“There’s no secret in the business what our fee structure is,” Woolbright said. Current director Charles MacKay leans toward American composers.ĭepending on the brightness of a star’s magnitude, money can mark the dividing line between yes or no. After Crosby’s retirement, Richard Gaddes took over as director. As a result, the opera produced one Strauss piece per season. SFO founder John Crosby was well known for his love of Richard Strauss. The director’s personal preferences also figure in. That includes rehearsals as well as performances. The musicians will perform for 77 sessions across the season. “We made a long list of every woman who’s sung the part who’s younger than Susan,” he said. As she put it, “you will love the opera if these four friends really get along.The Roswell-born Graham will be 53 in July. She says, “this is one of the nicest, most generous casts we’ve had.” She explains that having a chemistry between the four male principal roles in La Bohème is very important. I ask stage manager Jodi Gage what she thinks of the singers in La Bohème. He tells me, “in opera, the musical score keeps time for everyone, the music acts as the glue that keeps everyone synchronized, once the music starts there’s no deviating.”
Darin explains that the musical score is not only the soundtrack to the show, it is the road map to backstage production as well.
Thankfully in opera, there is always a song to keep the pace. Jen used to have Darin’s job but has since been elevated to Director, “Darin is calm under pressure,” she says, “one of the best I’ve ever seen.”īackstage timing is key. Lighting crew, carpenters, sound engineers, 48 chorus members, over a hundred performers…outside of that there’s the orchestra, costumers, wig specialists, and on and on. “He’s like an air-traffic controller,” Managing Director of Production Jen Good tells me, “he has to coordinate hundreds of men and women with hundreds of jobs to do.
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