The Ring at San Francisco Opera

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2017–18 SEASON

RICHARD WAGNER THE RING OF THE NIBELUNG Encore spread.indd 1 5/25/18 12:59 PM Encore spread.indd 1 5/25/18 12:59 PM EAPfull-page template.indd1

©2018 City National Bank City National Bank is a subsidiary ofRoyal BankofCanada. City National Bankis a subsidiary CNB MEMBER FDIC “ my financiallifeintune.” City National helpskeep essence ofasuccessfulrelationship. ofwhatIdoandlove.being apart Thatisthe music toaudiencesallover theworld.Theyenjoy inhelpingmebringclassical and isinstrumental classical music.CityNational shares mypassion focus oncreating andsharingthe“adventures” of help keepmyfinanciallifeoncoursesoIcan ensemble. Ineedpeoplewhocancountonto city, adifferent pieceofmusic,adifferent So muchofmylifeisalwaysshifting;adifferent Call (866)618-5242orvisitcnb.com Citytrust National. The people you trust, Conductor, Educator andComposer TilsonMichael Thomas

5/4/18 11:10 AM June 2018 Volume 95, No. 4

Vol. 95, No. 4 • 2017–18 Season • June 2018 Jon Finck, Executive Editor Matthew Erikson, Editor Susan L. Wells, Design Consultant Paul Heppner Publisher Please e-mail comments, questions, and feedback about San Francisco Opera Magazine

Susan Peterson to [email protected]. Design & Production Director

Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design

Mike Hathaway Sales Director

Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives

Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives On the cover: Illustration by Mission Minded; Carol Yip photograph by Cory Weaver. Sales Coordinator FEATURES

19 Director’s Note by Francesca Zambello The inspiration behind this Ring production is partly #MeToo, partly environmental—and almost entirely American. Paul Heppner President 20 What Price Love? by Peter Bassett Mike Hathaway If Wagner’s Der Ring des Nibelungen could be reduced to a slogan, it would resemble Vice President something like the power of love versus the love of power. Kajsa Puckett Vice President, 25 Epic Ambition: On Wagner’s Ring and Its Filmic Afterlives Marketing & Business Development by Adrian Daub Genay Genereux Over the past century, film has frequently turned to the opera house as the first Accounting & Office Manager cinema and to the Ring as its earliest ancestor. Shaun Swick Senior Designer & Digital Lead 48 “Stark ruft das Lied”: A Listening Guide to the Ring by William Berger Barry Johnson A dissection of each of the operas that make up the Ring and the cycle’s Digital Engagement Specialist multidimensional musical world. Ciara Caya Customer Service Representative & 82 Past San Francisco Opera Ring Casts Administrative Assistant A pictorial history of the Company’s Ring productions from 1935 to 2011.

Corporate Office 425 North 85th Street Seattle, WA 98103 DEPARTMENTS p 206.443.0445 f 206.443.1246 6 San Francisco Opera Association 46 Götterdämmerung Synopsis and Cast [email protected] 9 Message from the Board of 57 Artist Profiles 800.308.2898 x105 San Francisco Opera www.encoremediagroup.com 85 San Francisco Opera Donors 13 San Francisco Opera News 100 Ring Crossword 36 2018 Repertory Encore Arts Programs is published monthly by Encore Media 101 Your Opera Experience Group to serve musical and theatrical events in the Puget 40 Das Rheingold Synopsis and Cast 102 Postlude by General Director Sound and San Francisco Bay Areas. All rights reserved. 42 Die Walküre Synopsis and Cast Matthew Shilvock ©2018 Encore Media Group. Reproduction without written permission is prohibited. 44 Siegfried Synopsis and Cast

encoremediagroup.com/programs 5 SAN FRANCISCO OPERA ASSOCIATION

Officers of the Board John A. Gunn Chairman Steven Menzies Vice Chairman Karl O. Mills Vice Chairman Reid W. Dennis Chairman Emeritus SAN FRANCISCO George H. Hume Vice Chairman Franklin P. Johnson, Jr. Chairman Emeritus OPERA SHOP Officers of the Association Visit the Opera Shop and Keith B. Geeslin President Lisa Erdberg Vice President Matthew Shilvock General Director & George H. Hume Treasurer take a memory home! Chief Executive Officer Thomas A. Larsen Secretary Paul M. Crane Dorfman Executive Vice President Michael Simpson Chief Financial Officer Now with 3 locations: • Main Lobby • Mezzanine (Box) Level Board of Directors • Level 3, Dress Circle North Susan Anderson-Norby George H. Hume + Randall Reynoso + Dawn Yates Black Bruce W. Hyman Karen Richardson Ring Circle Members Timothy Blackburn J. Burgess Jamieson Richard J. Rigg, Ph.D. Carol Franc Buck Dorothy M. Jeffries C.P. Russell and Subscribers, show your Jack Calhoun + Philip M. Jelley Bill Russell-Shapiro + subscriber I.D. to receive Annette Campbell-White Franklin P. Johnson, Jr. + Jack Schafer Carlyn Clause, Merola Opera Timothy F. Kahn Matthew Shilvock + ▴ 10% off your purchase. Program President ▴ Stephen S. Kahng Ruth A. Short William M. Coughran, Jr. + Joseph Keegan Mrs. George P. (Charlotte) Shultz Paul M. Crane Dorfman + Lawrence A. Kern Dianne Marie Taube Mrs. Peter W. (Jayne) Davis Mark R. Kroll Mrs. David T. (Joan) Traitel Ira Dearing Karen J. Kubin Soo Venkatesan + Jerome L. Dodson Thomas A. Larsen + Diane B. Wilsey + Carol Pucci Doll Sylvia R. Lindsey Sharon Winslow Shannon Eliot, BRAVO! President ▴ James Patterson McBaine Barbara A. Wolfe Robert A. Ellis + Patrick McCabe Barbara Moller Ward Wonder Lisa Erdberg + Anne G. McWilliams Melinda Yee Franklin Peter Fenton Mrs. Mark A. (Teresa) Medearis S. Shariq Yosufzai + Sarah Fenton Steven Menzies + Kristina Flanagan Helen Meyer + Executive Committee Member Margarita Gandia Karl O. Mills + ▴ Ex Officio Keith B. Geeslin + Justin Moore Susan Graham Johnston Jane S. Mudge, Guild President ▴ Nicholas M. Graves Nancy S. Mueller CHAIRMAN’S COUNCIL: Louise Gund + Ben Nelson Reid W. Dennis John A. Gunn + J. Boyce Nute + William W. Godward Jane M. Hartley Masashi Oka Barbara K. Jackson Franklin P. Johnson, Jr., Chairman RICHARD WAGNER • SUMMER 2018 I. Craig Henderson, M.D. Bernard Osher + John Hendrickson Anne Brandeis Popkin Bernard Osher Doreen Woo Ho Mary A. Powell Charles Edward Hudson III Karthik Rau Photo: Cory Weaver. Illustration: Mission Minded. Photo: Cory Weaver.

All locations open before curtain, Presidents during intermissions and 1923 Timothy Healy 1974–84 Walter M. Baird 20 minutes after final curtain. 1924–31 Robert I. Bentley 1985–90 Tully M. Friedman 1932–36 Wallace M. Alexander 1990–93 Thomas Tilton 1937–44 Robert Watt Miller 1993–95 David M. Chamberlain 1945–51 Kenneth Monteagle 1995–2002 William W. Godward VISIT BRÜNNHILDE’S 1952–68 Robert Watt Miller 2002–06 Karl O. Mills 1969–70 Prentis Cobb Hale 2006–13 George H. Hume BIERGARTEN 1971–73 William H. Orrick, Jr. 2013– Keith B. Geeslin Visit Brünnhilde’s Biergarten on the Loggia for the best photo op Chairmen of the Board at San Francisco Opera! 1969 Robert Watt Miller 1985–99 Reid W. Dennis 1971–82 R. Gwin Follis 1999–2008 Franklin P. Johnson, Jr. Take in the view while you indulge 1983–84 Richard K. Miller 2008– John A. Gunn in an authentic variety of local beers and German fare like bratwursts with San Francisco Opera General Directors sauerkraut and warm soft pretzels Gaetano Merola 1923–53 with house-made mustard. Kurt Herbert Adler Artistic Director, 1953–57; General Director, 1957–81; General Director Emeritus, 1982-1988 Terence A. McEwen 1982–88; General Director Emeritus, 1988-1998 Open 1 hour before curtain and during Lotfi Mansouri 1988–2001; General Director Emeritus, 2001-2013 Pamela Rosenberg 2001–05 all intermissions. David Gockley 2006–16; General Director Emeritus, 2016- Matthew Shilvock 2016–

6 SAN FRANCISCO OPERA In The City You Love, The Address You Want. San Francisco has your heart. It also has one of the more enviable addresses for a complete Life Care Community—The Sequoias San Francisco. See why this can be your retirement reimagined. Visit thesequoiassf.org or for your personal tour call Alison Short, 415.351.7900.

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A MeSSAGe froM the BoArD of SAn frAnCiSCo OPERA

there are few undertakings more ltizer

ambitious and rewarding for an A

opera company than richard rew wagner’s epic Ring cycle. it is our D great pleasure to welcome you to this stunning artistic achievement and supreme test of teamwork. San francisco’s love affair with The Ring of the Nibelung dates as far back as 1900 when the touring Metropolitan opera produced the four-part work at the Grand opera house on Mission Keith B. Geeslin and John A. Gunn Street (between third and fourth Streets and destroyed in the 1906 earthquake). Since San francisco opera’s first staging of wagner’s tetralogy in 1935 with lauritz Melchior and Kirsten flagstad, and subsequent mountings in 1972, 1985, 1990, 1999, and 2011, the Company has been regarded as one of the world’s preeminent presenters of this spectacular work. San francisco opera’s distinguished association with the Ring continues this summer with the Company debuts of Daniel Brenna as Siegfried and falk Struckmann as Alberich and the return of stars iréne theorin, Greer Grimsley, Karita Mattila, Brandon Jovanovich, and Jamie Barton, along with conductor Donald runnicles, director francesca zambello and her visionary production. it is no surprise that ticket sales have been robust and far- B:11.125” T:10.875” S:9.875” ranging for these three complete cycles. to date, our audiences hail from 48 states and 27 countries, including Australia, Brazil, finland, ireland, Japan, Mexico, new zealand, Poland, and Singapore. once again, our Ring production is complemented by an array of ancillary events designed to help you derive the maximum enjoyment and understanding of wagner’s unique creation. An extraordinary choral program featuring the San francisco opera Cho- rus, symposia, and behind-the-scenes activities await us all, and we hope you will take advantage of these opportunities to enrich your experience. Please refer to page 16 in your program for more information. Producing the Ring requires staggering commitment. in addition to the outstanding response we have seen from returning and new subscribers from around the globe, nearly We care for the city that believes 3,000 households have made donations at all levels to help us bring this work to life. we are pleased to acknowledge the many patrons, foundations, and corporations that have in love. supported the Ring, most notably our production sponsors Dr. & Mrs. william M. Coughran; Jerome l. & thao n. Dodson; Bertie Bialek elliott; Sylvia & John hughes; the edmund w. & Jeannik Méquet littlefield fund; Bernard & Barbro osher; Betty & Jack We treat more pulmonary patients than any Schafer; Jan Shrem & Maria Manetti Shrem; the thomas tilton Production fund; Joan & David traitel, through the Great Singers fund; United Airlines; and Barbara A. wolfe. other hospital in San Francisco. When you call on behalf of all of us on the board of directors, thank you for being part of the community that has made this emotionally thrilling, entertaining, and elevating artistic experience this city home, you call CPMC your hospital. possible. whether you are a confirmed wagnerite or joining us on this epic journey for the first time, we hope you will enjoy these remarkable performances.

John A. Gunn Keith B. Geeslin Chairman of the Board President cpmc2020.org

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1 Encore_Castro Saved at 03-10-2018 from by Printed At None

Job info Approvals Fonts & Images Job 309886 Art Director Fonts Client Sutter Health Copywriter Helvetica Neue LT Std (75 Bold, 45 Light), Media Type Magazine Account Mgr Helvetica Neue (Bold) Live 7.375” x 9.875” Studio Artist Trim 8.375” x 10.875” Proofreader Images Bleed 8.625” x 11.125” Pubs SF Ballet Notes Inks SF Encore Cyan, Magenta, Yellow, Black None 03-10-18 hr 309886 Version:01 309886cpm01_Encore_Castro OperaNews Summer 2018.qxp_OperaNews 5/22/18 5:33 PM Page 1

A MeSSAGe froM the BoArD of SAn frAnCiSCo OPERA RHODA GOLDMAN there are few undertakings more PLAZA ltizer

ambitious and rewarding for an A

opera company than richard rew wagner’s epic Ring cycle. it is our D great pleasure to welcome you to this stunning artistic achievement and supreme test of teamwork. San francisco’s love aﬀair with The Ring of the Nibelung dates as far back as 1900 when the touring Metropolitan opera produced the four-part work at the Grand opera house on Mission Keith B. Geeslin and John A. Gunn Street (between third and fourth Streets and destroyed in the 1906 earthquake). Since San francisco opera’s ﬁrst staging of wagner’s tetralogy in 1935 with lauritz Melchior and Kirsten flagstad, and subsequent mountings in 1972, 1985, 1990, 1999, and 2011, the Company has been regarded as one of the world’s preeminent presenters of this spectacular work. San francisco opera’s distinguished association with the Ring continues this summer with the Company debuts of Daniel Brenna as Siegfried and falk Struckmann as Alberich and the return of stars iréne theorin, Greer Grimsley, Karita Mattila, Brandon Jovanovich, and Jamie Barton, along with conductor Donald runnicles, director francesca zambello and her visionary production. it is no surprise that ticket sales have been robust and far- ranging for these three complete cycles. to date, our audiences hail from 48 states and At Rhoda Goldman Plaza, the27 countries, staff, cuisine, including programs,Australia, Brazil, finland, ireland, Japan, Mexico, new zealand, and services allow me to doPoland, what and I love—like Singapore. volun- once again, our Ring production is complemented by an array of ancillary events teering for my amazing Giants.designed And to the help convenient you derive the maximum enjoyment and understanding of wagner’s Lower Pac Heights address uniquemakes creation. this unsurpassed An extraordinary choral program featuring the San francisco opera Cho- assisted living and memory rus,care symposia, community and behind-the-scenes my home activities await us all, and we hope you will take advantage of these opportunities to enrich your experience. Please refer to page 16 in your team. For your personal visit, connect with Candiece, program for more information. 415.345.5072 or [email protected] the Ring requires staggering commitment. in addition to the outstanding Living response we have seen from returning and new subscribers from around the globe, nearly 3,000 households have made donations at all levels to help us bring this work to life. we Well With

are pleased to acknowledge the many patrons, foundations, and corporations that have SM supported the Ring, most notably our production sponsors Dr. & Mrs. william M. Assistance Coughran; Jerome l. & thao n. Dodson; Bertie Bialek elliott; Sylvia & John hughes; the edmund w. & Jeannik Méquet littlefield fund; Bernard & Barbro osher; Betty & Jack Starts With Schafer; Jan Shrem & Maria Manetti Shrem; the thomas tilton Production fund; Joan & The Staff. David traitel, through the Great Singers fund; United Airlines; and Barbara A. wolfe. on behalf of all of us on the board of directors, thank you for being part of the commu- For your personal visit, nity that has made this emotionally thrilling, entertaining, and elevating artistic experience connect with Candiece, possible. whether you are a confirmed wagnerite or joining us on this epic journey for 415.345.5072 or the first time, we hope you will enjoy these remarkable performances. [email protected].

2180 Post Street John A. Gunn Keith B. Geeslin San Francisco, CA Chairman of the Board President rgplaza.org Founded by Jewish Family and Children’s Services and Mount Zion Health Fund RCFE# 385600125

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CLIENT RGP PUB Encore - Ballet REF NO RGP745-01cg - Chloe the Server AD TYPE 1/3 page vertical, 4C SPECS 2.25” w x 9.875” h / 4 Color ISSUE 3/06 - 3/11/18 MAT’LS DUE 1.18.18 VERSION 1 AGENCY RESIN CONTACT Tim Paschke – 415 987 4274 Who you work with matters.

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Summer 2018 Did You Know? SaN FRaNcISco OPERA Götterdämmerung is the only Ring opera EWS to use chorus. While the chorus men are N featured prominently in act II and act III, the women sing a mere 12 measures (28 Envisioning a New Tosca notes) during the act II wedding scene. l

l In the second act of the

anticipation is running high a

W current production of Die

for the new production of T T

o Walküre, two Belgian Giacomo Puccini’s Tosca that c S opens on october 3. Glam- shepherds, or Malinois, orous Italian soprano car- accompany Hunding’s men Giannattasio makes her men in the pursuit of role and company debuts as Siegmund. The dogs, Tosca, and leo Hussain, both male, originate British conductor and former from the East Bay music director of the opéra and are named Finn de Rouen, makes his first (4 years old and 55 “Finn” San Francisco opera appear- pounds) and Fubar (3½ years old and 65 pounds). ance. But despite these inter- An Act I set model of the Company’s new Tosca national trappings, this new They join a long list of animals who staging is very much a homegrown labor of love. have appeared in San Francisco opera Just 15 miles south of the War Memorial opera House in productions—including a cat, for the Burlingame, the company’s scene shop has been hard at company’s 1991 staging of Hans work creating arresting sets of circa 1800 Rome. In addi- Werner Henze’s Das Verratene Meer. tion, the director of this Tosca, Shawna lucey, has been an invaluable part of San Francisco opera since 2013, first as Due to recent technological an assistant stage director and most recently as the stage advancements and more energy-efficient director of last fall’s La Traviata. Shawna Lucey lighting and projection devices, this Ring Not long before assuming his duties as company general director two years ago, revival is far more green in its electrical Matthew Shilvock approached lucey about her thoughts on Tosca and whether she had consumption. In 2011, the under deck strong feelings about the work, to which she definitively replied “yes.” “at the center of lighting alone required over 400 amps, the piece is a strong woman, and I really identify with that,” says lucey. What’s more, more than your average home. This year, “the music is perfection; it’s psychologically thrilling, passionate, full of love and dan- it takes approximately 122 amps. ger. Tosca is the perfect opera for today and the perfect first opera. It’s also the work that someone who loves opera for decades goes back to.” Richard Wagner is the most written- and it is the opera that the company has frequently returned to. Tosca was featured about musician in history. a recent during the company’s first season in 1923 at the civic auditorium, inaugurated the addition to the War Memorial opera House on october 15, 1932, and was chosen to reopen the opera literature is Roger house in 1997 following a closure for seismic retrofitting. Tosca has been presented Scruton’s The Ring of over 150 times in 38 previous seasons. Yet on all those occasions, the sets and cos- Truth: The Wisdom of tumes have largely been a restaging of the original 1932 Tosca. lucey sees this new pro- Wagner’s Ring of the duction as an opportunity to explore deeper characterizations and better relate the Nibelung, which opera’s themes to today. The idea of how political corruption rots society and fractures delves into the work’s personal relationships shapes her vision. philosophical, lucey has been partnering with production designer Robert Innes Hopkins to cre- musical, and literary ate “psychologically charged” spaces. For instance, act one’s Sant’andrea della Valle underpinnings. You features vibrant primary colors rather than the usual pastel hues of Baroque churches. can purchase this and “I’m not just thinking about our dedicated Puccini fans but also our up-and-coming other Ring-related opera audience and how we’re going to draw them in with the visuals of this piece,” recommendations by says lucey. company General Director Matthew She believes that patrons have other surprises in store. “Tosca is a dangerous opera Shilvock at the opera Shop, located on because it can border on melodrama. It’s melodramatic if you don’t ground it into the the south mezzanine level, deep psychological roots of the given circumstance. main lobby, and north dress circle. “Robert and I are creating a fresh and enduring staging full of nuanced storytelling that will be passionate, exhilarating, and addictive.”

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SAN FRANCISCO OPERA NEWS Opening Night 2018 TELLING POWERFUL Circle Friday, September 7 on your cal- NEW OPERA STORIES endars and get ready for Opera Ball 2018: ¡Viva La Noche!, San Francisco The initiative Opera for All Voices: Stories of

A Opera Guild’s signature gala beneﬁt R E was established to create works

P our Time inaugurating San Francisco Opera’s O

E that will attract audiences of all ages who F 96th season. Produced by San Fran- A

T may not have experienced opera. The seven N cisco Opera Guild and co-chaired by A

S companies of the consortium—led by San Shannon Cronan and Kathy Huber, this Francisco Opera and Santa Fe Opera and Left to right: Composer Augusta Read Thomas, year’s Opera Ball is presented in con- including Lyric Opera of Kansas City, Santa Fe Opera’s Brandon Neal and Andrea junction with the season-opening dou- Fellows Walters, composer Laura Kaminsky, Minnesota Opera, Opera Theatre of Saint ble bill of Pietro Mascagni’s Cavalleria librettist Kimberly Reed, and San Francisco Louis, Sarasota Opera, and Seattle Opera— Rusticana and Ruggero Leoncavallo’s Opera Director of Education Ruth Nott are working together to create new works Pagliacci. In this production by José flexible in both scope and scale. Cura, both Italian classics are set in La The first two commissions were announced in May 2017. Sweet Potato Kicks the Sun Boca, the Buenos Aires neighborhood by composer Augusta Read Thomas and librettist Leslie Dunton-Downer will receive its famous for its colorful architecture and premiere at the Santa Fe Opera in October 2019. The second commission, Postville: Hometown to the World by composer Laura Kaminsky and librettist Kimberly Reed, is tango. Renowned designer J. Riccardo anticipated to premiere at San Francisco Opera in 2020. Benavides returns to create a festive In May 2018, two additional commissions were announced, selected through an invita- atmosphere inside the tented pavilion tional process and adjudicated by a jury of 12 distinguished individuals in the field of with Latin culinary delights by McCalls opera. Kip Cranna, San Francisco Opera’s dramaturg, guided the process. The works by Catering and a post-performance cele- composer David Hanlon (a former San Francisco Opera Adler Fellow) and librettist bration with dancing. All proceeds bene- Stephanie Fleischmann and composer Chandler Carter and co-librettist Diana Solomon- fit the Opera Association and Opera Glover will be mentored by the creative teams of the first two operas. Guild’s education programs. For tickets, Postville draws from the complex intersection of race, religion, ethnicity, and culture visit sfopera.com/operaball2018. that took place in Postville, Iowa, where America’s largest kosher meat-packing plant BRAVO! Club’s 27th Annual Opening became the site of the largest workplace raid by the U.S. Immigration and Customs Night Gala is a lavish and fun-filled cele- Enforcement (ICE) agency. The 2008 raid resulted in approximately one quarter of bration ideal for young professionals. Postville’s residents—most of them Guatemalan—being arrested and deported. It will For details, visit sfopera.com/bravo. make for a powerful story, told through the lens of the Opera for All Voices initiative. Opera Ball 2018 Co-chairs Merola Opera Program Shannon Cronan and Kathy Huber Widely regarded as the foremost opera training program for aspiring singers, coaches, accompanists, and stage directors, the Merola Opera Program is the cornerstone of San Francisco Opera’s training and performance curricula for promising artists. Named for E

Gaetano Merola, San Francisco Opera’s ﬁrst general director, the intensive program N I Z includes several enticing public performances this summer. A G A M

Schwabacher Summer Concerts: The Merola Class of 2018 performs scenes from G N I V I

various operas on Thursday, July 5, 7:30 p.m. at San Francisco Conservatory of Music L E T

(50 Oak Street) and Saturday, July 7, 7:30 p.m. at Stanford University’s Bing Concert U A

Hall. $30–$55. H F O Y S

Il Re Pastore by Wolfgang Amadeus Mozart: Thursday, July 19, 7:30 p.m. and E T R U

Saturday, July 21, 2 p.m. at San Francisco Conservatory of Music. $55–$80. O C S L L

The Rake’s Progress by Igor Stravinsky: Thursday, August 2, 7:30 p.m. and E W

Saturday, August 4, 2 p.m. at San Francisco Conservatory of Music. $55–$80. N O S A J

Merola Grand Finale of arias and ensembles: Saturday, August 18, 7:30 p.m. at Y B O

War Memorial Opera House. $25–$50. T O H For tickets or more information, visit merola.org or call (415) 864-3330. P

encoremediagroup.com/programs 15 Get in the Know Summer 2018.qxp_Getintheknow 5/19/18 4:10 PM Page 2

BEFORE YOU GO GET “IN THE KNOW” In conjunction with Richard Wagner’s Ring cycle, San Francisco Opera is proud to host and co-sponsor a wealth of ancillary events and resources to engage the Bay Area community. Many thanks to all our local partners who have already made the Ring Festival a success. For additional information, ongoing festival updates, and a schedule of events, visit sfopera.com/ringfestival.

OPERA TALKS RING FORUMS Before every Ring performance, enjoy an overview of each opera Presented in partnership with the Wagner Society of led by a Wagner scholar. These 25-minute talks offer insights Northern California, these daylong forums on the Saturday of about the Ring and are free to ticket holders. They take place in each cycle offer three different in-depth explorations of the the theater of the War Memorial Opera House 55 minutes prior Ring with alternating guest speakers and topics. The Ring to curtain. For more information, visit sfopera.com/operatalks. forums take place at the Wilsey Center’s Taube Atrium Cycle 1: Desirée Mays Theater on June 16, 23, and 30 from 10 a.m.–3:30 p.m. Cycle 2: Alexandra Amati Tickets are $65 ($55 for Wagner Society members) and Cycle 3: Laura Prichard include a box lunch. For tickets and more information, visit sfopera.com/ringfestival or call the San Francisco Opera Box RING 101 Office at (415) 864-3330. Begin your Wagner journey with a general introduction by San Francisco Opera Dramaturg Dr. Clifford “Kip” Cranna. Then, OPERA HOUSE TOURS following a lunch break, explore the history of the Ring in San Discover the magic that goes into creating a Ring production Francisco (1900–2018) with a multimedia presentation that with a backstage tour of the War Memorial Opera House includes items from the San Francisco Opera Archives and led by a Guild volunteer docent. Tours occur only on interviews with special guests. Ring 101 takes place at the Diane selected dates in small groups; reservations are required. B. Wilsey Center for Opera’s Taube Atrium Theater on Tuesday, E-mail [email protected] or call the San Francisco June 12, 19, and 26 from 11 a.m.–3 p.m. Tickets are $50. For Opera Guild at (415) 551-6353 to leave a message. For group tickets and more information, visit sfopera.com/ring101 or call tours, contact Lynn Watson at [email protected]. the San Francisco Opera Box Office at (415) 864-3330. $20 for general admission.

RING SYMPOSIUM E-OPERA NEWSLETTER Join Ring stage artists, production team members, and San Francisco E-Opera subscribers are the first to know about special guests for an in-depth panel discussion, moderated by the latest performances, special events, and educational a Wagner specialist. The symposiums take place at the Wilsey opportunities. Keep up-to-date on featured artists, exclusive Center for Opera’s Taube Atrium Theater on Thursday, June ticket offers, advance program notes, and other insider 14, 21, and 28 from 11 a.m.–1 p.m. Tickets are $40. For tickets information by signing up at sfopera.com/eopera. and more information, visit sfopera.com/ringsymposium or call the San Francisco Opera Box Office at (415) 864-3330. CONNECT WITH US ON FILM SCREENING FACEBOOK, TWITTER, YOUTUBE, On the Thursday afternoon of every cycle, view the 1999 behind-the-scenes documentary Sing Faster—The Stagehands’ AND INSTAGRAM

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F ut our Ring Cycle, followed by a hosted Q&A with the director Jon B . Else (June 14 and 28) or ﬁlm producer Richard Berge (June 21). Screenings at the Wilsey Center’s Taube Atrium Theater are from 2–3:30 p.m. Tickets are $5 and are available at the door. Follow San Francisco Opera on Facebook, Twitter, WAGNER CHORUS CONCERT and Instagram! You’ll get sneak peeks about The acclaimed San Francisco Opera Chorus, led by Chorus upcoming events, special performances, and more. Director Ian Robertson, perform choral operatic excerpts by Like us at facebook.com/sfopera, and follow us at Wagner and Carl Maria von Weber at the Wilsey Center’s twitter.com/sfopera and instagram.com/sfopera. And Taube Atrium Theater on Thursday, June 14, 21, and 28 from don’t forget to check out our YouTube channel, 8–9:30 p.m. Tickets are $30. For tickets and more featuring performance excerpts, artist interviews, and information, visit sfopera.com/ringfestival or call the San more at youtube.com/sfoperamedia. Francisco Opera Box Oﬃce at (415) 864-3330.

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B Y F R A N C E S C A Z A M B E L L O Director’s note

in the summer of 1981, i climbed to the top of red rocks, a vast outdoor arena at the foot of the rocky mountains near Denver. it is an awe-inspiring landscape where you can imagine gods and goddesses roaming just out of sight. time appears to slow down as if at any moment the earth goddess erda herself will ascend from the rocky soil. i have often returned to this image throughout our planning of the Ring, now returning to san francisco opera. that view called to mind the untouched world at the beginning of richard Wag- ner’s cycle, and i began to see in that landscape an American parallel to Wagner’s story. the time- less themes of the Ring—the destruction of nature, the quest for power, the cutthroat corruption, the plight of the powerless—are not bound to some leafy, mythical nordic realm. When you look at the great 19th-century landscapes of the Francesca Zambello American West, they depict the same feelings of majesty and abundance evoked at on the set of götterdämmerung the beginning of Das Rheingold with its world not yet adulterated by man. but when Alberich raids the rhine for the golden ring, the contract with nature is broken and the scales become unbalanced. Wotan, too, severs his relationship with nature and sacriﬁces his integrity to build Valhalla, a mansion he can’t aﬀord, thereby mortgaging nature to realize his ambitions. Valhalla rises like the technically ingenious skyscrapers of the 1930s, while Alberich’s theft mirrors the corruption in 20th-century business and politics. concern for the environment is replaced by concern for the bottom-line.

Is it a feminist approach? No, but it suggests the power of female leaders to heal the scars of destruction.

When we first began production on the Ring in Washington, D.c. in 2005, the focus was on the misuse of power. then we brought it to san francisco for the first complete cycle in 2011. californians have a keen awareness of nature and the environment, so we began to shift the emphasis toward the despoliation of our natural resources. What major river in the united states has not been exploited Zambello and the Valkyries in like the rhine? think of the Wagnerian catastrophes of los Alamos, three mile Washington National Opera’s 2016 ring island, the bp oil spill, and flint, michigan. now a long-term trend of increasing temperatures threatens to permanently transform the earth’s climate. how do we rebuild our environment with no brünnhilde to rescue us? it is fitting that california plays a strong role in where our cycle starts. the western shore is our last chance for reinvention, where we can no longer ignore the havoc left in our wake. As the curtain rises, you see an untouched landscape. then the glistening world sickens, darkens, and decays. When the curtain falls, the world is devoid of any living natural resource, destroyed by our own making. the norns live inside a computer, attached to the motherboard by bundles of cables; the only visible sign of nature is a slowly dying tree in gibichung hall. At the end, the fire surrounding brünnhilde has a greenish tinge suggesting chemical combustion. We Zambello, Jamie Barton as Waltraute, and are left hoping that the world might be reborn through her suicide. Catherine Foster as Brünnhilde from the 2016 WNO ring brünnhilde is the transformative, life-affirming hero of the Ring. she achieves what no man can: she restores the world order and rebalances the scales. brünnhilde gives rise to a new world from the ashes of her self-sacrifice. she rights the wrongs of Alberich and Wotan, clearing the path for regeneration. When she returns the ring to the rhinemaidens, it is a healing gesture that also symbolizes her forgiveness of gutrune. the gods are gone, but the mortals, especially the women, who are left represent the beginning of a new order. is it a feminist approach? no, but it suggests the power of female leaders to heal the scars of destruction. i am indebted to the artists with whom i have collaborated on this production over the years. We shared a collective, unified vision through constant communication and diligence. We knew where we were going from the beginning, and we knew what the end was going to be. my gratitude also goes out to the many generous people who have brought this Ring to life, and to our audiences who are on the voyage with us.

All imAges by scott suchmAn for WAshington nAtionAl operA

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B Y P E T E R B A S S E T T

WHAT ichard Wagner’s Der Ring des Nibelungen is rarely described as an extended love story, but that is what it is. The changing relationships throughout the four oRperas tend to obscure this central idea but, when you think about PRICE it, love is the thread that binds the whole story together—not love confined to a single pair of individuals but love as the alternative to hatred and revenge, power and property, greed and envy. The story begins with love’s renunciation and ends with its triumph as LOVE? the one irreplaceable, transforming ingredient in a new world order. That surely is the significance of the soaring orchestral melody that concludes Götterdämmerung. It is difficult to separate the allegory of the Ring from events in A century before post-Napoleonic europe when rival forces were attempting, on the one hand, to restore reactionary systems of government (think George Orwell’s 1984, of them as the gods) and, on the other hand, to establish new systems of capital ushered in by the Industrial Revolution (think of alberich and his ilk). The result was a chain of political uprisings the Ring warned of throughout europe in the 1830s and ’40s—and incredible intellectual and creative ferment. Goethe and Beethoven were alive when the rise of totalitarianism Wagner was a teenager, Charles Darwin was four years his senior, and Karl Marx was five years his junior. The philosophers Hegel, and the pursuit of power Schopenhauer, and Nietzsche were his contemporaries, and Sig- mund Freud was born when Wagner was in his 40s. We are still, in many ways, heirs to that seminal period in european thought. at the expense of love. In that context, Wagner’s eagerness to throw his own, often provocative ideas into the arena reflected his need to join the debate, and the Ring is, first and foremost, a drama of ideas. as a young radical, Wagner argued that the basic goodness of human beings had been subverted by the property-owning classes and the selfish interests of the state. In this he was echoing the ideas of the French philosopher and socialist Pierre-Joseph Proud- hon (1809–65) who famously asserted that property is theft. and “what a thief steals, you steal from the thief,” advises Loge in the second scene of Das Rheingold. But whereas Marx and engels saw the future of human society in terms of the emancipation of the proletariat, Wagner saw it in terms of the redeeming power of love. This was a worldview that owed much to the writings of German philosopher Ludwig Feuerbach (1804–72), to whom Wagner dedicated his important essay of 1849, “The artwork of the Future.” People who knew the young Wagner in his Dresden years were impressed by his passion and high-mindedness. In March 1849, for instance, the actor edward Devrient made the following entry in his diary: “Met Kapellmeister Wagner on the Terrace; another discussion about his theories for changing the world. He still thinks that only by destroying property is it possible to civilize mankind…. He thinks of putting an end to all deficiencies, believes in the absolute and original perfection of the human race—a perfection lost only as a result of the state…. Finally, he had to agree with me that only moral amelioration can put an end to our misery and that this would produce the right types of state,

R based on the law of love.” e v a

e The link to Rheingold is remarkably clear. The absolute original W

y perfection of the human race? Well, that is the opening prelude and R o

C the naiveté of the Rhinemaidens. A perfection lost only as a result of

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the state? That is the coming of feudal rulers like Wotan, and powerful plutocrats like alberich. and the solution? The right types of state, based on the law of love. It is all there in a single diary entry by someone who knew Wagner intimately. Three months earlier, in December 1848, Devrient had written: “Kapellmeister Wagner read me his completed opera poem Siegfried’s Death. The fellow’s a poet through and through. a beautiful piece of work. alliteration, as used by him, is a real ﬁnd for opera poems; it ought to be raised to the level of general principle. I con- sider this poem to be his best and most dramatic. afterwards we spoke at length about language, instruction of the people, Christian development, and, of course, we got on to the state, at which point he again mounted his favorite hobby-horse, the destruction of capital. But there’s no doubt his is the most original mind of all the people I know in Dresden.” The Industrial Revolution had, after all, been a golden opportunity for some and a hell on earth for others, just as Wagner depicted it in the third scene of Rheingold with the hellish hammerings of anvils and the screams of the tormented Nibelungs. The victorians themselves recognized that this unprecedented social transformation had a dark R

side: the mind-numbing toiling of men and the servitude of women e v a and children in the workhouses, factories, and mines. and behind e W y

everything stood, as it were, alberich, who was prepared to renounce R o love in order to acquire power and wealth. C

The Ring is, ﬁrst and foremost, a drama of ideas.

Wagner had no doubt at all who alberich symbolized: the tyrant, the overlord, the power-hungry invader. Six years after the failure of the Dresden revolution of 1849, Wagner’s despair at the apparent triumph of the forces of greed, materialism, and artistic shallowness caused him to write to Liszt: “Let us treat the world only with contempt, for it deserves no better; but let no hope be placed in it, so that our hearts be not deluded! It is evil, evil, fundamentally evil… it belongs to alberich: no one else!! away with it!” a century before George orwell wrote his novel 1984, Wagner was warning of the rise of totalitarianism and the pursuit of power at the expense of love. We know this from several sources, and especially from his essay “The artwork of the Future” in which he expressed the view that the earliest societies arose nat- R

urally out of humanity’s instinctive need for mutual love and fel- e v a lowship. But later, he said, authoritarian states arose unnaturally, e W y

out of none of humanity’s instinctive needs, being imposed by R o the few on the many. The authoritarian state was, he said, a C crime against human nature, and therefore against nature itself. Opposite: The twin lovers Siegfried (Christopher Ventris) and Sieglinde “a crime against nature,” which is the starting point for Rhein- (Eva-Maria Westbroek) sing the Act I love duet from Die Walküre, as seen gold. These ideas weren’t expressed in an essay called “The Poli- in the Company’s 2010 staging. tics of the Future” or “The Society of the Future” but “The Above: Hagen (Andrea Silvestrelli), the son of Alberich, rallies his men in artwork of the Future.” Wagner wanted to go to the very heart of Act II of Götterdämmerung; the eponymous hero Siegfried (Jay Hunter what made humans “human.” Morris) wakes Brünnhilde (Nina Stemme) from her magic sleep. Both We ﬁnd similar ideas contained in his sketches and commen- photos date from the Company’s 2011 Ring production.

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“I immediately recognized Wagner as an impractical dreamer,” wrote Russian anarchist Mikhail Bakunin (1814–76). Bakunin (left) was one of the composer’s closest associates in Dresden and during the city’s 1849 uprising; (center) from 2011’s Rheingold, the quintessential plutocrat and renouncer of love, Alberich (Gordon Hawkins), torments his fellow Nibelungs with his all-powerful ring; (right) Wagner at his home in Bayreuth, Germany with his second wife, Cosima, and the Hungarian pianist and composer Franz Liszt. Wagner married Cosima, Liszt’s daughter, in 1870, six years before the premiere of the Ring.

taries for two unfinished operas planned in early 1849: Jesus of will force himself on their women who shun his attentions and Nazareth, whose central theme is that one does not overcome love- reject his love. They should beware of the nocturnal army when lessness by being loveless, or overcome violence by using violence; the Nibelung hoard rises from silent depths! We can almost see and Achilles, in which the “hero” is identified as a fully developed the torchlit processions and hear the tread of marching feet. human being, free from obligations to so-called gods. “Man is god Into a world of bountiful nature has come the lust for power, perfected,” wrote Wagner, and we see in the Ring a progression from with which love can never coexist, and we are plunged into moral human beings constrained by their belief in gods, to those who are darkness. But the supreme irony is that alberich, who renounces free to build a new order based on love. That is why we witness love in order to acquire power, ends up with neither. That tends to Wotan giving way to Siegfried in the third act of Siegfried, and why the be the fate of dictators. The old authoritarian order of Wotan and gods play no role at all in Götterdämmerung, being merely figments the other gods had also benefited at the expense of nature. Wotan of memory and imagination, represented by altars and empty rituals. had torn a branch from the tree of life to fashion a spear, the instru- Wagner owed many of these ideas to Feuerbach who loomed large in ment of his power and symbol of the laws and contracts on which his thinking when he began work on the libretto of Siegfried’s Death that power rested. Like many leaders, he makes agreements of con- which eventually evolved into The Ring of the Nibelung. venience that he has no intention of keeping. Then he resorts to another idea postulated by Feuerbach was that the “glorious cunning and dishonesty to escape his obligations and, in doing so, necessity of love” should take precedence over the law. This became undermines the very basis of his own authority. It is an old story and Wagner’s motto in his early sketches for the Ring, and he never also a very modern one. The law-maker becomes law-breaker. entirely abandoned it. He once told Franz Liszt: “The state of love- Wotan, too, has, in a sense, renounced love by trading the god- lessness is the state of suffering for the human race … we recognize dess of love, Freia, as the price for the great fortress valhalla. Loge’s the glorious necessity of love … and so, in this way we acquire a suggestion of substituting the Nibelung hoard for Freia offers strength of which natural man had no inkling, and this strength – Wotan the tantalizing prospect of having his cake and eating it, of increased to embrace the whole of humanity—will one day lay the having both love and power. But the two prove incompatible. In foundations for a state on earth where no one need yearn for the what is really the only music in Rheingold to come close to being an other world, for they will be happy— to live and to love. For where is aria in any recognizable sense, Loge tells of his search throughout the man who yearns to escape from life when he is in love?” the world for something—anything—that is valued more highly Who is alberich, renouncer of love, maker of the all-powerful than love. He had heard of one man who was prepared to renounce ring and tormentor of his people if not an early version of orwell’s love in return for bright gold, and a ring of power that had been Big Brother? a hundred years earlier, Wagner had captured exactly fashioned from the stolen Rhinegold. Wotan had heard of this gold this vision in Rheingold, when alberich, brandishing his ring, and his interest is aroused. Could gold be the answer to all his prob- extracts the helmet of invisibility from his cowering “little brother,” lems? ah, how many men in a tricky spot have thought that! Mime, and puts it to use. He has many chilling passages, but few Thus Wotan, too, becomes a thief, wrenching the ring from are more chilling than what he has planned for the gods once he alberich’s finger. But the Nibelung strikes back, cursing the ring has acquired absolute power. When the men are subjugated, he and all who hanker after it. This is the curse of power without love.

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e Wagner, G S a e M G I a N M a Schopenhauer, I M N e a G M D e I R G D B I / and the Orient R H B T / u H e “My sleep is dreaming, my dreaming brooding, my T R R y I a brooding the mastery of knowledge.” With this sentence, H B , & M erda addresses the Wanderer in the ﬁnal act of Siegfried, R u R e S o

u and her words resonate with the eastern practice of N M K / R meditation in the pursuit of wisdom. e o N T G Richard Wagner’s interest in the east had been o a H W stimulated by his brother-in-law, the orientalist Hermann P D Z R S a Brockhaus, who had married ottilie Wagner in 1836. It H © C I

R was the Brockhaus family firm that had first published German philosopher Arthur arthur Schopenhauer’s philosophical masterpiece The Schopenhauer (1788–1860) Having acquired the ring illegally and World as Will and Representation, a work destined to immorally, Wotan is also destined to lose it. make a profound impression on the composer. In order to satisfy the contractual claims of Schopenhauer’s knowledge of the Hindu upanishads and Buddhist scriptures dated the giants, Fasolt and Fafner, builders of val- from the end of 1813, by which time he had formulated many of his own insights from halla, he reluctantly parts with the ring, doing the vantage point of Western philosophy. Nevertheless, he relished the discovery that so at the behest of the earth goddess erda, a his views had much in common with key doctrines of Hinduism and Buddhism. figure drawn not from Norse mythology but There is an interesting parallel here in the relationship between Wagner’s ideas and from the classical world. Interestingly, she Schopenhauer’s writings. The impact of those writings on the composer sprang less as a doesn’t say: “Give back the ring and the gods direct source of ideas but from the fact that they seemed to confirm and clarify notions that will be saved.” It’s already too late for that. were already apparent to him, though difficult to explain. Wagner first read The World as Will Instead, she says: “all that exists will end”— and Representation in 1854, and found in it a coherent explanation of his treatment of Wotan. have nothing to do with the ring. So now His intention had been to show nothing less than the breaking of the god’s proud spirit by, Wotan has been warned, the wheel of destiny what Schopenhauer would call, the annihilation of the will—the negation of compulsive is turning. In the third act of Siegfried, he will striving and yearning that leads inevitably to disappointment and pain. The Buddha would ask erda directly how to stop this turning have called it the renunciation of craving and desire which lies at the root of suffering. wheel, but she will have no answer. During the last three decades of his life, Wagner demonstrated a serious interest in the By the mid-1850s, Wagner had become a two great religions of India. He cited contemporary research suggesting that Buddhist very different man from the starry-eyed revo- ideas had flowed westward after the spread of alexander’s empire to the Indus in 327 B.C., lutionary of his Dresden years. He encoun- and had influenced Christian doctrine (a view shared by Schopenhauer). This notion tered the writings of Schopenhauer which shaped Parsifal which, despite its overtly Christian setting, is replete with Buddhist matched his mood perfectly and gave him imagery. Tristan und Isolde contains echoes of both Buddhism and the upanishads. an intellectual framework for the remainder For Wagner, Buddhism was not remote from German thought but in harmony with it, of his life’s work (see accompanying article). something that was demonstrated in one splendid musical passage composed for his This radically changed perspective took hold unfinished Buddhist opera, Die Sieger (The Victors). This music ended up in Siegfried. in the second act of Die Walküre, especially according to Cosima Wagner’s diaries, it had been written for the Buddha himself. The with the character of Wotan. But Der Ring des phrase in question is first heard in the Wanderer’s final scene with erda. He wants her to Nibelungen remains a drama of human tell him how to stop a turning wheel, but she cannot help him. In Buddhist teachings, frailty, its message a universal one of love the turning wheel of Karma is the inexorable working out of the consequences of one’s and life. By the end of Rheingold, the stage is actions. after a pause, the Wanderer tells erda that he is no longer concerned about the set for a struggle involving passionate love end of the gods and, in fact, consciously wills it. We then hear in the orchestra the so- and, ultimately, compassionate love which, called “world inheritance” theme once intended for the Buddha. in Götterdämmerung and Parsifal, will be The most significant Buddhist influence on the Ring came in 1856 with a revised revealed as humanity’s last best hope. text for the closing scene of Götterdämmerung when Brünnhilde, made wise through suffering and love, refers to herself as the “enlightened one.” eventually though, words proved inadequate, and Wagner left it to the orchestra alone to articulate the Peter Bassett is the author of Wagner’s Parsifal: sublime ending to the whole drama. The Journey of a Soul and The Nibelung’s Ring: a Guide to Wagner’s Der Ring des Scenes from the Life of Buddha (painted textile), Tibetan School / Musée Guimet, Paris Nibelungen (Wakefield Press). BRIDGeMaN IMaGeS

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CPMC philanthropic partners Maria Manetti Shrem and Jan Shrem.

Investing With Their Hearts CPMC treats more cardiology patients than any other hospital in San Francisco. That made it the perfect place for Jan Shrem and Maria Manetti Shrem to show their love for their city by making a major philanthropic investment in Cardiology Fellowships at CPMC. Their visionary partnership will signiﬁcantly expand a highly regarded program that provides young cardiologists with elite training, which will include The Jan Shrem and Maria Manetti Shrem Cardiology Fellowship Lecture Series. In addition, the gift will name The Jan Shrem and Maria Manetti Shrem Emergency Department at CPMC’s Van Ness Campus when it opens in early 2019.

To Jan and Maria, on behalf of the entire community who will beneﬁt from your foresight, we offer our heartfelt thanks!

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B Y A D R I A N D A U B Epic Ambition: On Wagner’s Ring el t Colon enan S Lieut imAge ayed emAN bly pl BriDg emora ow. / left) m ypse N and Its Filmic Afterlives uvall ( pocal rt D lm A Robe 1979 ﬁ in the Kilgore

n the 2017 ridley Scott film Alien: Covenant, a newly created always raises questions of responsibility and autonomy. When the android (played by michael Fassbender) meets his creator (guy flesh-and-blood human in the scene passes judgment on the syn- IPearce) who asks him to play something on the piano—specifi- thetic man’s playing (“a little anemic”), he intends it as a verdict cally Wagner. The android begins to play what his inventor identifies on the latter’s personhood. But as the android’s question makes as “The entry of the gods into Valhalla.” “A little anemic without the clear, the choice of Wagner has a way of rebounding on the cre- orchestra,” the inventor remarks. Suddenly, the android stops play- ator. Turn to Wagner and you yourself will be subject to a ques- ing and poses the question, “if you made me, who made you?” tion. Scott’s movie turns to Wagner to inquire about its own Scott seems to want to tie every detail of their interaction into status as entertainment, as sequel, as film. David’s question a larger theme: a man playing god listens to a piece about the “Who made me?” is really the movie’s own. And it is no accident creations of a god. it isn’t surprising that Pearce’s inventor would that it is a question that strikes the director as particularly worth pick Wagner, a composer whose creations have been put to so asking when Wagner is playing. many purposes both great and terrible, and whose work therefore Film has long sensed that it shared something with Wagner.

Wagner, it seems, catches ﬁlmmakers at their most self-conﬁdent and self-critical.

Wagner’s “Ride of the Valkyries” makes an iconic appearance in Francis Ford Coppola’s Apocalypse Now as the soundtrack to a Marine attack on a Vietnamese village. / BriDgemAN imAgeS

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Both long to make myths, and both turn to tricks and illusion to get at some deeper authenticity. This sense of kinship pervaded early film criticism in germany, and it even animated opera critics who wor- ried about the competition posed by the new medium. Over the past hundred years, film has frequently turned to the opera house as the first cinema and to the Ring as its earliest ancestor. There are, of course, high-minded cinematic inter- rogations of Wagner’s place in our intellectual DNA. The filmmaker Hans-Jürgen Syberberg has tried for decades to disentangle the spell Wagner’s magnum opus has cast over german aesthetics and history. Directors William Dieterle and Tony Palmer sought to encapsulate Wagner’s oeuvre in massive biopics. Schol- ars have teased out the effects of Wagnerism and debated the intended and the acquired meanings of his work. But in its way, Hollywood has undergone a similar kind of anal- ysis by simply making entertainment. in classic Freudian fashion, it has just kept talking about, citing, and using Wagner’s music. And, as ridley Scott’s citation suggests, in so doing it has brought to the fore half-articulated concerns about its own status as art or commerce, truth or illusion, creation or destruction. There are moments when cinema senses a fealty to Wagner’s use of myth or to his mode of epic storytelling. But, above all, cinema understands Wagner as a builder of fictional worlds. even though it was gustav mahler who is supposed to have said of an alpine panorama that “you needn’t bother to look at that— i’ve composed it all away,” Wagner becomes a welcome cipher for cinema’s ability to absorb the world and re-create it. Wagner, it seems, catches filmmakers at their most self-confident and self-critical. And while at some moments film seems proud of the elective affinity, at others its Wagnerian affinities constitute something of a self-indictment. The most famous Wagner quotation in cinema certainly feels like one. After all, what does it say about music when it goes so well with American gunships pulverizing a Viet- namese peasant village? When Francis Ford Coppola incorporated the “ride of the Valkyries” into his 1979 film Apocalypse Now, he created a sequence so iconic that most quotations of the Ring afterwards are always also quotations of Apocalypse Now. (The only other classical work that shares this peculiar fate is the opening of richard Strauss’ Thus Spoke Zarathustra.) Four decades and hundreds of repetitions, parodies, and allusions later, the association of the “ride” with overwhelming military force appears firmly established, but the scene that spawned them still retains some ambiguity. For starters, it isn’t just Coppola who turns to Wagner’s “ride” for his soundtrack. The “ride” enters the film as music chosen by the characters of the film itself. And chosen not for mere accompaniment, but as a sonic weapon: “Wagner. Scares the hell out of the [Vietnamese],” explains robert Duvall’s Lieutenant Colonel Kilgore. And yet, the film makes the marines’ choice its own. The “ride” arrives in the movie as sound that the characters themselves cause and hear, but it quickly sounds too crisp and even to main- tain the fiction that it emerges from a tape player on a gunship. At that point, Wagner ceases to belong to the events depicted in the film, but to the film depicting them. This relay is what makes the scene so troubling: the film seems to endorse an association its characters make. in Coppola’s hands, Wagner becomes a weapon, a weapon closely allied with the overwhelming machinery of film itself. Coppola decided on the “ride” partly

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because Nazi propaganda used it to accompany footage of an air raid against resistance fighters in Crete. But however critical his turn to Wagner may be in intention, Wagner’s sound has a troubling tendency to colonize the film itself. The sequence we see is an effect of powerful white men direct- ing action: what Kilgore and his men accomplish by force of arms, Coppola accomplishes with his camera, Walter murch with his brilliant editing—and Wagner with his thundering brass. Before their concerted onslaught, all the Vietnamese can do is scatter. in this moment, then, Wagner seems to be in league with the movie machine’s most destructive impulses. Contrast this with the way director Brian Singer uses the same music in 2008’s Valkyrie. The film follows Claus von Stauf- fenberg (Tom Cruise) as he unsuccessfully tries to assassinate Hitler and end World War ii. A war-wounded Stauffenberg returns home to find his children play- marching to the “ride.” recognition plays on his face, staged by Singer as a kind of mirror of Wagner’s music. The “ride”‘s repetitive churn and the Valkyries’ cheerful collection of yet more dead fighters highlight for him that his children are imbibing the very lessons that have led to the war he seeks to end. Wagner becomes at that moment a token for a dreadful, compulsive repetition in german history. At that moment, the air raid sirens begin to howl. The family turns off the gramophone and huddles in their bomb shelter. in a bravura moment, the shudder of an impact nearby jolts the tone- arm onto the record and the opening notes of the “ride” ring out through the distant rumbling of the bombs. Singer intercuts between Cruise’s face and a protracted pull into the turntable, the camera almost mimicking the path of a bomb. Singer stages a dialogue between Stauffenberg and the turning record, a dialogue that finally gives Stauffenberg the idea to use the Nazi leadership’s own “Operation Valkyrie” against them. Only a few minutes ago, Wagner’s music appeared as an accessory to Nazi madness. Now Wagner’s music, in league with the movie camera, offers suddenly a way to counter that madness.

he prelude to Das Rheingold has long attracted filmmakers, but whereas Facing page, top: Wagner’s music accompanies movies of the associations carried by the “ride of the Valkyries” are fairly straight- diverse genres, including the 1979 vampire film Nosferatu, forward, the Rheingold-prelude has been put to very different ends by starring Bruno Ganz (left) and Klaus Kinski (right). T BriDgemAN imAgeS very different directors. it is not difficult to see why the prelude with its slow drone of an e-flat major chord might be attractive to filmmakers: it is music Facing page, center: Nosferatu and Lessons of Darkness that assembles itself before our very ears. director Werner Herzog, photographed in San Francisco in At the same time, the piece is used not as a technological showcase but to 2000. © CHriS FeLVer / BriDgemAN imAgeS return film to something more primal. As in the uses of the “ride,” Das Rhein- gold seems to impel directors to look at their tools and at the worlds they can Facing page, bottom: New World director Terrence Malick assemble by their means. Director Terrence malick turns to Wagner frequently captured on the set in a 1978 snapshot. BriDgemAN imAgeS in his films. in The New World (2005), a retelling of the Pocahontas story, he uses the Rheingold-prelude to make a point about world-making. malick opens Top: In the 2008 film Valkyrie, Tom Cruise sports a the film with the music. We witness natives darting about underwater, but Wotan-like eyepatch as the real-life Nazi officer Claus von eventually the camera looks up toward the river surface. malick cuts to the Stauffenberg. PHOTO 12 / ALAmy STOCK PHOTO surface and the camera catches up with three english ships. Only now does this world get a name, as the words “Virginia, 1607” appear on screen. malick Below: “If you made me, who made you?” asks the android David (Michael Fassbender, right) to his creator spends the rest of the sequence intercutting between the natives and the (Guy Pearce, left) in the 2017 Ridley Scott film Alien: english, each noticing the other. Covenant. Wagner’s “Entry of the Gods into Valhalla” The way the sequence progresses makes it clear that the “New World” of figures prominently in the scene. the title does not refer eurocentrically to North America. What rises from the LiFeSTyLe PiCTureS — ALAmy STOCK PHOTO mists for each party is the other group, and the “New World” is the one where

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their ways of looking at each other will have to coexist. As so often in malick, the sequence also amounts to a celebration of the filmic Other Uses of medium, as the intercutting between the world of the natives and of the european arrivals comprise the two perspectives that will Ring define the rest of the story. the in Film Director Werner Herzog turned to the Rheingold-prelude twice. in Birth of a Nation (1915): his 1979 film Nosferatu the Vampyre, he uses the music as his main “The ride of the character, Jonathan Harker (Bruno ganz), journeys to Dracula’s cas- Valkyries” from Act iii tle. Herzog’s camera, in shot after languid shot, captures the rough of Die Walküre was beauty of Dracula’s remote mountain hideout. mountains peel out of infamously used the fog, dramatic clouds pour over the ridges, mountain streams rush during the ride of the into the valleys. This is the visual language of german romanticism: Ku Klux Klan. during the few moments that Harker comes into view, he looks as though he could be standing in a canvas by Caspar David Friedrich. At the same time, while Wagner is central to the way the scene Magic Fire (1955): communes with its aesthetic ancestors, he also imbues the sequence This Wagner biopic with a deep ambivalence. Simply put, Wagner is a bad soundtrack for includes a a horror movie. Wagner can, in moments of great triumph, fore- sequence which shadow eventual destruction or, in moments of despair, telegraph condenses the eventual deliverance. That can make for an awkward fit for cinema’s action and music more strident impulses. But Herzog clearly seeks to harness that very of the Ring down quality in Wagner. The music keeps nature eerily neutral. Neither the to five minutes. Rheingold-prelude nor the visuals are stereotypically foreboding, but (Composer erich neither is their majesty without a certain menace. Wolfgang in Herzog’s hands, Wagner’s prelude speaks for—and stands in Korngold makes Nig for—nature itself. The same ambivalence of beauty and danger ani- el Terry as King Arth a cameo as the Di ur in LTz / Br excali mates Herzog’s second use of the piece, in the 1992 documentary iDgemA bur N imAg Lessons of Darkness. The film presents highly impressionistic views of conductor.) eS the burning oil fields Saddam Hussein’s troops left in their wake after abandoning Kuwait. Herzog opens the film with Das Rheingold What’s Opera, Doc? (1957): Starring Bugs Bunny and a quotation: “The collapse of the stellar universe will—like cre- as Brünnhilde and elmer Fudd as Siegfried, the Warner ation—occur in immense splendor.” The film attributes the quote to Bros. cartoon utilizes “The ride of the Valkyries” and other Blaise Pascal, but Herzog has admitted that it is in fact pure Herzog. musical quotations from richard Wagner’s operas. The quote is also a hint as to how Herzog reads Wagner’s prelude. We are witnessing the creation of a universe; a whole world is Mahler (1974): Ken russell’s biopic about gustav mahler willed into existence, but a world that is destined to collapse. The includes an outrageous mountaintop scene that dramatizes simplicity of Wagner’s music allows Herzog to blur precisely which of the composer’s conversion from Judaism to Catholicism the two, creation or collapse, we are witnessing on the screen. The and satirizes the Ring. burning oil fields really do look like a young planet vulcanizing into existence, or they might be the last fiery heaves of a dying world. Excalibur (1981): Siegfried’s Funeral march from in other words, these images have, even before Wagner is Götterdämmerung is used throughout the John Boorman there to comment on them, a Wagnerian mood. The question they film, as well as the Notung theme whenever the sword raise, whether this is a beginning or an end, is one every listener has confronted by the time Brünnhilde and her steed are con- excalibur is featured on screen. sumed by Siegfried’s funeral pyre. it is a question that Wagner himself appears to have negotiated in the process of writing the L.A. Confidential (1997): The magic Fire music from Die Ring. And it is this colossal indecision—between solace and men- Walküre is heard in the scene where a police officer played ace, hope and despair, fate and freedom—that seems, from by russell Crowe rescues a kidnapped woman and slays her androids playing the piano to oil fields ablaze in the Kuwaiti captor. desert, to open up a space for filmmakers. it is this indecision in which they make their worlds. Birth (2004): The Act i prelude to Die Walküre is included in the sequence where Nicole Kidman’s character, Anna, Adrian Daub is a professor of German studies and comparative attends the opera. literature at Stanford University and the director of its program in feminist, gender, and sexuality studies.

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SPOnSOr SPOTLIGhT John A. & Cynthia Fry Gunn y h T r a c c M e c n e r r e T

nce again, the unprecedented generosity of cynthia Investment Managers. he joined the firm in 1972, the year and John Gunn has set the stage for a dazzling he received his M.B.a. from Stanford Business School and Oseason at San Francisco Opera. Since 2002, when married cynthia, who graduated from Stanford with an a.B. John joined the Opera Board, the couple has underwritten in political science in 1970. early in her career, cynthia was numerous productions and provided exceptional support for the editor and director of The Portable Stanford book series many of the company’s innovative endeavors. for ten years. She edited 28 books by Stanford professors In September 2008, the Gunns made a historic commit- on a vast array of topics, including Economic Policy Beyond ment—believed to be the largest gift ever made by individuals the Headlines by George Shultz and Ken Dam. to an american opera company—to help fund the signature In addition to their support of San Francisco Opera, the projects of then-General Director David Gockley, including Gunns are active members of the community. John is the new operas and productions, multimedia projects, and out- chair of the advisory board for the Stanford Institute for reach programs. This season, the Gunns’ inspired generosity economic Policy research (SIePr), serves as a trustee of is helping make possible five productions—Turandot, Elektra, Stanford University, and is Vice chairman of the board of Manon, Girls of the Golden West, and the Ring cycle. Stanford hospital care. cynthia is an overseer of Stan- John shared his considerable insights at the 2014 confer- ford’s hoover Institution, a member of the advisory board ence of OPera america, the national service organization of Family and children Services, and serves on the boards for opera. as he told attendees, “Opera is a dynamic art form of the Lucile Packard Foundation for children’s health and and all of us play a role in keeping it vital. We must expand the San Francisco Fine arts Museums. our repertoire and our audiences, and strive for financial flex- Opera lovers are grateful to cynthia and John, and ap- ibility. and we depend on donors to keep opera alive.” plaud their commitment to keeping San Francisco Opera John is the former chairman and ceO of Dodge & cox a leading-edge company.

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SPONSOR SPOTLIGHT Edmund W. and Jeannik Méquet Littlefield Fund (Production Sponsor, The Ring of the Nibelung) The Ring is the 22nd production supported by the Littlefield Family, a company Sponsor since 2002. There is perhaps no greater passion in opera than Wagner’s The Ring of the Nibelung. Jeannik Littlefield’s lifelong passion for opera started when she was a child in France. The Littlefield name became especially familiar to opera fans in 2006, when Jeannik Littlefield made her historic $35 million commitment to San Francisco Opera. She held a subscription to seats in Box K for over 40 years, until her passing in 2013. Jeannik’s daughter, Denise, as a Wotan circle Sponsor, has underwritten the Ring’s LeD lighting effects. The edmund W. and Jeannik Méquet Littlefield endowment Fund provides a permanent and unrestricted source of income for the company and a legacy of support for generations to come. Jeannik Méquet Littlefield with daughter Denise Littlefield Sobel at the 2007 Opera Ball S I r

Bernard and Barbro Osher r O M

(Production Sponsor, The Ring of the Nibelung) ” y T T

a native of Maine, Bernard Osher became involved with San Francisco Opera as a subscriber O c S “

nearly 50 years ago, shortly after moving here from new york. he and his wife Barbro, a native of y a Sweden, have supported every aspect of the company’s work, from artist appearances to r production facilities. established in 1977, the Bernard Osher Foundation has funded virtually every major arts organization in the area, including youth programs. higher education initiatives include community college support, Osher Lifelong Learning Institutes on 119 campuses nationwide, and Osher centers for Integrative Medicine at several of the nation’s leading teaching hospitals, and at the Karolinska Institute in Stockholm, Sweden. Bernard is a longstanding member of the Opera’s Board of Directors, serving on the chairman’s council. Barbro is honorary consul General of Sweden in San Francisco and serves as chairman of the Board of the Osher Foundation. n n

a Betty and Jack Schafer M L e

z (Production Sponsor, The Ring of the Nibelung) T e O

G Betty and Jack Schafer have been supporters of San Francisco Opera since the a I D

U mid-1960s. Jack joined the Opera Board in 2011. The Schafers qualify as true a L c “Ring heads,” having traveled the globe to attend more than 25 performances of the Ring cycle. What makes it so interesting to them is the way each production brings a fresh interpretation to the moving parts (libretto, score, staging, casting, etc.) that make up the Ring. They are particularly enthusiastic about Francesca zambello’s Ring cycle which they watched come together in 2011, followed to Washington in 2016, and now welcome back to San Francisco this spring.

ring sponsors are ﬁlling big shoes, as demonstrated by Betty and Jack Schafer.

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SPONSOR SPOTLIGHT r I a

F Jan Shrem and Maria Manetti Shrem/Emerging Stars Fund y r

n (Production Sponsor, The Ring of the Nibelung; Sponsor, Ronnita Miller) e h J after a career devoted to his publishing businesses in Japan and europe, the creation of clos Pegase Winery in california’s napa Valley, and his art collection, Jan Shrem—in joyous partnership with his wife Maria Manetti Shrem—is bringing his focus and aﬀection to philanthropic causes that advance education and the performing and visual arts. Though they grew up half a world apart, Jan and Maria both developed a love of opera at a young age. While their lives led them each around the globe, their individual passions eventually led them to San Francisco Opera and to each other. With a substantial multiyear commitment, company Sponsors Jan and Maria have expanded their support with the establishment of three diﬀerent funds. The conductors Fund helps ensure the continued appearances of Maestro nicola Luisotti and other Italian conductors in the orchestra pit. The Great Interpreters of Italian Opera Fund helps bring today’s most compelling artists in Italian repertoire to San Francisco Opera, and the emerging Stars Fund supports the company in showcasing several exciting rising young stars on our stage throughout the season.

Joan and David Traitel/Great Singers Fund (Sponsor, Iréne Theorin, Greer Grimsley, Karita Mattila, Brandon Jovanovich) “Without great singers, opera is not all it could be,” says San Francisco Opera Board Member Joan Traitel. “That’s why my husband and I approached David Gockley with the idea of creating a special way of supporting singers exclusively.” The result was the Great Singers Fund, launched by the Traitels in 2008 to provide San Francisco Opera with enhanced support to attract the world’s best singers. Joan, a member of the Opera’s Board of Directors since 1998, and her husband, David, were production sponsors for several years before founding the Great Singers Fund. “The Fund makes a diﬀerence in the quality of opera in San Francisco,” Joan explains. “Brandon Jovanovich is one of the most thrilling tenors in opera today, and I have loved every performance of his in San Francisco. and to have the astonishing Iréne Theorin return to the company as Brünnhilde in our Ring cycle will be a real treat for audiences. We are so pleased that the Fund can enable their appearance at San Francisco Opera. I hope people see the relationship between the Great Singers Fund and this season’s fantastic lineup. your support truly can make a diﬀerence! These amazing artists make an evening special, and at the end you walk away happy.”

United Airlines (Production Sponsor, The Ring of the Nibelung) United is committed to serving the communities where our customers and employees live and work. as a global airline, we focus on promoting awareness of cultural diversity by supporting organizations that bring the diversity of the world to local communities. United is the oﬃcial airline of San Francisco Opera and ﬂies artists from around the world to the front of the stage. San Francisco Opera is grateful for the continued partnership and thanks United for its generous support of the Ring cycle and the 2017–18 Season.

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DONOR SPOTLIGHT In Memory of Thomas F. Wolfe

om Wolfe was in his mid-20s when he first heard an opera recording of Renata Tebaldi at a friend’s apartment in Greenwich Village. Tom described Thearing Renata’s voice as a profoundly transformative experience, stating it was as if he had been living in a black-and-white world and saw color for the first time. Soon after, he started attending the opera regularly, buying the standing room tickets, and watching from the back of the house. He was drawn, in particular, to the operas of Mozart, Puccini, and Strauss, but most of all he loved the operas of Richard Wagner and that interest bloomed into a lifelong fascination. “He was an intellectual, constantly reading history, world religion, and critical theory,” says his daughter Kirsten. “I think that was part of Wagner’s grand appeal for him. The music and the plot, especially for the Ring, is complex, heroic, and offers ample opportunity for study. Wagner explored many of the large questions of life Thomas F. Wolfe which my dad also contemplated: love, power, meaning, the impact of humanity on the natural world, and the cycle of destruction and redemption. My dad also just really loved the music, which deeply affected him.” “I was named after Kirsten Flagstad,” recalls Tom’s eldest daughter. “He intended to name my younger sister Brünnhilde until family intervened and redirected her name to Gretchen.” Family pets and several boats followed with the names of Tristan, Isolde, Lohengrin, and the Flying Dutchman. Opera was infused into the everyday aspects of his life. As young girls, his daughters remember seeing him most evenings in their living room, wearing huge black headphones with a libretto or a book of opera theory on his lap, while spending hours listening to the music and following the plot. On one occasion, he drove to San Francisco in the hope of seeing Birgit Nilsson in Tristan and Isolde (1974), but he was unable to secure a ticket. He drove back home and, still dressed in his tuxedo, spent the evening listening to the same opera wearing his headphones. Tom felt the profound psychological insights within Wagner’s operas applicable to his daily life. “I would say that his early history working for the Peace Corps and, later, as lawyer for the United Farm Workers in the Central Valley echoed his interest in some of the themes that Wagner explores in the Ring,” his daughter recalls, “namely, the effect of power, greed, and inequity, and the issue of environmental degradation—all themes we continue to struggle with today.” Tom wanted to share the joy and intellectual pursuit of opera that he enjoyed over so many years. Initially, this meant sharing with his family; he brought his daughters to the opera when they were around the age of 7, and then discovered a shared passion for opera when he met Barbara in the early 1980s. After his grandchildren were born, he would bring them as young children as well. His daughter recalls that “the opera really became our family tradition. He and Barbara supported the opera in as many ways as they could in order to share its beauty with a larger audience. I like to imagine he was thinking back to when he was a young man, hearing opera for the first time, and hoping to create the opportunity for that same transformative spark for a new generation.”

Our support of The Ring of the Nibelung is a tribute to and in memory of Thomas Wolfe. —The Wolfe Family: Barbara Wolfe, Kirsten Wolfe, and Gretchen Hansen Barbara and Tom Wolfe with their grandchildren

34 SAN FRANCISCO OPERA SECURE YOUR SEATS FOR AN UNFORGETTABLE SEASON!

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PLÁCIDO DOMINGO Plácido Domingo in EL GATO MONTÉS: THE WILDCAT ELI AND EDYTHE BROAD GENERAL DIRECTOR JAMES CONLON LA TRAVIATA conducted by James Conlon RICHARD SEAVER MUSIC DIRECTOR CHRISTOPHER KOELSCH David T. Little’s SOLDIER SONGS SEBASTIAN PAUL AND MARYBELLE MUSCO PRESIDENT AND CHIEF EXECUTIVE OFFICER VAMPYR newly scored by Joby Talbot TICKETS ON SALE JUNE 15! Ellen Reid and Roxie Perkins’ PRISM LAOPERA.ORG | 213.972.8001 Rod Gilfry in THE LOSER by David Lang

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SAN FRANCISCO Opera 2018 REPERTORY tHe rIng Of tHe nIBelung It’S a WOnderful lIfe richard Wagner San franCISCO Opera CO-COmmISSIOn June 12–17, June 19–24, June 26–July 1 Jake Heggie Production of the Ring made possible, in part, by: november 17, 20, 24, 25, 29; december 1, 4, 7, 9 Dr. & Mrs. William M. Coughran; Bertie Bialek Elliott; Production made possible, in part, by: Keith & Priscilla Geeslin; John A. & Cynthia Fry Gunn; John A. and Cynthia Fry Gunn; The Andrew W. Mellon Foundation; Sylvia & John Hughes; Edmund W. & Jeannik Méquet Littlefield Fund; San Francisco Opera Guild; Jan Shrem & Maria Manetti Shrem; Bernard & Barbro Osher; Betty & Jack Schafer; and an award from the National Endowment for the Arts. Jan Shrem & Maria Manetti Shrem; The Thomas Tilton Production Fund; Barbara A. Wolfe; Major support also provided by: and United Airlines. The Conductors Fund, the Emerging Stars Fund, and the Great Interpreters of Italian Opera Fund, CaVallerIa ruStICana/paglIaCCI all established by Jan Shrem & Maria Manetti Shrem. The Great Singers Fund, established by Joan & David Traitel pietro mascagni and ruggero leoncavallo September 7, 12, 16, 19, 22, 28, 30 Production made possible, in part, by: Company Sponsors Opening Weekend Grand Sponsor Diane B. Wilsey. The Dolby Family Additional support is provided by: Bertie Bialek Elliott John A. and Cynthia Fry Gunn; Keith & Priscilla Geeslin the Edmund W. and Jeannik Méquet Littlefield Fund; Ann & Gordon Getty and Jan Shrem & Maria Manetti Shrem. John A. & Cynthia Fry Gunn Burgess & Elizabeth Jamieson Mr. & Mrs. Franklin P. Johnson, Jr. rOBertO deVereuX Edmund W. & Jeannik Méquet Littlefield Fund gaetano donizetti Steven M. Menzies September 8, 11, 14, 18, 23, 27 Bernard & Barbro Osher Production made possible, in part, by: Jan Shrem & Maria Manetti Shrem Keith and Priscilla Geeslin; and Jan Shrem & Maria Manetti Shrem. Dianne & Tad Taube Phyllis C. Wattis Endowment Funds Diane B. Wilsey tOSCa Barbara A. Wolfe giacomo puccini October 3, 7, 11, 14, 17, 20, 23, 26, 30 Season Sponsor Corporate partners Production made possible, in part, by: John A. and Cynthia Fry Gunn; Burgess & Elizabeth Jamieson; the Koret Foundation; Jan Shrem & Maria Manetti Shrem; Barbara A. Wolfe; and Chevron.

San Francisco Opera is supported, in part, by a grant from Grants for the Arts. araBella richard Strauss All performances feature English supertitles. October 16, 19, 24, 28; november 3 Repertoire, casts, dates, and ticket pricing are subject to change. Production made possible, in part, by: Bernard and Barbro Osher; and Jan Shrem & Maria Manetti Shrem. Box Oﬃce (415) 864-3330 • sfopera.com

36 SAN FRANCISCO OPERA PRE-RAPHAELITES AND THE PAST: BOTTICELLI, RAPHAEL, VAN EYCK JUNE 30–SEPT 30

Dante Gabriel Rossetti (British, 1828–1882), Lady Lilith, 1866–1868 (altered 1872–1873), Oil on canvas, 38 1/2 x 33 1/2 in., Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935, 1935-29

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Richard Wagner S e

g DER a m i n a m e g d i r RING DES B / g a l r e v t S n

u NIBELUNGEN K c n a l B / o t (THE RING OF o h P Z

S THE NIBELUNG) ©

SAN FRANCISCO The Ring of the Nibelung is made possible, in part, by: dr. & mrs. William m. coughran; OPERA Bertie Bialek elliott; Keith & Priscilla geeslin; John a. & cynthia Fry gunn; Sylvia & John hughes; edmund W. & Jeannik méquet littleﬁeld Fund; Matthew Shilvock, Bernard & Barbro osher; Betty & Jack Schafer; general director the thomas tilton Production Fund; Barbara a. Wolfe; and united airlines. Nicola Luisotti, music director ms. miller’s appearance is made possible by Caroline H. Hume Endowed Chair the Jan Shrem & maria manetti Shrem emerging Stars Fund. mr. grimsley, mr. Jovanovich, ms. mattila, and ms. theorin’s appearances are made possible by a gift to the great Singers Fund by Joan & david traitel.

additional support provided by aﬃliate Sponsors: ms. christina & dr. elizabeth deBruin Warren, reid & Peggy dennis, Jerome l. & thao n. dodson, carol & dixon doll, mr. & mrs. noel Fenton, Kristina Flanagan, mary & craig henderson, anne & timothy Kahn, Karen J. Kubin, Peggy & Boyce nute, chandra & michael rudd, denise littleﬁeld Sobel, mr. William r. Stensrud & ms. Suzanne voucher, Bob tandler & valli Benesch, ronald & emely Weissman, Sharon & clark Winslow, and an anonymous donor.

thanks to all members of the Ring circle, listed on pages 96 and 97.

encoremediagroup.com/programs 39 Rheingold 2018 Cast Synopsis.qxp_Synopsis 5/21/18 10:29 AM Page 1

SYNOPSIS DAS RHEINGOLD

Scene 1 Scene 4 Three young women—Woglinde, Wellgunde, and Flosshilde—play Back in the world of the gods, Loge and Wotan tell Alberich that in a mountain river. They are charged with guarding the gold deep they will free him only if he yields all his gold, including the in the water, and they at ﬁrst scarcely notice the Nibelung, Alberich, Tarnhelm and the Ring. Alberich resists until the Ring is torn from who tries to catch the free-spirited girls as they tease him. They his ﬁnger. As he leaves, he places a curse upon it: until the Ring explain that this gold is all-powerful: if fashioned into a ring, its returns to him, trouble, envy, and death will befall all who possess wearer would rule the world. But they are content that the gold is or crave it. The giants return with their hostage Freia and demand safe, since whoever would steal the treasure must renounce love. the Nibelung gold in exchange for her. Just then, Erda, the earth Hearing this secret, Alberich renounces love and steals the gold. goddess, magically appears and warns Wotan to yield everything, including the Ring, as it spells doom for the gods. Wotan surrenders the Ring, and then Fafner kills Fasolt to claim the Ring,

Scene 2 the Tarnhelm, and the hoard for himself. Fricka urges Wotan to Fricka reproaches her husband Wotan, ruler of the gods, for having turn his thoughts to their new home Valhalla, while Froh and promised her sister Freia to the giants, Fafner and Fasolt, as Donner summon a rainbow bridge to take them there. payment for constructing their new home, Valhalla. Wotan replies that he never meant to keep his word. When Fafner and Fasolt arrive to claim Freia, Wotan tells them that they must accept another form First performance: Munich; September 22, 1869. of payment. Fafner, aware that the gods would lose their eternal First performance as part of a Ring cycle: youth and power without Freia’s golden apples, decides to take her Bayreuth; August 13, 1876. hostage. Donner, the god of thunder, and Froh, the god of spring, try First performance in the U.S.: New York, Metropolitan Opera; to defend their sister Freia, to no avail. The ﬁre demi-god Loge January 4, 1889. suggests that the giants might ﬁnd Alberich’s gold an acceptable substitute for Freia and proposes that Wotan steal the gold, a First San Francisco Opera performance: November 1, 1935. The Company presented Das Rheingold as part of Der Ring des portion of which Alberich has used to forge the all-powerful Ring. Nibelungen in 1935, 1972, 1985, 1990, 1999, and 2011 and by The giants take Freia away until evening, when they will return to itself in six other seasons: 1936, 1967, 1969 (Los Angeles tour), claim the Nibelung’s gold as ransom. Wotan asks Loge to 1977, 1983, and 2008. For more information, please visit our online performance archive at archive.sfopera.com. accompany him to steal Alberich’s treasure in Nibelheim. Personnel: 14 principals, 40 supernumeraries; 54 total.

Orchestra: 3 flutes, 1 piccolo, 3 oboes, 1 English horn, Scene 3 3 clarinets, 1 bass clarinet, 3 bassoons, 8 French horns In the underground caverns of Nibelheim, Alberich tries on the (4 doubling Wagner tubas), 3 trumpets, 1 bass trumpet, Tarnhelm—a magical chain-mail helmet his brother Mime has 2 trombones, 1 bass trombone, 1 contrabass trombone, 1 tuba, 2 timpani, 2 percussionists, 2 harps, 51 strings (14 first violins, forged that transforms the wearer into any size or shape—and 12 second violins, 10 violas, 8 cellos, 7 basses); 89 total. uses it to torment Mime and his Nibelung slaves. Wotan and Loge arrive, and Alberich suspiciously questions them and boastfully Backstage: 1 additional harp for the final scene.

tells them of his plan to overthrow the gods and rule the world. “Anvils”: 6 percussionists play a total of 15 “anvils.” Made of Loge tricks Alberich into using the Tarnhelm to transform himself metal tuned to three speciﬁc pitches and created especially for into a toad, and Wotan and Loge seize him and drag him back up this production, these anvils signal Scene 3’s arrival into Nibelheim. to Earth.

40 SAN FRANCISCO OPERA Rheingold 2018 Cast Synopsis.qxp_Synopsis 5/21/18 10:29 AM Page 2

Conductor Music drama in one act by Richard Wagner Donald Runnicles Text by the composer Director Francesca Zambello Associate Director and Choreographer Denni Sayers DAS RHEINGOLD Set Designer THE RHINEGOLD Michael Yeargan Der Ring des Nibelungen—Prologue Costume Designer Catherine Zuber (Sung in German with English supertitles) Lighting Designer Mark McCullough Original Projections Designed by CAST Jan Hartley (in order of appearance) New Projections Designed by S. Katy Tucker Woglinde Stacey Tappan Remounted by S. Katy Tucker Wellgunde Lauren McNeese Co-Choreographer and Dance Master Flosshilde Renée Tatum Lawrence Pech Alberich Falk Struckmann* Fight Director Loge Štefan Margita Dave Maier Wotan Greer Grimsley Associate Conductor Donner Brian Mulligan Moritz Gnann* Froh Brandon Jovanovich Assistant Conductor Eric Weimer Fricka Jamie Barton Musical Preparation Freia Julie Adams Stephanie Rhodes Russell, Maureen Zoltek, Fasolt Andrea Silvestrelli Bryndon Hassman, John Churchwell Fafner Raymond Aceto Prompter Mime David Cangelosi Susan Miller Hult Erda Ronnita Miller Diction Marianne Barrett* Nibelungs Supertitles Francesca Zambello Assistant Director *San Francisco Opera debut Jodi Gage Stage Manager John W. Coleman* Scene 1: A mountain river Assistant Stage Managers Scene 2: Terrace of the gods Andrew Landis, Anna Reetz*, Scene 3: Nibelheim Jimmy Marcheso Scene 4: Terrace of the gods Costume Supervisor Jai Alltizer Head of Wig and Makeup Jeanna Parham The performance will last approximately two hours and thirty-five minutes Co-production with and is performed without intermission. Washington National Opera Latecomers may not be seated during the performance after the lights have dimmed. Patrons who leave during the performance may not be re-seated. TUESDAY, JUNE , AT : PM TUESDAY, JUNE AT : PM The use of cameras, cell phones, and any kind of recording equipment is strictly forbidden. TUESDAY, JUNE AT : PM Please turn oﬀ and refrain from using all electronic devices.

encoremediagroup.com/programs 41 Walkure 2018 Cast Synopsis.qxp_Synopsis 5/21/18 10:30 AM Page 1

SYNOPSIS DIE WALKÜRE

Events between Das Rheingold and Die Walküre Allowing Hunding to easily kill Siegmund, Wotan then strikes Hund- ing down as well. Having deﬁed her father, Brünnhilde gathers up the • Fafner has turned himself into a dragon to protect his golden hoard. broken pieces of the sword and ﬂees with Sieglinde to safety.

• Wotan has fathered Brünnhilde, his warrior maiden, with Erda. ACT III • Wotan has fathered another eight daughters, the Valkyries, with Brünnhilde’s eight sisters, the Valkyries, are on their way to Valhalla an unnamed goddess, possibly Erda. to report on the fallen heroes they have gathered. When Brünnhilde • On a journey to Earth, Wotan has fathered with a mortal woman arrives with Sieglinde, the Valkyries harbor the pair for fear of the twins Siegmund and Sieglinde. Wotan’s wrath. Brünnhilde gives Sieglinde the broken sword pieces and sends her to seek refuge in the forest where the dragon Fafner hides, for Wotan will not follow her there. Sieglinde takes some ACT I comfort in the knowledge that she will bear Siegmund’s son, who An exhausted fugitive seeks refuge in a woodland home built Brünnhilde predicts will be the greatest of all heroes. around a mighty tree. Sieglinde tends to this unexpected visitor. When Wotan arrives, he condemns Brünnhilde for the betrayal When her husband Hunding arrives home, the stranger relates his and sentences her to be stripped of her divinity and put to sleep sad tale: attempting to protect a young woman from an unwanted on the mountaintop, to be claimed by the first mortal man to arranged marriage, he killed her brothers and was forced to escape awaken her. Brünnhilde begs Wotan to surround her with a ring of her avenging kinsmen. Hunding reveals that he was one of the magic fire so that only the bravest of men will attempt to awaken kinsmen. He offers Siegmund shelter for the night but advises her. Wotan agrees, regretfully bidding his daughter goodbye and him to prepare for a fight the next day. surrounding her with terrifying flames. Sieglinde drugs Hunding’s drink so that the stranger can flee to safety. She, too, had been an unwilling bride and remembers that, First performance: Munich; June 26, 1870. at her wedding, an unknown old man had thrust a sword deep into a tree trunk, but no man has had the strength to pull it out. First performance as part of a Ring cycle: Bayreuth; August 14, 1876. The stranger realizes that this must be the sword his father had promised him and rejoices in reborn hope and newfound love for First performance in the U.S.: New York, Academy of Music; April 2, 1887. Sieglinde. Sieglinde recognizes him now as her long-lost twin brother, Siegmund. In great excitement, Siegmund triumphantly First San Francisco Opera performance: November 4, 1935. pulls the sword from the tree, and the lovers run off into the night. The Company presented Die Walküre as part of Der Ring des Nibelungen in 1935, 1972, 1985, 1990, 1999, and 2011 and by ACT II itself in 14 other seasons: 1936, 1939, 1945, 1949, 1953, 1956, Wotan exhorts his daughter Brünnhilde, a Valkyrie, to protect his mortal 1963, 1968, 1969, 1976, 1981, 1983, 1995, and 2010. For more information, please visit our online performance archive at son Siegmund in his coming duel with Hunding. Wotan had been archive.sfopera.com. grooming Siegmund to be a “free hero”—a free-willed mortal unaided by the gods, unbound by Wotan’s treaties, and consequently the only Personnel: 14 principals, 10 supernumeraries; 24 total. one capable of regaining the cursed Ring that Wotan was earlier forced to yield. But Fricka, Wotan’s wife and the protector of marriage, is out- Orchestra: 3 flutes, 1 piccolo, 3 oboes, 1 English horn, 3 clarinets (1 doubling E-flat clarinet), 1 bass clarinet, 3 bassoons, raged at the adulterous and incestuous love of Siegmund and Sieglinde 8 French horns (4 doubling Wagner tubas), 3 trumpets, and forces Wotan to let Hunding triumph. Wotan changes his order to 1 bass trumpet, 2 trombones, 1 bass trombone, Brünnhilde and tells her that she must let Siegmund die in combat. 1 contrabass trombone, 1 tuba, 2 timpani, 2 percussionists, Siegmund and Sieglinde rest during their flight. While Sieglinde 2 harps, 51 strings (14 first violins, 12 second violins, 10 violas, sleeps, Brünnhilde appears to Siegmund, instructing him to follow 8 cellos, 7 basses); 89 total. her to Valhalla after his death. Deeply moved by Siegmund’s devotion to Sieglinde, Brünnhilde decides to disobey her father’s orders and Backstage: 3 trombones are used during the Act II fight scene to simulate the sound of the Stierhorn, a rough-sounding primitive save Siegmund’s life. After Hunding arrives and begins his battle with instrument made from the horn of a bull or cow. Siegmund, a furious Wotan appears and shatters Siegmund’s sword.

42 SAN FRANCISCO OPERA Walkure 2018 Cast Synopsis.qxp_Synopsis 5/21/18 10:30 AM Page 2

Conductor Music drama in three acts by Richard Wagner Donald Runnicles Text by the composer Director Francesca Zambello Associate Director Laurie Feldman DIE WALKÜRE Choreographer THE VALKYRIE Denni Sayers Der Ring des Nibelungen—Part I Set Designer Michael Yeargan (Sung in German with English supertitles) Costume Designer Catherine Zuber Lighting Designer CAST Mark McCullough (in order of appearance) Projections Designed by Sieglinde Karita Mattila Jan Hartley Remounted by Siegmund Brandon Jovanovich S. Katy Tucker Hunding Raymond Aceto Co-Choreographer and Dance Master Wotan Greer Grimsley Lawrence Pech Brünnhilde Iréne Theorin Fight Director Fricka Jamie Barton Dave Maier Gerhilde Julie Adams Associate Conductor Moritz Gnann Helmwige Melissa Citro Waltraute Renée Tatum Assistant Conductor Joseph Marcheso Schwertleite Nicole Birkland Musical Preparation Ortlinde Sarah Cambidge† John Churchwell, Maureen Zoltek, Siegrune Laura Krumm Tamara Sanikidze Grimgerde Renée Rapier Banda Rossweisse Lauren McNeese Dennis Doubin Prompter Hunding’s men Matthew Piatt Diction †Current Adler Fellow Marianne Barrett ACT I Supertitles Hunding’s house Francesca Zambello Assistant Director —INTERMISSION— Jenny Harber Stage Manager ACT II Darin Burnett Scene 1: Valhalla Assistant Stage Managers Scene 2: A desert Jimmy Marcheso, Thea Railey, E. Reed Fisher —INTERMISSION— Costume Supervisor Jai Alltizer ACT III Head of Wig and Makeup A mountaintop Jeanna Parham Co-production with The performance will last approximately four hours and thirty-five minutes. Washington National Opera Latecomers may not be seated during the performance after the lights have dimmed. Patrons who leave during the performance may not be re-seated until intermission. WEDNESDAY, JUNE 13, 2018 AT 7 pM WEDNESDAY, JUNE 20 AT 7 pM The use of cameras, cell phones, and any kind of recording equipment is strictly forbidden. WEDNESDAY, JUNE 27 AT 7 pM Please turn oﬀ and refrain from using all electronic devices.

encoremediagroup.com/programs 43 Siegfried 2018 Cast Synopsis.qxp_Synopsis 5/29/18 11:40 AM Page 1

SYNOPSIS SIEGFRIED

Events between Die Walküre and Siegfried When Siegfried goes into Fafner’s hiding place, Mime approaches Alberich and the two brothers fight over the golden hoard. Siegfried • Sieglinde has died giving birth to Siegfried. The fragments of emerges with the Tarnhelm and the Ring as Mime and Alberich hide. Siegmund’s sword Notung have come into the possession of A forest bird warns Siegfried to beware of Mime, who emerges and Mime, Alberich’s brother. offers Siegfried the poisoned drink. Now able to understand the true • Mime has raised the young Siegfried, preparing him to recover meaning of Mime’s words, Siegfried refuses it and kills Mime. The the Nibelung hoard of gold, including the Ring and the Tarn- forest bird counsels Siegfried to penetrate the wall of fire surrounding helm, which he then expects Siegfried to yield to him. Brünnhilde, his destined bride.

ACT III ACT I Wotan visits Erda in a final effort to avert a disastrous future. When Mime has set up a metal forge in a deserted area near the spot she advises him to seek guidance from Brünnhilde, he tells her of where a transformed Fafner guards the treasure. Siegfried demands their daughter’s disobedience and punishment, and the dismayed a sword from Mime, but every weapon Mime forges is easily Erda becomes unwilling to reveal more. Wotan abandons Erda, shattered by Siegfried. Commanding Mime to reforge the informing her that he will bequeath the world to Siegfried. fragments of a sword purportedly left to Siegfried by his deceased Just then, Siegfried arrives, and Wotan questions him about his mother, the young man learns more from Mime about his heritage. sword. This irritates Siegfried and he tells the old man to leave him Wotan, who now wanders the world incognito, approaches Mime alone. Wotan bars Siegfried’s way with his spear, which Siegfried and challenges him to a battle of wits, proposing that they each pose shatters, accusing Wotan of having killed his father. Wotan collects three questions to the other. When Mime is unable to answer the the fragments of the spear as we see him for the last time. final question, Wotan reveals that only a person without fear can Siegfried plunges through the fire and awakens the sleeping reforge Siegfried’s sword, and that person will kill Mime. After Wotan Brünnhilde. Though Brünnhilde realizes that she is now a mortal departs, the terrified Mime resolves to teach Siegfried fear to save woman and must obey Siegfried, she welcomes him and learns himself. But Mime faces a dilemma: if Siegfried learns fear, who will the meaning of love for herself. forge the sword that can kill Fafner and regain the golden hoard? When Siegfried returns to claim his sword, Mime tries to teach First performance: Bayreuth; August 16, 1876. the young man to fear. Siegfried, still immune to fear, successfully reforges Siegmund’s sword and goes off with Mime to reclaim the First performance in the U.S.: New York, Metropolitan Opera; November 9, 1887. golden hoard from Fafner. Unbeknowst to Siegfried, Mime has brewed a poisoned drink to give him after he triumphs over Fafner. First San Francisco Opera performance: November 6, 1935. The Company presented Siegfried as part of Der Ring des ACT II Nibelungen in 1935, 1972, 1985, 1990, 1999, and 2011 and by Alberich, eager to regain the golden hoard, keeps watch near the itself four other times: in 1936, 1947, 1969, and 2011. place where Fafner sleeps and guards it. Meanwhile, Fafner has For more information, please visit our online performance archive at archive.sfopera.com. used the magic Tarnhelm to transform himself into an invincible form. Wotan arrives and warns Alberich of Mime’s designs on the Personnel: 8 principals, 1 supernumerary; 9 total. Ring and then rouses Fafner so that Alberich may demand the Ring from him in exchange for warning him of Siegfried’s Orchestra: 3 flutes (1 doubling piccolo), 1 piccolo, 3 oboes, 1 English horn, 3 clarinets, 1 bass clarinet, 3 bassoons approach. Fafner refuses, and Wotan leaves. (1 doubling contrabassoon), 8 French horns (4 doubling Siegfried arrives with Mime, who tries to make him fear Fafner. Wagner tubas), 3 trumpets, 1 bass trumpet, 2 trombones, But Siegfried instead resolves to approach Fafner and sends Mime 1 bass trombone, 1 contrabass trombone, 1 tuba, 2 timpani, away. Siegfried listens to the birds and fashions a makeshift pipe to 2 percussionists, 2 harps, 51 strings (14 first violins, imitate them. When the pipe fails to communicate with the birds, 12 second violins, 10 violas, 8 cellos, 7 basses); 89 total. Siegfried tries his horn. Fafner emerges, and Siegfried kills him. The Backstage: In Act II, 1 English horn for the Siegfried/reed scene dying Fafner warns Siegfried against Mime’s treachery, and his and 1 French horn for Siegfried’s horn calls. lifeblood renders Siegfried instantly able to understand the birds.

44 SAN FRANCISCO OPERA Siegfried 2018 Cast Synopsis.qxp_Synopsis 5/21/18 10:31 AM Page 2

Conductor Music drama in three acts by Richard Wagner Donald Runnicles Text by the composer Director Francesca Zambello Associate Director and Choreographer Denni Sayers SIEGFRIED Der Ring des Nibelungen—Part II Set Designer Michael Yeargan Costume Designer Catherine Zuber (Sung in German with English supertitles) Lighting Designer Mark McCullough Projections Designed by Jan Hartley CAST (in order of appearance) Remounted by S. Katy Tucker Mime David Cangelosi Dance Master Lawrence Pech Siegfried Daniel Brenna* Fight Director The Wanderer (Wotan) Greer Grimsley Dave Maier Alberich Falk Struckmann Associate Conductor Fafner Raymond Aceto Moritz Gnann Forest Bird Stacey Tappan Assistant Conductor Erda Ronnita Miller Eric Weimer Brünnhilde Iréne Theorin Musical Preparation Robert Mollicone, Tamara Sanikidze, Stephanie Rhodes Russell, John Churchwell *San Francisco Opera debut Banda Dennis Doubin Prompter Susan Miller Hult ACT I Diction Mime’s home Marianne Barrett —INTERMISSION— Supertitles Francesca Zambello ACT II Assistant Director Fafner’s hiding place Morgan Robinson Stage Manager —INTERMISSION— John W. Coleman ACT III Assistant Stage Managers E. Reed Fisher, Jessica Barker*, Brünnhilde’s rock Anna Reetz Costume Supervisor Galen Till Head of Wig and Makeup Jeanna Parham Co-production with The performance will last approximately four hours and fifty minutes. Washington National Opera Latecomers may not be seated during the performance after the lights have dimmed. Patrons who leave during the performance may not be re-seated until intermission. FRIdAY, JUNE 15, 2018 AT 6:30 pM FRIdAY, JUNE 22 AT 6:30 pM The use of cameras, cell phones, and any kind of recording equipment is strictly forbidden. FRIdAY, JUNE 29 AT 6:30 pM Please turn oﬀ and refrain from using all electronic devices.

encoremediagroup.com/programs 45 GOTTERDAMMERUNG 2018 Cast Synopsis.qxp_Synopsis 5/21/18 10:33 AM Page 1

SYNOPSIS GÖTTERDÄMMERUNG

PROLOGUE ACT III The three Norns, daughters of the earth goddess Erda, are busy On the banks of the destroyed Rhine, the three Rhinemaidens weaving the rope of fate. Predicting Valhalla’s imminent fall, they mourn their lost treasure. Siegfried approaches and the maidens notice that the rope of destiny is starting to fray and unravel. As plead for the Ring, but he ignores them. When Siegfried’s hunting the sisters try to make it taut, it snaps, and they descend in terror party arrives, he describes his boyhood with Mime, the killing of to find Erda. Fafner, and finally—after Hagen gives him a potion to restore his At dawn, Siegfried and Brünnhilde awaken from their night memory—his wooing of Brünnhilde. Pretending indignation, together. Though fearful that she may lose him, Brünnhilde Hagen plunges a spear into Siegfried’s back and the hero dies. encourages Siegfried to travel in search of heroic challenges. He At Gibichung Hall, Gutrune nervously awaits Siegfried’s return. gives her the Ring as a pledge of his love. Hagen tells her that Siegfried has been slain by a wild boar, but she accuses Gunther of murder and Hagen admits the crime. ACT I Quarreling over the Ring, Hagen kills Gunther but recoils in fear Gunther, leader of the Gibichungs, a human race, and his sister, from the Ring when the dead hero raises his arm. Brünnhilde Gutrune, are at their home. Their half-brother Hagen, son of appears and orders a funeral pyre built for Siegfried. Musing on the Alberich, advises Gunther to marry Brünnhilde in his own plan to gods’ responsibility for his death, she returns the Ring to the Rhinemaidens and walks into the flames. As the world is consumed secure the Ring. By means of a magic potion, Siegfried could be by fire, the Rhine overflows its banks and the Rhinemaidens, induced to forget his vows and win her for Gunther in return for dragging Hagen to his death, regain their treasure. Brünnhilde’s Gutrune’s hand. Siegfried’s horn call announces his approach. death frees the world of the curse of the Ring. Gunther welcomes him, and Gutrune seals his fate by offering him the potion. He drinks and instantly forgets all about Brünnhilde : Bayreuth; August 17, 1876. and agrees to deliver her to Gunther. First performance On Brünnhilde’s rock, Waltraute visits her sister and tells her First performance in the U.S.: New York, Metropolitan Opera; that she must yield the Ring to the Rhinemaidens or all is January 25, 1888. doomed. When she refuses, Waltraute departs in despair. Dusk First San Francisco Opera performance: November 9, 1935. falls as Siegfried appears, but he is now disguised as Gunther by The Company presented Götterdämmerung as part of Der Ring means of the magical Tarnhelm. He wrests the Ring from the des Nibelungen in 1935, 1972, 1985, 1990, 1999, and 2011 terrified Brünnhilde and claims her as Gunther’s bride. and by itself four other times: in 1936, 1947, 1969, and 2011. For more information, please visit our online performance ACT II archive at archive.sfopera.com. Alberich appears to Hagen and urges his sleeping son to get the Personnel: 12 principals, 77 choristers, 11 supernumeraries; Ring back from Siegfried. As dawn breaks, Siegfried returns and 100 total. announces he has won Brünnhilde for Gunther. Hagen calls Orchestra: 3 flutes, 1 piccolo, 3 oboes, 1 English horn, everyone to witness the joining of the two couples: Brünnhilde and 3 clarinets, 1 bass clarinet, 3 bassoons, 8 French horns Gunther, Siegfried and Gutrune. As they enter, Brünnhilde notices (4 doubling Wagner tubas), 3 trumpets, 1 bass trumpet, her ring on Siegfried’s finger. She deplores the trickery through 2 trombones, 1 bass trombone, 1 contrabass trombone, which she was won and proclaims Siegfried to be her true 1 tuba, 2 timpani, 2 percussionists, 2 harps, 51 strings (14 first violins, 12 second violins, 10 violas, 8 cellos, 7 basses); husband. The hero, still under the potion’s spell, vows that he has 89 total. never wronged the woman, and Brünnhilde angrily swears that he is lying. Bent on revenge, she reveals to Hagen the hero’s one Backstage: 3 trombones are used to simulate the sound of the vulnerable spot: a blade in his back will kill him. Taunted by Stierhorn, a rough-sounding primitive instrument made from the horn of a bull or cow; 2 added French horns perform the Brünnhilde and lured by Hagen’s description of the Ring’s power, echoing horn calls. Gunther joins in the murder plot.

46 SAN FRANCISCO OPERA GOTTERDAMMERUNG 2018 Cast Synopsis.qxp_Synopsis 5/21/18 10:33 AM Page 2

Conductor Music drama in three acts and a prologue by Richard Wagner Donald Runnicles Text by the composer Director Francesca Zambello Associate Director Laurie Feldman GÖTTERDÄMMERUNG Choreographer TWILIGHT OF THE GODS Denni Sayers Der Ring des Nibelungen—Part III Set Designer Michael Yeargan Costume Designer (Sung in German with English supertitles) Catherine Zuber Lighting Designer CAST Mark McCullough (in order of appearance) Projections Designed by First Norn Ronnita Miller S. Katy Tucker Second Norn Jamie Barton Based on Original Designs by Jan Hartley and S. Katy Tucker Third Norn Sarah Cambidge† Brünnhilde Iréne Theorin Chorus Director Ian Robertson Siegfried Daniel Brenna Gunther Brian Mulligan Dance Master Lawrence Pech Hagen Andrea Silvestrelli Gutrune Melissa Citro Fight Director Waltraute Jamie Barton Dave Maier Alberich Falk Struckmann Associate Conductor Woglinde Stacey Tappan Moritz Gnann Wellgunde Lauren McNeese Assistant Conductor Flosshilde Renée Tatum Joseph Marcheso Musical Preparation Vassals, workers, oﬃcers, courtiers, guards, huntsmen, servants Bryndon Hassman, Matthew Piatt, Robert Mollicone, John Churchwell, †Current Adler Fellow Fabrizio Corona Prompter PROLOGUE Dennis Doubin Scene 1: The Norns Scene 2: Brünnhilde’s rock Diction Marianne Barrett ACT I Supertitles Scene 1: Gibichung Hall Francesca Zambello Scene 2: Brünnhilde’s rock Assistant Director Shawna Lucey —INTERMISSION— Stage Manager ACT II Darin Burnett Gibichung Hall Assistant Stage Managers Thea Railey, Andrew Landis, —INTERMISSION— Jessica Barker Costume Supervisor ACT III Galen Till Scene 1: A mountain river Scene 2: Gibichung Hall Head of Wig and Makeup Jeanna Parham The performance will last approximately five hours and ten minutes. Co-production with Washington National Opera Latecomers may not be seated during the performance after the lights have dimmed. Patrons who leave during the performance may not be re-seated until intermission. SUNDAY, JUNE 17, 2018 AT 1 PM SUNDAY, JUNE 24 AT 1 PM The use of cameras, cell phones, and any kind of recording equipment is strictly forbidden. SUNDAY, JULY 1 AT 1 PM Please turn oﬀ and refrain from using all electronic devices.

encoremediagroup.com/programs 47 Ring 2018 article 3.qxp_Ring 2018 5/24/18 11:55 AM Page 1

B Y W I L L I A M B E R G E R “Stark ruft das Lied” A Listening Guide to the Ring

y 1848, richard Wagner had conceived an idea for a ent musical system. however, he understood that it would not large-scale opera based on his own idiosyncratic inter- merely require a new method of composition, but also an entirely pretation of several different medieval germanic and new attitude toward staging and even experiencing such a work. SBcandinavian epics and legends. over the next few years, the he set the project aside in 1857, having completed the music world experienced paroxysms of political turmoil, especially in the through much of the third part, Siegfried, and the incomplete Ring land known as germany (there was yet no actual political entity remained in limbo for several years. When Wagner found an by that name), and Wagner himself was exiled to Switzerland. as enthusiastic and wealthy patron in King ludwig ii of Bavaria, he people’s understanding of cultural identity changed, so Wagner’s composed other operas (Tristan und Isolde and Die Meistersinger view of the story evolved. he added what we would call “pre- von Nürnberg) and finally returned to completing his Ring. ludwig quels,” searching for motivations behind the actions, and for produced (against Wagner’s wishes) the first two parts of the additional ramifications of the actions committed in his original Ring—Das Rheingold and Die Walküre—at the Court theatre in story of Siegfried’s Tod, which became now the finale of a vast munich, but finally sponsored the construction of a “Festival epic. By 1853, the poem was complete as we know it: a four-part house” in Bayreuth, dedicated to producing the Ring and under drama named Der Ring des Nibelungen (The Ring of the Nibelung), Wagner’s complete and direct control. Wagner completed the stretching as far back as a mythical analogue to eden and, as in score of the last and largest component of the cycle, Götterdäm- eden, beginning with an original crime that set all subsequent merung, and, against all odds, the complete Ring of the Nibelung history in motion, culminating in the twilight of the gods. was produced in 1876. it was immediately acknowledged as an Wagner set this poem to music methodically, using themes epochal accomplishment in music, theatrical history, and beyond. representative of people, places, and, above all, ideas in a coher- Wagner himself acknowledged that the staging alone fell short of his aspirations for a new theatrical experience, even though some of his ideas for the Bayreuth Festival theatre (the darkened, raked auditorium, all seats facing directly to the stage, etc.) have become standard well beyond the opera house. in lieu of finding the one perfect way to produce the Ring on stage, it has instead become the supreme vehicle for new stagings, each of which has brought forth new meaning to the work itself. the Ring has taught us that a true masterpiece becomes new every time it is experienced, revealing truths even its own creator only partially imagined. the music itself is considered the largest single composition ever accomplished, and yet Wagner’s imagination clearly conceived it as a unity from beginning to end. When it concludes, S e g

you realize he knew where he was going all along, no matter a m i

what the facts of the composition history might suggest. the n a m

famous leitmotifs (musical themes) are nothing new or revolu- e g d i

tionary in and of themselves. But how they evolve and interact r B

with each other is where the musical—and dramatic and psy- / n o i

chological—miracle occurs. t C e l

For a long time, people were interested in examining the l o

composition history of this unique work to determine which C n o t

aspects of it (thematically and musically) were “traditional,” e l P a

new, and entirely unprecedented (for example, detecting a t S

more evolved composer in the parts of the score that were e h t

written last). But there is only a ﬁnite amount of insight to be / n o i

gained by this, and eventually terms such as “revolutionary,” t C e l

“avant-garde,” and others become superﬂuous when applied l o

to this piece. the Ring is truly a world unto itself. C e t a v i r P

48 SAN FRANCISCO OPERA Ring 2018 article 3.qxp_Ring 2018 5/24/18 11:55 AM Page 2

Das Rheingold Creating a World of Light and Dark Before we see anything, the single note of e-flat sounds in the double basses, evolving into waves of arpeggios always centered on the same e-flat (the primal note in this cosmography) but fluctuating, over the course of 136 measures, with an aug- mented degree of frequency. this primal energy is creating diverse life in its wake. Waves of sound build climaxing into a key change to a-flat major, and a voice—a human voice—is heard, the high soprano of the rhinemaiden Woglinde, pro- claiming infantile sounds whose inanity almost immediately become recognizable as words and then a complete sentence. We have journeyed from the primordial ooze to the epoch of organized consciousness (speech) in a few minutes and done it by musical means with an outcome whose primary impact is acoustic and, only later, syntactic. the piercing purity of joyous soprano voices is quickly smudged, so to speak, by a grumbling lower male voice, alberich. We hear his character not only in tone but in his words, e.g. “garstig glatter glitschriger glimmer!” (“nasty slippery smooth slime!”). (throughout the Ring, a remarkably high degree of the words’ signiﬁcance lies in their sound, which is very good news l h

for non-german speakers.) light and dark—in words, music, and o S y

dramatic situation—have summoned each other forth. the mech- t r a

anism is set in motion, and the first action in this history, the theft m of the gold, is a crime from which all subsequent history will be extrapolated. modulation of their earlier joyous shouts of “rheingold!”) now becomes a great orchestral groan like the collective cry of the Psychology, Power, and Music laboring nibelungs. the chiaroscuro sounds of the conflicting the point of view shifts from the depths of the river to the high realms is unmistakable. mountains, but the world of the gods, too, is cloudy, dim, and murky. the swirling lower strings and woodwinds take halting Themes and Variations breaths, and then the bassoons gently offer a consoling theme imagine the score of the glorious finale—“the entry of the gods in C major. tubas and trombones repeat this motif in d-flat into valhalla”—as a shifting camera angle, going from close-ups major (the “majestic key,” according to composer hector to a panoramic shot that includes all the different layers of cre- Berlioz) in a passage marked dolcissimo (“very sweetly”). Wotan, ation: the rhinemaidens in the water (both their voices and still dreaming, intones mostly on a single note, as one might orchestral reminiscences of their themes); a preponderance of hear in church, how the door of the great hall will guard “eter- harps in the orchestra evoking the waters of the rhine; the shining nal might and endless fame.” the theme, we already sense, is towers of valhalla; an unforgettable six-note theme depicting valhalla, the castle in the sky. But no might is eternal, and the thunder; the indisputable grandeur of the gods as they cross on score unpacks how this seductive dream of security is born of the rainbow (a motif we never hear again in the Ring—a trailblaz- subconscious fears of inadequacy and dread of darkness. ing moment cannot be repeated); and the bathetic sarcasm of the shift to the subsequent scene, deep underground in the loge and his fiery essence that undercuts all that grandeur. taken caves of nibelheim, is a sonic shift of grim terror: this is what on its own, the finale of Das Rheingold could be a wonderful con- Wotan rightly fears the world will become without the lofty cert piece, a sort of fanfare of rousing themes, but as the climax of vision he imagined in his dreams of valhalla. the rhinemaidens’ what we have already heard, it is so much more. We have heard cries of woe when they lost their pure gold (a sad minor-key how a simple run up the scale indicates the rhine (i.e., unpolluted innocence) while its opposite descent down the scale signifies Left: The Rhinemaidens bewail the loss of their gold in this 1910 color Wotan’s spear, carved with runes of law (i.e., legal power, politics, lithograph by Arthur Rackham (1867–1939). and civilization itself). the great “waves” in the score at this point effortlessly depict both the conflict and the connection of nature Above: “The Entry of the Gods into Valhalla” as seen in the Company’s and culture. the famous leitmotifs or musical themes of the Ring 1999 production by Nikolaus Lehnhoff. have already begun to layer against and affect each other even as they morph through time and memory.

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Die Walküre Almost Human the opera begins with a nervous repeating ﬁgure in the cellos, meant to represent Siegmund on the run. there is a musical “clap of thunder” in this prelude (in fact, donner’s six-note theme we heard late in Das Rheingold), implying a storm but also sublimi- nally suggesting a hidden connection between this new character and the gods when we last saw them crossing into valhalla. When Siegmund and Sieglinde see each other, their attraction is ﬁrst expressed by a plaintive solo cello, an exquisite herald of desire Wagner also uses in Tristan und Isolde. their love duet is atypical. instead of singing together, as in most operas, they sing almost antiphonally in phrases that spur each other on to greater frenzy. they are siblings and lovers, but they are also something else: separated halves of a former unit (reminiscent of the once all-powerful male/female “androgynes” n

of Plato’s Symposium) searching for wholeness in each other. this o n g

ﬁrst act of Die Walküre is one orchestral and vocal crescendo, as o r d

the twins (half-divine, yet mortal) join their destinies in a climax n a n i

that is both a psychological and erotic triumph. l K n a r Experience Becomes History Becomes Legend F For all its grandeur and monumentality, the vast majority of the Ring San Francisco Opera’s first presentation of the ring in 1935 featured is comprised of “dialogues” of different kinds between two charac- Friedrich Schorr as Wotan and Kirsten Flagstad as Brünnhilde, together ters. the largest narration is in act ii of Die Walküre, in which Wotan here in Act III of die Walküre. explains his motivations and difficulties to his favorite daughter, Brünnhilde. many have thought this abundance of past narration and then himself (a coward’s death) so they can remain together in was a leftover of the epic having been written in reverse order, and the dark Underworld. Brünnhilde’s measured form is shattered, and therefore a sort of nuisance to be tolerated for the appreciation of she replies with a passionate vocal outburst over the full orchestra. the full experience. actually, the narrations are at the heart of the this is Brünnhilde’s first encounter with the messy, illogical totality of cycle. each one reveals the effects of the past on the characters’ love, and we hear in the music that it has essentially changed her. development and their own internal processing of external events— the next act takes an analogous path. music’s ultimate depic- in other words, how facts (those things we have seen happen on tion of the shrill horror and rush of war begins the act with the stage) become stories. Subtle changes in orchestral reminiscences “ride of the valkyries” and its eight competing female voices. But of those facts (clearly recalled in leitmotifs) signal new “spins” on most of this act belongs to Wotan and Brünnhilde. he bids her old truths. the process of recalling and interpreting the past, fur- farewell and deprives her of her divinity, making her a “mere” thermore, influences the characters themselves. in Wotan’s case, it human. the music, however, tells us what Wotan himself could elicits the last thing he expected to experience: emotions. telling not articulate with words. his sadness is expressed in a striking stories gets the facts wrong, but that is where their true value lies. orchestral phrase: a four-note descent, followed by another four- telling stories is what makes one human. note descent higher up on the staff. if we listen closely, we can recognize that this is the motif of his spear. the spear itself will The Costs of Desire not break until the next opera, but the essence (the musical signa- Becoming human is, in fact, one of the central themes of the Ring: it ture) of it is already severed in two. more importantly, the initial is about the age of gods and monsters evolving into the age of impression on the listener is not of a broken spear but of a broken humankind, and this is seen mostly through individual characters, heart. Furthermore, it does not resolve musically, but demands to especially Brünnhilde. She announces her presence in this drama in be repeated by the orchestra even higher on the scale. it is a act ii of Die Walküre with her startling war cry (“hojotoho!”). She crescendo of emotion that nothing can end except the downward- then changes when she meets Siegmund (her half-brother) who says cascading theme in the brass that slices through it: the magic he will die instead of obey her summons to valhalla. When Fire, which is “magic” because it induces sleep—“narcosis,” the Brünnhilde appears to Siegmund and announces his death, their only antidote for such pain. in expressing his full emotions for the exchange has a ritualized formality: their lines are of a stately pace first time, Wotan has also made a human of himself. When we see and even lengthen as they answer each other antiphonally. But Sieg- him again, he will no longer be the chief god. and when we meet mund breaks the form when he says what no warrior has said to a Brünnhilde again even later, she will not be a warrior maiden cry- valkyrie before: no, he will not go to valhalla. he will kill Sieglinde ing “hojotoho!” but a passionate and entirely fascinating woman.

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Siegfried Hearing the Past, Present, and Future in Siegfried’s Sword the surprising amount of musical time devoted to the sword in act i of Siegfried h t a is a lesson in how objects in the world of r W a

the Ring carry multiple meanings. the n o C i

motif of the sword actually appeared for r n e the ﬁrst time at the end of Das Rheingold, / e l e

when Wotan is struck by the idea of a i P S t

sword for a mortal hero that will beneﬁt S e F

the gods. the theme itself begins with r e h the ﬁrst two notes of one of the phrases t U e r

we had just heard previously: y a B donner’s lightning motif. (one © might imagine Wotan experienc- From the Bayreuth Festival’s controversial 2013 ing this “bright idea” of planting staging of Siegfried (directed by Frank Castorf), a the sword as an inspired flash.) modified Mount Rushmore towers over the first act. We hear the sword invoked musically in various ways throughout In this 19th-century caricature, the artist Die Walküre, and then hear it compares Wagner’s victory over his critics to again in fragments, appropriate Siegfried’s slaying of the dragon Fafner.

both to its present shattered S

state and to Siegfried’s merely e mental solo at the very center of this vast

g a

partial understanding of what it m opera. the bright soprano voice of the For-

i n

is. as he performs the strenuous a est Bird that answers his horn call sounds

m e

work of stoking the bellows, he g like a peal of a high bell (a sort of alarm

sings lustily “heiho! ho! ho!” clock, even) radiating above the previously

built on the same two-note phrase i murky abundance of low male voices. the

U /

that had once lit Wotan’s imagina- e feminine side of the hero’s psyche is being

i h

tion when he ﬁrst thought of the C summoned forth.

r a

sword. Siegfried then hammers the y

o t

steel of the newly forged sword with S At the Crossroads i h

the same rhythms (one-two-three, l all the strains of the story intersect in act

S r

one-two-three) that in Das Rhein- e iii, as the old order (Wotan) is about to

v i

gold had depicted the slavery of the n be overthrown by the new (Siegfried). U nibelungs toiling in the mines. here, When the Wanderer calls forth erda, the orchestra swirls in a rush the rhythm is self-created and propels his own vocalism. the that seamlessly subsumes themes we remember as the rhine, same rhythmic figure that was an ominous echo of industrializa- Wotan’s Spear, valhalla, and more. it is the nexus of all time. tion becomes here self-powering propulsion. later, in Götterdäm- Siegfried traverses the magic Fire (you can hear his “sword” slic- merung, motifs of the sword will appear even after Siegfried’s ing through the flames) and is finally united in no uncertain terms death as a sign of his heroism outlasting his mortal life. with Brünnhilde—male and female, in their full human glory, becoming one by means of a grand love duet. Purity and Minimalism What makes this love duet different from that of Siegfried’s interaction between the gods’ world with the emerging human parents in Walküre? First, Siegfried and Brünnhilde are battling world forms the fascination of this opera. in the dramatically com- internal fears that present barriers to full surrender to passion, plex second act, several strains from much earlier in the story are barriers of fear that Siegmund and Sieglinde did not heed in the concluded—and a few of the lingering characters are quickly dis- frenzied rush toward physical and spiritual union. in this duet, patched. amid all this, appropriately, Siegfried has a moment of there is a combativeness involved in the path to the climax, reflection surrounding his origins and his unknown mother. the expressed in an acceleration of tempo as well as a demanding music of the “Forest murmurs” is delicate, with notes of a solo level of volume. it is as thrilling as it is challenging, and many flute shimmering like the light on a quivering leaf. Siegfried also sopranos claim that Brünnhilde’s appearance in this opera, while plays his hunting horn—the first representation in the Ring of relatively brief, is even more taxing in its own way than in the music-making (a human pursuit) and a remarkable, long instru- other two Ring operas in which she appears.

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Götterdämmerung

Grand Opera and the Complexity of the Human World Siegfried’s migration from the world of gods, dwarves, and dragons to the world of humans is depicted by a mag- niﬁcent orchestral tone-poem, the “rhine Journey,” with themes from earlier in the cycle now ampliﬁed to full clarity. When Siegfried meets the (mostly) human gibichungs in their hall (a state capitol, so to speak), their characters and even their music seem more like what one would encounter in other 19th-cen-

tury operas. Scholars point to this l h o

as evidence of this work’s early S y t r

conception as a more traditional a grand opera (compared to the m text-focused “music drama” Top: German Romantic painter Caspar David Friedrich was an of the previous works in the inspiration for the designs of the Company’s 1990 ring, including cycle). yet Wagner did not this Act III scene with the Rhinemaidens and Siegfried.

orchestrate this opera until o t o Center: The ﬁrst page of Richard Wagner’s original score of the very end of his work h P götterdämmerung, which premiered in Bayreuth on August 17, 1876. K on the cycle. the fact is C o t S that the more “typically y Below: Soprano Gwyneth Jones sings the Immolation Scene in the m a operatic” aspects of l a Company’s 1990 presentation of götterdämmerung.

/ Götterdämmerung (especially S e g the grand choruses in act ii and a m i - C i even, quite surprisingly, the S tells us both what is still cloudy in his memory (low woodwinds U “oath of vengeance” trio that m and broken vocal phrases) and the painful reawakening of ends that same act) are the per- blacked-out memory. Siegfried’s eventual death is marked by an fect musical expressions of what unforgettable symphonic narrative—the so-called Funeral is happening in the saga. the music—with its twin blasts of the entire orchestra closing the human world to which Siegfried lid, as it were, on his themes of the resurrected sword and vic- has progressed may have more tory. and yet, the finality of death, cataclysmic as it undeniably of what we call “love” than the is, is not the final word. renewing life is the prerogative of gods’ realms that were explored Woman, and the supreme woman of this tale answers the chal- in Das Rheingold, and it has lenge on both a personal and cosmic level. in a stunningly vir- much else besides: diversity, tuosic display of vocalism as she bids a restful eternity to her competition between individuals, unseen father Wotan to a frenzied greeting-in-death of her multiplicities of lies and decep- beloved Siegfried (a Wagnerian analogue of an operatic mad tions—in short, “politics,” in the scene in its uninhibited high notes), Brünnhilde summons original greek meaning of the forth universal ordeals of fire and water and sings herself into l h

term. grand opera explores these o her own theme of apotheosis. We finally hear the music that S y

themes superbly, as Wagner knew t had been originally sung by Sieglinde in Die Walküre when she r from his earlier Lohengrin. a said farewell to Brünnhilde and predicted her future deification, m and once again we hear the pristine theme of the rhinemaid- Love and Cataclysm ens. We know that Brünnhilde’s self-sacrifice has ended the old What is the last thing your ears would expect to hear in the final order and purged it of all its corruption. Primal innocence is act of this massive saga? Why, the voices of the rhinemaidens, restored, and the cycle begins anew. of course, still mourning their loss of the gold yet maintaining all the bright charm of their perpetual youth. the soundscape William Berger is the author of the books Wagner Without Fear and becomes even more remarkably offset by what follows. verdi with a vengeance (Vintage), and he is a co-host during live Siegfried is asked by hagen to recount his story. the music Metropolitan Opera radio broadcasts.

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EAP full-page template.indd 1 4/27/18 1:13 PM DONALD Elektra with the Royal Swedish Opera RUNNICLES in Stockholm, and she made her highly (Edinburgh, Scotland) anticipated role debut as the Dyer’s Wife in Conductor Die Frau ohne Schatten at the Berlin State Recipient of the San Opera. Upcoming engagements include Francisco Opera Ortrud in Lohengrin in Ghent, Turandot Medal in 2009, at Madrid’s Teatro Real, and the title role Donald Runnicles of La Gioconda at Gran Teatre del Liceu. served as music Her DVD recordings include Elektra at director and principal conductor of San the Salzburg Festival, Götterdämmerung Francisco Opera from 1992 to 2009. He at Teatro alla Scala, Tristan und Isolde at first led the Company in two Ring cycles Bayreuth, and the award-winning Decca in 1990 and has since conducted more recording of the Copenhagen Ring, filmed than 60 productions, including Les Troyens at the Royal Danish Opera in 2006. in 2015; the world premieres of John Adams’ Doctor Atomic and Conrad Susa’s GREER GRIMSLEY The Dangerous Liaisons; the West Coast (New Orleans, premiere of Stewart Wallace’s Harvey Louisiana) Milk; the North American premiere of Wotan/The Wanderer Messiaen’s Saint François d’Assise; and the Bass-baritone Greer 1999 and 2011 Ring cycles. He is currently Grimsley debuted general music director of Deutsche Oper at San Francisco Berlin, principal guest conductor of the Opera in 2001 as Atlanta Symphony Orchestra, and music Scarpia in Tosca director of the Grand Teton Music Festival. and has returned as Count Monterone In the 2018–19 season, Maestro Runnicles in Rigoletto, Jochanaan in Salome, and in will conduct the world premiere of Detlev the title role of Der Fliegende Holländer. Glanert’s Oceane at Deutsche Oper Berlin, He has performed his signature role of new productions of Berg’s Wozzeck and Wotan at the Metropolitan Opera, Seattle Zemlinsky’s Der Zwerg, and six revival Opera, Deutsche Oper Berlin, Teatro titles. Guest engagements include the Comunale di Bologna, Barcelona’s Gran Cincinnati Symphony, Dallas Symphony, Teatre del Liceu, New National Theatre Toronto Symphony, BBC Scottish Tokyo, and the Nikikai Opera Foundation Symphony, Tonhalle Orchestra, and a in Tokyo. He has furthered his reputation production of Strauss’ Elektra at the Lyric as a Wagner interpreter with engagements Opera of Chicago. as Telramund in Lohengrin with the Metropolitan Opera, Royal Danish Opera, IRÉNE THEORIN Lyric Opera of Chicago, and Seattle Opera, (Småland, Sweden) as well as Kurwenal in Tristan und Isolde Brünnhilde with Prague National Theatre, Royal Acclaimed for her Danish Opera, Lyric Opera of Chicago, and portrayals of the Seattle Opera. This season, Grimsley sang Classic Elegance most demanding the title role of Macbeth with Opera San Designer Separates for roles in the dramatic Antonio, Kurwenal with Gran Teatre del soprano repertory, Liceu, Orest in Elektra at Houston Grand Day, Evening & Travel Iréne Theorin made Opera, and Scarpia with Michigan Opera Made in New York her San Francisco Opera debut in 2011 in Theatre. Upcoming engagements include the title role of Turandot. Her performances the title role of Der Fliegende Holländer with Nina McLemore Boutique of Brünnhilde have been seen in many of the Bayreuth Festival and Dallas Opera, rd the world’s great opera houses, including and Wotan at the Metropolitan Opera and 233 Grant Avenue, 3 Fl Teatro alla Scala; the Metropolitan Opera; Bayreuth. San Francisco Royal Opera, Covent Garden; Washington 415.263.1331 National Opera; Barcelona’s Gran Teatre DANIEL BRENNA del Liceu; Berlin State Opera; the Wagner (Prairie du Sac, New York, Aspen, Vail, Chevy Chase, MD, Festival in Budapest; Oper Leipzig; Wisconsin) Atlanta, Houston, Palm Desert, Seattle, Oper Köln; Semperoper Dresden; and Siegfried Scottsdale, Birmingham, MI, Cleveland, New National Theatre Tokyo. Earlier this Tenor Daniel Chestertown, MD season, Theorin sang Brünnhilde at Vienna Brenna makes his www.ninamclemore.com State Opera, Isolde in Tristan und Isolde Company debut as at Gran Teatre del Liceu, the title role of Siegfried, a role he

encoremediagroup.com/programs 57 Business, meet has also performed in Budapest, Stuttgart, Karlsruhe, Hong Kong, and at Washington National Opera, the Longborough Festival, box office. and Opéra de Dijon. Brenna bowed at the Encore connects your business to Metropolitan Opera in 2015 as Alwa in arts patrons wherever they are. William Kentridge’s new production of Lulu, and he returned the following season as Laca Klemeň in Jenůfa. He has performed Desportes in Zimmermann’s Die Soldaten at the Salzburg Festival, Munich’s Bavarian Learn more at encoremediagroup.com. State Opera, and Milan’s Teatro alla Scala. (415)-287-6599 www.b-sidesf.com Other notable engagements include the title role of Tannhäuser in Prague, Herod in Salome in Bilbao, and Aron in Moses und Aron in Zurich. Next season, Brenna appears as Laca Klemeň in Dijon and Caen, Siegfried in Karlsruhe, and the Drum Major Summer at in Wozzeck at Finnish National Opera in Helsinki.

KARITA MATTILA (Perniö, Finland) Sieglinde Soprano Karita Mattila made her San Francisco Opera debut as Ilia in the 1989 production of Idomeneo and subsequently has appeared with the Company as Eva in Die Meistersinger von Nürnberg, in role debuts as Emilia Marty in The Makropulos Case and Elsa in Lohengrin, and in the title roles of Kát’a Kabanová and Manon Lescaut. Her most recent appearance with the Company was in summer 2016 as the Kostelnička in Jenůfa, which she has reprised at the Metropolitan Opera and Bavarian State Opera. She has also sung Sieglinde at Houston Grand Opera; the title role of Jenůfa at the Metropolitan Opera, Hamburg State Opera, Finnish National Opera, and Bavarian State Opera; Lisa in The Queen of Spades, Leonore Art | Garden | Nature in Fidelio, Tatyana in Eugene Onegin, Chrysothemis in Elektra, and the title roles of Salome and Tosca at the Metropolitan Art Exhibitions Summer Nights Opera; Elisabeth in Don Carlos and the title Glass Sculptures in the Garden Every Thursday, role of Arabella at the Théâtre du Châtelet Roland Petersen Paintings 5:00pm - 8:00pm in Paris; Amelia in Un Ballo in Maschera, Marie in Wozzeck, and the title role of Ariadne auf Naxos at Royal Opera, Covent Garden; and Leokadja Begbick in Rise and Use Code thering Online Fall of the City of Mahagonny at the Zurich and receive $2 off general admission Opera House. Upcoming engagements Expires August 30, 2018 include the Kostelnička at Bavarian State Opera, the Foreign Princess in Rusalka at Opéra Bastille, and Madame de Croissy in Dialogues des Carmélites at the Metropolitan 86 Cañada Road, Woodside, CA, 94062 650-364-8300 | www.filoli.org Opera.

58 SAN FRANCISCO OPERA Music To Save Our Endangered Lands II Saving the places that make the East Bay special

BRANDON San Francisco Opera Orchestra musicians Janet Popesco Archibald, Emil Miland and pianist JOVANOVICH Margaret Fondbertasse are generously donating proceeds from the sale of their new (Billings, Montana) CD to John Muir Land Trust. Now available in the Opera Shop and at jmlt.org. Siegmund and Froh Tenor Brandon Jovanovich made his San Francisco Opera debut in 2007 as Pinkerton in Madama Butterfly, and he has most recently appeared as Luigi in Il Tabarro, Siegmund and Froh in 2011’s Ring cycle, the title role of Lohengrin, jmlt.org Sam Polk in Susannah, and Walther von Stolzing in Die Meistersinger von Nürnberg. Recent career highlights include Sergei in Lady Macbeth of Mtsensk at the Salzburg Festival, Covent Garden, and Metropolitan Opera; Don José in Carmen at Los Angeles Opera, Lyric Opera of Chicago, Vienna State Opera, Bavarian State Opera, and the Metropolitan Opera; Lohengrin at Deutsche Oper Berlin; Siegmund at Lyric Opera of Chicago; and the Prince in Rusalka at the Metropolitan Opera and Lyric Opera of Chicago. In the 2018–19 season, Jovanovich performs Enée in Les Troyens, Florestan in Fidelio, and the Prince at Vienna State Opera; Dick Johnson in Andreas Dresen’s Feeling a little remote? new production of La Fanciulla del West at Bavarian State Opera; his role debut as Parsifal at Deutsche Oper Berlin; and the Prince in Rusalka at San Francisco Opera.

FALK STRUCKMANN (Heilbronn, Germany) Alberich One of today’s foremost Wagnerian singers, bass-baritone Falk Struckmann has performed as Wotan, Fafner, Hunding, and Hagen, and, for his San Francisco Opera debut, will take on the role of Alberich for the first time. He made his debut at the Bayreuth Festival in 1993 as Kurwenal in Come live a little. Tristan und Isolde under Daniel Barenboim and later appeared there in the Ring under James Levine and Christian Thielemann. A Your best years are ahead of you. frequent performer at Berlin State Opera, he Get started at PlanYourBestYears.com • To learn has been featured in new productions of Der more about our full-service condos for adults 60+ Fliegende Holländer, Die Meistersinger von Nürnberg, Der Ring des Nibelungen, Fidelio, in San Mateo, call Terrie at 650-425-4237. and Parsifal. His numerous engagements at Vienna State Opera include King Henry in Lohengrin, Jochanaan in Salome, Scarpia in Tosca, and Orest in Elektra. Most recently, Struckmann performed as Rocco in Fidelio Your Life. Your Way. at the Metropolitan Opera and Hamburg State Opera, Scarpia at Deutsche Oper Berlin, and Hagen in Stockholm, Dresden, CA RCFE #410508359 COA #318 BRE #01066367

Job: PR-276 MAT Remote Ad SF Ballet ME LO01 encoremediagroup.com/programsDate: 2/9/18 59 Publication: SF Ballet/Frankenstein Feb 2018 Ad Size: Bleed: Trim: 4.75 x 7.375” in Live: Sign Off: AD: LM Proofer: AE: JG ENJOY THE PERKS OF PLAN YOUR SAN FRANCISCO MEMBERSHIP DURING OPERA-CATION TODAY YOUR STAY Out of Town Series Start at $57 Donors giving $2,000 or more annually who live at least two hours driving Escape into new worlds and save with binge-worthy distance from San Francisco qualify for membership in our National Patrons opera packages designed exclusively for out of town Club. From Box Office Concierge service and personalized tours to special events travelers. See two or three operas in two or three and more, enjoy a range of benefits designed to connect you with fellow days in beautiful San Francisco, and receive exclusive opera lovers during your visit. discounts at nearby hotels, restaurants and more! Now is the perfect time to upgrade your support! Thanks to a generous gift Plan your trip now at sfopera.com/outoftown from longtime friends of the Company Ann and Gordon Getty, all new and increased gifts received by July 31 will be matched!

Visit sfopera.com/donate to learn more or make your gift.

2018–19 SEASON Lyric Opera of Chicago production of Rusalka/Todd Rosenberg Photography, Inc BRITAIN’S LEADING and Vienna. Scheduled engagements for Orchestra in Cleveland, Vienna, and WAGNER HOUSE the 2018–19 season include Hagen and a Luxembourg; Goro in Madama Butterfly Opera Now Hermit in Der Freischütz at Vienna State and Flask in Jake Heggie’s Moby-Dick Opera, Daland in Der Fliegende Holländer at with the Dallas Opera; the Marschallin’s Deutsche Oper Berlin, and Don Pizarro in Major Domo in Der Rosenkavalier with the Fidelio at Berlin State Opera. Boston Symphony Orchestra; and Goro and Dr. Blind in Die Fledermaus with Lyric JAMIE BARTON Opera of Chicago. Upcoming engagements (Rome, Georgia) include Mime in Das Rheingold with Opéra Fricka, Waltraute, and de Montréal and Spoletta in Tosca with Second Norn Washington National Opera. A winner of the 2017 Beverly Sills Artist ŠTEFAN MARGITA Award, 2015 Richard (Prague, Czech Tucker Award, and Republic) 2013 BBC Cardiff Loge Singer of the World Competition, mezzo- Tenor Štefan Margita THE soprano Jamie Barton debuted at San made his San LONGBOROUGH Francisco Opera in 2014 as Adalgisa in Francisco Opera Norma. Her recent engagements include debut in 2007 as RING Adalgisa at the Metropolitan Opera, Los Walther in Tannhäuser. Angeles Opera, and Houston Grand Opera; He subsequently appeared as Loge in 2019-2023 Eboli in Don Carlo at Deutsche Oper Berlin the Company’s 2008 production of Das and Washington National Opera; Léonor Rheingold (a role debut) and in the 2011 in La Favorite at Madrid’s Teatro Real; Ring cycle, and he has repeated the role Conductor Anthony Negus Giovanna Seymour in Anna Bolena at the at the Metropolitan Opera, Bavarian State Director Amy Lane Metropolitan Opera and Lyric Opera of Opera, Dutch National Opera, and Houston Chicago; Fenena in Nabucco at Covent Grand Opera. He experienced his first A brand new Ring in the Garden, the Metropolitan Opera, and career breakthrough as Laca Klemeň in Seattle Opera; Cornelia in Giulio Cesare at Jenůfa with acclaimed performances at the UK's glorious Cotswolds, Oper Frankfurt; and Fricka, Waltraute, and Glyndebourne Festival, Munich’s Bavarian at the Festival where Second Norn in Houston Grand Opera’s State Opera, Saito Kinen Festival, Berlin Daniel Brenna sang his Ring. Future engagements include two State Opera, Prague National Theatre, and appearances at San Francisco Opera, first in Théâtre du Châtelet in Paris. Margita’s first Siegfried. her role debut as Sara in Roberto Devereux other notable appearances include Walther and as Ježibaba in Rusalka; returns to the at Milan’s Teatro alla Scala; the Drum Major JUNE 2019 Bavarian State Opera and Lyric Opera of in Wozzeck in Berlin, Paris, and Lisbon; Filka Das Rheingold Chicago as Azucena in Il Trovatore; and Morozov in From the House of the Dead in performances at the Metropolitan Opera New York, Berlin, Milan, and Prague; Tikhon JUNE 2020 as Fricka and Sister Helen Prejean in Jake Kabanov in Kát’a Kabanová in Turin; and Die Walküre Heggie’s Dead Man Walking (a role debut). Edrisi in Szymanowski’s King Roger at Paris Opéra and Madrid’s Teatro Real. Future JUNE 2021 DAVID CANGELOSI engagements include Captain Vere in Billy Siegfried (Cleveland, Ohio) Budd in Prague, Filka Morozov in Brussels Mime and Lyon, and Loge in Chicago. JUNE 2022 Since his 1999 San Götterdämmerung Francisco Opera BRIAN MULLIGAN debut as Sellem in The (Endicott, New York) Rake’s Progress, tenor Gunther and Donner JUNE 2023 David Cangelosi has Baritone Brian the full cycle of Der Ring returned as Valzacchi Mulligan made his San des Nibelungen in Der Rosenkavalier and as Mime in 2008’s Francisco Opera debut Das Rheingold and 2011’s Ring cycle. He in 2008 as Marcello lfo.org.uk made his Metropolitan Opera debut as in La Bohème, Mime in 2004, and he has also sung the and he has since role at Washington National Opera, Lyric returned as Valentin in Faust, Albert in Be part of our new Opera of Chicago, and with the Hong Werther, Sharpless in Madama Butterfly, Ring Kong Philharmonic and conductor Jaap the King’s Herald in Lohengrin, the title Contact Membership & van Zweden. Other recent performances role of John Adams’ Nixon in China, Count Development Manager Gill include the Schoolmaster and Mosquito in Anckarström in Un Ballo in Maschera, Powell on [email protected] The Cunning Little Vixen with the Cleveland Chorèbe in Les Troyens, the title role of

encoremediagroup.com/programs 61 Stephen Sondheim’s Sweeney Todd, Enrico in Lucia di Lammermoor, and the title role of Debussy’s La Chute de la Maison Usher and Gordon Getty’s Usher House. He has also appeared as Amfortas in Parsifal, Golaud in Pelléas et Mélisande, and Prospero in Thomas Adès’ The Tempest at Oper Frankfurt; Peter in Hänsel und Gretel at Lyric Opera of Chicago; Paolo Albiani in Simon Boccanegra at the Metropolitan Opera; Jack Torrance in the world premiere of Paul Moravec’s The Shining at Minnesota Opera; and John Proctor in Robert Ward’s The Crucible at the Glimmerglass Festival. His 2018–19 schedule includes his role debut as Mandryka in Arabella at San Francisco Opera, Zurga in Les Pêcheurs de Perles at Zurich Opera House, Guglielmo in Puccini’s Le Villi with the London Philharmonic Orchestra, and Sharpless in Madama Butterfly for his debut at Dutch National Opera in Amsterdam.

Olivia and Jim Guthrie, residents since 2015 ANDREA SILVESTRELLI (Candia di Ancona, Italy) Their Shared Hagen and Fasolt Bass Andrea Silvestrelli made his San Francisco Opera debut in VISION 1998 as Oroveso in Norma, and he has since returned as Il Talpa in Il Tabarro, With children and grandchildren in California and Simone in Gianni Schicchi, Osmin in Die Entführung aus dem Serail, Hagen and a teaching history that includes Stanford and UC Fasolt in the 2011 Ring cycle, Basilio in Il Berkeley, Olivia and Jim decided that San Francisco Barbiere di Siviglia, Sparafucile in Rigoletto, Wurm in Luisa Miller, the Night Watchman Towers not only is the city’s most appealing Life Plan in Die Meistersinger von Nürnberg, the Grand Inquisitor in Don Carlo, and the Community, but also offers an address central to Commendatore in Don Giovanni. Recent seasons have included appearances as the best of the Bay Area. To learn more, or for your Fasolt and Hunding in Die Walküre with the National Taichung Theater in Taiwan; personal visit, please call 415.447.5527. Oroveso in Norma, Timur in Turandot, and Nourabad in Les Pêcheurs de Perles at Lyric Opera of Chicago; the Grand Inquisitor at Washington National Opera; and Hagen at Houston Grand Opera. In the upcoming season, Silvestrelli sings Fafner in Siegfried with the National Taichung Theater, as well as Pistola in Falstaff and Geronte in Manon Lescaut with the Dallas Opera.

1661 Pine Street, San Francisco, CA 94109 sanfranciscotowers-esc.org

A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 380540292 COA #177 EPSF752-06WB 030117

62 SAN FRANCISCO OPERA

CLIENT ESC / San Francisco Towers PUB Encore AD NAME Gutheries REF NO EPSF752-06wb TYPE 2/3 page vertical, 4C SIZE 4.75 x 9.875 ISSUE March Ballet DUE 1.27.17 VERSION 03 AGENCY RESIN CONTACT Tim Paschke 415.987.4274 RONNITA MILLER at Washington National Opera, and he Proud to (St. Petersburg, returns to the Metropolitan Opera for Florida) performances of Les Pêcheurs de Perles and Support Erda and First Norn Carmen. Mezzo-soprano the Arts in Ronnita Miller made MELISSA CITRO her San Francisco (Quincy, Illinois) San Francisco Opera debut as Erda Gutrune and in the 2011 Ring Helmwige cycle. Currently in her fifth season as a Soprano Melissa member of the permanent ensemble at Citro made her San Deutsche Oper Berlin, she has performed Francisco Opera Personal attention there as Erda and First Norn, Marthe in debut in the 2011 thoughtful litigation Faust, Madelon in Andrea Chénier, Fenena Ring cycle as Freia in Nabucco, Mamma Lucia in Cavalleria in Das Rheingold, Ortlinde in Die Walküre, final resolution Rusticana, Ulrica in Un Ballo in Maschera, and Gutrune in Götterdämmerung. Last FAMILY LAW FAMILY among other roles. Recent career highlights season, she bowed as Minnie in La Our goal is to preserve our include Erda with the Semperoper Dresden Fanciulla del West with Opera Colorado client’s dignity and humanity. and conductor Christian Thielemann; and Michigan Opera Theatre and as Amando in Ligeti’s Le Grand Macabre with Marina in Dvořák’s Dimitrij with Bard the London Symphony Orchestra, Berlin SummerScape. Highlights from the 2015– Philharmonic, and conductor Simon Rattle; 16 season include her Washington National FA M I LYLAW G R OUP, P. C . Fricka in Die Walküre with the Odense Opera debut as Gutrune, her return to Symphony Orchestra and conductor New Orleans Opera as Rosalinde in Die 575 Market Street, Suite 4000 Alexander Vedernikov; Mary in Der Fliegende Fledermaus, and her debut with the Detroit San Francisco, CA 94105 Höllander at Chicago’s Ravinia Festival and Symphony Orchestra in Mahler’s Second 415.834.1120 Los Angeles Opera; and Mistress Quickly Symphony. A 2001 graduate of the Merola www.sflg.com in Falstaff with Los Angeles Opera. Next Opera Program, Citro has also sung the season, she appears as Erda at Lyric Opera title role of Rusalka at New Orleans Opera, of Chicago and Madrid’s Teatro Real. the title role of La Wally in her Dallas Opera debut, Senta in Der Fliegende Holländer RAYMOND ACETO at Lyric Opera of Kansas City, Sieglinde (Cleveland, Ohio) in Die Walküre at Virginia Opera, Magda Hunding and Fafner Sorel in The Consul at the Glimmerglass Bass Raymond Aceto Festival, Ortlinde and Third Norn in the debuted with San Ring at Los Angeles Opera, and the title Francisco Opera in role of Jenůfa at Staatsoper Stuttgart. 1997 as Monterone Future engagements include a return to the in Rigoletto, and he Metropolitan Opera for the Ring. has since returned as Timur in Turandot, the Bonze in Madama JULIE ADAMS Butterfly, Ramfis in Aida, Hunding in Die (Burbank, California) Walküre, Reverend Olin Blitch in Susannah, Freia and Gerhilde Banquo in Macbeth, and the King of Egypt A former San in Aida. During the 2017–18 season, Aceto Francisco Opera Adler performed in a European tour with the Fellow, Julie Adams Cleveland Orchestra as Harašta in The made her Company Cunning Little Vixen, sang as Zaccaria in debut as Mimì in La Nabucco in Shanghai, and was a soloist Bohème for Families. in the Verdi Requiem with the Oregon She has also appeared with San Francisco Symphony. Other recent performances Opera as Kate Pinkerton in Madama include Banquo in Macbeth and the Butterfly, Kristina in The Makropulos Case, Commendatore in Don Giovanni with Royal First Lady in The Magic Flute, and Karolka The San Francisco Opera Shop in Jenůfa. A winner of the 2015 Elizabeth Opera, Covent Garden on tour of Japan; Mezzanine Level Méphistophélès in Faust at New Orleans Connell prize for aspiring dramatic (415) 565-3263 Opera; Bruckner’s Te Deum with the sopranos, the 2015 Sarah Tucker Study Atlanta Symphony Orchestra; the Mozart Grant, and the 2014 Metropolitan Opera The Rafael’s / Palace Hotel / San Francisco Requiem with the Rochester Philharmonic; National Council Auditions, Adams made (415) 974-6772 and a concert version of Der Fliegende her role and house debut this past season Dayenu Gift and Books / JCCSF Holländer with the St. Louis Symphony. Next as the Countess in Le Nozze di Figaro with (415) 563-6563 season, Aceto performs Méphistophélès Michigan Opera Theatre and her house

encoremediagroup.com/programs 63 MA 081909 october 1_6v.pdf debut with Opera Idaho as Blanche in STACEY TAPPAN Opera and Lyric Opera of Chicago. Other André Previn’s A Streetcar Named Desire. (Pasadena, California) recent highlights include Griselda in Alma Other credits include Mimì and Anna Woglinde and the Deutscher’s Cinderella with Opera San Jose; Sørensen in Kevin Puts’ Silent Night at Forest Bird Aveline Mortimer in Kevin Puts’ Elizabeth Opera San Jose. The 2018–19 season sees Soprano Stacey Cree with Chicago Opera Theater; Queen Adams’ house debuts with Arizona Opera Tappan made her Tye in Akhnaten, Florestine in The Ghosts of as Anna Sørensen, Des Moines Metro San Francisco Opera Versailles, First Lady in Die Zauberflöte, Nella Opera as Mimì, and Hawaii Opera Theatre debut as Woglinde in Gianni Schicchi, Stella Kowalski in André as the Countess. and the Forest Bird Previn’s A Streetcar Named Desire, Clorinda in the 2011 Ring cycle, two roles that she in La Cenerentola, and Miss Wordsworth has previously performed with Los Angeles in Albert Herring with Los Angeles Opera; and Madame White Snake in Scott Wheeler and Cerise Lim Jacobs’ Naga with Beth Morrison Projects. During the 2018–19 season, Tappan makes her Metropolitan Opera debut as Dawn in the North American premiere of Nico Muhly’s Marnie. In addition, she will perform roles in Suor Angelica and the Ring.

LAUREN MCNEESE (Tulsa, Oklahoma) Wellgunde and Rossweisse Mezzo-soprano Lauren McNeese debuted at San Francisco Opera as Wellgunde in 2008’s Das Rheingold, which she has also performed at Lyric Opera of Chicago and Los Angeles Opera, and she returned to the role and performed as Rossweisse in Die Walküre for the 2011 Ring cycle. Recent WE USE engagements include her house debut with San Diego Opera in the title role of La Cenerentola, the Fox in The Cunning Little 100% NATURAL Vixen at Opera Santa Barbara, her return to Intermountain Opera Bozeman as Donna Elvira in Don Giovanni, and the title role of Holst’s Sāvitri and Hélène in Chabrier’s Une MESQUITE Éducation Manquée with Opera in Concert in Dallas. Other notable appearances include Angelina in La Cenerentola at Tulsa CHARCOAL Opera, Laura in Iolanta at the Dallas Opera, and Giovanna Seymour in Anna Bolena at Minnesota Opera. AUTHENTIC BRAZILIAN STEAK HOUSE RENÉE TATUM (Carlsbad, California) Fourteen signature cuts of meat roasted over a mesquite grill. Flosshilde and We use fresh produce to prepare our salads daily. Waltraute Nothing comes from cans. Mezzo-soprano Renée Tatum, a former San TASTE THE DIFFERENCE! Francisco Opera Adler Fellow, made her SAN FRANCISCO | SAN MATEO Company debut in ESPETUS.COM 2009 as Annina in La Traviata, and she has returned as Inez in Il Trovatore, the Novice in Suor Angelica, a Slave in Salome, Emilia in Otello, and Flosshilde and Grimgerde in

64 SAN FRANCISCO OPERA the 2011 Ring cycle. Recent engagements include Flosshilde with the Tanglewood Music Festival, Jenny in The Threepenny Opera at Boston Lyric Opera, Third Flower Maiden in Parsifal at the Metropolitan Opera, soloist in Penderecki’s Credo with the Indianapolis Symphony Orchestra, Flosshilde and Grimgerde in Die Walküre at Washington National Opera, and Flosshilde in Das Rheingold at the National Taichung Theater in Taiwan and in Götterdämmerung at Houston Grand Opera. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, she made her Metropolitan Opera debut in 2009 as Inez. Next season sees Tatum returning to the Metropolitan Opera for Nico Muhly’s Marnie and the Ring cycle.

SARAH CAMBIDGE (Vancouver, Canada) Ortlinde and Third Norn Soprano Sarah Cambidge is currently a second-year Adler Fellow with San Francisco Opera. She made her Company debut last fall as the Fourth Maidservant in Elektra, and, most recently, she made her role debut as Amelia in Livermore Valley Opera’s Un Ballo in Maschera. As part of the 2016 Merola Opera Program, she performed Elsa in Lohengrin at the Schwabacher Recital Series. She received her bachelor’s and master’s degrees in vocal performance from the University of Denver’s Lamont School of Music, and she was the winner of the 2016 Denver Lyric Opera Guild Competition and a national semifinalist in the 2015 Metropolitan Opera National Council Auditions. Upcoming engagements include Sieglinde in Die Walküre at Opéra National de Bordeaux and a Foreign Princess in the Company’s Rusalka.

LAURA KRUMM (Iowa City, Iowa) Siegrune A former San Francisco Opera Asian Art Museum 200 Larkin Street Tues–Sun Adler Fellow, mezzo- Chong Moon-Lee Center San Francisco 10 AM–5 PM for Asian Art and Culture www.asianart.org Open until 9 PM Thur soprano Laura Krumm has appeared on the War Memorial Opera House stage as the Second Maidservant in Elektra, Javotte in Manon, Rosina in The Barber of Seville for Families, Countess Ceprano and a Page in Rigoletto, and a Maid in the world premiere of Tobias

encoremediagroup.com/programs 65 Picker’s Dolores Claiborne. For the San Zita in Gianni Schicchi, La Principessa Hamlet at the Glyndebourne Festival and Francisco Opera Center, she created the in Suor Angelica, and Azucena in Il Adelaide Festival. Sayers has longstanding role of Martha in the world premiere of Trovatore. A graduate of the 2008 Merola relationships with many leading directors‚ Nolan Gasser’s The Secret Garden, and she Opera Program, she has participated in most notably Francesca Zambello‚ Jonathan sang Laura in Jack Perla’s Love/Hate at the Metropolitan Opera productions of Lady Kent‚ Niel Armfield‚ David Pountney, ODC Theater in association with the Opera Macbeth of Mtsensk, Les Contes d’Hoffmann, and the late Nikolaus Lehnhoff. Recent Center. In recent seasons, Krumm made The Rake’s Progress, and Der Fliegende collaborations include Der Fliegende role and company debuts as Zerlina in Don Holländer. Next season, Birkland returns to Holländer at Los Angeles Opera‚ Porgy Giovanni at Nashville Opera, Mrs. Webb in the Metropolitan Opera for Die Zauberflöte. and Bess and A Midsummer Night’s Dream Ned Rorem’s Our Town at Fresno Grand at Lyric Opera of Chicago‚ Don Carlos at Opera, and Meg in Mark Adamo’s Little FRANCESCA Houston Grand Opera‚ Ariadne auf Naxos in Women at Michigan Opera Theatre. Next ZAMBELLO Toronto, and La Fanciulla del West at Opéra season, Krumm returns to San Francisco (New York, New York) Bastille. As director and associate director‚ Opera as Lola in Cavalleria Rusticana and Director Sayers has staged The Pearl Fishers and the Kitchen Boy in Rusalka. Recipient of the Don Giovanni at Tulsa Opera, Peter Grimes San Francisco Opera and Tosca in Toronto, Of Mice and Men in RENÉE RAPIER Medal in 2015, Washington, Porgy and Bess in Chicago, (Marion, Iowa) Francesca Zambello Ariadne auf Naxos in Boston and at Welsh Grimgerde began her long National Opera, and Hippolyte et Aricie and Mezzo-soprano association with the Company in 1983 as Don Giovanni at Glyndebourne. Renée Rapier returns assistant stage director for Ariadne auf to San Francisco Naxos and has since been involved in more LAURIE FELDMAN Opera after appearing than 50 productions, including Aida, Luisa (San Francisco, last fall as Flora Miller, Show Boat, Porgy and Bess, the 2011 California) in La Traviata and Ring cycle, La Traviata, La Voix humaine, Associate Director Rosette in Manon, and as Mercédès in the La Bohème, Prince Igor, Jenůfa, the West Laurie Feldman served Company’s 2016 production of Carmen. Coast premiere of Rachel Portman’s The on the directorial Other recent engagements include Dinah/ Little Prince, and the world premieres of staff at San Francisco Rose in a double bill of Trouble in Tahiti and Heart of a Soldier and Two Women. She is Opera for 22 years and At the Statue of Venus at Opera Parallèle, currently general and artistic director of the was the stage director Beethoven’s Ninth Symphony with the San Glimmerglass Festival and artistic director for Das Rheingold (1990), Götterdämmerung Francisco Symphony, and debuts with Noe of Washington National Opera. In addition (1990), Die Walküre (1995), Rusalka, La Valley Chamber Music and San Francisco to her work in opera, she has staged plays Bohème, Carmen, Mefistofele, La Traviata, Performances. A former San Francisco and musicals on Broadway and around the and Luisa Miller. In 2016, she served as Opera Adler Fellow, Rapier made her world. Her many honors include France’s associate director for Washington National Company debut in 2013 as a Maid in Tobias Chevalier des Arts et des Lettres and the Opera’s Ring cycle. As a guest director Picker’s Dolores Claiborne. This summer, Russian Federation’s medal for service to at the Metropolitan Opera, productions she performs her role debut as Donna Elvira culture, three Olivier Awards, two French include La Traviata, Rusalka, Ariadne auf in Don Giovanni at Opera Steamboat, and Grand Prix des Critiques, and Australia’s Naxos, Elektra, The Rake’s Progress, La Forza she will be a soloist at the Newport Music Helpmann Award. Zambello began her del Destino, La Clemenza di Tito, Norma, and Festival singing music by Jake Heggie. career as an assistant director to the late Un Ballo in Maschera. She recently directed Jean-Pierre Ponnelle. Robert Carsen’s acclaimed production of NICOLE BIRKLAND The Makropulos Case at Opéra National du (Moorland, Iowa) DENNI SAYERS Rhin in Strasbourg. In 2009, she staged Schwertleite (London, England) Laurent Pelly’s production of La Traviata Mezzo-soprano Nicole Associate Director at Turin’s Teatro Regio, where she also Birkland made her and Choreographer directed Carsen’s Mefistofele. She has San Francisco Opera One of today’s leading worked at many international opera houses, debut in 2012 as Third choreographers, including Teatro Lirico di Cagliari; Madrid’s Secretary to Mao in Denni Sayers made Teatro Real; Maggio Musicale Fiorentino; John Adams’ Nixon her U.S. and San Opéra National de Lyon; Teatro Massimo in China. More recently, she appeared Francisco Opera in Palermo; Staatstheater Nürnberg; Opéra as Third Maidservant in the Company’s debuts in 2000 with Parsifal, and she de Nice; Oper Köln; Munich’s Bavarian Elektra. A favorite at Opera San Jose, she returned in Company productions of State Opera; the Canadian Opera Company; has appeared there as Mary in Der Fliegende Arshak II, Der Fliegende Hollānder, and National Centre for the Performing Arts, Holländer, Mistress Quickly in Falstaff, Porgy and Bess. Her choreography has Beijing; and the Icelandic Opera. Gertrud in Hänsel und Gretel, Suzuki in been seen in opera houses around the Madama Butterfly, Donna Elvira in Don world, including Die Zauberflöte at Lyric Giovanni, Prince Orlofsky in Die Fledermaus, Opera of Chicago, Francesca da Rimini at Milan’s Teatro alla Scala, The Cunning Little Vixen at Brussels’ La Monnaie, and

66 SAN FRANCISCO OPERA ad proofs.indd 1 7/7/14 11:10 AM MICHAEL YEARGAN Florencia en el Amazonas at Washington (Dallas, Texas) National Opera and Los Angeles Opera. Set Designer Zuber’s work on The King and I, The Royal Since his San Family, South Pacific, The Coast of Utopia, Francisco Opera Awake and Sing!, and The Light in the Piazza debut with the 1993 earned her Tony Awards for best costume staging of I Puritani, design. She was also nominated eight times Michael Yeargan has for Tony Awards for My Fair Lady, War Paint, designed sets and Golden Boy, How to Succeed in Business costumes for the Company’s productions Without Really Trying, Born Yesterday, Edward of Aida, The Merry Widow, La Bohème, Albee’s Seascape, Dinner at Eight, and Twelfth Carmen, Madama Butterfly, Rigoletto, Luisa Night. Zuber has received the 2017 Irene Miller, Simon Boccanegra, and the world Sharaff Lifetime Achievement Award, and premieres of André Previn’s A Streetcar she is a 2016 Theater Hall of Fame inductee. Named Desire and Jake Heggie’s Dead Man Walking. Yeargan’s North American MARK MCCULLOUGH opera credits include designs for the (Charlotte, North Metropolitan Opera (Otello, Così fan tutte, Carolina) Ariadne auf Naxos, Il Barbiere di Siviglia, Les Lighting Designer Contes d’Hoffmann, and the world premiere Mark McCullough of John Harbison’s The Great Gatsby); made his San Francisco Los Angeles Opera (Nabucco, The Merry Opera debut with Widow, Stiffelio, Hansel and Gretel); Lyric Luisa Miller in 2000, Opera of Chicago (Antony and Cleopatra, and he has returned for Cavelleria Rusticana, Pagliacci, Nabucco, The numerous productions, including Arshak II, Pirates of Penzance, The Sound of Music); The Mother of Us All, Rigoletto, Das Rheingold, the Dallas Opera (Madama Butterfly, Porgy and Bess, the 2011 Ring cycle, and the Rigoletto, Hansel and Gretel); Houston world premiere of Heart of a Soldier. He has Grand Opera (Carlisle Floyd’s Cold Sassy designed lighting for the Vienna State Opera Tree and Susannah); and the Glimmerglass (Macbeth); Metropolitan Opera (Le Nozze di Festival (Tosca, Madama Butterfly, Central Figaro); Milan’s Teatro alla Scala (Cyrano de Park), among others. Internationally, he has Bergerac); Madrid’s Teatro Real (Luisa Miller); designed productions for Welsh National Royal Opera, Covent Garden (The Queen of Opera; the Royal Opera, Covent Garden; Spades); Strasbourg’s Opéra National du Scottish Opera; Théâtre Musical de Paris; Rhin (The Beggar’s Opera); Opera North Oper Frankfurt; and Opera Australia. A (Eugene Onegin); as well as numerous two-time Tony Award winner (South Pacific, productions with Boston Lyric Opera, Lyric The Light in the Piazza), Yeargan has also Opera of Chicago, Los Angeles Opera, designed New York productions of Terrence Houston Grand Opera, Washington National McNally’s Bad Habits, The Ritz, Awake and Opera, the Dallas Opera, Glimmerglass Sing, and Joe Turner’s Come and Gone. Festival, Canadian Opera Company, and New York City Opera. Current and upcoming CATHERINE ZUBER engagements include Der Freischütz at (London, England) Vienna State Opera, West Side Story and The Costume Designer Cunning Little Vixen at the Glimmerglass (650) 342-4106 Catherine Zuber made Festival, and La Traviata with Washington (650) 342-4106 her San Francisco National Opera. Opera debut with the 2008 production S. KATY TUCKER (650) 342-4106 of Das Rheingold, (Louisville, Kentucky) and her costume Projection Designer designs were seen in the Company’s 2011 S. Katy Tucker made (650) 342-4106 Ring cycle. Recent operatic credits include her San Francisco Otello, L’Elisir d’Amore, Le Comte Ory, and Opera debut designing Nico Muhly’s Two Boys at the Metropolitan the projections for Opera; Roméo et Juliette and Il Barbiere Götterdämmerung di Siviglia at the Metropolitan Opera and in 2011, and she Lyric Opera of Chicago; South Pacificat returned for productions of Heart of a Soldier, Opera Australia; Carousel at Houston Grand Mefistofele, Der Fliegende Holländer, and Two Opera; La Forza del Destino at Washington Women. Tucker began her career as a painter National Opera; and Daniel Catán’s and installation artist, exhibiting her work at

68 SAN FRANCISCO OPERA a variety of galleries, such as the Corcoran artistic contribution to the preparation of LAWRENCE PECH Museum in Washington, D.C. and Artist’s the Company’s North American premiere of (San Francisco, Space in New York City. Her work in theater Saint François d’Assise. Robertson has also California) and opera has been seen around the world, conducted ten mainstage productions with Co-Choreographer and including Dmitri Tcherniakov’s production the Company. Other North American opera Dance Master of Prince Igor at the Metropolitan Opera, Der credits include productions with Sarasota Lawrence Pech is in Fliegende Holländer at the Atlanta Opera, Opera, Edmonton Opera, and Philadelphia’s his 22nd season as and West Side Story at the Kennedy Center for Curtis Opera Theatre. Before joining San dance master and the Performing Arts. Upcoming productions Francisco Opera, Robertson was head of resident choreographer include Der Fliegende Holländer at Houston music and chorus director of Scottish Opera. for San Francisco Opera. He has created Grand Opera and Cincinnati Opera, Orphée He currently serves as artistic director of the period and interpretive dances on more than at the Banff Centre, and Rigoletto at Wolf Trap San Francisco Boys Chorus. 60 productions with the Company. Pech Opera.

JAN HARTLEY (Hollywood, Florida) Projection Designer Jan Hartley made her San Francisco Opera debut with 2008’s Das Rheingold, and her designs were seen throughout the Business, meet Company’s 2011 Ring cycle. She has also collaborated with Francesca Zambello on Shostakovich’s Moskva, Cheryomushki at Bard College; David Henry Hwang’s adaptation of Tibet Through the Red Box in baritones. Seattle; and Napoleon by Andrew Sabiston and Timothy Williams at the Shaftesbury Theatre in London. She also designed Encore Media Group connects businesses and projections for Pixar Animation Studio’s Finding Nemo. As a member of Ping Chong brands to the best of arts & culture in the Bay & Company since 1983, her work was Area and Seattle. featured in Cocktail, Kwaidan, After Sorrow, 98.6, Chinoiserie, Deshima, Skin–A State of Being, and the Ping Chong and Meredith We’re proud to have published programs with the Monk collaboration The Games. She has San Francisco Opera for over a decade. also worked on a wide array of productions both on and off Broadway and in London’s From fashion and finance to dining and West End. Hartley has received a Drama Desk Award for Bunny, Bunnie and an Obie diamonds, smart business-owners know Encore is Award for Sustained Excellence. Other the best way to get their brand in the spotlight. design highlights include The Miracle Worker at the Paper Mill Playhouse in New Jersey; Anna Deavere Smith’s Let Me Down Easy; and Celia: The Life and Music of Celia Cruz by Carmen Rivera and Candido Tirado.

IAN ROBERTSON (Dundee, Scotland) Chorus Director Recipient of the San Francisco Opera Medal in 2012, Ian Robertson has been To learn what Encore can do for your business, chorus director visit encoremediagroup.com. and conductor with San Francisco Opera since 1987, having prepared more than 300 productions for the Company. He was awarded the Olivier Messiaen Foundation Prize in 2003 for his

encoremediagroup.com/programs 69 received his formal training from American Ballet Theatre (ABT) and was invited by SUPERNUMERARIES Mikhail Baryshnikov to join that company in 1980. In 1986, he joined San Francisco Steven Alesch Alina McVey Ballet, where he became a principal dancer Jonathan Apodaca Dashiell Mulder in 1989. Pech founded two of his own Sue August Ian Oglesby dance companies and has choreographed 39th Season Michael Boehm Ely Orquiza more than 50 ballets, 30 musicals, and Oscar Brooks Chloe Revery numerous self-produced evenings of music San Francisco Performances Simone Brooks Cole Richardson- and dance around the world. He has a proudly presents The Art of Song, Lorenzo Cain Beatty bachelor’s degree in composition from the a showcase for extraordinary Rebecca Chen Patricia Rodriguez San Francisco Conservatory of Music. artists who move us deeply Tessa Cipollaro Vince Ryan Eric Corcoran Pablo Sanfrancisco through their words and music. DAVE MAIER James Crow Carlos Suarez Don’t miss them! (Great Neck, New Eric Dew Kimberly Thompson York) Jackson Faber Kay Thornton Fight Director 2018-19 SEASON Maxwell Faber Arni Thorvaldsson Resident fight Amelia Fishman Michael Ting director for San Capri Forte Rosedale Alexane Turcotte Francisco Opera, Orion Forte Rosedale Audrey Turcotte Dave Maier made Darius Gray Justin Turcotte his Company debut Karsten Guthridge Alessandro Viscontini in 2013 with Les Contes d’Hoffmann. His Charlotte Kearns Miles Walls work has most recently appeared in the Allyson Keefe Eowyn Wassman Company’s La Traviata, Turandot, Elektra, Ryan Keefe Tol Wassman Rigoletto, Don Giovanni, La Bohème, Aida, Parker Kessler Zane Wilcox CHRISTOPHER MALTMAN Madama Butterfly, Andrea Chénier, Dream Peter Kolesnikov Domonique Williams Baritone of the Red Chamber, Carmen, Don Carlo, Elia Kowalewski Laurel Winzler | Jenůfa, and Die Meistersinger von Nürnberg. AUDREY SAINT-GIL Piano Carla Kruger-Moore Ben Wolfson Maier has directed fight scenes for Tue Nov 13 | 7:30pm Michael LeBaron Willow Wood American Conservatory Theater, Berkeley Ivan Lenkov Alliana Lili Yang Herbst Theatre Repertory Theatre, San Jose Repertory, Helen Lew Sarah Yune Aurora Theatre, Marin Theatre Company, Charles Lewis III Paul Zemlin and Magic Theatre, among others. Jahla Love Kelly Zimmerman He is a five-time recipient of the San Evelyn Martinez Francisco Bay Area Drama Critics Circle Award for Fight Direction, as well as an adjunct faculty member at the University of California Santa Cruz and St. Mary’s College of California. He currently teaches combat-related courses in Berkeley. MARK PADMORE | Tenor PAUL LEWIS | Piano | Sun Jan 13 7pm San Francisco Opera would like to Herbst Theatre thank ETC Electronic Theatre Controls and Wunder Lighting & Controls for their generous technical support in producing the Ring.

DEBORAH VOIGT | Soprano Thu May 2 | 7:30pm Herbst Theatre SUBSCRIBE TODAY 415.392.2545 sfperformances.org

70 SAN FRANCISCO OPERA Adlers Summer 2018qxp.qxp_Adlers 5/21/18 3:25 PM Page 2

ADLER PROGRAM SPONSORS 2018 ADLER FELLOWS Robert Epstein & Amy Roth The Charles D. & Frances K. Field Fund The Geoffrey C. Hughes Foundation, Inc. San Francisco Opera’s Artists-in-Residence Barbara K. Jackson Founded in 1977 as the San Francisco Affiliate Artists Opera program, Adler Fellowships are two-year Drs. Corazon & Martin Sanders Mr. Felipe R. Santiago & Mr. Barry T. Joseph performance-oriented residencies for classical music’s most promising young artists. Now in its 41st Soo & Raj Venkatesan year, this internationally acclaimed training program has launched the careers of many of the artists Anonymous, working on and off stage this season. We are grateful to all of our Adler Sponsors for their support, in memory of Lotte & Stephen Zuber received from August 1, 2016 through April 15, 2018. For more information on sponsorship ADLER AFFILIATE SPONSORS opportunities and Adler events, please call (415) 565-6461. Darla & Richard Bastoni Anne Gray Mary & Craig Henderson Soprano Countertenor Jeannie Kaufman SARAH CAMBIDGE ARYEH NUSSBAUM COHEN Bill Medigovich Vancouver, Canada Brooklyn, New York Mr. Glenn H. Reid Second-year Adler First-year Adler Sheila Wishek Sponsored by Sponsored by Anonymous Peggy & Boyce Nute Karen J. Kubin ADLER PROGRAM ENDOWMENT GIFTS Phyllis Edwards Scholarship Fund William Randolph Hearst Young Artists Fund The Claramae Turner Hoffmann & Coach & Pianist Tenor Frank Hoffmann Endowment Fund CÉSAR CAÑÓN AMITAI PATI The Diana Dollar Knowles Fund Bogotá, Colombia Auckland, New Zealand for Emerging Artists First-year Adler Second-year Adler Lorry I. Lokey Sponsored by Sponsored by Ralph R. Michaelis Estate Frances K. & Charles D. Field Lucia Bogatay & Anna & Frederick Schubert Foundation Thomas D. Wickens*; Annette Campbell White & FRIENDS OF THE ADLERS Kia Ora Foundation; Dr. Phyllis B. Blair Barbara K. Jackson Chris & Jennifer Brahm Joyce and William Brantman Foundation Ms. Carlyn Clause & Mezzo-soprano Bass-baritone Mr. Alexander L. Brainerd ASHLEY DIXON CHRISTIAN PURSELL Janet & Lloyd Cluff Peachtree City, Georgia Santa Cruz, California Leonard & Marie Collins First-year Adler First-year Adler Denise Cutler Sponsored by Sponsored by Peter & Jayne Davis Frances K. & Charles D. Field Brigid S. Barton; Lisa Erdberg & Dennis Gibbons Foundation Mrs. James K. McWilliams; Mrs. Carlo S. Fowler Ronald D. Morrison Barbara B. Friede Donald & Patricia Frischmann Dr. Alper Garren* Bernice E. Greene Coach & Pianist Stage Director Peggy Hill Mr. David S. Hugle & Mr. Haggai Niv JOHN ELAM ARIA UMEZAWA Dr. H. Nona Hungate Cleburne, Texas Toronto, Canada Fred Karren Second-year Adler Second-year Adler Drs. Phyllis A. Kempner & David D. Stein Sponsored by Sponsored by Victoria Kirby TKTK Barbara M. Ward Laurie Kottmeyer & Bianca Duarte Ms. Katharine Lange Mr. John Lee Sylvia R. Lindsey Bernice Lindstrom, in memory of John W. Lindstrom Soprano Tenor Mr. & Mrs. Laurence R. Lyons NATALIE IMAGE KYLE VAN SCHOONHOVEN Deborah Marion, Tax CPA & Joe Losch Tsawwassen, Canada Lockport, New York Ellen & Paul McKaskle Maya D. Meux, MD First-year Adler Second-year Adler Miss Vivienne E. Miller Sponsored by Sponsored by Mr. Robert B. Mison James A. Heagy, Barbara K. Jackson; Mr. D. G. Mitchell in memory of Jayne Heagy The Diana Dollar Knowles Fund for Don & Rene Morgan Emerging Artists; Alice Ames Morison & Dr. Oakley Hewitt Teresa & Mark Medearis Milton Mosk & Thomas Foutch David & Marilyn Nasatir Paul Nordine Baritone Patricia Nottingham ANDREW G. MANEA Neil & Elsa S. Pering Troy, Michigan Barbara J. Ross Second-year Adler Bob & Terri Ryan Deborah & Paul Sagues Sponsored by San Francisco Opera Guild Robert & Julie Dickson San Francisco Opera Guild/ East Bay Chapter Judith B. and Joseph Workman Anonymous (3)

* deceased

encoremediagroup.com/programs 71 BARBARA FRACCHIA ART STUDIO Operatic and Ballet Paintings

San Francisco Opera presents the Ring Cycle

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SAN FRANCISCO OPERA COMPANY Although the program magazines regularly list members of the administration and Company, we know that those lists are by necessity incomplete. To give recognition to the many skilled professionals whose work has contributed so greatly to the quality of San Francisco Opera productions, we provide once every year a list of everyone involved with our season.

COSTUME SHOP FOREMEN Ed Joe, Warehouse Foreman Glenn Quilici Jai Alltizer, Costume Shop Manager (17) Ashley Joyce Landis, Christina Martin, Nicholas Kukielka Ariel Bott David Doré, Connie Strayer, Richard Battle Angelo Montiague (19) Jamie Beard Senior Production Accountant (19) Harry Niedzwetzki (21) Jennifer Estremera Galen Till, Production Supervisor (13) PRINCIPAL MAKEUP ARTISTS John O’Donnell, Key Flyman (27) John Boatwright, Amy Ashton-Keller, Master Draper (24) Karalynne Fiebig, Melanie Birch, John Quitugua House Head Electrician (30) Sally Thomas, Master Tailor (18) Betty Poindexter, Tim Santry, Matthew Ramos Maria Mendoza, Irene Murray (33), Star Rabinowitz (11), Denise Gutierrez , Richard Battle , Bart Ryan Projection Coordinator (29) Senior Cutters Maurisa Rondeau, Christina Martin, Ken Ryan (33) Erik Docktor, Projection Programmer Kristen Tracy, Carol Wood, Sophia Smith, Susan Stone, Gregory W. Shaff, Key Man (27) Geoff Heron, Pyro Technician Assistant Cutters Connie Strayer Cyrus Sindicich Gillian Haratani, Santiago Suanes, Sean Walden AUDIO DEPARTMENT JOURNEYMEN Randy Walsh, Assistant Key Man (13) Assistant Cutters Tod Nixon, Key (19) Rick Burns, Kerry Rider-Kuhn, Manuel Gutierrez, Alva Thompson, Key (24) Toby Mayer, Connie Strayer, PROPERTY DEPARTMENT Production Coordinator (18) Mitch Kell Gretchen Davis, Susan Stone, Scott J. Barringer, Assistant Key (18) Paula Wheeler, Senior Milliner (26) Cristoph Willenbacher Christina Martin, Sophia Smith, Charles R. Del Valle, Key (30) Amy Van Every, Senior Dyer (33) Wilson Zhang Jersey McDermott, Senior Craft Artisan (18) Richard Battle , Tim Santry, Jane Henderson (12) Denise Gutierrez, Karalynne Fiebig, Patricia Hewett, Eliza Ryus, Production Assistant MEDIA DEPARTMENT Nicole Diascenti, Stock Coordinator Betty Poindexter, Melanie Birch Assistant Out of House Key (11) Jim Holden (28) Josh Lubensky Valerie Spencer, Shopper Uwe Willenbacher Nikki Anderson-Joy, Costume Assistant ASSOCIATES Myron Seth Isaacs (17) Tatyana Fateyeva, Sharon Peng, Jeff Johnson, Shop Mechanic (16) STUDIO TEACHERS COSTUME TECHNICIANS Chri Holmgren Greene, David Kinney, Key (28) Erica Villanueva, Lisa Poe, Mark Kotschnig, Key (16) Eloisa Alarcon-McPeek, Miriam Acosta (20), Adela Cantor (34), Vanessa Blanchard Lee, Jodi Maxwell, Harri Olavi Kouvonen (31) Donnell Barnes, Carolyn Crimley, Alicia Castaneda (22), Michael Evans, Maurisa Rondeau, Ashley Joyce Landis Beth Ozarow, Out of House Key (22) Susan Gill, Dana Gray, Lua Hadar, Guillermina Flores (32), Ting Hsueh (16), Dawn Roth Golden (22) Bonnie Hughes, Karen Kindig, Hoa Lam Fong (19), Aries Limon, SAN FRANCISCO OPERA Sarah Shores, Shop Mechanic (11) Victoria Northridge Xing-Fong Luo (25), Romana Majovsky, SCENE SHOP Turk Vasilieff, Assistant Key (18) Sonia Olivares (28) Dylan Maxson, Fred Wielandt, Cian Quattrin WRANGLERS Victor Sanchez, Dennis Forry, John Matlock Sadie Black, Alexander Bonner, WARDROBE DEPARTMENT Christian Martinez, Michael Cartwright, Katie Carlson Cartwright, Tony Gorzycki, Head of Wardrobe Neil Biagio, Hilary Engelman ELECTRIC DEPARTMENT Alexander Granito, Heather Kelly-Laws, Cynthia Fusco (29), Robert Horek (12), Russ Adamson, Assistant Head (23) Sergey Khalikulov, Emily Powell David Mc Kain, Catherine Verdier (26) SCENIC ART DEPARTMENT Andrew Sproule, Key Stage Left (18) Wardrobe Assistants Lauren Abrams, Robert Burg (18), Bernie Honigman, LIGHTWALKERS David Dunn (18), Carrie Nardello, Key Light Board Operator (18) Andrew Melomet, Joan Kwansa, DRESSERS Tom Richardson David Hartenstein, Paula Barish, Kathleen Blake, Bill Watt, Tom Abels, Steve Mullin, Key Data Administrator (14) Steve Bauman, Sherman Lee, Tom Carter (29), Milt Commons, STAGE CREW CARPENTRY Will Grunig, Key Stage Right (15) David Croker (12), Linda Edwards (19), Ron Niewiarowski, Patricia Rodriguez, DEPARTMENT Risa Strobel, Mort Raphael, Matt Miller, Ed Fonseca, Tim Hanlon, Michael A. Accurso, Assistant Key Light Board Operator (11) Maria Dulmage, Margo Leslie, Charles Hoffman, Thom Hoffman, Night Crew Foreman (25) Rick Tayerle, Mare Skipper, Lynn Meinhardt, Claudia Holaday (38), Carol Horaitis (20), Neil Biagio, Key Man Assistant Key Stage Right (14) Liza Reavis, Laurie Weisberg, Larry Jeane, Andy Koch, Michael Kruzich, Michael Cartwright, Assistant Key Man Roger Lambert, Laurel Winzler, Kimberly Thompson, Jeffery Larsen, John Lewis, Dominic Casazza, Assistant Key Stage Left (15) Karen Wiel, John Stark, Joe Friedman, Lorraine Lewis, Steven Mallory, Assistant Key Flyman (12) Paul Puppo, Electric Shop Foreman Jim Bowes, James Crow, Helen Lew, Barbara Nicholas (19), Rachell Nichols, Gabriel Castellani, Automation Key Man Brendan Kierans, Jennifer O’Niell, Phil Perry (20), Mike Chapman Electric Shop Mechanic Heidi Munzinger, Frank Zepeda, Patrick Sanchez, Todd Siewert (21), Christopher Davis, House Head (27) Norris Fong (28) Flora Rudy, Darcy Fink, Bruce Powell, Donald M. Smith (21), Scott Stewart (17), Paul Delatorre, Key Man (16) Marie Farestveit, Gel Room (23) Bob Hemstock, Annie Williamson, Monica Tse, Kirsten Tucker (14), Tony Garcia Peter Dahl (18) William Langley, Teresa McGill, Lena Young Jeff Hansen Jim Eldredge, Effects (14) Robert Ericson, Miguel Gutierrez- Greg Harsha, Key Man (16) Juan Aldana (13) Ranzi, Marilyn Nasatir, Liz Pasha, WIG AND MAKEUP DEPARTMENT David Heron, Automation Layout Tim Wilson, Projectionist (11) Jonathan Garzoli, Jack Mona, Ashley Joyce Landis, Geoff R. Heron, Key Man Jewel Aquarian Christine Boulanger, Bethel Watt Assistant Head of Department Geoffrey W. Heron, Key Man (21) Eugene Ahn Christina Martin, Administrative Assistant Matt Heron (13) Elliott Ehrlich Employees who have served the Sophia Smith, Maur Sela, Elisa Mack, Philip Heron, Automation and Sophie Landau Company for more than ten years are Wig Assistants Rigging Foreman (13) Victor Scocca listed with their years of service.

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San FranciSco Opera ADMINISTRATION

Matthew Shilvock General Director aDMINISTraTION SaN FraNCISCO Opera CeNTer pHILaNTHrOpY aND aUDIeNCeS Mark Morash, Director of Musical Nicola Luisotti Music Director, eXeCUTIVe OFFICeS Studies David Odenkirchen, Director of Caroline H. Hume Endowed Chair ellen presley, Liaison to the Board of Chris Bragg, Administrative Director Philanthropy and Audiences Operations Directors Jo ann McStravick, Artists’ Services and Mia Farinelli, Philanthropy and Auditions Administrator Audiences Associate Jennifer Good, Managing Director: FINaNCe Jess Levy, Patron Data Specialist Production Christopher Tom, Controller Jess G. perry, Senior Budget Manager COMMUNICaTIONS OperaTIONS Gregory Henkel, Managing Director: Mingsy Yan-Lau, Senior Accountant Julia Inouye, Associate Director of Linda rodriguez, Senior Accountant Communications Artistic Katherine Baltrush, Gracie Tang, Senior Accountant Matthew erikson, Publications Editor Associate Operations Director Jennifer Lynch, Managing Director: annabella Tam, Payroll Administrator Jeffery McMillan, Senior Philanthropy and Audiences Communications Manager INFOrMaTION SerVICeS eDUCaTION Teresa Concepcion, Communications Michael Simpson, Managing Director: Mark Wladika, DevOps Manager Charles Chip McNeal, Associate Administration/Chief Financial Sapna patel, Program Manager, Senior Curriculum and Programs Officer Business Transformation Manager DeVeLOpMeNT paul Goetz, Systems Administrator alyssa Stone, Community Programs Steve Long, Network & Systems and Department Manager ANNUAL GIVING Administrator Director of Annual adam Broidy, Chief Information Officer Timmy Yuen, School Programs Manager Jennifer Jordan, Sara Lee, Programmer/Analyst alyssa Cataldi, Community Programs Giving Lisa Bullard, Director of Marketing Coordinator elizabeth Kuntze, Annual Giving HUMaN reSOUrCeS Clara Choi, School Programs Assistant Manager Sarah DeCuir, Director of Human Heidi arcilla, Human Resources Generalist Coordinator Resources Juan Manzo, Evaluation Coordinator DONOR STEWARDSHIP Linda Baird, Nicholas Benavides, andrew Maguire, Director of Donor Jon Finck, Director of Communications Stewardship arTISTIC Tajma Beverly, Joshua raoul Brody, and Public Affairs alyssa Saint, Donor Services Data Heidi Carlsen, robert Chastain, arTISTIC aND MUSIC pLaNNING Manager Sheri Greenawald, Opera Center Marcelle Dronkers, patricia Drozda, Sean Waugh, Artistic Planning Manager Kathleen esselstyn, Director Hannah Dworkin, Lisa edsall Giglio, Deanna Sherer, Music Planning Manager Gift Acknowledgment Coordinator Kevin Gordon, Lua Hadar, Lee Helms, Director of Operations John Churchwell, Head of Music Staff Chivly Krouch, Gift Processing Ilana rainero-de Haan, Associate to the Dave Maier, albert Montañez-Sanchez, Coordinator Daniele McCartan, Costume Director Managing Director: Artistic Sven e. Olbash, Michael Orlinsky, Valentina Simi, Artist Services Katherine Issel pitre, emily Shisko, INDIVIDUAL AND andrew Morgan, Director of Coordinator and Assistant to the alyssa Stone, Christopher Street, LEADERSHIP GIVING Development Music Director Matthew Wolka, Deborah Banks, Director of Individual Michael Bragg, Music Planning Teaching Artists and Leadership Giving ruth Nott, Director of Education Associate and Opera Librarian Sandra Chien, Senior Individual Giving Claire padien-Havens, General MUSIC OperaTIONS Officer MUSIC STaFF Dana Gordon, Leadership Giving Officer Director’s Associate Clifford Cranna, Dramaturg Lydia Brown, John Churchwell, elkhanah pulitzer, Artistic Curator, Hans Cardenas, Individual Giving Barbara rominski, Director of Archives Dennis Doubin, SF Opera Lab Officer ronny Michael Greenberg, Joo eun Lee, Leadership Giving Officer Bryndon Hassman, Susan Miller Hult, CHOrUS aND BaLLeT aileen Tat, Individual Giving Officer Vito Lombardi, William Long, Madeline Bueter, Individual and General Director Ian robertson, Chorus Director David Gockley Leadership Giving Associate Joseph Marcheso, Mario Marra, Fabrizio Corona, Associate Chorus Emeritus robert Mollicone, Matthew piatt, Master Laura poe, Teddy poll, INSTITUTIONAL GIVING Jim Meyer, Chorus and Dance Manager Stephanie rhodes russell, Donna Batson, Director of Institutional Mary Finch, Assistant Chorus Manager/ Tamara Sanikidze, eric Weimer, Giving Chorus Librarian Maureen Zoltek Catherine Lewis, Institutional Giving Brian Fitzsousa, Ballet Pianist Manager John elam, César Cañón, Adler Fellows OrCHeSTra PRINCIPAL GIVING LaNGUaGe COaCHeS Carrie Weick, Orchestra Librarian Lisa Bordachar, Director of Prospect alessandra Cattani, Italian Tracy Davis, Orchestra Manager Research and Strategy patricia Kristof Moy, French Timothy Spears, Assistant Orchestra Mandala pham, Director of Legacy Marianne Barrett, anja Strauss, German Librarian/Assistant Orchestra Giving Lynne Soffer, English Diction Manager Joanna Taber, Principal Giving Manager

74 SAN FRANCISCO OPERA AdministrationSummer2018.qxp_Administration 5/29/18 11:00 AM Page 2

SPECIAL EVENTS Opera SHOp FIGHT DIreCTION WIG aND MaKeUp Karman pave, Director of Special Events Jay Stebley, Retail Manager Dave Maier, Fight Director Jeanna parham, Head of Department Katie Cagampan, Special Events Manager Karen Topp, Assistant Manager ashley J. Landis, Assistant Head of rebecca Scott, Special Events Associate LIGHTING Department Justin partier, Lighting Director* Christina Martin, Administrative MarKeTING prODUCTION Mark Hueske Thomas, Assistant Kathryn appleton, Associate Director of Sophia Smith, elisa Mack, Maur Sela, *Senior Production Staff Member Associate Lighting Designer Audience Development and Wig Assistants eric Watkins, Marketing prODUCTION aDMINISTraTION richard Battle, Christina Martin, Assistant Lighting Designer amy Garcia, Web and Email Manager Jeremy patfield, Production Finance Connie Strayer, ashley J. Landis andrei Borges, Winston Limauge emilianne Lewis, Marketing Director* Foremen Lighting Interns Coordinator, Special Events and Sylvia Jiang, Production Finance richard Battle, Denise Gutierrez, Promotions Assistant elizabeth poindexter, Melanie Birch, prOperTIeS Megan Searcy, Audience Development Celine Strouts, Production Associate Karalynne Fiebig, Tim Santry, and Marketing Coordinator paul Dana, Lori Harrison, Master of Properties Susan e. Stone, Maurisa rondeau pamela Sevilla, Senior Manager, Support Services Coordinator Frederick Wielandt, Assistant Master of Principal Make-up Artists Creative and Digital Properties Melanie Birch, rick Burns, Steven Shear, Manager of Relationship aUDIO Denise Gutierrez, Toby Mayer, Marketing Doug Mitchell, reHearSaL Connie Strayer, Karalynne Fiebig, Chi-Hsuan Yang, Senior Manager, Master Audio/Video Engineer Marin Venturi, Rehearsal Department Kerry rider-Kuhn, richard Battle, Research and Analytics Ziggy Tomcich, Assistant Master Director* Sophia Smith, Susan Stone, Audio/Video Engineer Kali Wilson, Rehearsal & Schedule elizabeth poindexter, MeDIa Christina Martin, Gretchen Davis, Manager Jessica Shown-Morgan, Senior Journeymen CarpeNTrY Trey Costerisan, Supernumeraries & Manager, Electronic Media elisa Mack, Maur Sela, David Hatch, Master Carpenter Facilities Coordinator erika Villanueva, Sharon peng, Mark Baumann, Assistant Master Jordan amann, Rehearsal Assistant and BOX OFFICe Tatyana Fateyeva, ashley J. Landis, Carpenter Mark Sackett, Box Office Manager, Project Coordinator Vanessa Blanche Lee, Lisa poe, Treasurer Savannah Criswell, Chri Holmgren Greene, Jodi Maxwell, COSTUMe DeparTMeNT Jessica Fauver, Assistant Box Office Rehearsal Assistant Associates Jai alltizer, Costume Shop Manager Manager, First Assistant Treasurer David Doré, Senior Production rebecca page, Medallion Society SCeNe SHOp Accountant Concierge Manager John Del Bono, Scene Shop Foreman Dr. Myron Marx, Galen Till, Production Supervisor emily Tilles, Subscriptions Manager, Steve McNally, Company Medical Adviser amy ashton-Keller, Master Draper Assistant Treasurer Scenic Artist in Charge Sally Thomas, Master Tailor Seyfarth Shaw LLP, Counsel Jennifer Hughes, Irene Murray, Star rabinowitz, roberto Bonilla, Assistant Treasurers armanino LLP, Independent Public Senior Cutters STaGING STaFF ruth Van Slyke, Telephone Sales Manager Accountants Kristen Tracy, Carol Wood, Darin Burnett, Production Stage Khalil el-Kareh, Nick Gueli, Gillian Haratani, Santiago Suanes, Manager* Beverlee G. Hassid, Yasmine Love, asero insurance Services, Assistant Cutters Lawrence pech, Dance Master Charles McGraw, Kyle Minor, Insurance Brokers Darin Burnett, John W. Coleman, Jennifer pollack, Dale Whitmill, Manuel Gutierrez, Production Coordinator Stage Managers cory Weaver, Telephone Sales Assistants Official Photographer paula Wheeler, Senior Milliner Jodi Gage, Jenny Harber, FrONT OF HOUSe amy Van every, Senior Dyer Shawna Lucey, Morgan robinson, Yamaha is the official Piano of Jamye Divila, House Manager Jersey McDermott, Assistant Stage Directors San Francisco opera Marialice Dockus, Head Usher Senior Craft Artisan Jessica Barker, e. reed Fisher, Pianos supplied by rodney anderson, Danica Burt, Nicole Diascenti, Stock Coordinator andrew G. Landis, Jimmy Marcheso, Piedmont Piano anthony Cantello, Frank Chow, eliza ryus, Production Assistant Thea railey, anna reetz, Laurent Dela Cruz, Martin Dias, Valerie Spencer, Shopper Assistant Stage Managers Starsky Dias, Jonathan Drogin, Nikki anderson-Joy, Costume Assistant Miriam acosta, adela Cantor, Chip Heath, elaine Kawasaki, TeCHNICaL DIreCTION alicia Castaneda, Michael evans, eileen Keremitsis, ryszard Koprowski, erik Walstad, Technical and Safety Guillermina Flores, Ting Hsueh, Bill Laschuk, Sharon Lee, Director* Marilyn Leong, Lenore Long, Hoa Lam Fong, aries Limon, ryan O’Steen, Associate Technical Doug Luyendyk, Leontyne Mbele- Xing-Fong Luo, romana Majovsky, Director* Mbong, Sam Mesinger, Dale Nedelco, Sonia Olivares, Chris Largent, Assistant Technical Wayne Noel, Beth Norris, Jan padover, Costume Technicians Director Julie peck, robert remple, Bill repp, rilla reynolds, robyn Sandberg, eLeCTrICS Kelly Smith, Stephanie Somersille, Leon parsons, Master Electrician WarDrOBe Theresa Sun, Claire Tremblay, Michael anderson, Assistant Master Tony Gorzycki, Head Of Department richard Wagner, Steve Weiss, Electrician Cynthia Fusco, robert Horek, elaine Yee, Ushers russell e. adamson III, Projection David McKain, Catherine Verdier, Hui Ming Wu, Show Maid Programmer Assistants

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SAN FRANCISCO OPERA 2017–18 ARTISTS

ARTISTS Anthony Reed† COSTUME DESIGNERS Ian Robertson, Chorus Director Raymond Aceto Artur Ruciński* Vincent Boussard Fabrizio Corona, Associate Chorus Master Julie Adams† Martina Serafin Ian Falconer Jim Meyer, Chorus and Dance Manager Julius Ahn Andrea Silvestrelli Kaspar Glarner** Paul Appleby Philip Skinner† Rita Ryack* Mary Finch, Assistant Chorus Manager/ Atalla Ayan* Joel Sorensen David Walker Chorus Librarian Jamie Barton Nina Stemme Catherine Zuber Nicole Birkland Falk Struckmann* REGULAR CHORUS Daniel Brenna* Stacey Tappan LIGHTING DESIGNERS Nadima Avakian C. Michael Belle J’Nai Bridges Renée Tatum† John Bishop* Buffy Baggott Torlef Borsting†* Robert Brubaker* Iréne Theorin James F. Ingalls Kathleen Bayler* Alan Cochran* Julia Bullock* Davóne Tines* Gary Marder Roberta Bowman Chris Corley Sarah Cambidge*‡ Kyle van Schoonhoven*‡ Mark McCullough Janet Campbell Christopher Filipowicz* David Cangelosi Alfred Walker* Thomas J. Munn Sara Colburn Anders Fröhlich* Melissa Citro Brad Walker† Dvora Djoraev Daniel Harper James Creswell VIDEO DESIGNER Mary Finch Christopher Jackson* Leah Crocetto† CONDUCTORS Bartek Macias* Claudia Haider Ken Johnson Ellie Dehn Patrick Fournillier Claire Kelm David Kekuewa Monica Dewey* Christopher Franklin* PROJECTION DESIGNERS Elisabeth Rom Lucio Bojan Knežević* Amina Edris† Grant Gershon* S. Katy Tucker Angela Eden Moser Frederick Matthews Michael Fabiano Nicola Luisotti Jan Hartley Sally Mouzon* William O’Neill* Aurelia Florian** Henrik Nánási* Sally Porter Munro Phillip Pickens Christine Goerke Donald Runnicles CHOREOGRAPHERS Erin Neff* William Pickersgill Greer Grimsley John Heginbotham* Rachelle Perry Chester Pidduck* Jill Grove DIRECTORS Lawrence Pech Virginia Pluth†* Valery Portnov Soloman Howard* Vincent Boussard Denni Sayers Laurel Cameron Porter Colby Roberts* Brian Jagde† Garnett Bruce Carola Zertuche* Laurel Rice Sigmund Seigel Rhoslyn Jones† John Copley Shelley Seitz Dan Stanley Brandon Jovanovich Laurie Feldman FIGHT DIRECTOR Carole Schaffer* Jere Torkelsen* Joo Won Kang Anja Kühnhold** Dave Maier Jesslyn Thomas Andrew Truett Laura Krumm† Shawna Lucey Donna Turchi Richard Walker Hye Jung Lee Denni Sayers SOUND DESIGNER Mitzie Weiner Alexandra Loutsion* Peter Sellars Mark Grey Elliot Madore Keith Warner* † Chorus member on Leave of Absence * San Francisco Opera debut Andrew G. Manea‡ Francesca Zambello * Chorus member appearing in a Solo Role ** U.S. debut Štefan Margita † = Former Adler Fellow Michaela Martens SET DESIGNERS ‡ = Current Adler Fellow EXTRA CHORUS Karita Mattila John Conklin  = Merola Opera Program Ben Brady Jim Meyer Ryan McKinny David Gropman* participant (past or present) James Callon Jim Monios Lauren McNeese David Hockney Spencer Dodd Samuel Palmer Ronnita Miller Boris Kudlička* Adam Flowers Jess G. Perry Timothy Mix Vincent Lemaire Nicolas Gerst Keith Perry* Brian Mulligan Michael Yeargan Kevin Gino Samuel Rabinowitz Toni Marie Palmertree† Peter Girardôt Pedro Rodelas Amitai Pati‡ Patrick Hagen Clifton Romig David Pershall Phillip Harris Jason Sarten Adrianne Pieczonka Harlan Hays Erich Stratmann Renée Rapier† Michael Jankosky Alexander Taite* Mitchell Jones Michael Taylor Jimmy Kansau Taylor Thompson Bradley Kynard* Igor Vieira William Lawley Nicholas Volkert Michael P. Mendelsohn Daniel Yoder

* Chorus member appearing in a Solo Role

76 SAN FRANCISCO OPERA Nicola Luisotti, Music Director Caroline H. Hume Endowed Chair

FIRST VIOLIN OBOE HARP BASS TRUMPET Kay Stern, Concertmaster Mingjia Liu, Principal Olga Ortenberg-Rakitchenkov Jeffrey Budin Laura Albers, Deborah Henry, Assistant Principal† Associate Concertmaster Deborah Shidler** LIBRARIAN BASS TROMBONE Heidi Wilcox, Janet Popesco Archibald† Carrie Weick Scott Thornton Assistant Concertmaster Laura Griffiths** Timothy Spears, Assistant Jennifer Cho PERCUSSION Dawn Harms† ENGLISH HORN ORCHESTRA MANAGER Mckenzie Camp Mariya Borozina Janet Popesco Archibald† Tracy Davis Nicholas Matthiesen Lev Rankov Laura Griffiths** Timothy Spears, Assistant Victor Avdienko Barbara Riccardi Todd Manley Dian Zhang CLARINET * Principal for one or more Ring Leonid Igudesman Jose Gonzalez Granero, Principal operas HARP Jennifer Hsieh Joanne Burke Eisler, † Leave of absence Daniel Levitan Asuka Annie Yano Assistant Principal **Season substitute Wenyi Shih** Anthony Striplen STAGE BANDA MUSICIANS Caitlyn Smith-Franklin, Horn SECOND VIOLIN BASS CLARINET EXTRA RING MUSICIANS Bruce Chrisp, Trombone Jeremy Preston, Principal Anthony Striplen Donald Benham, Trombone Martha Simonds, Associate Principal FIRST VIOLIN Thomas Hornig, Trombone Beni Shinohara, Assistant Principal BASSOON Robin Hansen Mark Veregge, Percussion Eva Karasik Rufus Olivier, Principal Laura Keller Tracy Davis, Percussion Leslie Ludena Daniel MacNeill Julie Kim Elizabeth Hall, Percussion Maya Cohon Michael Severance Dan Flanagan Alex Orfaly, Percussion Linda Deutsch Twohy† Annabelle Taubl, Harp Craig Reiss CONTRABASSOON SECOND VIOLIN Heeguen Song** Michael Severance Joseph Edelberg Karen Shinozaki VIOLA HORN Alicia Yang Carla Maria Rodrigues, Principal Kevin Rivard, Co-Principal Candace Guirao Sergey Rakitchenkov, Mark Almond, Co-Principal Robin Mayforth San Francisco Opera extends its gratitude Associate Principal* Keith Green and appreciation to the following labor Paul Nahhas, Assistant Principal† Brian McCarty VIOLA organizations whose members, artists, Patricia Heller, Lawrence Ragent† Yi Zhou craftsmen, and craftswomen greatly contribute to our performances: Acting Assistant Principal William Klingelhoffer** Anna Kruger Jonna Hervig Caroline Lee AMERICAN FEDERATION OF Natalia Vershilova WAGNER TUBA Ruth Kahn MUSICIANS, LOCAL 6 Joy Fellows* Mark Almond, Principal Ellen Rose AMERICAN GUILD OF MUSICAL Elizabeth Prior** Keith Green Pamela Freund-Striplen ARTISTS, INC. INTERNATIONAL ALLIANCE OF CELLO TRUMPET CELLO THEATRICAL STAGE EMPLOYEES, David Kadarauch, Principal Adam Luftman, Principal Eric Sung LOCAL 16 Thalia Moore, Associate Principal William Holmes† THEATRICAL WARDROBE UNION, Peter Myers, Assistant Principal Scott Macomber** BASS LOCAL 784, I.A.T.S.E. Nora Pirquet John Pearson Timothy Spears MAKE-UP ARTISTS AND HAIR STYLISTS Emil Miland Jens Tenbroek UNION, LOCAL 706, I.A.T.S.E. Victoria Ehrlich TROMBONE Mark Wallace THE ART DIRECTORS GUILD & SCENIC, Ruth Lane Samuel Schlosser, Principal TITLE AND GRAPHIC ARTISTS Donald Kennelly FLUTE LOCAL 800 BASS David Ridge Dawn Walker UNITED SCENIC ARTISTS LOCAL Joseph Lescher, Principal USA – 829, I.A.T.S.E. Jonathan Lancelle, CONTRABASS TROMBONE OBOE BOX OFFICE AND FRONT OF HOUSE Associate Principal David Ridge Peter Lemberg EMPLOYEES UNION, LOCAL B-18 Steven D’Amico, Assistant Principal Shinji Eshima TUBA/CIMBASSO CLARINET Mark Drury Zachariah Spellman Ann Lavin Clark Fobes FLUTE TIMPANI Julie McKenzie, Principal John Burgardt HORN Patricia Farrell† Geoffrey Pilkington Barbara Chaffe** PERCUSSION Alicia Telford Stephanie McNab Richard Kvistad, Principal/Associate Timpani HORN/WAGNER TUBA PICCOLO Patricia Niemi Jonathan Ring Stephanie McNab Meredith Brown

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SAN FRANCISCO OPERA ORCHESTRA

Kay Stern Laura Albers Heidi Wilcox Jennifer Cho Dawn Harms Mariya Borozina Barbara Riccardi Concertmaster Associate Concertmaster Assistant Concertmaster First Violin First Violin First Violin First Violin

Dian Zhang Leonid Igudesman Jennifer Hsieh Asuka Annie Yano Wenyi Shih Jeremy Preston Martha Simonds First Violin First Violin First Violin First Violin First Violin Principal Associate Principal Regular Substitute Second Violin Second Violin

Beni Shinohara Eva Karasik Leslie Ludena Maya Cohon Linda Deutsch Craig Reiss Carla Maria Rodrigues Assistant Principal Second Violin Second Violin Second Violin Second Violin Second Violin Principal Second Violin Viola

Sergey Rakitchenkov Paul Nahhas Patricia Heller Jonna Hervig Natalia Vershilova Joy Fellows Elizabeth Prior Associate Principal Assistant Principal Viola Viola Viola Viola Viola Viola Viola Regular Substitute

David Kadarauch Thalia Moore Peter Myers Nora Pirquet Emil Miland Victoria Ehrlich Ruth Lane Principal Associate Principal Assistant Principal Cello Cello Cello Cello Cello Cello Cello

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SAN FRANCISCO OPERA SAN FRANCISCO OPERA ORCHESTRA CONTINuED

Joseph Lescher Jonathan Lancelle Steven D’Amico Shinji Eshima Mark Drury Julie McKenzie Patricia Farrell Principal Associate Principal Assistant Principal Bass Bass Principal Flute Bass Bass Bass Flute

Stephanie McNab Mingjia Liu Deborah Henry Janet Popesco Deborah Shidler Laura Griﬃths Jose Gonzalez Flute & Piccolo Principal Assistant Principal Archibald Oboe Oboe Granero Oboe Oboe Oboe & English Horn Regular Substitute Regular Substitute Principal Clarinet

Joanne Burke Eisler Anthony Striplen Rufus Olivier Daniel MacNeill Michael Severance Kevin Rivard Mark Almond Assistant Principal Clarinet & Principal Bassoon Bassoon & Co-Principal Co-Principal Clarinet Bass Clarinet Bassoon Contrabassoon Horn Horn

Keith Green Brian McCarty Lawrence Ragent William Klingelhoﬀer Adam Luftman William Holmes John Pearson Horn Horn Horn Horn Principal Trumpet Trumpet Regular Substitute Trumpet

Scott Macomber Samuel Schlosser Donald Kennelly David Ridge Zachariah Spellman John Burgardt Richard Kvistad Trumpet Principal Trombone Trombone Trombone & Tuba/Cimbasso Timpani Principal Percussion & Regular Substitute Bass Trombone Associate Timpani

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SAN FRANCISCO OPERA ORCHESTRA CONTINuED

Most photos by John Martin.

Not pictured: Lev Rankov, First Violin; Barbara Chaﬀe, Flute, Regular Substitute

Patricia Niemi Olga Ortenberg Tracy Davis Carrie Weick Timothy Spears Percussion Rakitchenkov Orchestra Manager Librarian Assistant Orchestra Harp Manager & Librarian REGULAR CHORUS

Nadima Avakian Kathleen Bayler Sara Colburn Dvora Djoraev Mary Finch Claire Kelm Elisabeth Rom Lucio Soprano Soprano Soprano Soprano Soprano Soprano Soprano

Angela Eden Moser Rachelle Perry Virginia Pluth Carole Schaﬀer Jesslyn Thomas Mitzie Kay Weiner Buﬀy Baggott Soprano Soprano Soprano Soprano Soprano Soprano Mezzo-Soprano Leave of Absence

Roberta Bowman Janet Campbell Sally Mouzon Sally Munro Erin Neﬀ Laurel Porter Laurel Rice Mezzo-Soprano Mezzo-Soprano Mezzo-Soprano Mezzo-Soprano Mezzo-Soprano Mezzo-Soprano Mezzo-Soprano

Shelley Seitz Claudia Siefer Donna Turchi C. Michael Belle Alan Cochran Chris Corley Daniel Harper Mezzo-Soprano Mezzo-Soprano Mezzo-Soprano Tenor Tenor Tenor Tenor

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SAN FRANCISCO OPERA REGULAR CHORUS CONTINuED

Christopher Jackson Phillip Pickens Chester Pidduck Colby Roberts Sigmund Seigel Dan Stanley Andrew Truett Tenor Tenor Tenor Tenor Tenor Tenor Tenor

Richard Walker Torlef Borsting Anders Fröhlich Ken Johnson David Kekuewa Frederick Matthews Jere Torkelsen Tenor Baritone Baritone Baritone Baritone Baritone Baritone Leave of Absence

Most photos by John Martin. Carole Schaﬀer and Claudia Siefer photos by Pamela Dale.

Christopher Filipowicz Bojan Knežević William O’Neill William Pickersgill Valery Portnov Bass Bass Bass Bass Bass

SAN FRANCISCO OPERA CORPS DANCERS

Brook Broughton Blanche Hampton Bryan Ketron Michael Levine Rachel Speidel Little Jekyns Pelaez Chiharu Shibata

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Past Casts at San Francisco Opera THE

OF THE NIBELUNG

The Rhinemaidens with Lauritz Melchior (Siegfried) in 1935’s Götterdämmerung. N N O O N G N G O O R R & & N I N L I K L Friedrich Schorr (Wotan) and Kirsten Flagstad (Brünnhilde) K N A N Chase Baromeo R A with the Valkyries, as seen in the Company’s 1935 Ring premiere. F R

F was the voice of Fafner in 1935’s Schorr and Hans Clemens as Siegfried. Loge in 1935’s Das Rheingold.

Marek Windheim as Mime in 1935. N O N N N G O O O N N G R G O O & R R N I & L & K N N N N I Melchior and Flagstad I L L A O K K R T R F N with 1936 Walküre N A A O R R F M conductor Fritz Reiner. F

A light moment backstage with William Wildermann (Hunding), Birgit Nilsson made her U.S. Jon Vickers and Siw Régine Crespin (Sieglinde), and Jess Thomas (Siegmund) from 1968’s Walküre. debut as Brünnhilde in 1956, Ericsdotter opposite Hans Hotter as Wotan. were 1963’s Siegmund and Sieglinde. H C A B N N S O E T R K E R T For complete cast information of past C O E A L P Company seasons, please visit archive.sfopera.com. N

82 SAN FRANCISCO OPERA RING Past Casts 2018 V2.qxp_RING 2018 5/29/18 11:39 AM Page 2

The formidable 1985’s Siegfried (René Kollo) and Nina Stemme appeared Brünnhilde (Eva Marton) as the Company’s previous greet a new day. Brünnhilde in 2011.

Ronnita Miller as Erda, L

the goddess of R E H

wisdom, fate, C and Earth, S R R L E E R V V from 2011’s E A A H E E Hans Sotin was Rheingold. C W W S Wotan in 1976’s Walküre. L L R R R E From 1985’s Rheingold, E E V A H H E C C Walter Berry as a S S W triumphant Alberich.

1985’s Siegmund, Birgit Nilsson’s ﬁnal Peter Hofmann, Entry of the Gods into Valhalla, 2011 with Company appearance L R

pulls Notung Brandon Jovanovich (Froh), Elizabeth Bishop (Fricka), was as Brünnhilde E H C

from the tree. Melissa Citro (Freia), and Gerd Grochowski (Donner). in 1981. S

Helga Dernesch Gwyneth Jones was Brünnhilde Wotan’s Mark Delavan in full regalia for both 1985 and Nina Stemme amid the as Fricka (seen here) Magic Fire of 2010’s Walküre. in 1985. and 1990 L H

cycles. O S

Thomas Sunnegårdh as Loge carries the Tarnhelm in 1999’s

R Rheingold. E

V A E W

L L

R R S E E E H H N C C O S S J N O S A

From 1985, James Morris’ Wotan opposite M Hanna Schwarz’s Fricka. E L K R E M

Morris with 1999 Brünnhilde Jane Eaglen. L R E

H The blood oath of Jess Thomas (Siegfried), Cliﬀord Grant (Hagen), C S and Thomas Stewart (Gunther) from 1972’s Götterdämmerung. You know that feeling of giving a star performer a standing ovation? Let Giving Compass help you feel that great about the nonproﬁts you support.

Giving Compass is a nonproﬁt that is organizing the world’s information to make it easier to give well

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LEADERSHIP CIRCLE

Leadership circle donors provide an extraordinary level of financial support to San Francisco Opera each season, with gifts ranging from $25,000 to $1,000,000 and greater. We are proud to recognize the philanthropy of these individuals.

COMPAny SPOnSORS PLATInUM CIRCLE Mr. William R. Stensrud & Candace Zander Kahn $1,000,000 anD aBOVe $50,000 TO $99,999 Ms. Suzanne Vaucher Mr. Lawrence A. Kern The Dolby Family Norby Anderson Roselyne Chroman Swig Laurie Kottmeyer & Bianca Duarte Bertie Bialek Elliott Dr. & Mrs. Robert Baer S. Shariq Yosufzai & Brian James Dr. & Mrs. John Lavorgna Keith & Priscilla Geeslin Mr. & Mrs. Joachim Bechtle Anonymous (3) Ms. Noelle M. Leca & Ann & Gordon Getty Helen Berggruen Mr. Michael D. Moradzadeh John A. & Cynthia Fry Gunn for Five Arts Foundation GOLD CIRCLE Bernice Lindstrom, Burgess & Elizabeth Jamieson Athena & Timothy Blackburn $25,000 TO $49,999 in memory of John W. Lindstrom Franklin & Catherine Johnson Jack Calhoun & Trent Norris Eleonore Aslanian, Dr. & Mrs. H. H. Loomis, Jr. Edmund W. & Jeannik Méquet Ms. Annette Campbell-White & in memory of Edward Aslanian Jennifer Coslett MacCready Littleﬁeld Fund Dr. Ruediger Naumann-Etienne Mr. Brian G. Atwood & Susan & Philip Marineau Steven M. Menzies Ms. Maria Cardamone & Ms. Lynne H. Edminster Patrick McCabe Bernard & Barbro Osher Mr. G. P. Matthews Yat-Pang & Helina Au Nion McEvoy & Leslie Berriman Paul & Valerie Crane Dorfman Richard C. Barker Jan Shrem & Teresa & Mark Medearis Richard H. Davis, Ph.D. Brigid S. Barton Maria Manetti Shrem Christine Miller & Gary Glaser Robert & Julie Dickson Darla & Richard Bastoni Dianne & Tad Taube Sara & Bill Morgan Jerome L. & Thao N. Dodson David Bertoni Phyllis C. Wattis Endowment Paul Nordine Carol & Dixon Doll Betty & Fred Bialek Funds Hiro & Betty Ogawa* Mr. & Mrs. Noel Fenton Dawn Yates Black Diane B. Wilsey Julian & Willie Sue Orr Peter Fenton Lucia Bogatay & Barbara A. Wolfe Mrs. Carol E. Parker & Kristina Flanagan Thomas D. Wickens* Dr. Gerhard H. Parker Edward Paul Braby, M.D. ChAIRMAn’S CIRCLE Mr.* & Mrs. Arthur J. Fritz, Jr. Carol Potter Peckham $500,000 TO $999,999 Mary & Nicholas Graves Romana D. Bracco Neil & Elsa S. Pering Sylvia & John Hughes Mary & Craig Henderson Carol Franc Buck Anne B. Popkin Anonymous Marie & Palmer Hotz Mr. & Mrs. David Chamberlain Ruth Quigley Bruce Hyman & Simone Quarré John & Sherry Chen Chandra & Michael Rudd Barbara K. Jackson Mrs. Marion Moore Cope PRESIDEnT’S CIRCLE Sakana Foundation Stephen & Choongja Kahng Robert & Laura Cory $250,000 TO $499,999 Drs. Corazon & Martin Sanders William & Gretchen Kimball Peter & Jayne Davis Jane Bernstein* & Bob Ellis Felipe R. Santiago & Fund Ms. Christina & Barry T. Joseph Mrs. John Maxwell Bryan Dianna Dollar Knowles Dr. Elizabeth DeBruin Warren Dr. & Mrs. William M. Coughran Ms. Leslie Schilling Foundation Reid & Peggy Dennis Christopher & Trudi Seiwald Leslie & George Hume Dr. Susan Kroll & Bob Epstein & Amy Roth Betty & Jack Schafer Mr. & Mrs. James R. Swartz Mr. Mark R. Kroll Lisa Erdberg & Dennis Gibbons Michelle & William Tai Mr. & Mrs. David T. Traitel Karen J. Kubin Concepción S. & Irwin Federman Bob Tandler & Valli Benesch Mr. & Mrs. Peter Magowan Ms. Margarita Gandia & Soo & Raj Venkatesan DIAMOnD CIRCLE Mr. & Mrs. Burton J. McMurtry Ms. Diana Campoamor Barbara M. Ward $100,000 TO $249,999 Mrs. James K. McWilliams Charles D. Goodman Ronald & Emely Weissman Robert Mailer Anderson & Ronald D. Morrison Ms. Wanda Lee Graves Wl Harper & Peter Liu Nicola Miner Nancy S. Mueller Anne Gray The Brayton Wilbur Foundation Lui Family Marina & Ben Nelson Mrs. Clelia M. Gray James & Beth Wintersteen Mr. & Mrs. J. Patterson McBaine Harold* & Gertrud Parker Michael A. Harrison & Mr. Allan Wong Gladyne Kenderdine Mitchell Norman & Janet Pease Susan Graham Harrison Judith B. & Joseph Workman The Oshman Family Ms. Betty A. Prien Jane & David Hartley Akiko Yamazaki & Jerry Yang Foundation Ms. Karen Richardson & James A. Heagy, Dr.* & Mrs. John A. Zderic Arthur & Toni Rembe Rock Mr. Jon Rubinstein in memory of Jayne Heagy Mr. Barry Zigas, Sharon & Clark Winslow Dr. & Mrs. Richard Rigg Stephen & Diane Heiman in memory of Art & Irma Zigas Anonymous (2) The Roberts Foundation Doreen Woo Ho & James Ho Mr. & Mrs. Stephen Zilles Charles P. Russell Mr. & Mrs. C. Bradford Jeffries Ward & Diane Zumsteg Denise Littleﬁeld Sobel Anne & Timothy Kahn Anonymous (3)

* deceased

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MEDALLION SOCIETY

San Francisco Opera gratefully recognizes the commitment and generosity of our Medallion Society members, who have made gifts between $3,000 and $24,999.

Kristina Flanagan, Mr. & Mrs. William W. Klaproth InTERMEzzO Dr. & Mrs. Eric Fain Mark & Debra Leslie Mr.* & Mrs. Wesley J. Fastiff Harry S. & Eileen Lewis President, 2013–Present Robert & Linda Klett $10,000 TO $14,999 Cathy MacNaughton, Jack Klingelhofer Ms. Heather A. Findlay Mr. J. S. Lichty, Jr. & President, 2008–2013 Linda & Andrew Ach Doris Fisher Dr. Darryl L. Raszl Mr. Randall E. Laroche & Mr. Paul B. Althouse Mrs. Harry Wetzel*, Mr. David Laudon Dr. Julita Fong David & Lillian Lieberman President, 1995–2003 Mr. Sig Anderman Timothy & Virginia Foo Raymond Lifchez Sheila & Thomas Larsen Robert M. Anderson & Diane B. Wilsey, Norman T. Larson* Mr. Paul Gantz Nathaniel M. Lopez Kyong Shik Eom Mr. Michael M. Garland & Sylvia & Paul Lorton, Jr. President, 1988–1994 John E. Lee Harriet Meyer Quarré*, Greer & Veronica Arthur Ms. Virginia A. Coe Mr. Neil MacPhail Lisa P. Lindelef Founding President, James & Cheryl Babcock Dr. Nanette Gartrell & Betty Maddux, David & Christine Balabanian 1983–1987 Sylvia R. Lindsey Dr. Dee Mosbacher, Ph.D., in memory of Ed Koester Mr. & Mrs. Paul Bancroft Tom Lockard & Dr. Alix Marduel M.D. Arlee & Paul* Maier Constance Goodyear Baron & Drs. May Loo & Candace & Vincent Gaudiani Charlot* & Gregory Malin Barry C. Baron, M.D. ILvER IRCLE William Thurston Kurt Tristan Geselbracht & Lori & David Marquardt S C Frederick & Kathryn Baron Yasmin & Oren Lukatz Francisco Guevara Anne Marie & $15,000 TO $24,999 Johanna & Tom Baruch Dr. Timothy J. Marten, M.D. & Arlene & Doug Giancoli Stephen Massocca Stefan & Nataly Arnon Michael Bassi & Christy Styer Ms. Mary C. Heylin Mrs. Rolf Gille, George & Marie McKinney Dr. Nancy L. Ascher Frank S. Bayley in memory of Rolf Gille Dennis J. McShane, M.D. & Marcia Barinaga & Ellen & Paul McKaskle Ruth & Frank Belvin Ann & Daniel Girard Hon. Richard S. Gordon Corey Goodman Elaine McKinley & Kit Durgin Jennifer Michie Bienaime David Gockley & Linda Kemper Al Medvitz & Jean McCormack Mark & Judy Bednar Bill Medigovich Nordin & Donna Blacker Dr. Erica Goode & Maya D. Meux, MD Dr.* & Mrs. Joseph Bernstein James R. Meehan Dr. Phyllis B. Blair Hon. Barry Goode Dr. Judy C. Miner Nawaf & Susan Bitar Mr. Alex Mehran Donald Blais & Jared & Claire Bobrow Diane Compagno Miller Michael McGinley Geoffrey & Marcia Green Ann-Marie Mix Mr. Timothy Guth Justin Moore & Dr. Sean P. Bohen & Miss Vivienne E. Miller Arnold* & Barbara Bloom Drs. Christine Guthrie & Meaghan Sullivan Mrs. Tanum Davis Bohen Karl & Kristen Mills Mrs. Corwin Booth* John Abelson William O. & Susan W. Morris Mr. & Mrs. Philip Bowles Mr. Robert B. Mison Mr. & Mrs. Jerry Brenholz Elissa Buie & Dave Yeske Ms. Barbara Brown Mrs. Peter E. Haas Milton Mosk & Thomas Foutch Phyllis Moldaw Lyndsey Harrison Steve & Betsy Moulds Rike & Klaus Burmeister Don & Rene Morgan Alan R. & Sally J. Brudos Michael & Marilyn Cabak Mr. & Mrs. Nelson Byrne Mr. Richard B. Hechler & Robert Munday & Alice Ames Morison & Lorna Meyer Calas & Mrs. John C. Callan Ms. Malin Giddings Evamarie Doering Dr. Oakley Hewitt Dennis Calas Frances Campra Austin & Sara Hills Mr. Manfred Mundelius Frank & Pat Carrubba Brian Muirhead Mr. & Mrs. Lyman H. Casey Ian Hinchliffe & Marjorie Shapiro Dr. Lois Levine Mundie Julia Frohlich Cherry Marie Kendrick Otto Foundation Park & Joan Chamberlain Mr. & Mrs. Kedreth C. Hogan Heidi Munzinger & John Shott Maureen Clarke Steven Ng & Mark Posner Jeffrey Chambers & Ms. Linda Hodge Janet Napolitano Michèle Beigel Corash & Sally & Craig Nordlund Andrea Okamura Brian & Rene Hollins David & Marilyn Nasatir Laurence Corash Mrs. William H. Orrick, Jr. & Ms. Carolyn Chandler Mr. Ron Holloway & Karen S. Nemetz Alice Corning & Richard Massey* Diana V. Rogers Ms. Helen Cheng Mr. Doug Hammerich John O. Nigh Mr. Jon Cosby & Mrs. George A. Pope Mr. & Mrs. W. S. Child Ms. Antonia Patricia Hotung Peggy & Boyce Nute Emily Hsi Mr. David Oldroyd Ms. Kathi Gwynn Dr. & Mrs. George T. Rab Sunlin & Priscilla Chou Dr. & Mrs. David Huchital Judy O’Young, M.D. & Ms. Susan Costello Mr. & Mrs. Robert Redfern-West Frederick S. Chung & Kimberly M. Hughes Gregg Hauser George & Susan Crow Mr. Glenn H. Reid Kimberly Chun Drs. John & Lois Crowe Judith Hunt Ms. Deepa Pakianathan & Mr. & Mrs. John S. Renard Janet & Lloyd Cluff Jeffrey N. Dauber & Michael & Jean Couch Arlene Inch Mr. Phillip Pemberton Louise H. Renne & Paul A. Renne Marc A. Levin Leonard & Marie Collins Patricia & Philip Jelley Maxwell G. Paley & Shirley Davis & Paul Sack Mrs. William C. Robison Mr. Vincent Cracchiolo* Mary & Russell Johnson Gregory J. Corrales Donald & Janice Elliott Elizabeth Boardman Ross John Cullison & Diana Kissil Ms. Mitzi Johnson Robert Peck AM & Dana & Robert Emery Bob & Terri Ryan Mrs. Denise Cutler Susan & Eric Johnston Yvonne von Hartel AM Ms. Jacqueline Evans Deborah & Paul Sagues Yogen K. & Peggy Dalal Ms. Mary Kay Kane Marianne H. Peterson Edward Frank & Sarah Ratchye Raj Singh & Renata Anderson Dandelion, Fred Karren Maria Pitcairn Dr. Alper Garren* Abraham & Marian Sofaer in honor of Pamela Rosenberg Mrs. Mark O. Kasanin David & Joy Powell Dr. & Mrs. Harvey W. Glasser Shirley Soong Timothy D. Dattels & Barbara & Ron Kaufman Patric & Mary Powell Mr. & Mrs. John Goldman Ms. Vina Spiehler Kristine M. Johnson Ed & Peggy Kavounas Peggy & Peter Preuss Bernice E. Greene Ms. Francoise Stone Dr. & Mrs. Philip S. Dauber Drs. Phyllis A. Kempner & Mr. Gordon Radley Dr. M. Henry Heines & Mrs. Joyce Stupski John* & Bonnie Demergasso David D. Stein Ms. Linda Reiff Tobias & Liliana Kunze Briseño Sally Rench Ms. Katherine Fines Mr.* & Mrs. Craig Sullivan Marvin Dennis Martha & Michael Helms Mary L. desJardins Bao Lamsam & Scott Sagan James & Sheryl Reuben Ann Classen Treadwell Mr. & Mrs. Warner Henry Mr. Orlando Diaz-Azcuy Bill & Jeanne Landreth Angèle & Michael Rice Mr. & Mrs. James S. Tunnell Susan K. Hoerger Mr. & Mrs. J. Philip DiNapoli Mr. & Mrs. William Larkin Barbara Roach Charles & Brandi Hudson Don H. Watson Mr. Peter Dinkelspiel Mr. & Mrs. Theodore Lee Deborah Romer & Michael Kalkstein & Sheila Wishek Donna Dubinsky & John & Sandra Leland William Tucker Susan English Diane & Howard Zack Leonard Shustek Mary Lemmon Barbara J. Ross Jeffrey & Anne Marie Katz Lida & Alejandro Zaffaroni Admiral James O. Ellis, Jr. & Ms. Miranda Leonard Mr. James Ross Jeannie Kaufman Peter & Donna Zuber Dr. Elisabeth Paté-Cornell Allan Lerch, Mrs. Aﬁe Royo Thomas D. King Anonymous (6) Jacqueline & Christian P. Erdman in memory of his wife, Anne James Sabry & Elizabeth Peace

* deceased

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MEDALLIOn SOCIETy continued Michael Sack Ms. Patricia Lee-Hoffmann Elizabeth Bowman Ms. Violet Grgich & Dr. Alan R. Malouf Michael & Gini Savage Dr. Britt-Marie Ljung Judy Brady & Drew W. Browning Mr. Colin Shipman Mrs. Doris Manock Dr. Stephen Sherwin & Patricia & George Locke Ms. Jennifer Braun & Sallie Grifﬁth Paula Markovitz Merrill Randol Sherwin James & Deborah Lyerla Mr. Raymond Ryan Claude & Nina* Gruen Mr. Robert E. McCleskey Ms. Ruth A. Short Mr. Charles D. Mann Mr.* & Mrs. John P. Breyer Mrs. Patricia Gumbel Ms. Barbara McDonnell The Honorable & Deborah Marion, Tax CPA & Joseph & Linda Bronson Mrs. Simone G. Haas & Drs. Jack M. McElroy & Mrs. George P. Shultz Joe Losch Lynda L. Brothers Mr. Scott A. Zumsteg Mary Ann Skidmore Ms. Zornitza Stefanova & Mrs. Constance Marvin Mr. Brad Buckman Helen & Dr. Glenn Hakanson Ms. Linda M. McKay Mr. Payam Mirrashidi Ernie Mieger Jeanne & William Cahill Ms. Bronwyn H. Hall A. Kirk McKenzie Dr. Jeffrey L. Stern Mr. David Moreton Mr. & Mrs. John E. Cahill, Jr. Hadley Dale Hall & Dr. Douglas & Patricia Stich Janet Morris & Frederick Martin Clark & Elizabeth Callander L. Warde Laidman Dr. Penelope Meakin Isobel & Roger Sturgeon Margaret & Frank Morrow Mr. Donald D. Campbell & R. Hamilton Robert Meister Amy Tan & Louis De Mattei Kate Murashige & Chris Zones Ms. Sue Bennett Mr. & Mrs. Peter Hanauer Mr. & Mrs. Russell Merritt TL Trust Ms. Jeanne E. Newman Ms. Elizabeth A. Campbell & Mr. Kevin Harrington Carleton E. Meyer & Joan Tom Dr. Lucy Tompkins & Jim Newman & Jane Ivory Mr. George Roth Mr. & Mrs. Wolfgang H. Hausen Mr. & Mrs. John Meyer Dr. Stanley Falkow Mary L. Nilan Dr. James M. Campbell Mollie Hedges & Laurel Lembo Mr. & Mrs. James Milner Lida Urbanek Mr. Karl Nygren Dr. Heidi H. Cary Fred & Peggy Heiman Mr. D. G. Mitchell Drs. Oldrich & Silva Vasicek Ms. Suno Osterweis Iris S. Chan Miranda Heller & Mark Salkind Liza & Alex Mock Ms. Arlene Wasserman Julian T.* & Robin M.W. Parer Ms. Janice Chang Peggy Hill Mr. James C. Moora Lucie & Jerry Weissman Dr. Richard & Jean Park Josephine Chen Patrick Hobin Thomas & Lydia Moran Mr. & Mrs. Daniel G. Welch Bill & Mary Poland Thomas & Virginia Chen Terrance Hodel Howard & Cathy Moreland Ms. Linda A. Whittaker Mr. & Mrs. Joseph E. Ratner Vicky Kwoh Ching & Al Hoffman & David Shepherd Michael Moritz & Conni Wilson* Dr. Gwendolyn Rothman Wu-Chung Hsiang Susan Meadows Hone Harriet Heyman Mr. & Mrs. Y. Wood Wong Dorothy R. Saxe Mr. Rudy Ciuca Mr. & Ms. Gerald Hoshijo James & Katherine Moule Kenneth & Anna Zankel, Mr. & Mrs. Michael Schroeder Rev. David L. Clarke Carol L. & David G. Hough Mr. Peter Johnson Musto The Grove Mr. & Mrs. Lynn G. Seppala Ms. Carlyn Clause & Joanne Howard Paul Niewiadomski Anonymous (6) Gary & Dana Shapiro Mr. Alexander L. Brainerd Vincent & Christina Hu Mark H. Nishiki, M.D. Vandana & Arvind Sharma Mrs. Hazel Clegg Mr. David S. Hugle & James A. Noe III BROnzE CIRCLE Drs. Edward & Dale Sickles Annelle Clute Mr. Haggai Niv Patricia Nottingham $7,500 TO $9,999 Stephen Smoliar & Linda Dembo Dr. H. Nona Hungate Ms. Lynn Odland Dr. & Mrs. Marvin Smoller Vicki L. Coe M.D. & Dr. Mirza Alam & Victor & Kathy Hymes Helen W. O’Hanlon Mr. Donald Sobelman & Jennifer Mitchell Dr. Charlotte Moore Henry Ilg, Dennis Otto & Robert Meadows Ms. Leishia Woolwine Mr. Craig Corbitt & David & Judith Preves Anderson in memory of Lottie Ilg Dean & Kim Pananides Mr. & Mrs. Eugene Stark Ms. Nancy Stoltz Mrs. Margot Shinnamon Bach Mrs. Andrew Imbrie Berniece & Pat Patterson Dr. Kenneth & Laurel Stein Susan Coughlin The James R. Bancroft Family Jessica Jacob & Zac Townsend Skip Paul Duty and Devotion Mr. Wesley Cox Mr. & Mrs. Edwin Berkowitz Donald & Jacqueline Jacobberger Mauree Jane & Mark W. Perry Memorial Fund James Cross & Charles Antonen Mr. Turney Berry Mr. Joseph Jacobs Frances Petrocelli & Dr. Peter & Mindy Sun Mary A. Culp Dr. Barbara Lynn Bessey Mrs. Jo Jagoda Charles B. Wilson* Ms. Maryanne Tagney Ms. Lisa Danzig Ms. Marcia Bieber Mr. Keith Jantzen & Mr. & Mrs. Dale L. Petterson Ms. Gloria Valair Mr. & Mrs. Thomas E. Dienstbier Joel & Eileen Birnbaum Mr. Scott Beth Ian Pollard Bruce & Fran Walker Elizabeth M. Dirsa Susan S. Blake & Joel Kaufmann Mr. Guyton N. Jinkerson Elkhanah Pulitzer Carol A. Weitz Ms. Victoria Donald Linda Blondis Alfred & Sally Jones Charles & Vicki Raeburn Daphne & Stuart Wells Mrs. Michael D. Dooley* Bill & Alison Boeckmann Barbara E. Jones, Harold & Penny Ray Mr. Richard P. West Mr. & Mrs. William G. Doolittle Chris & Jennifer Brahm in memory of Dr. & Mrs. John B. Reed Ms. Jane A. Wetzel Sarah A. Douglas Mr. & Mrs. Robert Brock William E. Jones Patricia Rees-Miller Mr. Michael S. Wise Katherine Herrick Drake Robert V. Brody & Andrea Jacoby Mr. David A. Kadish Mrs. Barrie Ford Regan Ms. Vanessa Wong Mr. & Mrs. Jerome Duluk Karen Broido Amelia Kaymen, M.D. Randall E. Reynoso & Mr. E. William Mrs. Marilyn Dunn Charles R. Bush & Calvin Lau & Gary D. Kelb Martin Camsey Mr. Michael H. Fahey Mr. George Carter & Mrs. Mary Alice Yund Ms. Kathryn Kersey David Richardson & Eliza Linley Mrs. Perrin Fay* Mr. Chan-Hong Lim Zuni Café Mr. Donald Kieselhorst Orli & Zack Rinat Mr. & Mrs. Dean Cash Alexander Fetter & Lynn Bunim Victoria Kirby Kay & Ray Roberts Solomon Cera BEnEFACTOR Mr. & Mrs. Carl Fieser Mr. Sven E. Kjaersgaard Mr. Paul Rogers Mr. Robert D. Cooter $5,000 TO $7,499 Mr. & Mrs. Louis C.G. Fisher Mr. Thomas Koch Scot Rohrer & Copley E. Crosby & Mrs. Lloyd Ackerman Mr. & Mrs. Warren W. Flack Mr. & Mrs. Jeff Kodosky Anne Scanlan-Rohrer Marianne A. Welmers Dorrit Ahbel, M.D. Ken Fong Richard A. La Cava, Esq. & Ms. Heli Roiha & Dr. & Mrs. Alexander Cross Mr. & Mrs. Gregory J. Allison Mrs. Carlo S. Fowler Tomas van der Haase Ms. Therissa McKelvey Dr. James Cuthbertson Kendall & Claire Allphin Mr. & Mrs. J. Murray Fox T. Peter & Y. Mei Lam Mr. Arthur S. Roosa & Robert & Carol Dutton Mr. & Mrs. Steven Anderson Mr. & Mrs. Thomas Frame Ms. Katharine Lange Ms. Keiko Kiyuna Mr. & Mrs. Vladimir Ermakoff Ms. Anna Antoniucci Barbara B. Friede John & A.M. Larue Mr. George E. Rossmann Robert C. Goodman & Dr. Christopher Bandy Elise & Tully Friedman Ms. Carol Lazier Mr. Charles W. Roth John Bankston Mrs. Linda Barrett Donald E. & The Honorable & Mr. Paul L. Rowe & Dr. & Mrs. Marvin L. Gordon Mr. Michael Barrientos Patricia D. Frischmann Mrs. Howard H. Leach Mr. R. Michael Sereno Dr. Kathleen Grant Mr. Stephen Beitzel & Karen L. Gabrielson Catherine Lehmann Barbara Sahm & Steven Winkel Don & MaryAnn Graulich Ms. Lise Quintana Mr. Martin Gaehwiler* Anthony Leuin & Jean Bertrand Mr. Heinrich Schelbert Bro Halff Roy C. Bergstrom John & Paula Gambs Mr. Fred M. Levin & Dr.* & Mrs. Rolf G. Scherman Ralph Hexter & Anna & Robert P. Berryman, Jr. Mr. Richard Gemperle Ms. Nancy Livingston, Dr. Stephen Schoen & Manfred Kollmeier Scott J. Bever Mr. Gary A. Getz & The Shenson Foundation Ms. Margot Fraser* Mr. Joel Howell J. Dennis Bonney Dr. Lorrie E. Clemens Cathy Lindahl Steve & Sally Schroeder Riki & Robert Intner Dix Boring & Henry* & Dorothy Gietzen Barry & Marie Lipman John R. Schwabacher Family Thomas & Elisabeth Jones Marilyn Moore Boring Mr. Stephen P. Gill & Cynthia & Richard Livermore Mr. & Mrs. John Sebastian Melissa & Laurence Lasky Gary Bottone Mrs. Margaret Gill George & Kristen Lund Dr. & Mrs. Jerry Shapiro Kurt Latta Michelle Bourland Mr. John Gray Mr. & Mrs. Laurence R. Lyons Mr. & Mrs. Gerald V. Sharp

* deceased

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MEDALLIOn SOCIETy continued Harvey & Deborah Shein Mr. Bruce Braden Dorothy Schimke & Cliff Jarrard Dr. Jennifer Bock Hughes & Sandra D. Donnell & Mr. & Mrs. Timothy Sherwood Karen Burtness Prak & Mr. Warren Schneider Mr. Harold O. Hughes Justin M. Faggioli Mr. Daniel Shiplacoff & Jan Willem Prak Charles Schug Mr. Jeff Boland David & Miriam Donoho Prof. Roger Bourland Dr. Robert Paul Cabaj Mr. & Mrs. Paul Setziol Dr. Maurizio Bonacini Gary & Helen Dosik Steven E. Shladover Mr. & Mrs. Charles Cameron Ms. Carolyn Shaw Jeanne Rae Bonar, M.D. Ms. Joyce Dostale Ms. Marjorie Simon Dr. Richard L. Caplin William & Judith Shilstone Dr. Stephen C. Born Kathy Down, M.D. & Mr. Kirby Slate & Martin Checov & Mr. Leslie M. Shinozawa Bruce R. Bowen & Gregory Kelly Mrs. Frances Slate Timothy J. Bause Evangelos & Kathleen Simoudis Junona A. Jonas Mr. John D. Drago Dr. Bruce L. Smith, Ph.D. & Dr. Melvin & Hella Cheitlin Mr. Mark Small Malcolm H. Bowles Mr. Paul Duffey Ms. Nadine M. Tang Dr. Carol Christ Mr. Fred B. Smith Mr. Jim Bowsher Ms. Barbara J. Dwyer & Mr. & Mrs. Dennis & Hilary & Richard Clark Frederic H. Smith Ms. Margaret Boyd* Mr. Neil Benjamin Kagari Smith Emmy & Donald Clausing Mr. Jordan H. Smith Agnes Chen Brown, Rebecca M. Dyas Libby Smith Arthur D. Colman, M.D. & Mr. Donald Spuehler in memory of Susan & Bruce Dzieza Pamela D. Smith Pilar Montero, Ph.D Mr. Robert St. John & Robert Elliott Brown Ms. Margaret Hart Edwards Kenneth & Joanne Snow Dr. Linda Crabbe Ms. Melanie Searle Eleanor & Theodore Brown Joseph Ehrman III Mrs. Linda Snyder Mr. Orville W. Dale Dr. & Mrs. Robert L. Stamper Timothy & Margaret Brown Ms. Shannon Eliot Dr. Richard Sogg Dr. Stephen J. Danko Mary Van Voorhees Don Buhman & Wray Humphrey Ed & Barbara Eschbach Dr. Steven Sorenson Mrs. Pam DeWeerd Ronald B. Wilkerson Drs. Earl & Sandra Burgess Mrs. Caroline Eshleman Mr. Steven Soult Laura Dillaway Ms. Eileen C. Wong William & Nancy Burnett Pauline Eveillard & Doug Gould Robert L. Speer & John Wong Helene & Lawrence Edelman Ms. Shirley Woo Cathleen Cameron Patricia & Richard Farnsworth John & Linda Stedman Dr. Mary Eichbauer & Dr. Sherry Wren Mrs. Ronald E. Cape Drs. Bette & James Felton Mr. & Mrs. Reginald D. Steer Dr. Greg Gartrell Florette Yen Dr. Betty J. Carmack Jan & Bob Fenwick Michael & Susanna Steinberg Dina & Carl P. Engineer George Zimmerman Vance Carney Ms. Karin Fetherston Mary Jean Stempien & Ms. Nancy J. English Anonymous (4) Janet L. Carpenter Ellen Finch James Stricker Mrs. Robert Eshleman Peter & Jane Carpenter Leah Fine Lisa & Jim Taylor Janice & Jack Eskridge FOUnDER Mr. & Mrs. Dennis L. Carter Ms. Jessena Finn William Laney Thornton & Cheryl Fippen & Mary True $3,000 TO $3,999 Oscar Celli & Roger Busse First Street Leather Pasha Dritt Thornton Dr. Harvey Fishman & Mr. John Abbott Mr. Ben Chai of Solvang, California and Dr. Naomi R. Thorpe Mrs. Deborah Fishman Mrs. Deborah Accornero Mr. Mark R. Chaitkin & Mammoth Lakes Ms. Carol J. Tomlinson Ms. Ching-Ching Ganley Amir V. Adibi & Ms. P. C. Storr Daniel & Carla Flamm Ms. Catherine F. Topham Mr. Rich Gerhardt Shannon R. Clawson Sarah Chamberlain Jacques Fortier Ms. Takeko Toyama Mr. & Mrs. Dane Gillette Dr. Lefkos Aftonomos Ms. Jean B Chan Richard L. Frank Trust Barbara Traisman Diane Green Dr. Daniel S. Alegria & Jim Chanin & Rachel Richman Barbara B. & Joseph P. Fredrick Mr. Robert Trankle Drs. Bill & Nancy Grove Dr. Mary Page Hufty Dr. J. Samuel Chase Ms. Ellen A. Friedman Ulferts Center USA Inc. Ms. Natalie Gummer Francesca Alfajora Mr. Richard Christie Joyce Friedman Leslie & Judy Vadasz Mr. Richard L. Hay Mr. & Mrs. Jose R. Alonso Mr. & Mrs. A. B. Ciabattoni Mr. & Mrs. William Froming Mr. Mark Valentine Mr. Larry Horton Ms. Ann Alpers & Jerry & Linda* Cimmet David & Betsy Fryberger Dr. Catharine van Ingen & Ms. Gladys K. Howard Mr. Shawn Hanson George & Laura Cline Mr. Richard Galbraith Dr. W. J. Wisniewski Rosemary Joyce & Mr. Benjamin C. Anderson, Patricia T. Coffin Lisa Zuckerman Gamshad Ms. Elizabeth Vobach Russell Sheptak Ph.D. Katie Colendich Mr. Sameer K. Gandhi & Ma ry & Terry Vogt Dr. & Mrs. Samuel D. Kaplan Joanne M. Anderson Charles Connor, M.D. Ms. Monica Lopez Dr. Bradford W. Wade & Mrs. Louis Kelso Arlene Anthony Wallace W. Conroe & Max Gasner Dr. Linda K. Riebel Ms. Alyssa T. Koo Ms. Maloos S. Anvarian & Helen E. Conroe Marlena & Julia Gee Bob & Gail Walker Mr. & Mrs. Paul Kuckein Mr. Franklin R. Jackson Donald E. & Diane P. Cooley Ms. Sandra M. Gilbert Ms. Nancy Walker James* & Elinor Lacy Drue G. Ashford Carmen Côté-De Vaughn David & Jennifer Gillespie William & Mikiko Walker Ms. Barbara Laferriere Tracy Atherton Mr. Guy Cross & Mr. & Mrs. Richard M. Gleason Alice & C.C.* Wang James Earl Jewell Matthew Austern & Janet Lafler Ms. Erika Nelson Dr. Paul Goldsmith Hon. James L. Warren (Ret.) Ms. Marcia Lazer Zachary Baker Dr. Joan Claire Cucek Mr. & Mrs. Ronald Goodman Helena Troy Wasp Mr. & Mrs. Gerald S. Levin Mr. Frank & LCDR Arthur W. Curtis, Ms. Grace & Mr. & Mrs. William J. Watt Mrs. Nancy Donnell Lilly Mrs. Maxine Balistreri USCGR (Ret.) Ms. Roxanne Araim-Sullivan Rosalie V. Weaver Claire & Herbert Lindenberger Ms. Virginia Bamford Mr. Fred J. Dal Broi Mr. Frederick Grauer Mr. Phil Wennhold Claude L. Lowen Claudette Barrera Mr. A. S. Damji Ms. Deborah Greer Matthew Williams & Charles & Nancy Mack Kimiko & Ivan Barta Mrs. Arthur Dauer Mr. Benjamin Gregorski Amanda Maystead Mr. & Mrs. Daniel Mardesich Mr. & Mrs. Fedele Bauccio Charles & Dorothy Davis Ms. Jane Grimm Vivian W. Wing, M.D. & Mr. & Mrs. Michael Marston Joseph Baxter & Walter Balmas Mrs. Doris Davis Mr. Phil Grisier* Elizabeth Grace Wickersham Marcia & Bill* McConnell Mrs. Mary Baxter Jan & Jeannie de Vries Andy* & Eva Grove Mr. Harvey Yaverbaum Dr. Mary McNabb & Mr. Scott Bays Dr. Lee R. DeBow Mr. & Mrs. Patrick Gunning Lev & Tatyana Yurovsky Daniel McNabb Robert H. Beadle Dr. & Mrs. Herbert H. Dedo Brian & Elizaveta Gustafson Professor Jeffrey Zink & Mr. David Mellor Dr. Daniel Benson Mr. Manfred Dehmer Mr. & Mrs. Sean Hafeez Mrs. Helo Zink Edith P. Mendez Mr. Bradford Berenson Mr. & Mrs. Eugene DeJuan Rob & Yukari Haitani Dr. Richard A. Zuniga & Andrew Morgan & Paul & Mildred Berg Jan Deming & Jeff Goodby Ms. Maud Hallin Mr. Sean M. SeLegue Danny Richard Stuart & Helen Bessler Mr. Jan den Besten Ms. Dorothea Hamilton Anonymous (15) Donna Hall Neff Mr. Josef Betz Ronald Denchfield & Mr. Dave Handley & Irving & Varda Rabin Mr. Eesha Bhattacharyya Patricia Molvar Ms. Xiaowen Qiu PARTnER Foundation of Vinny & Shalini Bhutani Ulric & Glenda Dennis Charles F. Hanes $4,000 TO $4,999 The Jewish Community Adam Arthur Bier & Mr. J. P. Richards Dillingham Mr. & Mrs. Eric Hanson Dr. Valerie Abad & Foundation of the East Bay Rachel Lem Mag Dimond Betty-Lou Harmon Mehdi Ghadiani Mr. John N. Rooney Ms. Linda Billings John & Melanie Dodd Mr. William Hartrick Robert C. Anderson Richard E. Rowland William Blank Marion Dodd Mr. James E. Haynes Paul & Kathy Bissinger Mr. Eugene L. Saenger, Jr. Mr. & Mrs. Frank Bliss Mr. Keith E. Doerge Peggy Heineman Harold Blajwas & Barbara Bishop, M.D. & Mrs. Robert N. Bloch Dr. Gary Dolan Paula Heller & Robert Yohai Alisa S. Burgess Mr. Michael Saroyan Mr. Noel T. Blos Mr. Manuel Donesa Wellington S. Henderson, Jr.

* deceased

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MEDALLION SOCIETY continued Mr. Robert Hero Mr. Wen-Pen Liu Matthew & Nancy Noel Stephen & Marcia Ruben Mrs. F. J. Thomas Tilton Mr. Stephen Hetzel Mr. & Mrs. William R. Lloyd Mr. Barton O’Brien Mr. John E. Ruden Dean & Jeanice Tipps Mr. & Mrs. David Hodges Mr. Brendon Lo George & Karen Offen William & Leslie Rupley Patricia Totten Ms. Anne Hohenberger & Linda Lonay & David O’Grady Francis & Andrea Rush Enrique Trachta Mr. Michael Taylor Mohammad Hooshmand Mr. Brian Olson Nancy J. Russell Norman & Carol Traeger Mr. & Mrs. Charles Holden Kate Lord Marilyn Oronzi Mr. M. Duane Rutledge Justin Trapp Michael Horan Thomas & Kathryn* Loughran Lise Deschamps Ostwald David Ryu & Christina Wu Ryu Mr. Richard D. Tuck Dr. Michael Horn Mrs. Amy Louv Coralie & John Otoshi Mr. Paul G. Salisbury Gisela & Peter Turner Wilma S. Horwitz Ms. Kay Lucas Ms. Catherine A. Owen Ryan Samarakoon & Emily DiPoﬁ Mr. Anthony Vickers Mr. Joseph C. Howard, Jr. Ms. Janet Luck & Mr. & Mrs. F. Ward Paine Louise Adler Sampson Mr. Richard Votava Timothy G. & Cara R. Hoxie Mr. Stephen Kealhofer Mrs. Jeraldine M. Palazzi Mr. Pavi Sandhu Tamisie Honey Vrolyk Ashley Hu Ophelia A. Lum You Mr. & Mrs. Steven Marlys & Joseph Saveri Mrs. Louis M. Vuksinick Bradford L. Humphrey Karen & David MacQueen Papagiannopoulos Mr. David Sawle Ilana Walder-Biesanz Nancy A. Hutcheon Mr. & Mrs. William H. Madison Gerlie Papillion, M.D. & Ms. Beth Scanlan Arthur & Susan Walenta Ms. Margaret C. Hutchins Joan & Roger Mann Nathan Anderson-Papillion Randy Schekman & Ms. Adrian Walker Edward & Patricia Hymson Gus Manning & Rena Kirkpatrick Sasha Patpatia Nancy Walls* Ms. Ann Y. Walker & David K. & Kay Duke Ingalls Richard A. Marciano & Poyee & Patrick Pau Philip Schlein Mr. David M. Jones James Ito Teresa Middleton Mr. William Pearce Sande Schlumberger Susan Walker Harry L. Jacobs & Richard & Patricia Marcogliese Peter & Patricia Peterson Rev. Paul J. Schmidt & James & Judith Wall Katherine E. Akos Treva Jo Marcus Dr. Lawrence & Elizabeth Petz Rev. Gerard K. Moran Cmdr. & Mrs. Homer Wallin Dr. & Mrs. Norman Jacobson Jason Marks Ms. Nancy Pfund & Phoebe & Christopher Schreiber Brian & Stephanie Walsh Mr. Alexander Jakle Dr. Pamela Marron Phil Polakoff, M.D. Betty J. Schreiner, M.D. Emily Wang & Aaron Hoffer Ms. Lily Jan Mr. Henry P. Massey Jr. & Dominique Philippine Dr.* & Mrs. Theodore Schrock Mr. William Wang Robin & Virginia Jaquith Ms. Amie Chang Ralph & Jane Pica Mrs. Ronald Schroeder Mr. Rom Watson William & Leticia Jarvis Robin & Karl May Dr. Judith Pickersgill Ms. Andrea Schultz Victoria Weatherford & Mr. Carlos Jimenez & Mr. Frank T. Maynard Ms. Shauna Pickett-Gordon Katherine Setar & Brad Fischer Jordan Gardner Dr. Victoria Smith Judge Lucy Kelly McCabe* Mr. Terry Pitts Pamela Sevilla Mr. Kimberly Mark Webb Dr. Jane L. Johnson Ellen Mccoy Ms. Anastasia Polakis Ms. Margaret V. Sheehan Ms. Belle Wei Kristen & Todd Jones Dr. Patricia McEveney Ritchie & Melissa Post Merrill Shields Ms. Tania L. Weiss Annie Jung Ms. Kathryn McGovern Susan K. Prather Elias Shikaloff Mr. Trevor White & Anne Kaiser & Robert Taylor Caryl McIvor Jeanette M. Prato Kate & Matthew Shilvock Mrs. Nora Quattrin White Nene Kalu Dr. & Mrs. Thomas O. Margaret & Vic Quattrin Dr. Neal Shorstein Ms. Erika Williams Dr. & Mrs. Avi Katz McLaughlin Mr. & Mrs. Martin Quinn Barbara Silverberg Ms. Faye C. Wilson Ms. Suzan Kaufmann Ms. Sharon McNalley Mr. Les Quock Dr. & Mrs. Gerald Silverberg Peter & Georgia Windhorst Robert S. Keagy Mr. Thomas McQuaid Christopher J. Raidy Judith & Walter Sleeth Dr. Dale & Toni Wise Mr. Thomas R. Kearney Ronald & Judith McWilliams Ms. Danielle Rebischung David & Barbara Sloss Mr. Christopher Wiseman Daniel Kelley Mr. Peter C. Meier Don & Gwen Reichert Mr. & Mrs. George D. Smith Jr. William Wisniewski & Mr. Christopher Kelly Dr. Beryl & Mrs. Renee Mell Ms. Amy Rennert & James K. Sokol Catharine van Ingen Jill Dore Kent Dr. Linda A. Membreño Ms. Louise Kollenbaum Gideon* & Cheryl Sorokin Susan & Jonathan Wittwer Nelda Kilguss Dr. Thomas Merigan Mr. Thomas H. Reynolds Mr. & Mrs. Robert Specker Josiah & Michelle Wolcott Rebecca & Donald Kingsborough Judith & Irwin Miller Guenther Rheinisch Leela & Sam Stake Dan Woods Dick & Marianne Kipper Beverly Mitchell & John Pringle Kathryn E. Ringgold Mr. Tom Standing Margaret & Angus* Wurtele Mrs. Claudia Bray Kitka Mr. & Mrs. Joseph Mocker Katelyn Ristau Anita Stapen & Richard Granberg Russell & Marilyn Wylie Mrs. Beverly Kivel Wayne & Carol Montgomery Wayne & Murphy Robins Mrs. Ann Marie Steig Dennis & Lena Yang Mr. Edson Kong Thomas & Cassandra Moore Rick & Stephanie Rogers Mr. & Mrs. Isaac Stein Dr. Myles Yanta Dr. Bob & Christine Kradjian Lawrence J. Morgan R. M. Rogness Mr. Mark Stoermer Ms. Colleen Yeates Marsh Maj. Floyd R. Krey Ms. Camille Morishige Fran Rominger Blossom F. Strong Lowell S. Young & Celeste Young Andrea Manson Krueger Mr. Paul Morris Noelle & Ken Roost Nobuyuki & Megumi Sugiura Mr. & Mrs. Christopher Zaccali Bettine Kuh Thomas* & Anne Morton Yvette & Philip Rosedale Ms. Vrenae Sutphin & ni Dr. Bunny Laden John & Melinda Moynier Dr. Steven & Mr. David Gray Mr. & Mrs. Pierluigi Zappacosta William R. Lambert Berit & Robert Muh Mrs. Miranda Rosenau Ms. Susan Sweet Joan Zawaski & Rona Siegel Mr. Michael Lamm Ruth & James Murad Ms. Susan Rosenblatt Dr. & Mrs. W. C. Sweeting, Jr. Peggy & Lee Zeigler Andrew Lan Renate M. Nadler, M.D. George & Edith Rosenkranz Sharon & John Tastor Frank Zepeda Mr. Ronald Larson Joseph C. Najpaver & Dr. & Mrs. Roberto P. Rosenkranz Martin & Elizabeth Terplan Dennis Zhang Peter Lee Deana Logan Marion Ross Ms. Genell Texeira-De Robertis Mary & Harold Zlot Family Richard & Patricia Taylor Lee Ms. Mariam Nayiny & Dr. & Mrs. Stanley Ross Ms. Holly Thauwald Foundation Jeffrey Lefstin Mr. Nader Radjy Mrs. Joan Rost Ms. Joan Thoma Anne Zucchi Mr. Julius Leiman-Carbia Ms. Mary D. Niemiller Barry Roth Judy & Harold Ticktin Anonymous (20) Dr. & Mrs. John Lenahan Gerald & Ortrun Niesar Mr. & Mrs. Peter E. Roxborough Charlise Tiee & Scott Grieder * deceased

San Francisco Opera extends its deepest appreciation to all individual contributors. Our donors’ generosity is the primary source of annual support for the Company’s productions, educational programs, and operations. Leadership Circle and Medallion Society members enjoy a variety of special benefits, including priority seating, personalized ticket service, behind-the-scenes access, and more. To learn more about supporting San Francisco Opera, contact our Development Department at (415) 565-6401.

Listed gifts were received between August 1, 2016 and April 15, 2018. We have made every effort to ensure the accuracy of our donor listings.

If we have misspelled or omitted a name, please accept our apology and notify us at (415) 565-3212 so that we may update our records accordingly.

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THE ENDOWMENT FUND

San Francisco Opera honors those whose endowment contributions since 1972 have helped ensure that our tradition of excellence continues in perpetuity. To learn more about endowment opportunities, contact Mandala Pham, Legacy Giving Oﬃcer, at (415) 565-6413 or [email protected].

nAMED FUnDS In memory of Frank D. Stout Milton J. Mosk & ARTISTS’ & MUSICIAnS’ Roy Cadenasso Estate William Randolph Hearst Lorna Talbot Estate Thomas Foutch CIRCLE Robert W. Cahill Estate Young Artists Fund Mrs. Paul L. Wattis Estate Mr. & Mrs. George Otto $25,000 TO $49,999 Lillian Miller Carlson Francesca Deering Howe Patricia Yakutis Estate Dr. & Mrs. Richard Rigg Memorial Fund Anonymous (1) Keith W. & Marjorie J. Riley Dr. John Alden Fund Principal Artist Fund Francis & Lainee Chen Gerald B. Rosenstein* Fritzi Benesch* Caroline H. Hume Marjorie B. Bonthrone Trust OMPOSERS IRCLE Lurline B. Roth Edward J. Clark Music Director Fund C ’ C George Bowles Charity Foundation B. B. Cohen Estate Burgess & Elizabeth Jamieson $500,000 TO $999,999 Chrissie B. Breedlove Ruth Sanderson Estate Mr. & Mrs. Warren J. Coughlin Fund Mai G. Coggin Estate Nancy W. Bridgwater Estate Ilse Sauerwald Estate Ruth Hiene Dahl Estate Pitch & Cathie Johnson Mr. & Mrs. Reid W. Dennis Broadway-Hale Stores James H. Schwabacher Estate Student Ticket Fund Francis Goldsmith Trust Mrs. Harry F. Camp Charles & Dorothy Davis Eunice B. J. Senderman Estate The Diana Dollar Knowles Richard B. Gump Estate Meyer M. Camp Helen Dennis Estate Fund for Emerging Artists Claramae Turner Hoffmann Prof. Kurt Servos Estate Ms. Annette Campbell-White & Di Giorgio Foundation Edward Meade Smith Estate Edmund W. & Estate Dr. Ruediger DWD Foundation Jeannik Méquet Littlefield Mr. & Mrs. David Packard Nellie D. Stephens Estate Naumann-Etienne Alice Vincilione Richard J. Elkus Fund Jefferson Peyser Estate Philip Carlson Estate Richard Everett* Bernard Osher Endowment K. Hart Smith Estate Carole Wagner Estate Dr. & Mrs. Herbert H. Dedo Richard Farley Estate Fund Harry J. Wagner Estate Barbara M. Ward & The Edward P. Eassa Trust Jordan Joseph Popkin Honorable Roy L. Wonder* Mr. & Mrs. Mr. & Mrs. Charles D. Field Whitney Warren Estate Opera Outreach Fund LIBRETTISTS’ CIRCLE William C. Edwards Tully M. Friedman Madeleine H. Russell Karyl Lynn Kopelman Zietz Robert Gallo $250,000 TO $499,999 Sidney M. Ehrman Estate Night at the Opera Fund David B. Felch Estate Lewis W. Hale Estate Thomas Tilton Production Anita Uhl Brothers Estate DIvAS’ CIRCLE Barbara Marie Fontaine Ms. Ginger Dostrow* Mrs. Griffith Henshaw Fund $50,000 TO $99,999 Estate Mr. & Mrs. Reuben W. Hills Phyllis C. Wattis Opera Fund Phyllis Edwards Estate Marguerite Arends Estate Hilda Gard Trust David R. Hyman Estate Phyllis C. Wattis Fund for Dr. Maurice Eliaser, Jr. Estate Frank Gerbode in memory of Gertrude Baker Trust Henry J. Kaiser Family New Productions Bank of America Foundation Eleanor Guilford Phyllis C. Wattis Fund for Stella & Maurice Eliaser Vija Hovgard Foundation Roberta Empey Estate Katherine R. Blyth Estate the Opera Center Frank A. Campini Foundation William S. & Vivienne Howe William R. & Phyllis C. Wattis Fund for Dr. Samuel C. Hughes Estate Estate Nancy Ely Kales James Irvine Foundation Carter Hawley Hale Stores, the Maintenance of Mrs. Frederick Kohlenberg Ruth Kaufman Estate in honor of Myron Du Bain Inc. the Opera House Del Monte Corporation Betty Ford Lingo— Jesse Koshland Phyllis C. Wattis Opera Fund R. Earl Robinson Fund Mr. & Mrs. Dewey Donnell The Cerimon Fund Grover Magnin Estate for Tickets Ruth C. Samson Estate Russell J. Matthias Estate Claudia Stoop Estate Fireman’s Fund American Matson Navigation Company Patricia Yakutis Endowment Foundation Diana L. McClure Estate Fund Earl H. Teass Trust Naomi Maryann McHugh Anne E. Matthew* Dr.* & Mrs. John A. Zderic Fleishhacker Foundation Mr. & Mrs. Alfred Fromm Estate Mr. & Mrs. Fred Moller LEADERShIP CIRCLE I. P. Patrick Gallagher Fund Morris Trust Diane L. Morris $1,000,000 anD aBOVe COnDUCTORS’ CIRCLE William G. Gilmore Foundation Louisette C. Murdoch Estate Kathleen Dale Oscarson Agda Eleonora Olson Estate Andrew J. Bellotti* $100,000 TO $249,999 Mr. & Mrs. Robert C. Harris Thelma C. Owen Estate Pacific Lighting Corporation Mr. & Mrs. William* K. Bowes, Jr. Mr.* & Mrs. John M. Bryan Marco P. Hellerman Estate Marion Stuart Parker Estate Pacific Telesis Columbia Foundation Chevron USA Mrs. Griffith Henshaw Estate Kathleen R. Poer Estate Christopher Page 1985 Trust Franklin C. Deters Estate Mrs. Sheldon Cooper Estate Hewlett-Packard Foundation Deborah Pentz Trust Ruth Prager Estate Ray* & Dagmar DolbyA in memory of Marian Prentice Huntington Mr. & Mrs. Louis A. Petri Siegfried B. Puknat Estate Bertie Bialek Elliott Robert Watt Miller Estate Agnes D. Porter Estate Mrs. John P. Renshaw John A. & Cynthia Fry Gunn Valerie & Paul Crane Dorfman Joan J. Jacobs Retail Dry Goods Association Mr. & Mrs. James Heagy Ms. Leonie Darwin* Effiellen Jeffries Estate Marcia Robinson Estate of San Francisco The William Randolph Hearst Mr. & Mrs. William H. Draper, III G. William Jewell Estate Alfred Sbarboro Estate R.C. Samson Estate Foundation Robert F. Ewing Sidney & Vivian Konigsberg Dr. Robert R. Schmidt Estate Casey L. Scott The William & Flora Hewlett Derek M. Fairman Estate Edith Koshland Estate Carolyn Shaw Dr. A. Jess Shenson Foundation Charles D. Field Estate M.E. Lorenz Estate Emmett G. Solomon Mary Shoch Francesca Deering Howe Estate R. Gwin Follis Foundation McBean Family Foundation Lynda Spence Jack D. Soldate Estate The Hume Family William W. Godward Florence N. Mel Estate Wells Fargo Bank Muriel McKevitt Sonné Dora Donner Ide Estate Mr. & Mrs. William Hamm III The Hon. & Anonymous (1) Mrs. F. J. Thomas Tilton Barbara K. Jackson Hewlett-Packard Company Mrs. William Orrick, Jr. Burgess & Elizabeth Jamieson Holmes Foundation Ailsa C. Pender Estate Sarah Tilton & Lawrence Low Mr. & Mrs. C. Bradford JeffriesA Hugh Keenan Estate Janet L. Pynch Estate ARTISTS’ & MUSICIAnS’ Henry F. Trione Franklin & Catherine Johnson Donald Khulke Trust James D. Robertson CIRCLE Tallant Tubbs Estate The Diana Dollar Knowles Trust Evelyn Lorenz Estate Earl Robinson Estate $10,000 TO $24,999 Constance Tydeman Jeannik Méquet Littlefield* Mary Lorenz Mrs. William P. Roth Nerzig Apkarian Estate Mr. & Mrs. Willard Vernon Lorry I. Lokey Emily Prettyman Lowell Estate Violetta Sharpe Estate Roy Backus Estate Mr. & Mrs. Brooks Walker, Jr. Russell J. Mays 1994 Trust Syntex Corporation Dr. Jesse F. Minnis, Jr. Estate Mr. J. P. Barger Marie Welch West Estate National Endowment Robert McAlpin Moore Donald & Rachel Valentine Muriel C. Barnett Estate for the Arts Alicia H. McEvoy Estate Carole Wagner Estate John L. Blake Mr. & Mrs. Harry Wetzel Bernard Osher Foundation Ralph R. Michaelis Estate Crown Zellerbach Foundation Miss Louise Boyd Estate Mr. & Mrs. Palmer Wheaton Jordan Joseph Popkin Lucile C. Monteagle Estate Harold & Doris Zellerbach Florence W. Bruce James Wilson Estate Opera Outreach Fund Barbara V. Morse Estate Harold L. Zellerbach Estate Neil Buckley Estate Anonymous (1)

* deceased

encoremediagroup.com/programs 91 4705802_20999 7.375x9.875 4c The art of performance draws our eyes to the stage

Our community’s commitment to arts and culture says a lot about where we live. Opera brings us together from the moment the lights go down and the curtains come up.

We’re proud to sponsor the San Francisco Opera.

wellsfargo.com

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TRIBUTES

San Francisco Opera is grateful to the following donors for their honorary and memorial gifts received in the past twelve months. IN HONOR OF Ms. Joan K. Boyd Mr. & Mrs. George H. Hume Mrs. Gorretti Lui Patricia Racette Mr. Roy Boyd Lilah & Alex Wolfe Barbara A. Wolfe Dr. Nanette Gartrell & Dr. Dee Mosbacher, Ph.D., M.D. Mr. Hans Cardenas Ms. Jennifer Jordan Mr. Andrew Maguire & Mr. Douglas Cyr Niblock Charitable Trust Ms. Merle L. Benkavitch Alice Morison & Oakley Hewitt Sigmund Seigel & Karen Topp Amy & Stan Leopard Ms. Beth Clayton Mrs. William R. Kimball Ms. Evelyn S. Martinez Dr. Nanette Gartrell & Richard & Rhoda Mesker Paul Sporer Lola Simi Dr. Dee Mosbacher, Ph.D., M.D. Famiglia Tom & Juliette Giannini Ms. Karen J. Kubin Mr. Andrew Morgan & Mr. Danny Richard Ms. Jessica Fauver Skip Paul William Morgan & Gwen Herrin Ms. Aileen Tat Ms. Merle L. Benkavitch Saw Island Foundation Patrick Hobin Mrs. Mandala Pham Lianna Haroutounian Ms. Marcia Lazer Ms. Merle L. Benkavitch Francesca Zambello Jennie S. Garrison Mrs. Holly H. McMahon George & Kristen Lund Dr. Bob & Christine Kradjian Henry I. Prien Ms. Betty Ann Prien Dr. Eleanor L. Zuckerman Lisa Zuckerman Gamshad IN MEMORY OF Corrine Shelly Aulgur Mr. Rolf A. Gille William E. Jones John B. & Zelda M. Quigley, Robert Aulgur Mrs. Rolf A. Gille Barbara E. Jones and Joan Quigley Ruth Quigley Jane Bernstein Mrs. Kay Sue Gregorski Edward Koester Norby Anderson Mr. Benjamin Gregorski Betty Maddux Mr. Mike Robinson Bruce Hyman & Simone Quarré Clyde & Ann Coombs Ms. Ellen Grinnell Anne Lerch Robert & Katie Berryman Maureen Clarke Allan Lerch Mr. Joseph & Mrs. Eleanor Sax Robert & Anna Berryman James A. Heagy San Francisco Foundation John W. Lindstrom Robert Elliott Brown Jayne Heagy Maureen Clarke Mr. Charles H. Sherman Agnes Chen Brown James A. Heagy James A. Heagy Dr. Gary D. Kelb Gary J. Sorgen Bernice Lindstrom Mr. James F. Crafts, Jr. Alice Ames Morison & Dr. Oakley Hewitt Mr. Richard A. Ward Mrs. Patricia Crafts J. Scott Hendrickson, Supernumerary Terri Stuart Ms. Linda Reiff The Hendrickson Family Ms. Sue Kone Drake Hiro and Betty Ogawa Thomas F. Wolfe Mrs. Karen Broido Mr. George Hutzler Alice Corning Barbara A. Wolfe Ms. Rebecca Brover Mrs. Andrew Imbrie Ralph & Clairelee Leiser Bulkley Ms. Jennifer Hassibi Dmitri Hvorostovsky Barbara K. Jackson Anonymous Ms. Roseanna Torretto IN-KIND GIFTS

LEADERSHIP CIRCLE GOLD CIRCLE BENEFACTOR MEMBER $100,000 & ABOVE $25,000 to $49,999 $5,000 TO $9,999 $1,000 TO $2,999 HALL Wines Gloria Ferrer Caves & Vineyards Jane Bernstein* & Bob Ellis David Bertoni KDFC Radio Lui Family China Airlines Ms. Annette Campell White & KPIX/KBCW Mission Minded Eric D. Felty Dr. Ruediger Naumann-Etienne San Francisco Chronicle Piedmont Piano Company Mary & Craig Henderson Deering Wine United Airlines The Honorable & Karl & Maryanna Kersten Kristina Flanagan Mrs. George P. Shultz Carol L. Meyer* Brian James & S. Shariq Yosufzai PLATINUM CIRCLE The St. Regis San Francisco PSAV Mr. Lawrence A. Kern $50,000 TO $99,999 UPTick Vineyards Red Curtain Addict Ms. Sylvia R. Lindsey Webcor Builders YOR Sequoia Organic Life 5YINA Beauté Sandeman Porto Corporation Asero Insurance Services, Inc. David & Ekaterina Schmitt SILVER CIRCLE Anonymous $10,000 TO $24,999 INVESTOR Allen Matkins LLP $3,000 TO $4,999 Pianos provided by Guitty Azarpay Dr. & Mrs. William M. Coughran Piedmont Piano Company bloomers Mr. & Mrs. Warner Henry Yamaha is the ofﬁcial piano of Patina Catering Leonard Karstadt San Francisco Opera Roselyne Chroman Swig * deceased

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San Francisco Opera is pleased to recognize the generosity of foundations, government agencies, and corporate donors for their support received from august 1, 2016 through april 15, 2018. FOUNDATION & GOVERNMENT GRANTS

ChAIRMAn’S CIRCLE GOLD CIRCLE BEnEFACTOR $500,000 anD aBOVe $25,000 TO $49,9999 $5,000 TO 9,999 William K. Bowes, Jr. Foundation Walter & Elise Haas Fund Edgar Foster Daniels Foundation Grants for the Arts The William G. Irwin Charity Foundation The Walter S. Johnson Foundation The William & Flora Hewlett Foundation Kia Ora Foundation The Kingsley Foundation Koret Foundation Kimball Foundation The Andrew W. Mellon Foundation FOUnDER SILvER CIRCLE $1,000 TO $4,999 DIAMOnD CIRCLE $10,000 TO $24,999 Joyce and William Brantman Foundation $100,000 TO $249,999 The Mervyn L. Brenner Foundation Lisa and Douglas Goldman Fund Carol Franc Buck Foundation California Arts Council The Pierre and Tana Matisse Foundation Frances K. & Charles D. Field Foundation Frank A. Campini Foundation E. Nakamichi Foundation The William Randolph Hearst Foundation The John & Marcia Goldman Foundation Ruppenthal Foundation for the Arts OPERA America: Innovation Grants Mimi & Peter Haas Fund Sing for America Foundation Heising-Simons Foundation PLATInUM CIRCLE Zellerbach Family Foundation $50,000 TO $99,9999 Louise M. Davies Foundation The Charles D. & Frances K. Field Fund The Geoffrey C. Hughes Foundation The Diana Dollar Knowles Foundation National Endowment for the Arts

CORPORATE COUNCIL

SEASOn SPOnSOR

LEADERShIP CIRCLE GOLD CIRCLE SILvER CIRCLE BEnEFACTOR $100,000 anD aBOVe $25,000 TO $49,9999 $10,000 TO $24,999 $5,000 TO $7,499 Chevron Bank of America Gap Foundation Asset Management Company San Francisco Opera Guild Charles Schwab & Co., Inc. Jurika, Mills & Keifer— United Airlines Union Bank Private Wealth Management MEMBER Wells Fargo Pacific Gas and Electric Company $1,000 TO $2,999 San Francisco Opera Guild/ DM Stone Recruitment Solutions PLATInUM CIRCLE East Bay Chapter Wagner Society of $50,000 TO $99,9999 Schoenberg Family Law Group, P.C. Northern California Kaiser Permanente Vontobel Swiss Wealth Advisors AG, Meyer Sound Zurich, Switzerland Wilson Sonsini Goodrich & Rosati Foundation

94 SAN FRANCISCO OPERA Merola Summer 2018.qxp_Merola 5/22/18 5:36 PM Page 2

MEROLA OPERA PROGRAM

THE MEROLA OPERA PROGRAM is dedicated to the development of the ﬁnest young operatic talent into professional artists of the highest caliber. Merola operates in close collaboration with San Francisco Opera but is an independent nonproﬁt organization, responsible for its own fundraising. Graduates of the Merola Opera Program include Anna Netrebko, Ailyn Pérez, Patricia Racette, Nadine Sierra, Elza van den Heever, Carol Vaness, Deborah Voigt, Joyce DiDonato, Susan Graham, Dolora Zajick, Brian Jagde, Stuart Skelton, Rolando Villazón, Thomas Hampson, Lucas Meachem, and Patrick Summers. Merola is the future of opera. Please visit us at merola.org.

BOARD OF DIRECTORS OFFICERS DIRECTORS Beatrice Gomory Naﬁseh Lindberg Susan Walker Jean Kellogg, Jayne C. Davis, Chairman Adam Arthur Bier Mary Henderson Sylvia R. Lindsey Olivia Ware Executive Director Carlyn Clause, President Barbara Bruser Clark Dana Turkington Horner Lindsay MacDermid Carol A. Weitz George Crow, Treasurer Michael Colbruno David S. Hugle Dr. Myron Marx Patrick Wilken EMERITUS DIRECTORS Mary Sue Bizzarri, Vice President The Hon. Marie Bertillion Robert B. Jacoby Donald L. McGee Christopher Wiseman Donna L. Blacker Pamela George, Vice President Collins Michael H. Kalkstein Dr. Pamela Zell Rigg Susan York Peggy Dennis Blanche Germain Streeter, Vice President Hugh Coughlin Dr. Joan B. Kelly Dr. David D. Stein Stephen Zilles Anita Weissberg Robert B. Mison, Secretary Dr. James Cross William W. Kwan, MD Ruth Uchimura

We extend our sincere appreciation to all donors and acknowledge the following individuals, foundations and corporations for their generous gifts totaling $1,000 or more and made between October 1, 2017, and April 25, 2018, in support of the Merola Opera Program. For more information about supporting the Merola Opera Program, please contact (415) 936-2324, email [email protected], or visit our website at merola.org. $25,000 & Above $10,000–$14,999 Bernice Lindstrom Mr. & Mrs. James F. Dean The William & Flora Hewlett Mr. Robert A. Ellis Foundation Mr. Adrian Fedorovici FOUNDATIONS FOUNDATIONS Estate of John Lindstrom Peggy & Reid Dennis Opera Standees Association Mr. Peter Felleman The Yvonne & Edgar Baker The Henry W. & Jean & Lindsay MacDermid Mr. Thomas Foutch Karl & Alice Ruppenthal Ms. Judith Frankel Fund Nettie Robinson Foundation Ms. Maura Markus Beatrice & Paul Gomory Foundation for the Arts Barbara B. Friede Frances K. & Charles D. Field Sack Family Fund Ellen & Paul McKaskle Alan Greenbaum* San Francisco Opera Guild Dr. Gwen Fyfe Foundation Mr. Robert B. Mison Michael A. Harrison & Marin Chapter Marcia & Geoffrey Green Ann & Gordon Getty INDIVIDUALS Mr. Milton Mosk Susan Graham Harrison Mr. Fred Hartwick Foundation Norby Anderson Drs. Richard & Pamela Rigg Mr. & Mrs. Melvyn Hetzel CORPORATIONS Mr. & Mrs. Claude M. Hess Dr. James Cross & Mrs. Barbara J. Ross Ms. Susan Hone August (1) Five* Thomas E. Horn* CORPORATION Mr. Charles Antonen Bob & Terri Ryan Greer & Thayer Hopkins Frameline* Wilma Horwitz San Francisco Opera* Ms. Harriet Heyman & Jeannie Sack & Jordan Sachs H. Nona Hungate The Glimmerglass Festival* Ms. Marian Huntoon Mr. Michael Moritz Jack & Betty Schafer Mr. Robert Jacoby Hafner Vineyard* Ms. Arlene Inch INDIVIDUALS Mr. David Hugle & Mr. Haggai Niv Mrs. Hanne Schultz Ms. Nelda Kilguss Quixote Winery* Ms. Andrea G. Julian Nordin & Donna Blacker Barbara K. Jackson Ms. Jean Shuler Naﬁseh & Karl Lindberg VinAtlas* Mrs. Jeannie Kaufman Peter & Jayne Davis Estate of Jane Roos LeRoux Dr. David D. Stein & Ms . Sylvia R. Lindsey Dr. Phyllis A. Kempner James R. Meehan Mr. Sven Kjaesgaard Estate of James Donahue James A. Noe III INDIVIDUALS Dr. Marion R. Kramer Estate of Al Garren Bruce & Fran Walker Mrs. Patricia We eden Mr. & Mrs. Donald G. Michener Diana C. Yee David Miller Ms. Cathi Ahearn Ms. Shirley Kwok Mary & Craig Henderson Mrs. Alfred Wilsey Mr. & Mrs. David Anderson Dr. & Mrs. John Lavorgna Estate of Mr. Jack H. Lund Susan York Mrs. John A. Zderic Cathy & Howard Moreland Ms. Camille Morishige Masha Archer* L. Bing Liem Miss Vivienne E. Miller Nina K. Auerbach, MD Mrs. Nancy Donnell Lilly Estate of Marie J. Niemann $5,000–$9,999 $2,500–$4,999 Alice Ames Morison & Dr. Oakley Hewitt Mary Sherrill Baxter Mr. William Lokke Estate of Rusty Rolland FOUNDATION FOUNDATIONS Anne L. Morton Dr. & Mrs. Phillip H. Beck Eve & Niall Lynch Estate of Mr. Hugh C. Trutton The Bob Ross Foundation Five Arts Foundation Mr. & Mrs. Fred Bialek Mr. & Mrs. Daniel J. Mardesich Leslys Vedder, Walter & Elise Haas Fund David & Marilyn Nasatir Mr. Paul D. Nordine Adam Arthur Bier & Myron Marx & Cora Yang In Memory of INDIVIDUALS Il Cenacolo Italian Cultural Club Mr. Glenn H. Reid Rachel Bier Lem Mr. & Mrs. J. Patterson McBaine James Forest Vedder Darla & Richard Bastoni San Francisco Opera Guild Mr. & Mrs. John Renard Ms. Joni Binder & Mr. Donald L. McGee Dr. Phyllis B. Blair East Bay Chapter Mr. Robert Shwarts Mr. & Mrs. Stephen McHugh $15,000–$24,999 Jennifer & Chris Brahm San Francisco Opera Guild Robbins/Cullen Family Miss Dorothy Schimke Maurice & Mary Sue Bizzarri Mrs. Anne G. McWilliams FOUNDATION Carlyn Clause & Peninsula Chapter Mrs. Peter H. Black Ms. Annie Nunan Mr. Steven Shladover The Bernard Osher Foundation Alexander L. Brainerd San Jose Opera Guild Ms. Lucia Bogatay Mr. & Mrs. Dale Petterson Ms. Blanche Germain Streeter Drs. John & Lois Crowe Ms. Brooke Bourland Suzanna G. Pollak Dr. & Mrs. W. Conrad Sweeting CORPORATIONS Tim Dattels & Kristine Johnson CORPORATIONS Ms. Langley Brandt Ms. Susan K. Prather Ms. Suzanne Turley Culinary Excellence Catering* R. David & Ginny Freeman, Elemental Wellness/ Dr. & Mrs. Melvin C. Britton Ms. Jo-Ann Rose Ruth & Ross Uchimura Dandelion Chocolate co-founders, Sonoma Valley Milo Group of California Mr. & Mrs. Tom H. Burkhart Ms. Kathleen Rydar Doug Von Qualen Authors Festival* Meyer Sound Mr. & Mrs. Michael Cabak Mr. Paul Sack INDIVIDUALS Ms. Pamela George Olivia Ware Ms. Annette Campbell-White & J. H. Silveira, M.D. Estate of Miss Ursula Grunfeld INDIVIDUALS Mrs. Carol A. Weitz Dr. Ruediger Naumann-Etienne David L. & Barbara G. Sloss Mrs. Marion Zimmer Bradley James Heagy, Mr. James Bays Mr. Patrick Wilken & Ms. Carmen J. Castro-Franceschi Mrs. Mary K. Swalen Barbara Bruser & Richard Clark In Memory of Janey Heagy Mr. & Mrs. Joel Bean Mr. David Dickson & Mr. Greg Franceschi Ms. Maggie Thompson Estate of Zanette Cornman Shane Hensinger, Ms. Langley Brandt Mr. & Mrs. A. Lee Zeigler Mr. Martin S. Checov & Mrs. Anita Weissberg George & Susan Crow Honorary Consul of Maureen Clarke Mr. Dennis Zhang Mr. Timothy J. Bause Mr. Christopher E. Wiseman & Mrs. Annina R. Demmon Seychelles & the Consulate of Mr. & Mrs. Lloyd Cluff Stephen & Connie Zilles Ms. Sandra Church Mr. Eric W. Sleigh Mr. John Lee Seychelles in California* Mr. Michael Colbruno Anonymous Mrs. Denise Cutler Ms. Sh irley Woo & Scott & Susan Lord Mrs. Dana T. Horner Mr. Paul Connolly & Keith Doerge Mr. David Rosenfeld Ms. Amy Roth & Mr. Michael H. Kalkstei n & Mr. Charles Ballard $1,000–$2,499 Mrs. Cameron Dorsey Mr. Donald R. Worn Mr. Robert Epstein Ms. Susan English Mr. Hugh J. Coughlin FOUNDATIONS Jerome Draper, Anonymous In Memory of Drs. Joan B. & James Kelly Dr. & Mrs. Alexander Cross Joyce & William Brantman In Memory of Norma Draper* Cameron Waterman III Norman T. Larson Mrs. Mary A. Culp Foundation Ms. Pamela Duffy *In-kind donor

TRIBUTES Merola Opera Program expresses its sincere appreciation to all donors who have made memorial and honorary donations between October 1, 2017, and April 25, 2018. IN MEMORY OF Grete Christensen Marie J. Niemann Mr. James H. Schwabacher IN HONOR OF Greer Hopkins Kyle van Schoonhoven Brian Asawa Norma Draper Valerie Pope James Forrest Vedder Carlyn Clause Jean Kellogg Blanche Germain Streeter Freida Batten Janey Heagy Mary Stevens Riley Cameron Waterman III Michael Colbruno Sylvia Lindsey Eloise Bouye Norman Larson Henry W. Robinson & Ethel Worn Hugh Coughlin Jean & Lindsay MacDermid Robert Elliott Brown John Lindstrom Nettie Robinson James Heagy Hans & Sondra Orup Zheng Cao Thomas E. Morton Rusty Rolland Jake Heg gie Glenn Reid The Merola Opera Program also extends its most sincere appreciation to all those contributors who helped meet our annual income needs through gifts of $1 to $999.

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THE RING CIRCLE In the opera world, there is no greater challenge—and no finer reward—than Richard Wagner’s The Ring of the Nibelung. Ring Circle members and Production Sponsors understand what it takes to bring this most epic work to life: more vision, more planning, more rehearsal, more resources, and more heroes dedicated to making it all possible. The only thing that dwarfs the scale of this production is the passion of our members. Thank you! Valhalla CIRCle ValKyRIe CIRCle Mrs. linda Barrett Dr. & Mrs. William M. Coughran Johanna & Tom Baruch Mr. Michael Barrientos Bertie Bialek elliott Darla & Richard Bastoni Mr. & Mrs. edwin Berkowitz Keith & Priscilla Geeslin Park & Joan Chamberlain Mr. Turney Berry John a. & Cynthia Fry Gunn Maureen Clarke Dr. Barbara lynn Bessey Sylvia & John hughes leonard & Marie Collins Betty & Fred Bialek edmund & Jeannik Méquet littlefield Fund Michèle Beigel Corash & laurence Corash Donald Blais & Michael McGinley Bernard & Barbro Osher Mr. Jon Cosby & Ms. Kathi Gwynn Susan S. Blake & Joel Kaufmann Betty & Jack Schafer Jeffrey n. Dauber & Marc a. levin Jared & Claire Bobrow Jan Shrem & Maria Manetti Shrem Shirley Davis & Paul Sack Bill & alison Boeckmann The Thomas Tilton Production Fund Mary l. desJardins lucia Bogatay & Thomas D. Wickens* United airlines Bob epstein & amy Roth Mr. & Mrs. John P. Breyer Barbara a. Wolfe lisa erdberg & Dennis Gibbons Mrs. Karen Broido, edward Frank & Sarah Ratchye in memory of Mr. Irv Broido WOTan CIRCle Candace & Vincent Gaudiani lynda l. Brothers Mr. & Mrs. noel Fenton Ms. Wanda lee Graves Mr. Brad Buckman Kristina Flanagan Geoffrey & Marcia Green Rike & Klaus Burmeister Mary & Craig henderson Mr. Timothy Guth Charles R. Bush & Calvin lau Denise littlefield Sobel Ms. linda hodge Mr. Donald D. Campbell & Ms. Sue Bennett Mr. William R. Stensrud & Ms. Suzanne Vaucher Marie & Palmer hotz Josephine Chen Sharon & Clark Winslow Barbara K. Jackson Julia Frohlich Cherry Susan & eric Johnston Frederick Chung & Kimberly Chun SIeGFRIeD CIRCle Candace Zander Kahn Rev. David l. Clarke Ms. Christina & Dr. elizabeth DeBruin Warren Thomas D. King Susan Coughlin Reid & Peggy Dennis Dr. Susan Kroll & Mr. Mark R. Kroll Drs. John & lois Crowe Jerome l. & Thao n. Dodson Bernice lindstrom, Dr. James Cuthbertson Carol & Dixon Doll in memory of John W. lindstrom edgar Foster Daniels Foundation anne & Timothy Kahn Patrick McCabe Dr. & Mrs. Philip S. Dauber Karen J. Kubin James R. Meehan Sarah a. Douglas Peggy & Boyce nute Steven M. Menzies Robert & Carol Dutton Chandra & Michael Rudd Christine Miller & Gary Glaser Donald & Janice elliott Bob Tandler & Valli Benesch alice ames Morison & Dr. Oakley hewitt Mr. and Mrs. Carl Fieser Ronald & emely Weissman Steve & Betsy Moulds Mr. & Mrs. Warren W. Flack anonymous heidi Munzinger & John Shott Mr. & Mrs. Thomas Frame Janet napolitano Karen l. Gabrielson heRO CIRCle John O. nigh Mr. Richard Gemperle Robert Mailer anderson & nicola Miner Maxwell G. Paley & Gregory J. Corrales Charles D. Goodman Mark & Judy Bednar Mrs. Carol e. Parker & Dr. Gerhard h. Parker Robert C. Goodman & John Bankston helen Berggruen Robert Peck aM & yvonne von hartel aM Dr. & Mrs. Marvin l. Gordon David Bertoni neil & elsa S. Pering Michael a. harrison & Susan Graham harrison edward Paul Braby, M.D. David & Joy Powell anne Gray Carol Franc Buck Ms. linda Reiff Bernice e. Greene Susan K. hoerger James Sabry & elizabeth Peace Patricia C. Gumbel leslie & George hume Patricia Stich hadley Dale hall & l. Warde laidman Franklin & Catherine Johnson ann Classen Treadwell Peter & harriet hanauer Jeffrey & anne Marie Katz Barbara Moller Ward Mr. Kevin harrington Mr. lawrence a. Kern Ms. arlene Wasserman Mr. & Mrs. Wolfgang h. hausen Jack Klingelhofer anonymous (4) Martha & Michael helms Dr. & Mrs. h. h. loomis, Jr. Mr. & Mrs. Warner henry Mr. Robert B. Mison RhIneMaIDen CIRCle Ian hinchliffe & Marjorie Shapiro nancy S. Mueller Dorrit ahbel, M.D. al hoffman & David Shepherd Brian Muirhead Mr. & Mrs. Gregory J. allison Mr. & Ms. Gerald hoshijo Carol Potter Peckham Kendall & Claire allphin Carol l. & David G. hough Ms. Vina Spiehler Robert M. anderson & Kyong Shik eom Joanne howard Don h. Watson, in memory of Worrarat Watson James & Cheryl Babcock Mr. Joel howell Judith B. and Joseph Workman Mrs. Margot Shinnamon Bach Bruce W. hyman & Simone M. Quarré anonymous Dr. Christopher Bandy Victor & Kathy hymes

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International Curtain Call David & Marilyn nasatir Mr. Donald Sobelman & Riki & Robert Intner Marina & Ben nelson Ms. leishia Woolwine Mr. Joseph Jacobs Mary l. nilan Dr. Richard Sogg Mrs. Jo Jagoda lynn Odland Dr. Steven Sorenson Mr. Keith Jantzen & Mr. Scott Beth Dean and Kim Pananides Mr. and Mrs. eugene e. Stark Thomas & elisabeth Jones Dr. Richard & Jean Park Dr. Jeffrey l. Stern Mr. David a. Kadish Ian Pollard Ms. Francoise Stone Michael Kalkstein & Susan english Ruth Quigley Ms. Maryanne Tagney Dr. amelia Kaymen M.D. Dr. & Mrs. George T. Rab Drs. May loo & William Thurston Gary D. Kelb Charles & Vicki Raeburn Tl Trust Drs. Phyllis a. Kempner & David D. Stein harold & Penny Ray Ms. Carol J. Tomlinson Mr. & Mrs. William W. Klaproth Dr. & Mrs. John B. Reed Ms. Takeko Toyama Robert & linda Klett Mr. & Mrs. John S. Renard Mr. Robert Trankle Mr. Thomas Koch louise h. Renne & Paul a. Renne Mr. & Mrs. James S. Tunnell Mr. & Mrs. Jeff Kodosky Kay & Ray Roberts Dr. Bradford W. Wade & Dr. linda K. Riebel laurie Kottmeyer & Biance Duarte Mrs. William C. Robinson Ms. nancy Walker norman T. larson* Mr. Paul Rogers Mr. & Mrs. William J. Watt John & a.M. larue Ms. heli Roiha & Ms. Therissa McKelvey Daphne & Stuart Wells Melissa and laurence lasky Mr. George e. Rossmann Mr. Phil Wennhold Catherine lehmann Mr. George Roth & Ms. elizabeth ann Campbell Ms. Jane a. Wetzel Cathy lindahl Dr. Gwendolyn Rothman Mr. harvey yaverbaum lisa P. lindelef Mr. Paul l. Rowe & Mr. R. Michael Sereno Diane & howard Zack Sylvia R. lindsey Barbara Sahm & Steven Winkel Mr. & Mrs. Stephen Zilles Barry & Marie lipman Mr. heinrich Schelbert Prof. & Mrs. Jeffrey Zink Dr. Britt-Marie ljung Dr. Stephen Schoen & Ms. Margot Fraser* Dr. Richard a. Zuniga & George & Patricia locke Mr. & Mrs. Michael Schroeder Mr. Sean M. Selegue Sylvia & Paul lorton Jr. Mr. & Mrs. lynn G. Seppala anonymous (11) George & Kristen lund Vandana & arvind Sharma Susan & Philip Marineau Mr. & Mrs. Gerald V. Sharp Paula Markovitz Steven e. Shladover Ms. Barbara McDonnell Ms. Ruth a. Short ellen & Paul McKaskle Drs. edward & Dale Sickles Dennis J. McShane, M.D. & Ms. Marjorie Simon hon. Richard S. Gordon Mr. & Mrs. Dennis & Kagari Smith Dr. Douglas & Dr. Penelope Meakin libby Smith Maya D. Meux, MD Stephen Smoliar & linda Dembo Mr. & Mrs. John Meyer Kenneth & Joanne Snow Mr. & Mrs. James Milner Dr. Judy C. Miner Thomas & lydia Moran Mr. David Moreton Don & Rene Morgan William O. & Susan W. Morris Ronald D. Morrison

*deceased

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OFFICERS HONORARY DIRECTORS Jane S. Mudge, President Matthew & Kate Shilvock Maryam Muduroglu, David Gockley Vice President, Administration George F. Lucas, Vice President, Associate Directors STAFF Silvia Lin, Vice President, Chapters Susan Malott, Roberta Holden, Managing Director Vice President, Community Outreach Megan McDonald, Director of Special Events Mary Poland, Vice President, Development Alaina Schukraft, Belinda Steyer, Vice President, Education Special Events Associate and Celeste Lee-Bobroﬀ, Vice President, Fundraising Volunteer Coordinator Virginia Cartwright Ziegler, Caroline Altman, Creative Director Vice President, Marketing John C. Morris, SAN FRANCISCO OPERA GUILD gives voice Cynthia Schreuder Kalev, Secretary Education Program Administrator to potential through education and outreach Carol Simmons, Treasurer Maya Rath, Finance Manager programs that bring opera center stage into Lynne Edminster, Director-at-Large Ellen Kerrigan, the life of the community. Rita Milner, Education Fund Chairman Opera à la Carte Coordinator

SAN FRANCISCO OPERA GUILD is a separate organization from San Francisco Opera and operates under a distinct board of directors. We extend our sincere appreciation to all our event and program supporters and acknowledge the following individuals, corporation and foundation for their generous support of $1,000 or more between Opera Ball 2017 and April 15, 2018. For more information about supporting San Francisco Opera Guild, please contact Susan Malott at (415) 565-3291, [email protected], or visit our website at sfoperaguild.com.

CORPORATE AND INDIVIDUAL DONATIONS $100,000 & above INDIVIDUALS David & Karin Chamberlain Natalia Urrita-Hernandez & Jesus O. Diaz John A. & Cynthia Fry Gunn Joachim & Nancy Hellman Bechtle Carolyn Chandler Israel Hernandez Donna DiGiuseppe & Rick Matcovich Bernard & Barbro Osher Christopher & Camille Bently Dr. Carolyn Chang & Mr. Patrick King Honorable David Vander Wall & Dagmar Dolby Mr. & Mrs. Theodore Brown Mrs. Newton A. Cope Julie Gallo Vander Wall Frank & Susan Dunlevy Denise Littlefield Sobel Jack Calhoun & Trent Norris Olivia Hsu Decker Soo & Raj Venkatesan Jessica & Michael Eisler Bill & Bridgit Coughran Pamala & Ted Deikel Molly & David Wadhwani Jacqueline & Christian Erdman $50,000–$99,999 Michael & Holly Cuggino Stacey & Ted Dobos Mark & Brigitta Whiting Sally & Noel Fenton CORPORATIONS/ORGANIZATIONS Lynne Edminster & Brian Atwood Jerome L & Thao N. Dodson Celeste & Darryl Woo John D. Fierro Neiman Marcus Union Square Adm. James Ellis, Jr. & Holly & Jim Farrell Beatrice Wood Claire & Jeff Fluhr TriplePoint Capital Dr. Elizabeth Paté-Cornell Sandra Farris Lisa & Jim Zanze John Fogelsong Kathy Huber & Larry Binkley Ann & Daniel Girard Robert & Chandra Friese INDIVIDUALS Sylvia & John Hughes Jane & David Hartley $1,000–$4,999 Mr. & Mrs. James N. Froeb Ann & Gordon Getty Leslie & George Hume Greg & Sally Hartman CORPORATIONS/ORGANIZATIONS Sarah Gallo Franklin & Catherine Johnson Dorothy & C. Bradfor d Jeffries Jane & Bert Inch Dior Paul Gamba Courtney & Jim Labe Lawrence A. Kern Cynthia Schreuder Kalev & Hermès Gary V. Garabedian Shelley & Rick Kuhle Ovadia Kalev James J. Ludwig Foundation Joel Goodrich $25,000–$49,999 Andrew Martin-Weber Gretchen B. Kimball San Francisco Zoological Society Shelley Gordon Marissa Mayer & Zachary Bogue Karen J. Kubin Sigrun Graeff CORPORATIONS/ORGANIZATIONS San Jose Opera Guild Helen & John Meyer Drs. Danielle & Randall Lane Deborah Greer & Hannah Greer Harrah’s & Harveys Lake Tahoe SFOG Marin Chapter Mr. & Mrs. James Milner Joan & John Lavorgna Strategic Project Solutions Prof. Gerold Grodsky Wells Fargo Bank Maryam & Oran Muduroglu Carson & Suzanne Levit Maria Hilakos Hanke & Michael Watts Mr. & Mrs. Edward G. Poole Cynthia & Richard Livermore INDIVIDUALS Richard B. Hechler INDIVIDUALS Anne B. Popkin Connie & B ob Lurie Judith & David Anderson Mr. Ted Bartlett & Willie L. Brown, Jr. Clint & Janet Reilly Victor & Farah Makras Mr. & Mrs. William Marks Dr. Donna Hoghooghi Paula & Bandel Carano Stephen Revetria The Malin Family Navid P. Armstrong Robert & Rusty Holden Whitney & Jim Crane Pamela & Richard Rigg Dr. Alan Malouf Eleonore Aslanian Brian & Rene Hollins Kim & Mark Dempster Roselyne C. Swig Anne Marie & Stephen Massocca Cecilia Aviles Ronald Holloway & Doug Hammerich Carol & Dixon Doll Maryjo Tisor & Todd Kaplan Mrs. John K. McWilliams Thomas Barrett & Belinda A. Berry Jessica Jacob & Zachary Townsend Elizabeth Pang Fullerton Diane B. Wilsey Teresa & Mark Medearis Nina & Charles E. Belle Donald & Jacqueline Jacobberger Family Foundation S. Shariq Yosufzai & Brian E. James Maya D. Meux, MD Carol Benz Jorge Jaramillo Keith & Priscilla Geeslin Lorna Meyer-Calas & Dennis Calas J. Dennis Bonney Tonia & Adam Karr John & Marcia Goldman $5,000–$9,999 Phyllis Moldaw Ron & Beverly Borelli David Kensington Arlene Inch CORPORATIONS/ORGANIZATIONS Jane S. Mudge Melissa & Tracy Boxer Zill Ms. Jill D. Kent Stephen & Maria Kahng Abbot Downing Deepa Pakianathan & Phil Pemberton Karen & Anton Bruehl John Kerns Mary & Bill Poland AT&T Jerome Paolini Mrs. John M. Bryan Diana Kissil & John Cullison Kai Peng Tan & Eric W. Ormsby Dodge & Cox Carol & Gerry Parker Simon & Christine Buesnel Juanita & Alan Kizor Taube Family Foundation Pacific Union International Anne & Robert Pedrero Alisa Burgess-Blajwas & Harold Blajwas Randall E. Laroche & David G. Laudon Dianne & Tad Taube Saks Fifth Avenue The Honorable Nancy Pelosi & Mrs. Karen Caldwell Norman T. Larson Jennifer & Steven Walske SFOG East Bay Chapter Mr. Paul Pelosi Mark Calvano Leilani Latimer & Fabio Ficano Maria Pitcairn Debra & Richard Carpeneti Nafiseh & Karl Lindberg $10,000–$24,999 INDIVIDUALS Mr. & Mrs. John S. Renard Vera Carpeneti Mr. & Mrs. Lawrence J. Ludgus Francesca & Jeff Amann Louise & Paul Renne George & Dolly Chammas Mr. & Mrs. James J. Ludwig CORPORATIONS/ORGANIZATIONS Jean-Jacques Bienaime Karen Richardson & Jon Rubinstein Yi-Ling Chen & Victor Hwang Jennifer Lynch & Justin Schuster Accenture Elizabeth & David Birka-White Alice & Bill Russell-Shapiro Hilary & Richard Clark Maggie & Carter Mack Bank of America Celeste & Michael Bobroff Deborah & Paul Sagues Julie Coplon Mrs. Rhonda Mahendroo Burberry Romana D’Angelo Bracco Komal Shah & Gaurav Garg Jill Cowan Elizabeth & Patrick Malkassian California Arts Council Maria & Jerry Brenholz Roberta Sherman Phoebe Cowles & Robert Girard Susan & James Malott SFOG East Bay Chapter Ms. Barbara Brown Merrill Randol Sherwin Ena & Mark Cratsenburg June & Stephen Manley Koret Foundation Carol Frank Buck Mary Beth & David Shimmon Shannon & Dan Cronan Monica Mary March & Resolution Economics LLC Marilyn & Michael Cabak Raj Singh & Renata Anderson Kelsey Cullen Enrique Rodriguez San Francisco Giants Annette Campbell-White & Zornitza Stefanova & Shahla Davoudi Mr. & Mrs. William Marks Union Bank Dr. Ruediger Naumann-Etienne Payam Mirrashidi Bill Demas Dr. Pamela Marron

98 SAN FRANCISCO OPERA Guild Summer 2018 New Order.qxp_Guild 5/22/18 5:34 PM Page 3

CORPORATE AND INDIVIDUAL DONATIONS continued Suzanne Martinez Susan O’Brien Veronica Rivas-Tramontozzi Carol Simmons Gina & Michael Warren Mr. Jorge Maumer Teri O’Brien Barbara Roach Katherine & Dan Simon Ronarld & Emely Weissman Scott McClure David Todd Oldroyd Alicia & Michael Rockefeller Frederic H. Smith Alexandra & Spencer Wells Ms. Elaine Mellis Leslie & Scott Olrich Connie & Steve Rossa Russell Stanaland Keith Wetmore Sydney Minnerly Nazan & Charles Orr Aﬁe Royo France Szeto Philip J. Wilson Natasha & Tim Monahan Gus Panos Chandra & Michael Rudd Barbara Traisman Toni Wolfson & Robert Federighi Donald & Rene Morgan Chrisa Pappas & Dean Sioukas Angelika Ryan Stephanie Tuttle & Ramsey Walker Montgomery & Annie Woods Joshua Morgan Laurie Pasmooij Andrea Schultz & Michael Woods Yuka Uehara Ms. Lumiki Wright Milton Mosk & Thomas Foutch Camille Perona Ave Seltsam Herbe rt K. Uetz Linda Elliott Zider Nancy S. Mueller Sujata Pherwani Sharon & David Seto Michael Valenti Virginia Cartwright Ziegler Bahya Murad Tanya Powell Kimberlee Sharp-Dutto Paul van Dyk & Şaduman Güzel Klaus Murer Ursula Ralph Clara Shayevich Micaela van Zwoll & John Green Christina Noren J ames & Sheryl Reuben Mai Shiver Douglas S. Waggener

SAN FRANCISCO OPERA GUILD EDUCATION FUND The Opera Guild acknowledges with thanks those groups and individuals who have contributed $2,500 or more in support of San Francisco Opera Guild’s Education Fund by April 15, 2018. For information on supporting the Guild’s Education Fund, please call (415) 565-3291. Cheryl & Ralph Baxter Alfred Hartley Lois Manbert Venetta & John Rohal Karen & Anton Bruehl Jane and David Hartley Anne Marie Massocca Diane Rubin Paula & Bandel Carano James Heagy Kathleen McEligot San Francisco Opera Guild, The Estate of Mrs. Sheldon Cooper Barbara Henry Teresa & Mark Medearis East Bay Chapter Mary Corroon Jacquelin H. Hume* Karen Merritt San Francisco Opera Guild, Beverly Coughlin Katie & Claude Jarman Virginia Miller* Marin Chapter Ena & Mark Cratsenburg Mrs. Mark O . Kasanin Susan Mooradian San Francisco Opera Guild, Olivia Hsu Decker Diana Kissil & John Cullison Mary Louise Myers Peninsula Chapter Carol & Dixon Doll Karen J. Kubin Susan O’Brien Ann Simpson Delia Fleishhacker Ehrlich* Joan & John Lavorgna Elizabeth Pfau* Claire Collins Skall* Bettye Poetz Ferguson Foundation Eileen D. Ludwig* Maria Pitcairn Susan Tamagni Anna Freiman Cathy & Angus MacNaughton Mary & Bill Poland Ann & Daniel Girard The Malin Family Ursula Ralph Katharine Hanrahan* Susan & James Malott Joyce Reitman *Deceased

CHARLOT D. MALIN SAN FRANCISCO OPERA GUILD EDUCATION FUND We express deep appreciation to the following groups and individuals who have made gifts of $500 or more by April 15, 2018 in memory of Charlot D. Malin, Past President and a leader of San Francisco Opera Guild. For information on how to contribute to this fund, please contact Susan Malott at (415) 565-3291, [email protected], or visit sfopera.com/charlotmalinfund. Steve & Maura Abernathy Lynne Edminster Arlene Inch Bernard & Barbro Osher San Francisco Opera Guild, Elizabeth Birka-White Jennifer Emerson Cynthia Schreuder Kalev John & Sherry Peterson East Bay Chapter Kristy Brabec Sue Firestone Juanita Kizor Mary & Bill Poland John Shea Erik Breivik Claire Fluhr Nina Klotz Mai Shiver Reuben, Junius & Rose, LLP Barbara Brown Malin Giddings Cynthia Livermore Sarah Somberg Karen Richardson Martha Chesley Ann & Daniel Girard Nicola Luisotti Kimberlee Stryker Shannon & Dan Cronan Daniel & Inger Golob Susan & James Malott Karen Ann Richardson Family Swartz Foundation Suzy Kellems Dominik Sigrun Graeff Gene & Richard Morey Foundation Barbara Traisman Sean Dowdall Rong Hu Christina Noren Deborah Sagues Natalia Urrutia-Hernandez

IN-KIND DONATIONS Accenture Copymat SF George F. Lucas Santa Fe Opera Alex Chases Salon Dependable Letterpress Maisons Marques & Domaines Soirée Valet Allegra Print & Imaging Drew Altizer Photography McCall s Catering & Events The St. Regis San Francisco Mark Alman FaceWest Rita Milner Christine Stovell J. Riccardo Benavides Event Styling Four Seasons Resort Ranch Encantado Maryam & Oran Muduroglu Town & Country Burberry Georgia O’Keeffe Museum Neiman Marcus Union Square United Airlines Karen Caetano, Id-alist llc HALL Wines The Nob Hill Gazette The Westin St. Francis San Francisco Jack Calhoun & Trent Norris Hyatt Regency London — The Churchill Roederer Estate on Union Square Carpe Diem Jay Siegan Presents San Francisco Opera Virginia Cartwright Ziegler

SAN FRANCISCO OPERA GUILD LEGACY SOCIETY The San Francisco Opera Guild Legacy Society honors those who have included San Francisco Opera Guild in their will, trust, or other estate plans. For more information on how you can support San Francisco Opera Guild through your estate planning, please call (415) 565-3291. Ben D. & Dorothy Coppersmith Bruce M. Jewett Estate of Leontine Sassell Rod & PJ Handeland Mr. Maurice Kanbar Catherine Stafford Revocable Living Trust Jane & David Hartley James J. Ludwig Mrs. W. Carroll Tornroth

More than 75,000 Bay Area families, students and teachers experience the excitement of opera with a variety of educational and community engagement programs presented through the combined eﬀorts of San Francisco Opera, San Francisco Opera Guild, and the Merola Opera Program.

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R I N G C R O S S W O R D B Y B R A D W I L B E R

Many boxes celebrating one little circle ACROSS 65. Geological epoch when 1. Wagner’s Mime is one mammals emerged 6. Figures on sports 66. Frasier call screener trading cards 69. Not clerical 11. Attention-getting whisper 70. Try to deceive users, in a 15. Spherical opening? way 19. Big name in calculators 72. “It’s nippy!” 20. Sign in a boardinghouse 73. Since Jan. 1: Abbr. window 74. Like paisley-pattern 21. Withdrawn orchard shapes, fancifully spray 76. Capital ESE of Warsaw 22. Certain speckled equine 77. Swiss town where 23. Coastline recess Einstein went to high 24. Like Fricka upon hearing school of the Siegmund- 79. Canadian who headlined Sieglinde liaison San Francisco Opera’s 123. Get around like the 16. Scenic upholstery fabric 67. Watch brand in James 91. Downsizes Lohengrin and 25. Protective circle in Die Flying Dutchman, say 17. Mrs. Trump between Bond films since 1995 92. Type of salad with Meistersinger in the Walküre 124. Catches red-handed Ivana and Melania 68. ___ paradoxes tomatoes and anchovies 1990s 27. Essential oils from rose 125. Submerged sailing 18. Tatum of Little Darlings 70. Segment in a Requiem 94. Heartfelt 81. Scot who made his petals hazard 26. Tedious task mass 95. Branch of Islam Company debut in 1990 29. Sinuous swimmer 126. PlayStation maker 28. Jonathan Swift’s “The 71. Almost every 97. Shambolic 85. “___ Rhythm” 31. One side of the Ring’s 127. “... shake a friendly hand Tale of ___” Heldentenor role 99. www.bayreuther- 86. Ring entrance line sung rainbow bridge ___ sink”: Britten’s Billy 30. John in Britain? 72. One was once imposed festspiele.de, e.g. by 36- and 83-Down Budd 32. LeBron James’ team, 32. Outing for spotting on non-Bayreuth 101. Become snared, as in a 88. Agent from an embassy 128. Dash off informally waterfowl, maybe performances of Parsifal net 90. Prosecutors, briefly 129. Lohengrin royal, 33. ___ Välkki (famed 1960s 35. Cunning demigod in 75. Antioxidant preservative, 103. Steinbeck have-nots 91. Govt.-backed Anglicized Brünnhilde) Das Rheingold briefly 104. “You’ve stumped me!” investment 34. Atlantic-crossing caravel 37. “Because I’m worth it” 76. The ___ Garden 105. Michael of Dallas 93. Todd who directed Far DOWN of old sloganeer (Michael Tippett opera) Cowboys fame from Heaven 1. Discovery Channel subj. 36. Jones who sang two 38. “What’s more...” 77. Soon, quaintly 106. One-toothed dragon of 96. “Stopping by Woods on 2. Wagner: The Terrible ___ Brünnhildes at San 78. It parallels the radius ’50s TV 39. Herb that often triggers a Snowy Evening” and His Truthful Art Francisco Opera in 1990 80. Soups in Vietnamese 108. Orchestra member with dermatitis rhyme scheme (Father M. Owen Lee 41. Not e’en once restaurants a spike 40. Tagging along 97. Exodus novelist book) 42. Baklava ingredients 42. Spongy toy brand 98. Hush Puppies material 3. Early 1980s NHL 44. Kristen of Ghostbusters 81. You may find a fork in it 109. Israeli statesman Dayan 43. Perk with some hotel 100. Sashimi staple dynasty 46. Broken in 82. Reluctant affirmative 111. Shelf support with a 90- upgrades 102. “Cool” fortune 4. Link with 48. River to the Seine 83. Hungarian star who degree angle 45. Sultanate on the South 103. Pertaining to the chief 5. Hans who sang Wotan 49. Offering smells of sang her first 113. Green dip, informally China Sea deity of the Eddas and the Dutchman at baking cookies, maybe Götterdämmerung 116. Lilly or Whitney 47. “___ the Top” (Cole 106. Li’l Abner possessive San Francisco Opera in 50. “Sorry, previous Brünnhilde at San 118. Jacket-flap text, often Porter standard) pronoun 1956 engagement” Francisco Opera in 1985 120. Opera critic’s asset 49. With it 107. Practice game 6. Coffee shop freebie 51. Not candid, as a photo 84. Edna Ferber novel 121. Inclined to trickery, like 52. Word after comic or 110. Bass who frequented 7. Tees and tanks cover 53. ___ Walnuts (The 87. Destiny monitors in 35-Across landing San Francisco Opera them Sopranos underboss) the Ring 54. “Hurry, cabbie!” Parsifals between 1974 8. Helen Keller’s 55. Eyes, in Acapulco 89. Alma mater of tenor Answer key is at 56. Unhinged and 2000 birthplace: Abbr. 56. Site: Abbr. Matthew Polenzani sfopera.com/ring_puzzle. 57. Fruit generally without a 112. Nautical journal 9. Parisian noodle? 58. Grp. with annual Image neck, contrary to what 114. Woo successfully 10. Work boot feature, often Awards its name might suggest 115. What one might 11. Cooking spray brand 59. Ask too many personal Brad Wilber has served as the crossword editor 60. Tenor who co-starred become after donning 12. Any other Nibelung questions for the Chronicle of Higher Education since with Birgit Nilsson in the Tarnhelm dwarf, to the ring- 61. Country chanteuse Clark 1972’s San Francisco 117. Muscovite’s bread bearing Alberich or Gibbs 2014. He has had over 300 of his own puzzles Opera Ring 119. Simon who was the 13. Ring cycle source 62. Ancient poet who said published in national newspapers, books, and 63. Famously impassive Company’s Dutchman material, e.g. “Force without wisdom emerging online venues. His 50th appearance in Buckingham Palace in 1979 14. The Forest Bird in falls of its own weight” employee 122. Author Bagnold or Siegfried, say 64. AL East or NL Central, e.g. the New York Times, in April 2017, was a cross- 64. Lavish attention (on) Blyton 15. Sounds at the pound 66. Beyond zealous word co-written with the pianist Emanuel Ax.

100 SAN FRANCISCO OPERA Patron Services Summer 2018.qxp_Patron Services 5/19/18 4:07 PM Page 1

San FrancIScO OPERA YOUR OPERA EXPERIENCE

The OPERA BOX OFFICE is located in the Opera San Francisco Opera, San Francisco Ballet, and perfor mances, at intermissions, and afterward. House, 301 Van ness avenue, and is open all proceeds benefit San Francisco Opera. the San Francisco Symphony are experimenting Monday 10 aM–5 PM, Tuesday through Saturday 10 aM–6 PM, and through the first intermission with allowing audiences to enjoy beverages in COAT CHECK For the safety and comfort of our on performance days. Tickets may also be the auditorium. audience, all large parcels, backpacks, luggage, charged by phone at (415) 864- 3330 or ordered You may bring drinks purchased in the etc. must be checked at the Opera House coat online at sfopera.com. We accept american Opera House into the auditorium, as long as check, located at the north and South ends of Express, VISa, Mastercard, and Discover. they are in the approved compostable cup the Main Lobby. If you are unable to use your tickets to a particular performance, you may exchange them with a lid, which is available at all bars. COURTESY TELEPHONE, for local calls only, is for tickets to another performance, subject to located in the main lobby across from the South availability, or donate them back to the Opera. passenger elevator Ticket exchanges for future performances can Performance Etiquette be accommodated up to one hour before DRINKING FOUNTAINS are available on all • Please turn off and refrain from using all curtain or during the first intermission. no levels except the Lower level, where there is a refunds are associated with ticket exchanges, electronic devices before the performance, courtesy water station on the north side. Water and a fee (plus any price differential) may apply. including digital watches and cell phones. bottles are permitted in the auditorium. • no cameras or recording equipment are ACCESSIBILITY San Francisco Opera is commit- permitted in the Opera House. OPERA GLASSES may be rented for $5 at the ted to providing easy access for all of our patrons. • as a courtesy to those who may have north Lobby coat check. ID deposit is Please contact the Opera Box Office prior to your fragrance allergies, please avoid wearing requested. visit so that we can ensure your comfort. perfume or cologne. For Patrons in Wheelchairs, San Francisco Opera • children of any age attending a LARGE PRINT CAST SHEETS AND SYNOPSES offers wheelchair-accessible seats at a range of performance must have a ticket; no babes are available at the coat check stations in the prices. all entrances at the War Memorial Opera in arms. main lobby. House are wheelchair accessible. Wheelchair- Management reserves the right to remove FIRST AID STATION is located on the South accessible stalls in restrooms can be found on any patron creating a disturbance. all floors (except the Main Lobby and 5th floor Lower level. In case of emergency, please ask Balcony levels). accessible drinking fountains the nearest usher to assist you. are located on all floors except the Balcony level. also served before performances and during LOST AND FOUND items may be claimed at intermissions at Patina’s café Express (Lower LISTENING DEVICES assistive listening devices the north coat check during the performance. are available at the north and South Lobby coat level) and Dress circle café. call (415) 861-8150 all unclaimed items are delivered to the War checks. ID deposit required. or visit opentable.com for reservations or to Memo rial Performing arts center at 401 Van pre-order. Patrons dining in the Opera House ness ave., room 110, (415) 621-6600 (8 aM–5 LIVE TITLES: TEXT-TO-VOICE SUPERTITLES may enter through the north carriage entrance PM, Monday–Friday). Headsets that provide a spoken version of the (adjacent to the War Memorial courtyard) up to supertitles are available at the north Lobby coat two hours prior to curtain. TAXI SERVICE Patrons desiring a taxi after a check. performance should come to the Grove Street The SAN FRANCISCO OPERA SHOP, located in Taxi ramp located on the south side of the DINING AND REFRESHMENTS The Patina the South Mezzanine lobby, front lobby, and Opera House. accommodations are provided Group serves an elegant hot buffet in the lower north Dress circle of the Opera House, sells on a first come, first served basis, and cannot lounge of the Opera House beginning two opera cDs, DVDs, SF Opera merchandise, and be guaranteed as service is based on availability hours prior to all performances. Lighter fare is gift items. The Shop is open 90 minutes before of licensed taxis. Staff will be on hand to assist.

San Francisco War Memorial and San Francisco War Memorial and Performing Arts Center Performing Arts Center War Memorial Opera House Exit Diagram War Memorial Opera House Owned and operated by the city and county of San Francisco through the Board of Trustees of the War Memorial of San Francisco The Honorable Mark Farrell, Mayor

TRUSTEES nancy H. Bechtle, President Vaughn r. Walker, Vice President Belva Davis Thomas E. Horn Lt. col. Wallace I. Levin cSMr (ret.) Gorretti Lo Lui Mrs. George r. Moscone MajGen J. Michael Myatt, USMc (ret.) Paul F. Pelosi charlotte Mailliard Shultz Diane B. Wilsey Elizabeth Murray, Managing Director PATRONS, ATTENTION PLEASE! FIRE NOTICE: Please note the nearest exit. In an emergency, follow any lighted Jennifer E. norris, Assistant Managing Director/ exit sign to the street. WALK, do not run, to the nearest exit. Disabled patrons, proceed to nearest elevator lobby Executive Secretary and await assistance.

encoremediagroup.com/programs 101 Matthew S column Summer 2018 V2.qxp_OperaNews 5/21/18 7:25 AM Page 1

POSTLUDE by general dIreCTor MATTHEW SHILVOCK

As I awoke, my ear caught a sound, which swelled fuller and fuller; no longer could I imagine myself to be dreaming: music was sounding, and such music! … I was in tears, but so was all the rest of the household. —Cosima wagner

A MOST PERSONAL EPIC on Christmas day, 1870, wagner’s wife Cosima had a very unusual awakening. she stirred to the sound of a 13-piece chamber ensemble crammed onto her staircase, the soaring strains of what we now know as the Siegfried Idyll wafting through the house. It was a 33rd birthday present from a husband to his wife y l and a gift of the most intimate, personal, and creative variety. It was also an early glimpse of one of u a

p brünnhilde’s major thematic motifs, to be heard in the ﬁnal act of Siegfried some six years later. n o

M I bring up the Siegfried Idyll because it is a poignant reminder of the duality of intimacy and I s majesty that is the Ring. There is no larger story told in all opera than the birth and destruction of the world. It is an epic of human consciousness that demands gigantic resources and the highest stan- dards of artistic excellence. It is only possible with a community of deep generosity, and it requires its audience to commit to a singular artistic journey for the best part of a week. I am so proud that we have a company and community who are willing to invest so deeply of their talents, their resources, and their passions to come together in the creation of this Ring. yet, for all of its magnificence, the Ring is also an incredibly intimate experience. It is a tale of familial love and strife, of intense passions, of individual journeys. It is the story of close-knit families, not of vast societies. although we are aware of the toil of slavery in Das Rheingold, although we feel the force of the tribe in Die Walküre, we don’t glimpse a broader sense of society until Götterdämmerung. Richard Wagner conducts siegfried’s The true power in the Ring comes from its moments of extreme intimacy, moments when we are Idyll at Triebschen with his wife allowed to linger at length on scenes so personal, so emotional, so raw, we begin to feel that Cosima and son Siegfried at his side. moments from our own life are being acted out on stage: a married couple fighting over values and prIvaTe ColleCTIon / © look and learn / rosenberg ColleCTIon / politics; a father bidding his daughter farewell; an adopted teenager forging his own path as he brIdgeMan IMages ignores his father; a young man nervously meeting a woman for the first time. These are the stories of our lives—past, present, and future. as epic in scale as is the Ring, its true might lies in its ability to utilize immense forces to open probing doors into very personal experiences. Connect with Matthew via Many of us come back hungrily to the Ring time and time again, seeking it out in every incarnation pos- Twitter, Instagram, and email. sible. This quest for repeat exposure is, I would posit, less about the desire to see a grand epic over and over again. It is more about the ability of the Ring to connect with us anew on each journey, unlocking

@MaTThewshIlvoCk different aspects of our own changing lives. It is like a portrait whose eyes follow you, wherever you are. as you watch the ecstasy-in-music that is act III of Siegfried and the awakening of what is to be a love that redeems the world, give a thought to that theme being performed on a staircase, in a house in MaTThew_shIlvoCk switzerland. In the redemptive power of epic, heroic love is also the expression of real, intimate love, a love that can transform our own very personal lives. for Cosima wagner, writing in her diary that day, the impact of that birthday present was profound in its intensity. I hope that you too find many moments in [email protected] this Ring that will leave you in tears of beauty, joy, reflection, and catharsis, as art intersects with life.

102 SAN FRANCISCO OPERA STATESIDE TO WORLDWIDE. Earn and use miles flying to 900+ destinations worldwide with Alaska and our Global Partners.

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