barbara shared her longtime San Francisco Opera passion and subscription with Roy, turning him into a self-professed “very interested, you could say aggressive, fan of opera.” Barbara and Roy support San Francisco Opera in nearly every possible role. This year, they are sponsoring their second Adler Fellow. Barbara is a charter member of the Medallion Society, which recognizes Opera donors contributing at least $3,000 annually, and a founding member of Opera Action in Marin County. She has served on the Opera’s Board of Directors since 1969.
Many years ago, Barbara wrote a bequest to San Francisco Opera in her will, making her a member of the Bel Canto Society, which honors the Opera’s many legacy donors. More recently, the couple made an endowment gift to the Opera’s future. “We have to perpetuate this fabulous tradition of opera,” Barbara says about the decision to make an endowment gift. “It helps with David Gockley’s long range planning to know that there is financial support behind him. It’s a worthy cause, and it’s the one closest to my heart.” Roy adds, “There are many civic, cultural and charitable organizations to which I donate, but opera is obviously the top of my list. It requires long-range planning to support such an important community activity. It’s not something you can give to one year and then fade away the next and expect it to survive. You have to think well down the road and provide a gift that lives beyond your lifetime whenever possible.” In her youth, Barbara studied piano. Her mother was a pianist who played daily. In her junior year at Mills College, she attended her first live production: Aida at San Francisco Opera. Years later as an opera volunteer, she founded Opera Action in Marin County when General Director Kurt Herbert Adler asked her to help set up an opera preview series. These events featured singers, critics and other prominent opera personalities speaking and introducing upcoming productions. “At my invitation, Jess Thomas, Speight Jenkins, John Rockwell, Robert Weede and others appeared,” Barbara says. In 1958, Barbara began to attend San Francisco Opera with her first husband Edmond (Ned), becoming full subscribers over the years. At first, their tickets were in the last row of the balcony. “Ultimately we improved our seats until we’d sat in nearly every section, and every series over time,” she says. For information about making a legacy gift to San Francisco Opera, contact our planned giving staff at (415) 565-3225 or go to sfopera. planyourlegacy.org
Barbara Ward and Roy Wonder and Adler Fellow Tamara Wapinsky, whom they sponsored in 2008 and 2009. Photo by Kristen Loken
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
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 by the Development Department at San Francisco Opera. If you have any address changes or would prefer not to receive this publication please contact: San Francisco Opera Development Department War Memorial Opera House 301 Van Ness Avenue San Francisco, CA 94102 c o nta c t u s :
General Member: (415) 565-6416
P h o t o b y Te r r e n c e M c C a r t h y
S P R I N G 2 0 1 0 , I ss u e N o . 2
duction, is a demanding feat at any time, but certainly in this current economic climate. In this issue, you will meet our amazing Welcome back to Behind Ring Committee Chairs. Their commitment the Curtain, a publication to this work, their personal generosity, and exclusively for contributors their tireless fundraising efforts are making to San Francisco Opera. I it possible to present director Francesca Zamam pleased to have this opbello’s striking new production next June. portunity to communicate Any opera company with the artistic rewith you, our treasured dosources to mount a Ring must also build a nors, because during times stronger endowment. I am dedicated to seelike these as always, we want to demonstrate to ing San Francisco Opera on track to grow you the many ways that your investment in this our permanent endowment to at least four company makes a meaningful impact. times the size of our operating budget. You In February we announced audited results will meet several legacy donors in this issue, for our Fiscal Year 2009. A winning season, comand I cannot stress enough how important bined with diligent costtheir commitment is to the cutting initiatives by opera future of this company. “Your investment in staff, resulted in a balanced Great artists, young singthis company makes a budget by year-end, with ers in training, family opa slight operating surplus. era movies … Behind the meaningful impact.” (Please see the graphs below.) Curtain continues to show Thankfully, the Opera enjoyed very strong supyou the many ways we are evolving this art port by our loyal family of contributors. form in fresh and exciting directions, while The “Great Recession” will continue to have also building the audiences of the future. an effect on San Francisco Opera, and the next None of this would happen without your few seasons will pose enormous budgeting generous support. Opera is truly an art form challenges. Nevertheless, we are determined to for the entire community. Thank you for meet our community’s expectation that San making this possible. Francisco Opera remain the world-class performing arts institution it has always been. Next summer, we engage in the monumental challenge of presenting three full cycles of Richard Wagner’s The Ring of the Nibelung. David Gockley, General Director Mounting this epic work, especially a new pro-
Donor Benefits Hotline: (415) 551-6308 Medallion Society: (415) 565-6401
SAN FRANCISCO OPERA 2008-09 SEASON FINANCIAL SUMMARY
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
Fundraising 7%
Administrative and General Operations 8% Marketing and Box Office 9%
San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund
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Production & Artistic* 76%
Other 3%
Foundations 14% Contributions** 50%
Se a s o n S p o n s o r
Corporate Partners
Corporations 3%
Government 2%
Operating Revenue*** 40%
EXPENSES $67,806,615
REVENUE $68,222,647
* includes Media and Opera Center
** does not include unrestricted bequests *** includes $24 MM ticket sales
Individual Donors 78% CO N T R I B U T I O N S $34,178,648
Endowment Draw 10%
For more information go to sfopera.com/financegovernance
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Catherine Cook in the
Catherine Cook Enjoys Being Part of Something Big
2008-09 production of Boris Godunov.
Former Adler Fellow Perfects the “Comprimario” Role
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n 2010, I’m celebrating my twentieth anniversary with San Francisco Opera,” notes mezzo-soprano Catherine Cook. “When I arrived here in 1990, I was, uh… twelve years old—the youngest Merolini ever! Yeah, right,” she continues, with a laugh. It’s hard not to be at ease around Cathy, as her friends call her. Her earthy humor—not to mention her talent—have made her a San Francisco Opera favorite. After participating in Merola in 1990 she went on to an Adler Fellowship in 1991 and 1992. She has performed or covered mainstage roles here every year since. “I’m from Chicago,” she says, “but now San Francisco is my home.” “I’ve always been good with the acting,” she Cathy is well known for comprimario roles. As continues. “But I had to build my vocal technique the maid, nurse, or friend, it’s her job not only to from the ground up.” That might explain why perform well, but also to make the lead artists look she has been a successful teacher. She has served good. She has performed over forty such roles with on the faculty of the San Francisco Conservatory San Francisco Opera, as well as companies such of Music since 2006, and was recently named as the Metropolitan Opera and Lyric Opera of Chair of the Voice Department, to start this fall. Chicago. “I always gravitated toward those kinds of “I bring real world experience to the table,” she parts. For me, it was never comments. “It is a huge honor to about being a star,” she Comprimario: A supporting be able to have a hand in building admits. “I just wanted to role in opera, derived from and shaping the department.” be part of something big.” “I love teaching. But,” she the Italian “con primario,” Comprimario artists is quick to point out, “I’m not have to sing as well as the meaning “with the primary.” done performing by any means. big name stars and are One feeds the other.” In 2010, often expected to be better actors. “We have less San Francisco Opera audiences will see Cathy information about our characters compared to reprise two of her most oft-performed roles: the leads,” she observes. “That means we have to Marthe in Faust and Marcellina in The Marriage research ten times more. On top of that, we have to of Figaro. Also upcoming is her Opera Colorabe good listeners—we have to give the leads a lot to do debut as Ježibaba in Rusalka. work with. My favorite assignment so far has to be Her achievements seem to suit her just last year’s Il Trittico. I loved the challenge of doing fine. “I’m living out my dream,” she says with three very different roles on the same night.” a big smile. G r e a t Sin g e r s f u nd p r e s e r v e s t r a diti o n
Learn how you can help keep San Francisco Opera “a singers house” by going to sfopera.com/greatsingers
Adler Fellows in the News Soprano Leah Crocetto, a second-year Adler Fellow, was one of five winners of the Metropolitan Opera’s prestigious National Council Auditions on March 14, 2010. The winners were selected from nine finalists who performed arias with the Met Orchestra. First-year Adler Fellow, mezzo-soprano Maya Lahyani, was also one of the finalists. Nearly 1,500 singers participated in this year’s auditions. Each winner receives a cash prize of $15,000 and even more importantly, the opportunity to launch a major operatic career. Past winners of the Met Auditions include Stephanie Blythe, Renée Fleming, Susan Graham, Nathan Gunn, Ben Heppner, Hei-Kyung Hong, Samuel Ramey, and Deborah Voigt. To learn more about the Adler Fellows Program, please visit sfopera.com/adler. PA G E 3
Photo by Karin Cooper
A H ero i c Un d e r t a k ing
The Ring is the most formidable and costliest work of staged art in modern history— and potentially the most rewarding. Presenting San Francisco Opera’s Ring Requires:
20 principal artists
90 instrumentalists
73 choristers
45 supernumeraries
15 designers and music staff
40 costume, wig, and makeup artisans
50 stagehands, set and costume builders
60 ushers and security personnel
130 administrative staff
80 volunteer board members PA G E 4 PA G E 4
Engineering a Flaming Ring Opera Special Effects Te c h n i c i a n s R e v e a l t h e Secrets of Fire Brünnhilde’s sleep from the San Francisco Opera production of Die Walküre.
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t the end of Die Walküre, Brünnhilde is of sight of the audience. Even the smallest details get cast into a deep sleep and placed in a ring constant scrutiny. For example, for years the Opera of fire. It is the most iconic moment in used propane in its hand-held torches. “However,” Wagner’s Ring Cycle. And it is also one of the most notes Marc, “the Fire Marshal prefers butane because complex to pull off. if someone accidentally drops a torch, it will go out a Just to give you an idea of its complexity, this split-second faster with butane versus propane. We’re summer’s production of Die Walküre will employ flame now looking to retrofit all of our torches.” bars on three sides of Brünnhilde’s perch. Technical “Fire effects that call for a pyrotechnician include Director Marc Scott notes, “Each bar is twelve to hand-held torches and bonfires, even firecrackers and sixteen feet in length and has between fifty photographer’s flash powder,” Marc conand one hundred individual jets. When “Safety is always tinues. “Then there are one-of-a-kind they are ignited, each jet produces up to effects like the ring of fire in Walküre, the primary thirty-six inches of flame.” Soprano Nina and the tree that exploded into flames Stemme, portraying Brünnhilde, will lie in 2007’s Tannhäuser.” consideration.” about fifteen feet from the flames—enough The ring of fire is the most spectacudistance for both safety and comfort. lar fire effect in San Francisco Opera’s Overseeing any fire is the pyrotechnician, a 2011 Ring, but there are others. “In Das Rheingold, we member of the International Alliance of Theatrical employ flame bars and a gerb [a kind of firework that Stage Employees, local 16—one of San Francisproduces a shower of sparks],” Marc says. co Opera’s partner unions. “Aside from a lot of “Whatever is needed, we’ll make sure it’s both training, there’s a licensing structure based on impressive and safe.” experience,” notes Marc. “You have to log so many hours to advance. Our pyrotechnician has a theatrical rating. Only in movies are pyrotechnicians required to have a higher classification.” The process of bringing fire to the stage is involved. “We take what the director and designers want and then demonstrate it for the city’s Fire Marshal at the Scene Shop,” Marc says. “The marshal can order modifications, like having set pieces treated with retardant or even restaging scenes so that performers are further from the flames. Every time we have a fire on stage and the public is present, we must have a permit.” To lear n more about San Safety is always the primary consideration. A production with fire effects typically employs two Francisco’s production of pyrotechnicians. When the fire actually takes place, the Ring of the Nibelung, other crew members serve as firewatchers. Armed visit sfopera.com/ring with extinguishers, they stand in the wings, just out
J O I N T H E R I N G Ci r c le
Committee Chairs Are Heroes of the Ring
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Photo by Karin Cooper
something more to learn.” o build its 2011 Ring cycle, San Fran Often, the experience of the Ring is a watercisco Opera is extremely fortunate to have shed moment. “There is a never-ending sense of the participation of three heroes, Ring discovery,” says Nick Graves. Kristina Flanagan Circle Chairs Kristina Flanagan, Mary and adds, “I was afraid of the Ring, so have only seen it Nicholas Graves, and Betty and Jack Schafer. once. But to my surprise those Chosen as chairs because of eighteen hours evaporated and their passion for Wagner’s Ring, “The more you at the end I wanted more!” Flanagan, Graves, and Schafer support the Ring, the All agree that Francesca are dedicated to bringing this epic series of operas to the War more access you have Zambello’s production—which draws on the history and Memorial Opera House stage. to its development.” legends of the United States— They are also committed to seewill be unlike any they have ing that this monumental new ever seen. Kristina states, “Concept pieces are production has sufficient funding. Each chair has common, and traditional productions are demonstrated extraordinary generosity by making often predictable. But to craft a production a major Ring production sponsorship gift. that speaks to who we are today… that takes In addition, Flanagan, Graves and Schafer real insight. Francesca has a way of getting to are working to recruit new members to the Ring you without battering you with a concept.” Circle, an exclusive group of San Francisco Opera’s The Ring Circle offers its members a rare most committed Ring patrons. Circle members glimpse into everything that goes into producing have made a special Ring-designated contribution the monumental work. “Francesca has been of at least $5,000 above their annual gifts, in order generous with her time,” says Nick. “So have to enjoy exclusive benefits and behind-the-scenes David Gockley and other staff members.” Kristina opportunities. Ring Circle members also enjoy adds, “The more you support the Ring, the more the tremendous satisfaction of knowing they play access you have to its development.” an important role in bringing this epic new San But there are other reasons to join the Ring Francisco Opera production to life. Circle. “This is the first time my wife and I have “Every opera company aspires to present sponsored a production,” notes Jack. “For us, it’s a the Ring,” notes Jack Schafer. “The rewards are financial stretch. But it’s important that our Ring great. It’s like peeling an onion. There’s always comes in with the support of the community.” Kristina echoes the thought: “I don’t have unlimited resources. But I’ve never in my life spent a wiser dollar, and never gotten more enjoyment out of anything I’ve spent money on. It’s opened up an entire world to me, and what a world! In that respect, it’s a bargain.” Kristina offers useful advice for anyone coming to the production. “Plan for the Ring like you would plan for a vacation to an exotic place and go,” she says. “Find a way to contribute because you will not be disappointed.” Nick adds, “[Maestro] Luisotti once said that doing as perfect a performance as possible, doing it today, is the only real way to make sure that the art form is perpetually alive. I think that’s right. To be part of the effort to make this Ring wonderful is extraordinary.”
Enjoy an Insider’s view of the Ring Make a contribution of $5,000 or more to the Ring, and you become a member of the Ring Circle, an exclusive group of the Opera’s most dedicated Ring enthusiasts. Ring Circle members enjoy: • Improved seating priority • Private events with General Director David Gockley and artists • Deeper insights into this complex epic • Access to production and artistic staff behind the scenes • Lifelong friendships with fellow Ring lovers from around the world For more information about the Ring Circle please visit us on the web at sfopera.com/ ring/support. To join, contact Marissa Axell at (415) 551-6239 or by email at maxell@sfopera.com. PA G E 5
P h o t o b y Te r r e n c e M c C a r t h y
Ring Committee Helps Assure Monumental New Production
Season Sponsor Wells Fargo Sharing Love of O p e r a , t h e C i t y, and our Mutual “Golden West”
Wells Fargo’s Executive Vice President and Regional President for California Banking, Lisa Stevens.
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or over 30 years, Wells Fargo has supported San Francisco Opera in a variety of ways, from serving as the official bank of the opera, to sponsoring our educational outreach programs, to providing volunteers to hold positions on our board. This 200910 season — the bank’s seventh as its Corporate Season Sponsor — the Opera will be producing The Girl of the Golden West, which features a Wells Fargo agent as one of the characters. We sat down with Wells Fargo’s Executive Vice President and Regional President for California Banking, Lisa Stevens, to discuss the ways we have interacted over the years. San Francisco Opera: What keeps Wells Fargo involved with the Opera? Lisa Stevens: Both Wells Fargo and the San Francisco Opera are part of the Bay Area’s history. In addition to providing financial and
Become a Corporate Sponsor
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volunteer support, our team members attend events and we bring our customers to performances. We like to help the Opera reach out to diverse groups of people like the simulcast at AT&T Park and the outreach programs to schools throughout the Bay Area that introduce opera to children. Wells Fargo is proud to support these programs. SFO: Will the Wells Fargo Stagecoach join the cast of The Girl of the Golden West? LS: Unfortunately, no. We tried to get the stagecoach involved in the production but the problem is if you do it in one place you have to do it everywhere, and the travel of the stagecoach to foreign lands is pretty challenging. But we are excited to be supporting a season that includes an opera based on the history of the Gold Rush. Wells Fargo was founded in California and we are the only major financial institution headquartered in the state. “We like to help SFO: What do you love most the Opera reach about opera? LS: When I was a girl, my out to diverse dad made my brothers and me groups of people.” listen to opera every Sunday night. After an hour or so, we’d be getting ready for bed and my dad would put on those big fluffy earphones on the long cord and sit in a chair. We would watch him wave his arms to the music. When my father was a student at University of San Francisco, Pavarotti sang at the Opera for the first time. My dad, who was putting himself through school, went to the opera house with only eight dollars. It wasn’t enough to buy a ticket, but after the performance started, they let him in. I think they could tell he loved opera. So, I personally have 40 years of history with San Francisco Opera and firsthand experience of it being available for everyone. SFO: What initiatives or programs do you hope to see at San Francisco Opera in the future? LS: I would like to see San Francisco Opera continue its legacy of reaching out to the widest possible audience, like it did with the free simulcasts at AT&T Park. What’s been done under the leadership of David Gockley to expose the next generation to opera in creative ways is extraordinary. When people have the opportunity to listen to music, when they experience how opera accentuates and exaggerates the emotions of life, it’s phenomenal.
an Francisco Opera offers many corporate sponsorship opportunities. Build brand awareness, provide clients with special entertainment opportunities, and increase employee engagement, all while your company receives local, regional, and national exposure. Whether you choose to sponsor a mainstage performance, a free outdoor concert or simulcast or a unique education initiative, our 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, contact Kelly Montevago, Director of Corporate Giving at (415) 551-6208 or visit us at sfopera.com/corporategiving.
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Mozart’s Magic Flute For Families-The Movie! Born and raised in Stockton, Pat traveled around the world and then settled in San Francisco in the 1970s, where he raised a family and worked for Chevron. “I was lucky,” he says. “Chevron had a box. Not too many senior people wanted to go at that time, so I got to see three operas a season.” Currently retired, Pat and his wife Cecilia frequent The Met: Live in HD series at their local movie theater. Unfortunately health issues prevent Cecilia from going to live performances Families enjoy the movie version of Mozart’s Magic Flute. in San Francisco, but Pat still drives to P h ot o b y Kri ste n L oke n the City to attend a San Francisco Opera production once or twice a season. “At five years old, listening to opera on the radio – those were simpler times. Back an Francisco Opera Medallion Society in the 40s, there was no TV. Opera helped me to member Patrick Hobin has been a dedevelop my imagination. If I could come back, voted opera fan for 67 years. I’d be a conductor.” So it seemed natural for San Francisco Opera plans Pat to come from Stockton “Opera helped me to to show another all-ages with his children and grandchildren last November to see develop my imagination.” film, The Elixir of Love for Families, in Winter, 2011. the free screening of Mozart’s The Elixir of Love for Families and The Magic Magic Flute for Families - The Movie! The Flute for Families are shown in Bay Area schools one-hour film of the 2007 production of The as part of San Francisco Opera’s educational Magic Flute for Families was specially shortened programming. Visit sfopera.com/edmaterials for and narrated for children. more information. “I thought it would be a nice opportunity to interest my grandchildren in good music and opera. My daughters know how much I love opera and they try to pass that on. ‘Grandpa really loves this, so be good! It makes him happy!’” His four grandchildren who attended the movie range in age from 7 down to 3. “This was their first time. Their parents don’t listen to opera at home. So it was a new experience for them.” “We had dinner with the 6-year-old at her house recently. After the movie, my wife had bought her two singing opera bears from the catalog. One is dressed as Escamillo and sings the ‘Toreador’ song from Carmen, the other is Violetta singing ‘Sempre Libera’ from La Traviata. My granddaughter took me to the Children learn to love opera at Mozart’s window box in her room where she keeps Magic Flute for Families - The Movie. them and played both at the same time. She P hot o b y Kr i s t e n Lok e n likes how they sound together.”
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Photo by Kristen Loken
F a m i l i e s Tr a v e l t h e D i s t a n c e f o r P o p u l a r F r e e E v e n t
Leave Your Legacy San Francisco Opera subscriber and donor Barbara Jackson created a named endowment fund through her living trust that will provide a permanent source of support for the Adler Fellowship Program. “It’s gratifying to know that my gift will ensure a steady flow of outstanding new singers who will continue to breathe life into the glorious music at San Francisco Opera and beyond.” For information, about legacy giving at the Opera, call (415) 565-3225 or go to sfopera.plan yourlegacy.org PA G E 7
upcoming events
Recent Event Highlights
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Corporate Leadership Dinner Corporate Council Members 6 p m – T h e Pa y n e Ma n s i o n A p r il 2 9 th , 2 0 1 0
Bel Canto Society Tea Bel Canto Society Members 2pm – The Green Room, Veterans Building
c a r o l a nd s
Bruce Hyman mingles with Ben and Marina Nelson at the Carolands in Hillsborough in October 2009.
M a y 2 nd , 2 0 1 0
Radio broadcast of The Abduction from the Seraglio by Wolfgang Amadeus Mozart 8 p m – Yo u r r a di o o n K D F C 1 0 2 .1
Adle r GA L A
Board member Kristina Flanagan with Adler Fellow Kenneth Kellogg, whom she sponsored in 2008 and 2009.
M a y 6 th , 2 0 1 0
P re s i d ent’s Dinner Do n o r s $ 1 0 ,0 0 0 + Ri t z C ar l t o n
MAY 9 th , 2 0 1 0
Madama Butterfly in HD 2pm – The Red Vic Movie House, Sa n F r an ci sco
M a y 2 7 th , 2 0 1 0
F l u te f o r f a m ilie s
Children learn to love opera at Mozart’s Magic Flute for Families - The Movie!
P h o t o b y Te r r e n c e M c C a r t h y
s p i r it o f the o p e r a
Susan Anderson-Norby is presented the Spirit of the Opera Award for her longtime commitment to San Francisco Opera at the 2010 Medallion Society Luncheon.
F a u s t S t a g e d O rc h e s t r a Rehearsal B e l C a n t o So c ie t y M e m b er s 6 p m - Wa r Me m o r i a l O per a H o u se C a r o l a nd s
Soprano Diana Damrau performs at a donor event at the Carolands in Hillsborough.
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Faust Final Dress Rehearsal – Donors $750+ 2pm – War Memorial Opera House J u ne 2 nd , 2 0 1 0
Opera Guild Insight Panel The Girl of the Golden West – Donors $75+ 6pm – Herbst Theatre, Veterans Building Med a lli o n S o c iet y
Jane Burkhard, Chandra Rigg, Cari Sullivan and Dianne Taube enjoy themselves at the 2010 Medallion Society Luncheon.
J u ne 4 th , 2 0 1 0
The Girl of the Golden West Final Dress Rehearsal – Donors $7,500+ 2pm – War Memorial Opera House J u ne 6 th , 2 0 1 0
Die Walküre Final Dress Rehearsal – Donors $7,500+ 6pm – War Memorial Opera House Event photos by Dre w A ltize r, K r iste n L ok e n a n d P a t J oh n son
Membership events are subject to change. Go to calendar at sfopera.com for updates.
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Opera Guild Insight Panel Die Walküre – Donors $75+ 6pm – Herbst Theatre, Veterans Building