When a new opera is produced, dozens of artists and craftspeople from various disciplines come together around a shared dramatic and musical vision. This collaboration requires extraordinary skill, and cooperation on a grand scale.
San Francisco Opera’s The Bonesetter’s Daughter, composed by Stewart Wallace with a libretto by novelist Amy Tan, brought together singers, designers and musicians from three continents. Many were steeped in the Western operatic tradition, but for others, it was an introduction to American opera.
This collection focuses on the joys and challenges of collaboration, with reflections from several of the artists who brought The Bonesetter’s Daughter to life.
Amy Tan took classical piano lessons starting at the age of five. Although she would never fulfill her mother’s dream of becoming a concert pianist, music and her writing became intertwined. She says writing The Bonesetter’s Daughter opera with Stewart Wallace was like “getting a super graduate course in music.”