DOCSLIB.ORG

San Francisco Boys Chorus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
San Francisco Boys Chorus PROGRAM: SAN FRANCISCO BOYS CHORUS Sunday, December 15, 2013 / 2:30 PM / BING Concert HALL SAN FRANCISCO BOYS CHORUS ARTISTS PROGRAM San Francisco Boys Chorus The program will be selected from the following: Ian Robertson, artistic director Intermediate Chorus Margaret Nomura Clark, Gloria Nancy Hill Cobb associate artistic director Laudate pueri Dominum, op. 39, no. 2 Felix Mendelssohn Ríu, Ríu, Chíu Linda Spevacek Intermediate Chorus Margaret Nomura Clark, director O Nata Lux Patti Drennan Robert Lee, accompanist Tomorrow Shall Be My Dancing Day John Rutter Concert Chorus and Graduate Chorale Concert Chorus and Graduate Chorale Ian Robertson and Margaret Nomura Clark, Cantata BWV 182, Chorus: So lasset uns gehen Johann Sebastian Bach directors Sancta Maria Mater Dei, K 273 W. A. Mozart Charles Calhoun, accompanist Personent hodie, Piae Cantiones, 1582 arr. Alice Parker A la puerta del cielo (At the Gate of Heaven) arr. Sally K. Albrecht SFBC Bellringers A New Year Carol Benjamin Britten David Knight, director Lone Dog Britten King Herod and the Cock Britten Alleluia David Conte Silent Night arr. Ian Robertson Sleigh Bells Christopher Dedrick All Choruses Go Where I Send Thee Paul Caldwell and Sean Ivory On with the Snow arr. Douglas Wagner (Sleigh Ride, Winter Wonderland, Let It Snow!) Sing for the Holidays, carols arr. Robertson This Christmastide (Jessye’s Carol) Donald Fraser Al Shlosha Allan Naplan SFBC Bellringers The Little Drummer Boy Simeone/Davis/Onerati, arr. Daniel Hermany Away in a Manger Traditional, arr. Alan Lohr PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 36 STANFORD LIVE MAGAZINE NOVEMBER/DeCEMBER 2013 PROGRAM: SAN FRANCISCO BOYS CHORUS SFBC performs at numerous civic and private engagements in the Bay Area, including anthems for the San Francisco Giants, the Oakland Athletics, the Oakland Raiders, the San Francisco Marathon, and at the Golden Gate Bridge 75th-Anniversary Celebration. The chorus has performed at the Macy’s Union Square Tree Lighting and San Francisco City Hall’s Tree of Hope celebration, and for many years, PBS has broadcast SFBC’s holiday concert in four California television markets. Recent recordings include It’s the Most Wonderful Time of the Year (2009), The San Francisco Boys Chorus Sings Vivaldi: Gloria and Magnificat (2010), The San SAN FRANCISCO BOYS CHORUS Burana, the Copenhagen Boys Choir, Francisco Boys Chorus Sings Fauré and The Grammy Award-winning San and, last spring, on a recording of Tom Messager (2010), and The San Francisco Francisco Boys Chorus (SFBC) was Sawyer with San Francisco Ballet. Boys Chorus Sings Live (2012). founded by Gaetano Merola and Madi Bacon in 1948 to provide trained boy SFBC has for more than 35 years toured New chorister auditions will be held singers for San Francisco Opera and domestically and internationally to more January 11. SFBC has been invited is today led by Artistic Director Ian than 20 countries, including Austria, to participate in the International Robertson. Maestro Robertson, who China, the Czech Republic, the United Boys and Men Choral Festival in also serves as chorus director for San Kingdom, France, Hungary, Israel, Italy, Arizona this coming summer. Francisco Opera, has since 1996 built Japan, Romania, and the former Soviet SFBC to include over 200 singers Union. Recent tours have included the from 50 Bay Area cities and more Pacific International Children’s Choral IAN ROBERTSON than 120 schools at campuses in San Festival in Oregon, the Coastal Sound Recipient of the 2012 San Francisco Francisco, Oakland, and San Rafael. Festival in Vancouver, Costa Rica, Opera Medal, Ian Robertson (conductor, and a tour to Denmark, Finland, and Concert Chorus and Graduate Chorale) Over the last 65 years, members of SFBC Russia when the choristers performed has been chorus director and conductor have appeared in over 135 productions in the Hermitage in St. Petersburg with San Francisco Opera since 1987, with San Francisco Opera, most recently and in Copenhagen’s Cathedral. having prepared more than 300 Mefistofele, Tosca, Turandot, The Magic productions for the company. He was Flute, and Carmen. SFBC choristers The chorus has performed for Bay awarded the Olivier Messiaen Foundation have performed frequently with the Area Nobel Laureates, HRH Prince Prize in 2003 for his artistic contribution San Francisco Symphony since 1952, of Wales and Camilla, the Duchess to the preparation of the company’s most recently in Deck the Hall and of Cornwall, HRH Queen Elizabeth North American premiere of Saint Chichester Psalms and with Paul Simon II of England, His Majesty the King François d’Assise. Robertson made his at the 2012 Black and White Ball. Gustav of Sweden, General Colin San Francisco Opera conducting debut Powell, Mikhail Gorbachev, and the with Lady Macbeth of Mtsensk and SFBC has collaborated in performances late Pope John Paul II. The chorus has since led performances of Falstaff, with many organizations, most recently has also performed for Nancy Pelosi, Lohengrin, Rigoletto, La traviata, Don with American Boychoir, Robert at the inaugurations of Lt. Governor Carlo, Turandot, Il trovatore, and La Moses’s Kin Dance Company, the Los Gavin Newsom, Mayor Edwin Lee, bohème. He has led the San Francisco Angeles Children’s Chorus, the San and President Barack Obama, and at Opera Orchestra and Chorus in many Francisco City Chorus in Carmina the 2012 tribute to Tony Bennett. concerts, including the company’s recent 38 STANFORD LIVE MAGAZINE NOVEMBER/DeCEMBER 2013 Stern Grove appearance, and he has and operated by her parents, and is California State University, Hayward. conducted Così fan tutte and La périchole currently the middle school music teacher He was a counselor at his first San for San Francisco Opera Center and at the Hamlin School in San Francisco. Francisco Boys Chorus camp that frequently led Merola Opera Program’s summer and also began ringing handbells Grand Finale concerts. Other North in the staff chorus. Since then he has American opera credits include productions DAVID KNIGHT been to 23 SFBC camps, 14 as part of with Sarasota Opera, Edmonton Opera, David Knight (conductor, Handbell the music staff, and has directed the and Philadelphia’s Curtis Opera Theatre. Chorus) received his B.A. in music from SFBC Handbell Program since 2002. Before joining San Francisco Opera, Robertson was head of music and chorus director of Scottish Opera, where he led numerous productions, including Il barbiere di Siviglia, The Pearl Fishers, The Secret of Susanna, and Die Meistersinger von Nürnberg. The Scotland native trained at the Royal Scottish Academy of Music and the University of Glasgow; he studied conducting under Sir Alexander Gibson. Ian Robertson is currently the artistic director of the San Francisco Festival Pinewood is an independent, coeducational, non-profit, Chorale, which has performed many times K–12 college-prep school. Students benefit fromsmall at the Grand Teton Music Festival, and the class size, challenging academic curricula, San Francisco Boys Chorus. A 2009 trip with the San Francisco Boys Chorus took him to the inauguration of the president Kthrough of the United States, and in 2011 he led 12 performances with the Boys Chorus in Passionate Expertise and a wide choice of enrichment activities. St. Petersburg, Russia, and Copenhagen. We offer an environment where each student is Robertson recently served as guest High Academic Expectations a respected and vital member of our chorus master at Chicago Lyric Opera. Unlimited Exploration educational community. We invite you to explore the opportunity for your student to become a part of the Grounded Moral Examples MARGARET NOMURA CLARK Pinewood tradition of academic excellence. For more Margaret Nomura Clark (conductor, Confident Self-Expression information, please visit our website. Intermediate Chorus) has been a part of the San Francisco Boys Chorus since www.pinewood.edu 1996. Clark earned her bachelor’s and master’s degrees in music education from the Oberlin Conservatory. Her choral aspirations began as a student in the music program at San Francisco University High School and in choral workshops with Robert Shaw. She has worked exclusively with children’s choirs in Ohio, New York, Japan, and California. Clark has also directed the preparatory choral division of the San Francisco Conservatory. She was an administrator and general music teacher for 13 years at the Pacific Academy of Nomura School in Richmond, founded encoreartsprograms.com 39 PS 091213 small 1_2v.pdf ad proofs.indd 1 9/12/13 2:11 PM.
Load more

Recommended publications
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Eun Sun Kim Appointed Music Director of San Francisco Opera
    EUN SUN KIM APPOINTED MUSIC DIRECTOR OF SAN FRANCISCO OPERA Eun Sun Kim at the War Memorial Opera House ©Marc Olivier Le Blanc/San Francisco Opera “… a company debut of astonishing vibrancy and assurance …” —Joshua Kosman, San Francisco Chronicle “… a major star of La Traviata [with Houston Grand Opera] was Eun Sun Kim … who led the performance with great sensitivity and flexibility …” —James R. Oestreich, The New York Times SAN FRANCISCO, CA (December 5, 2019) — Eun Sun Kim has been appointed the Caroline H. Hume Music Director of San Francisco Opera (SFO), effective August 1, 2021. The appointment was announced today by SFO General Director Matthew Shilvock at the War Memorial Opera House. 1 Ms. Kim will become the fourth music director in the history of San Francisco Opera, leading the orchestra, chorus and music staff, and working with General Director Matthew Shilvock; Managing Director: Artistic Gregory Henkel and other members of the Company on repertoire and casting. She will be a key member of the creative leadership, helping to shape the artistic direction of the Company’s second century, working closely with the young artist programs and bringing great opera to Bay Area audiences. The announcement comes after an inclusive search process led by Mr. Shilvock and Mr. Henkel in which feedback was invited and shared from all parts of the organization. Effective immediately, Ms. Kim is Music Director Designate, in which role she will participate in the planning of future seasons and in orchestral auditions. She will conduct the Company’s new production of Beethoven’s Fidelio that will be a part of the opening weekend of the 2020–21 Season.
    [Show full text]
  • 28Apr2004p2.Pdf
    144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.
    [Show full text]
  • Merola Opera Program 2017 Summer Festival Continues Its 60Th
    Contact: Ruben Pimentel Rachel Krasner Director of Marketing & Communications Marketing & Events Associate [email protected] [email protected] 415.936.2323 415.936.2320 Jean Shirk [email protected] 510.332.4195 FOR IMMEDIATE RELEASE / May 24, 2017 Merola Opera Program 2017 Summer Festival continues its 60th Anniversary Season with Schwabacher Summer Concerts July 6 at 7:30 pm at San Francisco Conservatory of Music and July 9 at 2:30 pm at Bing Concert Hall at Stanford University (l to r: Anne Manson, David Lefkowich) (San Francisco, CA – May 24, 2017) - The acclaimed Merola Opera Program, one of the most prestigious and selective opera training programs in the United States, celebrates its 60th Anniversary Season with the 2017 Summer Festival, presenting the popular Schwabacher Summer Concerts Thursday, July 6 at 7:30 pm at the San Francisco Conservatory of Music and Sunday, July 9 at 2:30 pm at the Bing Concert Hall at Stanford University. Conducted by Anne Manson and directed by David Lefkowich, the Schwabacher Summer Concert features this year’s Merola Opera artists performing extended scenes from operas including The Ballad of Baby Doe by Douglas Moore, Lucrezia Borgia by Gaetano Donizetti, Der Freischütz by Carl Maria von Weber, Thaïs by Jules Massenet, Cavalleria rusticana by Pietro Mascagni, and Street Scene by Kurt Weill. Tickets for the concert at the 1 San Francisco Conservatory of Music range from $25 to $45, with a limited number of $15 student tickets available. Tickets for the concert at Bing Concert Hall are $30 to $40. Conductor Anne Manson has served as Music Director of the Manitoba Chamber Orchestra since 2008 and recently renewed her contract through 2020.
    [Show full text]
  • Merola Opera Program: Schwabacher Summer Concert
    Merola Opera Program Schwabacher Summer Concert 2017 WHEN: VENUE Sunday, Bing JuLy 9, 2017 ConCert HaLL 2:30 PM Photo: Kristen Loken Program (Each excerpt’s cast listed by order of appearance) Jules Massenet: Thaïs (1894) Giacomo Puccini: Le Villi (1884) from act 2 “La tregenda” “Ah, je suis seule…Dis-moi que je suis belle…Étranger, te voilà.” orchestra thaïs—Mathilda edge Douglas Moore: The Ballad of Baby Doe (1956) athanaël—thomas glass act 1, Scenes 2 and 3 nicias—andres acosta “What a lovely evening…Willow where we met together… Warm as the autumn light…Now where do you suppose that Pietro Mascagni: Cavalleria rusticana (1890) he can be?...I send these lacy nothings.” “Tu qui, Santuzza…Fior di giaggiolo… Ah, lo vedi, che hai tu detto.” Baby doe—Kendra Berentsen Horace tabor—dimitri Katotakis turiddu—Xingwa Hao augusta tabor—alice Chung Santuzza—alice Chung Kate—Mathilda edge Lola—alexandra razskazoff Meg—Felicia Moore Samantha—alexandra razskazoff Kurt Weill: Street Scene (1947) townspeople—Mathilda edge, act 1, Scene 7 (“ice Cream Sextet”) Felicia Moore, alexandra razskazoff, andres acosta, “First time I come to da America…” thomas glass Lippo—andres acosta Gaetano Donizetti: Lucrezia Borgia (1833) Mrs. Jones—alexandra razskazoff from act 1 Mrs. Fiorentino—Kendra Berentsen “Tranquillo ei posa…Com’è bello…Ciel! Che vegg’io?...Di Mrs. olsen—alice Chung pescatore ignobile.” Henry—Xingwa Hao Mr. Jones—thomas glass Lucrezia—alexandra razskazoff Mr. olsen—dimitri Katotakis gubetta—thomas glass duke—dimitri Katotakis rustighello—Xingwa Hao anne Manson, conductor gennaro—andres acosta david Lefkowich, director Carl Maria von Weber: Der Freischütz (1821) from act 2 “Wie nahte mir der Schlummer…Leise, leise, fromme Weise… Wie? Was? Entsetzen!” agathe—Felicia Moore Max—Xingwa Hao Ännchen—Kendra Berentsen INTERMISSION PROGRAM SUBJECT TO CHANGE.
    [Show full text]
  • Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
    Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet
    [Show full text]
  • Merola Opera Program 2017 Summer Festival Continues with Performances of Three Fully-Staged One-Act Operas, Pergolesi's La
    Contact: Ruben Pimentel Rachel Krasner Director of Marketing & Communications Marketing & Events Associate [email protected] [email protected] 415.936.2323 415.936.2320 Jean Shirk [email protected] 510.332.4195 FOR IMMEDIATE RELEASE / June 13, 2017 Merola Opera Program 2017 Summer Festival continues with performances of three fully-staged one-act operas, Pergolesi’s La serva padrona, Holst’s Sāvitri, and Walton’s The Bear, on July 20 at 7:30 pm and July 22 at 2 pm at the San Francisco Conservatory of Music (l to r: Cody Quattlebaum, Kelsea Webb, Christopher Ocasek) (San Francisco, CA – June 13, 2017) - The acclaimed Merola Opera Program, one of the most prestigious and selective opera training programs in the United States, continues its 2017 Summer Festival during its 60th Anniversary season with a triple bill of fully-staged, one-act operas, Pergolesi’s La serva padrona, Holst’s Sāvitri, and Walton’s The Bear, on Thursday, July 20 at 7:30 pm and Saturday, July 22 at 2 pm at the San Francisco Conservatory of Music. This production is conducted by Christopher Ocasek and directed by Peter Kazaras. Tickets for the performances range from $50 to $70, with a limited number of $15 student tickets available. Pergolesi’s La serva padrona (The Servant Turned Mistress), which dates to 1733, is a quintessential operatic work that links history to the present with relatable characters in the form of a cunning young maid (soprano Jana McIntyre) and her aging master (bass-baritone Daniel Noyola). McIntyre returns for her second season in a row with the Merola program.
    [Show full text]
  • JGCD 0019 Flagstad BOOKLET.Cdr
    Kirsten Flagstad Kirsten Flagstad in Concert Kirsten Flagstad was born in Hamar (Norway) on 12 July 1895. At the age of eighteen she made her debut in Eugen d’Albert’s »Tiefland« at the National Richard Strauss Theatre of Oslo. Until 1928 Flagstad sang in a mixture of opera and operetta Four Last Songs performances and attempted her first Wagnerian roles. Elsa and Eva, as well as Aida, Mimi and Tosca. In 1932 she sang Isolde at the Oslo National Theatre Wilhelm Furtwängler and her success in the role prompted a summons from Bayreuth. In 1934 World Premiere Flagstad sang Sieglinde and Gutrune at the Festspielhaus. London, 22.05.1950 Gatti-Gasazza, looking to replace Frida Leider, signed Flagstad for, what turned out to be, her spectacular debut as Sieglinde at the Met for the 1935 season. It was soon apparent that she was to become a first-rank Wagner Richard Strauss interpreter and her international career flourished until her retirement in 1957. Three Songs The inclusion of the Strauss songs are of particular interest as they lie out of her San Francisco, 08.10.1950 usual recorded repertoire. Strauss was a composer she dearly loved (therefore we have included the »Desert Island« interview). And she presented the world Richard Wagner premier performance of the »Four Last Songs« at the Albert Hall under Furtwängler 1950. Arias & Duets This important premiere recording is also on this disc, even inspite of the bad with Set Svanholm sound. We do hope that you accept this release, too. As the performance is of San Francisco, 09.10.1949 such great interest we decided to put it on this disc, too - even if it is our credo only to release historical recordings with the best possible sound and sources.
    [Show full text]
  • San Francisco Opera Returns to the War Memorial Opera House Stage
    SAN FRANCISCO OPERA RETURNS TO THE WAR MEMORIAL OPERA HOUSE STAGE Eun Sun Kim Opens 2021–22 Season and Music Directorship Tenure with Puccini’s Tosca Starring Ailyn Pérez, Michael Fabiano and Alfred Walker Eun Sun Kim (Photos: Marc Olivier Le Blanc; Daniel Delang) Kim Leads Beethoven’s Fidelio in a Bold New Production by Director Matthew Ozawa Featuring Elza van den Heever and Russell Thomas Along with Homecoming Concert, Adler Fellows Concert and Verdi Tribute Company’s Multi-Year Mozart-Da Ponte Trilogy Continues with New Productions of Così fan tutte and Don Giovanni Set in Different Eras of an American House Season Highlights Also Include Bright Sheng and David Henry Hwang’s Dream of the Red Chamber, Livestreaming, Free Opera at the Ballpark Simulcast Tickets Now on Sale – Visit sfopera.com or call (415) 864-3330 Puccini’s Tosca; Beethoven’s Fidelio set rendering by Alexander V. Nichols; Sheng’s Dream of the Red Chamber (Photos: Cory Weaver) 1 San Francisco, CA (June 22, 2021) — San Francisco Opera announced today repertory, casting and reopening plans for its 99th season. Commencing with a performance of Giacomo Puccini’s Tosca on Saturday, August 21, the 2021–22 Season marks the inauguration of Eun Sun Kim’s tenure as Caroline H. Hume Music Director and a reemergence of opera at the War Memorial Opera House, which reopens with newly installed custom seats and accessibility enhancements. For this transitional year, the Company unveils three new productions: Ludwig van Beethoven’s Fidelio and, continuing the Company’s Mozart-Da Ponte Trilogy, Così fan tutte and Don Giovanni.
    [Show full text]
  • Opera As Politics the Troubled History of San Francisco’S War Memorial Opera House
    LETA & MILLER Opera as Politics The Troubled History of San Francisco’s War Memorial Opera House ABSTRACT This article describes the troubled, politically fraught path to the realization of San Francisco’s War Memorial Opera House, the first municipally owned operatic performance venue in the nation. Although envisioned prior to the 1906 earthquake (in which the two most important opera houses in the city were de- stroyed), the realization of an innovative concept in which the people of the city would found and maintain an opera house took a quarter century to materialize. Supporters of the idea ascribed to the common sentiment of the time that classical music had an “elevating” and “ennobling” potential to “uplift” the poor and create a more responsible citizenry, but opera’s historic association with wealth and elitism counteracted these argu- ments and blocked progress on the building until at last, in the 1920s, San Franciscans raised $2 million in direct contributions and voted for a $4 million bond issue. KEYWORDS: San Francisco Opera, War Memorial Opera House AN FRANCISCO’S War Memorial Opera House, the first municipally owned operatic performance venue in the United States, opened with great fanfare in October S 1932. The 3,200-seat hall continues to the present day to provide a home for the San Francisco Opera and the San Francisco Ballet and, until the erection of the Louise M. Davies Symphony Hall in 1980, also served as the venue for the San Francisco Sym- phony. The path to the building’s realization, however, was torturous, obstructed by road- blocks, attacked with vituperative rhetoric, and derailed by political maneuvering over the course of more than two decades.
    [Show full text]
  • The Merola Grand Finale August 19 at 7:30 Pm at the War Memorial Opera House in San Francisco Concludes Merola Opera Program 2017 Summer Festival
    Contact: Ruben Pimentel Rachel Krasner Director of Marketing & Communications Marketing & Events Associate [email protected] [email protected] 415.936.2323 415.936.2320 Jean Shirk [email protected] 510.332.4195 FOR IMMEDIATE RELEASE / July 13, 2017 The Merola Grand Finale August 19 at 7:30 pm at the War Memorial Opera House in San Francisco concludes Merola Opera Program 2017 Summer Festival Merola 2017 artists perform staged scenes and musical excerpts from works by Donizetti, Massenet, Verdi, Rossini, Lehár, Berg, Boito, Thomas, Bizet, Mozart, Britten, and Handel (l to r: Victoria Crutchfield; 2017 Merolini; Antony Walker) (San Francisco, CA – July 13, 2017) - The acclaimed Merola Opera Program, one of the most prestigious and selective opera training programs in the United States, concludes its 2017 Summer Festival and its 60th Anniversary Season with the Merola Grand Finale on Saturday, August 19 at 7:30 pm at the War Memorial Opera House. Conductor Antony Walker will lead the orchestra and 2017 Merola Apprentice Stage Director Victoria Crutchfield will stage the program, featuring works by Donizetti, Massenet, Verdi, Rossini, Lehár, Berg, Boito, Thomas, Bizet, Mozart, Britten, and Handel. The performance is a culmination of the 12-week Merola Opera training program, and all 23 of the 2017 Merola singers will perform, under the coaching and direction of their fellow artists. Tickets for the performance range from $25 to $50, with a limited number of $15 student tickets available, and are on sale at San Francisco Opera Box Office at (415) 864-3330, merola.org or www.sfopera.com. A special post-performance reception follows the Grand Finale (tickets sold separately).
    [Show full text]
  • Sjog Donates
    Newsletter February 2011 sJOG DONAtes As we ask you to renew your membership the san Francisco Opera in 1923, Merola is a in sJOG, you may be asking just what your training program for young singers. It was cre- membership pays for. the lectures for five ated in 1957, by Kurt Herbert Adler, Merola’s of san Francisco Opera’s fall operas are free successor, to bring top-quality young singers to our members, along with a season preview to san Francisco. this Program aims to trans- of both west Bay Opera and Opera san José. form these young singers into paid profession- In addition, our Guild donates to Opera san als in just eleven weeks. José’s outreach, and this year will sponsor a Merola administrators receive between 600 returning artist, Daniel Cilli. with the help and 800 applications each year. Former so- of our donation, OsJ will present two perfor- prano of distinction, sheri Greenawald, heads mances of Hansel and Gretel at the Chidren’s up the training program. she and her col- Discovery Museum on May 28, 2011 at 1pm leagues travel to New York, Chicago, los An- and 2:30pm. In addition, the donation will geles and san Francisco to listen to all of the sponsor two performances of the one-act op- finalists, and then select the 19 to 23 who will era in san Jose schools that can not typically be named Merolini for the year. Also selected afford assembly programs. are four apprentice coaches and one apprentice Our Guild also contributes to the san director.
    [Show full text]