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Explorations in Economic History. Accumulated strain on the faults in the system was relieved during the earthquake, which is the supposed cause of the damage along the 450-kilometer-long segment of the San Andreas plate boundary. As a singer, Sayão was forever to remain his passion, one which was accentuated by seeing her in performances in Montreal.

The distance between you and your lover not only severely limits your dating pool to the people around you, but traveling back and forth is exhausting enough to call it social. 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. So far these include and 's in 2007; and 's in 2008; and and 's in 2011. Retrieved Sin 6, 2014. On a recent afternoon at the War Memorial Opera House, the entire building was a humming hive of activity. McLean; Helen Swett Artieda; James Marvin Motley; Jessica Peixotto; Mary Roberts Coolidge 1907.

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Gaetano Merola 1923—1953 The first performance given by San Francisco Opera was , with Queena Mario and , on 26 September 1923, in the city's and conducted by Merola, whose involvement in opera in the San Francisco Bay Area had been ongoing since his first visit in 1906. Merola launched the company in 1922, convinced that the city could support a full-time opera organization and not depend upon visiting companies, which had been coming to the San Francisco since Gold Rush days. In fact, Merola's initial visits to the city were as conductor of some of these troupes—the first in 1909 with the International Opera Company of Montreal. Continued visits for the next decade convinced him that a San Francisco company was viable, and in 1921 he returned to live in the city under the patronage of Mrs. By the fall of 1921 he was planning his first season, which was presented at 's football stadium on 3 June 1922 with a star-studded group of singers, including in , followed by and. While it was a popular and critical triumph, the five-day season was not a financial success. It was clear to Merola that a more solid financial base was needed, so he set about fund raising for a season of opera to be presented at the Civic Auditorium in the fall of 1923. An international opera season had been launched, and the ones that followed it covered a broad range of mostly Italian operas, many being presented only once or twice in seasons lasting no more than two months, sometimes only the month of September. During the nine years following the opening season, the San Francisco was conceived. The building was designed by Arthur Brown, Jr. San Francisco Opera programs, 1934-36 The company inaugurated the new opera house with a performance of on 15 October 1932 with in the title role. However, until well after Merola's death, the main San Francisco season rarely extended beyond late October. He died while conducting an open-air concert at on 30 August 1953. Edwin MacArthur led the San Francisco Opera Orchestra in several 78-rpm recordings for in the late 1930s, including performances by soprano. 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. Kurt Herbert Adler 1953—1981 1905—1988 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. 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. 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 aims in taking over the company were several. One was to expand the season which in Merola's time ran from the Friday after Labor Day until early November when the Metropolitan Opera's season began in order 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 on the radio, and offered her a role in in 1957, thus providing her with her the 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 , a role which gave her long-lived international acclaim. Thirdly, a characteristic of the Adler years was his 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 , 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 named after the first general director. 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 and. 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 and the San Francisco Chronicle Charities. These included flying with no notice from New York City to San Francisco — albeit three hours after curtain time — to replace the ailing on the opening night of and the last-minute substitution by for in the role of Aida. From 1971 to 1979, San Francisco station broadcast the regular Friday night performances of the opera on AM and FM in multiplex stereo with quadraphonic encoding. The broadcasts were hosted by several well-known announcers, including 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 Jaegel. Adler retired on 15 December 1981. Terence McEwen 1982—1988 Following Adler's retirement announcement in June 1979, Terence A. McEwen 1929 , Ontario — 14 September 1998, 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 broadcasts, and at age 14, made a trip to New York one winter break to hear several of his favorite operas, which included and in. As a singer, Sayão was forever to remain his passion, one which was accentuated by seeing her in performances in Montreal. His passion for opera in general led him to visit the in London and a lowly paid job with 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 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. 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. 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 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. Lotfi Mansouri 1988—2001 b. Then head of the in , Mansouri had received an education in medicine in Los Angeles, but gave it all up upon becoming fixated on opera, first as a young tenor with UCLA's Opera Workshop, and then with opera in general. As early as 1962, with Mansouri having found work as director in Los Angeles followed by his becoming resident stage director at the , Adler came to see him at work and he was offered six operas to direct in the 1963 season. By the time he became General Director, he had directed 60 operas for SFO and many others elsewhere. By 1975 he was director of the Canadian Opera Company where, in 1983, he had introduced the revolutionary. Mansouri's feelings on the effects of titling was that the audience would be more engaged in the performance. This changed the whole world of opera. Mansouri introduced many new operas to the SFO repertory. These included more Russian operas with the highlight being 's conducting of 's and a firm link established with the. Also, there was 's and Verdi's which followed. One of Mansouri's triumphs was the overseeing of the reconstruction and renovation of the opera house following the October 1989 earthquake. Fittingly, the concert featured operatic greats of the past, present and future. The project included repairs of damage caused by the 1989 Loma Prieta earthquake, improvements for the audience and performers, seismic strengthening and a general cleanup that left the 65-year-old Opera House gleaming. The cast featured , , and. It was performed in 1996 as a joint commission and co-production of the SFO, , and. The cast featured Raymond Very as Dan White, Robert Orth as Harvey Milk and Gidon Sachs as Mayor Moscone. The work had its premiere during the 1998—99 fall season. The cast included as Blanche DuBois and as Stella, baritone as Stanley Kowalski and tenor as Mitch. The cast included as Sister Helen Prejean, John Packard as Joe; and as Mrs. The cast included in 3 roles, as The Captain, and as the First Officer. For Mansouri, a success that doesn't put fannies in the seats is no success at all. Pamela Rosenberg 2001—2005 's first connection with the San Francisco Opera was as a standee while attending the University of California, Berkeley. She returned to SFO with a background of operatic productions in Germany and, specifically, as head of the Stuttgart Opera. Other operas new to the SFO's repertoire during her directorship include Busoni's Doktor Faust, Ligeti's Le Grand Macabre and Janáček's The Cunning Little Vixen. Ambitious programming initiatives and plans for a second, smaller performance venue went by the wayside. Her taste for new and unusual operas and a European-honed aesthetic that favored brash and even radical reinterpretations of the classics, the thinking went, drove away audiences and donors and ran up costs in the company's hour of greatest need. From 2004-2007 served as the Chief Financial Officer of the San Francisco Opera. David Gockley 2006—2016 After 33 years of directing the , became the SFO's General Director on 1 January 2006. I believe that it speaks of glamour, sophistication, tradition and innovation all things that infuse our plans for the future of San Francisco Opera. His replacement was announced to be Matthew Shilvock in September 2015. You can expect in coming seasons to hear , , , , , , , , , , and —among many others. Ring Cycle San Francisco Opera and Washington National Opera began a co-production of a new Ring cycle in 2006 directed by Francesca Zambello. The production used imagery from various eras of American history and had a feminist and environmentalist viewpoint. SFO presented in June 2008, in June 2010, and three complete Ring cycles in June 2011. The complete cycles in June 2011 were conducted by Donald Runnicles and featured cycle role debuts of Wotan and Brünnhilde as well as making his role debut in the title role of and making his role debut as Siegfried in. Technological innovations In May 2006 Gockley oversaw SFO s first simulcast, a live broadcast of a mainstage performance of to San Francisco's Civic Center Plaza for a crowd of 8,000. The technology for the simulcasts and other innovations like OperaVision—a series of screens located throughout the War Memorial Opera House that project close-up shots of the action on stage—is made possible through SFO's Koret-Taube Media Suite. Completed in 2007, The Koret-Taube Media Suite is the first permanent high-definition broadcast-standard video production facility installed in any American opera house according to the company's website. In 2007, San Francisco Opera returned to regular broadcasts of its productions on national and international radio. Following the initial presentation of the four operas in movie theaters in 2008, San Francisco Opera used these four titles to create its Grand Opera Cinema Series, making these titles available to be presented by performing arts centers, theaters, and universities. Since 2008 the company has added eight additional operas to the Grand Opera Cinema Series, and they have been presented by with hosts and. Music directors and conductors under Gockley In September 2006, it was announced and reported that by mutual agreement with Gockley, would conclude his tenure as Music Director in 2009. Luisotti made his SFO debut in 2005 with , and returned in 2008 to conduct prior to assuming the role of music director. In January 2009, Gockley announced the reappointment of as principal guest conductor and named as the company's new assistant music director. Finzi was named as SFO's resident conductor in 2011. San Francisco Opera has presented several world premieres under David Gockley's tenure. So far these include and 's in 2007; and 's in 2008; and and 's in 2011. In 2013, the company presented three world premieres: and 's , based on the children's book by and staged in conjunction with 's ; 's The Gospel of Mary Magdalene; and and 's , based on the novel by. In the summer of 2015 the world premiere of by and , based on by ,took place. San Francisco Opera's recent commissions include by and in the fall of 2016, based on the by 18th-century writer. Wilsey Center for Opera In order to consolidate its various office and work spaces scattered throughout San Francisco, SFO will take over the fourth floor of the once the building's retrofit is complete in 2015. To accomplish this, the company started a campaign to name various locations of the new space after donors in 2011. Designed by San Francisco architectural firm Mark Cavagnero Associates, the center will provide additional office space as well as costume storage; two multipurpose rooms for rehearsals, board meetings, and social events; and a 299-seat performance venue. Retrieved 10 August 2007. Retrieved 10 August 2007. Retrieved 10 September 2007. Retrieved 10 August 2007. The New York Times. Retrieved 5 February 2016. Retrieved 23 February 2012. Archived from PDF on 14 January 2010. Retrieved 8 August 2007. Retrieved 10 August 2007. Retrieved 18 January 2011.