We’ve created new ways to make music together and encouraged each other in strength.” Having kept working remotely with the Adler Fellows, she says she is “so proud of the way the entire San Francisco Opera family has worked to remain resilient during this time. She is only the fourth music director in the company’s 99-year history, after John Pritchard, Donald Runnicles, and Nicola Luisotti. Kim was named the company’s music director in December 2019, but her debut in that capacity was one of the pandemic’s casualties. And we emerge with an even deeper understanding of the power of opera to connect us after the long winter of its absence.”
We emerge informed by the bold experiments of the last year, carrying them forward with our new live-streaming program.
We emerge with a new music director in Eun Sun Kim. 21, we will raise the curtain and do just that. We need to be together again, and, on Aug. I have never felt more urgently the need for us to gather in this way.
“Opera gives us opportunities to gather and share in deep, collective, emotional expression. On June 22, Shilvock ended the long waiting game and announced SF Opera’s 2021-22 season: No figure is yet available for the entire year. 21, 2021, when the 2021-22 season opens, Shilvock has had to announce seasons and cancel them, plan for spring, summer, fall, and winter activities - and abandon them, accounting for an $8 million loss for the summer season alone. In the 532 days between March 7, 2020, when the War Memorial became the first opera house in the nation to be shut down by the pandemic, and Aug. Shilvock’s ice cream parlor consists of an organization running on a once $78.5 million operating budget (now shrunk to $55 million) and involving hundreds of employees, musicians, chorus members, and multi-million dollar productions. San Francisco Opera general director Matthew Shilvock
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