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San Francisco Opera's 2024-25 Season Announced

102nd season opening weekend kicks off September 6 with Opera Ball and Un Ballo in Maschera; Free Opera in the Park concert September 8

Music Director Eun Sun Kim; The War Memorial Opera House.
Photos: Stefan Cohen (left), Matthew Washburn (right)

Music Director Eun Sun Kim’s annual exploration of operas by
Giuseppe Verdi and Richard Wagner continues with new-to-San Francisco productions of

West Coast premiere of Poul Ruders and Paul Bentley’s THE HANDMAID’S TALE 
conducted by Karen Kamensek featuring role debut of Irene Roberts as Offred

 Eun Sun Kim conducts Mozart’s IDOMENEO in Lindy Hume’s staging
starring Matthew Polenzani, Daniela Mack, Ying Fang and Elza van den Heever

Eve-Maud Hubeaux makes American debut in the title role of Bizet’s CARMEN
and Ramón Tebar conducts two casts for Puccini’s LA BOHÈME

 Concerts include 200th anniversary performance of Beethoven’s Ninth Symphony and a Pride Concert celebrating San Francisco's LGBTQIA+ community

 New opera commission announced for 2025–26 Season:
THE MONKEY KING (美猴王) by Huang Ruo and David Henry Hwang

Tickets available at (415) 864-3330 and sfopera.com

2024-25 Season.pdf  2024-25 Season Photos  Monkey king Photos (2025-26 season)

SAN FRANCISO, CA (February 20, 2024) — San Francisco Opera Tad and Dianne Taube General Director Matthew Shilvock and Caroline H. Hume Music Director Eun Sun Kim announced today details for the Company’s 102nd season. A weekend of festivities opens the new season from September 6–8 with Opera Ball, Giuseppe Verdi’s Un Ballo in Maschera (The Masked Ball) and the free annual Opera in the Park concert held in Golden Gate Park.

The 2024–25 Season includes six mainstage opera productions along with concert presentations including a one-night-only performance of Beethoven’s Ninth Symphony on October 26, honoring the work’s 200th anniversary and, in the summer of 2025, a special Pride Concert celebrating San Francisco’s LGBTQIA+ community.

Matthew Shilvock said: “San Francisco Opera continues its second century with a season that demonstrates the potential of opera to connect to the most fundamental aspects of our humanity, whether through works of searing contemporary resonance like The Handmaid’s Tale or profound archetypes like Tristan and Idomeneo. We launch the 102nd season at a time of tremendous creativity in which new audiences are connecting with opera as never before but also at a challenging time in which the fundamental fiscal model of the arts is being stretched to its limits. We must harness the incredible energy of this moment and keep this amazing opera company moving forward, but at the same time, we must scale ourselves appropriately to our revenues. San Francisco Opera is a place where the leading artists of our time are eager to do their best work and audiences come to find community, inspiration, joy and catharsis. The art form of opera has evolved over four centuries, and I am very optimistic for how it will continue to evolve into a new chapter here in the Bay Area, one of the most creatively vibrant regions in the world.”

San Francisco Opera’s 2024–25 Season features Eun Sun Kim’s initiative to conduct an opera by Giuseppe Verdi and Richard Wagner in San Francisco each season. Born in the same year (1813) amid divergent cultural circumstances, Verdi and Wagner expanded the expressive possibilities of opera in new directions and their revolutionary ideas continue to captivate the public’s imagination and inspire ever-evolving creative directions. Kim’s exploration of the operas of these composers began in 2022 with Verdi’s La Traviata and continued in 2023 with Il Trovatore and Wagner’s Lohengrin. This season, Kim brings the Company and audiences into the worlds of UN BALLO IN MASCHERA, Verdi’s 1859 drama of passion and treachery, and TRISTAN AND ISOLDE, Wagner’s epic romance, also written in 1859, which changed the course of artistic history. Each work will be presented in a new-to-San Francisco Opera production.

On October 26, Beethoven’s Ninth Symphony comes to San Francisco Opera for the first time in Company history with Kim leading the San Francisco Opera Orchestra, Chorus and vocal soloists. Following this summer’s production of The Magic Flute, Kim returns to the music of Mozart in Summer 2025 to lead the composer’s rarely performed IDOMENEO.

Eun Sun Kim said: "Three of the greatest masterpieces in music history form the core of our fall season, including the addition of a symphony—and what a symphony! After the 1824 premiere of Beethoven’s Ninth Symphony, composers were greatly influenced by this revolutionary work. Richard Wagner's Tristan and Isolde impacted the musical world with similar power after the famous 'Tristan Chord' was heard for the first time. Tristan not only showcases the pinnacle of German Romanticism, but Wagner at his finest. The legacy of Beethoven is also evident in Giuseppe Verdi’s Un Ballo in Maschera where we are overwhelmed by an enormous wealth of melodies, dramatic condensation and an economy of means that only the best composers can master. Then, in 2025, we revisit the foundation of these revolutionary masterpieces with Idomeneo. In this piece, Mozart sought to explore and transcend boundaries, creating a new foundation upon which future generations would build.”

The Company continues its commitment to telling stories that reflect on current issues with the West Coast premiere of THE HANDMAID’S TALE. Based on Margaret Atwood’s novel about a dystopian American future, this incisive work by composer Poul Ruders and librettist Paul Bentley is among the most critically acclaimed operas of the past three decades. The new co-production with The Royal Danish Theatre will be presented in September and October 2024.

Georges Bizet’s CARMEN and Giacomo Puccini’s LA BOHÈME return with international casts headed by fast-rising talents making their American and house debuts alongside Company favorites in opera’s greatest roles.

Music by Huang Ruo; Libretto by David Henry Hwang

Huang Ruo; David Henry Hwang; Diane Paulus; Basil Twist

San Francisco Opera announces a new commission, THE MONKEY KING (美猴王), by composer Huang Ruo and librettist David Henry Hwang. Scheduled for its world premiere in the fall of 2025, and commissioned in partnership with the Chinese Heritage Foundation of Minnesota who also supported the commission of Dream of the Red Chamber, The Monkey King is drawn from an episode in Journey to the West, the Ming dynasty novel that is widely considered one China’s four greatest literary classics and follows the ambition of its title character who wreaks havoc on the heavens in a bid for immortality. This new opera from the composer of the acclaimed oratorio Angel Island (2021) and recent operatic collaboration with playwright Hwang on M. Butterfly (2022), will be directed by American Repertory Theater’s Terrie and Bradley Bloom Artistic Director Diane Paulus with scenic design and puppetry by Basil Twist whose magical creations include My Neighbor Totoro. The Monkey King, an opera performed in Chinese and English, builds on the Company’s engagement with China’s literary tradition, which began in 2016 with Bright Sheng and David Henry Hwang’s Dream of the Red Chamber, a work that was performed in Hong Kong and mainland China and, in 2022, was revived by San Francisco Opera.

2024–25 SEASON
UN BALLO IN MASCHERA by Giuseppe Verdi
September 6–27, 2024

Scenes from Un Ballo in Maschera. Photos: Yasuko Kageyama/Teatro dell’Opera di Roma

San Francisco Opera Music Director Eun Sun Kim pursues her journey into the works of Verdi with UN BALLO IN MASCHERA. From its premiere in 1859—the peak of Verdi’s prolific “middle period” when he was producing insightful works with astonishing regularity—Un Ballo in Maschera emerged as one of the composer’s most tightly constructed stage works. The score, which opens with a simple four-note motive that develops into a complex musical tapestry of light and dark, drives this fast-paced tale of political betrayal, hidden agendas and forbidden passions. Under Kim’s leadership, noted for bringing to Verdi “tonal muscle and stylistic variety” (San Francisco Chronicle), Un Ballo in Maschera comes to the War Memorial Opera House in director Leo Muscato’s staging from the Rome Opera. The production showcases the work of set designer Federica Parolini, costume designer Silvia Aymonino and lighting designer Alessandro Verazzi.

Eun Sun Kim; Leo Muscato; Michael Fabiano; Lianna Haroutounian; Amartuvshin Enkhbat; Judit Kutasi; Meigui Zhang

The international cast is headed by American tenor Michael Fabiano as Gustav III (Riccardo), the carefree Swedish king whose historic assassination at a masked ball inspired the opera’s story. Armenian soprano Lianna Haroutounian returns to the Company as Amelia who is caught in a deadly love triangle. Amartuvshin Enkhbat, the emerging star baritone from Mongolia, makes his Company debut as Renato, the King’s counsellor who becomes his enemy. Hailed as “one of the most noteworthy US debuts in the recent years” (Parterre Box) in the Company’s Lohengrin last fall, Romanian mezzo-soprano Judit Kutasi returns as the fortune teller, Ulrica. Chinese soprano Meigui Zhang makes her role debut as Oscar, the King’s confidant who brings sparkle to the opera with her high-flying coloratura.

Friday, September 6, 2024 at 5 p.m.

Scenes from Opera Ball in City Hall (left) and the Opera House (right). Photos: Drew Altizer Photography

 San Francisco Opera’s opening night celebration, co-presented with San Francisco Opera Guild, is one of the premier events on the Bay Area’s philanthropic calendar. The annual fundraiser begins with a cocktail reception and sumptuous dinner at City Hall. Guests then proceed to the Opera House where the curtain rises on the new season with Music Director Eun Sun Kim leading Verdi’s Un Ballo in Maschera. Dancing and late-night bites await back at City Hall after the opera.

Opera Ball is made possible, in part, by Opening Weekend Grand Sponsor Diane B. Wilsey and is co-chaired by Romana D. Bracco and Valerie Crane Dorfman. Proceeds benefit a wide range of artistic initiatives at San Francisco Opera and San Francisco Opera Guild’s education programs which reach thousands of arts lovers of all ages in K-12 classrooms and afterschool programs.

Sunday, September 8, 2024 at 1:30 p.m.

Scenes from Opera in the Park. Photos: Drew Altizer Photography (left), Cory Weaver (right)

The opening weekend culminates with Opera in the Park, the annual free concert at Robin Williams Meadow in Golden Gate Park. Eun Sun Kim conducts the San Francisco Opera Orchestra and artists from the 2024 Fall Season in a program of arias, ensembles and orchestral music. Bring your picnic baskets for this favorite al fresco community event attended by thousands of Bay Area residents and visitors each year.


THE HANDMAID’S TALE by Poul Ruders and Paul Bentley
September 14–October 1, 2024

Scenes from The Handmaid’s Tale. Photos: Camilla Winther/Royal Danish Opera

Margaret Atwood’s landmark novel, The Handmaid’s Tale, comes to the War Memorial Opera House in the operatic adaptation by Grammy Award-nominated Danish composer Poul Ruders and librettist Paul Bentley. The story is set in a dystopian American future where women are forced into child-bearing servitude by a theocratic regime. Atwood’s cautionary vision has inspired numerous works of theater, dance, film and television, including the Emmy and Golden Globe award-winning Hulu series starring Elisabeth Moss. Ruders’ opera, which premiered in Copenhagen in 2000, has been hailed by Gramophone as “vividly imaginative” and conveying “a disturbing story with great drama and stylistic flair.” The New York Times proclaimed it “a brilliant, brutal opera, one that should be taken up widely.”

Poul Ruders; Karen Kamensek; John Fulljames; Irene Roberts; Lindsay Ammann; Sarah Cambidge; John Relyea

Former head of the Royal Danish Opera John Fulljames directs his staging, a co-production between San Francisco Opera and The Royal Danish Theatre, which was originally scheduled for 2020 in San Francisco but was postponed by the pandemic. Set designer Chloe Lamford, who makes her Company debut this summer with Kaija Saariaho’s Innocence, returns with set designs that situate the work in a converted high school gymnasium. Christina Cunningham designed the production’s costumes, including the red coat and white hood of the handmaids, an iconic uniform that is often worn by protesters at demonstrations when legislative and judicial actions threaten the rights of women. Fabiana Piccioli is the lighting designer, and projections are by Will Duke. Karen Kamensek, who made her house debut conducting Carlisle Floyd’s Susannah in 2014, returns to lead the San Francisco Opera Orchestra in Ruders’ spectacular score, which will be performed in English and includes haunting uses of the hymn “Amazing Grace.”

Mezzo-soprano Irene Roberts, who has performed the heroines of Offenbach, Bizet, Bright Sheng and Mozart on the stage of the War Memorial Opera House, stars as the handmaid Offred who is determined to find a way out of her nightmarish servitude and back to her child. This contemporary operatic masterwork also features mezzo-soprano Lindsay Ammann in her Company debut as Serena Joy, soprano Sarah Cambidge as Aunt Lydia and bass-baritone John Relyea as the Commander.

TRISTAN AND ISOLDE by Richard Wagner
October 19November 5, 2024

Scenes from Tristan and Isolde. Photos: Michael Crosera/Teatro La Fenice

Wagner’s Tristan and Isolde (Tristan und Isolde), one of the most transcendent, boundary pushing musical-dramatic works of the nineteenth century, sails back onto the War Memorial Opera House stage after an 18-year hiatus. The composer’s sublime score, which marshals the orchestra to embody the feeling of romantic yearning with expansive, unresolved harmonies—including the enigmatic “Tristan Chord”—illuminates a story of love transcending death itself. As part of her exploration of Wagner in San Francisco, Music Director Eun Sun Kim leads Tristan and Isolde for the first time in her career. In his Company debut, Paul Curran directs his staging from Venice’s La Fenice that features production design by Robert Innes Hopkins, whose recent work for San Francisco Opera includes the new productions of Tosca, La Traviata and last season’s The Elixir of Love, and lighting design by David Martin Jacques.

Eun Sun Kim; Paul Curran; Simon O’Neill; Anja Kampe; Kwangchul Youn; Wolfgang Koch; Annika Schlicht

New Zealand tenor Simon O’Neill who “triumphed in a propulsively sung account of the title role” (Opera) in San Francisco Opera’s 2023 Lohengrin, brings his acclaimed portrayal of Tristan to San Francisco Opera. German soprano Anja Kampe who made her house debut as Sieglinde in the 2010 presentation of Wagner’s Die Walküre, returns with her portrayal of Isolde which has been hailed at the Berlin State Opera, Munich’s Bavarian State Opera and the Glyndebourne Festival. Distinguished Wagnerian bass Kwangchul Youn, who makes his Company debut this summer in Mozart’s The Magic Flute, is King Marke. Baritone Wolfgang Koch and mezzo soprano Annika Schlicht both make their debuts with San Francisco Opera as Kurwenal and Brangäne, respectively.

Saturday, October 26, 2024 at 7:30 p.m.

Eun Sun Kim conducting San Francisco Opera Orchestra and Chorus; Kim and the Orchestra.
Photos: Drew Altizer (left) Matthew Washburn (right)

For the first time in Company history, the San Francisco Opera Orchestra and Chorus will perform Beethoven’s monumental Ninth Symphony. A musical expression of peaceful unity among all people, this works stands as a testament to moral striving and human achievement. Eun Sun Kim leads the Company’s combined forces, including vocal soloists soprano Jennifer Holloway, mezzo-soprano Annika Schlicht, tenor Russell Thomas and bass Kwangchul Youn, in this special performance honoring the work’s 200th anniversary.

CARMEN by Georges Bizet
November 13December 1, 2024

Scenes from Carmen. Photos: Cory Weaver/San Francisco Opera

As the finale to the 2024 Fall Season, Bizet’s Carmen returns in the sun-scorched staging by director Francesca Zambello and under the baton of Benjamin Manis in his Company debut. The opera’s unforgettable melodies and gritty drama about the tumultuous affair between a free-spirited woman and an obsessive soldier have made Carmen a perennial audience favorite for nearly 150 years.

Benjamin Manis; Francesca Zambello; Eve-Maud Hubeaux; Jonathan Tetelman; Louise Alder; Christian Van Horn

San Francisco Opera’s revival promises a high-octane ensemble headed by Swiss-born mezzo-soprano Eve-Maud Hubeaux in her American opera debut. After captivating audiences in Vienna, Paris, Berlin and Barcelona, Hubeaux made international headlines at the 2022 Salzburg Festival as a last-minute substitute as Amneris in Verdi’s Aida. Her performance prompted one critic to say, “Next to her, everyone else fades” (Die Süddeutsche Zeitung).

Chilean American tenor Jonathan Tetelman, who brought “power, ardor, and glorious sheen” and “flawless vocalism” (San Francisco Classical Voice) to his San Francisco Opera debut as Alfredo in Verdi’s La Traviata, returns for his role debut as Don José. Tetelman, who was named one of the “Top 11 Singers of 2023” by OperaWire and is an exclusive recording artist for Deutsche Gramophon, is among opera’s most sought-after tenors. Known on the stages of Europe for her effervescence and charm in a wide variety of roles, soprano Louise Alder makes her long-awaited American opera debut performing the role of Micaëla for the first time. Renowned American bass-baritone Christian Van Horn returns to San Francisco as the dashing toreador, Escamillo.

Thursday, November 21, 2024 at 7:30 p.m.

Scenes from The Elixir of Love Encounter (2023). Photos: Kristen Loken

 A special event inspired by Bizet’s Carmen will transform the Opera House into an immersive evening of multi-sensory experiences. The night begins with a performance of the first act of the opera and then attendees will be transported to Seville, Spain in the lobby areas for dancing, interactive experiences and a festive party. Recommended for audiences ages 21 and over. For more information, visit sfopera.com/encounter.

Friday, November 15, 2024 at 7:30 p.m.

San Francisco Opera Center’s 2024 class of Adler Fellows give their final concert of the year on November 15 with a program of scenes and arias accompanied by the San Francisco Opera Orchestra, at Herbst Theatre. Tickets for The Future Is Now will go on sale in July 2024.

Sunday, November 17, 2024 at 2 p.m.

The celebrated San Francisco Opera Chorus performs an intimate concert on November 17 at the Dianne and Tad Taube Atrium Theater. Chorus Director John Keene leads the members of the Company’s full-time chorus, and Associate Chorus Master Fabrizio Corona accompanies at the piano for this afternoon of choral music. Tickets for San Francisco Opera Chorus in Concert will go on sale in July 2024.


LA BOHÈME by Giacomo Puccini
June 3–21, 2025

Scenes from La Bohème. Photos: Cory Weaver

Puccini’s popular work about love and loss among a group of bohemian artists in 19th-century Paris will be presented in director John Caird and designers David Farley and Michael Clark’s production. The “elegant staging” (Mercury News) of this deeply moving story will be revived by Katherine M. Carter in her directorial debut. Conductor Ramón Tebar, whose 2023 debut leading Donizetti’s The Elixir of Love brought out the score’s “vivacious energy” (San Francisco Chronicle), leads the San Francisco Opera Orchestra, Chorus and two brilliant casts.

Ramón Tebar; John Caird; Pene Pati; Karen Chia-ling Ho; Andrea Carroll; Lucas Meachem

In the first cast, beloved Samoan tenor Pene Pati introduces his portrayal of the poet Rodolfo, which has touched audiences in Europe and Canada, to San Francisco for the first time. Chinese soprano Karen Chia-ling Ho, who “brought out to perfection” (San Francisco Chronicle) the rich and tragic music of Princess Jia in Bright Sheng and David Henry Hwang’s Dream of the Red Chamber, debuts her Mimì. Soprano Andrea Carroll makes her Company debut as Musetta, and baritone Lucas Meachem returns to portray the painter Marcello, adding another Puccini role to his distinguished credits with the Company.

Evan LeRoy Johnson; Nicole Car; Brittany Renee; Will Liverman; Bogdan Talos

The second cast for La Bohème includes the Rodolfo of tenor Evan LeRoy Johnson, whose debut as Lensky in Eugene Onegin during the Company’s Centennial Season “filled the cavernous War Memorial with a gorgeous, well-focused, lyrical voice” (San Francisco Classical Voice). Soprano Nicole Car, a “poignant, eloquent figure” (San Francisco Chronicle) in her 2022 Company debut as Donna Elvira in Mozart's Don Giovanni, returns as Mimì. Soprano Brittany Renee, who earned praise as Julie in Rhiannon Giddens and Michael Abels’ Omar last November, performs the role of Musetta and, in his San Francisco Opera debut, baritone Will Liverman portrays Marcello. Bass Bogdan Talos joins the Company as Colline, singing all performances.

IDOMENEO by Wolfgang Amadeus Mozart
June 14–25, 2025

Scenes from Idomeneo. Photos: Charlie Kinross/Opera Australia

Mozart was 24 years old when he composed Idomeneo, a towering exemplar of the opera seria genre wherein diverse vocal showcases are set against a formalized, classical setting. Mozart achieved in Idomeneo a work of exquisite beauty and vivid expression for soloists and chorus alike. The story follows King Idomeneo who, pleading to Neptune for safe passage through a tempestuous journey at sea, offers to sacrifice the first person he sees upon his return. When he reaches land, the first person to meet him is his own son, Idamante. Music Director Eun Sun Kim leads the Company’s forces in debuting Australian director Lindy Hume’s staging which highlights the tension between individuals and nature with imagery of the surging seas and craggy coastlines of Tasmania. The production features scenery originally designed by Michael Yeargan with additional consulting by Richard Roberts and the work of costume designer Anna Cordingley, lighting designer Verity Hampson, video designer David Bergman and cinematography by Catherine Pettman of Rummin Productions.

Eun Sun Kim; Lindy Hume; Matthew Polenzani; Daniela Mack; Ying Fang; Elza van den Heever

The cast of expert Mozart singers is headed by tenor Matthew Polenzani who brings his acclaimed portrayal of Idomeneo to San Francisco Opera for the first time. Daniela Mack inspired audiences as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego last summer and returns this June in Handel’s Partenope. The acclaimed Argentinian mezzo-soprano returns in Summer 2025 as Idamante. Soprano Ying Fang, “indispensable in Mozart” makes her house debut as the Trojan princess, Ilia, a role she “sings with both silky warmth and agile sparkle” (New York Times). Soprano Elza van den Heever returns to San Francisco Opera as Elettra, a character of extreme emotions whose rage aria in Act III anticipates that great creation of nineteenth-century Italian opera: the mad scene.

Friday, June 27, 2025 at 7:30 p.m.

San Francisco Opera has been a proud participant in San Francisco Pride since its beginnings in the 1970s. The Company’s 2025 Summer Season draws to a close on Friday, June 27 with a special celebration of our LGBTQIA+ community with an evening of music, immersive projections and more. A special host for the evening will be announced soon.  


 The Dolby Family’s Opera for the Bay discounted tickets program continues in the 2024–25 Season with $10 tickets for Bay Area residents who are new to the opera. Those with a home address zip code between 94000-95999 who have not purchased tickets in the past three years may purchase Opera for the Bay tickets one month prior to the opening of each production/concert (limit 2 seats per eligible patron). Inventory is limited and may sell out quickly. Visit sfopera.com/dolby for more information. Also returning this season is the Osher Future of Opera Subscription, a discounted ticket package generously underwritten by Bernard and Barbro Osher for anyone who has not subscribed in the past three years.


The third performance of each mainstage opera during the 2024-25 Season will be livestreamed. Tickets for the opera streams include a 48-hour on-demand viewing window, except for the Beethoven 9 and Pride Concert which will be streamed live only. Tickets are available for $27.50. All times below are Pacific Time (PT). For more information visit sfopera.com/digital/livestream.

UN BALLO IN MASCHERA Sunday, September 15, 2024 at 2 PM
THE HANDMAID’S TALE Friday, September 20, 2024 at 7:30 PM
BEETHOVEN 9 Saturday, October 26, 2024 at 7:30 PM (live only)
TRISTAN AND ISOLDE Sunday, October 27, 2024 at 1 PM
CARMEN Tuesday, November 19, 2024 at 7:30 PM
LA BOHÈME Tuesday, June 10, 2025 at 7:30 PM
IDOMENEO Friday, June 20, 2025 at 7:30 PM
PRIDE CONCERT Friday, June 27, 2025 at 7:30 PM (live only)


Tickets for San Francisco Opera’s 2024-25 Season are priced from $28 to $438. Subscriptions for the Company’s 102nd Season are priced from $120 to $2,530 for Full Series (5–6 productions), $526 to $1,619 for Half Series (2–4 productions) and a Design Your Own (DYO) option (minimum three operas). A $2 per-ticket facility fee is included in Balcony 1, 2 and 3 zone prices; all other zones include a $3 per-ticket facility fee. For tickets and more information, contact the San Francisco Opera Box Office at 301 Van Ness Avenue, call (415) 864-3330 or visit at sfopera.com. For information about subscriber benefits and special series subscriptions, including the Student & Teacher Series offering 50% off select Full and Half Series, visit sfopera.com/subscribe.

Returning for the 2024-25 season is the Osher Future of Opera Subscription.  Generously, underwritten by Bernard and Barbro Osher, these discounted subscription packages are available to anyone who has not subscribed to San Francisco Opera in the past three years.  For details visit sfopera.com/subscribe.

Tickets for Opera Ball are available at sfopera.com/operaball.

Dolby Family’s Opera for the Bay program provides $10 tickets to all mainstage performances to Bay Area residents (home address zip code between 94000-95999) who have not purchased tickets in the past three years. Opera for the Bay tickets go on sale one month prior to the opening of each production and are limited to 2 seats per eligible patron. Go to sfopera.com/dolby for more information.

The War Memorial Opera House is located at 301 Van Ness Avenue. Patrons are encouraged to use public transportation to attend San Francisco Opera performances. The War Memorial Opera House is within walking distance of the Civic Center BART/Muni Station and near numerous bus lines, including 5, 21, 47, 49 and F Market Street. For further public transportation information, visit bart.gov and sfmta.com.

Gifts of all sizes help create San Francisco Opera’s programs and are much appreciated. To donate visit sfopera.com/donate.

All casting, programs, schedules and ticket prices are subject to change. For further information about San Francisco Opera’s 2024–25 Season, visit sfopera.com.

*For the complete press release, including cast and calendar, open the PDF version above.