2021 | 2022 Season

Opera Parallèle presents

La Belle et la Bête

by Philip Glass

Libretto by the Composer

based on the film by Jean Cocteau

A surreal new take on a

timeless tale, fusing opera

& film live on stage.

Performances
  • July 14, 2022 – 7:30pm
  • July 15, 2022 – 7:30pm
  • July 16, 2022 – 7:30pm
  • July 17, 2022 – 3pm 
Venue

Running Time: 90 mins with no intermission – performed in French with English subtitles.

COVID HEALTH & SAFETY REQUIREMENTS

  • SFJAZZ requires proof of vaccination against COVID-19 prior to entering the SFJAZZ Center. All patrons must provide proof of having completed the initial course of vaccination, and a government issued photo ID to enter the SFJAZZ Center. (A student ID for people under the age of 18 is acceptable). Vaccination validation apps such as CommonPass and Clear, VaxYes are also accepted. Based on the updated requirements of the Department of Health, boosters are no longer required.
  • Proof of vaccination is required for children under the age of 12 years old, however photo ID is not needed as long as they are accompanied by fully vaccinated parents/guardians with valid photo ID.
  • Children ages 4 years old and under, for whom there is no currently available vaccine, are not permitted to enter the SFJAZZ Center regardless of the vaccination status of their guardian.
  • In order to protect our staff, performing artists, and attending audiences and to create the safest environment possible, at this time, SFJAZZ will not recognize any exemptions to its Vaccination-Only requirement and policy.
  • Masks must be worn at all times inside the SFJAZZ Center. Particularly in light of the Omicron variant, it’s highly recommended that everyone wear a non-vented respirator, such as an N95, KN95, or KF94 mask. A well-fitting surgical/procedural mask with a cloth mask worn over it to increase fit is also recommended.
  • READ SFAZZ’s FULL HEALTH & SAFETY POLICY HERE

A new presentation of the classic fairytale La Belle et la Bête blurs the boundaries of film and opera, fusing Jean Cocteau’s 1946 film with a powerful and arresting score by Philip Glass, thus honoring two of the great artistic minds of modern times. With this production Opera Parallèle will become the first company to present performances of all three operas Glass wrote in homage to Cocteau, having performed Orphée in 2011 and Les Enfants Terribles in 2017. OP is thrilled to complete the trilogy in celebration of Philip Glass’ 85th Birthday in 2022.

Once upon a time, in a world of magic and wonder, the true love of a beautiful girl finally dispelled the torment of a feral but gentle-hearted beast. Jean Cocteau’s sublime adaptation of Mme. Leprince de Beaumont’s fairy-tale masterpiece is a landmark of motion picture fantasy, with unforgettably romantic performances by Jean Marais and Josette Day. By transforming the characters of both the Beast and Belle from childlike figures to complex adult characters living in a surrealistic dream world, Cocteau transforms the tale into a surreal vision of death and desire while exploring themes that continue to resonate today—identity, compassion, and inner beauty. This timeless icon of cinematic wonder served as the inspiration for Philip Glass’ 1994 opera of the same name.

A Tale as Old as Time:

Exploring Queer History and Identity Through Beauty and the Beast

From ‘the first gay character’ in a Disney movie in 2017 to Jean Cocteau’s relationship with his leading man Jean Marais (pictured right) in 1946 to Howard Ashman writing his timeless songs while dying of AIDS in the 90’s, Beauty & the Beast has a deep Queer history. Using the classic tale as a leaping point, Opera Parallèle and The Academy SF bring together an exciting and surprising panel to explore the themes of identity and perceptions of beauty in the LGBTQ+ community and beyond.

Free Event – Open to the Public – Registration Required. 

Date: June 29, 2022,  6:30pm – 8pm

Venue: The Academy SF, 2166 Market St, San Francisco

Panel Conversation will be recorded and released here.

Moderator: Michael ‘Mojo’ Mohammed

Panellists: Dr. Ellie Zara Ley, Hadleigh Adams – Baritone, Prof. Nicholas L. Baham, III , Ph.D.

Jean Cocteau & Jean Marais on the set of La Belle et la Bête

Cast

Click on an artist below to learn more
Vanessa Becerra

Vanessa Becerra

'La Belle' - Soprano

Hadleigh Adams

Hadleigh Adams

'La Bête/Le Prince/Avenant' - Baritone

Sophie Delphis

Sophie Delphis

'Félicie/Adelaïde' - Soprano

Eugene Brancoveanu

Eugene Brancoveanu

'Le Père/Ludovic/L'Usurier' - Baritone

Creative Team

Nicole Paiement

Nicole Paiement

Conductor

Mextly Couzin

Mextly Couzin

Lighting Designer

Brian Staufenbiel

Brian Staufenbiel

Director & Concept Designer

Jacques Desjardins

Jacques Desjardins

Assistant Conductor

David Murakami

David Murakami

Projection Designer & Director of Photography

Jamie Fuller

Jamie Fuller

Stage Manager

Natalie Barshow

Natalie Barshow

Costume Designer

Y. Sharon Peng

Y. Sharon Peng

Wigs & Make Up Designer

Patricia Kristof Moy

French Diction Coach

 

Sam Clevenger

VFX Artist

 

Jay Cruz

Sound Designer & Programmer

Composer & Film Maker

Philip Glass

Philip Glass

Composer

Jean Cocteau

Jean Cocteau

Film Maker

Musicians

Members of the MANA Saxophone Quartet

Members of the MANA Saxophone Quartet

Keisuke Nakagoshi

Keisuke Nakagoshi

Keyboard & Resident Pianist

Kevin Korth

Kevin Korth

Keyboard

Taylor Chan

Taylor Chan

Keyboard

Kjell Nordeson

Kjell Nordeson

Percussion

Supporters

Major support for La Belle et la Bête has been provided by Gordon Getty, Stephen & Diane Heiman, and Horizons Foundation, with support from the Hulisch-Flechtheim Fund, Future Fund, Dillonwood Arts, and Anne Sterling Dorman LGBT Fund. Additional support has been provided by Elizabeth McMillan & George Varian, Susan & Mark Geyer, and Producers Circle members Donna Dubinsky & Len Shustek.

Major institutional and corporate support for Opera Parallèle has been provided by Adobe, The Lemala Fund, National Endowment for the Arts, City & County of San Francisco Grants for the Arts, and The Shenson Foundation.

The Bullhorn: Amplifying Unheard Voices received funding from a Civic Practice Grant from OPERA America’s Opera Fund.