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An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.",
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"title": "Review: SF Opera’s ‘El último sueño de Frida y Diego’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "You Can Get Vaccinated at the Thundercat Show This Weekend",
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"content": "\u003cp>To close the vaccination gap, some public health experts say it’s better to meet communities where they are instead of shaming people hesitant to get the shot. Well, San Francisco’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a> appears to have taken that advice to heart.\u003c/p>\n\u003cp>At this Sunday’s edition of the free concert series, attendees can get their jab of the Pfizer or Johnson & Johnson vaccine as they groove to jazz and soul stylings of Thundercat, Cassowary and DJ Shortcut.\u003c/p>\n\u003cp>The festival is pulling this medical intervention off with help from Kaiser Permanente, and concert-goers who get vaccinated at the Aug. 8 show will get first dibs on RSVPs for the Aug. 29 festival finale with Too $hort and Tower of Power. Those who make the Aug. 29 concert can get their second Pfizer dose there as well. Reservations for the Thundercat show are already full, and signups for \u003ca href=\"https://www.sterngrove.org/concert-10\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort and Tower of Power\u003c/a> open to the public on the 17th.\u003c/p>\n\u003cp>Stern Grove’s announcement comes as an increasing number of Bay Area concert venues begin requiring proof of vaccination for entry. \u003ca href=\"https://www.kqed.org/arts/13900368/more-california-music-venues-require-vaccinations-negative-covid-tests-for-entry\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported last week\u003c/a> that Rickshaw Stop, Oasis, F8, The Independent, Bill Graham Civic Auditorium and Eli’s Mile High Club ask for vaccination cards at the door. And several other clubs, festivals and arts institutions have since followed suit. [aside postid='arts_13900368']\u003c/p>\n\u003cp>Another Planet Entertainment, the company that puts on Outside Lands, now requires \u003ca href=\"https://apeconcerts.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination\u003c/a> at all of their venues, which include Oakland’s Fox Theater and Berkeley’s Greek Theatre in addition to the Independent and Bill Graham. (APE also accepts a negative COVID-19 test from within 48 hours of the show.) Wine Country music festival BottleRock, which will bring Stevie Nicks, Megan Thee Stallion and Foo Fighters to Napa on Labor Day weekend, is also asking for \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">patrons to have at least one vaccine dose or a negative COVID test\u003c/a> with a 72-hour window.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Starting Aug. 6, proof of vaccination or a negative COVID test will also be required to see the \u003ca href=\"https://www.sfsymphony.org/About-SFS/Press-Room/Press-Releases/DSH-Health-Safety-Updates-Aug-2021\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>. The \u003ca href=\"https://sfopera.com/on-stage/faqs/#:~:text=Based%20on%20the%20latest%20medical,Wilsey%20Center%20for%20Opera.\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> is accepting fully vaccinated patrons only—a negative COVID test will not suffice to see Puccini’s \u003cem>Tosca\u003c/em> when the season opens on Aug. 21.\u003c/p>\n\u003cp>Though vaccine cards and negative tests are not required to enter Stern Grove, executive director Bob Fiedler said in a statement that “vaccinations are the best intervention in the battle against COVID-19.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Overall, Stern Grove Festival is proud to be one of the first major outdoor events back in the Bay Area,” he added, “and we will continue to do our part to help ensure the safety of all involved as well as for our fellow San Franciscans.”\u003c/p>\n\n",
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"excerpt": "Stern Grove Festival is bringing a vaccine site to its Aug. 8 and Aug. 29 shows. And Another Planet Entertainment, SF Symphony and SF Opera are now requiring vaccines for entry.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To close the vaccination gap, some public health experts say it’s better to meet communities where they are instead of shaming people hesitant to get the shot. Well, San Francisco’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a> appears to have taken that advice to heart.\u003c/p>\n\u003cp>At this Sunday’s edition of the free concert series, attendees can get their jab of the Pfizer or Johnson & Johnson vaccine as they groove to jazz and soul stylings of Thundercat, Cassowary and DJ Shortcut.\u003c/p>\n\u003cp>The festival is pulling this medical intervention off with help from Kaiser Permanente, and concert-goers who get vaccinated at the Aug. 8 show will get first dibs on RSVPs for the Aug. 29 festival finale with Too $hort and Tower of Power. Those who make the Aug. 29 concert can get their second Pfizer dose there as well. Reservations for the Thundercat show are already full, and signups for \u003ca href=\"https://www.sterngrove.org/concert-10\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort and Tower of Power\u003c/a> open to the public on the 17th.\u003c/p>\n\u003cp>Stern Grove’s announcement comes as an increasing number of Bay Area concert venues begin requiring proof of vaccination for entry. \u003ca href=\"https://www.kqed.org/arts/13900368/more-california-music-venues-require-vaccinations-negative-covid-tests-for-entry\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported last week\u003c/a> that Rickshaw Stop, Oasis, F8, The Independent, Bill Graham Civic Auditorium and Eli’s Mile High Club ask for vaccination cards at the door. And several other clubs, festivals and arts institutions have since followed suit. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Planet Entertainment, the company that puts on Outside Lands, now requires \u003ca href=\"https://apeconcerts.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination\u003c/a> at all of their venues, which include Oakland’s Fox Theater and Berkeley’s Greek Theatre in addition to the Independent and Bill Graham. (APE also accepts a negative COVID-19 test from within 48 hours of the show.) Wine Country music festival BottleRock, which will bring Stevie Nicks, Megan Thee Stallion and Foo Fighters to Napa on Labor Day weekend, is also asking for \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">patrons to have at least one vaccine dose or a negative COVID test\u003c/a> with a 72-hour window.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starting Aug. 6, proof of vaccination or a negative COVID test will also be required to see the \u003ca href=\"https://www.sfsymphony.org/About-SFS/Press-Room/Press-Releases/DSH-Health-Safety-Updates-Aug-2021\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>. The \u003ca href=\"https://sfopera.com/on-stage/faqs/#:~:text=Based%20on%20the%20latest%20medical,Wilsey%20Center%20for%20Opera.\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> is accepting fully vaccinated patrons only—a negative COVID test will not suffice to see Puccini’s \u003cem>Tosca\u003c/em> when the season opens on Aug. 21.\u003c/p>\n\u003cp>Though vaccine cards and negative tests are not required to enter Stern Grove, executive director Bob Fiedler said in a statement that “vaccinations are the best intervention in the battle against COVID-19.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Overall, Stern Grove Festival is proud to be one of the first major outdoor events back in the Bay Area,” he added, “and we will continue to do our part to help ensure the safety of all involved as well as for our fellow San Franciscans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera and UCSF's New Mask for Singers Helps Bring Back In-Person Performances",
"headTitle": "SF Opera and UCSF’s New Mask for Singers Helps Bring Back In-Person Performances | KQED",
"content": "\u003cp>\u003ca href=\"https://surgery.ucsf.edu/faculty/general-surgery/sanziana-a-roman,-md,-facs.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Sanziana Roman\u003c/a> is a classically-trained soprano who also happens to be a professor of surgery and thyroid surgeon at the \u003ca href=\"http://ucsf.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of California San Francisco\u003c/a> (UCSF).\u003c/p>\n\u003cp>“I just couldn’t bear the thought that I may not make it as a singer,” Roman says. “So I went to medical school.”\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) has enlisted Roman as one of a handful of UCSF medical experts to help determine what it would take to bring live opera back.\u003c/p>\n\u003cfigure id=\"attachment_13894139\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg\" alt=\"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">UCSF professor of surgery and thyroid surgeon Sanziana Roman was on track to become a professional soprano before changing track to pursue a career in medicine. \u003ccite>(Courtesy Sanziana Roman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group has met every Monday morning on Zoom since last June. And one night not too long after the collaboration began, Roman decided to get creative.\u003c/p>\n\u003cp>“I had some old masks from the operating room that I brought home,” Roman says. “I cut them up at my kitchen table and kind of pasted them together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result was the prototype for a new mask specially designed for singers, and aimed at keeping performers safe as they return to live productions.\u003c/p>\n\u003cp>Roman’s invention has since gone through rounds of testing and further design tweaks. UCSF and SF Opera have filed a patent for the mask, and it’s currently being manufactured in the opera company’s costume shop as the team searches for a commercial entity like 3M to potentially license the mask to and ramp up its production.\u003c/p>\n\u003cp>“It was really designed to get singers practicing, working together, and being in close proximity without worrying so much about aerosols,” Roman says of her new creation, officially called the VOXCV mask.\u003c/p>\n\u003cp>Even though COVID-19 infection rates are dropping in California, singing in public is still considered a high-risk activity. That’s because of the aerosols that singing produces—fine mists of tiny particles that tend to float in the air for extended periods of time. This makes them potentially more hazardous than the larger droplets created by regular speaking, which generally fall to the ground more easily.\u003c/p>\n\u003cp>The media has reported on \u003ca href=\"https://www.theguardian.com/world/2020/may/17/did-singing-together-spread-coronavirus-to-four-choirs\" target=\"_blank\" rel=\"noopener noreferrer\">several singing-related COVID-19 outbreaks\u003c/a> over the past year, including one in Washington State that left two choristers dead.\u003c/p>\n\u003cp>In tests conducted at \u003ca href=\"https://www.ucdavis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, Roman’s new mask design has proved to be almost as efficient at filtering out particles as the gold-standard N95 mask. (According to a UC Davis research paper shared with KQED, it filters out 94% of particles; the N95 filters 95%.)\u003c/p>\n\u003cfigure id=\"attachment_13894140\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Opera Adler Fellow Anne-Marie MacIntosh got to try out and offer feedback on the new singing mask. \u003ccite>(Anne-Marie MacIntosh/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Opera \u003ca href=\"https://sfopera.com/about-us/opera-center/adler-fellowship-program/adler-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Fellow\u003c/a> \u003ca href=\"https://sfopera.com/about-us/people/bios/adlers/AnneMarieMacIntosh/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne-Marie MacIntosh\u003c/a>, a resident artist with the company, is impressed with the thinking that’s gone into the design.\u003c/p>\n\u003cp>“It has a really nice drawstring at the bottom that goes underneath your chin to ensure again that there aren’t aerosols escaping through the bottom of the mask,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh was able to try out and offer feedback on the new mask, which is made of washable cotton and has plastic boning to keep it off the face.\u003c/p>\n\u003cp>“And also it has a roll-up extension at the bottom, which you can open up to drink water out of, so that you’re not having to take the mask on and off in rehearsal and put yourself and others in danger,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh unfurls the long flap at the front of the mask, which flops around like the trunk of a dejected elephant. It’s not very flattering, in other words. (Roman says the original prototype looked even weirder.)\u003c/p>\n\u003cp>But MacIntosh says after months of being stuck in her apartment doing rehearsals on Zoom, she can live with the aesthetics.\u003c/p>\n\u003cp>“We’re creating a new trend here!” she says with a laugh.\u003c/p>\n\u003cp>Other opera companies, like \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a>, have also developed singer masks in their costume shops. The company’s general director, \u003ca href=\"https://www.operasj.org/company/\" target=\"_blank\" rel=\"noopener noreferrer\">Khori Dastoor\u003c/a>, says she can see them becoming part of a performer’s everyday toolkit, alongside things like pitch pipes and throat lozenges, well after this pandemic ends.\u003c/p>\n\u003cp>“If it reduces our risk to get the flu or to get any kind of run-of-the-mill rhinovirus, that will stay,” Dastoor says.\u003c/p>\n\u003cp>UCSF’s Roman says masks should be thought of as just one part of a larger solution to enable a safe return to live performances.\u003c/p>\n\u003cp>“Masks are not the only thing that will be protective,” she says. “You have to have good ventilation. You have to have some separation from each other. And you need to have a lot of good testing.”\u003c/p>\n\u003cp>Meanwhile, singer MacIntosh is about to get her first chance to sing before a live audience in more than a year.\u003c/p>\n\u003cp>Together with a number of fellow San Francisco Opera artists, MacIntosh is ramping up for \u003ca href=\"https://sfopera.com/on-stage/the-adlers-live-at-the-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">a series of live outdoor performances\u003c/a> in late April and May, held at the Marin Center for a drive-in audience. So she’s getting used to practicing in her new mask.\u003c/p>\n\u003cp>MacIntosh says rehearsing in the mask isn’t ideal. It gets a little stuffy in there after a while. But that’s a small price to pay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s just exciting to get to work with other people,” MacIntosh says. “We’re going to do whatever it takes to make that happen.”\u003c/p>\n\n",
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"excerpt": "The VOXCV mask was developed—and patented—by SF Opera and UCSF in order to bring back live opera.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://surgery.ucsf.edu/faculty/general-surgery/sanziana-a-roman,-md,-facs.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Sanziana Roman\u003c/a> is a classically-trained soprano who also happens to be a professor of surgery and thyroid surgeon at the \u003ca href=\"http://ucsf.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of California San Francisco\u003c/a> (UCSF).\u003c/p>\n\u003cp>“I just couldn’t bear the thought that I may not make it as a singer,” Roman says. “So I went to medical school.”\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) has enlisted Roman as one of a handful of UCSF medical experts to help determine what it would take to bring live opera back.\u003c/p>\n\u003cfigure id=\"attachment_13894139\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg\" alt=\"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">UCSF professor of surgery and thyroid surgeon Sanziana Roman was on track to become a professional soprano before changing track to pursue a career in medicine. \u003ccite>(Courtesy Sanziana Roman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group has met every Monday morning on Zoom since last June. And one night not too long after the collaboration began, Roman decided to get creative.\u003c/p>\n\u003cp>“I had some old masks from the operating room that I brought home,” Roman says. “I cut them up at my kitchen table and kind of pasted them together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result was the prototype for a new mask specially designed for singers, and aimed at keeping performers safe as they return to live productions.\u003c/p>\n\u003cp>Roman’s invention has since gone through rounds of testing and further design tweaks. UCSF and SF Opera have filed a patent for the mask, and it’s currently being manufactured in the opera company’s costume shop as the team searches for a commercial entity like 3M to potentially license the mask to and ramp up its production.\u003c/p>\n\u003cp>“It was really designed to get singers practicing, working together, and being in close proximity without worrying so much about aerosols,” Roman says of her new creation, officially called the VOXCV mask.\u003c/p>\n\u003cp>Even though COVID-19 infection rates are dropping in California, singing in public is still considered a high-risk activity. That’s because of the aerosols that singing produces—fine mists of tiny particles that tend to float in the air for extended periods of time. This makes them potentially more hazardous than the larger droplets created by regular speaking, which generally fall to the ground more easily.\u003c/p>\n\u003cp>The media has reported on \u003ca href=\"https://www.theguardian.com/world/2020/may/17/did-singing-together-spread-coronavirus-to-four-choirs\" target=\"_blank\" rel=\"noopener noreferrer\">several singing-related COVID-19 outbreaks\u003c/a> over the past year, including one in Washington State that left two choristers dead.\u003c/p>\n\u003cp>In tests conducted at \u003ca href=\"https://www.ucdavis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, Roman’s new mask design has proved to be almost as efficient at filtering out particles as the gold-standard N95 mask. (According to a UC Davis research paper shared with KQED, it filters out 94% of particles; the N95 filters 95%.)\u003c/p>\n\u003cfigure id=\"attachment_13894140\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Opera Adler Fellow Anne-Marie MacIntosh got to try out and offer feedback on the new singing mask. \u003ccite>(Anne-Marie MacIntosh/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Opera \u003ca href=\"https://sfopera.com/about-us/opera-center/adler-fellowship-program/adler-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Fellow\u003c/a> \u003ca href=\"https://sfopera.com/about-us/people/bios/adlers/AnneMarieMacIntosh/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne-Marie MacIntosh\u003c/a>, a resident artist with the company, is impressed with the thinking that’s gone into the design.\u003c/p>\n\u003cp>“It has a really nice drawstring at the bottom that goes underneath your chin to ensure again that there aren’t aerosols escaping through the bottom of the mask,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh was able to try out and offer feedback on the new mask, which is made of washable cotton and has plastic boning to keep it off the face.\u003c/p>\n\u003cp>“And also it has a roll-up extension at the bottom, which you can open up to drink water out of, so that you’re not having to take the mask on and off in rehearsal and put yourself and others in danger,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh unfurls the long flap at the front of the mask, which flops around like the trunk of a dejected elephant. It’s not very flattering, in other words. (Roman says the original prototype looked even weirder.)\u003c/p>\n\u003cp>But MacIntosh says after months of being stuck in her apartment doing rehearsals on Zoom, she can live with the aesthetics.\u003c/p>\n\u003cp>“We’re creating a new trend here!” she says with a laugh.\u003c/p>\n\u003cp>Other opera companies, like \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a>, have also developed singer masks in their costume shops. The company’s general director, \u003ca href=\"https://www.operasj.org/company/\" target=\"_blank\" rel=\"noopener noreferrer\">Khori Dastoor\u003c/a>, says she can see them becoming part of a performer’s everyday toolkit, alongside things like pitch pipes and throat lozenges, well after this pandemic ends.\u003c/p>\n\u003cp>“If it reduces our risk to get the flu or to get any kind of run-of-the-mill rhinovirus, that will stay,” Dastoor says.\u003c/p>\n\u003cp>UCSF’s Roman says masks should be thought of as just one part of a larger solution to enable a safe return to live performances.\u003c/p>\n\u003cp>“Masks are not the only thing that will be protective,” she says. “You have to have good ventilation. You have to have some separation from each other. And you need to have a lot of good testing.”\u003c/p>\n\u003cp>Meanwhile, singer MacIntosh is about to get her first chance to sing before a live audience in more than a year.\u003c/p>\n\u003cp>Together with a number of fellow San Francisco Opera artists, MacIntosh is ramping up for \u003ca href=\"https://sfopera.com/on-stage/the-adlers-live-at-the-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">a series of live outdoor performances\u003c/a> in late April and May, held at the Marin Center for a drive-in audience. So she’s getting used to practicing in her new mask.\u003c/p>\n\u003cp>MacIntosh says rehearsing in the mask isn’t ideal. It gets a little stuffy in there after a while. But that’s a small price to pay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s just exciting to get to work with other people,” MacIntosh says. “We’re going to do whatever it takes to make that happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Opera\u003c/a> has a new music director. It’s the first time a top-tier opera company in the United States has hired a woman in this role.\u003c/p>\n\u003cp>An accomplished orchestral conductor, \u003ca href=\"https://sfopera.com/about-us/people/bios/artists/Eun-Sun-Kim/\" target=\"_blank\" rel=\"noopener noreferrer\">Eun Sun Kim \u003c/a>is originally from South Korea, and is under 40. She stands out among the other people holding key artistic positions in the opera world, who are mostly white, male and older.\u003c/p>\n\u003cp>“It’s very unusual to have a female conductor for any major opera house or symphony. San Francisco Opera only had their first main stage woman conductor in 2004—Sara Jobin, with \u003cem>Tosca—\u003c/em>and only has had a handful since,” said Bay Area-based opera commentator Charlise Tiee, who blogs at \u003ca href=\"https://operatattler.typepad.com/opera/\" target=\"_blank\" rel=\"noopener noreferrer\">The Opera Tattler\u003c/a>. “I think it’s a great choice and it’s a long time coming.”\u003c/p>\n\u003cp>Indeed, the roster of women in top artistic roles with opera companies around the country is pitifully short. The Chicago Opera Theater, a smaller company than the San Francisco Opera, also has a woman music director, Lidiya Yankovskaya. Karen Keltner was a resident conductor with the San Diego Opera for many years, a role with fewer responsibilities than music director. Francesca Zambello, who often directs productions in San Francisco, stands alone as an artistic director of a major U.S. opera company: she leads the Washington National Opera.\u003c/p>\n\u003cp>Kim is the fourth person to have held the role of music director with the nearly 100-year-old San Francisco Opera. She succeeds Italian conductor Nicola Luisotti, who left in 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“From my very first moments at San Francisco Opera, I felt this was home,” said Kim in a press release. “There was an unusual feeling of open collaboration across so many facets of the company—a real sense of professional alchemy.”\u003c/p>\n\u003cp>Kim’s career includes significant credits as a conductor in both opera houses and concert halls. She has led productions for major opera companies like the Washington National Opera and the Houston Grand Opera. Her symphonic appearances include the Los Angeles Philharmonic, and she has upcoming engagements with the New York Philharmonic and the Metropolitan Opera House.\u003c/p>\n\u003cp>“I am moved to hear that my gifted colleague Eun Sun Kim, in addition to being Houston Grand Opera’s principal guest conductor, will be the new music director of San Francisco Opera,” said Patrick Summers, artistic and music director of the Houston Grand Opera, in an email. “She is a brilliant musician, a superb conductor, a keen judge of talent and an empathic and gracious colleague. She is the perfect person at the perfect time for beloved company.”\u003c/p>\n\u003cp>Kim, who conducted the San Francisco Opera’s recent production of \u003cem>Rusalka\u003c/em>, officially begins her tenure in August 2021. Her responsibilities will include leading the opera’s orchestra, chorus and music staff as well as helping with artistic planning.\u003c/p>\n\u003cp>She’ll be making an early appearance with the company this Friday, Dec. 6, leading some of its young resident artists—the Adler Fellows—in their \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/2019-Adler-Fellows-Concert/\" target=\"_blank\" rel=\"noopener noreferrer\">final concert\u003c/a> of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Eun Sun Kim brings a unique energy to San Francisco Opera,” said the company’s director general, Matthew Shilvock, in a press statement. “She connects all of us—audiences, artists, technicians, administrators—in the pursuit of one singular artistic journey, bringing thoughtful leadership, deep compassion and an incredible respect for everyone in the theater.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Opera\u003c/a> has a new music director. It’s the first time a top-tier opera company in the United States has hired a woman in this role.\u003c/p>\n\u003cp>An accomplished orchestral conductor, \u003ca href=\"https://sfopera.com/about-us/people/bios/artists/Eun-Sun-Kim/\" target=\"_blank\" rel=\"noopener noreferrer\">Eun Sun Kim \u003c/a>is originally from South Korea, and is under 40. She stands out among the other people holding key artistic positions in the opera world, who are mostly white, male and older.\u003c/p>\n\u003cp>“It’s very unusual to have a female conductor for any major opera house or symphony. San Francisco Opera only had their first main stage woman conductor in 2004—Sara Jobin, with \u003cem>Tosca—\u003c/em>and only has had a handful since,” said Bay Area-based opera commentator Charlise Tiee, who blogs at \u003ca href=\"https://operatattler.typepad.com/opera/\" target=\"_blank\" rel=\"noopener noreferrer\">The Opera Tattler\u003c/a>. “I think it’s a great choice and it’s a long time coming.”\u003c/p>\n\u003cp>Indeed, the roster of women in top artistic roles with opera companies around the country is pitifully short. The Chicago Opera Theater, a smaller company than the San Francisco Opera, also has a woman music director, Lidiya Yankovskaya. Karen Keltner was a resident conductor with the San Diego Opera for many years, a role with fewer responsibilities than music director. Francesca Zambello, who often directs productions in San Francisco, stands alone as an artistic director of a major U.S. opera company: she leads the Washington National Opera.\u003c/p>\n\u003cp>Kim is the fourth person to have held the role of music director with the nearly 100-year-old San Francisco Opera. She succeeds Italian conductor Nicola Luisotti, who left in 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“From my very first moments at San Francisco Opera, I felt this was home,” said Kim in a press release. “There was an unusual feeling of open collaboration across so many facets of the company—a real sense of professional alchemy.”\u003c/p>\n\u003cp>Kim’s career includes significant credits as a conductor in both opera houses and concert halls. She has led productions for major opera companies like the Washington National Opera and the Houston Grand Opera. Her symphonic appearances include the Los Angeles Philharmonic, and she has upcoming engagements with the New York Philharmonic and the Metropolitan Opera House.\u003c/p>\n\u003cp>“I am moved to hear that my gifted colleague Eun Sun Kim, in addition to being Houston Grand Opera’s principal guest conductor, will be the new music director of San Francisco Opera,” said Patrick Summers, artistic and music director of the Houston Grand Opera, in an email. “She is a brilliant musician, a superb conductor, a keen judge of talent and an empathic and gracious colleague. She is the perfect person at the perfect time for beloved company.”\u003c/p>\n\u003cp>Kim, who conducted the San Francisco Opera’s recent production of \u003cem>Rusalka\u003c/em>, officially begins her tenure in August 2021. Her responsibilities will include leading the opera’s orchestra, chorus and music staff as well as helping with artistic planning.\u003c/p>\n\u003cp>She’ll be making an early appearance with the company this Friday, Dec. 6, leading some of its young resident artists—the Adler Fellows—in their \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/2019-Adler-Fellows-Concert/\" target=\"_blank\" rel=\"noopener noreferrer\">final concert\u003c/a> of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Eun Sun Kim brings a unique energy to San Francisco Opera,” said the company’s director general, Matthew Shilvock, in a press statement. “She connects all of us—audiences, artists, technicians, administrators—in the pursuit of one singular artistic journey, bringing thoughtful leadership, deep compassion and an incredible respect for everyone in the theater.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera Drops Star Singer In Wake of Sexual Assault Allegations",
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"content": "\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "David Daniels will no longer play the lead role of Medoro in the company's production of Handel's 'Orlando.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
"headTitle": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
"content": "\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mining Songs Get a Sinister Twist in 'Girls of the Golden West'",
"headTitle": "Mining Songs Get a Sinister Twist in ‘Girls of the Golden West’ | KQED",
"content": "\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We welcome back as our co-host Jamedra Brown Fleischman, also a co-host on KQED’s The Cooler podcast. She and I indulged our love for circus, and she located some of the skating rinks popping up around the Bay Area for the holidays. Plus we debate the merits of \u003cem>Aladdin the Musical\u003c/em> and the revisionist gold rush opera \u003cem>Girls of the Golden West\u003c/em>. Strap on your skates, it’s going to be a smooth ride.\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXVy\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunday Skool\u003c/em> mixes burlesque, circus and terrific music\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Continuing through Dec. 17:\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\">Kinetic Arts circus school in West Oakland mounts another homemade holiday show with world class acrobatics.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17-19\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXVQ\" target=\"_blank\" rel=\"noopener\">The San Francisco International Hip Hop DanceFest returns.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXW5\">\u003cem>Aladdin\u003c/em> surprises Jamedra with its humor and glitz\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 21-Dec. 10: \u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXWi\" target=\"_blank\" rel=\"noopener\">A people’s history of the gold rush at San Francisco Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18-19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/15/songs-of-longing-from-kishi-bashi/\" target=\"_blank\" rel=\"noopener\">Kishi Bashi sings songs full of a longing for connection\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17\u003c/strong>:\u003ca href=\"http://piedmontpiano.com/concerts/171117queenesthermarrow.html\" target=\"_blank\" rel=\"noopener\"> Gospel great Queen Esther Marrow visits Piedmont Piano\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18: \u003c/strong>\u003ca href=\"https://www.berkeleypubliclibrary.org/events/hamilton-sing-along-claremont\" target=\"_blank\" rel=\"noopener\">Hamiltunes singalong at Berkeley Library’s Claremont Branch\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19: \u003c/strong>\u003ca href=\"https://www.berkeleypubliclibrary.org/events/hamilton-sing-along-thps\" target=\"_blank\" rel=\"noopener\">Hamiltunes singalong at the Berkeley Library’s Tarea Hall Pittman branch \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Gold Rush History on the Opera Stage",
"headTitle": "A Gold Rush History on the Opera Stage | KQED",
"content": "\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cfigure id=\"attachment_13807067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg\" alt=\"Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King)\" width=\"800\" height=\"558\" 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"excerpt": "John Adams and Peter Sellars' 'Girls of the Golden West' may be the classical event of the year for the Bay Area.",
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"title": "A Gold Rush History on the Opera Stage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cfigure id=\"attachment_13807067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg\" alt=\"Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King)\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King) \u003ccite>(Photo: Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Historic Bassoon Brings Two Generations of Musicians Together for a Special Concert in Palo Alto",
"headTitle": "Historic Bassoon Brings Two Generations of Musicians Together for a Special Concert in Palo Alto | KQED",
"content": "\u003cp>Much like a Stradivarius is to the violin world, a Heckel is considered one of the gold standards in bassoons.\u003c/p>\n\u003cp>So when \u003ca href=\"http://lowbflat.com/lowbflat/Welcome.html\" target=\"_blank\" rel=\"noopener noreferrer\">Laine Bryce\u003c/a> decided to sell her Heckel upon retirement after 26 years of playing the instrument\u003cstrong>,\u003c/strong> she was understandably feeling separation anxiety. “The day I took it to UPS, I got in the car and had to start crying,” Bryce said.\u003c/p>\n\u003cp>Bryce had enjoyed a long career as a professional musician. \u003cspan class=\"style_10\">She played bassoon and contrabassoon with the the \u003c/span>\u003ca class=\"class3\" title=\"http://www.minnesotaorchestra.org/\" href=\"http://www.minnesotaorchestra.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Minnesota\u003c/span>\u003cspan class=\"style_11\"> Orchestra\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, the \u003c/span>\u003ca class=\"class4\" title=\"http://www.mnopera.org/\" href=\"http://www.mnopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Minnesota Opera\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, the \u003c/span>\u003ca class=\"class5\" title=\"http://www.thespco.org\" href=\"http://www.thespco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Saint Paul Chamber Orchestra\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, the \u003c/span>\u003ca class=\"class6\" title=\"http://www.desymphony.org\" href=\"http://www.desymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Delaware Symphony\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, and the \u003c/span>\u003ca class=\"class7\" title=\"http://www.riversidesymphonia.org\" href=\"http://www.riversidesymphonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Riverside Symphonia\u003c/span>\u003c/a>\u003cspan class=\"style_10\">. For many years, she was also a member of the South Minneapolis Bassoon Quartet, and created numerous arrangements for the group. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13538010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13538010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_3915-800x450.jpg\" alt=\"The beloved bassoon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The beloved bassoon. \u003ccite>(Photo: Courtesy of Beth Roth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after she sold her bassoon in 2012, Bryce moved to a senior living community in Palo Alto to be near her son, a Stanford physician.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then in 2014, Bryce learned the young graduate student who bought her Heckel — Michael Severance — had landed a gig with the \u003ca href=\"https://sfopera.com/about-us/people/bios/orchestra/michael-severance/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera Orchestra\u003c/a>.\u003cstrong> \u003c/strong> She spotted the announcement on a bassoon listserv and promptly emailed Severance to offer her congratulations.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bryce took the opportunity to ask Severance to come play at her senior living facility, the \u003ca href=\"http://moldaw.org/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Moldow Residences\u003c/a> in Palo Alto. She got to introduce him before a rapt audience of 50 people.\u003cb> \u003c/b>“For the last five years, he’s been playing on my bassoon,” Bryce said to warm laughter.\u003c/p>\n\u003cfigure id=\"attachment_13504651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13504651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-800x450.jpg\" alt=\"Michael Severance charms the crowd at Moldow Residences in Palo Alto.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM.jpg 1046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Severance charms the crowd at Moldow Residences in Palo Alto. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Severance was similarly greeted with affection. “It’s an honor to be asked here by Laine,” he said. “I bought her instrument in 2012. She had mailed it to me for me to try out, and I showed my teacher, and he played it for about five seconds and said, ‘Buy this instrument!’”\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cspan style=\"font-weight: 400\">Severance started with a couple of concert studies, No. 9 and No. 10, by Ludwig Milde, a 19th century German bassoonist and composer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His fiancé Alex Zdanis — herself a professional bassoonist with the \u003ca href=\"http://www.alabamasymphony.org/musicians.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Symphony\u003c/a> — joined Severance in a two-bassoon arrangement of excerpts from Gioachino Rossini’s opera, \u003cem>The Barber of Seville\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hear Severance and Zdanis play “\u003c/span>Largo al factotum,” a famous aria in \u003cem>The Barber of Seville\u003c/em>:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/329719308″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“It was emotional for me,” said Bryce of hearing Severence play the instrument she had once herself so loved to play. “It does still sound like my instrument. But an instrument is so much the person that’s playing it, too, and how they make it sound.”\u003c/p>\n\u003cp>Severance and Zdanis explain the bassoon’s peculiar charms:\u003cbr>\n[youtube https://www.youtube.com/watch?v=Y9mxUqQAo24]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Five years after Laine Bryce sold her Heckel bassoon, its new owner Michael Severance joined the San Francisco Opera Orchestra — and came to play a concert at her Palo Alto senior living home. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much like a Stradivarius is to the violin world, a Heckel is considered one of the gold standards in bassoons.\u003c/p>\n\u003cp>So when \u003ca href=\"http://lowbflat.com/lowbflat/Welcome.html\" target=\"_blank\" rel=\"noopener noreferrer\">Laine Bryce\u003c/a> decided to sell her Heckel upon retirement after 26 years of playing the instrument\u003cstrong>,\u003c/strong> she was understandably feeling separation anxiety. “The day I took it to UPS, I got in the car and had to start crying,” Bryce said.\u003c/p>\n\u003cp>Bryce had enjoyed a long career as a professional musician. \u003cspan class=\"style_10\">She played bassoon and contrabassoon with the the \u003c/span>\u003ca class=\"class3\" title=\"http://www.minnesotaorchestra.org/\" href=\"http://www.minnesotaorchestra.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Minnesota\u003c/span>\u003cspan class=\"style_11\"> Orchestra\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, the \u003c/span>\u003ca class=\"class4\" title=\"http://www.mnopera.org/\" href=\"http://www.mnopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Minnesota Opera\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, the \u003c/span>\u003ca class=\"class5\" title=\"http://www.thespco.org\" href=\"http://www.thespco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Saint Paul Chamber Orchestra\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, the \u003c/span>\u003ca class=\"class6\" title=\"http://www.desymphony.org\" href=\"http://www.desymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Delaware Symphony\u003c/span>\u003c/a>\u003cspan class=\"style_10\">, and the \u003c/span>\u003ca class=\"class7\" title=\"http://www.riversidesymphonia.org\" href=\"http://www.riversidesymphonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"style_11\">Riverside Symphonia\u003c/span>\u003c/a>\u003cspan class=\"style_10\">. For many years, she was also a member of the South Minneapolis Bassoon Quartet, and created numerous arrangements for the group. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13538010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13538010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_3915-800x450.jpg\" alt=\"The beloved bassoon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_3915-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The beloved bassoon. \u003ccite>(Photo: Courtesy of Beth Roth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after she sold her bassoon in 2012, Bryce moved to a senior living community in Palo Alto to be near her son, a Stanford physician.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then in 2014, Bryce learned the young graduate student who bought her Heckel — Michael Severance — had landed a gig with the \u003ca href=\"https://sfopera.com/about-us/people/bios/orchestra/michael-severance/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera Orchestra\u003c/a>.\u003cstrong> \u003c/strong> She spotted the announcement on a bassoon listserv and promptly emailed Severance to offer her congratulations.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bryce took the opportunity to ask Severance to come play at her senior living facility, the \u003ca href=\"http://moldaw.org/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Moldow Residences\u003c/a> in Palo Alto. She got to introduce him before a rapt audience of 50 people.\u003cb> \u003c/b>“For the last five years, he’s been playing on my bassoon,” Bryce said to warm laughter.\u003c/p>\n\u003cfigure id=\"attachment_13504651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13504651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-800x450.jpg\" alt=\"Michael Severance charms the crowd at Moldow Residences in Palo Alto.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-23-at-8.22.41-PM.jpg 1046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Severance charms the crowd at Moldow Residences in Palo Alto. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Severance was similarly greeted with affection. “It’s an honor to be asked here by Laine,” he said. “I bought her instrument in 2012. She had mailed it to me for me to try out, and I showed my teacher, and he played it for about five seconds and said, ‘Buy this instrument!’”\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cspan style=\"font-weight: 400\">Severance started with a couple of concert studies, No. 9 and No. 10, by Ludwig Milde, a 19th century German bassoonist and composer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His fiancé Alex Zdanis — herself a professional bassoonist with the \u003ca href=\"http://www.alabamasymphony.org/musicians.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Symphony\u003c/a> — joined Severance in a two-bassoon arrangement of excerpts from Gioachino Rossini’s opera, \u003cem>The Barber of Seville\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hear Severance and Zdanis play “\u003c/span>Largo al factotum,” a famous aria in \u003cem>The Barber of Seville\u003c/em>:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/329719308″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/329719308″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was emotional for me,” said Bryce of hearing Severence play the instrument she had once herself so loved to play. “It does still sound like my instrument. But an instrument is so much the person that’s playing it, too, and how they make it sound.”\u003c/p>\n\u003cp>Severance and Zdanis explain the bassoon’s peculiar charms:\u003cbr>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y9mxUqQAo24'\n title='//www.youtube.com/embed/Y9mxUqQAo24'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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