What is the San Francisco Opera, and where is it based?

The San Francisco Opera (SFO) is an American opera company. It is based in the city of San Francisco, California, in the United States.

When was the San Francisco Opera founded, and by whom?

The San Francisco Opera was founded in 1923 by Gaetano Merola, who served as its first general director.

What was Gaetano Merola's initial connection to San Francisco, and when did it begin?

Gaetano Merola's connection to San Francisco began in 1906 when he first visited the city. He returned in 1909 as the conductor for the International Opera Company of Montreal, leading to his belief in the viability of a local opera company.

What led Gaetano Merola to believe that an opera company in San Francisco was feasible?

Merola's repeated visits to San Francisco over a decade, observing its vibrant cultural scene, convinced him that the city could support its own opera company, rather than relying solely on visiting troupes.

Describe the trial season organized by Gaetano Merola at Stanford University in 1922.

In 1922, Gaetano Merola organized a trial season at Stanford University. The first performance took place on June 3rd in the Stanford Cardinal's football stadium, featuring operatic tenor Giovanni Martinelli performing in "Pagliacci," "Carmen," and "Faust." Despite its artistic presentation, the season did not achieve financial success.

What marked the official beginning of the San Francisco Opera's unaffiliated performances?

Following the trial season, Merola successfully raised funds for a full season. The San Francisco Opera's first unaffiliated performance was Giacomo Puccini's "La bohème," starring Queena Mario and Giovanni Martinelli, which took place on September 26, 1923, in the city's Civic Auditorium.

What characterized the San Francisco Opera's repertoire and season length during its early years under Merola?

In its initial years, the San Francisco Opera presented a wide variety of Italian operas, often performing a given opera only once. The seasons were typically brief, seldom lasting more than two months, and sometimes even less than one month.

Which notable singers performed in San Francisco Opera productions during the 1923-24 season?

The 1923-24 season featured prominent singers such as Beniamino Gigli, who performed in "Andrea Chénier" and "Mefistofele," and Giuseppe De Luca and Giovanni Martinelli, who appeared in "Tosca." Verdi's "Rigoletto" also featured Queena Mario, Giuseppe De Luca, and Beniamino Gigli.

Who designed the War Memorial Opera House, and when did the San Francisco Opera inaugurate it?

The War Memorial Opera House, which became the home for the San Francisco Opera, was designed by Arthur Brown Jr. The company inaugurated this new opera house on October 15, 1932, with a performance of "Tosca" starring Claudia Muzio in the title role.

What was a distinctive aspect of Gaetano Merola's directorship regarding the engagement of performers and the opera season?

A characteristic of Merola's tenure was the regular engagement of world-renowned singers, who often performed multiple roles due to the short season and the extensive travel required to reach San Francisco. This practice ensured audiences experienced top-tier talent within the limited performance window.

What musical recordings did Edwin MacArthur lead for RCA Victor in the late 1930s?

In the late 1930s, Edwin MacArthur conducted the San Francisco Opera Orchestra in several 78-rpm recordings for RCA Victor. These recordings included performances by soprano Kirsten Flagstad, and some were later reissued on LP and CD.

How were San Francisco Opera performances broadcast to a wider audience starting around 1941?

Beginning around 1941, short versions of all operas performed during the season were broadcast on approximately 30 radio stations across California, Oregon, Washington, Idaho, and British Columbia, extending the reach of the opera's performances.

What were some key characteristics of Gaetano Merola's 30-year tenure as general director?

Merola's directorship was marked by providing opportunities for young American singers, even without a formal training program. He also initiated regular tours by the San Francisco Opera to Los Angeles between 1937 and 1965, which helped extend the performance season into November.

When and under what circumstances did Gaetano Merola pass away?

Gaetano Merola died on August 30, 1953, while he was conducting an open-air concert at Stern Grove. His death marked the end of his 30-year tenure as the San Francisco Opera's general director.

What was Kurt Herbert Adler's background before joining the San Francisco Opera in 1943?

Kurt Herbert Adler (1905-1988) had extensive experience and training in music and theater in Austria, Germany, and Italy before coming to the United States in 1938. He spent five years building the chorus for the Chicago Opera Company before being invited to San Francisco Opera as chorus director.

How was Kurt Herbert Adler perceived by his colleagues, and what contributed to the company's high level of professionalism under his leadership?

While often described as difficult or tyrannical, Adler was highly respected for making the San Francisco Opera an internationally recognized company. Singers, conductors, directors, and designers were drawn to the company's high professionalism and the opportunity to engage in interesting artistic projects within a supportive atmosphere, leading them to return season after season.

Which prominent singers were given significant opportunities or made their debuts under Kurt Herbert Adler?

Adler provided new and exciting challenges for artists such as Geraint Evans, the Welsh baritone, the acclaimed soprano Leontyne Price, and the renowned tenor Luciano Pavarotti, significantly contributing to their careers.

How did Kurt Herbert Adler officially become the general director of the San Francisco Opera?

Adler took on increasing administrative responsibilities as Gaetano Merola's health declined. Although not the board's initial choice to succeed Merola, Adler was confirmed as general director after serving as artistic director for three months, with the support of the company's president, Robert Watt Miller.

What were Kurt Herbert Adler's primary objectives when he took over as general director?

Adler aimed to expand the opera season, which had previously concluded by late October. He also focused on discovering and nurturing new talent, both American and European, by actively seeking out promising singers at various opera houses.

How did Kurt Herbert Adler's efforts to discover new talent impact Leontyne Price's career?

Adler heard Leontyne Price on the radio and offered her a role in "Dialogues of the Carmelites" in 1957, marking her debut on a major operatic stage. Later that same season, she stepped in as Aida, a role that launched her long and successful international career.

What was the nature of the professional relationship between Kurt Herbert Adler and Birgit Nilsson?

Kurt Herbert Adler developed a strong professional relationship with the celebrated soprano Birgit Nilsson. Nilsson made her United States debut with the San Francisco Opera in 1956 and returned for nearly every season over the next 26 years, with her final appearance occurring in 1982.

How did Adler seek to enhance the dramatic and theatrical aspects of opera productions?

Adler fostered stronger connections with opera stage directors to improve the dramatic and theatrical elements of the productions. His long-standing relationship with the often-controversial stage director and designer Jean-Pierre Ponnelle, who began his association with SFO in 1957, was particularly instrumental in this effort.

What is the Merola Opera Program, and what opportunities does it provide?

The Merola Opera Program, named after the San Francisco Opera's founder, began during the 1954-55 season and was officially named in 1957. It annually offers approximately 23 singers, four apprentice coaches, and one apprentice stage director an eleven-week summer program for study, coaching, and master classes with established professionals.

Which notable singers have been participants in the Merola Opera Program?

Several singers who participated in the Merola Opera Program went on to achieve international careers. Notable alumni include Carol Vaness and Thomas Hampson, who benefited from the program's intensive training and performance opportunities.

What is the 'Opera in the Park' initiative, and when was it established?

The 'Opera in the Park' is an annual free concert that began in 1971. It takes place in Golden Gate Park on the Sunday following the opening night of the Fall Season, offering the public an opportunity to enjoy opera outdoors.

Who typically performs at the 'Opera in the Park' event, and who collaborates on its presentation?

The 'Opera in the Park' concert traditionally features artists from the opening weekend's performances, accompanied by the San Francisco Opera Orchestra. The event draws large crowds, estimated at around 30,000 listeners, and is presented in collaboration with the San Francisco Parks Trust and San Francisco Chronicle Charities.

How did the San Francisco Opera fare artistically and financially by the 1970s, and what made some performances particularly memorable?

By the 1970s, the San Francisco Opera was highly successful, consistently presenting the "cream of the crop" of international singers. Memorable nights often occurred when lesser-known singers made their American debuts or when established artists stepped in unexpectedly to replace ailing performers, creating exciting and unpredictable operatic experiences.

What were some notable instances of last-minute singer substitutions during the 1970s at the San Francisco Opera?

Two memorable last-minute substitutions included Plácido Domingo flying from New York to San Francisco to replace the ailing Carlo Cossutta on the opening night of "Otello," and Leontyne Price stepping in for Margaret Price as Aida. These instances highlighted the company's ability to adapt and the dedication of its artists.

Which San Francisco radio station broadcast the opera's Friday night performances from 1971 to 1979?

From 1971 to 1979, the San Francisco radio station KKHI broadcast the regular Friday night performances of the opera on both AM and FM frequencies. These broadcasts were hosted by well-known announcers such as Scott Beach and Fred Cherry.

What special event celebrated the San Francisco Opera's 50th anniversary in the summer of 1972?

In the summer of 1972, the San Francisco Opera celebrated its 50th anniversary with a special free concert held in Sigmund Stern Grove. The event featured performances by many singers who had previously appeared with the company, and conductor Lauritz Melchior led the orchestra in the Radetsky March, marking what was likely his final public appearance.

When did Kurt Herbert Adler retire from his position as general director?

Kurt Herbert Adler retired from his role as general director of the San Francisco Opera on December 15, 1981, concluding a significant era for the company.

Who succeeded Kurt Herbert Adler, and what was his background in the music industry?

Terence A. McEwen succeeded Kurt Herbert Adler, taking over in January 1982. McEwen had a deep passion for opera from a young age and built a career in the music industry, notably working for Decca Records and making London Records a leading classical label in the United States.

What was Terence McEwen's primary focus during his early years leading the San Francisco Opera?

Given his background in understanding opera and vocal performance, McEwen initially focused on the singers and the quality of vocal performances. His priorities were clearly demonstrated by his "Ring Cycle," which began in 1983, emphasizing the hiring of the world's best singers.

What was the purpose of the 'San Francisco Opera Center' established in 1982?

Created in response to the economic climate, the San Francisco Opera Center was established to oversee and integrate the company's various affiliate educational and training programs. It aimed to provide a coordinated sequence of performance and study opportunities for young artists.

Which programs were part of the San Francisco Opera Center under Terence McEwen?

The San Francisco Opera Center encompassed several programs, including the Merola Opera Program, the Adler Fellowship Program, the Showcase Series, Brown Bag Opera, Opera Center Singers, Schwabacher Recitals, and various Education Programs. This structure provided a comprehensive development path for young artists.

What was Terence McEwen's approach to developing young opera performers?

McEwen believed in nurturing well-rounded performers by introducing young singers to the great voices of the past, inviting them to rehearsals, and providing them with tickets to current productions. This holistic approach aimed to prepare them for potential appearances in the regular fall season.

Who was a notable success story nurtured by Terence McEwen, and in what role did she gain acclaim?

Mezzo-soprano Dolora Zajick from Nevada was a notable success story under McEwen's guidance. He "hand-held" her through her training, preparing her for the role of Azucena in "Il trovatore" for the summer 1986 season, where she received significant acclaim.

When and where were supertitles first introduced at the San Francisco Opera?

Supertitles, which are English translations of the libretto projected above the stage, were first presented during the student/family matinee performances of "La traviata" in the 1983 fall season. The overwhelmingly positive response led to their wider adoption.

What is the current status of supertitles at the San Francisco Opera?

Supertitles are now used for all San Francisco Opera productions. Furthermore, the company rents its supertitle technology internationally to other opera companies, demonstrating its impact on opera accessibility.

Who was appointed music director in 1986, and what was his tenure duration?

Sir John Pritchard was appointed music director of the San Francisco Opera in 1986 and served in that capacity until 1989.

When did Terence McEwen announce his resignation, and what significant event occurred the following day?

Terence McEwen announced his resignation on February 8, 1988. The very next day, his mentor, Kurt Herbert Adler, passed away.

What was Lotfi Mansouri's background and prior experience before becoming general director of the San Francisco Opera?

Lotfi Mansouri had a background in medicine before dedicating himself to opera. He gained experience as a director in Los Angeles and later as the resident stage director at the Zurich Opera. By 1975, he was the director of the Canadian Opera Company, where he introduced supertitles.

When did Kurt Herbert Adler first offer Lotfi Mansouri directing opportunities at the San Francisco Opera?

Kurt Herbert Adler recognized Mansouri's talent and offered him six operas to direct in the 1963 season. By the time Mansouri became general director, he had directed 60 operas for SFO and many others internationally.

What impact did Lotfi Mansouri believe supertitles had on opera audiences?

Lotfi Mansouri believed that the introduction of supertitles would lead to greater audience engagement with the performance. This innovation was considered a momentous change in the world of opera.

What significant new operas and collaborations did Lotfi Mansouri introduce to the San Francisco Opera's repertoire?

Mansouri expanded the SFO's repertoire with more Russian operas, notably Valery Gergiev's conducting of Prokofiev's "War and Peace," and established a strong link with the Kirov Opera. He also introduced Rossini's "Guillaume Tell" and Verdi's "I vespri siciliani."

What major renovation project did Lotfi Mansouri oversee, and what was its significance?

Lotfi Mansouri oversaw the reconstruction and renovation of the War Memorial Opera House following the 1989 Loma Prieta earthquake. The $88.5 million project, completed over 21 months, included repairs, audience and performer improvements, seismic strengthening, and a general cleanup, reopening in September 1997.

Who was named music director in 1990, and when did he assume his duties?

Donald Runnicles was named music director and principal conductor of the San Francisco Opera in 1990 and officially assumed these posts in 1992.

What was the 'Pacific Visions' program, and what was its objective?

Introduced in November 1992, 'Pacific Visions' was an ambitious program designed by Lotfi Mansouri to maintain the vitality of the opera repertoire. Its objective was to foster new commissions and present unusual repertoire, thereby encouraging innovation and artistic growth.

Which operas were commissioned as part of the 'Pacific Visions' program?

The 'Pacific Visions' program led to the commissioning of several significant operas, including Conrad Susa's "The Dangerous Liaisons" (1994), Stewart Wallace and Michael Korie's "Harvey Milk" (1996), André Previn's "A Streetcar Named Desire" (1998-99), Jake Heggie and Terrence McNally's "Dead Man Walking" (2000), and John Adams' "The Death of Klinghoffer" (1992).

What was the critical assessment of Lotfi Mansouri's approach to programming?

The San Francisco Chronicle noted that Mansouri was not interested in "succès d'estime" (critical acclaim without popular appeal). His focus was on creating successes that "put fannies in the seats," prioritizing audience engagement and accessibility over purely intellectual or avant-garde artistic achievements.

When did Lotfi Mansouri announce his retirement, and what was his total tenure with the company?

Lotfi Mansouri announced his retirement at the end of the 2001 season, concluding fourteen seasons with the San Francisco Opera and marking 50 years in the opera world.

San Francisco Opera Wiki: San Francisco Opera: A Symphony of History and Innovation

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The San Francisco Opera

Foundation and Location

The San Francisco Opera (SFO) is a distinguished American opera company, established in 1923 by Gaetano Merola. It is based in the vibrant city of San Francisco, California, a hub for arts and culture in the United States.

Artistic Legacy

Founded with a vision to create a permanent, locally-owned opera company, SFO has a rich legacy of presenting a diverse repertoire, often featuring renowned international artists and fostering the development of new talent. Its seasons have historically been characterized by a commitment to artistic excellence and innovation.

Cultural Significance

Over its century-long history, the San Francisco Opera has become a cornerstone of the city's cultural landscape, contributing significantly to the performing arts scene. It has consistently aimed to engage audiences with both classic masterpieces and contemporary works.

A Century of Leadership

Gaetano Merola (1923–1953)

Merola's vision led to the establishment of the San Francisco Opera in 1923. After initial trial seasons, he successfully raised funds for a full season, launching the company with a performance of La bohème. His tenure was marked by presenting a wide array of Italian operas and fostering relationships with leading singers of the era, often extending the season to accommodate their schedules.

Merola's dedication spanned three decades, during which he provided opportunities for young American singers and facilitated regular tours to Los Angeles, expanding the company's reach. His leadership laid the groundwork for the company's future success.

Kurt Herbert Adler (1953–1981)

Adler, known for his demanding yet effective leadership, significantly expanded the opera's season and international profile. He was instrumental in introducing major talents like Leontyne Price and Luciano Pavarotti to American audiences and fostered strong artistic collaborations, notably with stage director Jean-Pierre Ponnelle.

Adler's era saw the company achieve international renown, characterized by high professional standards and a commitment to artistic development. He also championed the Merola Opera Program, a vital training initiative.

Terence McEwen (1982–1988)

With a background in the recording industry, McEwen prioritized vocal excellence, famously launching his tenure with a Ring Cycle that showcased world-class singers. He established the San Francisco Opera Center to consolidate educational programs and introduced supertitles, revolutionizing the audience experience.

McEwen's leadership emphasized nurturing performers and enhancing accessibility through supertitles, which were adopted for all SFO productions and shared internationally.

Artistic Directors & Visionaries

Lotfi Mansouri (1988–2001)

Mansouri, a former director of the Canadian Opera Company, continued the tradition of innovation. He introduced new operas to the SFO repertoire, including significant Russian works and collaborations with the Kirov Opera. His tenure also saw the crucial renovation of the War Memorial Opera House following the 1989 earthquake.

Mansouri believed that theatrical success should be measured by audience engagement. He oversaw the restoration of the historic opera house and championed new commissions, including works by John Adams and Jake Heggie.

Pamela Rosenberg (2001–2005)

Rosenberg initiated "Animating Opera," a multi-year artistic plan featuring interwoven themes and new commissions. Her tenure included the American staged premiere of Messiaen's Saint-François d'Assise and John Adams' Doctor Atomic, aiming to broaden the operatic experience.

Despite facing financial challenges, Rosenberg pursued ambitious programming, introducing a diverse range of contemporary and classic works to the SFO's repertoire.

David Gockley (2006–2016)

Gockley, formerly of Houston Grand Opera, aimed to present the world's leading opera stars and commenced a new Ring Cycle. He introduced technological innovations like live simulcasts to public spaces and movie theaters, significantly expanding audience reach.

His tenure was marked by a commitment to artistic excellence, the introduction of the Koret-Taube Media Suite for high-definition broadcasts, and a strategic focus on revitalizing the Italian repertoire.

Matthew Shilvock (2016–Present)

Shilvock, an insider who succeeded Gockley, continues to guide the San Francisco Opera. His leadership builds upon the company's legacy while embracing future artistic directions and community engagement.

Shilvock's tenure focuses on artistic vitality, audience development, and ensuring the opera's relevance in the contemporary cultural landscape.

Notable Repertoire & Commissions

World Premieres

Under various directors, the San Francisco Opera has commissioned and premiered significant new works, reflecting a commitment to contemporary opera. These include operas by composers such as Conrad Susa, Stewart Wallace, André Previn, Jake Heggie, John Adams, Philip Glass, and Christopher Theofanidis.

The Dangerous Liaisons (Conrad Susa)
Harvey Milk (Stewart Wallace)
A Streetcar Named Desire (André Previn)
Dead Man Walking (Jake Heggie)
Doctor Atomic (John Adams)
Appomattox (Philip Glass)
The Bonesetter's Daughter (Stewart Wallace)
Heart of a Soldier (Christopher Theofanidis)
The Secret Garden (Nolan Gasser)
The Gospel of Mary Magdalene (Mark Adamo)
Dolores Claiborne (Tobias Picker)
La Ciociara (Marco Tutino)
Dream of the Red Chamber (Bright Sheng)

Revivals and Cycles

The company has also presented significant revivals and cycles of major works, including Wagner's Ring Cycle, which was staged as a major co-production with Washington National Opera, directed by Francesca Zambello and conducted by Donald Runnicles.

The Ring Cycle productions utilized imagery from various American historical eras, incorporating feminist and environmentalist perspectives. These ambitious stagings showcased leading Wagnerian singers and conductors, reinforcing SFO's reputation for grand-scale productions.

Contemporary Works

The opera has consistently engaged with modern and contemporary repertoire, including works by Messiaen (Saint-François d'Assise), Ligeti (Le Grand Macabre), and Janáček (The Cunning Little Vixen), demonstrating a commitment to expanding the operatic canon.

Pioneering Initiatives

Opera in the Park

Since 1971, San Francisco Opera has presented an annual free concert in Golden Gate Park. This event, held on the Sunday following the Fall Season's opening night, features artists from the current season performing with the San Francisco Opera Orchestra, drawing large audiences and fostering community engagement.

Merola Opera Program

Named after the company's founder, the Merola Opera Program, established in 1954, provides intensive professional training for emerging opera singers, coaches, and directors. This program offers master classes and performance opportunities, serving as a crucial incubator for future operatic talent.

Supertitles

The introduction of supertitles (projected translations of the libretto) in 1983 significantly enhanced audience accessibility and engagement. This innovation, pioneered by Terence McEwen, is now standard practice for all San Francisco Opera productions and has been adopted by opera companies worldwide.

Media & Broadcasts

The company has embraced technology to broaden its reach. Innovations include live simulcasts to public spaces and movie theaters, the Koret-Taube Media Suite for high-definition video production, and regular broadcasts on national and international radio, making opera accessible to a wider audience.

Home and Facilities

War Memorial Opera House

The San Francisco Opera's primary venue is the War Memorial Opera House, designed by Arthur Brown Jr. and inaugurated in 1932. This historic building underwent significant seismic retrofitting and renovation, reopening in 1997, enhancing its facilities for both performers and audiences.

The opera house is part of the San Francisco War Memorial and Performing Arts Center. Its renovation project, costing $88.5 million, addressed earthquake damage, improved infrastructure, and restored its grandeur.

Wilsey Center for Opera

In 2016, the San Francisco Opera consolidated its operations by occupying the fourth floor of the War Memorial and Performing Arts Center. This space, named the Diane B. Wilsey Center for Opera following a significant donation, houses administrative offices, costume storage, rehearsal rooms, and a 299-seat performance venue.

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References

Joshua Kosman, "David Gockley seeks to overhaul S.F. Opera funding," San Francisco Chronicle, 7 May 2011

Joshua Kosman, "Date Lines", San Francisco Chronicle, 23 May 2007

History of San Francisco Opera on company's website

Joshua Kosman, "S.F. Opera to Return to Radio after 25 years," San Francisco Chronicle, March 2007

Sean Martinfield, "SF OPERA â Announces audited financial results for Fiscal Year 2010/11", San Francisco Sentinel, February 2012

Rita Moreno to Host KQED's San Francisco Opera Broadcasts, TheaterMania.com

Patrick Summers bio on SFO website

Giuseppe Finzi bio on SFO website

San Francisco Chronicle review, March 2013

San Francisco Chronicle review, June 2013

San Francisco Chronicle review, September 2013

La Ciociara web page on San Francisco Opera website

Janos Gereben, "Music News: 22 November 2011", San Francisco Classical Voice

A full list of references for this article are available at the San Francisco Opera Wikipedia page

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This document has been generated by an AI, drawing upon information from publicly available sources, primarily Wikipedia. It is intended for educational and informational purposes, adhering to the persona of an academic researcher.

This is not professional advice. The content presented here is based on historical data and may not reflect the most current operational status or artistic direction of the San Francisco Opera. For the latest information, please consult the official San Francisco Opera resources.

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San Francisco Opera

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The San Francisco Opera 🎭

🏛️ Foundation and Location

🎶 Artistic Legacy

🌟 Cultural Significance

A Century of Leadership 📜

👨‍🎨 Gaetano Merola (1923–1953)

👑 Kurt Herbert Adler (1953–1981)

🎤 Terence McEwen (1982–1988)

Artistic Directors & Visionaries 🌟

🎭 Lotfi Mansouri (1988–2001)

💡 Pamela Rosenberg (2001–2005)

🚀 David Gockley (2006–2016)

🌟 Matthew Shilvock (2016–Present)

Notable Repertoire & Commissions 🎼

🌍 World Premieres

🔄 Revivals and Cycles

🗣️ Contemporary Works

Pioneering Initiatives 💡

🌳 Opera in the Park

🎓 Merola Opera Program

💬 Supertitles

📺 Media & Broadcasts

Home and Facilities 🏠

🏛️ War Memorial Opera House

🏢 Wilsey Center for Opera

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📜 Important Notice

Dive in with Flashcard Learning!

The San Francisco Opera

Foundation and Location

Artistic Legacy

Cultural Significance

A Century of Leadership

Gaetano Merola (1923–1953)

Kurt Herbert Adler (1953–1981)

Terence McEwen (1982–1988)

Artistic Directors & Visionaries

Lotfi Mansouri (1988–2001)

Pamela Rosenberg (2001–2005)

David Gockley (2006–2016)

Matthew Shilvock (2016–Present)

Notable Repertoire & Commissions

World Premieres

Revivals and Cycles

Contemporary Works

Pioneering Initiatives

Opera in the Park

Merola Opera Program

Supertitles

Media & Broadcasts

Home and Facilities

War Memorial Opera House

Wilsey Center for Opera

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Academic Disclaimer

Important Notice