Vo l u m e I V • W i n t e r 2 0 1 4
Curtain S A N F R A N C I S C O OPER A
B E H I N D
T H E
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
“Whatever You Can Do” Longtime Donor Jim Heagy Thinks All Giving is Significant
the future so talent has a place to sing.” – Jim Heagy
photo by Betsey Kershner
“Invest in
Jim’s involvement with the company steadily increased. “The Opera Guild recruited my wife but she said, ‘No, take him.’” Jim has been one of the few male members of the Guild ever since. Since then, Jim has continued to serve San Francisco Opera in a dozen different ways, large and small. He picks up artists at the airport. He volunteers backstage in the canteen during performances, working countless coffee services. Jim also serves on the Guild’s Education Council. He has become so well known for providing refreshments for High School Night at the Opera that he received James Heagy and the ‘Cookie Monster Award’.” Leah Crocetto. Perhaps most impressive, Jim has become a great friend to San Francisco Opera’s young artists, both f all the people who go above and beyond Merolini and Adler Fellows—“the kids,” he calls to support San Francisco Opera, James (Jim) them. “I’ve seen firsthand how some kids don’t make Heagy stands out. it because they don’t get enough support.” Jim has His love of music started early. His mother played stepped up to meet a variety of their needs. classical flute and piano jazz. His father played After his wife passed, Jim opened his own home to oboe and English horn and oversaw music eduyoung artists. It is now known as the “Heagy Hotel.” cation for Fresno public schools. “I have room, and these kids need “Jayne still guides When it came time to choose an a place to stay. Sometimes it’s a instrument, Jim chose the cello beme to do something juggling act to fit everyone in.” He cause “it had the nicest tone and adds, “I’ve never had more than worthwhile.” you can eat while you play.” seven or eight kids here at a time.” Music brought together Jim and his late wife, Jayne, Jim has also included the Opera in his estate plans while students at Fresno State College. She was also a through his membership in the Bel Canto Society. cellist, and their first dates consisted of playing duets. Where does he get the energy? “I’m retired! What The newly married couple moved to San Franciselse am I going to do?” Whenever the company calls co where Jim got a job as a chemist. “I was in the ilon Jim, he answers. But Jim also asks. “I’m always legal drug business for twenty-nine years. But it was telling people to donate. When my house is full, I OK because I worked for the federal government.” talk a friend into hosting some kids. I tell everyone Looking for some kind of adventure, Jim’s wife to make a legacy gift through the Bel Canto Society.” started ushering at the Opera House and talked him And when his kids ask what they can do for him, into it. “It was the one time we could get dressed up.” he says “when you can afford it, make a donation They ushered for nine years. Eventually, they tired to the Opera in memory of Jayne, even if it is only of sitting on the steps in the Dress Circle. They de$100. She’s the one that should get the credit.” scribed their first seats as “way back in the second On advancing the Opera’s mission, Jim’s philosorow of the orchestra section.” phy is simple: “Give whatever you can afford.”
O
Letter from David Gockley on page two
WINTER 2014, Issue No. 9
Behind the Curtain is a publication for contributors to San Francisco Opera.
E ditors:
E liz a b e t h H o u n s h ell J u d it h F r a n k e l w riter:
Mark Hernandez w w w. b l a z in g s t a g e . co m de sig n:
J a n e t t e C a v e cc h e w w w.c a v e c c h e g r a p h i c s.c o m
David Gockley G e n e r a l D ire c t o r Nicola Luisotti Mu s ic D ire c t o r Behind the Curtain is published semiannually by the Development Department at San Francisco Opera. If you have any address changes or would prefer not to receive this publication please contact: San Francisco Opera Development Department 301 Van Ness Avenue San Francisco, CA 94102 c o nta c t u s :
General Member: (415) 565-6416 Medallion Society Information: (415) 565-6401
Grand operas and good friends take the spotlight in this issue of Behind the Curtain. If you’ve looked at what’s upcoming in 2014 and 2015, I hope you noticed a return to the kind of grandeur expected from a company like San Francisco Opera. Anyone reading my columns, and coming to our annual meeting, has heard about steps taken in recent years to keep San Francisco Opera fiscally healthy in light of economic uncertainties. Since 2008, times have been challenging for many performing arts companies. And thanks to increased giving by many dedicated donors, and judicious cuts in our operating budget, San Francisco Opera weathered the storm without unduly sacrificing artistic quality. But starting this season, I am pleased to say, we journey back to our roots as a grand opera company with a capital G. Last fall, Mephistopheles reminded everyone what happens when a massive chorus mixes with an epic orchestra—in the pit and elsewhere in the house—with some extra seasoning from a colorful dance sequence. Throw in worldclass singing, a witches’ Sabbath, and an appearance by Helen of Troy, and you’ve got San Francisco Opera back on track to thrill audi-
Photo by Terrence McCarthy
Dear Friend of San Francisco Opera
ences in the grand opera tradition. Before you think we’re going on a spending spree, let me say that we have received generous board challenge gifts to support two large upcoming productions, Show Boat and The Trojans. But we are also adding back epic works because we heard from people that recent seasons were starting to feel, frankly, a little skinny. We are also increasing to ten operas next season. This issue of Behind the Curtain looks at what it takes to put a spectacular work on our stage, from training “big voice” singers to staging gargantuan sets in a repertory house. We looked through our archives and share some history on grand operas done here—like Meyerbeer’s L’Africaine and a little 20th century work called War and Peace. Finally, we pay tribute to a donor who has given generously to make our work possible. Jim Heagy is the ultimate benefactor to San Francisco Opera. He exemplifies the kind of selfless devotion to the art form that keeps me coming to work every day.
David Gockley G eneral D irector
Donor Benefits Hotline: (415) 551-6308 membership@sfopera.com Visit us on the web at:
sfo per a. c o m 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 Franklin and Catherine Johnson Edmund W. and Jeannik Méquet Littlefield Fund Bernard and Barbro Osher Jan Shrem and Maria Manetti Shrem Diane B. Wilsey Se a s o n S p o n s o r
Corporate Partners
San Francisco Opera is supported, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund
PA G E 2
BE A STAR
L e av e S a n F r a n c i s c o O p e r a a L e g a c y
“Our charitable remainder trust was a great way to convert highly appreciated assets into regular income for us without paying capital gains taxes. When our trust is added to the Opera Endowment, it will commemorate our longtime mutual involvement and continue our support after we are both gone.” — Jim and the late Jayne Heagy Join Jim and more than 500 Bel Canto Society members to provide a strong future for San Francisco Opera. For more information, contact Mark Jones, Director of Legacy Giving, at (415) 565-3206 or mjones@sfopera.com
p r o file
Embracing the Dramatic An Interview with Daveda Karanas
she says. “But there’s something about the Italian repertoire, self-discovery especially Verdi. I can’t explain it. through music.” Maybe it’s the Greek in me. I’m drawn to that Mediterranean feel.” Her excitement about The Trojans is palpable. “Talk about Greek tragedy! I covered Cassandra at the Met, and that was good preparation. At San Francisco, I get to dive into the role completely.” First up, though, is Norma. “The vocal demands are different, but my technical approach is the same. The real challenge is shifting emotional gears.” Indeed, Daveda is exacting about character preparation. “The roles I play could be one-dimensional. I want to make them human. My approach is super organized. You should see my scores. They are completely marked up.” She is looking forward to her time in San Francisco for other reasons as well. “Many of my friends work for the company, and it will be like a family reunion. Plus, I’ve caught the running bug, and I’d love to do the Bay to Breakers!”
Photo by Betsey Kershner
“I always loved
Daveda Karanas
“I
f I had been born with a light voice, I’d go crazy,” Daveda Karanas declares with a laugh. “Melancholy has always enticed me, and that usually means heavier, more serious repertoire.” Thankfully, Daveda was blessed with a large, burnished mezzosoprano. It is ideal for the roles that speak to her, including two she will do for the first time on the War Memorial stage: Adalgisa in Norma and Cassandra in The Trojans. Daveda grew up “way out in the country” in Louisiana. “It was pretty isolated,” she says. “I had a lot of time for self-reflection. My family is Greek, and we often listened to folk music that was sad and comforting at the same time. Even when it came to movies and television, I gravitated to things that made you think.” She seemed destined for the stage. “I was always performing for my family, making up plays and routines,” she remembers. “I sang in choirs. I was always the loudest and the tallest! But even then, I always loved self-discovery through music.” When it came time for college, Daveda was pragmatic. “My parents own a business and I saw what it took. I approached singing with the same sense, researching programs that I knew could benefit me.” She chose Southeastern Louisiana University for undergraduate study. “My teacher there knew big voices. Still, she always told me I was a bull in a china shop.” Then it was on to Arizona State University. “When I arrived, I didn’t have high notes. In fact, I couldn’t sing above the staff until I was 24.” “By the time I got to the Opera Center, I had a grasp of my technique,” Daveda says. “But Merola polished me, and the Adler program took me even further. Merola was a kind of boot camp, and the Adler Fellowship was more about one-on-one work.” It wasn’t long before she got her first mainstage assignments, notably as Waltraute and Second Norn in the 2011 Ring. She has gone on to opera houses around the world. “I sing a lot of Wagner,”
FORMER ADLER FELLOWS
IN THE NEWS
Here are recent stage sightings of notable Adler Fellow Program graduates, who will return to our stage soon: Nadine Sierra continues to receive critical acclaim as Gilda in Rigoletto, performing the role with Florida Grand Opera, Seattle Opera and in March with Boston Lyric Opera. She returns to our stage this fall as Musetta in La Bohème. n
Daniela Mack recently competed in the BBC Cardiff Singer of the World Finals, and “revealed a virtuoso technique second to none” (The Guardian). Following her bravura turn as Rosina last fall in Barber of Seville, she returns here this fall as Rosmira in Partenope. n
Patricia Racette recently released her debut solo album, Diva on Detour, and returns here this summer as Julie La Verne in Show Boat and Cio-Cio San in Madama Butterfly. n
To learn more about the Adler Fellows Program, including information on how to sponsor a young artist, please visit sfopera.com/adler. PA G E 3
Saint Francis of Assisi (2002)
Grand Opera in San Francisco Getting Back to Spectacular at the War Memorial Opera House
I
Audiences also expect extraordinary production values in a grand opera. For the spectacle that aficionados appreciate, a grand work may use fire, live animals, aerial feats, simulated weather, elaborate costumes and, in more recent years, sophisticated video projections. “For many people, a good night at the opera means a life-changing, goosefleshraising experience,” General Director David Gockley says. “Works done in the grand opera tradition can really lift people off their seats.” Photo by Larry Merkle
n the coming year, we present several larger-than-life operas that will showcase the talents of our full music staff and production team. They will also feature some of the greatest singers of our day. A Masked Ball, The Trojans, and last fall’s Mephistopheles follow a long tradition of grand opera in San Francisco. The term “grand opera” historically applies to any opera that involves a large orchestra, a big chorus, and a ballet or dance corps. Musical forces for a true grand opera can be immense. A wall of sound is essential.
“San Francisco Opera has been one of the few companies in the world that can do this style of opera,” he continues. “We know how to make opera that fires on all cylinders.” But isn’t old-fashioned grand opera too expensive to produce these days? In reality, large-scale operas now are nearly always co-produced by several large companies. “Almost no company could afford to produce Mephistopheles from scratch anymore,” David says. “We partnered with the Met to share the costs of reviving this marvel.” This summer’s massive Show Boat is co-produced with Houston, Chicago and Washington DC. Next summer, The Trojans—co-produced with Royal Opera Covent Garden, Vienna Staatsoper and La Scala—will be the largest production ever staged at San Francisco Opera. In anticipation of this gargantuan work, we thought it would be interesting to look at other huge productions the company has done through the years.
William Tell (Rossini)
Don Carlos (2003) PA G E 4
When San Francisco Opera last staged William Tell in 1997, the cast included some familiar names, including Anthony Dean Griffey, John Relyea and Patricia Racette. It also included fourteen dancers; an archery
Photo by Marty Sohl
L’Africaine (Meyerbeer)
countless supernumeraries.
Don Carlos (Verdi)
Saint Francis of Assisi (Messiaen) San Francisco Opera gave this work its U.S. stage premiere in 2002. Olivier Messiaen had never written an opera, nor had he even attended an opera! But at the urging of French President Georges Pompidou, he wrote a massive musical meditation on the Mephistopheles (2013)
Verdi’s Don Carlo is usually performed in its shortened, revised version as a four-act Italian opera, but it was actually written for Paris as a sprawling five-act French “grand opéra.” San Francisco Opera first performed the origial version of this French masterpiece in 1986, featuring the great Pilar Lorengar as Elisabeth de Valois. With a ballet and amply populated autoda-fé scene, this is one of the most familiar of all grand operas. For many opera-goers, it is also Verdi’s musical high-water mark.
War and Peace (Prokofiev) With thirteen scenes and an epigraph, this grand 20th-century opera had a single run at San Francisco Opera in the fall of 1991. Over seventy characters are listed in the libretto, based on the novel by Leo Tolstoy. Our cast included a fine selection of Adler Fellows from that era, including Ann Panagulias, Philip Skinner, Patricia Racette and Catherine Cook. An army of
supernumeraries and dancers were also on hand to perform the New Year’s Eve ball scene and depict the ravages of the Napoleonic War. This production marked the American opera debut of Russian conductor Valery Gergiev. Photo by C. Mason Jones
As Vasco da Gama, Plácido Domingo shared the deck with Ruth Ann Swensen William Tell (1997) and Shirley Verrett in 1988, when this epic last hit our stage. Meyerbeer’s original work morphed from various story concepts, life of Saint Francis. Much of the opera’s settling on the 16th century Portuguese five-hour running time was devoted to slave trade. Atlantic storms, a shipwreck, orchestral music, including instrumental the Spanish Inquisition, and a Brahmin transcriptions of birdsong. temple roll together into As the ultimate expression “Works done in the a complicated libretto and of Messiaen’s Catholic faith, score demanding ample grand opera tradition Saint Francis required 110 musical resources to conmusicians, pushing the limits can really lift people vey exotic couleur locale. In of our orchestra pit; a tenfive acts, a weighty chorus off their seats.” part150-voice chorus; and frequently commands the some of our first-ever video projections. stage, along with sixteen dancers and
Photo by Cory Weaver
Photo by Marty Sohl
consultant; and forty-four supernumeraries serving as knights, hunters, ladies, soldiers and guards. It took several companies to build this massive work. Sets were constructed in our San Francisco scene shop, costumes shipped from Covent Garden. But can’t we still imagine our orchestra leaning into that thrilling overture?
L’Africaine (1988)
I Vespri Siciliani (Verdi) Another Verdi opera written originally for Paris, this work has nearly vanished from the repertory, given its length, complexity and high production costs. Sicilian Vespers has only been produced once in San Francisco Opera’s 92-year history, as the opening opera for 1993-94 season. Carol Vaness debuted in the role of Elena, and the memorable James Morris also appeared. With a full chorus and eighteen supernumeraries, the production featured elaborate street scenes, a long ballet, a wedding, and a choral tableau typical of French grand opera. The great conductor Charles Mackerras led our orchestra. PA G E 5
p r o d u c ti o n
Twice As Big W h a t I t Ta k e s t o G e t T h e Tr o j a n s O n s t a g e
T
he Trojans, the major work by example, we had to shorten the set about Hector Berlioz coming to the War five feet compared to Covent Garden, Memorial Opera House stage next but that was taken into consideration summer, has been likened to a mythical during the design process. The alteration beast. It’s called “the greatest opera that was relatively easy.” few will have ever seen.” As the excitement builds, Erik is looking The reason? It’s big—an epic story that forward to one thing above all: “Handing demands an epic production. off this assignment to my assistant,” he Fortunately, Technical Director Erik Walsays laughing. “Seriously, just mounting stad knows all about big, The Trojans will take “Seriously, just mounting having spent seven years everything we’ve got. mounting major shows in But having to produce it The Trojans will take Las Vegas. “The Trojans is in repertory is as much roughly twice as big as of a challenge.” everything we’ve got.” most opera productions,” Indeed, The Trojans is he says. “We’ll need about twice as many but one of three operas scheduled for the stagehands and twice as many days of summer of 2015, along with The Marriage technical rehearsals.” of Figaro and our world premiere, Two The set pieces are so big that they will Women. “We have to figure out how to fill the stage “as far as you can see into the fit all three sets into the space we have,” wings,” Erik says. “We have not one but Erik says. “The footprint of the Trojans set two large figures, both of which move: the alone is as big as the ‘patch’ [the storage Trojan horse and a 25-foot tall mechanical space behind the stage in the opera house]. man. On top of that, we have three major Figaro is sizable, but we’ve done it before, fire effects.” so it’s a known quantity.” The production is shared with Royal That leaves Two Women. As a brand new Opera Covent Garden, Vienna Staatsoper, work, it receives a new production. “The and La Scala. “It was designed to meet design—how it can be taken apart and the specs of each house,” Erik says. “For stored—will have to take into account PA G E 6
Ta k e the T r o j a n s Ch
S
an Francisco Opera has received an extraordinary $1 million challenge gift from a generous member of our board of directors for The Trojans. This grand opera by Hector Berlioz appears on our stage summer of 2015. It will be the largest production in the history of the company. “It takes a company with deep pockets to present The Trojans, in this stunning new production direct-
P h o t o b y S c o t t W a ll
P h o t o b y Bill C o o p e r / R o ya l O p e r a H o u s e , C o v e n t G a r d e n
P h o t o b y Bill C o o p e r / R o ya l O p e r a H o u s e , C o v e n t G a r d e n
our limited backstage area,” Erik says. “It’s like a great big puzzle. We’ll be stacking pieces. Some things may have to live outside. Keeping track of everything will be amazing.” “Spectacle makes for grand opera,” Erik says. Revealing the soul of an opera lover, he adds, “Spectacle is good as long as it supports singers, enabling them to give their best performances. From what you will see to what you will hear, we are one of the few companies in the world who can do something like this.” For more information about The Trojans, go to sfopera.com and read all about our epic 2014-15 season.
Fire effects in The Trojans
Ch a llen g e ed by David McVicar,” says David Gockley. “Our challenge donor promises a dollar-for-dollar match on significant incremental gifts in support of The Trojans. For that, I am deeply grateful.” If you are interested in helping us meet our challenge for The Trojans, contact Andrew Morgan, Director of Leadership Giving, at (415) 5653266 or amorgan@sfopera.com.
The Heart of Singing S h e r i G r e e n a w a l d Ta l k s V o i c e s Sheri Greenawald works with Adler Fellow Erin Johnson
T
he young singers that come mishandled,” she explains. out of the San Francisco Opera “In high school choir, for example, Center are as renowned for their singers with bigger voices tend to stick preparedness and longevity as their out, so they often find themselves wrongly artistry. It is no accident. categorized as a lower voice type. That’s “We are dogged about good technique,” one reason why it’s not uncommon for says Sheri Greenawald, Director of the dramatic sopranos and tenors to start out Opera Center, which includes both the as mezzos and baritones.” Merola and Adler Fellows “I’m particularly proud of programs. “Our singers are how we’ve nurtured bigger “Bigger voices ready not just for careers, voices,” Sheri remarks. “It come in bigger but long careers.” takes time and patience.” packages: chests, Employing the best of Local audiences are often tradition, “we strive to make the first to experience the heads, shoulders.” each voice as technically results. Leah Crocetto and clean as possible.” At the Brian Jagde have rapidly same time, Sheri constantly seeks out become company favorites in increasingly new information. “We have a new partheavy repertoire. This season, Crocetto esnership with the UCSF Voice and says Mimì in La Bohème, a new role for her, Swallowing Center. Recently, all of the and Jagde reprises the role of Cavaradossi in Adlers underwent laryngoscopic observaTosca. Daveda Karanas continues to establish tion. I reviewed six hours of larynxes in herself in major roles such as Adalgisa in action. It has been eye opening.” Norma and Cassandra in The Trojans. Still, she is aware that singing is as It’s not just about the bigger voices, much about alchemy as science. “I know of course. “So many of our singers have from my own career that singing is gone on to good careers,” observes Sheri. something of a mystery.” Indeed, when “Nadine Sierra recently won the Neue she evaluates singers she is looking for Stimmen and Caballé competitions. Sean more than just technical prowess. “I Panikkar caught the country’s imagination want singers who can be emotional. Give on America’s Got Talent. Susannah Biller, me someone with a big heart.” Daniela Mack, Elza van den Heever. The Opera calls for voices of all sizes, list goes on and on.” “but I can usually tell a big voice before Training is a group effort, Sheri says. I hear a note. The physique gives them “Between voice instructor Cesar Ulloa away. Bigger voices come in bigger and myself, and with the great ears of packages: bigger chests, bigger heads, Mark Morash, our Director of Musical wider shoulders.” Such voices typically Studies, we hope to keep everyone healthy require special care. “Often they’ve been and happy!” PA G E 7
upcoming events
Recent Event Highlights
March
A dler F ell o w G ala C o ncert
March 2, 2013 P h o t o b y KPrhi sot teon bLyo kKer n isten Loken
KDFC radio broadcast of Norma (1982)
Sponsors and friends joined Adler Fellows at the cast party following the Adler Gala Concert. Ma r y H e n d e r s o n , R ob e rt Mol l i co n e , C r a i g H e n d erso n
8pm – FM 90.3 San Francisco, Los Gatos and Saratoga; 89.9 North and East Bay; 92.5 Ukiah-Lakeport; 104.9 South Bay and Peninsula; or Comcast Cable 981. Streaming at kdfc.com/ondemand four weeks following
M a rc h 2 0 , 2 0 1 4
Photo by Drew Altizer
Annual Meeting 4 p m – Z e l l e r b a c h R e h ea rsa l Ha l l Davies Symphony Hall
CAROLANDS Opera donors met fall season artists at the annual Carolands event.
M a rc h 2 8 , 2 0 1 4 Bel Canto Legacy Society Tea
Photo by Drew Altizer
2pm – The Ritz-Carlton, San Francisco
Sus an and P a t M c B a i n e w ith I s abel Le o n a rd
April A p ril 6 , 2 0 1 4 KDFC radio broadcast of Falstaff (2013) 8pm – Details under March 2
May M ay 4 , 2 0 1 4 KDFC radio broadcast of The Barber R o k e lle S u n an d Pame la R ig g with Bry n Te rfe l
of Seville (2013) 8pm – Details under March 2
M ay 2 9 , 2 0 1 4 Photo by Drew Altize
President’s Dinner
N AT I O N A L PAT R O N S W E E K E N D National Patrons enjoyed special activities and a reception with General Director David Gockley.
6pm – St. Regis Hotel, San Francisco
JULY
J u ly 5 , 2 0 1 4 Opera at the Ballpark Simulcast of La Traviata
Dav id Gockley with Lin d a a nd John S te dma n from Boise, ID
8pm – AT&T Ballpark Sign up at sfopera.com/simulcast Membership events are subject to change. Visit sfopera.com/calendar for updates.