B E H I N D
T H E
CURTAIN WINTER 2017
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
BUILDING A
FUTURE
WINTER 2017 Behind the Curtain is a semi-annual publication for San Francisco Opera supporters and subscribers.
DE AR F RIEN D OF S AN F R A N CISCO OP ERA,
E D I TO R : P H O T O B Y S I M O N PA U LY
W R I TE R S:
Adam Flowers Jennifer Jordan Mandala Pham 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 W E B AT:
sfopera.com
SEASON SPONSOR
CORPORATE PARTNERS
Warmly,
Matthew Shilvock GENERAL DIRECTOR
P H O T O B Y S T E FA N C O H E N
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
W
e’ve shared some truly unforgettable moments together this fall in the War Memorial Opera House, from two spectacular casts in David Hockney’s iconic production of Turandot, to a deeply affecting presentation of La Traviata led by Maestro Nicola Luisotti, to impactful new stagings of Elektra and Manon, and the highly celebrated world premiere of John Adams’s Girls of the Golden West. On top of all that we are eagerly anticipating this summer’s extraordinary Ring cycle! Bringing grand opera to life is a massive undertaking that requires an entire ecosystem, of which your passionate support is a vital part. San Francisco Opera’s incredible legacy and our brilliant future belong to you. Thank you for believing so deeply in this art form. In this issue of Behind the Curtain we consider the remarkable impact Maestro Luisotti has made on the Company as he concludes his tenure as Music Director. We spend time with our graduating Adler Fellows to explore the impact the program has had on them. And, from longtime
Jennifer Jordan
supporter Ruth Short, we hear firsthand what inspired her to join our Bel Canto Legacy Society. I’m so proud of the mantle of artistic excellence that infuses everything we do on our stage, and I’m committed to ensuring we remain at the leading edge of this art form. I’m very privileged to work with colleagues deeply committed to a vibrant future, led by a team of managing directors who bring passion, experience and tremendous care to each of their areas. I hope you’ll enjoy hearing from each of our managing directors in this issue’s feature article. We’re more invested than ever before in connecting to our community, building tomorrow’s audiences and supporting the next generation of young artists. Turn to page 5 for an interview with Jane Hartley, one of San Francisco Opera’s most dedicated advocates for our Education Department and its many community outreach efforts. As we look back—and ahead—we have so many reasons to celebrate this remarkable Company. Thank you for being part of the San Francisco Opera family. I hope your holidays are merry and very bright!
San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund
On the cover: Music Director Nicola Luisotti accepts the San Francisco Opera Medal, the Company’s highest honor. Photo by Drew Altizer. PA G E 2
An audience of nearly 10,000 enjoys the annual Opera in the Park concert on September 10, 2017.
M E E T S A N F R A N C I S C O O P E R A’ S M A N A G I N G D I R E C T O R S
From left to right: Gregory Henkel, Managing Director: Artistic; Michael Simpson, Managing Director: Administration; Jennifer Good, Managing Director: Production; General Director Matthew Shilvock and Jennifer Lynch, Managing Director: Philanthropy and Audiences.
INNOVATION ON BOTH SIDES OF THE FOOTLIGHTS
“I
n an opera company of this size and scope, it’s crucial to keep positive communication and information flowing,” says Jennifer Good, San Francisco Opera’s Managing Director: Production. This observation embodies the philosophy behind the Company’s recent overhaul of its leadership structure, spearheaded by General Director Matthew Shilvock in an effort to meet the needs of a changing 21st-century artistic and economic landscape. Good is one of four managing directors appointed last season to work directly alongside Shilvock and collectively oversee the operations of every department within the organization. The rest of the team includes Gregory Henkel, Managing Director: Artistic; Jennifer Lynch, Managing Director: Philanthropy and Audiences; and Michael Simpson, Managing Director: Administration.
Each of the managing directors boasts a wealth of experience within both San Francisco Opera and the arts sector in general, making them uniquely qualified for these roles within the Company. With a background as a performer and
“I want to make sure we are creating rare and unique artistic experiences that will take our audience on an emotional journey.” as an administrator, Managing Director: Artistic Gregory Henkel knows what it takes to work both sides of the footlights. Trained as an opera singer, Henkel has served as an artistic administrator at Lyric Opera of Chicago, at LA Opera under the leadership of Placído Domingo, and here at San Francisco Opera since
2008. Reflecting on his top priority in his role overseeing the Opera Center as well as the Artistic and Music Planning departments, Henkel notes he’s eager to program diverse offerings that will excite and entice audiences. “I want to make sure we are creating rare and unique artistic experiences that will take our audience on an emotional journey and will bring the greatest singers, conductors, and productions to our stage,” he explains. Jennifer Lynch first came to San Francisco Opera in 2001 as Associate Director of Individual Giving before taking on the position of Director of Development. Lynch’s expertise in management, fundraising and audience development is a perfect fit for her current role as Managing Director: Philanthropy and Audiences. Commenting on the most pressing challenges confronting the departments AG G EE 33 PPA
C ont inued from p a g e 3
IRA CHARITABLE ROLLOVER GIFT CUT YOUR TAXABLE INCOME FOR 2017 You may make tax-free charitable gifts to San Francisco Opera with a distribution from your Individual Retirement Account (IRA). Americans over age 70½ can distribute up to $100,000 per calendar year from an IRA, tax-free. You can even use this gift towards your minimum distribution requirement. This works favorably even if you do not itemize tax deductions. Questions? Contact your IRA provider or reach out to us at (415) 565-6413 or mpham@sfopera.com.
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under her purview—including Marketing, Communications, Media and Development—Lynch remarks, “Like many of our peers across the country, we are facing changing trends in audience attendance, including a decline in demand for traditional subscription models. Our goal is to reward and retain our loyal, longtime audiences to the best of our ability, while simultaneously attracting a new generation of patrons who will help us carry San Francisco Opera’s legacy forward.” Michael Simpson has served as San Francisco Opera’s Chief Financial Officer since 2007, after joining the Company in 2005 as Director of Finance. He brings over 25 years of experience in business management, finance and consulting to his expanded role as Managing Director: Administration. “The day-today management hasn’t changed much; rather the substantive change lies with how I work and interrelate with senior leadership,” he observes. In addition to management responsibilities for Finance, Human Resources and Information Services, Simpson works closely with the general director and the other managing directors, offering organizational and strategic advice. As he works towards the short-term goal of reaching a balanced budget, Simpson looks forward to “spending more time thinking about the art of what we do, and not just the commerce.” Jennifer Good’s background provides an ideal skill set for her role as Managing Director: Production, which includes overseeing the many complex production areas of a leading performing arts organization in the 21st century. She shares, “I was lucky to fall into stage management during my final year of college, and I’ve worked in that field for most of my career, specifically in multi-repertory grand opera. I can honestly say that everything I learned in that team-oriented profession over the years has proved the best preparation
possible for this new role.” She notes, “My role has a duality in that it’s very feet-on-the-ground and practical while also requiring significant creative energy. I have the pleasure of working closely with a superlative team of experts who are dedicated to bringing great opera to the stage of the War Memorial Opera
“As a company we are focused on contributing to the conversations about the challenges facing arts organizations today.” House and beyond. As a company, we are also focused on contributing to the conversations about the challenges facing arts organizations today, and the entire Production team keeps driving us forward with their resourcefulness and creativity.” The sophisticated organization, logistical coordination, foresight, planning, economic capital and sweat equity required to operate an opera company of this caliber is staggering. With a top-notch management team in place, San Francisco Opera is positioned to not only meet these challenges, but to keep at its center the virtuosic artistic expression that audiences have come to expect over the Company’s 95-year history. According to Jennifer Good, the managing directors team is more than up to the challenge. “My belief is that with the combined talents and dedication of the Company members, we can expect to be at the forefront of the development of collaborative, inspiring work on and off the stage, in the industry and in our community for years to come.” Learn more about San Francisco Opera’s leadership, mission and history at sfopera.com/about.
WHY I GIVE
J
ane Hartley is a San Francisco Opera subscriber, donor and board member. As the outgoing Chair of the Education Committee, she is an especially passionate advocate for the Company’s Education department as well as for the Friends of Education, a group of donors dedicated to supporting San Francisco Opera’s suite of Education programs. How did you first discover opera? My fourth-grade class from Cleveland Elementary in Oakland was invited by the San Francisco Opera Guild to attend a student matinee performance of Madama Butterfly and that began my love of opera. Do you have a favorite opera? I have too many favorites to name just one! I look forward to every season with anticipation, especially when there is a new work, such as Girls of the Golden West this season. I like the experience of learning about the opera beforehand
by going to education programs and attending the pre-opera talks. To see something new onstage is exciting because it engages in a new way, telling stories relevant to today’s audiences. What inspired you to support San Francisco Opera’s Education program? Arts education is an essential part of everyone’s development, and opera is a multidisciplinary and collaborative art form that can change lives. I believe people can become fans of opera at any age by participating in San Francisco Opera’s Education programs which reach all ages in schools, at the Opera House and in the community. How has San Francisco Opera’s Education program changed your view of opera and education in the Bay Area? The Company has forged meaningful connections with the community through new education programs and activities for all ages. ARIA (Arts Resources in Action) school programs use opera to connect to school curriculum and culminate with operas written by the students. CUE (Community. Understanding.
Engagement.) offers an array of programs for all ages, from a recent performance designed for babies and parents, to workshops for families, spring break programming for middle schoolers, preopera talks for mainstage attendees and more! The varied opera experiences provided by the busy Education department offer opportunities for everyone to become engaged with the art form. Why is it important for opera lovers to support our Education program? I support our Education programs because I want to share the uplifting and inspiring experiences that only opera can provide. It takes us out of our daily lives and transports us to another world of music, emotion and magic. It touches our souls like no other experience. If you love opera, know that you can make a difference and ensure that opera will continue to flourish and reach new audiences. By supporting San Francisco Opera’s Education programs, you can open the magic of opera for others to enjoy as you do! Why I Give is an ongoing series of interviews with members of San Francisco Opera’s family of generous supporters.
Jane Hartley visits the new Opera ARIA Music Performance Residency, where students from Ruth Asawa School of the Arts and Francisco Middle School work side by side with the SF Opera Orchestra.
Interested in supporting San Francisco Opera’s Education programs? Join the Friends of Education and help deliver immersive arts education experiences to people of all ages! Contact Joo Eun Lee, Leadership Giving Officer, at jlee@sfopera.com for more information, or visit sfopera.com/friendsofeducation.
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P H O T O B Y D R E W A LT I Z E R
2016-17
BY T
NU
BRAVO M A ES T RO LU I SO T T I !
M
aestro Nicola Luisotti has served as San Francisco Opera’s Music Director since 2009 and has conducted over 40 operas and concerts since his Company debut in 2005. In his final season as music director, he conducted Turandot and La Traviata in addition to the annual Opera in the Park concert. This December, he will conduct the Richard Tucker Music Foundation Gala at Carnegie Hall. Recently appointed associate director at Madrid’s Teatro Real, Luisotti has received international acclaim from press and public alike with performances at Vienna State Opera, Genoa’s Teatro Carlo Felice, Venice’s La Fenice, Bologna’s Teatro Comunale, Munich’s Bavarian State Opera, Frankfurt, Stuttgart, Dresden, Hamburg, Valencia, Los Angeles Opera, Seattle Opera and Tokyo’s Suntory Hall. Reflecting on Luisotti’s greatest achievements with the Company, Gregory Henkel, Managing Director: Artistic, cites Two Women, Mefistofele and Attila as his favorite productions led by the maestro on the War
PA G E 6
After the 95th Season’s gala opening performance of Puccini’s Turandot, San Francisco Opera General Director Matthew Shilvock (right) and General Director Emeritus David Gockley (left) presented Music Director Nicola Luisotti (center) with the San Francisco Opera Medal, the Company’s highest honor.
Memorial Opera House stage. Henkel also fondly recalls the concerts Luisotti conducted in which the SF Opera Orchestra took center stage, as well as his impact on young singers, noting, “He’s done amazing work mentoring Adler Fellows in leading roles—including Leah Crocetto, Brian Jagde, Toni Marie Palmertree and Pene Pati—helping make their performances so spectacular. His commitment to the next generation of great artists is very strong.” In recognition of these contributions and many others during his tenure with the Company, Luisotti was celebrated on September 8 as the honoree at San Francisco Opera Guild’s Opera Ball gala which kicked off the opening of the 95th Season. After the evening’s performance of Puccini’s Turandot, General Director Matthew Shilvock and General Director Emeritus David Gockley presented Luisotti with the San Francisco Opera Medal, the Company’s highest honor. And while this season is his final one as music director, we’re already looking forward to Maestro Luisotti’s return to the War Memorial Opera House—potentially as soon as 2019!
SU
7 SEASON
T HE
UMBERS
28,791
Number of adults at Pre-Opera Talks
1,668
1,983
Number of children and adults at family workshops and movie screenings
Number of students who attended a final dress rehearsal
40
Number of mini-operas created by students in the ARIA Network program
1,020 Number of students who participated in San Francisco Opera Education’s flagship ARIA Network program
23,000
Estimated Opera at the Ballpark attendees
10,000
792
Estimated Opera in the Park attendees
Number of participants and attendees at the ARIA Festival community event
GIV E YO UR
UPPORT M A K E A N H O N O R A RY OR MEMORIAL GIFT
This holiday season honor the opera lover in your life with a gift to San Francisco Opera. Honorary gifts are a wonderful way to celebrate your loved one’s enthusiasm for this beautiful art form while supporting the programs that keep this Company alive and vibrant. It can also be a meaningful way to remember someone who loved San Francisco Opera. Your contribution is tax-deductible and will be recognized in our program books all season long. Make your gift at sfopera.com/donate or call (415) 565-3212.
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2 0 1 7 G R A D U AT I N G
ADLER FELLOWS
AMINA EDRIS
CONGRATULATIONS!
SOPRANO First opera: “Le Nozze di Figaro.” Favorite role so far: “Norina from Don Pasquale. She is fun and feisty!” Favorite memory as an Adler Fellow: “Chipping the back of my front tooth on a prop vodka bottle on opening night of Carmen! It happened on stage as I was dancing and it was both scary and hilarious.”
P H O T O B Y S T E FA N C O H E N
This year we say goodbye to six of our 2017 Adler Fellows. Read on to discover these incredibly talented artists’ first operas, favorite memories as Adler Fellows . . . and more!
JENNIFER SZETO
ANTHONY REED
TONI MARIE PALMERTREE
PIANO First opera: “Don Giovanni.” Favorite score worked on so far: “La Traviata.” Favorite memory as an Adler Fellow: “The three SF Opera Lab Pop-Up events I’ve taken part in—I’ve never seen so many people get so excited about opera and feel this connected to us as performers. It’s exhilarating to be a part of those experiences and it reminds us who our future and current audiences are, as well as why we should keep doing what we do . . . in more and more creative ways!”
BASS First opera: “The first opera I ever saw was Tosca on DVD in high school. The first live opera I experienced was Albert Herring, which I was in, and the first opera I saw live was Roberto Devereux at Minnesota Opera.” Favorite role so far: “Dr. Primus from The Fall of The House of Usher. I like the villains.” Favorite memory as an Adler Fellow: “My favorite memory of my time as an Adler will probably be making some of the greatest friends I’ve ever had!”
SOPRANO First opera: “Puccini’s Il Trittico at Peabody.” Favorite role so far: “Cio Cio San from Madame Butterfly.” Favorite memory as an Adler Fellow: “When the curtain was pulled back for the page bow after singing Butterfly and the audience was on their feet cheering like it was a football game. It was like something I imagined in my head hundreds of times, but came to life in reality.”
Join us on December 8 for an exciting night of unforgettable music featuring the renowned San Francisco Opera Resident Artists, the 2017 Adler Fellows, in their final concert of the year. James Gaffigan conducts the SF Opera Orchestra. Learn more at sfopera.com/futureisnow. PA G E 8
PHOTO BY KRISTEN LOKEN
RUTH SHORT
C E L E B R AT I N G
45 YEARS
BRAD WALKER BASS-BARITONE First opera: “Don Giovanni, my freshman year of college.” Favorite role so far: “Schaunard, from La Boheme.” Favorite memory as an Adler Fellow: “Performing at the end-of-year Adler Fellows concert. To be part of such a talented group of artists, all cheering each other on!”
WITH SAN FRANCISCO OPERA
F
or over 400 years, opera has delighted, entertained, inspired and transformed countless lives the world over. For nearly 100 years, San Francisco Opera has continued that tradition. Along the way,
generations of patrons have given life to the Company through their subscriptions, donations and volunteer work. Ruth Short is one of those patrons. Here is what she has to say about her long relationship with San Francisco Opera: “One of my most memorable opera moments was on a Sunday afternoon, December 12, 1993. Thanks to the San Francisco Opera archives, I confirmed the exact date. Leonie Rysanek bid farewell to San Francisco Opera, leaving me and others in tears as she spoke of her great affection for the Company. She made her American debut here in 1956. Three thousand people jumped to their feet to applaud and cheer in recognition of her 37 years with us. I marveled at the experience of that public recognition and support for her work—in the hard-charging
PENE PATI
world of high tech, I would be happy to have one person in a given year tell me that I did a ‘good job.’ I got hooked on opera long before that when I first subscribed in 1972. My goal was to soak up as much opera as possible over my lifetime. That realization came to me during a 1989 opera tour of Eastern Europe where I saw 16 operas in 17 days! My fellow opera lovers know the feeling when opera undoubtedly takes root in your life. When I returned home I doubled my donation to the Company and later made the decision to make a legacy gift commitment. Opera is my passion and San Francisco Opera is my first love. It gives me great satisfaction to leave my home to the Company to help ensure its future. Meanwhile, I plan to enjoy many more Sunday afternoons in my orchestra seat.” P H O T O B Y S T E FA N C O H E N
TENOR First opera: “La Boheme, 2007, New Zealand Opera. Changed my life. At that time, I knew absolutely nothing about opera. Literally, nothing. So, as you can imagine, I was buzzing out. I didn’t know it was all sung, all in another language, and had surtitles.” Favorite role so far: “The Royal Herald in Don Carlo. . . . Wait, maybe it was the Duke.” Favorite memory as an Adler Fellow: “More like memories for me—they would have to be the SF Opera Lab Pop-Ups. It’s a time when you and your colleagues can relax and have some fun and still sing like a boss. That’s what it is ultimately all about, sharing the love of music and especially opera.”
San Francisco Opera celebrates the extraordinary support of Ruth and other patrons like her. To learn more about joining the Bel Canto Legacy Society, please contact Senior Legacy Giving Officer Mandala Pham at (415) 565-6413 or visit myplanwithsfopera.org. PA G E 9
C O M P A N Y
P H O T O B Y S T E FA N C O H E N
HAPPENINGS left: An attendee enjoys the performance at the annual Opera in the Park concert.
Elektra post-performance meet and greet with Maestro Henrik Nรกnรกsi.
P H O T O B Y S T E FA N C O H E N
PHOTO BY SCOTT WALL
P H O T O B Y D R E W A LT I Z E R
below: BRAVO! CLUB Gala after-party.
Music Director Nicola Luisotti and General Director Matthew Shilvock pose with singers at Opera in the Park.
Opera in the Park, featuring Atalla
PHOTO BY SCOTT WALL
P H O T O B Y S T E FA N C O H E N
P H O T O B Y S T E FA N C O H E N
PHOTO BY BOB HEMSTOCK
Ayan, Pene Pati and Brian Jagde.
Girls of the Golden West rehearsal featuring J’Nai Bridges, Hye Jung Lee and Julia Bullock.
SF Opera Orchestra cellist Emil Miland performs with a student during the ARIA Music Performance Residency.
B E H I N D
NONPROFIT ORGANIZATION U.S. POSTAGE
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CURTAIN
PAID
SAN FRANCISCO OPERA
War Memorial Opera House 301 Van Ness Avenue San Francisco, CA 94102
IN THIS ISSUE
Meet San Francisco Opera’s Managing Directors Music Director Nicola Luisotti’s Legacy 2017’s Graduating Adler Fellows Why I Give with Jane Hartley Company Happenings And More!
UPCOMING
Wilsey Center for Opera
DECEMBER 9, 2017 10AM & 11:30AM First Act: Hansel & Gretel’s Adventure
DECEMBER 9, 2017 1PM Opera in an Hour: The Magic Flute
Wilsey Center for Opera
Wilsey Center for Opera
FEBRUARY 8, 2018 6PM Meet the Adlers Wilsey Center for Opera
MARCH 2, 2018 11:30AM Medallion Society Luncheon The Ritz-Carlton
P H O T O B Y C O R Y W E AV E R
P H O T O B Y E M I LY S P I T Z
eligibility info and details about donor benefits.
PHOTO BY KRISTEN LOKEN
DECEMBER 9, 2017 3PM Overture Workshop: Dance in Opera
P H O T O B Y C O R Y W E AV E R
War Memorial Opera House
specific levels. See sfopera.com/benefits for
P H O T O B Y M AT T H E W W A S H B U R N
DECEMBER 8, 2017 7:30PM The Future is Now: Adler Fellows Concert
PHOTO BY KRISTEN LOKEN
EVENTS
Indicates members-only event for members at