Behind the Curtain - Summer 2013

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Curtain S A N F R A N C I S C O OPER A

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A P U B L I C AT I O N E X C L U S I V E LY F O R SAN FRANCISCO OPERA CONTRIBUTORS

“I Feel Immersed in Music” Sitting Down with Lifelong Opera Lover Carol Franc Buck

C Bay Area audiences for welcoming American works into the operatic canon.”

– David Gockley General Director

Letter from David Gockley on page two

PHOTO BY CAROL FRANC

“I am grateful to

get done. When the curtain rises it’s always a thrill arol Franc Buck owes a debt of gratitude to to see the result.” a group of ladies from the Sacramento Val Over the years, Ms. Buck has found herself ley. So does San Francisco Opera. “I grew particularly drawn to new works. In the process, up in Vacaville,” she explains. “Way back when, it she has grown close to several was all ranching country. Some living composers, including of the local ladies had season Carlisle Floyd and Jake Hegtickets to San Francisco Opera, gie. “The art form is alive and never missed a perforand well,” she beams. “I’m mance. When I was a teeninspired by so much of what ager they started to bring me is being written these days. along.” Those early experiences Moby-Dick to me was perfect, evolved into a lifelong love of both musically and visually.” music that is disarmingly genu“When I think about it,” she ine — and utterly infectious. continues, “I realize that I’ve Later in life Ms. Buck found been fortunate to meet some herself with the financial wherefascinating singers and comwithal to support the art form posers along the way.” she loved. She has been on the “I feel immersed in music,” Opera’s Board of Directors since Ms. Buck observes. “Maybe it’s 1981, and the Carol Franc Buck a gene that runs in the family.

Foundation has been supportCarol Franc Buck My niece [soprano Heather ing various artistic endeavors Buck] is an opera singer, and for over 25 years. “It seems like “It’s up to those of my son [Christian Erdman] is the thing to do at this point in on the Board of the San Franmy life,” she remarks. “I mean, us who love opera to cisco Conservatory of Music.” what else are you going to do? support it.”

“It’s up to those of us who The kids have fled the nest. love opera to support it,” Ms. I’ve got some means. Opera has Buck concludes. “The same could be said of any brought me so much pleasure. It’s only natural to art. We have to do it for ourselves, and out of a want to give back.” sense of community. Opera doesn’t exist other Ms. Buck has provided lead support for San wise. It doesn’t just walk down the street! ForFrancisco Opera productions such as the world tunately, the Bay Area has a reputation for generpremiere of A Streetcar Named Desire (1998), Kat’a ously supporting the arts, and I’m happy to do Kabanova (2001-02), The Girl of the Golden West what I can.”

(2009-10), and Moby-Dick (2012-13). “I fund whatever speaks to me,” she says simply. “It’s alIf you would like to become a production sponways a bit of a calculated risk, I suppose. Some sor at San Francisco Opera, contact Andrew Morthings turn out better than others. But the imporgan at (415) 565-3266 or amorgan@sfopera.com. tant thing is to support the effort — to help things

SUMMER 2013, ISSUE NO. 8

Behind the Curtain is a publication for contributors to San Francisco Opera.

E DITORS:

E liz a b e t h H o u n s h ell J u d it h F r a n k e l W RITE R:

Mark Hernandez w w w. b l a z in g s t a g e . co m DE SIG N :

J a n e t t e C a v e cc h e w w w.c a v e c c h e g r a p h i c s.c o m

David Gockley G e n e r a l D ire c t o r Nicola Luisotti Mu s ic D ire c t o r Behind the Curtain is published semiannually 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 Opera Development Department 301 Van Ness Avenue San Francisco, CA 94102 C O N TA C T U S :

General Member: (415) 565-6416 Medallion Society Information: (415) 565-6401 Donor Benefits Hotline: (415) 551-6308 membership@sfopera.com Visit us on the web at:

sfo per a. c o m C O M PA N Y S P O N S O R S Ann and Gordon Getty Foundation John A. and Cynthia Fry Gunn Franklin and Catherine Johnson Mrs. Edmund W. Littlefield Bernard and Barbro Osher Jan Shrem and Maria Manetti Shrem SEASON SPONSOR

CORPORATE PARTNERS

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

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This issue of Behind the Curtain highlights our efforts to present new operas, especially works by American composers.

In 2013, San Francisco Opera will stage no fewer than three new operas by living composers. In March, we collaborated with Cal Performances on a new family piece by Nolan Gasser, based on the beloved book familiar to children everywhere, The Secret Garden. The opera delighted children in attendance, and is already being considered by other companies.

As I write these words, we are rehearsing a profoundly moving new opera for our summer season, The Gospel of Mary Magdalene, by Mark Adamo. Drawing from ancient texts and modern scholarship, this opera re-imagines the role of the woman who may have been Jesus’ most devoted disciple. And in our upcoming fall season, we will present Dolores Claiborne, a devastatingly powerful new work by Tobias Picker, featuring Dolora Zajick in the title role.

It may be a record for a large opera company to mount three new commissions in just seven months. But it is also a testament to the intelligence, stamina and professionalism of our staff to pull off this amazing feat, given the complex creative process required to produce a new opera, and Byzantine rounds of technical and artis-

PHOTO BY TERRENCE MCCARTHY

DEAR FRIEND OF SAN FRANCISCO OPERA

tic rehearsals. This issue will spotlight some talented individuals as they approach these works for the first time, including our Magdalene herself, Sasha Cooke, and Ian Robertson, our longtime Chorus Director.

We just announced a partnership with EuroArts Music International, a leading distributor of classical programming to international television and home video. We couldn’t be more excited about beaming San Francisco Opera productions out to a digital mediasphere that spans the globe. Our new international partner is especially delighted by the unique content that we provide. Thanks to our onsite Koret-Taube Media Suite, we can deliver not only beautiful recordings of the classics, but also an American opera repertory in demand with international audiences.

It has been said that we are in a golden age for American opera. For San Francisco Opera, a company long known for the classics, achieving the right balance between tradition and innovation is essential. I am grateful to Bay Area audiences for welcoming American works into the operatic canon.

And I am grateful beyond measure to generous donors like you, who make it all possible.

David Gockley GENERAL DIRECTOR

Photo by Dario Acosta

PROFILE

Becoming Mary Magdalene In Conversation with Sasha Cooke

P

Photo by J. Henry Fair

ortraying an historical-religious figure on the stage can be a risky proposition. Fortunately Sasha Cooke is up to the challenge.

The mezzo-soprano, creating the title role of The Gospel of Mary Magdalene, has made a name for herself with new and unusual operas. “I love the difficult stuff,” she asserts. “When people come to a performance not knowing what to expect, you can touch their lives in surprising ways. Performing new music is living on the musical edge.

I find it exhilarating.”

Mary Magdalene is perhaps her most high-profile assignment to date, and Sasha has been preparing accordingly. “With a role of this size and meaning,” she remarks, “it has to have time to cook. Mark [Adamo] has been sending me music for over a year now which is a huge help. I think I email Mark more than anyone else.”

She has been as meticulous with her dramatic preparation. “I’ve done a lot of reading and collected artwork,” she reveals. “I’ve also been meditating on her life, and keeping a journal of my thoughts. Mark has created a clear vision, but I have a lot of artistic freedom because this person is largely unknown to us.”

Sasha’s enthusiasm for the score is palpable. “It’s quite lyrical. There are plenty of crunchy, harmonic passages, but all of the principals have moments of gorgeous melody. I can’t say that about a lot of the new music I’ve done. Mark has a great understanding of singers. The subject is close to his heart too, and that can’t help but be reflected in the writing. Every time I rehearse the resurrection scene I have a hard time not tearing up. He has truly captured that event in music.”

The subject matter may raise eyebrows. “In terms of my performance,” Sasha offers, “I want people to be moved. I want them to see Mary for who she was: a strong and complex person. And if people find themselves concerned by the subject matter, I want them at least to

Sasha Cooke

reflect on why.” Sasha continues, “at one point music is living on the Mary sings, ‘we reach musical edge. I find for something higher, but does that have to it exhilarating.” mean that desire has no place?’ Is it so inconceivable that these historical figures might have experienced sensuality in their lives? Why should we be opposed to the very idea? Sensuality adds to the degree of their sacrifice. It gives them human dimension, something to lose, as well as the pain suffered.”

“Performing new

J O I N C A M E R ATA EXPERIENCE THE RENAISSANCE The Gospel of Mary Magdalene is the kind of exciting new work made possible by Camerata. These visionary donors are defining the future of San Francisco Opera by underwriting great singers, signature productions and audience development initiatives. Camerata donors enjoy unprecedented access to the creative process, and help ensure that San Francisco Opera forges a path to an exciting future.

For more information about participating in Camerata, contact Andrew Morgan, Director of Leadership Gifts, at (415) 565-3266.

Sasha Cooke as Mary Magdalene.

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MAJOR NEW AND AMERICAN WORKS SPONSORS We are deeply grateful to the following contributors for their substantial underwriting for new and American works at San Francisco Opera: Carol Franc Buck Foundation A Streetcar Named Desire (1998) Moby-Dick (2012)

Opera as an American Ar

Mrs. Roberta Elliott Doctor Atomic (2005) The Bonesetter’s Daughter (2008) Nixon in China (2012)

David Gockley Reflects on New Commissions in San Francisco

John A. and Cynthia Fry Gunn Appomattox (2007) The Bonesetter’s Daughter (2008) Porgy and Bess (2009) Heart of a Soldier (2011) Moby-Dick (2012) National Endowment for the Arts Doctor Atomic (2005) Appomattox (2007) The Bonesetter’s Daughter (2008) Heart of a Soldier (2011) The Gospel of Mary Magdalene (2013) Dolores Claiborne (2013) The Andrew W. Mellon Foundation The Bonesetter’s Daughter (2008) Nixon in China (2012) The Gospel of Mary Magdalene (2013) Dolores Claiborne (2013) Phyllis C. Wattis The Dangerous Liaisons (1994) A Streetcar Named Desire (1998) Dead Man Walking (2000)

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“Opera is such a rich art form, it will hen David Gockley arrived at always speak to the stories that bind us as San Francisco Opera in 2006, human beings,” David says. “Mimi’s tragic he took the reins of a company deterioration, Alberich’s greed – these with an extraordinary classical legacy. are classic situations that will always stir San Francisco has long been an imporour emotions. But American stories have tant stop for great traditional singers like resonance too.”

Pavarotti and Domingo. It has provided In his previous 34 years as fertile training ground for the likes of Netrebko and “Long ago, I decided general director of Houston Grand Opera, David made Graham, and launched Ring to make a case for Houston a showplace for careers for Flagstad, Melchior, works by American composand Stemme. For much of the American ers: Carlisle Floyd’s Susannah, its history, it has been a repertory in opera.”

John Adams’ Nixon in China, European-style opera house Mark Adamo’s Little Women, in the grandest sense. the Gershwins’ Porgy and Bess.

Prior to David’s arrival, the company “Long ago, I decided to make a case for had commissioned fewer than ten new the American repertory in opera,” he says. operas in its entire history. Yet several David continued this vision in San recent works, Dead Man Walking (2000) Francisco. From Appomattox (2007) by and Doctor Atomic (2005), were already Philip Glass to Dolores Claiborne, Tobias becoming part of the broader operatic Picker’s opera based on the Stephen King repertoire. The selection of Gockley as San novel appearing on our stage this fall, San Francisco Opera’s sixth general director Francisco Opera will have commissioned assured a shift toward a different balance or co-commissioned nearly as many new of old and new.

P h o t o s b y K e n F r i e d m a n , B e t s y K e r s h n e r, Te r r e n c e M c C a r t h y, M a r t y S o h l a n d C o r y W e a v e r

The Bonesetter’s Daughter

Doctor Atomic Appomattox

A Streetcar Named Desire

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Heart of a Soldi

Photo by Kristen Loken

Porgy and Bess.

rt Form operas in David’s tenure as the company did in the 83 years prior to his arrival. It also has and will continue to mount major productions of beloved American titles like Porgy and Bess and Show Boat.

Why new works? Aren’t they financially risky? How do they fit in a company rooted in the classics? Do American stories succeed in an essentially European art form? Will they survive as opera?

“In San Francisco, we have a large opera company in a community with a broad spectrum of tastes,” David says. “Our internationally famous music director, Nicola Luisotti, delivers thrilling performances of classic repertoire that fill the opera house. And contrary to expectation, it is our Tosca, Butterfly and Turandot that attract the most newcomers.”

But there are also discerning operagoers who thrive on a varied diet of both the classics and new works. David fervently believes in the vitality of new works on the operatic stage, not only in the United States but on international stages as well. In fact,

the company’s embrace of new opera titles has inspired Maestro Luisotti to champion a new work, Two Women (La Ciociara), by Italian composer Marco Tutino, premiering on our stage in 2015.

There is plenty of evidence that these efforts will be more than worthwhile.

“San Francisco Opera took a chance in 2000 and premiered Dead Man Walking, by an unknown composer named Jake Heggie. Since then, this opera has been seen all over the U.S., in Australia, Canada and throughout Europe. It is one of the most successful new operas of our time,” David says.

“So when Jake asked us to co-produce Moby-Dick, it did not seem like a risky proposition,” he says. By the time MobyDick played in San Francisco last fall, it had already delighted thousands of opera-goers in Dallas, San Diego, Adelaide and Calgary.

Millions more will see it on November 1 on PBS’s Great Performances, and other opera companies are interested in staging it.

Other American works have succeeded at San Francisco Opera. Recent runs of Bonesetter’s Daughter (2008) and Porgy and Bess (2009) played to over 90% capacity audiences.

San Francisco Opera is not the only American company commissioning new works. This year, exciting new titles are appearing in Minneapolis, St. Louis and Santa Fe. Other companies in the area are also staging interesting opera productions, including Opera Parallèle in San Francisco.

David Gockley couldn’t be more delighted. “I’ve never been more optimistic about the future of opera. We’re in a golden age!”

Dangerous Liaisons

ier

David Gockley with Kevin Newbury, director of The Gospel of Mary Magdalene.

SAN FRANCISCO OPERA PREMIERES WORLD PREMIERES: 1961

Blood Moon – Norman Dello Joio 1976

Angle of Repose – Andrew Imbrie Meeting Mr. Ives – Charles Ives 1994

The Dangerous Liaisons – Conrad Susa 1998

A Streetcar Named Desire – André Previn 2000

Dead Man Walking – Jake Heggie 2001

Arshak II – Tigran Chukhadjian 2005

Doctor Atomic – John Adams 2007

Appomattox – Philip Glass 2008

The Bonesetter’s Daughter – Stewart Wallace 2011

Heart of a Soldier – Christopher Theofanidis 2013

The Secret Garden – Nolan Gasser The Gospel of Mary Magdalene – Mark Adamo Dolores Claiborne – Tobias Picker OTHER CO-COMMISSIONS: Harvey Milk – Stewart Wallace W O R L D P R E M I E R E : Houston Grand, January 1995 S F O P R E M I E R E : November 1996 Moby-Dick – Jake Heggie Dallas Opera, April 2010 S F O P R E M I E R E : October 2012 WORLD PREMIERE:

Moby Dick

The Secret Garden

Dead Man Walking PA G E 5

Scott Joiner and Sarah Shafer in the World Premiere of The Secret Garden

B o a r d M e m b e r Te r e s a M e d e a r i s A d v o c a t e s f o r F a m i l y O p e r a s

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parents to bring their kids to the opera – and n the Gockley era, San Francisco Opera also provide underwriting support. has produced more new works than at “I was excited about composer Nolan any other time in its history. The Secret Gasser, a kind of Renaissance man who Garden, our March 2013 co-production combines a technology background (arwith Cal Performances, was the company’s chitect of Pandora’s genome) with musical first-ever new commission family opera. knowledge,” Teresa says. “Being an engineer One enthusiast of this project was Teresa myself, I was intrigued that Medearis, San Francisco “The best way to someone who lives in both Opera board member since worlds would turn a be2010. Along with her board ensure that opera will loved classic like The Secret colleague Soo Venkatesan, Garden into an opera.”

Teresa has long advocated survive is to inspire Teresa was also convincfor family operas as a way to the next generation.” ed The Secret Garden would develop opera’s audience of engage parents like herself, the future. who live on the Peninsula and who take “The best way to ensure that opera will advantage of family opportunities throughsurvive is to inspire the next generation,” out the Bay Area. She helped to organize Teresa says. “By adding to the canon of bus transportation from Palo Alto to family opera programming, we offer more Zellerbach Hall on the UC-Berkeley camavenues into this art form.” pus for Peninsula families attending the Anyone who has witnessed kids in the Sunday matinees. opera house knows that as an art form, “When San Francisco Opera commisopera thrills young people. Recent familysions a new opera for a smaller venue like friendly versions of The Magic Flute, Elixir of Zellerbach,” Teresa says, “we make family Love and Carmen played to sold-out houses opera accessible to smaller regional comand served as an effective platform for panies and theaters. From a business education programs in the public schools perspective, The Secret Garden was a sound and for families pre-performance. business model. We shared the expenses However, family operas can sometimes with Cal Performances, and as the opera is fall victim to cost-cutting measures. When rented by other locations, we will share in Teresa and Soo learned about The Secret the revenues.”

Garden, an innovative work by local com Business considerations aside, however, poser and Internet executive Nolan Gasser, Teresa found something more gratifying they rallied their personal networks of local PA G E 6

PLANTING THE SEEDS FOR THE SECRET GARDEN San Francisco Opera gratefully acknowledges the extraordinary generosity of the following supporters of The Secret Garden: SPONSOR

Edmund & Jeannik Littlefield Foundation Mr. & Mrs. J. Patterson McBaine Soo & Raj Venkatesan Sharon & Clark Winslow Anonymous (1) A F F I L I AT E S P O N S O R

Jane Bernstein & Bob Ellis Paula & Bandel Carano Miles Nadal Brian & Kerith Overstreet Anonymous (1) FRIEND

Thomas & Lily Beischer Michele & Doug Dillard Ms. Liz Hume & Mr. Jay Jacobs Mr. & Mrs. Adam Karr Teresa & Mark Medearis Mrs. Grace Voorhis For information about becoming an affiliate production sponsor at San Francisco Opera, contact Judith Frankel at (415) 551-6226 or jfrankel@sfopera.com

Photo by Betsy Kershner/San Francisco Opera/Cal Performances

Visual Designer Naomie Kremer

Growing the Next Generation

about The Secret Garden. “Seeing the children’s faces at the performance was the greatest joy for me. They were engaged, excited and delighted. I know they will be inspired to engage with opera again.”

Teresa also enjoyed the gift of a full day with her son Nicky, who reported “the background was cool, the songs were good, and it had a happy ending.”

MUSIC

UPDATE ON THE DIANE B. WILSEY CENTER FOR OPERA

General David Gockley, Chorus Director Ian Robertson and Music Director Nicola Luisotti

I a n R o b e r t s o n S h a p e s t h e C h o r u s f o r N e w Wo r k s

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hen you sit down with a new trying to say. The text is everything.” score, you never know what Upcoming productions of The Gospel of is between the covers. And Mary Magdalene and Dolores Claiborne pose it’s best not to make assumptions,” says Ian different challenges, “though my singers Robertson. He knows of what he speaks. tell me that they are fairly straightforward,” San Francisco Opera’s Chorus Director since Robertson notes. “In Magdalene, the chorus 1987, Maestro Robertson has prepared more provides ongoing commentary, in the style than 300 productions, including most of the of a Greek chorus. I find parts of it remodern operas the Company miniscent of Stravinsky and has ever staged.

Britten. There are some very “You have to push “I’ve always been drawn effective moments. Our role yourself to make to chorus work,” Robertson in Dolores Claiborne is small, sure that you’re recalls. “I studied solo piano, but notable.” but in my early days I earned “It always amazes me how being true to what a living by playing chorus quickly our chorus can master is on the page.” rehearsals. Right away I felt at something new and unusual,” home.” San Francisco Opera Robertson observes. “When is one of only three companies in the nation we did Nixon in China last season, John that supports a full time chorus, and under Adams was so impressed at how we Robertson’s direction it has evolved into a handled some of those notoriously difficult premier ensemble. In 2012, in recognition choruses that he told me, ‘You know, I can of his work, he was awarded the Opera make it harder.’”

Medal, the Company’s highest award.

“Working with living composers has been When preparing a modern opera, a blast,” Robertson continues. “I especially Robertson takes a workmanlike approach. appreciate when they are open to sugges“I research the subject matter,” he explains. tions. Philip Glass took my advice for parts “I play the score at the piano to understand of Appomattox, for example. I asked him if the tonality. I study how the words are wed I could have a share of the royalties. He to the music. Above all, I try to understand told me I had to get in line after his three the choral resonance and how it relates to ex-wives.” everything else.”

“Sometimes the music I have to prepare Robertson’s preparation sets the tone for is off putting,” Robertson states candidly. his singers. “We start by learning the notes, “But that doesn’t impact my approach. You of course,” he remarks. “But our choristers have to push yourself to make sure that are such good musicians that the notes you’re being true to what is on the page. It’s come quickly. Sometimes the settings are your duty as a performer. We want to do dense, and you have to adjust your ears to what the composer has written to the best make sure you’re being accurate. The real of our ability and let the audience react as work is discovering what the composer is it will.”

NAMING GIFTS P H O T O B Y C O RY W E AV E R

Preparing Modern Opera Choruses

Our building campaign is becoming a reality. Construction for the new Wilsey Center began on June 1, 2013. We are sincerely grateful to the following donors who have made generous gifts to the Diane B. Wilsey Center for Opera.

$1,000,000 AND ABOVE

Anonymous The Hume Family Franklin & Catherine Johnson Diane B. Wilsey $500,000–$999,999

Anonymous Barbara Moller Ward, in honor of David Gockley BUILDER’S CIRCLE $250,000–$499,999

Edward Paul Braby, M.D. Donna Dubinsky & Leonard Shustek Jennifer Coslett MacCready Betty & Jack Schafer Ann Classen Treadwell, in memory of Zelda Ann Classen Mr. S. Shariq Yosufzai & Mr. Brian James $50,000–$99,999

Bruce W. Hyman & Simone M. Quarré $10,000–$49,999

Norby Anderson Jane & David Hartley Lisa P. Lindelef Hiro & Betty Ogawa Ms. Ruth A. Short Ms. Sheila Wishek Ward & Diane Zumsteg Current as of May 15, 2013 For more information, visit sfopera.com/WilseyCenter

Plan for new theater space PA G E 7

upcoming events

Recent Event Highlights

JUNE

ADLER FELLOW GALA CONCERT

Photo by Kristen Loken

Board member Barbara Ward Wonder, Adler Fellow Nadine Sierra, and Roy Wonder

Photo by Kristen Loken

BRINGING AN OPERA TO LIFE The production team for The Gospel of Mary Magdalene at a design workshop. From left to right, David Gockley, Mark Adamo, Constance Hoffman, Kevin Newbury, and David Korins

JUNE 24, 2013 Zheng Cao Memorial Concert 3pm – Please note time change War Memorial Opera House Free and open to the public

JULY JULY 7, 2013 KDFC Radio Broadcast Listener’s Choice (TBD) 8pm – 90.3 in San Francisco; 89.9 in the North & East Bay; online kdfc.com J U LY 2 0 , 2 0 1 3 Merola’s Schwabacher Summer Concert 2 p m – Ye r b a B u e n a G ard e n s

AUGUST

A U G U ST 1 8 , 2 0 1 3 Opera at Stern Grove 2pm – Sigmund Stern Grove Photo by Kristen Loken

Photo by Kristen Loken

Ao Li performing at San Francisco Opera Open House

P h o t o b y S c o t t Wa l l

90TH SEASON COMMUNITY OPEN HOUSE

Attendee at San Francisco Opera Open House

OPERA BALL 2013

Event Designer Colin Cowie

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an Francisco Opera celebrates the opening of its 91st season on September 6, 2013 with a gala opening night like none other. San Francisco Opera Guild’s 2013 Opera Ball: The Garden of Good and Evil will be created by celebrity event designer Colin Cowie to reflect the celestial and devilish themes of the evening’s performance –– Arrigo Boito’s Mephistopheles. Always a highlight of the City’s cultural and philanthropic season, Opera Ball is an extraordinary event that brings together local and national corporate, political, civic, and philanthropic leaders. The proceeds from this event support San Francisco Opera’s and San Francisco Opera Guild’s award-winning education and community programs throughout the Bay Area. Opera Ball 2013 is cochaired by Ann Girard and Mai Shiver; Karen Kubin is president of San Francisco Opera Guild. For tickets, visit sfopera.com/guild.

AUGUST 31, 2013 WFMT Radio Broadcast of Die Walküre 10am – 102.1 in San Francisco; online wfmt.com

SEPTEMBER SEPTE M B ER 6 , 2 0 1 3 Opening Night Gala 5pm – War Memorial Opera House SEPTE M B ER 7 , 2 0 1 3 WFMT Radio Broadcast of The Capulets and the Montagues 10am – 102.1 in San Francisco; online wfmt.com SEPTE M B ER 8 , 2 0 1 3 San Francisco Opera in the Park 1:30pm – Sharon Meadow Golden Gate Park SEPTE M B ER 1 4 , 2 0 1 3 WFMT Radio Broadcast of Moby-Dick 10am – 102.1 in San Francisco; online wfmt.com Membership events are subject to change.

Visit sfopera.com/calendar for updates.