San Francisco Opera
The San Francisco Opera is an American opera company founded in 1923 by Gaetano Merola based in San Francisco, California.
History
Gaetano Merola (1923–1953)
Merola's road to prominence in the Bay Area began in 1906 when he first visited the city. In 1909, he returned as the conductor of the International Opera Company of Montreal, one of the many visiting troupes that frequented the bustling city. Continued visits over the next decade convinced him that an opera company in San Francisco was viable.Merola moved back into the city in 1921 while living with Mrs. Oliver Stine's support Oliver Stine. He drafted plans for a new, locally owned opera company that would not rely on visiting troupes, a common practice for some opera companies since the Gold Rush. By the next year, Merola organized a trial season at Stanford University. The first performance occurred in the Stanford Cardinal's football stadium on June 3, 1922, with operatic tenor Giovanni Martinelli performing in Pagliacci, Carmen, and Faust.
The five-day season's lacked any financial success; Merola instead successfully raised funds for a full season of opera in the following year. Following this, the first unaffiliated performance given by the San Francisco Opera was La bohème, with Queena Mario and Giovanni Martinelli, on September 26, 1923, in the city's Civic Auditorium.
In subsequent years, SFO would perform a wide array of Italian operas, rarely performing a given opera more than once. SFO seasons seldom lasted more than two months, and occasionally performed less than one month. The 1923–24 season included productions of Andrea Chénier and Mefistofele with Beniamino Gigli, Tosca with Giuseppe De Luca and Martinelli, and Verdi's Rigoletto with Queena Mario, De Luca, and Gigli.
During the nine years following the opening season, the San Francisco War Memorial Opera House was designed by Arthur Brown Jr.
On October 15, 1932, the company inaugurated the new opera house with a performance of Tosca on with Claudia Muzio in the titular role. Characteristic of Merola's years as general director was the fact that "the great singers of the world came regularly to San Francisco, often performing several roles in deference to the short season and long travel time across the country."
Edwin MacArthur led the San Francisco Opera Orchestra in several 78-rpm recordings for RCA Victor in the late 1930s, including performances by soprano Kirsten Flagstad. Some of these were later reissued by RCA on LP and CD.
Short versions of all the works in the season were broadcast on about 30 California, Oregon, Washington, Idaho and British Columbia radio stations, starting about 1941.
Merola's tenure lasted 30 years. Characteristics of Merola's SFO included creating opportunities for young American singers regardless of the fact that the opera lacked a formal training program at that time, and also regular tours by the SFO to Los Angeles between 1937 and 1965, which expanded the season into November. However, until well after Merola's death on August 30, 1953, while conducting an open-air concert at Stern Grove, the main San Francisco season rarely extended beyond late October.
Kurt Herbert Adler (1953–1981)
came to the United States in 1938 after early experience and training in many aspects of music and theatre in Austria, Germany, and Italy. For five years, he worked to build the chorus of the Chicago Opera Company. Merola heard of him and, over the telephone, invited him to San Francisco opera in 1943 as chorus director.Adler was often regarded as a difficult, sometimes tyrannical person to work for. However, as Chatfield-Taylor notes, "singers, conductors, directors, and designers came back season after season. They came back because Adler made the SFO an internationally respected company that ran at a high level of professionalism and offered them interesting things to do in a warm and supportive atmosphere." Among those who were offered new and exciting challenges were Geraint Evans, the Welsh baritone, Leontyne Price, and Luciano Pavarotti.
He took on more and more administrative details as Merola's health and energy diminished, but Adler was not the board's natural choice to replace Merola at the time of his death in 1953. After three months of acting as artistic director, and with the assistance of its president, Robert Watt Miller, Adler was confirmed as general director.
Adler's aims
Adler's had several aims in taking over the company. One was to expand the season which in Merola's time ran. It changed from the Friday after Labor Day until early November. This was to capitalize on the availability of singers by presenting up to fourteen operas with two or three performances each. Eventually, as seen in the 1961 SFO season, eleven operas were given five or six performances each on average while the season ran to late November.Another aim was to present new talent, and, for this, he was tireless in seeking out up-and-coming new singers, whether American or European, by attending performances in both major and minor opera houses. He heard Leontyne Price on the radio and offered her a role in Dialogues of the Carmelites in 1957, thus providing her with her first performance on a major operatic stage. A short time later in the same season, she was to step into the role of Aida at short notice to replace Antonietta Stella, a role which gave her long-lived international acclaim.
Adler developed a strong professional relationship with Birgit Nilsson. Nilsson made her US-debut in San Francisco in 1956. She returned almost every season for 26 years and made her last appearance in the house in 1982.
A characteristic of the Adler years was the interest in developing stronger connections to opera stage directors in an attempt to strengthen the dramatic and theatrical elements of the works. In this, he was greatly supported by his long relationship with Jean-Pierre Ponnelle, the often-controversial stage director and designer who began his association with SFO in 1957.
Merola Opera Program
Several innovations undertaken by Adler included the Merola Opera Program. It began during the 1954/55 Season and was given its current name in 1957. The program now annually offers approximately 23 gifted singers, four apprentice coaches, and one apprentice stage director the rare opportunity of studying, coaching, and participating in master classes with established professionals for eleven weeks during the summer. Many went on to international careers, among them Carol Vaness and Thomas Hampson.Opera in the Park
Another innovation was "Opera in the Park" which, since 1971, has been an annual free concert in Golden Gate Park on the Sunday following opening night of the Fall Season. It traditionally features artists from the opening weekend in full concert with the San Francisco Opera Orchestra. The event is open to the public and draws some 30,000 listeners. The concert is presented in conjunction with the non-profit San Francisco Parks Trust and the San Francisco Chronicle Charities.Success of the company
By the 1970s, the company was highly successful and offered audiences the "cream of the crop" of internationally known singers, but with Adler often bringing in unknowns to make their American debuts or the surprise of well-known singers replacing ailing ones, there were some exciting nights at the opera. These included Plácido Domingo flying with no notice from New York City to San Francisco – albeit three hours after curtain time – to replace the ailing Carlo Cossutta on the opening night of Otello and the last-minute substitution by Leontyne Price for Margaret Price in the role of Aida.From 1971 to 1979, San Francisco station KKHI broadcast the regular Friday night performances of the opera on AM and FM. The broadcasts were hosted by several well-known announcers, including Scott Beach and Fred Cherry.
In the summer of 1972, the San Francisco Opera began its 50th anniversary celebrations with a special free concert in Sigmund Stern Grove. Adler conducted most of the program, which featured performances by many of the surviving singers who had appeared with the company during its history. The legendary tenor Lauritz Melchior conducted the orchestra, rather than sing, in a performance of the famous Radetsky March by Johann Strauss I; it was possibly his last public appearance. One of the highlights of the afternoon program was a moving performance of the love duet from Madama Butterfly with soprano Licia Albanese and tenor Frederick Jagel.
Adler retired on December 15, 1981.
Terence McEwen (1982–1988)
Following Adler's retirement announcement in June 1979, Terence A. McEwen was Adler's hand-picked successor. Growing up in the Montreal area of Canada, McEwen learned to love opera at an early age, listened to the Met broadcasts, and at age 14, made a trip to New York one winter break to hear several of his favorite operas, which included Bidu Sayão and Jussi Björling in Rigoletto. As a singer, Sayão was forever to remain his passion, one which was accentuated by seeing her in Manon performances in Montreal.His passion for opera in general led him to visit the Royal Opera House in London and a lowly paid job with Decca Records in that city. Moving up the ranks in the 1950s, he landed in New York in 1959 and for the next 20 years made London Records, Decca's classical arm, the most significant classical label in the United States.
After being approached by Adler regarding the San Francisco opera job, he moved to the city in 1980 and involved himself totally in learning the running of an opera company. In January 1982 McEwen was running the SFO.
Given his expertise and background in understanding opera and the wonders of the human voice, it is not surprising that his approach in his early years was away from the theatrical side and more focused on singers. With his Ring Cycle which began in the Summer 1983 and Fall 1984 seasons — and which was presented in its entirety in June 1985 – McEwen demonstrated where his priorities lay: they were focused on hiring the best singers in the world.
As a reaction to the economic climate of the times, in 1982 McEwen, created the "San Francisco Opera Center" to oversee and combine the operation and administration of the numerous affiliate educational and training programs. Providing a coordinated sequence of performance and study opportunities for young artists, the San Francisco Opera Center included the "Merola Opera Program", "Adler Fellowship Program", "Showcase Series", "Brown Bag Opera", "Opera Center Singers", "Schwabacher Recitals", and various Education Programs. By introducing his young singers to the great voices of the past, inviting them to rehearsals, and giving tickets to current productions McEwen hoped to create rounded performers who could appear in the regular Fall season.
Among his successes in this regard was the mezzo-soprano Dolora Zajick from Nevada. By "hand holding" her through the various stages of training, he prepared her for the role of Azucena in Il trovatore for the summer 1986 season to great acclaim.
During the 1983 fall season, the student/family matinee performances of La traviata were presented with supertitles. These are English translations of the libretto projected over the proscenium simultaneously with the action on stage. The overwhelmingly favorable response prompted the company to introduce the practice in increasing numbers of performances in subsequent seasons. Supertitles are now used for all San Francisco Opera productions and SFO also rents its supertitles internationally to other opera companies.
In 1986, Sir John Pritchard was appointed music director and served until 1989.
On 8 February 1988, McEwen announced his resignation. The following day his mentor, Kurt Herbert Adler, died.