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Friday, March 12 at 10am PST on ZoomOn-demand recording available to ticket holders 24 hours after airing
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Brandon Jovanovich and Karita Mattila reunite after their star turns as Siegmund and Sieglinde in San Francisco Opera’s 2018 production of Die Walküre. The pair join San Francisco Chronicle classical music critic Joshua Kosman to discuss how they tackled these iconic roles of twins turned lovers.
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Tenor Brandon Jovanovich is sought after by the world’s finest opera companies for his passionate stage portrayals of leading roles in French, Italian, German, and Slavic opera. He made his San Francisco Opera debt in 2007 as Lt. B.F. Pinkerton in Madama Butterfly and has returned to the Company as Luigi in Il Tabarro, Siegmund and Froh in the 2011 and 2018 Ring cycles, the title role of Lohengrin, Sam Polk in Carlisle Floyd’s Susannah, Walther von Stolzing in Die Meistersinger von Nürnberg, and the Prince in Rusalka.
Brandon Jovanovich was the recipient of the 2007 Richard Tucker Award and was twice a New York City district winner in the Metropolitan Opera National Council Auditions.
Soprano Karita Mattila made her San Francisco Opera debut as Ilia in the 1989 production of Idomeneo and subsequently has appeared with the Company as Eva in Die Meistersinger von Nürnberg, in role debuts as Emilia Marty in The Makropulos Case and Elsa in Lohengrin, and in the title roles of Kát’a Kabanová and Manon Lescaut. Her most recent appearance with the Company was in summer 2018 as Sieglinde in The Ring of the Nibelung, which she also sang at Houston Grand Opera.
Highlights of the new season include Finnish National Opera’s newly commissioned Covid fan tutte under Esa-Pekka Salonen—a project responding to the Covid-19 pandemic; long-awaited returns to Teatro Real as Foreign Princess in Rusalka under Ivor Bolton and in Christoff Loy’s production, and to the Royal Opera House as Emilia Marty in Katie Mitchell’s highly anticipated new production of The Makropulos Case under Tamas Hanaus.
Joshua Kosman has covered classical music for the San Francisco Chronicle since 1988, reviewing and reporting on the wealth of orchestral, operatic, chamber, and contemporary music throughout the Bay Area. In his spare time, he is the co-constructor of a weekly cryptic crossword puzzle in The Nation magazine, and has repeatedly placed among the top 20 contestants at the American Crossword Puzzle Tournament.
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