SAN FRANCISCO OPERA

Assuring a Strong Future

Vo l u m e I • S p r i n g 2 0 1 0

E n d o w m e n t D o n o r s B a r b a r a Wa r d

a n d R o y Wo n d e r G i v e i n M a n y Wa y s

Barbara Ward and Roy Wonder and Adler Fellow Tamara Wapinsky, whom they sponsored in 2008 and 2009. Photo by Kristen Loken

CurtainB E H I N D T H E

A PublicAtion ExclusivEly for

sAn frAncisco oPErA contributors

“We have to

perpetuate

this fabulous

tradition of

opera.”

— barbara Ward

let te r f rom

Dav id Gock ley

on page two

When retired San Francisco Judge Hon. Roy L. Wonder married Barbara Ward in 2007, he brought more than

his love and devotion to the union. “He brought symphony tickets!” says Barbara. Likewise, Bar-bara shared her longtime San Francisco Opera passion and subscription with Roy, turning him into a self-professed “very interested, you could say aggressive, fan of opera.” Barbara and Roy support San Francisco Opera in nearly every possible role. This year, they are sponsoring their second Adler Fellow. Barbara is a charter member of the Medallion Society, which recognizes Opera donors contributing at least $3,000 annually, and a founding member of Opera Action in Marin County. She has served on the Opera’s Board of Directors since 1969.

Many years ago, Barbara wrote a bequest to San Francisco Opera in her will, making her a member of the Bel Canto Society, which honors the Opera’s many legacy donors. More recently, the couple made an endowment gift to the Opera’s future. “We have to perpetuate this fabulous tradition of op-era,” Barbara says about the decision to make an endow-ment gift. “It helps with David Gockley’s long range plan-ning to know that there is financial support behind him. It’s a worthy cause, and it’s the one closest to my heart.” Roy adds, “There are many civic, cultural and chari-table organizations to which I donate, but opera is ob-viously the top of my list. It requires long-range plan-ning to support such an important community activity. It’s not something you can give to one year and then fade away the next and expect it to survive. You have to think well down the road and provide a gift that lives beyond your lifetime whenever possible.” In her youth, Barbara studied piano. Her mother was a pianist who played daily. In her junior year at Mills Col-lege, she attended her first live production: Aida at San Francisco Opera. Years later as an opera volunteer, she founded Opera Action in Marin County when General Director Kurt Herbert Adler asked her to help set up an opera preview series. These events featured singers, crit-ics and other prominent opera personalities speaking and

introducing upcoming productions. “At my invitation, Jess Thomas, Speight Jenkins, John Rockwell, Robert Weede and others appeared,” Barbara says. In 1958, Barbara began to attend San Francisco Opera with her first husband Edmond (Ned), becoming full subscribers over the years. At first, their tickets were in the last row of the balcony. “Ultimately we improved our seats until we’d sat in nearly every section, and every series over time,” she says. For information about making a legacy gift to San Francisco Opera, contact our planned giving staff at (415) 565-3225 or go to sfopera.planyourlegacy.org

DEAr friEnD of

sAn frAncisco oPErA

Welcome back to Behind the Curtain, a publication exclusively for contributors to San Francisco Opera. I am pleased to have this op-portunity to communicate with you, our treasured do-nors, because during times like these as always, we want to demonstrate to you the many ways that your investment in this company makes a meaningful impact. In February we announced audited results for our Fiscal Year 2009. A winning season, com-bined with diligent cost-cutting initiatives by opera staff, resulted in a balanced budget by year-end, with a slight operating surplus. (Please see the graphs below.) Thankfully, the Opera enjoyed very strong sup-port by our loyal family of contributors. The “Great Recession” will continue to have an effect on San Francisco Opera, and the next few seasons will pose enormous budgeting challenges. Nevertheless, we are determined to meet our community’s expectation that San Francisco Opera remain the world-class per-forming arts institution it has always been. Next summer, we engage in the monumen- tal challenge of presenting three full cycles of Richard Wagner’s The Ring of the Nibelung. Mounting this epic work, especially a new pro-

duction, is a demanding feat at any time, but certainly in this current economic climate. In this issue, you will meet our amazing Ring Committee Chairs. Their commitment to this work, their personal generosity, and their tireless fundraising efforts are making it possible to present director Francesca Zam-bello’s striking new production next June. Any opera company with the artistic re-sources to mount a Ring must also build a stronger endowment. I am dedicated to see-ing San Francisco Opera on track to grow our permanent endowment to at least four times the size of our operating budget. You will meet several legacy donors in this issue, and I cannot stress enough how important

their commitment is to the future of this company. Great artists, young sing-ers in training, family op-era movies … Behind the Curtain continues to show

you the many ways we are evolving this art form in fresh and exciting directions, while also building the audiences of the future. None of this would happen without your generous support. Opera is truly an art form for the entire community. Thank you for making this possible.

David Gockley, General Director

“Your investment in

this company makes a

meaningful impact.”

EXPENSES$67,806,615

* includes Media and Opera Center

RE VENUE$68,222,647

** does not include unrestricted bequests*** includes $24 MM ticket sales

Produc tion & Ar tist ic*76%

Market ing andB ox O �ce 9%

Administrat ive andGeneral O perat ions 8%Fundrais ing

7%

O perating Revenue*** 40%

Foundations14%

O ther3%

Contributions** 50%

IndividualD onors 78%

Corporat ions3%Government

2%

EndowmentD raw 10%

CONTRIBUTIONS$34,178,648

S A N F R A N C I S C O O P E R A 2 0 0 8 - 0 9 S E A S O N F I N A N C I A L S U M M A R Y

For more information go to sfopera.com/�nancegovernance

SPR ING 2010 , I SSue No . 2

Behind the Curtain is a

publication for contributors to the San Francisco Opera.

EDITors:

Danie l le DobsonJudi th Frankel

wrITErs:

Ju l ie Fe inste in Adamswww.jul iefeinstein.com

Mark Hernandezwww.blazingstage.com

DEsIgN:

Janette Cavecchewww.cavecchegraphics.com

David gockleyGeneral Director

Nicola Luisott iMusic Director

Behind the Curtain is published by the Development Department at San

Francisco Opera. If you have any address changes or would prefer not to receive this publication please contact:

san Francisco operaDevelopment Department

War Memorial Opera House301 Van Ness Avenue

San Francisco, CA 94102

c o N Ta c T u s :

General Member: (415) 565-6416

Donor Benefits Hotl ine: (415) 551-6308

Medall ion Society: (415) 565-6401

Visit us on the web at:sfopera.com

c o m pa N y s p o N s o r sAnn and Gordon Getty Foundation

John A. and Cynthia Fry GunnFranklin and Catherine Johnson

Mrs. Edmund W. LittlefieldBernard and Barbro Osher

s E a s o N s p o N s o r

corporaTE parTNErs

San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund

a r T I s T p r o F I L E

Catherine Cook Enjoys Being Part of Something BigF o r m e r A d l e r F e l l o w P e r f e c t s

t h e “ C o m p r i m a r i o ” R o l e

catherine cook in the

2008-09 production

of Boris Godunov.

Soprano Leah Crocetto, a second-year Adler Fellow, was one of

five winners of the Metropolitan Opera’s prestigious National Council Auditions on March 14, 2010. The winners were selected from nine finalists who performed arias with the Met Orchestra. First-year Adler Fellow, mezzo-soprano Maya Lahyani, was also one of the finalists. Nearly 1,500 singers participated in this year’s auditions. Each winner receives a cash prize of $15,000 and even more importantly, the opportunity to launch a major operatic career. Past winners of the Met Auditions include Stephanie Blythe, Renée Fleming, Susan Graham, Nathan Gunn, Ben Heppner, Hei-Kyung Hong, Samuel Ramey, and Deborah Voigt. To learn more about the Adler Fellows Program, please visit sfopera.com/adler.

Adler fel lows in the news

“I n 2010, I’m celebrating my twentieth anniversary with San Francisco Opera,” notes mezzo-soprano Catherine Cook.

“When I arrived here in 1990, I was, uh… twelve years old—the youngest Merolini ever! Yeah, right,” she continues, with a laugh. It’s hard not to be at ease around Cathy, as her friends call her. Her earthy humor—not to mention her talent—have made her a San Francisco Opera favorite. After participating in Merola in 1990 she went on to an Adler Fellowship in 1991 and 1992. She has performed or covered mainstage roles here every year since. “I’m from Chicago,” she says, “but now San Francisco is my home.” Cathy is well known for comprimario roles. As the maid, nurse, or friend, it’s her job not only to perform well, but also to make the lead artists look good. She has performed over forty such roles with San Francisco Opera, as well as companies such as the Metropolitan Opera and Lyric Opera of Chicago. “I always gravitated toward those kinds of parts. For me, it was never about being a star,” she admits. “I just wanted to be part of something big.” Comprimario artists have to sing as well as the big name stars and are often expected to be better actors. “We have less information about our characters compared to the leads,” she observes. “That means we have to research ten times more. On top of that, we have to be good listeners—we have to give the leads a lot to work with. My favorite assignment so far has to be last year’s Il Trittico. I loved the challenge of doing three very different roles on the same night.”

“I’ve always been good with the acting,” she continues. “But I had to build my vocal technique from the ground up.” That might explain why she has been a successful teacher. She has served on the faculty of the San Francisco Conservatory of Music since 2006, and was recently named Chair of the Voice Department, to start this fall. “I bring real world experience to the table,” she

comments. “It is a huge honor to be able to have a hand in building and shaping the department.” “I love teaching. But,” she is quick to point out, “I’m not done performing by any means. One feeds the other.” In 2010,

San Francisco Opera audiences will see Cathy reprise two of her most oft-performed roles: Marthe in Faust and Marcellina in The Marriage of Figaro. Also upcoming is her Opera Colora-do debut as Ježibaba in Rusalka. Her achievements seem to suit her just fine. “I’m living out my dream,” she says with a big smile.

Comprimario: A supporting

role in opera, derived from

the Italian “con primario,”

meaning “with the primary.”

Ph

oto

by

Terr

en

ce

Mc

Ca

rth

y

g r E aT s I N g E r s F u N D

p r E s E r v E s T r a D I T I o N

Learn how you can help keep San Francisco Opera “a singers house” by going to sfopera.com/greatsingers

T h e u N S u N G h e R o e S

o f T A N N h ä u S e R

How many people does it take to create one of San Francisco Opera’s

innovative productions?

In addition to the beautiful craftsmanship of artists like Jersey, the 2007 production

of Tannhäuser required:

92 musicians

174 performers (including 10 principal artists)

101 personnel behind the scenes

That means that for every principal artist

there were 35 people in the orchestra pit,

chorus, dressing rooms or backstage.

Artisan Nails the DetailsI n A g e o f N e w M e d i a , O p e r a I s S t i l l

H a n d s - O n f o r J e r s e y M c D e r m o t t

M eet Jersey McDermott, San Francis-co Opera’s Craft Artisan. “If it’s worn but it’s not a garment, it’s my respon-

sibility. For example, masks, armor, jewelry—all of these are in my world.” How does someone become a craft artisan at a major opera company? Jersey had studied art and moved to San Francisco to work in commercial jewelry de- sign. She joined San Francisco Opera as temporary staff for Parsifal in 1999, and has been with the Company for seven seasons. Back in her studio in the Costume Shop, any visitor would be impressed by the variety of materials, from metal and clay to leather and plastic, as well as glue guns, mannequins, and other tools of the trade. “For new productions, I make things from scratch. For rentals, I adapt what they ship to us.” Take the current Il Trovatore. “We didn’t have enough high boots for the men’s chorus, so I made gaiters—thirteen pair! Put them on over standard boots, and it looks like the real thing.” What Jersey likes most about her job is working with designers. Typically, the designer gets all of the attention, but people like Jersey

actually bring the designs to life. “The process can be challenging—figuring out which ma-terials work best and how to make something look good.” Among her favorite assignments so far has been 2007-08’s Tannhäuser. “I made all the armor. I also liked The Merry Widow; it was fun making three sets of period-looking jewelry for all of those ladies.” Jersey is one of about forty full-time seasonal workers who work at the Costume Shop for six to nine months each year. “This kind of work isn’t the most lucrative, but the people here are in it more for the sake of the

craft than the money.” “It’s unusual for a company to have a full-time craftsperson like me,” Jersey notes. But it’s that kind of detail work that makes San Francisco Opera’s productions among the best in the country.” To learn more about the work

being done at the San Francisco Opera Cos-tume Shop, please view the online video at sfopera.com/costumeshop

“for new

productions, I

make things from

scratch.”

c o s T u m E s H o p

Jersey McDermott displays the armor she created for 2007-08’s production of tannhäuser. Photo by Daniel le Dobson

legacy gifts, whether large or small, demonstrate a deep commit-ment to san francisco opera. bequests, trusts, retirement plans and other planned giving strategies can both meet your needs and also provide a continuing source of financial support for the company.

ensure the

opera’s future by

Leaving a Legacy

A costume craftsperson’s tools of the trade.Photo by Daniel le Dobson

a r T I s T p r o F I L E

Quinn Kelsey Returns after La Bohème SuccessYo u n g S t a r- i n - t h e - M a k i n g

I n s p i r e d b y M a e s t r o L u i s o t t i

Quinn Kelsey performs with Adler fellow David lomeli at opera in the Park 2009. Photo by Cory Weaver

To preserve san francisco opera’s reputation as

a singer’s house, board member Joan traitel and her husband David inaugurated The Great Singers Fund in 2009. All gifts made to this fund help san francisco opera continue to bring the most talented singers–stars like Quinn Kelsey, natalie Dessay, thomas Hampson and Anna netrebko–to our stage every season. to contribute, contact your Development repre-sentative or call stacy cullison at (415) 565-3225.

fund Preserves tradit ion of Great singing

M e e T T h e M A e S T R o

Get to know the Maestro in an intimate video chat on our website at: sfopera.com/luisottichat

When 31 year-old Quinn Kelsey was engaged as Count di Luna for this fall’s Il Trovatore, taking over two

performances from the legendary Dmitri Hvorostovsky, he broadcast the news on his blog: “It’s a HUGE honor and a privilege to get the call for this job. San Francisco is a wonderful town, and the company is a really great place to work.” Keeping the War Memorial Opera House stage bright with both seasoned stars and up-and-coming young artists like Kelsey is a top priority for General Director David Gockley. In fact, a special fund, The Great Singers Fund, has been launched to assure San Francisco Opera’s future as a “singer’s house.” (See related article for details.) Kelsey, a native of Hawaii, brims with a geniality that belies his football player-like size. Think gentle giant. “I’ve always been immersed in music,” he notes. “My mother sang classical and sacred music, and my father sang mostly folk and rock. It seemed natural that I would also sing.” To this day, Kelsey enjoys singing rock music, counting Jimi Hendrix among his favorites, as well as the heavy metal band Metallica. “I was really sorry to have missed them during their recent tour,” he says. As a teenager, he performed with the Hawaii Opera Theatre chorus, attracting the attention of the lead artists. “They’d listen and say, ‘Wow, that’s good what you’re doing.’ It was then that I realized I had a shot.” From here, he “made a series of connections. The [San Francisco] Opera Center used to do a residency at Hawaii Opera Theatre. They heard me and asked me to audition. I did Merola in 2002.” The next year he was accepted to the Ryan Opera Center at the Lyric Opera of Chicago. “That was huge. I did a lot of roles there,

and I still make my home in Chicago.” Kelsey made a big splash with his San Francisco Opera mainstage debut as Marcello in the 2008-09 La Bohème. “A lot of it has to do with Maestro Luisotti. I definitely feel that he believes in what I’m doing. He can be

very demanding, but he also draws a lot more out of me than I thought possible. It’s not about making a big sound. It’s about robustness of interpretation.” Despite his success—he is already booked three years in advance—

Kelsey is remarkably level-headed. “Everything has been a step up, never a step back,” he notes. “Music has been the constant in my life from childhood—so much so that it has become second nature. Even though I’m young, I have a feeling of arrival. I am very blessed.” Visit Quinn Kelsey’s website, with a link to his blog, at quinnkelsey.com.

“I’ve always

been immersed

in music.”

Learning to Love Opera at an Early Age

O p e r a A R I A P ro g r a m M a k e s a

D i f f e re n c e f o r K - 1 2 S t u d e n t s

Talk to an ardent opera lover, and you are likely to find someone who was introduc-ed to the art form as a child. But in these

days of diminished funding for the arts, most schools offer little or no music education, especially for students at schools in un-derprivileged neighborhoods. When David Gockley arrived in San Francisco, one of his most cherished goals was to bring opera to everyone–and to develop opera’s audiences of the future. He invited Ruth Nott to become Director of Education, and tasked her with building a world-class education department, fully interwoven with the quality of the Company’s mainstage work.

Nott created and managed education programs for the Metropolitan Opera Guild and New York City Opera, so she came with broad experience. Still, the first thing she did at San Francisco Opera was to listen. “During my first four months, I sat down with educators and arts coordinators to learn what they wanted and needed. ‘Give me a wish list,’ I said. They did.” After a semester-long pilot, Opera ARIA (Arts Resources in Action), the Company’s new K-12 arts education program, is set to launch. “We’re doing something unique in this country,” says Nott. “Students and educators have direct contact with our performers and craftspeople. And this is just beginning.” Generous funders assured a strong start for the program. Support came from the William Randolph Hearst Foundation, the Walter and Elise Haas Fund, the Kimball Foundation, the San Francisco Foundation, the Zellerbach Family Foundation and a host of individual contributors

from the San Francisco Opera family. Corporate funders include Wells Fargo, Bank of America, Union Bank, Vodafone, Gap Inc. and Capitol Group. In 2008-09, Opera ARIA reached forty classes at eleven Bay Area public schools. This year, the program will at

least double in size. Each participating class in the year-long program receives up to thirty visits from a teaching artist and seven from guest artists. “Our primary goal is for students to appreciate opera. We have to make it relevant to what they’re doing now.” Even in its pilot year Opera ARIA made a real

“We’re developing

the audience of the

future for opera.”

E D u c a T I o N

R u T h N o T T

D i R E c t O R O f

e d u C A T I o N

ruth has extensive

experience running

opera education

programs in

new york city.

Local students attend a final dress rehearsal at the opera house. Photo by steve fisch

K I d S L e A R N

W h I L e S I N G I N G

First grade students learn about

opera in the classroom as part of

san Francisco opera’s arIa arts

education program.

Real Opera Singers Delight School AudiencesA d l e r f e l l o w s s h i n e i n

l o c a l c l a s s ro o m s

“We want opera singers in our class-rooms, the same ones who per-

form at the Opera House!” “That is the number one request we get from educators,” says Ruth Nott, San Francisco Opera’s Director of Education. She approached Opera Center Director, Sheri Greenawald, about having the Adler Fellows fill this role for Opera ARIA. “It seemed logical,” Nott says. “The Adler Fellows are in residence for most of the year. They’re exceptional up-and-coming artists who perform on the main

stage. And they’re young. Students can identify with them.” Greenawald was enthusiastic about the collaboration. “I agreed without hesitation to work with Ruth on these education programs,” she says, “Being able to inspire others is always a goal for an artist, so having the Adlers use their glorious instruments to inspire youngsters is satisfying for both sides of the proscenium.”

So far, every class participating in Opera ARIA asked for the Adler Fellows—and got them. A typical visit includes live performance and a discussion. “The Adlers’ personal stories are as interesting to the students as the singing,” Nott says. For their part, the Adlers have taken to the assignment with all their inimitable energy and talent. Soprano Leah Crocetto says about her school visit experiences: “Thank you for making us a part of this. It has truly been an honor to go into the schools and make a little a bit of difference. Each time we went, something was special.” Founded in 1977, Adler Fellowships are two-year performance-oriented residencies for the most advanced young artists. To learn more about this renowned young artist training program, please view our new video Rising Stars: The Adler Fellows on our web site by visiting sfopera.com/risingstar.

impact. More than 1,000 students, teachers, teach- ing artists and guest artists enjoyed life-changing ex-periences when opera came into classrooms. Another 2,000 students, parents and family members attended performances and other culminating events produc-ed and performed by Opera ARIA participants. Opera ARIA also took students out of their classrooms for an intense look at how real opera is produced. Participants were impressed by the magic of stage production when they visited our scene shop in San Francisco’s Dogpatch neighborhood and our costume shop South of Market. Students, teachers and teaching artists also came to the War Memorial Opera House to attend final dress rehearsals of main stage performances and go on special tours. Opera ARIA is less a traditional program and more a flexible framework. “The educators are in the driver’s seat,” Nott says. “They determine how to integrate opera into their classrooms. We can work with any subject. Not just performing and visual arts, but also literature, social studies, history.” Nott shares examples from the 2008-09 pilot year. “We helped a sixth grade class make a mini-opera based on Sarah Palin’s attempt to remove beluga whales from the endangered species list; they then performed it for their fellow students and families.” Some schools used the program for cross-class collaborations. At a Spanish language immersion school, three 5th grade classes created a libretto based on Don Quixote. “At a middle school, three classes collaborated on making an opera out of Homer’s Odyssey, with each class taking up a different component. The drama class wrote the libretto. The visual arts class made the sets, props, and costumes. The instrumental music class played an existing Odyssey overture and some original music.” Opera ARIA is integral to several San Francisco Opera education programs Nott is directing, in-cluding more family opera productions, and opera education workshops for families and for adults. “We are proud to receive the financial support of our community to produce these programs. And we will check in constantly to make sure that we continue to meet community’s needs.” For more information about Opera ARIA, please contact the San Francisco Opera Education Department at sfoeducation@sfopera.com or at (415) 551-6294.

Adlers lucas Meachem and Kimwana Doner with students onstage at the War Memorial opera House.

Photo by Terrence McCarthy

Engineering a Flaming Ringo p e r a s p e c i a l E f f e c t s

te c h n i c i a n s r e v e a l t h e

s e c r e t s o f f i r e

A t the end of Die Walküre, Brünnhilde is cast into a deep sleep and placed in a ring of fire. It is the most iconic moment in

Wagner’s Ring Cycle. And it is also one of the most complex to pull off. Just to give you an idea of its complexity, this summer’s production of Die Walküre will employ flame bars on three sides of Brünnhilde’s perch. Technical Director Marc Scott notes, “Each bar is twelve to sixteen feet in length and has between fifty and one hundred individual jets. When they are ignited, each jet produces up to thirty-six inches of flame.” Soprano Nina Stemme, portraying Brünnhilde, will lie about fifteen feet from the flames—enough distance for both safety and comfort. Overseeing any fire is the pyrotechnician, a member of the International Alliance of Theatrical Stage Employees, local 16—one of San Francis- co Opera’s partner unions. “Aside from a lot of training, there’s a licensing structure based on experience,” notes Marc. “You have to log so many hours to advance. Our pyrotechnician has a theatrical rating. Only in movies are pyrotechni-cians required to have a higher classification.” The process of bringing fire to the stage is in-volved. “We take what the director and designers want and then demonstrate it for the city’s Fire Marshal at the Scene Shop,” Marc says. “The marshal can order modifications, like having set pieces treated with retardant or even restaging scenes so that performers are further from the flames. Every time we have a fire on stage and the public is present, we must have a permit.” Safety is always the primary consideration. A production with fire effects typically employs two pyrotechnicians. When the fire actually takes place, other crew members serve as firewatchers. Armed with extinguishers, they stand in the wings, just out

of sight of the audience. Even the smallest details get constant scrutiny. For example, for years the Opera used propane in its hand-held torches. “However,” notes Marc, “the Fire Marshal prefers butane because if someone accidentally drops a torch, it will go out a split-second faster with butane versus propane. We’re now looking to retrofit all of our torches.” “Fire effects that call for a pyrotechnician include hand-held torches and bonfires, even firecrackers and

photographer’s flash powder,” Marc con-tinues. “Then there are one-of-a-kind effects like the ring of fire in Walküre, and the tree that exploded into flames in 2007’s Tannhäuser.” The ring of fire is the most spectacu-lar fire effect in San Francisco Opera’s

2011 Ring, but there are others. “In Das Rheingold, we employ flame bars and a gerb [a kind of firework that produces a shower of sparks],” Marc says. “Whatever is needed, we’ll make sure it’s both impressive and safe.”

“Safety is always

the primary

consideration.”

Brünnhilde’s sleep from the san Francisco opera production of Die Walküre.

PA G E 4

A H E R O i c

u N d e R TA K I N G

the Ring is the

most formidable

and costliest work

of staged art in

modern history—

and potentially the

most rewarding.

Presenting san

francisco opera’s

Ring requires:

20 principal artists

90 instrumentalists

73 choristers

45 supernumeraries

15 designers and

music staff

40 costume, wig, and

makeup artisans

50 stagehands,

set and

costume builders

60 ushers and

security personnel

130 administrative staff

80 volunteer board

members

To learn more about san

Francisco’s production of

the Ring of the Nibelung ,

visit sfopera.com/ring

T o build its 2011 Ring cycle, San Fran-cisco Opera is extremely fortunate to have the participation of three heroes, Ring

Circle Chairs Kristina Flanagan, Mary and Nicholas Graves, and Betty and Jack Schafer. Chosen as chairs because of their passion for Wagner’s Ring, Flanagan, Graves, and Schafer are dedicated to bringing this epic series of operas to the War Memorial Opera House stage. They are also committed to see-ing that this monumental new production has sufficient funding. Each chair has demonstrated extraordinary generosity by making a major Ring production sponsorship gift. In addition, Flanagan, Graves and Schafer are working to recruit new members to the Ring Circle, an exclusive group of San Francisco Opera’s most committed Ring patrons. Circle members have made a special Ring-designated contribution of at least $5,000 above their annual gifts, in order to enjoy exclusive benefits and behind-the-scenes opportunities. Ring Circle members also enjoy the tremendous satisfaction of knowing they play an important role in bringing this epic new San Francisco Opera production to life. “Every opera company aspires to present the Ring,” notes Jack Schafer. “The rewards are great. It’s like peeling an onion. There’s always

Make a contribution of $5,000 or more to the Ring, and you become a member of the Ring circle, an exclusive group of the opera’s most dedicated Ring enthusiasts. Ring circle members enjoy:

• Improved seating priority

• Private events with General Director David Gockley and artists

• Deeper insights into this complex epic

• Access to production and artistic staff behind the scenes

• Lifelong friendships with fellow Ring lovers from around the world

for more information about the Ring circle please visit us on the web at sfopera.com/ring/support. to join, contact Marissa Axell at (415) 551-6239 or by email at maxell@sfopera.com.

something more to learn.” Often, the experience of the Ring is a water-shed moment. “There is a never-ending sense of discovery,” says Nick Graves. Kristina Flanagan adds, “I was afraid of the Ring, so have only seen it

once. But to my surprise those eighteen hours evaporated and at the end I wanted more!” All agree that Francesca Zambello’s production—which draws on the history and legends of the United States— will be unlike any they have

ever seen. Kristina states, “Concept pieces are common, and traditional productions are often predictable. But to craft a production that speaks to who we are today… that takes real insight. Francesca has a way of getting to you without battering you with a concept.” The Ring Circle offers its members a rare glimpse into everything that goes into producing the monumental work. “Francesca has been generous with her time,” says Nick. “So have David Gockley and other staff members.” Kristina adds, “The more you support the Ring, the more access you have to its development.” But there are other reasons to join the Ring Circle. “This is the first time my wife and I have sponsored a production,” notes Jack. “For us, it’s a financial stretch. But it’s important that our Ring comes in with the support of the community.” Kristina echoes the thought: “I don’t have un-limited resources. But I’ve never in my life spent a wiser dollar, and never gotten more enjoyment out of anything I’ve spent money on. It’s opened up an entire world to me, and what a world! In that respect, it’s a bargain.” Kristina offers useful advice for anyone coming to the production. “Plan for the Ring like you would plan for a vacation to an exotic place and go,” she says. “Find a way to contribute because you will not be disappointed.” Nick adds, “[Maestro] Luisotti once said that doing as perfect a performance as possible, doing it today, is the only real way to make sure that the art form is perpetually alive. I think that’s right. To be part of the effort to make this Ring wonderful is extraordinary.”

“The more you

support the Ring, the

more access you have

to its development.”

J o I N T H E R I N G c I r c L E

Committee Chairs AreHeroes of the RingR i n g C o m m i t t e e H e l p s A s s u r e M o n u m e n t a l N e w P r o d u c t i o n

Enjoy an Insider’s view of the Ring

Season Sponsor Wells Fargos h a r i n g l o v e o f

o p e r a , t h e c i t y,

a n d o u r M u t u a l

“ G o l d e n We s t ”

For over 30 years, Wells Fargo has supported San Francisco Opera in a variety of ways, from serving as the official bank of the opera, to sponsoring our educational outreach programs,

to providing volunteers to hold positions on our board. This 2009-10 season — the bank’s seventh as its Corporate Season Sponsor — the Opera will be producing The Girl of the Golden West, which features a Wells Fargo agent as one of the characters. We sat down with Wells Fargo’s Executive Vice President and Regional President for California Banking, Lisa Stevens, to discuss the ways we have interacted over the years. san Francisco opera: What keeps Wells Fargo involved with the Opera?Lisa stevens: Both Wells Fargo and the San Francisco Opera are part of the Bay Area’s history. In addition to providing financial and

volunteer support, our team members attend events and we bring our customers to performances. We like to help the Opera reach out to diverse groups of people like the simulcast at AT&T Park and the outreach programs to schools through-out the Bay Area that introduce opera to children. Wells Fargo is proud to support these programs.sFo: Will the Wells Fargo Stagecoach join the cast of The Girl of the Golden West?Ls: Unfortunately, no. We tried to get the stagecoach involved in the production but the problem is if you do it in one place you have to do it everywhere, and the travel of the stagecoach to foreign lands is pretty challenging. But we are excited to be supporting a season that includes an opera based on the history of the Gold Rush. Wells Fargo was founded in California and we are the only major financial institution headquartered in the state.sFo: What do you love most about opera?Ls: When I was a girl, my dad made my brothers and me listen to opera every Sunday night. After an hour or so, we’d be getting ready for bed and my dad would put on those big fluffy earphones on the long cord and sit in a chair. We would watch him wave his arms to the music. When my father was a student at University of San Francisco, Pavarotti sang at the Opera for the first time. My dad, who was putting himself through school, went to the opera house with only eight dollars. It wasn’t enough to buy a ticket, but after the performance started, they let him in. I think they could tell he loved opera. So, I personally have 40 years of history with San Francisco Opera and firsthand experience of it being available for everyone. sFo: What initiatives or programs do you hope to see at San Francisco Opera in the future?Ls: I would like to see San Francisco Opera continue its legacy of reaching out to the widest possible audience, like it did with the free simulcasts at AT&T Park. What’s been done under the leadership of David Gockley to expose the next generation to opera in creative ways is extraordinary. When people have the opportunity to listen to music, when they experience how opera accentuates and exaggerates the emotions of life, it’s phenomenal.

“We like to help

the opera reach

out to diverse

groups of people.”

Wells fargo’s Executive

vice President and regional

President for california

banking, lisa stevens.

San Francisco opera offers many corporate sponsorship opportunities. Build brand awareness, provide clients with special entertainment opportunities, and increase employee engagement,

all while your company receives local, regional, and national exposure. Whether you choose to sponsor a mainstage performance, a free

outdoor concert or simulcast or a unique education initiative, our sponsorship opportunities are designed to give your company the maximum return on investment. To explore how your company can benefit from a partnership with San Francisco Opera, contact Kelly Montevago, Director of Corporate Giving at (415) 551-6208 or visit us at sfopera.com/corporategiving.

Become a corporate sponsor

S an Francisco Opera Medallion Society member Patrick Hobin has been a de-voted opera fan for 67 years.

So it seemed natural for Pat to come from Stockton with his children and grand-children last November to see the free screening of Mozart’s Magic Flute for Families - The Movie! The one-hour film of the 2007 production of The Magic Flute for Families was specially shortened and narrated for children. “I thought it would be a nice opportunity to interest my grandchildren in good music and opera. My daughters know how much I love opera and they try to pass that on. ‘Grandpa really loves this, so be good! It makes him happy!’” His four grandchildren who attended the movie range in age from 7 down to 3. “This was their first time. Their parents don’t listen to opera at home. So it was a new experience for them.” “We had dinner with the 6-year-old at her house recently. After the movie, my wife had bought her two singing opera bears from the catalog. One is dressed as Escamillo and sings the ‘Toreador’ song from Carmen, the other is Violetta singing ‘Sempre Libera’ from La Traviata. My granddaughter took me to the window box in her room where she keeps them and played both at the same time. She likes how they sound together.”

F a m i l i e s Tr a v e l t h e D i s t a n c e f o r P o p u l a r F re e E v e n t

Born and raised in Stockton, Pat traveled around the world and then settled in San Francisco in the 1970s, where he raised a family and worked for Chevron. “I was lucky,” he says. “Chevron had a box. Not too many senior people wanted to go at that time, so I got to see three operas a season.” Currently retired, Pat and his wife Cecilia frequent The Met: Live in HD series at their local movie theater.Unfortunately health issues prevent Cecilia from going to live performances in San Francisco, but Pat still drives to the City to attend a San Francisco Opera production once or twice a season. “At five years old, listening to opera

on the radio – those were simpler times. Back in the 40s, there was no TV. Opera helped me to develop my imagination. If I could come back,

I’d be a conductor.” San Francisco Opera plans to show another all-ages film, The Elixir of Love for Families, in Winter, 2011.

The Elixir of Love for Families and The Magic Flute for Families are shown in Bay Area schools as part of San Francisco Opera’s educational programming. Visit sfopera.com/edmaterials for more information.

E D u c a T I o N

“opera helped me to

develop my imagination.”

Mozart’s Magic Flute For Families -The Movie!

children learn to love opera at Mozart’s Magic Flute for Families - The Movie.

Photo by Kr isten Loken

san francisco opera subscriber and donor barbara Jackson created a named endowment fund through her living trust that will provide a permanent source of support for the Adler fellowship Program. “it’s gratifying to know that my gift will ensure a steady flow of outstanding new singers who will continue to breathe life into the glorious music at san francisco opera and beyond.” for information, about legacy giving at the opera, call (415) 565-3225 or go to sfopera.planyourlegacy.org

Leave Your Legacy

families enjoy the movie version of Mozart’s Magic Flute.

Photo by Kr isten Loken

u p c o m i n g e v e n t s

Children learn to love opera at Mozart’s

Magic Flute for Families - The Movie!

Jane Burkhard, Chandra Rigg, Cari Sullivan and Dianne Taube enjoy themselves at the 2010 Medallion Society Luncheon.

Susan Anderson-Norby is presented the Spirit of the Opera Award for her longtime commitment to San Francisco Opera at the 2010 Medallion Society Luncheon.

Soprano Diana Damrau performs

at a donor event at the Carolands in

Hillsborough.Board member Kristina Flanagan with Adler

Fellow Kenneth Kellogg, whom she sponsored in

2008 and 2009.

F L u T E F o r F a m I L I E s

m E D a L L I o N s o c I E T y

s p I r I T o F T H E o p E r a

c a r o L a N D s

a D L E r g a L a

recent Event Highlights

Event photos by

Drew Al t izer,

Kr isten Loken and

Pat Johnson

Bruce Hyman mingles with Ben and Marina Nelson at the Carolands in Hillsborough in October 2009.

c a r o L a N D s

a p r I L 2 8 T H , 2 0 1 0

Corporate Leadership Dinner

Corporate Counci l Members

6pm – The Payne Mansion

a p r I L 2 9 T H , 2 0 1 0

Bel Canto Society Tea

Bel Canto Society Members

2pm – The Green Room, Veterans Bui lding

m a y 2 N D , 2 0 1 0

Radio broadcast of The Abduction from

the Seragl io by Wolfgang Amadeus Mozart

8pm – Your radio on KDFC 102.1

m a y 6 T H , 2 0 1 0

Pres ident’s Dinner

Donors $10,000+

Ritz Car l ton

m a y 9 T H , 2 0 1 0

Madama Butterfly in HD

2pm – The Red Vic Movie

House, San Francisco

m a y 2 7 T H , 2 0 1 0

Faust Staged Orchestra Rehearsal

Bel Canto Society Members

6pm - War Memorial Opera House

J u N E 2 N D , 2 0 1 0

Faust

Final Dress Rehearsal – Donors $750+

2pm – War Memorial Opera House

J u N E 2 N D , 2 0 1 0

Opera Guild Insight Panel

The Girl of the Golden West – Donors $75+

6pm – Herbst Theatre, Veterans Building

J u N E 4 T H , 2 0 1 0

The Girl of the Golden West

Final Dress Rehearsal – Donors $7,500+

2pm – War Memorial Opera House

J u N E 6 T H , 2 0 1 0

Die Walküre

Final Dress Rehearsal – Donors $7,500+

6pm – War Memorial Opera House

J u N E 7 T H , 2 0 1 0

Opera Guild Insight Panel

Die Walküre – Donors $75+

6pm – Herbst Theatre, Veterans Building

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