Huang Ruo experienced a memorable Halloween with his children amidst the COVID-19 pandemic, as his son donned costumes of Spider-Man and Batman while his daughter transformed into Elsa from Disney’s “Frozen.” Reflecting on this moment, the composer had an epiphany about the need for a superhero from Asia for kids to admire and emulate. This inspired him to create “The Monkey King,” a new opera that draws from the 16th-century Chinese literary classic “Journey to the West.” In this tale, a monkey born from stone gains mystical powers and embarks on a quest for immortality. The world premiere of this production, featuring performances in both English and Mandarin, is scheduled for November 14 at the San Francisco Opera, as announced recently.
Matthew Shilvock, the general director of the San Francisco Opera, commissioned this work following the positive reception of Bright Sheng’s opera “Dream of the Red Chamber,” which debuted in 2016. David Henry Hwang, known for his award-winning play “M Butterfly,” penned the libretto for both operas. Shilvock expressed the desire to expand the repertoire with pieces that resonate with the Asian American community in San Francisco while also appealing to audiences across Asia.
Huang Ruo has previously composed notable works, including “Bound,” which debuted at the Houston Grand Opera in 2014, and “An American Soldier,” which premiered at the Washington National Opera the same year. He is currently working on an adaptation of Ang Lee’s film “The Wedding Banquet,” which is set to premiere at the Seattle Opera ahead of its showing at the Metropolitan Opera in the 2027-28 season.
The conception of “The Monkey King” also stemmed from the discrimination faced by Asians and Asian Americans during the pandemic. Ruo mentioned that at that time, there was an upsurge in harassment directed towards these communities, and he hoped to generate some positive energy through this creative endeavor.
The opera will feature a total of eight performances running until November 30, including a livestream event on November 18. The production is directed by Diane Paulus, with scenic design and puppetry by Basil Twist. The titular character will be portrayed in a triadic form—by a singer, a dancer, and a puppet. The role of the Monkey King will be notably performed by tenor Kang Wang, marking his debut with the company.
San Francisco’s opera season commenced on September 5 with a revival of Verdi’s “Rigoletto,” which hails from a 1997 production by Mark Lamos. Conducted by music director Eun Sun Kim, this revival features performers Amartuvshin Enkhbat, Adela Zaharia, and Giovanni Sala. Following this, Jake Heggie’s “Dead Man Walking” will open on September 14, introduced with fresh staging by Leonard Foglia to commemorate the 25th anniversary of its San Francisco premiere. Jamie Barton will star as Sister Helen, with Susan Graham reprising her role as Mrs. Patrick De Rocher.
The season will continue with a new rendition of Wagner’s “Parsifal” on October 25, directed by Matthew Ozawa, featuring a cast that includes Brandon Jovanovich, Kwangchul Youn, and Brian Mulligan. The 2025 spring season will kick off with Rossini’s “Il Barbiere di Siviglia” on May 28, followed by Strauss’ “Elektra” starting June 7, both productions showcasing established theatrical designs.
For this upcoming season, the number of productions has decreased from eight in 2023-24 to six for 2024-25. Shilvock foresees a $15 million budgetary shortfall in a projection that anticipates total expenses of $87 million, suggesting that the gap will need to be bridged through increased endowment support. Ticket sales for the fall season have seen a 79% success rate—3% above the expected target—and the average age of attending audiences has decreased, signifying a healthy engagement. Shilvock expressed optimism about the future, stating, “The core relationship of audiences to the artistic product is the strongest I’ve ever seen it.”
