![]() ![]() More broadly, this application of experimental performativity contributes to discourses about Pan-American experimentalism(s) and demonstrates the ways in which a focus on local encounters can yield broad applications for genres and/or scenes beyond opera in the United States. Complete cycles are priced from 190 to 3,420 and include a tax-deductible contribution to provide support for the monumental production, which initially cost about 23 million over the three years of its development and presentation of individual operas in advance of the complete cycles. Based on a populist vision of operatic access, the SF Opera Lab re-contextualized rather than eliminated class and intellectual hierarchies. Our good buddy Tom Reed, member of the chorus from 1975-2015 (and probably still doing Extra Chorus), is smack dead center on the cover of todays SF Chronicle Datebook, in a photo from the companys 2011 production of the Ring Cycle. ![]() Using interviews with company members and analysis of advertising and reception of the events, I examine the SFO Lab programming as a site of negotiation between operatic convention and experimentation. Ring cycle tickets, previously available to San Francisco Opera subscribers and donors only, go on sale to the general public beginning Januat 1 p.m. While scholars have explored the creation and funding of contemporary operatic productions in the United States, little attention has been given to forms of programming beyond the operatic mainstage. ![]() Alternative forms of programming, which I categorize as auxiliary programming, have gained traction as a marketing and aesthetic strategy in recent years, and ultimately signal a dramatic shift in approaches to regional opera production in the United States. ![]() The San Francisco Opera's SF Lab Initiative (2015–2018) was created with such goals in mind. Join the SF Opera Community envisioning a vibrant arts world. Twenty-first-century North American opera houses have attempted to bring in new audiences to make up for a declining and aging population of subscribers through means both traditional and unorthodox. In director Francesca Zambello’s revised staging of Wagner’s Der Ring des Nibelungen, currently on display at San Francisco Opera, Die Götterdämerung, the final installment of this 17 hour marathon, ends with a nine year-old girl placing a potted sapling of an ash tree center-stage as the orchestral music fades. ![]()
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