San Francisco Opera's 104th Season Opens September 12
Music Director Eun Sun Kim conducts Verdi’s SIMON BOCCANEGRA, Massenet’s MANON and Wagner’s DAS RHEINGOLD, beginning a journey toward THE RING OF THE NIBELUNG in 2028
September 12–13 opening weekend includes OPERA BALL gala, SIMON BOCCANEGRA and free, annual OPERA IN THE PARK concert
Thea Musgrave’s rarely performed 1977 opera, MARY, QUEEN OF SCOTS, returns to San Francisco in co-production starring soprano Heidi Stober
Core repertory revivals include Mozart’s THE MARRIAGE OF FIGARO in Michael Cavanagh’s production and Puccini’s TOSCA with soprano Rachel Willis-Sørensen’s first performances in the title role
Eun Sun Kim conducts San Francisco Opera Orchestra and soprano Adela Zaharia in all-Richard Strauss program
PRIDE CONCERT returns in Summer 2027
Verdi’s Simon Boccanegra; Heidi Stober in Mary, Queen of Scots; Music Director Eun Sun Kim and director Francesca Zambello
(Photos: Hans Jörg Michel, Ellie Kurtz, Cody Pickens)
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san francisco opera 2026-27 season.pdf Photos
SAN FRANCISCO, CA (February 3, 2026) — San Francisco Opera Tad and Dianne Taube General Director Matthew Shilvock and Caroline H. Hume Music Director Eun Sun Kim today announced repertory and casting for the Company’s 104th season, which opens September 12 with Giuseppe Verdi’s Simon Boccanegra under Kim’s baton. Highlights of the season include a new co-production with English National Opera of Thea Musgrave’s Mary, Queen of Scots and Richard Wagner’s Das Rheingold, the prologue of his four-opera epic, The Ring of the Nibelung. Works by Jules Massenet, Wolfgang Amadeus Mozart and Giacomo Puccini return to the stage along with a variety of concerts.
Opening weekend begins with the annual Opera Ball benefit, co-presented with San Francisco Opera Guild, at City Hall and the War Memorial Opera House on Saturday, September 12, featuring Verdi’s political drama Simon Boccanegra (September 12–27). Eun Sun Kim leads a new-to-San-Francisco-Opera production by Claus Guth, one of opera’s foremost directors. The following day, Kim, the San Francisco Opera Orchestra and vocal soloists from the fall season head to Robin Williams Meadow in San Francisco’s Golden Gate Park for the free, annual Opera in the Park concert (Sunday, September 13).
Scottish-born composer Thea Musgrave’s 1977 English-language opera, Mary, Queen of Scots (September 20–October 4), had its West Coast premiere in 1979 by San Francisco Opera affiliate Spring Opera Theater at the Curran Theatre with the composer conducting. San Francisco Opera’s first opera by a female composer returns for its mainstage premiere in director and designer Stewart Laing’s staging led by rising Italian conductor Clelia Cafiero and starring soprano Heidi Stober as Mary.
San Francisco Opera’s commitment to expanding the operatic repertoire includes the creation of new works and the bringing back of important operas of the last century like Mary, Queen of Scots. Looking ahead to Fall 2027, the Company will present The Galloping Cure by Missy Mazzoli with a libretto by Royce Vavrek that resets Franz Kafka’s short story “A Country Doctor” in the present-day opioid crisis as filtered through the imagination of American writer Karen Russell. This new opera by the composer and librettist team behind Breaking the Waves, The Listeners and Proving Up will have its U.S. premiere in San Francisco, continuing the Company’s recent commissions and co-commissions, which include The Monkey King (Huang Ruo, David Henry Hwang; 2025), Innocence (Kaija Saariaho, Sofi Oksanen, Aleksi Barrière; 2024), Omar (Rhiannon Giddens, Michael Abels; 2023), The (R)evolution of Steve Jobs (Mason Bates, Mark Campbell; 2023), El último sueño de Frida y Diego (Gabriela Lena Frank, Nilo Cruz; 2023) and Antony and Cleopatra (John Adams; 2022).
The Fall 2026 operas also include Eun Sun Kim conducting Jules Massenet’s Manon (October 15–November 1), with soprano Amina Edris and tenor Pene Pati as the lovers in Vincent Boussard’s staging (a San Francisco Opera co-production), and Mozart’s The Marriage of Figaro (Le Nozze di Figaro) (October 31–November 29) with Shawna Lucey directing the Company’s production by the late Michael Cavanagh and Sebastian Weigle conducting in his Company debut. Summer 2027 will feature Kim leading Wagner’s Das Rheingold (May 29–June 22) in the acclaimed production by director Francesca Zambello, with baritone Brian Mulligan as Wotan. Shawna Lucey’s production of Giacomo Puccini’s Tosca (June 4–July 2) returns with an all-star cast headed by soprano Rachel Willis-Sørensen singing the title role for the first time.
On November 6, Kim and the San Francisco Opera Orchestra take the stage for Strauss in Concert, an all-Richard Strauss program featuring soprano soloist Adela Zaharia. In Summer 2027, the Pride Concert (June 25) returns to kick off Pride Weekend in San Francisco. Chorus Director John Keene leads the artists of the San Francisco Opera Chorus in a Chorus Concert at the Dianne and Tad Taube Atrium Theater on November 22. The Company’s resident artists, the Adler Fellows, will have their annual showcase with the San Francisco Opera Orchestra on November 20 at Herbst Theatre.
General Director Matthew Shilvock said:
“It has never been more urgent to gather in our theatres and share the stories of our humanity. In recent years, I have felt an extraordinary hunger among audiences to immerse themselves in deeply emotive, dramatic works. As we move forward from the remarkable operas of 2025 into our 104th season, we do so with a sense of momentum and purpose. This season will be defined by soaring musical values, incisive dramatic stagings and an expansive breadth of styles and stories.”
“We continue our journeys into the works of Wagner and Verdi under the baton of Eun Sun Kim. Every work she conducts feels newly discovered, and I am beyond thrilled that we begin our exploration of Wagner’s Ring with her this season. It is also an extraordinary privilege to present Thea Musgrave’s Mary, Queen of Scots on our mainstage. When I saw this work in London last year, I was awed by the power of Thea’s dramatic writing. She brings the Tudor queen into vivid relief, revealing both the fierce determination and the profound vulnerability of an 18-year-old woman fighting to retain her agency against overwhelming odds.
“The opera house is a place where we can celebrate what brings us together and momentarily set aside what divides us. Even epics as monumental as the Ring are, at heart, stories of people struggling to find their place in the world. Opera tells the stories of our lives, and I am thrilled to welcome the Bay Area to experience the collective power of this extraordinary art form.”
Music Director Eun Sun Kim said:
“As we look ahead to our forthcoming season, it reminds me of a dialogue. From the enduring classics to modern masterpieces, we explore the works of past eras that continue to inspire opera, a constantly evolving art form. We open with Verdi’s Simon Boccanegra, the intense political drama that will provide a gripping start to the season. Taking on Wagner’s Das Rheingold is a pivotal step in the early phases of our 2028 Ring cycle, as we forge a path into a new, important chapter with our vibrant community. Alongside these two composers, whom we know so well, I will be conducting Massenet’s alluring Manon. In addition, I am thrilled to bring the music of Der Rosenkavalier back to our stage after 19 years with a stunning Suite, along with the Brentano Lieder featuring our good friend Adela Zaharia. My esteemed colleagues bring to life a powerful production of Thea Musgrave’s Mary, Queen of Scots, the classic Le Nozze di Figaro, the dramatic Tosca and the return of our celebratory Pride Concert. Each season is built with the audience at heart, and I am reminded that San Francisco Opera’s audience is among the most artistically curious, diverse and fiercely loyal. This season brings me closer to the Company which I am proud to call my musical home.”
The May–June 2027 performances of Das Rheingold are a preview of what is to come in June–July 2028 when Eun Sun Kim conducts her first complete performances of Wagner’s four-part magnum opus, The Ring of the Nibelung. The lead up to the full cycles will continue in Fall 2027 with part two of the Ring cycle, Die Walküre, before three full cycles in June 2028 (preceded by a standalone performance each of Siegfried and Götterdämmerung in late spring 2028). Kim has conducted at least one opera by Wagner each season in San Francisco since Lohengrin in 2023, a production that was chronicled in the Northern California Emmy-nominated documentary Eun Sun Kim: A Journey into Lohengrin. She conducted Tristan und Isolde in 2024 and the new production of Parsifal in 2025, marking her commitment to building the next generation of Wagnerian musicians at San Francisco Opera.
San Francisco Opera’s 2026–27 Season will feature many of the world’s finest operatic artists. Those who are making Company debuts include: conductors Clelia Cafiero and Sebastian Weigle; soprano Eleonora Buratto; tenors Joshua Guerrero, Riccardo Massi and Christopher Sokolowski; baritones Vitor Bispo and Thomas Mole; basses Patrick Guetti and Peter Kellner; production Claus Guth; director and production designer Stewart Laing; production designer Christian Schmidt; and revival lighting designer A.J. Guban.
2026–27 SEASON
**OPENING OF SAN FRANCISCO OPERA’S 104TH SEASON**
OPERA BALL
Saturday, September 12, 2026 at 5 p.m.
Scenes from Opera Ball (Photos: Drew Altizer Photography)
San Francisco Opera’s annual opening night benefit, Opera Ball, presented in partnership with San Francisco Opera Guild, is one of the premier Bay Area philanthropic events of the year. Festivities begin with the red carpet, a cocktail reception and formal dinner at City Hall. Guests then promenade to the Opera House for the opening of Verdi’s Simon Boccanegra led by Music Director Eun Sun Kim. After the opera, dancing and late-night bites await back at City Hall.
The co-chairs for Opera Ball 2026 are Sydney Leung and Jennifer Walske. Proceeds from the gala, which is made possible, in part, by Opening Weekend Grand Sponsor Diane B. Wilsey, benefit the artistic initiatives of San Francisco Opera and San Francisco Opera Guild’s education programs, which reach thousands in K–12 classrooms and after-school programs.
**New-to-San-Francisco-Opera Production**
SIMON BOCCANEGRA by Giuseppe Verdi
September 12–27, 2026
Scenes from Verdi’s Simon Boccanegra (Photos: Hans Jörg Michel)
Verdi’s Simon Boccanegra, a collaboration with librettist Francesco Maria Piave, had its premiere in 1857 during the composer’s middle period. Working with changes to the libretto by Arrigo Boito, Verdi returned to it in 1881 when his expressive powers had reached a new peak. The story follows the embattled Doge of Genoa who is reunited with his long-lost daughter just as political rivals destabilize his government. Music Director Eun Sun Kim conducts the composer’s turbulent masterpiece which was last heard at the War Memorial Opera House in 2008 with the late Dmitri Hvorostovsky in the title role. Chorus Director John Keene prepares the artists of the San Francisco Opera Chorus.
German director Claus Guth’s acclaimed production from the Hamburg State Opera, presented for the first time in America, underscores through flashbacks and production designer Christian Schmidt’s split-stage perspectives how memory and past events shape the present. Katherine M. Carter, who staged the Company’s 2025 revival of La Bohème, directs Guth’s production.
Eun Sun Kim, Claus Guth, Katherine M. Carter, Amartuvshin Enkhbat
Eleonora Buratto, Christian Van Horn, Joshua Guerrero, Aleksey Bogdanov
Simon Boccanegra holds an esteemed place in the Company’s history, from the 1941 West Coast premiere through presentations with many of the century’s greatest Verdi singers. Mongolian baritone Amartuvshin Enkhbat, who starred in the past two season-opening Verdi operas (Un Ballo in Maschera in 2024, Rigoletto in 2025) makes his role debut as Boccanegra. Soprano Eleonora Buratto, acclaimed for her performances in Italian works at the Metropolitan Opera, makes her Company debut as Boccanegra’s daughter, Maria, who was abducted as a child and raised under the name Amelia. American soprano and former San Francisco Opera Adler Fellow Toni Marie Palmertree sings Maria/Amelia at the final performance on September 27. Bass-baritone Christian Van Horn portrays Jacopo Fiesco, who attempts to thwart Boccanegra at the instigation of the conspiratorial Paolo, performed by baritone Aleksey Bogdanov. Tenor Joshua Guerrero makes his house debut as Gabriele Adorno, Amelia’s suitor who becomes an instrument in the struggle for power.
San Francisco Chronicle Presents
OPERA IN THE PARK
Sunday, September 13, 2026 at 1:30 p.m.
Opera in the Park in 2025 featuring Amartuvshin Enkhbat and Adela Zaharia (Photos: Kristen Loken/San Francisco Opera)
Opening weekend continues with Opera in the Park at Robin Williams Meadow in Golden Gate Park. The beloved San Francisco tradition, which began in 1971, is a free concert featuring the greatest operatic stars in the world. Eun Sun Kim and the San Francisco Opera Orchestra with vocal soloists from the Fall 2026 Season will present arias, duets, popular songs and instrumental works. Bring your picnic baskets for this popular al fresco gathering attended by audiences of more than 10,000 each year.
**New Co-Production and Mainstage Premiere**
MARY, QUEEN OF SCOTS by Thea Musgrave
September 20–October 4, 2026
Scenes from Musgrave’s Mary, Queen of Scots featuring Heidi Stober (right) (Photos: Ellie Kurttz/English National Opera)
Mary, Queen of Scots, the fifth of composer Thea Musgrave’s 11 operas, explores self-reliance amid harrowing trials in the life of one of history’s most iconic royals. Bel Canto composer Gaetano Donizetti famously dramatized the events surrounding Mary’s execution for treason in Maria Stuarda. In Mary, Queen of Scots, Musgrave focuses on the young queen, still a teenager and newly returned to Scotland, and her constant fight to retain her throne as three men—Mary’s half-brother, her husband, and a potential ally—vie to control her. Musgrave’s libretto juxtaposes scenes of double-dealing and public unrest with the gentle normalcy of Mary singing a lullaby to her baby, the future king of Scotland and England. Her incisive score propels the action with raw intensity and soaring lyricism.
Thea Musgrave, Clelia Cafiero, Stewart Laing, Heidi Stober, Thomas Mole, Thomas Kinch, Christopher Sokolowski
Italian conductor Clelia Cafiero makes her Company debut leading the San Francisco Opera Orchestra and cast. Director and designer Stewart Laing sets the 16th-century historical drama against a backdrop of contemporary Scottish life and sectarian violence. The production features the work of lighting designer D.M. Wood.
Reviewing San Francisco Opera’s Centennial Season production of Poulenc’s Dialogues of the Carmelites, the San Francisco Chronicle said of soprano Heidi Stober: “[her] appearances with the Company have been reliable sources of joy ever since her 2010 debut in Massenet’s Werther. But her performance as Blanche added a new and even deeper level of psychological specificity to her expected vocal brilliance.” In Fall 2026, Stober portrays Mary, Queen of Scots, a role she performed at London’s Coliseum last year: “The title role lies high, and Stober is all thrilling top notes and terrific moments of defiance or self-assertion” (The Guardian).
Baritone Thomas Mole makes his American debut as Mary’s half-brother James Stewart. Current San Francisco Opera Adler Fellow tenor Thomas Kinch is the Earl of Bothwell, and tenor Christopher Sokolowski makes his debut as Mary’s husband, Lord Darnley.
Thea Musgrave rehearsing Mary, Queen of Scots in San Francisco in 1979. (Photo: David Powers)
San Francisco Opera General Director Matthew Shilvock with the composer in 2025
Thea Musgrave said:
“I am thrilled to have my opera Mary, Queen of Scots return to San Francisco Opera this fall. I have always felt it to be the cornerstone of my operatic repertoire. It is also very close to me personally as I am a woman, a Scot and lived for several years in Paris. It was therefore easier for me than others to get inside of Mary’s feelings as the 18-year-old widowed Queen of France returning to Scotland as the Scottish Queen. Mary grew quickly to hold her own in a land menaced by the conflicting ambitions of the men that surrounded her—only in the end—ironically to be defeated and brought down by a woman, Queen Elizabeth I. Happily, Mary won the long game when her son, James VI of Scotland, became James I of England and Scotland on Elizabeth’s death. I am hoping my opera will likewise continue to bring her valor, her strength and particularly her emotional journey to life in a meaningful way for today’s audiences at San Francisco Opera.”
MANON by Jules Massenet
October 15–November 1, 2026
Scenes from Massenet’s Manon (Photos: Cory Weaver/San Francisco Opera)
The story of Manon explores the emotions of young love and the allure of material wealth through the tumultuous experiences of its eponymous heroine. The score’s shimmering textures and sensuous lyricism have ensured the popularity of this gem of the French repertoire since its premiere in Belle Époque Paris nearly 150 years ago. Eun Sun Kim leads this irresistible portrait of passion and self-determination. Director and costume designer Vincent Boussard returns to stage his production, a collaboration with set designer Vincent Lemaire. Boussard said of his staging, last presented here in 2017: “I believe the story of a young lady who wants to listen to a call for freedom and pleasure belongs to our time.”
Eun Sun Kim, Vincent Boussard, Amina Edris, Pene Pati, Vitor Bispo, James Crewswell
Soprano Amina Edris has triumphed here as Juliette in Gounod’s Roméo et Juliette and Cleopatra in the world premiere of John Adams’ Antony and Cleopatra. She brings her celebrated portrayal of Manon from the stages of Paris, Barcelona and Bordeaux to San Francisco for the first time. Samoan tenor Pene Pati, one of opera’s leading talents, is the Chevalier Des Grieux. Baritone Vitor Bispo makes his American and house debut as Lescaut, Manon’s protective cousin who is eager to uphold the family name, and James Creswell reprises the role of Comte des Grieux.
THE MARRIAGE OF FIGARO by Wolfgang Amadeus Mozart
October 31–November 29, 2026
Scenes from Mozart’s The Marriage of Figaro (Photos: Cory Weaver/San Francisco Opera)
A work of breathtaking artistry filled with comedic sparkle, wit, heart and glorious music, The Marriage of Figaro (Le Nozze di Figaro) by composer Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte is for some the model of the perfectly crafted opera. The late Canadian director Michael Cavanagh’s production, unveiled in 2019 as the inception of San Francisco Opera’s multi-season Mozart-Da Ponte trilogy, sets the action in an American manor house at the time of the nation’s founding. This vision returns as the United States celebrates its 250th anniversary. German conductor Sebastian Weigle makes his house debut leading Mozart’s timeless classic, and Shawna Lucey directs Cavanagh’s production, following his passing in 2024, which showcases the designs of Erhard Rom (sets and projections), Constance Hoffman (costumes) and Jane Cox (lighting).
Sebastian Weigle, Shawna Lucey, Slávka Zámečníková, Peter Kellner, Olivia Smith
Thomas Mole, Simone McIntosh, Maurizio Muraro, Catherine Cook, Alek Shrader
The ensemble cast includes artists with recent successes on the War Memorial Opera House stage alongside those who are new to the Company and former Adler Fellows stepping into leading roles. Slovak soprano Slávka Zámečníková, who was Adina in The Elixir of Love in 2023, is Figaro’s betrothed, Susanna. Canadian soprano Olivia Smith portrays Countess Almaviva. Smith won praise for her “sumptuous blend of power and precision” (On a Pacific Aisle) singing the music of Mozart at her final concert as an Adler Fellow in December 2025. Canadian mezzo-soprano Simone McIntosh, who performed in Poul Ruders’ The Handmaid’s Tale in 2024, portrays the trouser role of Cherubino.
Bass Peter Kellner makes his debut with the Company in the title role, and baritone Thomas Mole portrays Count Almaviva. Italian bass Maurizio Muraro, who triumphed in Donizetti’s Don Pasquale in 2016, returns to the Company as Doctor Bartolo. San Francisco Opera Medal recipient Catherine Cook reprises the role of Marcellina, and tenor Alek Shrader portrays Don Basilio.
STRAUSS IN CONCERT
Friday, November 6, 2026 at 7:30 p.m.
Eun Sun Kim and the San Francisco Opera Orchestra; Adela Zaharia (Photos: Kristen Loken, Matthew Washburn, Oana Vedinas)
Following sold-out concerts performing symphonies by Ludwig van Beethoven in 2024 and 2025, Music Director Eun Sun Kim and the San Francisco Opera Orchestra return with an evening dedicated to the music of Richard Strauss. The program includes Till Eulenspiegel’s Merry Pranks (the early tone poem which made Strauss a sensation); his song cycle with texts by Romantic poet Clemens Brentano and the American premiere of a new arrangement by Philippe Jordan and Tomáš Ille of selections from Strauss’ 1911 opera, Der Rosenkavalier. Romanian soprano Adela Zaharia, who brought “fluting tone and steely precision to the lyrical and technical demands of Gilda [in Verdi’s Rigoletto]” (San Francisco Chronicle), is the vocal soloist for the Brentano Lieder.
DAS RHEINGOLD by Richard Wagner
May 29–June 22, 2027
Scenes from Wagner’s Das Rheingold (Photos: Cory Weaver/San Francisco Opera)
In Summer 2027, Music Director Eun Sun Kim invites audiences on a journey into one of the most ambitious, innovative and influential artistic creations: Richard Wagner’s massive The Ring of the Nibelung. Building towards the full, four-opera cycles scheduled for June–July 2028, Kim conducts Das Rheingold, the Ring’s prologue, in standalone performances. The story opens with Alberich, the titular Nibelung, stealing the magic gold and forging it into an all-powerful ring, which corrupts the gods and mortals who covet it, ultimately upending the world. This mythological tale is told through Wagner’s ingenious use of musical themes or leitmotifs that signify characters, concepts such as fate or a curse and objects like the magic sword or the golden apples of immortality.
American director Francesca Zambello’s acclaimed vision, a co-production with Washington National Opera, was staged previously by San Francisco Opera in 2011 and 2018. Unofficially dubbed “the American Ring” for its imagery evoking the Sierra Nevada and California Gold Rush, the production features designs by Michael Yeargan (sets), Catherine Zuber (costumes), the late Mark McCullough (original lighting) and A.J. Guban (revival lighting), Jan Hartley and S. Katy Tucker (projections) and staging by associate director and choreographer Denni Sayers.
Eun Sun Kim, Francesca Zambello, Brian Mulligan, Falk Struckmann, Brenton Ryan, Judit Kutasi
Baritone Brian Mulligan brings his portrayal of Wotan, ruler of the gods, to San Francisco Opera for the first time. Since his Company debut in 2008, Mulligan has performed an astonishing array of roles with San Francisco Opera, including Wagnerian roles such as Telramund in Lohengrin and Amfortas in Parsifal. Falk Struckmann, an acclaimed Wagnerian who thrilled audiences as Klingsor in Parsifal, reprises the role of Alberich. After her momentous Company and role debut as Ortrud in Wagner’s Lohengrin in 2023, mezzo-soprano Judit Kutasi makes another exciting role debut as Fricka, wife of Wotan. Tenor Brenton Ryan takes on the role of Loge, the god of fire and mischief. Tenor Zhengyi Bai portrays the Nibelung miner Mime. Basses Patrick Guetti and Kwangchul Youn are the giants Fafner and Fasolt, respectively. The Rhinemaidens will be performed by soprano Sofia Gotch (Woglinde) and mezzo-sopranos Laura Krumm (Wellgunde) and Taylor Raven (Flosshilde). Current Adler Fellow mezzo-soprano Sadie Cheslak makes her role debut as the earth goddess, Erda.
TOSCA by Giacomo Puccini
June 4–July 2, 2027
Scenes from Puccini’s Tosca (Photos: Cory Weaver/San Francisco Opera)
Giacomo Puccini’s Tosca has been an important work in San Francisco Opera history from the Company’s first season in 1923 to the inauguration of the War Memorial Opera House in 1932 and significant reopenings following the earthquake retrofit in 1997 and global pandemic in 2021. This towering drama of love, politics and sacrifice, set to some of the composer’s most thrilling music, will be led by Clelia Cafiero in her second conducting assignment of the season after Mary, Queen of Scots. Shawna Lucey directs her 2018 production, which features sets and costumes designed by Robert Innes Hopkins and lighting by Michael Clark.
Clelia Cafiero, Shawna Lucey, Rachel Willis-Sørensen, Riccardo Massi, Quinn Kelsey
Soprano Rachel Willis-Sørensen, who made her house debut as Eva in Wagner’s Die Meistersinger von Nürnberg in 2015 and returned to portray the title role in the Company’s highly acclaimed 2019 presentation of Dvořák’s Rusalka, makes her role debut as Floria Tosca. Baron Scarpia will be performed by baritone Quinn Kelsey, one of the leading interpreters of this iconic operatic villain on the stage today. Tenor Riccardo Massi makes his Company debut as the painter and revolutionary Mario Cavaradossi. San Francisco Opera Medal awardee Dale Travis reprises the role of the Sacristan.
PRIDE CONCERT
Friday, June 25, 2027 at 8 p.m.
Pride Concert (Photos: Kristen Loken)
San Francisco Opera honors the city’s LGBTQIA+ community with the Pride Concert, a kaleidoscopic celebration of queer musical trailblazers which will take place just before San Francisco’s Pride Weekend. For the third year in a row, this electrifying evening will feature the San Francisco Opera Orchestra and guest artists onstage with a dance party in the lobby after the performance. More details will be announced at a later date.
*For the complete press release, including full cast and calendar, open the PDF version above.