Have you ever been to the Santa Fe Opera? Whether you’re a regular or have never been, this is the year to go! As much a destination and experience as an opera house, there are some fascinating things to know which just enhance your time there. Get details about each production and tickets on the Santa Fe Opera website.
To augment the Santa Fe Opera experience, popular visitor activities include Preview Dinners, Prelude Talks, Opera House & Ranch Tours, Family Nights, shuttles, and discounted day-of tickets for seniors, students, and military personnel. In 2022, we spoke to Emily Doyle Moore, Director of Media and Public Relations for the Santa Fe Opera about what to expect this year – and what to expect even for the opera-curious.
Know Before You Go: Q & A with Santa Fe Opera
IGTD: Santa Fe Opera is known for its variety of operas each season. How is it determined which operas you’ll run in any given season?
Emily Doyle More, Santa Fe Opera: We’re known for programming a balanced repertory of traditional works, rare works and new works in each season. So there’s truly something for everyone in each of the five productions that we mount. Our Chief Artistic Officer, Music Director, and General Director work together to determine the operas, casting, and creative direction each of those productions takes in each season.
IGTD: How far in advance are seasons planned?
SFO: Opera is planned very, very far in advance. We’re planning through 2025 right now. It’s a very long lead time and that’s for a combination of reasons. It allows us to really always be forward-looking, forward-thinking and that’s not just on the artistic side. That also plays into how we do our budgeting. The Santa Fe Opera has long been known for fiscal responsibility. Every department submits budgets on a quarterly basis for the current fiscal year and projections for two to three years beyond.
IGTD: Who decides what period the opera will be shown in, the angles, the sets, etc. when it’s not set in a time for which it was originally written?
SFO: That really comes down to the vision of the director who will then choose their creative team including the scenic designer, costume designer, lighting designer, possibly a choreographer. Those teams work hand-in-hand to determine all of those elements. And then they also work very closely with our Production and Technical Directors to translate their artistic vision to our stage, which is a very unique structure.
I think it’s important to understand that, even if the production is set in the original time it was intended by the composer, unless it’s a remount of one of our own productions, it’s a brand new production – a brand new take. Audience members will have never before seen that staging, including the set pieces, costumes and, of course, cast.
With our stage, in addition to the natural elements that come into play, it transforms the experience. Because of the elements, we have no “fly space.” All of our set pieces are modular and have to be able to come up from a freight elevator at the back of the stage and roll on and off. And with our programming model of five productions in repertory, every night it’s a new production! As soon as one show ends, our crew is on stage striking that set and bringing on the next one. The rule of thumb is 90 minutes off to strike a set and 90 minutes on to get the new scenery in place. This all has to happen during the midnight hours so that the lighting focus can begin before the sun comes up!
IGTD: I hadn’t thought of all that – that’s fascinating!
SFO: And I’m not doing it justice – it’s such an incredibly well-oiled machine and there’s intention behind every single design and scheduling choice.
IGTD: Do most opera fans welcome the fresh takes on production styles? Or do you get some push-back?
SFO: It’s a healthy mixture. People really embrace the Santa Fe Opera take because they know they’ll see something that’s never been seen before – not just if it’s an American or World premiere, but when it’s a new take on a traditionally-loved opera.
IGTD: Who would you say is your typical audience member?
SFO: I don’t think we have one. The Santa Fe Opera is for opera fans and newcomers alike. We’re different than most houses in that our subscription base is fairly low. The number of people in state who come to see us each season is between 40% and 50%. It’s very much a tourist destination, a bucket list experience. We have Family Nights for youth ages 6-22. And we have the luxury of a seat back title system that instantly translates the operas from the language they’re being sung in to both English and Spanish to further bolster accessibility and a sense of belonging and understanding.
IGTD: That translation can be really helpful!
SFO: Oh, yeah, it’s a game changer.
IGTD: You have an apprentice program. Do those apprentices always move up into starring roles with Santa Fe Opera? Or might they move on to other companies?
SFO: Both! With our Apprentice Programs, both the singing and technical sides, there’s always exciting talent in the works. One of the oldest of its kind in America, the opera’s Apprentice Program for Singers brings in around 40 young talents each year; they make up the chorus and sing some of the smaller roles on stage. We see quite a few singing and technical apprentices come back, either in principal roles or as seasonal production staff or even full-time SFO production staff.
IGTD: I didn’t realize there were apprentices in non-performing roles!
SFO: Yes! SFO’s Technical Apprentice program was founded in 1965 and each season we welcome around 80 individuals to work in all of the different shops backstage. They go on to both careers at the Santa Fe Opera and across the industry in Broadway, theater, ballet, film, and, of course, opera. Their training is really unmatched.
IGTD: Are the sets and costumes shared among other companies? Or are they solely used by Santa Fe Opera?
SFO: They are solely used by us unless we’re doing a co-production, as we are with this summer’s Falstaff, which is a co-production with Scottish Opera. But even then, the sets must fit to our unique stage and be able to withstand the elements. But generally speaking, scenery and costumes originate with the SFO and then we provide rentals to other opera companies. It’s the model that Santa Fe Opera is known for in that we create almost everything in-house, on-site. We have a full production shop and that’s part of SFO’s uniqueness. I’ve heard our Technical Director say that, “The magic scenery fairy is here at the Santa Fe Opera.” The appeal being that it’s fully custom — not a touring show that one might have seen in another city or that has been known of for a long time.
IGTD: Your season coincides with the monsoon season in Santa Fe. Is that on purpose?
SFO: I wouldn’t say it’s on purpose. We’re a summer festival in an outdoor, natural setting and July and August happen to be monsoon season. Our founding director, John Crosby, had the vision of creating a summer opera festival at which people could enjoy opera and young artists could train their craft here in America rather than having to go over to Europe to train within the fest-model, which is what the European opera houses are known for.
IGTD: The fact that the rains come during the production, is that just sort of part of the mystique of the Santa Fe Opera experience?
SFO: Oh yes, exactly. It’s part of that whole immersive experience. You know, the weather is another character has another role each and every night. And no two nights are the same. Oftentimes, as people who attend know, the lightning seems to happen just on cue as the villain enters the stage or descends down the back into hell. Sometimes there’s sideways rain and the wind, while other nights there are just dazzling sunsets… it’s part of part of the experience.
IGTD: What would you say to someone who’s new to opera or even someone who doesn’t think they’re like opera, but they’re kind of curious or have heard about Santa Fe Opera?
SFO: Between 40% and 50% of our visitors each year have never been to Santa Fe Opera, but come for the whole destination experience. I would say to somebody who’s not sure, to give it a try because you might surprise yourself. You’re not required to like, or even know, anything about opera. Our seat back title system makes it so that you can understand what’s happening onstage without speaking Italian or German or Czech or Mandarin. I also know audience members who have attended for many years, and they like everything about the experience except perhaps the opera! Some people say it’s the most expensive nap they take all year, but they still love it because of the tailgating, people watching, and chance to commune with nature.
IGTD: You mentioned tailgating which I know you’re famous for. How did that begin?
SFO: The tradition got started out of necessity. The Santa Fe Opera is located seven miles north of the city center. And before the show, obviously, the setting is beautiful, whether that’s sunsets or it’s a monsoon rolling in. So it’s just a really festive way to be on site and enjoy a meal and a little sparkling bubbly before heading in to see the show.
Anyone who’s a ticket holder can come and tailgate before a show. It’s a long held, really beloved tradition. And we see people who really get into the spirit and go all out with the family silver and the linens and the themed food and outfits. And then there are people who have their pickup truck and they have a really simple picnic spread and some folding chairs, and it’s just very relaxed. Although people can bring their own food, they can also pre-order Sampler Tailgate Boxes and Dinner Tailgate Boxes prepared by Masterpiece Cuisine. We also have Opening Night Dinners and Preview Dinners for something a little more formal.
Look around the Santa Fe Opera website at santafeopera.org to learn more about its history, the season, fun ways to enhance your visit, and to see what non-opera offerings are coming after this season (hello Wilco, Melissa Etheridge and Rodrigo y Gabriela, to name a few of the post-season concerts that we have lined up!)
Where to stay when you go? The following are lodging partners with the Santa Fe Opera:
Four Seasons Resort Rancho Encantado in Santa Fe, Drury Plaza Hotel in Santa Fe, Bishop’s Lodge, and Rosewood Inn of the Anasazi.
About Santa Fe, New Mexico: Many argue that summer is the best time to visit Santa Fe; it’s a time when the days are filled with must-see art markets, lively festivals, new art exhibitions and more. All of the city’s signature events are back and ready to welcome visitors to celebrate as we have for decades. July brings the International Folk Art Market to Museum Hill and music performances to all corners of the city. In August the SWAIA Santa Fe Indian Market turns 100 and focus shifts to all things Indigenous art and culture. In September, burn your gloom at the annual Burning of Zozobra and don’t miss the Grand Tasting at the 31st Santa Fe Wine and Chile Fiesta. For more information to plan your trip to Santa Fe visit the SantaFe.org website.
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