EDUCATION
Learning Opera for Life An Interview with Director of Education Ruth Nott
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Together we create original coursework. hen asked to describe San Our teaching artists facilitate opera learnFrancisco Opera’s school proing in the classroom.” grams, Director of Education The Opera ARIA Network program reRuth Nott says simply, “It comes down to quires a major time commitment from the meeting needs.” schools involved. “Teachers undertake pro “When David Gockley made education a fessional development on their own time,” priority,” Ruth remembers, “I spent almost Ruth emphasizes. “On top of that, they allot a year talking to teachers and administraus precious class hours. This program can tors. They told us what they needed and involve up to 40 sessions per class per we responded.” year. But teachers see results: students After a semester of piloting programs unearth their own creativity, use arts with elementary, middle and high schools, learning to increase understanding of other the result was ARIA (Arts Resources in subjects, and show improvements in parAction), a unique suite of programs making ticipation, teamwork, empathy, mood and a real difference in local public schools. more.” Shorter, less commit “We don’t dictate exactly ment-heavy programs are what the program is,” Ruth “Students provided as well. explains. “Instead, we work “ARIA Network students with teachers to determine unearth their own write libretti, compose music, what will benefit their stucreativity.” and build sets, costumes dents. Every classroom is and props,” Ruth says. “And, different, and we tailor proof course, they perform. The way these grams appropriately. These multi-interaction elements are structured makes the proprograms teach the whole child, engage gram unique.” the teacher as a participant, use the Opera’s Each ARIA experience may vary but resources, and help teachers connect learning the techniques are familiar. Students work about opera to classroom curricula.” with the best in the business – mainstage “We start with professional development professionals at San Francisco Opera, for teachers,” Ruth says. “They learn about from Adler Fellows to Props and Costume what we do at the Opera and help us make Shop staff and trained teaching artists. connections with the subjects they teach.
Students enjoy a visit with scene shop staff.
Director of Education Ruth Nott
“We want the experience to be intimate,” Ruth says. Learning any art and connecting it with what the kids are already learning in class takes a hands-on approach. There are no shortcuts.” The Opera’s Overture workshops for adults are also hands-on. Ruth explains, “Overture participants do a writing exercise when we explore the journey from novel to libretto. We’ve sat in on a chorus rehearsal, but also learned an excerpt from an opera chorus by actually singing with our chorus. Participants tell me over and over how much more they get out of going to the opera after they take the four-session course.” There is a definable benefit to the Company as well. “After attending Overture, patrons tend to go to the opera more frequently, bring friends to performances and some increase their donations,” Ruth says. “They become ambassadors for San Francisco Opera.” “We have programs for families but we want to provide more,” Ruth says. “And I would love to connect with more university students.” “As for the future,” she concludes, “I want to see our programs grow, but at the same time maintain the level of high quality and intimacy. Any true love of art begins with discovering what speaks to you. We can help with the discovery.” PA G E 3