Museum Mondays

Wassily Kandinsky

Parties diverses, 1940

Lembach Haus, Munich, Germany

July, 2026

 

Friday Photo

Pickled vegetables in a grocery store

Salzburg, Austria

August, 2026

 

San Francisco Opera Orchestra Strike

War Memorial Opera House

Saturday, September 12, 2026

Photo by Lisa Hirsch

I took the photo above at 7:25 p.m. on Saturday, on my way to what was supposed to be opening night at San Francisco Opera. As I expect readers of this blog already know, it didn't take place.

Shortly after, I received a press release from the orchestra, time-stamped 7:29 p.m., announcing that they were on strike. At 7:52 p.m., Matthew Shilvock, general director of the company, appeared on stage to confirm that the orchestra was on strike and the evening's performance of Simon Boccanegra was cancelled.

Since then, the company has cancelled three more performances and the planned livestream, as follows:

Wednesday, Sept. 16 - Simon Boccanegra

Saturday, Sept. 19 - Simon Boccanegra and the livestream of the opera

Sunday, Sept. 20 - Mary, Queen of Scots

Negotiations are ongoing; there have been no announcements by either labor or management about them. We will hear when there is a settlement or when more performances are cancelled.

Management reportedly started negotiations by offering a 26% pay cut, which eventually became an offer of a 20% pay cut. At the moment, the offer is reportedly something that keeps pay "level" for five years, meaning, given inflation, it's effectively a pay cut.

Cutting people's pay in a period of significant inflation and worldwide energy crisis (owing to the wholly unnecessary U.S. war on Iran) is a policy likely to result in massive bad publicity, ongoing bitterness, and, when they can, the departure of orchestra members for better-paying jobs, for example, in full-time high-level U.S. orchestras, when such jobs are available. (These jobs are few and far between, and the auditions are hard to win because so many highly-skilled players try out for them. Still, the current condition of the horn and trombone sections of SF Symphony shows what can happen. A combination of retirements and departures for other orchestras has had quite an impact.)

I think that everyone should take a look at the finances of San Francisco Opera and what has changed in the last 45 or so years to understand what the company is dealing with. I want to emphasize that SFO is financially healthy at the moment, owing to a combination of factors. These include efforts by David Gockley, former general director, and Matthew Shilvock to increase the company's endowment, secure large one-time and ongoing donations, increase a declining subscription base, and spend money prudently.

The endowment is currently a healthy $300 million, the largest among American opera companies and larger than many or most of the big-budget U.S. symphony orchestras. For comparison – and this is exactly what you don't want to have happen – the Metropolitan Opera, the largest opera company in the country (and actually the biggest performing arts organization in terms of budget and number of performances), has seen its endowment spent down from $327 million four years ago to $188.3 million as of the most recent form 990, which I consulted yesterday to get these figures. 

That is a four-alarm fire of an emergency for the Met. Everyone in the opera world remembers that New York City Opera went under when its board spent the entire endowment trying to keep the company afloat. There's a book about it, Heidi Waleson's Mad Scenes and Exit Arias. Nobody wants to see SF Opera's future endangered.

All of that said, here are some numbers and some history for your consideration as you think about what SF Opera, a unionized company working at the highest levels, can do to stay financially healthy.

1966: SFO put on 19 productions and toured to Los Angeles and Sacramento. Seven operas were done under the rubric Spring Opera Theater and weren't in the opera house because SF Ballet was performing there. Twelve operas were on stage from around Sept. 22 to the end of November. I would ask you to consider the quality of all 19 productions; there were 2 to 4 performances of each opera and when you put on 12 in two months, how much rehearsal time do they get, anyway? They were mostly well-cast, but they can't quite be regarded as equivalent to what the company puts on now.

Here are some figures that David Gockley provided to Janos Gereben in 2014, for publication in San Francisco Classical Voice, about the past and anticipated future at San Francisco Opera; the last line was, of course, projected figures:

                             Operating budgets         Subscribers                  Ticket sales as a % of total budget

1980                     $11 million                      165,000                        58.7%

2015                     $75 million                        93,000                        32%

2022                     $92 million                        80,000 (hoped for)     29% (hoped for)

       

In 1980-81, SFO put on 21 operas plus a concert; in 2015-16, it put on 11 plus two concerts; in the current and last two seasons, 6 operas plus four concerts (Opera in the Park, Opera Orchestra Strauss concert, Chorus Concert, Pride Concert). The 1980-81 and 2015-26 seasons each included a double bill of two short operas.

                                                 
Two points: You can verify these figures from the company's IRS Form 990s. These are public and viewable at ProPublica Nonprofit Explorer, though they don't go back to 1980. SFO's centennial season took place a year late, in 2023-24, owing to the pandemic and I think they spent about $93 million that year.

Currently, SFO says that ticket sales cover about 14% of the budget. The vast majority of the rest comes from fund-raising and draw from endowment.

I know that the orchestra and many audience members are saying that more performances are the answer, but given that ticket sales cover only 14% of the overall cost of putting on opera, for every performance added, you need to somehow secure the other 86% of the budget from other sources.

Here's another way to look at the cost of opera. Earlier in this century, SFO was putting on about 70-75 performances per season on an annual budget of $70-$75 million, so let's say that each performance cost roughly $1 million. Of course this includes things like the cost of heating or cooling the opera house, office supplies, salaries, payments to solo singers (they are not employees of SFO; they are freelance singers), the orchestra, the chorus, all other employees, health care, and on and on.

This season and last, the company will be putting on around 45-48 performances of six operas plus several concerts on an annual budget of nearly $90 million, or about $2 million per performances.

I believe that all employees at arts companies should be paid equitable wages that they can live on. The Bay Area is fantastically expensive to start with. Opera is expensive to put on, since it involves, for a typical production, an orchestra ranging in size from 40 to 108 (hello, Elektra! SFO produced it in June with only 95 in the pit, or close to that), a chorus of up to 100 (hello, Les Troyens!), a conductor, numerous people in the wig, costume, and makeup areas, stagehands, lighting people, the video staff, and on and on, with the administrative apparatus to support everything that's on stage.

Where should the money come from? Members of the current generation of Really Rich People – the billionaires – are remarkably uninterested in the arts. That is too bad, because when you have $300 billion at your disposal, writing.a check for, say, $50 million/year is pretty easy! But so far they're not really stepping up to the plate, with a few, very few, exceptions.

It is true that SFO has had some success here. Dr. and Mrs. William Coughran are donors at a level that means they're contributing at least $1 million/year (Bill Coughran was a Google VP). Jensen and Lori Huang – he's the billionaire CEO of Nvidia – have recently committed to several years of donating $5 million annually. Yes, that isn't much out of their wealth, but it's a very helpful percent of SFO's annual budget.

The U.S. government provides some smallish grants to particular projects, but unlike in Germany, there's little direct support for the ongoing operations of arts companies (and of course no indirect support like universal health care). And as we've learned, the federal government isn't dependable; the current administration might be on the verge of taking a literal wrecking ball to the Kennedy Center after wrecking its programming.

So, again: where's the money coming from for this fabulous and expensive art form?

21V Seeks New Artistic Director

21V, the innovative Bay Area chorus of adult treble (soprano and alto) voices of any gender, is looking for a new artistic director,  because founding artistic director and conductor Martin Benvenuto is moving back to his native Argentina. Here's the beginning of the job announcement:

About 21V 

Based in the San Francisco Bay Area, 21V is an innovative select ensemble of soprano and alto voices of all gender identities dedicated to telling the stories of the 21st-century Americas. Founded by Dr. Martín Benvenuto, 21V is a catalyst for change through a new choral sound, committing to bold, contemporary repertoire and reimagining traditional performance models. Our work intentionally centers composers and voices from across the Americas, with a particular focus on those historically underrepresented in classical music. 

21V’s vision is to be a "house of ideas" that opens up unexplored spaces of artistic expression, and a "house of belonging" that expands interconnectedness. For more information, please visit www.21vchoir.org 

Position Summary 

The Artistic Director serves as the chief artistic leader of 21V, responsible for shaping and advancing the ensemble’s vision, programming, and broader cultural impact. This position reports directly to the Board of Directors. The role is part-time and project-based, with 21V generally presenting two artistic projects each year – one in the fall and one in the spring. Each project typically includes approximately five weeks of rehearsals and generally culminates in two performances. The schedule varies seasonally, with a greater time commitment during active rehearsal and performance cycles, including evenings and weekends. The Artistic Director works in person for rehearsals, performances, and select meetings in the Bay Area, while completing remaining administrative work and meetings remotely. 

Read all about it on the 21V website.

Museum Mondays

Annunciation

Albert Bouts, c. 1480

Alte Pinakothek, Munich

July, 2026

 

Friday Photo

Twin Towers Church

Alameda, CA

 

Museum Mondays

Aspiring to Pumpkin's Love, the Love in My Heart

Yayoi Kusama

San Francisco Museum of Modern Art

April, 2025

 

New Job for Alek Shrader

Alek Shrader

Courtesy of Opera San José

Tenor and director Alek Shrader has been appointed director of development at Opera San José. Here's the press release:

Alek Shrader has been appointed Director of Development at Opera San José. Press release:

SAN JOSE, CA (1 September 2026) — Opera San José has announced Alek Shrader has been appointed to serve as its new Director of Development. The internationally acclaimed American tenor, stage director, and arts leader brings his extensive experience as a performer, educator, director, fundraiser, and advocate for emerging artists to the company’s leadership team. In his new role at OSJ, Shrader will lead the company’s development efforts, cultivating relationships with donors, patrons, and community partners while advancing philanthropic support for OSJ’s artistic and educational programming.

 

“I’m absolutely thrilled to be joining Opera San José as Director of Development,” said OSJ Director of Development Alek Shrader. “I’ve long admired this company and the people who make it so special, and it’s an honor to find my place among its leadership, its extraordinary artists, and this wonderful community. I can’t wait to roll up my sleeves and work alongside such talented colleagues, artists, supporters, and partners to help Opera San José thrive, and I’m grateful to be a part of what comes next.”

 

“Opera San José could not be more thrilled to welcome Alek Shrader as our new Director of Development,” added Opera San José General Director & CEO Shawna Lucey. “Alek’s career as a tenor has taken him from the Metropolitan Opera to San Francisco Opera, Lyric Opera of Chicago, and the great stages of Europe, and audiences everywhere have responded to the same qualities: a beautiful lyric voice, real dramatic intelligence, and total commitment to the story he’s telling, When he stepped into the director’s chair with us for last season’s Così Fan Tutte, we saw firsthand how naturally that same artistry translates into leadership, and we are delighted that he is directing our season opener Don Giovanni this September. As a steward for our funding programs, Alek will use his rare gift for helping donors see themselves in the work they make possible, connecting their generosity directly to the singers on our stage and the art they experience in the house. We’re excited for the culture of philanthropy he will build here, rooted in that same sense of shared purpose. Alek understands opera from every angle: as a performer, as a storyteller, and now as an advocate for the institutions that make this art form possible. We are honored to help incubate the next chapter of his career in opera leadership, and we can’t wait to see what he builds for Opera San José.”

 

As a performer, Shrader has appeared on leading stages around the world, including San Francisco Opera, the Metropolitan Opera, and the Salzburg Festival, earning recognition for his expressive storytelling, versatility, and commitment to bringing compelling stories to life. His artistic practice extends beyond performance to stage and film directing, new-work development, and projects exploring the intersection of music, theater, and community engagement.

 

A dedicated mentor and advocate for emerging artists, Shrader has held positions at the University of Notre Dame and Festival Napa Valley, where he taught voice and acting. Most recently, he served as Director of Membership & Engagement for the Merola Opera Program, where he led fundraising and marketing initiatives while fostering meaningful relationships among patrons, donors, and artists.

 

His appointment at Opera San José marks the next step in an expanding career that brings together artistic practice and arts leadership.

This 'n That

Several things make a post:

• Soprano Erie Mills, who had a fine career and went on to be artistic director of Livermore Valley Opera, sadly died in June at 73. She accomplished some great things at LVO; I loved some of the productions I saw there, which were well-directed with a good orchestra despite being produced on a very small budget. If you've got memories of her, in any capacity, you can email them to LVOpera1992@gmail.com. If you'd like to donate in her memory, go to the company's donation page.
• There's a tribute to Erie Mills on November 11, 2026.
• The BSO musicians have a new three-year contract; I cannot find information on the terms of the contract except that the musicians will have a larger say than they had in the choice of music directors.
• Musicologist Leah Broad's next book will be Unsung: Trailblazing Women Musicians of the Second World War, about Alma Rosé, Elly Ney, Myra Hess, and more. Details at her Substack, including a pre-order link with a built-in discount.
• The Teatro alla Scala, Milan has made its streaming platform completely free.

Friday Photo

Castle Hohenzollern

Salzburg

July, 2026

 

Festival Opera Salon Series

Festival Opera has an excellent series of concerts coming up:

SALON SERIES

With the return of autumn, Festival Opera will offer its annual Salon Series, a highly popular

trio of concerts September through November, featuring innovative programming and arAsts

presented at the intimate Piedmont Center for the Arts, 801 Magnolia Avenue, Piedmont. Each

Salon includes a convivial post-performance reception with the artists. Tickets are $40 per

concert or $95 for a subscription to all three: www.fesAvalopera.org/salon-series.

Sunday, Sept. 27, 2026 at 7.30 p.m. The new Salon Series will begin with the inaugural class of

Festival Opera’s Resident Artists including soprano Marielle Leiboff; soprano Rachel Nelson;

mezzo-soprano Phoebe Dinga; tenor Spencer Greene; and baritone Liam Daley with pianist

Daniel Lockert. The program will feature these young artists singing cherished opera arias,

scenes and contemporary works.

Sunday, Oct. 25, 2026 at 4 p.m. “Operatic Mad Scenes” with sopranos Aura Veruni and Lila

Khazoum with pianist Daniel Lockert, performing musical excerpts from Idomeneo, Macbeth,

The Magic Flute, Anna Bolena, Hamlet, and Lucia di Lammermoor with costumes by

designer Marina Polakoff—who recently designed the extraordinary costumes for Alcina—and

props to help with the storytelling. This concert will lean into the macabre and unhinged mad

scenes of opera, just in Ame for Halloween.

Sunday, Nov. 22, 2026 at 4 p.m. Praised for his "theatrical charisma and musical

bravado," baritone Efraín Solís recently made his Metropolitan Opera debut as Salvador Dalí in

the world premiere of The Amazing Adventures of Kavalier and Clay by Mason Bates. A graduate

of San Francisco Opera's Merola Program and Adler Fellowship, and now performing with opera

companies nation, Solís will be joined by “virtuosic” San Francisco Opera pianist Marika

Yusada, for a performance of favorites from the opera and art song repertoire.

San Francisco Opera Postpones the 2026 Opera Ball

Postcard, c. 1930s, of the War Memorial Opera House and Veterans Building, SF

From my personal collection

Received from SF Opera:

SAN FRANCISCO, CA (September 1, 2026) — San Francisco Opera announces a date change for Opera Ball 2026, the season-opening benefit gala presented by San Francisco Opera and San Francisco Opera Guild. Originally scheduled for Saturday, September 12 at San Francisco City Hall, Opera Ball will now take place on Thursday, November 12 at City Hall. The season-opening performance of Verdi’s Simon Boccanegra at the War Memorial Opera House will continue as planned on September 12 without the gala component of the evening.

 

Opera Ball is the largest fundraiser for both San Francisco Opera and the San Francisco Opera Guild, supporting the artistic work of the Opera and the education programs of the Guild. The November red-carpet event will include cocktails, dinner and dancing inside a transformed City Hall and will not include a staged opera performance. Further details about the evening will be shared in the coming weeks.

 

The date change follows the recent announcement by the San Francisco Opera Orchestra of their intention not to perform unless the Opera and Orchestra have resolved a new collective bargaining agreement by opening night of the season. The Opera and Orchestra are in active negotiations, and the Company looks forward to reaching a new agreement together as soon as possible. Producing Opera Ball involves many logistics and many external providers, and the Company has decided it is better to give both sides in this negotiation more space to reach a successful resolution and to remove any uncertainty about the status of Opera Ball for those attending, supporting and producing the event.

 

Matthew Shilvock, Tad and Dianne Taube General Director of San Francisco Opera, said: “I am deeply grateful to all those involved in Opera Ball for pivoting to this new November date, particularly the co-chairs and host committee who are working tirelessly to make this such a special fundraiser. We feel that this is the best decision to ensure that this critical fundraising event can continue, free of any uncertainty, while at the same time giving negotiations the space needed to proceed ahead of what promises to be a beautiful opening of Simon Boccanegra on September 12. I am deeply grateful to all those attending Opera Ball for their understanding as we make this adjustment.”

 

Current Opera Ball 2026 ticketholders have the following options:

• Retain their current Opera Ball ticket(s) for the November 12 event (no action required, additional event information will follow).
• Visit sfopera.com/operaball to donate the value of their Opera Ball ticket to San Francisco Opera and San Francisco Opera Guild for a full tax deduction or to receive a refund.
• For further assistance or questions about Opera Ball, patrons are encouraged to contact the San Francisco Opera Box Office at (415) 621-4403.

 

As Opera Ball tickets are sold separately from Simon Boccanegra performance tickets, those wishing to adjust their performance date for Simon Boccanegra should contact the San Francisco Opera Box Office at (415) 864-3330.

 

San Francisco Opera’s 2026–27 Season opens September 12 with Verdi’s Simon Boccanegra led by Caroline H. Hume Music Director Eun Sun Kim conducting the San Francisco Opera Orchestra, Chorus and a cast of international artists in the composer’s drama of political and familial intrigue. The Company’s opening weekend continues on Sunday, September 13 with the free annual Opera in the Park concert featuring Eun Sun Kim, the San Francisco Opera Orchestra and stars of the Company’s fall season at Robin Williams Meadow in Golden Gate Park. For more information about San Francisco Opera’s 2026–27 Season, visit sfopera.com.