B E H I N D
T H E
CURTAIN SUMMER 2018
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 O P E R A S U P P O R T E R S A N D S U B S C R I B E R S
SUMMER 2018 Behind the Curtain is a semi-annual publication for San Francisco Opera supporters and subscribers.
DE AR FRIEN D OF S AN F RAN CISCO OP ERA,
E D I TO R S :
W R I TE R S:
Adam Flowers Jennifer Jordan Joanna Taber DE S I G N :
Janette Cavecche Matthew Shilvock General Director Nicola Luisotti Music Director CO NTAC T U S :
Membership (415) 565-6416 Medallion Society (415) 565-6401 V I S I T US O N T H E WE B AT:
sfopera.com
SEASON SPONSOR
With warmest wishes,
Matthew Shilvock GENERAL DIRECTOR
PHOTO BY ED ANDERSON
COMPANY SPONSORS
The Dolby Family Bertie Bialek Elliott Ann and Gordon Getty John A. and Cynthia Fry Gunn Burgess and Elizabeth Jamieson 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 Barbara A. Wolf
I
n a matter of days we will, together, embark on the journey of a lifetime as the curtain rises on the first of three complete presentations of Wagner’s Ring cycle. Few opera companies can marshal the resources necessary to mount this epic work of art. Thanks to dedicated supporters like you, San Francisco Opera is one such company. Staging a work as monumental as the Ring requires countless hours and hundreds of people. And, while the unparalleled talent in the pit and on the stage this summer will be very much visible and audible, expert craftspeople and artists from across the Company are simultaneously working to ensure the extraordinary finished product you will see on stage. In this issue of Behind the Curtain we go behind the scenes with some of the unsung heroes of our Ring and learn how they bring this titanic work of art to life. Among the many incredible performances we will see with this Ring, one unanticipated one that I’m particularly excited about is Swedish dramatic soprano Iréne Theorin who has stepped in at the last minute as our
P H O T O B Y S I M O N PA U LY
Jennifer Jordan Elizabeth Kuntze
Brünnhilde. She made her debut with us as Turandot in 2011 to great acclaim, and we are very excited to welcome her back to the War Memorial stage. Hers will be an intensely compelling and emotionally consuming performance. Turn to page 6 to discover more about what we have to look forward to when Theorin takes the stage this June. Presenting the Ring is a major accomplishment, and it would not be possible without support from our Ring Circle members, a special group of donors who have provided the financial resources required to stage this important masterpiece. See page 5 to find out what inspired Robert Mison, a longtime donor and subscriber, to become a Ring Circle member. I couldn’t be more proud of the contributions made towards this summer’s Ring by every part of our San Francisco Opera family, from the skilled Company members working behind the scenes to the internationally celebrated artists taking the stage, to the committed supporters who make it all possible. I look forward to making many lasting memories with you this summer as, together, we experience the art form at its most breathtaking.
CORPORATE PARTNERS
San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund
On the cover: 2011 performance of Das Rheingold. Photo by Cory Weaver.
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San Francisco Opera production crew at work on the War Memorial Opera House Stage.
Cast and crew hard at work during a Ring rehearsal.
BEHIND THE
SCENES WITH THE UNSUNG HEROES OF THE RING
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s you enter the North Stage Door of the War Memorial Opera House and show your ID to the smiling and kind Jeff in the security booth, you look up to one of several backstage monitors to see Gunther, Gutrune and Hagen greet Siegfried’s arrival to Gibichung Hall. Götterdämmerung, the final chapter in this epic operatic saga of Norse mythology, is already one hour underway with more than three hours of music to go as you head to the chorus dressing room and get ready for your first entrance. This is grand opera at its grandest, and you are one of hundreds of talented artists and craftspeople who have conspired with great effort to create an extraordinary artistic work of staggering scale. This is Richard Wagner’s Der Ring des Nibelungen (The Ring of the Nibelung). The logistical challenges inherent in successfully producing and performing a 17-hour work spread out over four distinct operas—with 35 roles, full chorus, dozens of supernumeraries and full orchestra— are remarkable. Long before the curtain
opens, the Ring is born in the various artistic and administrative offices of the San Francisco Opera. What is it like to be a part of this towering monument to the potential of the operatic art form? Property Master Lori Harrison, Costume Production Coordinator Manuel Gutierrez
PHOTO BY ED ANDERSON
FUTURE
PHOTO BY KRISTEN LOKEN
BUILDING A
“The rehearsal process for the Ring is unlike any other rehearsal process.” and tenor chorister Adam Flowers (yours truly) offer insights into the experience of bringing Wagner’s masterwork to life for San Francisco Opera audiences. “The rehearsal process for the Ring is unlike any other rehearsal process,” says Harrison, who is responsible for managing all the props in the production, from their removal in storage on Treasure Island until the moment the curtain drops on the final performance of the cycle on July 1. She explains, “Many of the props, including some of the largest and least
Property Master Lori Harrison.
manageable items, are used in more than one of the operas. The rehearsal rooms and schedule are planned as carefully as possible to ensure that each scene that occurs in more than one opera—such as the ‘ring of fire’ scene in which Brünnhilde is put to sleep in Die Walküre, awoken in Siegfried, and from which she springs into action in Götterdämmerung—is rehearsed in the same space. Since each show has c ontinued on p ag e 4
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a different team of directors (Ring director Francesca Zambello and her two associate directors) and stage managers, the space gets used by multiple staff members and performers.” Gutierrez works in the Costume Shop at the Diane B. Wilsey Center for Opera. He notes, “My duties include making sure that all costumes (hats, undergarments, shoes, etc.) leave the building and get checked off of my inventory sheets, then racked to go next door to the Opera House for wardrobe to check in for the run of the show. My job gets easier once the show is up, but I continue to track any costume pieces that come back over for alterations and make sure they return for the next rehearsal or show.” Backstage, one of the Assistant Stage Managers has given us our cue to enter as Hagen sings, “Hoiho! Hoihohoho!” There is a clamor of boots as the chorus of 54 men makes an entrance. My boots look good and fit well, thanks to the talent and skill of Manuel and the Costume Shop. And thanks to Lori’s effort and organization, Hagen’s spear glimmers in the stage lights as he summons his warriors with his bellowing call. In addition to the wall of glorious sound coming from the orchestra pit, those of us on stage can faintly hear the quiet cue calls from the Stage Manager just offstage, a precise but discreet murmur from the prompter’s box and the hum of
Costume Production Coordinator Manuel Gutierrez.
“Those of us who have had the honor of participating in this singular operatic experience are forever changed.” the fans on the gel lights overhead. The audience is dark, but the stage lights cause the gilt facing of the Box balcony to glimmer, along with the glow of the conductor monitors stationed at various points behind the proscenium and out in the house. We begin singing and at that moment it dawns on me that I am a part of this monumental thing. “I love the music in the Ring,” says
Harrison. “When I was a little girl, my father tried to get me interested in opera. I fought it tooth and nail, notwithstanding my love for classical music in general. The Ring, for me, was different from regular opera. I imagined that it was a battle between orchestra and singers, and—in the case of the Ring—the orchestra (in my childish opinion) was usually winning.” In this singer’s opinion, Harrison is right. As incredible as the singing is, the orchestra is the hinge on which the Ring cycle swings. To be wrapped in the sonic embrace of the music emanating from Donald Runnicles’ deftly guided orchestra is the most utterly unique experience I have ever enjoyed as a performer. Der Ring des Nibelungen requires the dedication, patience, artistry and collaboration of every single creative discipline. Those of us who have had the honor of participating in this singular operatic experience are forever changed. When the curtain goes up on June 12, our palpable collective transformation will reach San Francisco Opera audiences and they will become the final component that truly makes this a “total work of art,” unlike any other.
WHY I GIVE
R
obert Mison has been a San Francisco Opera Rainbow Series subscriber and donor since 1992, and currently serves on the board of the Merola Opera Program. This season he is also one of our Ring Circle members, a group of passionate donors whose support is vital to bringing this epic work of art to life on the War Memorial Opera House stage.
How did you first discover opera? My first opera was Carmen for Children at the Met (the Metropolitan Museum of Art) in New York. When I was young, my parents had a subscription to the other Met. Unlike the symphony, opera was an “adult only” event and their nights out gave the art form an air of mystery and maturity. When my sisters and I were older, our parents took us to New York City Opera, and then I saw my first Metropolitan Opera production when I was in college. I started attending San Francisco Opera while in graduate school at UC Berkeley and became a founding member of the BRAVO! CLUB shortly thereafter.
Why is opera important to you today? Opera remains relevant today as a reflection of humanity’s ability to create art, music and extraordinary sensory experiences. Opera is also an intensely social experience—for a few hours, patrons at the War Memorial Opera House share the same musical adventure with over 3,000 friends and neighbors. That we all put away our phones to focus on and appreciate the hard work and artistry happening in the moment on the stage and in the pit has meaning today more than ever.
Do you have a favorite opera? I have favorite genres, composers and singers, but it’s all about how the opera comes together on the night I happen to be in the theater. An opera may not be to my taste on first viewing, but the next time I see it my reaction might be “Wowza!” because all of the ingredients come together to make it a memorable performance.
Learn more about San Francisco Opera’s Ring at sfopera.com/ring.
What do you enjoy most about the Ring cycle in general?
PROP MASTER’S WORKING GUIDE TO
THE SPEARS OF THE RING DAS RHEINGOLD Hickory spear with leaf-shaped double head and carved knobs.
PHOTOS BY CORY WEAVER PA G E 4
Attending the Ring cycle is similar to binge watching a fantasy musical mash-up of Dynasty and The Lord of the Rings—you can’t stop watching the messy drama unfold to beautiful music and chatting with friends and family over “what happened” last night.
SIEGFRIED Rusty old worn and cracked silver spear. Roll-proofed with leaf-shaped double head and metal knobs.
What are you most looking forward to in San Francisco Opera’s Ring cycle this summer?
DIE WALKÜRE Shiny silver spear, roll-proofed, with leaf-shaped double head and metal knobs.
GÖTTERDÄMMERUNG Needle spear only; carried by Hagen. Nothing special. The original Das Rheingold spear on display with horn as “artifact” in wedding scene.
I love being in my seat for the overture to Das Rheingold. The darkened opera house, the extended low E-flat and the slow rise of the curtain revealing the Rhine—together they embody the anticipation of waiting more than a year for the Ring cycle to begin. I get chills every time. I also will be sharing this summer’s Ring with my parents—our second San Francisco Opera Ring together—which is very special. Why I Give is an ongoing series of interviews with members of San Francisco Opera’s family of generous supporters.
What inspired you to become a Ring Circle member? Opera in the U.S. succeeds (or fails) on the support received from the community, and I want opera to succeed in San Francisco. I became a Ring Circle member to show my support for opera and for the arts in San Francisco, and to enable others to experience the joy of the Ring.
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IRÉNE THEORIN PHOTO BY KARIN COOPER
AS OUR NEW BRÜNNHILDE
Theorin as Brünnhilde in Washington National Opera’s Siegfried, 2009.
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Stepping into the role of Brünnhilde for our upcoming mong the cadre of elite dramatic sopranos who regularly presentations of Wagner’s fabled work will be a reunion for perform the challenging roles of the German repertory, Theorin with both Zambello’s production and San Francisco Iréne Theorin is one of the greatest Brünnhildes before Opera. She made her Company debut in the title role of Puccini’s the public today. She performed the role in Vienna State Opera’s Turandot on opening night of the 2011–12 Season. General presentation of the Ring as recently as April 2018 and has won Director Matthew Shilvock notes, “Both acclaim for her commanding portrayal of in her artistry and as a person, Iréne is the heroic Valkyrie on the world’s leading “Iréne brings dramatic extraordinary. As one of the reigning opera stages, including at La Scala and intensity and soaring vocalism Brünnhildes in the world, Iréne brings in Berlin with Barenboim, and in Tokyo, dramatic intensity and soaring vocalism to Budapest, Copenhagen and elsewhere. to everything she does.” everything she does. She will be a thrilling In 2009, Theorin made her Metropolitan Brünnhilde for us and it will be our great Opera debut as Brünnhilde in the privilege to give the American premiere of her full Ring.” company’s final revival of Otto Schenk’s Ring production. She Theorin is poised to join the pantheon of sopranos who have was praised by the New York Times for her “impassioned performed Brünnhilde on the War Memorial Opera House stage intensity and the nobility of her phrasing.” A few weeks after beginning with Kirsten Flagstad in the Company’s first Ring in her performances in Die Walküre and Siegfried at the Met, 1935. The august list also includes Marjorie Lawrence, Helen Theorin again won plaudits as the heroic Valkyrie—“a radiant, Traubel, Astrid Varnay, Gwyneth Jones, Eva Marton, Janis Martin, fearless, golden-haired Brünnhilde” (New York Times)—in Hildegard Behrens, Jane Eaglen, and Theorin’s fellow Swedes, Francesca Zambello’s production of Siegfried at Washington Birgit Nilsson, Berit Lindholm and Nina Stemme. National Opera.
TAKE THE
CHALLENGE! SPRING FUNDRAISING DRIVE
A D VA N C E PRIORITY FOR SINGLE TICKETS
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San Francisco Opera members enjoy advance priority for single ticket purchases to the 2018–19 Season! While individual tickets become available to the general public on Monday, June 25, members are eligible to purchase single tickets beginning Monday, June 11. Call the Box Office at (415) 864-3330 for assistance and keep an eye out for a dedicated email with more information on how you can take advantage of this benefit.
P H O T O B Y C O R Y W E AV E R
MEMBER BENEFITS
Recently we launched our Spring Challenge fundraising drive with a goal of raising $500,000 by the end of our fiscal year on July 31. To help us reach this goal, longtime San Francisco Opera friends Ann and Gordon Getty have stepped forward for the second year in a row with a generous offer to match new and increased gifts made as part of this appeal. Any increase of $75 or more over last year’s gift will be matched dollar for dollar, while any new gift of $75 or more will be matched two-to-one! Take the challenge and double—or triple!—your impact by making a new or increased gift of $75 or more before July 31. Your gift helps support every aspect of the Company’s activities, from staging thrilling productions like this summer’s Ring cycle to providing vital training for the next generation of opera stars in our young artist training programs. Make your gift today to enjoy behind-the-scenes access while supporting the art form you love! Feeling inspired to make a gift to our Spring Challenge fundraising appeal? Visit sfopera.com/donate or use the envelope enclosed with this newsletter.
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C AT C H A R I S I N G S TA R W I T H T H I S Y E A R ’ S
EMERGING STARS
COMPETITION
DAVID PERSHALL
HYE JUNG LEE
MANON
GIRLS OF THE GOLDEN WEST
AURELIA FLORIAN LA TRAVIATA
HELP US CHOOSE THE 2018 EMERGING STAR OF THE YEAR! ELLIE DEHN
RYAN MCKINNY
MANON
GIRLS OF THE GOLDEN WEST
DAVÓNE TINES GIRLS OF THE GOLDEN WEST
RONNITA MILLER THE RING
ATALLA AYAN LA TRAVIATA
JULIA BULLOCK GIRLS OF THE GOLDEN WEST
SOLOMAN HOWARD TURANDOT
For the third year in a row, San Francisco Opera benefactors Jan Shrem and Maria Manetti Shrem are generously sponsoring the Emerging Star of the Year Competition and Award. Established through a multi-year, multi-million dollar gift from the Shrems, the Emerging Stars Fund is supporting the appearance of thirteen thrilling young artists on our stage throughout the 2017–18 Season. These artists include Soloman Howard in Turandot; Atalla Ayan and Aurelia Florian in La Traviata; Ellie Dehn and David Pershall in Manon; Paul Appleby, J’Nai Bridges, Julia Bullock, Hye Jung Lee, Elliot Madore, Ryan McKinny and Davóne Tines in Girls of the Golden West; and Ronnita Miller in this summer’s Ring cycle. You have a role to play this season too! Help choose the 2018 Emerging Star of the Year. Voting opens on July 9 and runs through July 31. Visit sfopera.com/EmergingStars to see performance clips of each artist, and cast your vote for your favorite. Soon after the voting ends, the people’s choice will be announced. In addition to recognition as the 2018 Emerging Star of the Year, the winning artist will be awarded a cash prize by the Shrems.
ELLIOT MADORE
PAUL APPLEBY GIRLS OF THE GOLDEN WEST
GIRLS OF THE GOLDEN WEST
J’NAI BRIDGES GIRLS OF THE GOLDEN WEST
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EVERY ONE OF THESE TALENTS IS A RISING STAR. PREPARE TO CHOOSE YOUR FAVORITE WHEN THE VOTING BEGINS ON JULY 9! PA G E 9
PHOTO BY KRISTEN LOKEN
left: Enjoying a warm cup of cocoa at the HoliBevvies Lounge prior to Christmas with Sol3 Mio.
C O M P A N Y
The 2017 Adler Fellows in concert.
Amitai Pati take the stage at Christmas with Sol3 Mio.
J’Nai Bridges performs in the very first classical music concert ever presented at San Quentin State Prison.
Toni Marie Palmertree performs in the Schwabacher Recital Series at the Diane B. Wilsey Center for Opera.
PHOTO BY TIMMY YUEN
P H O T O B Y M AT T H E W - W A S H B U R N
P H O T O B Y S T E FA N C O H E N
PHOTO BY KRISTEN LOKEN
HAPPENINGS
Pene Pati, Moses Mackay and
PHOTO BY KRISTEN LOKEN
PHOTO BY BOB HEMSTOCK
PHOTO BY KRISTEN LOKEN
below: Donors enjoying the annual Bel Canto Legacy Society Tea at the Ritz Carlton.
San Francisco Opera Teaching Artists train teachers to lead their students through the process of creating mini-operas that will be staged this spring as part of the ARIA Network program.
B E H I N D
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SAN FRANCISCO OPERA
War Memorial Opera House 301 Van Ness Avenue San Francisco, CA 94102
IN THIS ISSUE
The Unsung Heroes of the Ring Iréne Theorin as our new Brünnhilde The 2018 Emerging Star of the Year Competition Why I Give with Ring Circle Member Robert Mison Company Happenings
JUNE 12, 19 AND 26, 2018 11AM–3PM Ring 101
JUNE 14, 21 & 28, 2018 11AM–1PM Ring Symposium
JUNE 14, 21 AND 28, 2018 8PM Wagner Chorus Concert
Taube Atrium Theater
Taube Atrium Theater
Taube Atrium Theater
JUNE 16, 23 & 30, 2018 10AM–3:30PM Ring Forum
SEPTEMBER 7, 2018 5PM Opera Ball 2018
Taube Atrium Theater
War Memorial Opera House
JUNE 14, 21 & 28, 2018 2PM–3:30PM Sing Faster Film Screening
P H O T O B Y D R E W A LT I Z E R
Taube Atrium Theater
PHOTO BY ED ANDERSON
Wilsey Center for Opera
SEPTEMBER 9, 2018 1:30PM Opera in the Park Golden Gate Park
P H O T O B Y C O R Y W E AV E R
JUNE 9, 2018 Ring Community Day
P H O T O B Y M AT T H E W W A S H B U R N
EVENTS
P H O T O B Y S T E FA N C O H E N
UPCOMING
P H O T O B Y C O R Y W E AV E R
And More!