HOW I GOT THE JOB AT SAN FRANCISCO OPERA

 Men for the sake of getting a living forget to live.

---Margaret Fuller,  Summer on the Lakes (1844) 

On the stage of the San Francisco Opera.  

In 1974 I had been working at the Opera Theater of New Jersey for nearly two years, on a grant from the National Opera Institute. When the company began to have financial difficulties, I realized I needed to move on.I was 33, had no money, and had given up my aspirations to become an opera singer though I  had gained experience in opera management and liked the work. 

Otto Guth, who worked each fall at San Francisco Opera as head coach, had been my teacher for several years. We were close. I approached him and asked his help in getting a job there. He agreed and sent my resume off with his recommendation.

"Hello, this is Richard Rodzinski, Kurt Herbert Adler's assistant. He would like to speak with you." Maestro Adler was the Artistic Director and conductor of The San Francisco Opera.

 Excited, I blurted out, "But I'm nude!"

"She's nude," I head Richard say as an outburst of laughter ensued in the background.

Maestro Adler got on the telephone. "I'm going to be in New York on April 1st and would like to meet you. A man name of James Schwabacher will be in touch with you. "

I met with Mr. Schwabacher at a swanky hotel on 57th Street.

"We are looking for a coordinator for the activities of the Merola Opera Program, a subsidiary of the big opera. I'm president of the board of directors. Merola discovers talented singers through the San Francisco Opera Auditions and brings them to San Francisco for a 10-week training program during the summer." 

I was immediately interested.

"Can you meet Maestro Adler tomorrow at Carnegie Hall? He will be there judging the auditions."

"Absolutely," I said..

When I arrived, the auditions were in progress. During a break I met Maestro Adler. He wore a bright blue scarf wrapped around his neck.

"Your eyes match your scarf," I said impulsively.

Startled, he blinked his eyes a few times, but seemed pleased with my comment. "Can you begin work on April 1?"

"Yes," was my immediate response. 

A mad scramble ensued. I had one month to close my affairs and make arrangement for when I arrived.

Then, as if heaven had intervened, my old boyfriend, Ralph, (whom I write about in my book), called.  

"I'm living in San Francisco and called to see how you are doing."

"Unbelievable," I said. "I'm moving there in a couple of weeks!" 

We gossiped for a while and them he said, "I'll pick you up at the airport. My girlfriend has a friend who is looking for a roommate." 

Just like that, my arrival worries in San Francisco were over. 

In the meantime, I ran into another past boyfriend, John McClain, a banker who loved opera and also sang. I reported my plans. 

"I'm vacationing in San Francisco next week," he said. When he returned he called to report some exciting news.  

"One evening while I walked through my hotel lobby, I saw a sign that announced a benefit in progress for Spring Opera Theater." Like Merola, Spring Opera Theater was another affiliate of San Francisco Opera. "I bought a ticket and joined the party. During dinner, Richard Rodzinski was introduced to the attendees.  Because you told me about him, I followed him when he headed for the men's room. As we were standing at the urinal, I turned my head and said to him, I bring you greetings from Alice Cunningham." I began to get nervous. Mortified, I felt I needed to do something to save myself.

I sent Richard a plant and a thank you note. When I reported for work on April 1, April Fools day, I headed for his office. He was on vacation, and there, placed on his desk, completely dead and swarming with gnats, was my potted mum.

This auspicious beginning mirrored the first few years of my 15-year stint at Merola. Maestro Adler was a dictator. He terrified me. He constantly threatened to fire me and seemed to like to make staff members nervous. I always had close supportive relationships with my bosses and was unused to his leadership style. His ranting caused me severe anxiety. It was several years before I began to enjoy my
work, relax, become creative in the job, and win the esteem and support of my colleagues.   

 This is a 1985 fund raising flier I created.  I was good at raising money.

 

My office in the War Memorial Opera House where the San Francisco Opera was houses. 

 

Onward and upward.