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San Francisco War Memorial 2004-2005 Tosca Page 1 of 3 Opera Assn. Opera House This presentation is made possible, in part, by Mr. and Mrs. J. Burgess Jamieson and Mrs. Alfred S. Wilsey Tosca (in Italian) Opera in three acts by Giacomo Puccini Libretto by Luigi Illica and Giuseppe Giacosa Based on the play by Victorien Sardou Corporate support for this production provided by The Citigroup Private Bank Conductor CAST Donald Runnicles Cesare Angelotti Joshua Bloom Sara Jobin (11/7) A sacristan Mark Coles Production Mario Cavaradossi Miroslav Dvorsky Lotfi Mansouri Richard Crawley (11/12) Stage director Floria Tosca Carol Vaness Sandra Bernhard Baron Scarpia Mark Delavan Production designer Spoletta Anthony Laciura Thierry Bosquet Sciarrone Jere Torkelsen Lighting Designer A shepherd boy Mary Finch (10/13,19,27;11/4,12) Thomas J. Munn Dvora Djoraev (10/16,22,30;11/1) Chorus Director A jailer William Pickersgill Ian Robertson Sound Designer Roger Gans *Role debut †U.S. opera debut Musical Preparation PLACE AND TIME: Rome in June of 1800 John Churchwell Bryndon Hassman Sara Jobin Ernest Fredric Knell Supertitles Christopher Bergen Assistant Stage Director Brian Luedloff Stage Manager Lisa Anderson Wednesday, October 13 2004, at 7:30 PM Act I -- Interior of the church of Sant'Andrea della Valle Saturday, October 16 2004, at 8:00 PM Act II -- A room in Scarpia's apartments in the Farnese Palace Tuesday, October 19 2004, at 8:00 PM Act III -- A terrace of Castel Sant'Angelo, outside the prison Friday, October 22 2004, at 8:00 PM Wednesday, October 27 2004, at 7:30 PM Saturday, October 30 2004, at 2:00 PM Thursday, November 4 2004, at 7:30 PM Sunday, November 7 2004, at 2:00 PM Friday, November 12 2004, at 8:00 PM San Francisco War Memorial 2004-2005 Tosca Page 2 of 3 Opera Assn. Opera House Sponsors: The performance of November 4th is sponsored by The Citigroup Private Bank Notes: Actual design credit: Production Designer -- Thierry Bosquet after Armando Agnini Production owned by San Francisco Opera San Francisco Boys Chorus Ian Robertson, Artistic Director Neri Acosta Peter Bellingham Edan Bowers Ariel Camperi Toran Davenport Jeanoe Estipona Mark Malaya Alec Mathieson Eric Miller Colin Russell Bryan Savin Alec Scott Alexander Tam Ahandor Tighe Terence Turks Galen Yun Supernumeraries Tom Abels Derek Ailes Trey Alonso Susan Anderson Philippe Arbeit Steven Bauman Dieter Bluhm Jim Bowes Tom Carlisle Sharon Castle Annette Clark Gary Cramer Marcel Delgado Jim Downey George Freedland Joe Giammarco Eddy Gordillo David Grace John Guglielmelli Mike Harvey (Production super captain) Al Heibein Nancy Huie (Asst. production super captain) Joan Imbeau Bill Klaproth Al Knoll Diane Knoll Jeff Kohler Andrea Kohlruss Andrew Korniej Steve Lavezzoli Charlie Lichtman John F. Martin Frank Masson Bruce McNaughton Omar Mendoza James Nagy Paul Newman David Norton San Francisco War Memorial 2004-2005 Tosca Page 3 of 3 Opera Assn. Opera House Lucas Rebston Paul Ricks Larry Severino Frank Sommers Don Stoddard Paul Szczesiul Grove Wiley.

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San Francisco Opera Center and Merola Opera Program Announce 2020 Schwabacher Recital Series
SAN FRANCISCO OPERA CENTER AND MEROLA OPERA PROGRAM ANNOUNCE 2020 SCHWABACHER RECITAL SERIES January 29 Kicks Off First of Four Recitals Highlighting Emerging Artists and Unique Musical Programs Tickets available at sfopera.com/srs and (415) 864-3330 SAN FRANCISCO, CA (January 6, 2019) — Now in its 37th year, the Schwabacher Recital Series returns on Wednesday, January 29, with performances at San Francisco’s Dianne and Tad Taube Atrium Theater that feature emerging artists from around the globe. Presented by San Francisco Opera Center and Merola Opera Program, the annual Schwabacher Series consists of four Wednesday evening recitals, the last of which concludes on April 22. The first-ever Schwabacher series was presented in December 1983, kicking off a decades-long San Francisco tradition of presenting rising international talent in the intimacy of a recital setting. The 2020 series will blend classics like Hector Berlioz’s Les Nuits d’Été with rarely performed 20th- and 21st-century works like Olivier Messiaen’s Harawi. JANUARY 29: ALICE CHUNG, LAUREANO QUANT AND NICHOLAS ROEHLER (From left to right: Alice Chung, Laureano Quant and Nicholas Roehler) The series opens on January 29 with a set of performers recently seen as part of the Merola Opera Program: mezzo-soprano Alice Chung, baritone Laureano Quant and pianist Nicholas Roehler. Twice named as a Merola artist—once in 2017 and again in 2019—Chung returns to the 1 Bay Area for this recital, having been hailed as a “force of nature” by San Francisco Classical Voice (SFCV). She will tackle a range of works, from Colombian composer Luis Carlos Figueroa’s soothing lullaby “Berceuse” to cabaret-inspired works like William Bolcom’s “Over the Piano.” Quant, a 2019 Merola participant, joins Chung to perform Bolcom’s music, as well as select songs from Berlioz’s Les Nuits d’Été and Francesco Santoliquido’s I Canti della Sera.
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Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
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Verdi Week on Operavore Program Details
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RSTD OPERN Ma Rz April Ok 212X433
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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.
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Don Giovanni
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Spring 2012 www.ncos.ca Printemps 2012 P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 Unlucky Valentines by Shelagh Williams The February offerings of Toronto’s Canadian Opera concept allowed events to unfold naturally, although the Company (COC) featured stories of thwarted love com- second act could have been more tense and scary: this posed a century apart: Puccini’s Tosca (1900) and Kaija Scarpia did not seem as evil and lecherous as some I’ve Saariaho’s Love From Afar (2000)! seen, nor were Cavaradossi’s screams under torture as It is a pleasure to report that the Tosca was an loud and spine-chilling as they could have been. Veteran opulent production, setting forth the story in a clear, straight Canadian bass-baritone Peter Strummer knew just how forward manner, and featuring an excellent cast - a rare to evoke the humour of the Sacristan, although at times he set of claims for many operas these days! It was a re- seemed a bit too broad and irreligious in his actions. We mount of the COC’s own lovely 2008 production (which have seen American baritone Mark Delavan, here debut- I did not see) by the creative team of Scottish director ing at the COC as Scarpia, in his early days at Paul Curran, set and costume de- Glimmerglass Opera, and it is pleas- signer Kevin Knight and lighting de- Tosca ing to find that he has developed so signer David Martin Jacques.
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San Francisco Ring 2011 Text: John L. Digaetani
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Aruilffi * &Til
ffiH"A GIUSEPPEVERDI AIDA Librettobv AntonioGhislanzoni Thisproduction of Ardais dedicatedto DiamondProducers' Circle Sponsors lris and Matthew Strauss, TitleCo-Sponsors Gillian and Tony Thornley, and Producers' Circle Sponsors Jennifer and RichardGreenfield, Lyndaand RichardKerr, Barbara Kjos, John Rebeloand SarahB. Marsh-Rebeloand Friendsof Pam Slater-Price. SanDiego Opera is pleasedto recognizeNorthern Trust as our CorporateProducing Partner for Aida. Sincerethanks also go to AmericanAirlines. OfficialAirline of SanDiego Opera, SycuanCasino, Phone Etiquette Sponsor, and PointLoma Nazarene University, Supertitles Sponsor. ilA$T: $ilTTit*t: (in orderof vocalappearance) Setting:The periodof the Pharaoh'spower. Memphisand Thebes Ramfis ReinhardHagen Radames Walter Fraccaro. ACT I Amneris Jill Grove. Scene1 : A Hallin the Palacein Memphis Aida LatoniaMoore" Scene2. lnsidethe Templeof Vulcan Kingof Egypt Ashraf Sewailam ACT II Messenger Greg Fedderly Scene'l : Amneris'apartments in Thebes Priestess PritiGandhi Scene2; The Gatesof Thebes Amonasro Mark S. Doss - 2O Minute lntermission - Conductor DanieleCallegari- ACT Director Andrew Sinclair III TheTemple of lsison the Banksof the Nile Choreographer Kennethvon Heidecke ScenicDesigner ZandraRhodes ACT IV Cncfr rma Dacinnar ZandraRhodes TheJudgment Hall and SubterraneanTomb LrghtingDesigner ChristopherMaravich Wig and MakeupDesigner Steven Bryant . ChorusMaster CharlesF. Prestinari Therunning time is approximately 3 hours, tncluding one intermission. Supertitles ChristopherBergen . Byarrangement
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For Immediate Release September 18, 2009
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Opera Recordings: a Very Personal Guide by Ralph Moore
“Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.
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