YOUR OPERA
LEGACY
Marilyn Horne HONORARY CHAIRWOMAN BEL CANTO LEGACY SOCIETY
VOLUME 2 • SPRING 2018
Francisco Opera Patrons
A Gift to San Francisco Opera’s Future
THANK YOU! For nearly 100 years, San Francisco Opera has delighted, entertained and inspired generations of patrons with extraordinary works of opera. The Company is proud to perpetuate a magnificent art form that has endured for over 400 years. Patrons like you are a special force at San Francisco Opera; you are loyal subscribers, generous donors and devoted volunteers. Many of you are also Bel Canto Legacy Society members who have made legacy gift commitments to the Company. I am personally grateful for your wonderful example and steadfast support. Thank you. For those of you who are new to our opera family, I warmly welcome you and hope you will enjoy your first issue of Your Opera Legacy.
Planning Ideas for San
Don Buhman and Wray Humphrey have both included the Opera in their estate plans.
As a student, Don Buhman began his association with San Francisco Opera as a supernumerary in 1956, the era of Renata Tebaldi and Jussi Bjoerling. The San Francisco resident hasn’t missed a season since. Wray Humphrey first began attending the Opera in the 1960s after moving from southern California, where he attended opera as a youth. Don and Wray have attended San Francisco Opera performances as friends since 1984 and later joined the Opera’s Bel Canto Legacy Society in 1995. Don considers joining the Society “an important milestone in my relationship with San Francisco Opera.” Looking back on his first year as a Bel Canto member, he recalls, “When I first attended a Bel Canto luncheon at the Hayes Street Grill, the Bel Canto Legacy Society membership was, at that time, small enough to fit into one dining room.” Another milestone in Don’s life at the Opera was marked over 60 years ago: “1956 was the
year that I first started supering with the Opera and I was fortunate enough to be onstage with others for the opening night performance of Manon Lescaut starring Dorothy Kirsten and Jussi Bjorling. Before that time, I had attended performances but after volunteering as a supernumerary, I was truly hooked.” “I had two memorable experiences as a San Francisco Opera supernumerary—both took place when the Opera brought Turandot and Aida to the U.C. Greek Theater.” Don continues, “In a performance of Turandot, I was stationed next to Leonie Rysanek as a guard while she was singing ‘In Questa Regia.’ We had orders not to move during this particular aria. With Leonie as the only active person on stage, a large yellow dog bound up—with wagging tail—straight to Leonie. This great soprano seemed to glance over at me as if I was supposed to do something about it. Amazingly, she made it through that difficult aria despite the laughter from the audience.” Don has another favorite opera story. “During a performance of Aida, when Leontyne con t i nues o n page 4
B A N C R O F T L I B R A R Y AT U C B E R K E L E Y
PHOTO BY ALAN HANCOCK
SAN FRANCISCO OPERA
Estate, Financial and Gift
A San Francisco Opera production of Puccini’s Turandot at the Greek Theatre in 1957.