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91-932: In addition to annual engagements with the San Francisco Opera and San Francisco Symphony , SFGC has engaged in artistic partnerships such as the New York Philharmonic 's Biennial Festival of New Music at Lincoln Center in June 2016 in collaboration with The Knights orchestra ; SHIFT: A Festival of American Orchestras in April 2017 at the John F. Kennedy Center for the Performing Arts in Washington, DC; and Carnegie Hall in February 2018 with

182-576: A firm link established with the Kirov Opera . Also, there was Rossini 's Guillaume Tell and Verdi's I vespri siciliani which followed. One of Mansouri's triumphs was the overseeing of the reconstruction and renovation of the opera house following the October 1989 earthquake . After closing at the end of the 1995 Fall season for "a 21-month, US$ 88.5 million renovation, San Francisco's War Memorial Opera House reopened on 5 September 1997 with

273-463: A firm link established with the Kirov Opera . Also, there was Rossini 's Guillaume Tell and Verdi's I vespri siciliani which followed. One of Mansouri's triumphs was the overseeing of the reconstruction and renovation of the opera house following the October 1989 earthquake . After closing at the end of the 1995 Fall season for "a 21-month, US$ 88.5 million renovation, San Francisco's War Memorial Opera House reopened on 5 September 1997 with

364-772: A full season of opera in the following year. Following this, the first unaffiliated performance given by the San Francisco Opera was La bohème , with Queena Mario and Giovanni Martinelli , on September 26, 1923, in the city's Civic Auditorium . In subsequent years, SFO would perform a wide array of Italian operas, rarely performing a given opera more than once. SFO seasons seldom lasted more than two months, and occasionally performed less than one month. The 1923-24 season included productions of Andrea Chénier and Mefistofele with Beniamino Gigli , Tosca with Giuseppe De Luca and Martinelli, and Verdi 's Rigoletto with Queena Mario, De Luca, and Gigli. During

455-421: A gala concert celebrating this occasion, as well the 75th anniversary of the San Francisco Opera. Fittingly, the concert featured operatic greats of the past, present and future. The project included repairs of damage caused by the 1989 Loma Prieta earthquake, improvements for the audience and performers, seismic strengthening and a general cleanup that left the 65-year-old Opera House gleaming." Donald Runnicles

546-421: A gala concert celebrating this occasion, as well the 75th anniversary of the San Francisco Opera. Fittingly, the concert featured operatic greats of the past, present and future. The project included repairs of damage caused by the 1989 Loma Prieta earthquake, improvements for the audience and performers, seismic strengthening and a general cleanup that left the 65-year-old Opera House gleaming." Donald Runnicles

637-690: A new, locally-owned opera company that would not rely on visiting troupes, a common practice for some opera companies since the Gold Rush . By the next year, Merola organized a trial season at Stanford University. The first performance occurred in the Stanford Cardinal's football stadium on June 3, 1922, with operatic tenor Giovanni Martinelli performing in Pagliacci , Carmen , and Faust . The five-day season's lacked any financial success; Merola instead successfully raised funds for

728-422: A second, smaller performance venue went by the wayside. Company-wide cuts pared 14 percent from the company's $ 67 million budget in 2003." He continued: "Embattled by financial woes and trying labor negotiations, Rosenberg was routinely blamed for problems that were largely beyond her control. Her taste for new and unusual operas and a European-honed aesthetic that favored brash and even radical reinterpretations of

819-422: A second, smaller performance venue went by the wayside. Company-wide cuts pared 14 percent from the company's $ 67 million budget in 2003." He continued: "Embattled by financial woes and trying labor negotiations, Rosenberg was routinely blamed for problems that were largely beyond her control. Her taste for new and unusual operas and a European-honed aesthetic that favored brash and even radical reinterpretations of

910-970: A selection of diverse holiday songs; Crossroads, a collection of world folk music; Music From the Venetian Ospedali, a disc of Italian Baroque music, for which The New Yorker proclaimed the Chorus "tremendously accomplished;" and their first double-disc release, Heaven and Earth, using recordings from 2008–09. The Premier Ensemble's February 2018 solo CD recording, Final Answer , was released on Philip Glass's Orange Mountain Music label and features works by composers Philip Glass , Lisa Bielawa , Gabriel Kahane , John Zorn , Carla Kihlstedt , Aleksandra Vrebalov , Sahba Aminikia , Matthew Welch and Theo Bleckmann . Their most recent album, My Outstretched Hand , released in 2019 by Supertrain Records, features

1001-605: A work based on the Vice Presidential acceptance speeches of Kamala Harris , and in June 2023 the SFGC's Premier Ensemble performed the pandemic-delayed debut of the choral-opera Tomorrow’s Memories: A Little Manila Diary , which it had commissioned from composer Matthew Welch, based on the diaries of Filipina immigrant Angeles Monrayo. Also in 2023, members of the SFGC performed in the world premiere of Prospero's Island , an opera based on Shakespeare's The Tempest , and in

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1092-549: A young tenor with UCLA's Opera Workshop, and then with opera in general. As early as 1962, with Mansouri having found work as director in Los Angeles followed by his becoming resident stage director at the Zürich Opera , Adler came to see him at work, and he was offered six operas to direct in the 1963 season. By the time he became general director, he had directed 60 operas for SFO and many others elsewhere. By 1975 he

1183-429: A young tenor with UCLA's Opera Workshop, and then with opera in general. As early as 1962, with Mansouri having found work as director in Los Angeles followed by his becoming resident stage director at the Zürich Opera , Adler came to see him at work, and he was offered six operas to direct in the 1963 season. By the time he became general director, he had directed 60 operas for SFO and many others elsewhere. By 1975 he

1274-754: Is the concert, recording, and touring ensemble of the San Francisco Girls Chorus, and is conducted by Artistic Director Valérie Sainte-Agathe. The Premier Ensemble performed at the inauguration of President Barack Obama in January 2009. They sang a total of 20 minutes, as a prelude to the ceremony. Before the opening of Cuba to U.S. citizens to visit, the Premier Ensemble toured there in July 2011, visiting Havana , Santa Clara , and Matanzas on an international tour. They sang at

1365-473: The Merola Opera Program (named after the first general director). It began during the 1954/55 Season and was given its current name in 1957. The program now annually offers approximately 23 gifted singers, four apprentice coaches, and one apprentice stage director the rare opportunity of studying, coaching, and participating in master classes with established professionals for eleven weeks during

1456-402: The Merola Opera Program (named after the first general director). It began during the 1954/55 Season and was given its current name in 1957. The program now annually offers approximately 23 gifted singers, four apprentice coaches, and one apprentice stage director the rare opportunity of studying, coaching, and participating in master classes with established professionals for eleven weeks during

1547-545: The New York Philharmonic 's NY Phil Biennial in 2016. They were the only group from outside New York invited to perform there. In 2017, they sang with The Knights at the SHIFT Festival, at the Kennedy Center. The SFGC's activities in 2019 included premiering a new work by Fred Frith . In 2020, as the pandemic shut down live performances, the SFGC streamed a virtual festival that included collaborations with

1638-543: The Philip Glass Ensemble . The 2018–2019 Season marked SFGC's first year under the leadership of Artistic Director Valérie Sainte-Agathe. (Sainte-Agathe had been appointed Music Director and Principal Conductor in 2013.) Previous Artistic Directors were Elizabeth Appling (1978–1992), Sharon J. Paul (1992–2000), Magen Solomon (2000, interim), Susan McMane (2001–2012), Brandon Brack (2012, interim), and SFGC alumna Lisa Bielawa (2013–2018). The Premier Ensemble

1729-728: The Royal Opera House in London and a lowly paid job with Decca Records in that city. Moving up the ranks in the 1950s, he landed in New York in 1959 and for the next 20 years made London Records, Decca's classical arm, the most significant classical label in the United States. After being approached by Adler regarding the San Francisco opera job, he moved to the city in 1980 and involved himself totally in learning

1820-426: The Royal Opera House in London and a lowly paid job with Decca Records in that city. Moving up the ranks in the 1950s, he landed in New York in 1959 and for the next 20 years made London Records, Decca's classical arm, the most significant classical label in the United States. After being approached by Adler regarding the San Francisco opera job, he moved to the city in 1980 and involved himself totally in learning

1911-571: The San Francisco Chronicle noted: "He's never been interested in the succès d'estime , the daring intellectual or theatrical coup that dazzles culture mavens but leaves the general public alienated or bewildered. For Mansouri, a success that doesn't put fannies in the seats is no success at all." Towards the end of the 2001 season, Mansouri announced his retirement after fourteen seasons with SFO and 50 years in opera. Pamela Rosenberg  [ de ] 's first connection with

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2002-496: The San Francisco Chronicle noted: "He's never been interested in the succès d'estime , the daring intellectual or theatrical coup that dazzles culture mavens but leaves the general public alienated or bewildered. For Mansouri, a success that doesn't put fannies in the seats is no success at all." Towards the end of the 2001 season, Mansouri announced his retirement after fourteen seasons with SFO and 50 years in opera. Pamela Rosenberg  [ de ] 's first connection with

2093-577: The Bay Area began in 1906 when he first visited the city. In 1909, he returned as the conductor of the International Opera Company of Montreal, one of the many visiting troupes that frequented the bustling city. Continued visits over the next decade convinced him that an opera company in San Francisco was viable. Merola moved back into the city in 1921 while living with Mrs. Oliver Stine's support Oliver Stine. He drafted plans for

2184-531: The Berkeley Ballet Theater and the Philip Glass Ensemble . Also in 2020, the Chorus won two SFCV Audience Choice Awards and collaborated in an online production of Vivaldi’s Juditha Triumphans . The SFGC was featured on the soundtrack to the Netflix documentary Athlete A , about the abuse of gymnasts by Dr. Larry Nassar . In 2022 the SFGC performed the choral premiere of Kamala's Hope ,

2275-662: The Chorus. The Kanbar Performing Arts Center , opened in 2005, at 44 Page Street in San Francisco, is the home of the San Francisco Girls Chorus. Each summer, SFGC holds a week-long chorus camp for choristers in its Levels II, III, IV ensembles and the Premier Ensemble at the Rio Lindo Adventist Academy in Healdsburg, California. During this camp, the young women prepare their music for the regular season and have classes in music theory, sightsinging, and dance. They also participate in fun activities such as

2366-637: The Counselor Hunt, Big Sister/Little Sister Night and the Square Dance. San Francisco Opera The San Francisco Opera ( SFO ) is an American opera company founded in 1923 by Gaetano Merola (1881–1953) based in San Francisco , California . Merola's road to prominence in the Bay Area began in 1906 when he first visited the city. In 1909, he returned as the conductor of the International Opera Company of Montreal, one of

2457-410: The Gold Rush . By the next year, Merola organized a trial season at Stanford University. The first performance occurred in the Stanford Cardinal's football stadium on June 3, 1922, with operatic tenor Giovanni Martinelli performing in Pagliacci , Carmen , and Faust . The five-day season's lacked any financial success; Merola instead successfully raised funds for a full season of opera in

2548-743: The Human Condition". Incorporated within the production programming of "Animating Opera" was the America staged premiere of Messiaen 's Saint-François d'Assise , Virgil Thomson 's The Mother of Us All , as well as a commission for a new work by John Adams and Peter Sellars entitled Doctor Atomic , which premiered on 1 October 2005. Other operas new to the SFO's repertoire during her directorship include Busoni's Doktor Faust , Ligeti's Le Grand Macabre and Janáček's The Cunning Little Vixen . After much controversy surrounding her management of

2639-574: The Human Condition". Incorporated within the production programming of "Animating Opera" was the America staged premiere of Messiaen 's Saint-François d'Assise , Virgil Thomson 's The Mother of Us All , as well as a commission for a new work by John Adams and Peter Sellars entitled Doctor Atomic , which premiered on 1 October 2005. Other operas new to the SFO's repertoire during her directorship include Busoni's Doktor Faust , Ligeti's Le Grand Macabre and Janáček's The Cunning Little Vixen . After much controversy surrounding her management of

2730-621: The Metropolitan Opera's season began). This was to capitalize on the availability of singers by presenting up to fourteen operas with two or three performances each. Eventually, as seen in the 1961 SFO season, eleven operas were given five or six performances each on average while the season ran to late November. Another aim was to present new talent, and, for this, he was tireless in seeking out up-and-coming new singers, whether American or European, by attending performances in both major and minor opera houses. He heard Leontyne Price on

2821-552: The Metropolitan Opera's season began). This was to capitalize on the availability of singers by presenting up to fourteen operas with two or three performances each. Eventually, as seen in the 1961 SFO season, eleven operas were given five or six performances each on average while the season ran to late November. Another aim was to present new talent, and, for this, he was tireless in seeking out up-and-coming new singers, whether American or European, by attending performances in both major and minor opera houses. He heard Leontyne Price on

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2912-536: The SFGC curriculum and each Level has prescribed literacy goals. When singers graduate from the Chorus School, they are required to pass an examination that leaves them prepared for AP Music Theory. Special Projects: Chorus School singers often participate in special projects, including operas, symphonies, and recording sessions, with Bay Area artistic partners. These special projects aim to help musicians develop stage presence, flexibility, and acting skills. In

3003-458: The SFO an internationally respected company that ran at a high level of professionalism and offered them interesting things to do in a warm and supportive atmosphere." Among those who were offered new and exciting challenges were Geraint Evans, the Welsh baritone, Leontyne Price, and Luciano Pavarotti. He took on more and more administrative details as Merola's health and energy diminished, but Adler

3094-406: The SFO an internationally respected company that ran at a high level of professionalism and offered them interesting things to do in a warm and supportive atmosphere." Among those who were offered new and exciting challenges were Geraint Evans, the Welsh baritone, Leontyne Price, and Luciano Pavarotti. He took on more and more administrative details as Merola's health and energy diminished, but Adler

3185-425: The SFO's General Director on 1 January 2006. As part of an announcement of the 2006/2007 season and the future of the company on 11 January, Gockley noted that "this season we debut a new visual identity and logo in keeping with a new artistic philosophy. I believe that it speaks of glamour, sophistication, tradition and innovation all things that infuse our plans for the future of San Francisco Opera." In May 2011, it

3276-425: The SFO's General Director on 1 January 2006. As part of an announcement of the 2006/2007 season and the future of the company on 11 January, Gockley noted that "this season we debut a new visual identity and logo in keeping with a new artistic philosophy. I believe that it speaks of glamour, sophistication, tradition and innovation all things that infuse our plans for the future of San Francisco Opera." In May 2011, it

3367-570: The SFO, which included deficits created after the "dot-com" collapse in 2000 and the effects of September 11 on arts attendance, she announced in 2004 that she would not renew her contract with the company when it ended in late 2005. As noted by Steven Winn in the San Francisco Chronicle in December 2005, "Productions were scuttled or postponed in the face of a $ 7.7 million deficit. Ambitious programming initiatives and plans for

3458-440: The SFO, which included deficits created after the "dot-com" collapse in 2000 and the effects of September 11 on arts attendance, she announced in 2004 that she would not renew her contract with the company when it ended in late 2005. As noted by Steven Winn in the San Francisco Chronicle in December 2005, "Productions were scuttled or postponed in the face of a $ 7.7 million deficit. Ambitious programming initiatives and plans for

3549-815: The San Francisco Opera was as a standee while attending the University of California, Berkeley. She returned to SFO with a background of operatic productions in Germany and, specifically, as head of the Stuttgart Opera. In January 2001, Rosenberg announced her first artistic initiative for San Francisco Opera, "Animating Opera", a multi-year plan of interwoven themes and series. These included "Seminal Works of Modern Times", "The Faust Project", "Composer Portrait: Janáček/Berlioz", "Women Outside of Society: Laws Unto Themselves", "Metamorphosis: From Fairy Tales to Nightmares", and "Outsiders or Pioneers?: The Nature of

3640-636: The San Francisco Opera was as a standee while attending the University of California, Berkeley. She returned to SFO with a background of operatic productions in Germany and, specifically, as head of the Stuttgart Opera. In January 2001, Rosenberg announced her first artistic initiative for San Francisco Opera, "Animating Opera", a multi-year plan of interwoven themes and series. These included "Seminal Works of Modern Times", "The Faust Project", "Composer Portrait: Janáček/Berlioz", "Women Outside of Society: Laws Unto Themselves", "Metamorphosis: From Fairy Tales to Nightmares", and "Outsiders or Pioneers?: The Nature of

3731-862: The San Francisco Symphony, including five GRAMMY award-winning CDs. These are Orff: Carmina Burana (1992); Stravinsky: The Firebird, The Rite of Spring, Persephone (1999); Mahler: Symphony No. 8 (2008); and Mahler: Symphony No. 3 and Kindertotenlieder (2004). The Premier Ensemble has appeared in two feature films and one Netflix documentary, The Talented Mr. Ripley (2000), What Dreams May Come (1998), and Athlete A (2020). The Chorus encourages creation of new music for treble voices by partnering with composers to commission and premiere new works. Richard Danielpour , Aaron Jay Kernis , Gabriela Lena Frank , Philip Glass , Augusta Read Thomas , Libby Larsen , Jake Heggie , Chen Yi , and other composers have created and arranged works specifically for

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3822-675: The United States in 1938 after early experience and training in many aspects of music and theatre in Austria, Germany, and Italy. For five years, he worked to build the chorus of the Chicago Opera Company. Merola heard of him and, over the telephone, invited him to San Francisco opera in 1943 as chorus director. Adler was often regarded as a difficult, sometimes tyrannical person to work for. However, as Chatfield-Taylor notes, "singers, conductors, directors, and designers came back season after season. They came back because Adler made

3913-547: The United States in 1938 after early experience and training in many aspects of music and theatre in Austria, Germany, and Italy. For five years, he worked to build the chorus of the Chicago Opera Company. Merola heard of him and, over the telephone, invited him to San Francisco opera in 1943 as chorus director. Adler was often regarded as a difficult, sometimes tyrannical person to work for. However, as Chatfield-Taylor notes, "singers, conductors, directors, and designers came back season after season. They came back because Adler made

4004-519: The West Coast premiere of the family-friendly opera The Three Feathers . SFGC's Chorus School, founded by Elizabeth Avakian, is made up of six levels: non-auditioned Prep Chorus, Training Chorus, and Levels I-IV, which choristers move through as they develop musically. Choristers spend one, two or three years in each level. Composer-in-Residence: Each season, the Chorus School has a Composer-In-Residence. This composer works with singers throughout

4095-681: The best singers in the world. As a reaction to the economic climate of the times, in 1982 McEwen, created the "San Francisco Opera Center" to oversee and combine the operation and administration of the numerous affiliate educational and training programs. Providing a coordinated sequence of performance and study opportunities for young artists, the San Francisco Opera Center included the "Merola Opera Program", " Adler Fellowship Program ", "Showcase Series", "Brown Bag Opera", "Opera Center Singers", "Schwabacher Recitals", and various Education Programs. By introducing his young singers to

4186-601: The best singers in the world. As a reaction to the economic climate of the times, in 1982 McEwen, created the "San Francisco Opera Center" to oversee and combine the operation and administration of the numerous affiliate educational and training programs. Providing a coordinated sequence of performance and study opportunities for young artists, the San Francisco Opera Center included the "Merola Opera Program", " Adler Fellowship Program ", "Showcase Series", "Brown Bag Opera", "Opera Center Singers", "Schwabacher Recitals", and various Education Programs. By introducing his young singers to

4277-558: The classics, the thinking went, drove away audiences and donors and ran up costs in the company's hour of greatest need." Rosenberg returned to Germany to work with Sir Simon Rattle and the Berlin Philharmonic as its Intendantin . From 2004 to 2007, Keith Cerny served as the chief financial officer of the San Francisco Opera. After 33 years of directing the Houston Grand Opera , David Gockley became

4368-418: The classics, the thinking went, drove away audiences and donors and ran up costs in the company's hour of greatest need." Rosenberg returned to Germany to work with Sir Simon Rattle and the Berlin Philharmonic as its Intendantin . From 2004 to 2007, Keith Cerny served as the chief financial officer of the San Francisco Opera. After 33 years of directing the Houston Grand Opera , David Gockley became

4459-524: The company during its history. The legendary tenor Lauritz Melchior conducted the orchestra, rather than sing, in a performance of the famous Radetsky March by Johann Strauss I; it was possibly his last public appearance. One of the highlights of the afternoon program was a moving performance of the love duet from Madama Butterfly with soprano Licia Albanese and tenor Frederick Jagel . Adler retired on December 15, 1981. Following Adler's retirement announcement in June 1979, Terence A. McEwen (1929–1998)

4550-524: The company during its history. The legendary tenor Lauritz Melchior conducted the orchestra, rather than sing, in a performance of the famous Radetsky March by Johann Strauss I; it was possibly his last public appearance. One of the highlights of the afternoon program was a moving performance of the love duet from Madama Butterfly with soprano Licia Albanese and tenor Frederick Jagel . Adler retired on December 15, 1981. Following Adler's retirement announcement in June 1979, Terence A. McEwen (1929–1998)

4641-409: The fact that the opera lacked a formal training program at that time, and also regular tours by the SFO to Los Angeles between 1937 and 1965, which expanded the season into November. However, until well after Merola's death on August 30, 1953, while conducting an open-air concert at Stern Grove , the main San Francisco season rarely extended beyond late October. Kurt Herbert Adler (1905–1988) came to

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4732-409: The fact that the opera lacked a formal training program at that time, and also regular tours by the SFO to Los Angeles between 1937 and 1965, which expanded the season into November. However, until well after Merola's death on August 30, 1953, while conducting an open-air concert at Stern Grove , the main San Francisco season rarely extended beyond late October. Kurt Herbert Adler (1905–1988) came to

4823-675: The following year. Following this, the first unaffiliated performance given by the San Francisco Opera was La bohème , with Queena Mario and Giovanni Martinelli , on September 26, 1923, in the city's Civic Auditorium . In subsequent years, SFO would perform a wide array of Italian operas, rarely performing a given opera more than once. SFO seasons seldom lasted more than two months, and occasionally performed less than one month. The 1923-24 season included productions of Andrea Chénier and Mefistofele with Beniamino Gigli , Tosca with Giuseppe De Luca and Martinelli, and Verdi 's Rigoletto with Queena Mario, De Luca, and Gigli. During

4914-447: The great voices of the past, inviting them to rehearsals, and giving tickets to current productions McEwen hoped to create rounded performers who could appear in the regular Fall season. Among his successes in this regard was the mezzo-soprano Dolora Zajick from Nevada. By "hand holding" her through the various stages of training, he prepared her for the role of Azucena in Il trovatore for

5005-401: The great voices of the past, inviting them to rehearsals, and giving tickets to current productions McEwen hoped to create rounded performers who could appear in the regular Fall season. Among his successes in this regard was the mezzo-soprano Dolora Zajick from Nevada. By "hand holding" her through the various stages of training, he prepared her for the role of Azucena in Il trovatore for

5096-499: The house in 1982. A characteristic of the Adler years was the interest in developing stronger connections to opera stage directors in an attempt to strengthen the dramatic and theatrical elements of the works. In this, he was greatly supported by his long relationship with Jean-Pierre Ponnelle , the often-controversial stage director and designer who began his association with SFO in 1957. Several innovations undertaken by Adler included

5187-447: The house in 1982. A characteristic of the Adler years was the interest in developing stronger connections to opera stage directors in an attempt to strengthen the dramatic and theatrical elements of the works. In this, he was greatly supported by his long relationship with Jean-Pierre Ponnelle , the often-controversial stage director and designer who began his association with SFO in 1957. Several innovations undertaken by Adler included

5278-411: The many visiting troupes that frequented the bustling city. Continued visits over the next decade convinced him that an opera company in San Francisco was viable. Merola moved back into the city in 1921 while living with Mrs. Oliver Stine's support Oliver Stine. He drafted plans for a new, locally-owned opera company that would not rely on visiting troupes, a common practice for some opera companies since

5369-578: The nine years following the opening season, the San Francisco War Memorial Opera House was designed by Arthur Brown Jr. On October 15, 1932, the company inaugurated the new opera house with a performance of Tosca on with Claudia Muzio in the titular role. Characteristic of Merola's years as general director was the fact (as noted by Chatfield-Taylor) that "the great singers of the world came regularly to San Francisco, often performing several roles in deference to

5460-482: The nine years following the opening season, the San Francisco War Memorial Opera House was designed by Arthur Brown Jr. On October 15, 1932, the company inaugurated the new opera house with a performance of Tosca on with Claudia Muzio in the titular role. Characteristic of Merola's years as general director was the fact (as noted by Chatfield-Taylor) that "the great singers of the world came regularly to San Francisco, often performing several roles in deference to

5551-508: The opera on AM and FM (in multiplex stereo with quadraphonic encoding). The broadcasts were hosted by several well-known announcers, including Scott Beach and Fred Cherry. In the summer of 1972, the San Francisco Opera began its 50th anniversary celebrations with a special free concert in Sigmund Stern Grove. Adler conducted most of the program, which featured performances by many of the surviving singers who had appeared with

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5642-437: The opera on AM and FM (in multiplex stereo with quadraphonic encoding). The broadcasts were hosted by several well-known announcers, including Scott Beach and Fred Cherry. In the summer of 1972, the San Francisco Opera began its 50th anniversary celebrations with a special free concert in Sigmund Stern Grove. Adler conducted most of the program, which featured performances by many of the surviving singers who had appeared with

5733-413: The opera. These included Plácido Domingo flying with no notice from New York City to San Francisco – albeit three hours after curtain time – to replace the ailing Carlo Cossutta on the opening night of Otello and the last-minute substitution by Leontyne Price for Margaret Price in the role of Aida. From 1971 to 1979, San Francisco station KKHI broadcast the regular Friday night performances of

5824-413: The opera. These included Plácido Domingo flying with no notice from New York City to San Francisco – albeit three hours after curtain time – to replace the ailing Carlo Cossutta on the opening night of Otello and the last-minute substitution by Leontyne Price for Margaret Price in the role of Aida. From 1971 to 1979, San Francisco station KKHI broadcast the regular Friday night performances of

5915-568: The past, singers have performed with the San Francisco Opera , Opera Parallèle, the Berkeley Symphony, the San Francisco Conservatory , Ninth Planet Productions, Solo Opera, San Francisco Ballet , and others. The Premier Ensemble has recorded and released nine solo CD recordings including: Voices of Hope and Peace, which includes "Anne Frank: A Living Voice" by American composer Linda Tutas Haugen; Christmas,

6006-562: The public and draws some 30,000 listeners. The concert is presented in conjunction with the non-profit San Francisco Parks Trust and the San Francisco Chronicle Charities. By the 1970s, the company was highly successful and offered audiences the "cream of the crop" of internationally known singers, but with Adler often bringing in unknowns to make their American debuts or the surprise of well-known singers replacing ailing ones, there were some exciting nights at

6097-473: The public and draws some 30,000 listeners. The concert is presented in conjunction with the non-profit San Francisco Parks Trust and the San Francisco Chronicle Charities. By the 1970s, the company was highly successful and offered audiences the "cream of the crop" of internationally known singers, but with Adler often bringing in unknowns to make their American debuts or the surprise of well-known singers replacing ailing ones, there were some exciting nights at

6188-652: The radio and offered her a role in Dialogues of the Carmelites in 1957, thus providing her with her first performance on a major operatic stage. A short time later in the same season, she was to step into the role of Aida at short notice to replace Antonietta Stella , a role which gave her long-lived international acclaim. Adler developed a strong professional relationship with Birgit Nilsson . Nilsson made her US-debut in San Francisco in 1956. She returned almost every season for 26 years and made her last appearance in

6279-538: The radio and offered her a role in Dialogues of the Carmelites in 1957, thus providing her with her first performance on a major operatic stage. A short time later in the same season, she was to step into the role of Aida at short notice to replace Antonietta Stella , a role which gave her long-lived international acclaim. Adler developed a strong professional relationship with Birgit Nilsson . Nilsson made her US-debut in San Francisco in 1956. She returned almost every season for 26 years and made her last appearance in

6370-555: The running of an opera company. In January 1982 McEwen was running the SFO. Given his expertise and background in understanding opera and the wonders of the human voice, it is not surprising that his approach in his early years was away from the theatrical side and more focused on singers. With his Ring Cycle which began in the Summer 1983 and Fall 1984 seasons — and which was presented in its entirety in June 1985 – McEwen demonstrated where his priorities lay: they were focused on hiring

6461-502: The running of an opera company. In January 1982 McEwen was running the SFO. Given his expertise and background in understanding opera and the wonders of the human voice, it is not surprising that his approach in his early years was away from the theatrical side and more focused on singers. With his Ring Cycle which began in the Summer 1983 and Fall 1984 seasons — and which was presented in its entirety in June 1985 – McEwen demonstrated where his priorities lay: they were focused on hiring

6552-741: The short season and long travel time across the country." Edwin MacArthur led the San Francisco Opera Orchestra in several 78-rpm recordings for RCA Victor in the late 1930s, including performances by soprano Kirsten Flagstad . Some of these were later reissued by RCA on LP and CD. Short versions of all the works in the season were broadcast on about 30 California, Oregon, Washington, Idaho and British Columbia radio stations, starting about 1941. Merola's tenure lasted 30 years. Characteristics of Merola's SFO included creating opportunities for young American singers regardless of

6643-600: The short season and long travel time across the country." Edwin MacArthur led the San Francisco Opera Orchestra in several 78-rpm recordings for RCA Victor in the late 1930s, including performances by soprano Kirsten Flagstad . Some of these were later reissued by RCA on LP and CD. Short versions of all the works in the season were broadcast on about 30 California, Oregon, Washington, Idaho and British Columbia radio stations, starting about 1941. Merola's tenure lasted 30 years. Characteristics of Merola's SFO included creating opportunities for young American singers regardless of

6734-605: The summer 1986 season to great acclaim. During the 1983 fall season, the student/family matinee performances of La traviata were presented with supertitles . These are English translations of the libretto projected over the proscenium simultaneously with the action on stage. The overwhelmingly favorable response prompted the company to introduce the practice in increasing numbers of performances in subsequent seasons. Supertitles are now used for all San Francisco Opera productions and SFO also rents its supertitles internationally to other opera companies. In 1986, Sir John Pritchard

6825-605: The summer 1986 season to great acclaim. During the 1983 fall season, the student/family matinee performances of La traviata were presented with supertitles . These are English translations of the libretto projected over the proscenium simultaneously with the action on stage. The overwhelmingly favorable response prompted the company to introduce the practice in increasing numbers of performances in subsequent seasons. Supertitles are now used for all San Francisco Opera productions and SFO also rents its supertitles internationally to other opera companies. In 1986, Sir John Pritchard

6916-640: The summer. Many went on to international careers, among them Carol Vaness and Thomas Hampson . Another innovation was "Opera in the Park" which, since 1971, has been an annual free concert in Golden Gate Park on the Sunday following opening night of the Fall Season. It traditionally features artists from the opening weekend in full concert with the San Francisco Opera Orchestra. The event is open to

7007-409: The summer. Many went on to international careers, among them Carol Vaness and Thomas Hampson . Another innovation was "Opera in the Park" which, since 1971, has been an annual free concert in Golden Gate Park on the Sunday following opening night of the Fall Season. It traditionally features artists from the opening weekend in full concert with the San Francisco Opera Orchestra. The event is open to

7098-460: The vocal development of singers of all levels. Singers in Levels I through IV work toward and perform in a voice recital each spring under the direction of professional voice teachers. Each singer is treated as a soloist as well as a member of an ensemble. Music Theory Program: Singers in Levels I through IV receive weekly music theory and musicianship training. Music literacy is a core component of

7189-581: The world premiere of Colin Jacobsen's three-movement (although only two appear on the album) piece If I Were Not Me as well as Lisa Bielawa's My Outstretched Hand , previously performed at the Kennedy Center, and the two-movement Remembering the Sea by Aaron Jay Kernis . Also in 2019 they appeared on the recording of Vireo: The Spiritual Biography of a Witch's Accuser , an opera by Lisa Bielawa . The Premier Ensemble can also be heard on several recordings with

7280-467: The year to create a new composition performed by these singers each spring. This program provides the opportunity for singers to collaborate with working composers, to be immersed in contemporary techniques, and to perform world premieres each season. Composers-in-residence have included: Danny Clay, Lisa Mezzacappa, Angélica Negrón , Pamela Z , Sahba Aminikia , and Gabriela Lena Frank . Voice Instruction: Working vocal artists are on staff to help guide

7371-714: Was Adler's hand-picked successor. Growing up in the Montreal area of Canada, McEwen learned to love opera at an early age, listened to the Met broadcasts, and at age 14, made a trip to New York one winter break to hear several of his favorite operas, which included Bidu Sayão and Jussi Björling in Rigoletto . As a singer, Sayão was forever to remain his passion, one which was accentuated by seeing her in Manon performances in Montreal. His passion for opera in general led him to visit

7462-505: Was Adler's hand-picked successor. Growing up in the Montreal area of Canada, McEwen learned to love opera at an early age, listened to the Met broadcasts, and at age 14, made a trip to New York one winter break to hear several of his favorite operas, which included Bidu Sayão and Jussi Björling in Rigoletto . As a singer, Sayão was forever to remain his passion, one which was accentuated by seeing her in Manon performances in Montreal. His passion for opera in general led him to visit

7553-551: Was announced that Gockley's contract was to be extended through SFO's 2015–16 season. In October 2014 it was announced that Gockley would be stepping down from his post at the end of the 2015/16 season. His replacement was announced to be Matthew Shilvock in September 2015. San Francisco Opera The San Francisco Opera ( SFO ) is an American opera company founded in 1923 by Gaetano Merola (1881–1953) based in San Francisco , California . Merola's road to prominence in

7644-575: Was appointed music director and served until 1989. On 8 February 1988, McEwen announced his resignation. The following day his mentor, Kurt Herbert Adler, died. Lotfi Mansouri (born 1929) was already a known quantity when Terry McEwen announced his retirement. Then head of the Canadian Opera Company in Toronto , Mansouri had received an education in medicine in Los Angeles, but gave it all up upon becoming fixated on opera, first as

7735-447: Was appointed music director and served until 1989. On 8 February 1988, McEwen announced his resignation. The following day his mentor, Kurt Herbert Adler, died. Lotfi Mansouri (born 1929) was already a known quantity when Terry McEwen announced his retirement. Then head of the Canadian Opera Company in Toronto , Mansouri had received an education in medicine in Los Angeles, but gave it all up upon becoming fixated on opera, first as

7826-534: Was director of the Canadian Opera Company where, in 1983, he had introduced the revolutionary supertitles. Mansouri's feelings on the effects of titling was that the audience would be more engaged in the performance. This was a momentous change in the world of opera. Mansouri introduced many new operas to the SFO repertory. These included more Russian operas with the highlight being Valery Gergiev 's conducting of Prokofiev 's War and Peace and

7917-459: Was director of the Canadian Opera Company where, in 1983, he had introduced the revolutionary supertitles. Mansouri's feelings on the effects of titling was that the audience would be more engaged in the performance. This was a momentous change in the world of opera. Mansouri introduced many new operas to the SFO repertory. These included more Russian operas with the highlight being Valery Gergiev 's conducting of Prokofiev 's War and Peace and

8008-400: Was named music director and principal conductor of SFO in 1990, and assumed the posts in 1992. In November 1992, Mansouri introduced "Pacific Visions", an ambitious program designed to maintain the vitality of the opera repertoire through new commissions and the presentation of unusual repertoire. It was launched with the commissioning of the following operas: Summing up his years at the SFO,

8099-400: Was named music director and principal conductor of SFO in 1990, and assumed the posts in 1992. In November 1992, Mansouri introduced "Pacific Visions", an ambitious program designed to maintain the vitality of the opera repertoire through new commissions and the presentation of unusual repertoire. It was launched with the commissioning of the following operas: Summing up his years at the SFO,

8190-528: Was not the board's natural choice to replace Merola at the time of his death in 1953. After three months of acting as artistic director, and with the assistance of its president, Robert Watt Miller, Adler was confirmed as general director. Adler's had several aims in taking over the company. One was to expand the season which in Merola's time ran. It changed from the Friday after Labor Day until early November (when

8281-422: Was not the board's natural choice to replace Merola at the time of his death in 1953. After three months of acting as artistic director, and with the assistance of its president, Robert Watt Miller, Adler was confirmed as general director. Adler's had several aims in taking over the company. One was to expand the season which in Merola's time ran. It changed from the Friday after Labor Day until early November (when

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