Beginning in October, virtual tickets will be available for $25 to livestream the October 14, 17 and 20 performances of Fidelio. Several virtual and in-person ancillary events will be presented to foster deeper discovery. Tickets Available at and (415) 864-3330.įor the first time in its history, San Francisco Opera will livestream select performances of the new production. Chorus Director Ian Robertson, who retires this year after 35 seasons, prepares the acclaimed San Francisco Opera Chorus for two exhilarating choral highlights of the operatic repertory: the famous Act I Prisoners’ Chorus and Fidelio’s exuberant finale. Soprano Elza van den Heever stars as the opera’s heroine, Leonore, heading an all-star cast that includes tenor Russell Thomas, bass-baritone Greer Grimsley and basses James Creswell and Soloman Howard. Director Matthew Ozawa updates its original eighteenth-century prison setting to a modern government detention center.
Hume Music Director Eun Sun Kim conducts this monumental work in which love and courage overcome tyranny. The new production’s physical setting - by Ozawa, set designer Alex Nichols, lighting designer JAX Messenger, costume designer Jessica Jahn - has been a matter of special interest to SF Opera General Director Matthew Shilvock, who quotes Ozawa’s intention “for the production to be a conversation starter around what change looks like around the world.San Francisco Opera’s return to live performances in the War Memorial Opera House continues October 14–30 with a bold, new production of Ludwig van Beethoven’s only opera, Fidelio. Ozawa sees in the opera’s arc from the prisoners’ chorus to the celebration of freedom in the finale “a symbol of hope,” intending to present the work “through a contemporary lens,” reflecting the perspective of the voiceless gaining the power to speak. Now that political events in Germany have restored to the concepts of human dignity and liberty their original significance, this is the opera which, thanks to the music of Beethoven, gives us comfort and courage.” “The conjugal love of Leonore appears, to the modern individual armed with realism and psychology, irremediably abstract and theoretical. In 1948, conductor Wilhelm Furtwängler said before a performance in Salzburg: Matthew Ozawa preparing Fidelio in the War Memorial | Credit: SF Operaįidelio was the first opera performed in Berlin after the end of World War II, in the city’s only undamaged theater, the Theater des Westens, in September 1945.
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