MEMORIES OF OPERA SAN JOSÉ – Adam Flowers, tenor & teaching artist

JUNE 2023

From October of 1997 until May of 2006, I sang in at least three operas per four-opera season at OPERA SAN JOSÉ, singing in 33 productions. From July 1998 until June of 2001, I was an Affiliate Artist-In-Residence, receiving a small stipend and free housing while singing comprimario roles and in the chorus when needed. In November of 2000 I made my lead role career debut as Nemorino in L’Elisir D’Amore. I became a Principal Artist-In-Residence for the 2001-2002 season and remained in that position until the end of the 2005-2006 season, learning and performinging 18 roles from Don Basilio in Le Nozze di Figaro by Mozart to Erik in Der Fliegende Holländer by Wagner and everything in between.

With SCOTT BEARDEN singing a duet from L’ELISIR D’AMORE at the OSJ offices and rehearsal hall in October of 2001.

I simply cannot imagine my life as it exists without this magical place. Music (and Opera specifically) have quite literally given me my life and so many of the most formative events of that life happened within the walls of the nondescript North San José office building on the banks of Coyote Creek where OPERA SAN JOSÉ has its headquarters and rehearsal space. It was there I first became a professional musician, first laid eyes on my wife NICOLE, and tested my limitations as a singer, a performer, and as a man.

Me, as El Remendado with (clockwise) JOSEPH WRIGHT as Dancaïro, JOCI-PATRICE HOUSTON as Mercedes, LAYNA CHIANAKAS as Carmen, and AIMEE PUENTES as Frasquita backstage at the old Montgomery Theatre in OSJ‘s February 2000 production of CARMEN

From October of 1997 until June of 2006, this was where I spent most of my time other than my apartment. This was my artistic and professional home. So many dear friends and colleagues were met and made here. So much triumph and not a few tragedies had their formation within these walls. Here is a look at some of the memories made there that shaped who I am as a musician, an artist, and a citizen of the world.

OPERA SAN JOSÉ Resident Company, 1998-1999 (Back row L-R: BRIAN LEERHUBER, me, THOMAS TRUHITTE, CHRISTOPHER DICKERSON, MARUS VIPULIS, ROBERT MCPHERSON. Front row L-R: JOCI-PATRICE HOUSTON, CHRISTINA MAJOR, BARBARA DIVIS. Seated: OSJ founder and General Director IRENE DALIS.)

OSJ Resident Company, 2001-2002 (Back row L-R: JULIE MAKEROV, DONNA OLSON, SCOTT BEARDEN, LORI DECTER, SANDRA RUBALCAVA. Middle row L-R: Me, JOSEPH WRIGHT, PAUL LINNES, BRUCE OLSTAD, JONATHAN HODEL. Seated: Legendary Drama and Movement Coach DICK JONES)

OSJ Resident Company 2005-2006 (Top L-R KIRK EICHELBERGER, JASON DETWILER. Middle L-R: JOSEPH WRIGHT, LORI DECTER. Bottom L-R: JESSE MERLIN, CHRISTOPHER BENGOCHEA, DEBORAH BERIOLI, MICHELE DETWILER, & me.)

The “WALL OF FAME” at the entrance of the OPERA SAN JOSÉ Headquarters in north San Jose.

IN PERFORMANCE

As Carlson in Carlisle Floyd’s OF MICE AND MEN WITH (L-R) MIKE FORNER, JASON BLACK, RUSTY THE DOG, ME, CHRISTOPHER DICKERSON, JUSTIN FRANCE, & CHRISTOPHER FERNANDEZ at OSJ in November of 1997

(L-R) ADAM HORVATH, OF MICE AND MEN composer CARLISLE FLOYD, and stage director LILLIAN GARRETT GROAG after a performance of OSJ‘s OF MICE AND MEN in November of 1997

As Nemorino in OSJ’s November 2000 production of L’ELISIR D’AMORE

COSI FAN TUTTE at OSJ in November of 2001 with LORI DECTER as Fiordiligi, DONNA OLSON as Dorabella, JOSEPH WRIGHT as Guglielmo, & me as Ferrando,

Backstage with the principal cast of the November 2001 COSI FAN TUTTE at OSJ (Standing L-R: LORI DECTER as Fiordiligi, JOSEPH WRIGHT as Guglielmo, PAUL LINNES as Don Alfonso, me as Ferrando, DONNA OLSON as Dorabella. Seated: SANDRA RUBALCAVA as Despina)

As the Chevalier Des Grieux with SANDRA RUBALCAVA as Manon in OSJ’s 2002 production of MANON

As Lieutenant B.F. Pinkerton with JULIE MAKEROV as Cio-Cio San in OSJ’s April 2002 production of MADAMA BUTTERFLY

As Pinkerton with JOSEPH WRIGHT as Sharpless in OSJ’s April 2002 production of MADAMA BUTTERFLY

As Pinkerton with NICOLE TAKESONO in OSJ’s April 2002 production of MADAMA BUTTERFLY

As the titular role in OSJ’s November 2002 production of FAUST with JESSE MERLIN as Mephistophele

As Manrico with JOSEPH WRIGHT as Count Di Luna in IL TROVATORE at OSJ in February of 2003

JOSEPH WRIGHT as Il Conte di Luna, LORI DECTER as Leonora, me as Manrico, & MALIN FRITZ as Azucena in OSJ’s February 2003 production of IL TROVATORE

Backstage after the final curtain call with conductor and OSJ Music Director DR. DAVID ROHRBAUGH, OSJ General Director IRENE DALIS, JOSEPH WRIGHT as Il Conte di Luna, me as Manrico, LORI DECTER as Leonora, & JESSE MERLIN as Ferrando in OSJ’s February 2003 production of IL TROVATORE

As Tamino with JULIE MAKEROV as Pamina in DIE ZAUBERFLÖTE in April of 2003 at OSJ

As Tamino with JOSEPH WRIGHT as Papageno in OSJ’s April 2003 production of DIE ZAUBERFLÖTE

As Tamino with NICOLE TAKESONO in OSJ’s April 2003 production of DIE ZAUBERFLÖTE

As Turriddu with MICHELE DETWILER as Santuzza in CAVALLERIA RUSTICANA at OSJ in November of 2003

As Nadir in THE PEARL FISHERS at OSJ in February 2004

As Nadir with JASON DETWILER as Zurga in OSJ’s February 2004 THE PEARL FISHERS

As Gabriel Eisenstein with JASON DETWILER as Dr. Falke in OSJ’s April 2004 production of DIE FLEDERMAUS

DIE FLEDERMAUS at OSJ in April of 2004 with SANDRA RUBALCAVA as Adele

As Don Basilio in LE NOZZE DI FIGARO in September of 2004

As Mario Cavaradossi and LORI DECTER as Floria Tosca in TOSCA in November of 2004 OSJ

As Don Jose with MiICHELE DETWILER as the titular role in a promotional photo for CARMEN at OSJ in February 2005

As Don Jose with MICHELE DETWILER as the titular role in CARMEN at OSJ in February 2005

As Erik in DER FLIEGENDE HOLLÄNDER with LORI DECTER as Senta at OSJ in April of 2005

As Judge Danforth with DOUGLAS NAGEL as Thomas Putnam, CARLOS AGUILAR as Rev. Hale and CHRISTOPHER BENGOCHEA as Rev. Parris in THE CRUCIBLE at OSJ in September of 2005

As King Gustavus with LORI DECTER as Amelia in a promotional photo for OSJ‘s November 2005 production of
UN BALLO IN MASCHERA

As King Gustavus with LORI DECTER as Amelia & JOSEPH WRIGHT in OSJ‘s November 2005 production of UN BALLO IN MASCHERA

As Rodolfo with LORI DECTER as Mimi in LA BOHEME at OSJ in February of 2006

As Rodolfo with (L-R) JESSE MERLIN as Coline, JOSEPH WRIGHT as Marcello, me, & KIRK EICHELBERGER as Schaunard in LA BOHEME at OSJ in February of 2006.

The February 2006 production of LA BOHEME at OSJ with KIRK EICHELBERGER as Schaunard, SANDRA RUBALCAVA as Musetta, LORI DECTER as Mimi, myself as Rodolfo, JESSE MERLIN as Coline, & JOSEPH WRIGHT as Marcello

After curtain calls for our final performance of the February 2006 production of LA BOHEME at OSJ with myself as Rodolfo, JESSE MERLIN as Coline, KIRK EICHELBERGER as Schaunard, OSJ founder and General Director IRENE DALIS, stage director and former OSJ Resident Artist DAVID COX, LORI DECTER as Mimi, & JOSEPH WRIGHT as Marcello

As Don Ottavio with JOSEPH WRIGHT as Don Giovanni, JANELLE LAURENTI as Donna Elvira, & DEBORAH BERIOLI as Donna Anna in my final production for OSJ in their April 2006 DON GIOVANNI

JASON DETWILER. me, LORI DECTER, & MICHELE DETWILER at the cast party for OSJ‘s DON GIOVANNI at DAVID & PAMELA PACKARD’S home in Los Altos Hills, California on May 5th, 2006 (my final OSJ cast party)

Opera San Jose

KQED SPARK‘s March 2004 feature on OSJ (click for video)

OFF STAGE

LET’S MAKE AN OPERA!

From 1998 until 2006, my life revolved around OPERA SAN JOSÉ’s production and performance calendar. In the same way that older adults still feel the ghost of their school year and summer vacation benevolently haunting their calendar year, I still have a keen awareness of the old OSJ schedule and calendar like some sort of secular artistic calendar of Saint’s Feast Days. August, October, January, and March meant rehearsals and September, November, February, and April meant opera productions. June and July meant mostly free time with the odd smattering of coachings, costume fittings, outreach, and the Opera In The Park concert held in Los Gatos and then Willow Glen. May meant a surge of final school outreach throughout the month, the Operafest Fundraiser Galas on the second Friday and Saturday of the month, and by Memorial Day Weekend, the bulk of my OSJ duties dwindled to a trickle until ramping up again at the start of August. But before Memorial Day, from 2004 until the final year of my residency in 2006, the performances of my Let’s Make An Opera class took place on the Friday and Monday straddling the third weekend of the May.

Let’s Make an Opera (or L[IM]MO as we called it) was an educational program sponsored by OPERA SAN JOSÉ’s Opera Education and Outreach department. All Principal Artists-In-Residence would go to a 5th-8th Grade class and help them create an original story that the students would then adapt into a libretto which would be set to the pre-existing opera music of the Teaching Artist’s choosing. Over the course of ten sessions, the students would design all technical aspects of the show. They would all be cast in roles or in the ensemble and each student would have a corresponding offstage duty. They would promote the performance and all this would culminate in a matinee assembly performance for their schoolmates, faculty, and staff, and then an evening performance for their friends and family. This would be accompanied by one of OSJ’s talented staff pianists.

PHYLLIS SNYDER’S 5th Graders in their March 2001 Let’s Make An Opera! production Aloha Detention at Easterbrook Elementary School in San Jose

PHYLLIS SNYDER’S 5th Graders in their March 2001 Let’s Make An Opera! production Aloha Detention at Easterbrook Elementary School in San Jose, with OSJ conductor, chorus master, coach, and teaching artist ROBERT WOOD

The student-designed program for March 2002’s LET’S MAKE AN OPERA! production THE LEGEND OF OLD MAN MILLER with PHYLLIS SNYDER’S 5th Graders at Easterbrook Elementary School in San José

By 2004 I had already directed two LMOs at Easterbrook Elementary in 2001 and 2002. I thoroughly enjoyed it and found I had a facility for it. But it was MARIAN SMITH’S 2004 7th Grade class at St Frances Cabrini School that made me fall in love with the LMO program and in-school teaching in general. These kids were so incredibly creative! One had recently seen “Waiting For Guffman,” so they proposed the show-within-a-show concept that told the tale of a plucky, underfunded opera company attempting to mount a production of Mozart’s “The Marriage of Fígaro” and all of the setbacks and hijinks that ensue.

*A NIGHT AT THE OPERA* at St. Frances Cabrini School in May of 2004 (with **BRUCE OLSTAD** at the piano)

*A NIGHT AT THE OPERA* at St. Frances Cabrini School in May of 2004

These kids were so inventive and adventurous! I’ve carried the spirit of their artistic bravery with me in all my subsequent arts teaching. All those kids are in their mid-thirties now!

I went on to teach two more wonderful and creative LMO productions at St Frances—one called “Love At First I.M.” Which involved projections of instant message interactions and mistaken identity reminiscent of “The Shop Around the Corner” set to the music of Donizetti’s “Elixir of Love” and another called “The Twirling Twister of Terror” about a sentient Tornado that threatens to destroy the World Series of Poker in Las Vegas, all set to the music of Mozart’s “Don Giovanni.”

The 7th grade student creators and cast of LOVE AT FIRST INSTANT MESSAGE in May 2005 at St. Frances Cabrini School in San Jose

The student-designed program for May 2006’s LET’S MAKE AN OPERA! production THE TERRIBLE TWISTER OF TERROR with MARIAN SMITH’S 7th Graders at St. Frances Cabrini School in San José

Every year since, I have done some sort of in-school opera or musical performance teaching. It slowly but luckily eclipsed my performing work and now I look back and find that, despite all my plans and best efforts, I’ve found myself in a career that I never could have intentionally sought out, but that fills my heart with joy and purpose.

I have no idea where the kids of that production are from 20 years ago, but not a month goes by that I don’t think about my time with them and the fun we had and smile.

OPERAFEST!

With OSJ volunteer KATH TAKEDA and JOSEPH WRIGHT at the May 2000 Operafest

From 1998 to 2006, every second Friday & Saturday of May, I performed along with the resident ensemble of OPERA SAN JOSÉ in a two night fundraising concert for OSJ’s educational outreach. It served as a kind of informal end to the performing season, which started in late July with outreach and rehearsals for the September opera and continued over the course of OSJ‘s four-Opera season that culminated with the April show that would close on the first weekend of May. The resident ensemble would still have some outreach and coachings for the upcoming season in late May-June, but the pace of work was a trickle compared to our workload in August through April.

In the parking lot of Naperdak Hall in May 2001, where Operafest was held every May from 2001-2007, with Resident Artists HEATHER CALVETE, JOSEPH WRIGHT, JOCI-PATRICE HOUSTON, PAUL LINNES, & SANDRA RUBALCAVA

We would always open the show with an original opening number that caused us all not a small amount of stress because it was something that we had to learn, memorize, and perfect in two weeks. Some of the opening numbers
(written and assembled by the legendary TOM WEBB and then the inimitable CRAIG BOHMLER) were extremely goofy, by design, and even though we griped about learning them, we enjoyed performing them. Many of the resident artists were people that I had gotten to know and perform with over the course of (in many cases) 10 years, so Operafest performances often took on the aura of a Martin & Lewis nightclub act, such was the comfort and ease with which we had become accustomed in our performance. It was also a time to give back some love to the army of volunteers and donors that made our artistic residencies possible. Amongst the stress of a long, jam-packed season, Operafest served as a kind of cast party for the whole year, and it was an opportunity for us to perform one final time with the resident artists who were moving on after the season.

The final few Operafests in which I performed were themed, “Hoedown,” “Luau,” “Fiesta,” etc. and those were a blast.

Backstage fun with 2004-2005 Resident Artists CHRISTOPHER BENGOCHEA, JOSEPH WRIGHT, & myself, May 2005

Backstage at Operafest: SOME ENCHANTED EVENING in May of 2005 with (L-R) Former Resident Artist and emcee JONATHAN HODEL; 2004-2005 Resident Artists myself, JESSE MERLIN, DEBORAH BERIOLI, CHRISTOPHER BENGOCHEA, LORI DECTER, JOSEPH WRIGHT, JASON DETWILER, & MICHELE DETWILER.

May 2006’s OPERAFIESTA! was my final Operafest as a Resident Artist and I was also the emcee, which was a blast. The opening number began with JESSE MERLIN, JOSEPH WRIGHT, and myself wearing cartoonishly broad “Mexican” clothing and singing the theme song from the 1986 comedy The Three Amigos and then we are chastised by Resident Artist SANDRA RUBALCAVA for our offensive butchering of Mexican culture and the curtain opens to reveal a full Mariachi band and the entire company launches into El Rey by VICENTE FERNANDEZ.

After my residency, MS. DALIS asked me to develop and stage the 2007 Operafest opening number for “Operfest At the Movies” in collaboration with CRAIG BOHMLER. It was a lot of fun!

Even though I haven’t been in school for almost 20 years, I still love “summer vacation” even though I work in the summer just as I do in the winter and I still have finals anxiety dreams in May even though I haven’t taken a final since 1999. In the same way, I still get that feeling the First of May that I should be memorizing the Operafest opening number. For those of you with whom I had the great honor of performing during my time at OPERA SAN JOSÉ, know that I still think of you every second weekend in May and I cherish our time in the artistic foxhole as we all careened through the formative moments of our artistic lives.

SJSU OPERA WORKSHOP

The San Jose State University Opera Scenes Program was my entree into OPERA SAN JOSÉ. As a double major in Journalism and Improvised Music Studies, I auditioned for the Opera Workshop and soon after I switched my major to Voice and was offered a scholarship to do so. A year later I sang my first role at OSJ.

When I was a resident artist at OSJ, one of our offstage duties was stage directing scenes for the SJSU Opera Workshop Program. I directed many scenes from operas I loved and some I hadn’t previously known much about–IL MATRIMONIO SEGRETO the big courtroom scene from THE CRUCIBLE, the Lavender Blue/Lavender Green sequence from A TURN OF THE SCREW, and my favorite and the final scene I directed; The Rain Quartet from Marc Blitzstein’s REGINA.

in the Fall of 2001 I directed the Act I Finale from COSI FAN TUTTE for SJSU’s Opera Scenes Program

RESIDENT ARTIST HOUSING

From May of 1998 until May of 2001, I lived in IRENE DALIS’ childhood home on Delmas Avenue, a few blocks from SAP (San Jose) Arena and Diridon Amtrak Station in Downtown San José. OSJ housed resident and visiting artists in this house, in an 8-unit apartment building on 15th Street between Santa Clara and San Fernando Streets near the SJSU campus, and a 6-unit building on North First Street between Taylor and Mission Streets in Japantown. My room was at the back in what had once been a sleeping porch. during those 3 years I lived with Resident Artists BRIAN LEERHUBER, THOMAS TRUHITTE, & CHRISTOPHER DICKERSON; visiting artists ROBERT MCPHERSON, CARL KING, NMON FORD, and Technical Director JOEL WILMOT. Many cast parties and good times were had here before I moved to the North First Street building in May of 2001.

I never lived at the company apartment building on 15th Street between San Fernando and Santa Clara Streets, but I spent many hours there visiting my friends JOSEPH WRIGHT, LORI DECTER, JESSE MERLIN, PAUL LINNES, DONNA OLSON, SANDRA RUBALCAVA, and conductor GEORGE CLEVE when he was billeted there during one of the many productions he conducted while I was a Resident.

OPERA SAN JOSÉ owns two apartment buildings and a house where resident artists live rent-free as part of their compensation package. It allowed us to put most of our pay into savings and build a war-chest for our careers after OSJ. When I first joined the Resident Ensemble, I lived in the house on Delmas Avenue, near the SAP Arena, the birthplace of OSJ founder IRENE DALIS. In May of 2001, I moved into a studio unit at the rear of the Spanish Colonial building OSJ owned on North First Street between Taylor and Mission Streets on the northern edge of San José’s JAPANTOWN. In May of 2003 I moved into the roomier one-bedroom unit in the front of the building. It was there in “Number 4” that NICOLE and I lived in the months before our wedding in 2004 and until my residency ended in May of 2006. This special place will always be the home of some of my most cherished memories.

BROTHERS & SISTERS IN ARTS

JOSEPH WRIGHT

With fellow OSJ Resident Artist (and my Best Man) JOSEPH WRIGHT at my wedding in Napa on July 17, 2004

JOSEPH WRIGHT and I first met on the stage of the SJSU Concert Hall in 1996 and became “Friends at First Sight.” It was a friendship that blossomed into an artistic partnership and a life-brotherhood.

Here is the text of JOSEPH‘s legendary Best Man Toast at our wedding:

“Good evening beloved family, treasured and honored guests. Thank you for your attention.

I am JOSEPH WRIGHT, Adam’s Best Man, longtime friend and fellow opera singer.

I’d like to thank Dr & Mrs Takesono Mr & Mrs. Flowers and all who have made today such a joyous occasion, Thank you Adam & Nicole for honoring me with the privilege of making the best man speech.

Adam and I met 9 years ago while students at San Jose State University. We were both enrolled in music classes, but, more often than not, could be found in the student union “Studying.” Our study sessions consisted of deep, philosophical discussions, or the latest episode of the Simpsons. But there was always plenty of coffee and fellowship.

After college, we both began our careers at Opera San Jose and have shared the stage in over 20 productions. Onstage we’ve been everything from fierce rivals to faithful comrades; royal brothers to gypsy bandits.. But of all the roles to date, being your friend remains the highlight.

Adam, you have certainly come a long way since those first days when you had a developing crush on a certain Page Boy in the 2001 production of Rigoletto. Little did you know it then, but that cute girl in britches would become the woman you’d want to commit your life to today.

In addition to their passion for music, Adam and Nicole enjoy taking hikes together. It was about this time last year that one of their hikes led them to the top of Angel Island where Adam proposed.

Love and respect has brought Adam and Nicole to the beginning of their shared life’s journey. All of their unique individual experiences will now guide their future path together.

The path on a trail is, in many ways, a perfect metaphor for a relationship. You start seeking a little fun and adventure. Along the way there is rough terrain and unforeseen obstacles. There are times when it would be easier to turn back, but the decision to press onward can lead to untold pleasures worth enduring that challenge; side by side you discover more than you ever could before that difficult climb.

At times, one may need to move ahead and lead the way. We may stumble and need to support each other to find stable ground again. That was the case on the Flowers Family Tahoe Tour of 2001. Adam invited me on their annual Summer trek to the Lake.

On the 2nd day of a week long trip, we went for a hike to Fallen Leaf Lake. Just after reaching our destination, I severely sprained my ankle. Without hesitation, Adam supported my weight as we climbed the 4 miles back to our car.

This is just one of many recollections I have of Adam’s loyal and faithful friendship.

Nicole, I know that these qualities, in addition to his love of family and wacky sense of humor, are what brought you to commit your life to him today.

So now, let us lift a glass to Adam and Nicole and toast to their commitment to journey together as Husband & Wife.

In closing, may you walk hand in hand with love & respect along the way to a lifetime of great happiness & fulfillment.

May the ins and outs and the ups and downs of your marriage occur only in the bedroom!”

— 17 July 2004

Churchill Manor

Napa, California

Even though we are miles apart and the years have taken us down ever-diverging paths, I will always hold JOSEPH in my heart as my brother and my Best Man.

OSJ Resident Artists LORI DECTER-WRIGHT and JOSEPH WRIGHT helping me celebrate my 29th birthday at San José’s Habana Cuba restaurant in March of 2004

With fellow former OSJ Resident Artists LORI DECTER-WRIGHT and JOSEPH WRIGHT in July of 2025

JOSEPH RAYMOND MEYERS

With (L-R) SANDRA RUBALCAVA as Abigail Williams, STEVEN BOISVERT as the Bailiff, JASON DETWILER as John Procter, and SUSIE UHER-JIMENEZ as Mary Warren. I am Judge Danforth in the red robe at center shaking my fist at my dear friend JOSEPH RAYMOND MEYERS.

JOE and I first met as singing waiters at Max’s Opera Cafe in Palo Alto in 1996. He also attended SJSU, but before me. JOE also performed at OPERA SAN JOSÉ many times before I was at the company, starting in the late 1980s. At OSJ, we performed in five productions together between 2001 and 2006.

Through a shared love of Opera, Jerry Lewis, Comedy, and the Golden Age of Hollywood, we quickly bonded while in the trenches of waiting tables at Max’s and the friendship of a lifetime was born. Ever since our meeting in the mid-’90s, JOE has been a part of every major milestone in my life and has helped buoy and support me during some of my life’s greatest challenges. He is another gift that Opera and OSJ have given me.

JOE, his partner KRISTA WIGLE, NICOLE, and myself in Las Vegas, January 2011

Me, NICOLE, JOE, and KRISTA in July 2013

With RYAN HERNANDEZ, JOE, me, former OSJ Resident Artist CLIFF ROMIG, and former OSJ Artist MARK HERNANDEZ in 2014

Two weirdos fishing off of Torpedo Pier in San Francisco’s Presidio, 2021

Celebrating the holidays, 2024

JOE and I always bring out the best in each other

JESSE MERLIN

As Gabriel Eisenstein with JESSE MERLIN as Frank in OSJ’s April 2004 production of DIE FLEDERMAUS

JESSE and I met in the September 2000 OSJ production of EUGENE ONEGIN and became fast friends. We appeared in 17 production for the company and JESSE was an usher at my wedding in July of 2004. We have remained friends and I follow his success on the stage and on the Big and Small Screens with great delight. JESSE was a good and loyal friend to me during one of the most difficult times in my life and I feel fortunate to call him a colleague and a friend.

With JESSE during a rehearsal break at OSJ Headquarters, November 2001

Smoking my final cigar at my bachelor party on July 12, 2004 at the San Jose Giants game with my childhood pal STEVE WALTER, JESSE MERLIN, and JOSEPH WRIGHT

With JOSEPH RAYMOND MEYERS at the San Jose showing of JESSE’S star turn in the major motion picture F.D.R.: AMERICAN BADASS! as “Werewolf Hitler” in January of 2013

With JESSE at Amoeba Records in Hollywood, California in April of 2018

Two hams, September 2019

With fellow former OSJ Resident Artist JESSE MERLIN and former OSJ artists JOSEPH RAYMOND MEYERS and FRED ISOZAKI in 2024

IRENE DALIS

In August of 1996 I was two semesters shy of a double major in Journalism and Improvised Music Studies at San José State University when I realized I needed an additional Music elective to complete my degree. I auditioned for the SJSU Opera Workshop Program and almost immediately my life completely changed.

At the time, the SJSU Scenes Program was the brainchild of internationally-acclaimed mezzo-soprano and Opera impresaria IRENE DALIS. After a successful and storied career, she returned to her hometown and started the Scenes Program at her alma mater and that in turn birthed OPERA SAN JOSÉ.

I didn’t really know who she was, but I could tell that she was someone. She exuded confidence, authority, and dynamism. I sang the famous aria Vesti la giubba… from Leoncavallo’s I PAGLIACCI because no one had told me it was difficult. After my audition, she shouted out from her seat in the concert hall, “Who are you?!”

I replied sheepishly, “Ma’am, my name is Adam Flowers and I am a Journalism major.”

MS. DALIS shot back, “No you are not! You are an Opera singer! You are a musician!” and despite not really knowing who this pint-sized tornado of a woman was, I believed her. For the first time in my life, in that moment, I finally accepted my destiny, all because this woman had the authority to make me believe in myself.

With my mentor and champion, OSJ founder IRENE DALIS (1925 – 2014) at the OSJ offices in June of 2014

She offered me a scholarship in her late husband’s name to cover tuition and fees if I agreed two switch majors to a Bachelor of Music in Voice, which I did, and I never looked back.

IRENE DALIS became my most ardent and supportive champion. Her generosity of spirit, support and opportunity is almost single-handedly responsible for my life as a working musician and teaching artist. She was tough, had high expectations, and was an unrelenting task master, but her loyalty and passion for young singers was a true force of nature. I can’t imagine my life without her influence and support.

BARBARA BARRETT

BARBARA BARRETT was so many things: she was a lover of gourmet food and drink; an aficionado of great voices singing great music; a rabid fan of SF Giants baseball and Stanford Athletics; an adventurous devotee of fine art and cosmopolitan travel; an early adopter of computer technology well before many of her generation (and mine for that matter); an insightful and supportive artistic administrator; and—more than all that—she was my friend.

With (L-R) OSJ Costume Designer and Wig and Make Up master BETTY POINDEXTER, BARBARA BARRETT, and former OSJ Resident Artist JESSE MERLIN before his performance in September 2019’s DIE FLEDERMAUS at OPERA SAN JOSÉ

BARBARA was the first person of my parents’ or grandparents’ generation who treated me like an equal. In my early 20s, most of the people I knew over the age of 50 where either family or friends of family, teachers, or employers. BARBARA never condescended and her wide knowledge and mischievous charm won me over at once. I have so many fond memories of delightful dinners at her home on Morse Avenue off The Alameda (and she would let me stay after dinner and play MYST on her computer). The 1997 New Years Eve party at the house on Morse was one for the ages!

I helped her move twice, and one time in 1999 she gave me her entire collection of LPs as a thank you. I now possess over 100 of her Opera, Symphonic, and Jazz LPs, many still with the original price tags on them from as far back as the late 1950s.

BARBARA patiently helped me navigate the logistics of the workaday side of the Opera world, a world in which I was a very slow-witted fish-out-of-water. That professional relationship blossomed into a friendship that added greatly to the quality of my life.

As we approach the start of the baseball season, I will miss our talks about the Giants farm system or the latest addition to the roster. When the middle of May arrives, the traditional time of year that OPERA SAN JOSÉ had its old Operafest fundraiser, I’ll see in my mind’s eye the Negroni in your hand as you wink at me from across the ballroom of Napredak Hall. I’ll miss our al fresco brunches with KITTY SPAULDING and lunchtime visits with BETTY POINDEXTER. I will think of you the next time I hear a new great voice and I’ll need to remind myself that I can’t tell you about them.

When I last saw you two weeks ago, I could see that the veil between this world and the next world was very thin for you, but then you’d drop a patented Bebar bon mot and my heart sang.

I shall miss you, I shall miss you, I shall miss you very much indeed.

BARBARA BARRETT (1932-2024)

JEANNE MCCANN

“MAMMA” JEANNE MCCANN is an incredible woman. Shaker Art expert, lover of the Performing Arts, and Opera fanatic, JEANNE, along with her husband JACK MCCANN, are ardent donors, volunteers, and supporters of OPERA SAN JOSÉ. They funded my Artist Residency from 2003 until my departure in 2006. I came to know and love the MCCANNS and stayed in touch with “MAMMA” JEANNE after JACK’S death in May of 2007.

People like “MAMMA” JEANNE MCCANN are the lifeblood of the Performing Arts. Without their dedication and passion for the Arts and artists, our art would be silenced.

Celebrating JEANNE MCCANN as she received OSJ ‘s Opera Medal with General Director LARRY HANCOCK & former OSJ Resident Artist KRASSEN KARAGIOZOV in February of 2019.

In April of 2024, I had the rare privilege of celebrating “MAMMA” JEANNE’S 100th birthday with dozens of other celebrants at the OSJ offices. She is beloved of me and her legacy will never dim.

Celebrating “MAMMA” JEANNE MCCANN’S 100th birthday at the OSJ headquarters in April of 2024.

NICOLE TAKESONO

As Borse with NICOLE TAKESONO as the page in the February 2001 RIGOLETTO at OSJ when we first started dating.

Mezzo-soprano NICOLE TAKESONO and I first met in OSJ‘s November 2000 production of L’ELISIR D’AMORE. During the following production of RIGOLETTO at OSJ in February of 2001, I was Borsa and NICOLE was the Page. We began dating during this production. We were in several more OSJ operas together, culminating in OSJ’s April 2004 DIE FLEDERMAUS where NICOLE performed the role of Ida and I was Gabriel Eisenstein. We were married in Napa two months later with several of our OSJ colleagues in attendance, including my Best Man, resident artist JOSEPH WRIGHT.

With our friend, Maestro GEORGE CLEVE, at the cast party for OSJ‘s November 2001 COSI FAN TUTTE. GEORGE and I collaborated in the further OSJ productions of CAVALLERIA RUSTICANA, CARMEN, & DON GIOVANNI. He also conducted me in several concert performances of W.A. MOZART‘s MESSA DA REQUIEM for OSJ and his own MIDSUMMER MOZART FESTIVAL symphony orchestra.

Our wedding on July 17, 2004 in Napa, California with groomsman IAN SIERCHIO, usher KEONI SHULTZ, maid of honor DR. JENNIFER TAKESONO-YU, OSJ Resident Artist and Best Man JOSEPH WRIGHT, NICOLE, me, bridesmaid DR. JOCELYNN HYDE-CHENG, groomsman STEVE WALTER, bridesmaid (and my sister) MICHELLE FLOWERS-WILSON, usher LUCAS TABER, and wedding singer and former OSJ Artist JOSEPH RAYMOND MEYERS

AT OPERA SAN JOSÉ’S 40th ANNIVERSARY OPENING NIGHT GALA IN
SEPTEMBER 2023

OFFSTAGE FUN

As Armored Guard with **TATYANA RASHKOVSKY** as the Third Lady and **JOSEPH WRIGHT** in *DIE ZAUBERFLÖTE* at **OSJ** in May of 1998

Backstage as Sellem the Auctioneer in *THE RAKE’S PROGRESS* in September of 1998

Otherworldly shenanigans with **JOSEPH WRIGHT** in December of 2000

Resident Artist **JOSEPH WRIGHT** cracking up Resident Artist **TOM TRUHITTE** at an **OSJ** company BBQ in July of 2001

Backstage as Turiddu in the November 2003 production of *CAVALLERIA RUSTICANA & I PAGLIACCI* with JOSEPH WRIGHT as Alfio

Backstage in *DIE FLEDERMAUS* with **OSJ** chorister **MARILYN CHEA BERGER** during the final **OSJ** performance at the venerable Montgomery Theatre on May 2, 2004

Backstage as Don Basilio with **DAVID BRITTON** as Count Almaviva in the

My 2005 professional headshot taken by the legendary **LISA KEATING**

Singing at an outreach concert for **OSJ** in May of 2005

**DANIEL LOCKERT** accompanying my performance in the first annual **IRENE DALIS VOCAL COMPETITION** in June of 2007

Celebrating the 30th birthday of former **OSJ** Resident Artist **JOSEPH WRIGHT** in May of 2007

As Rodolfo with former **OSJ** Resident Artist **JASON DETWILER** as Marcello in *LA BOHEME* at **OPERA IDAHO** in October of 2007

The Three **OSJ** Tenors: **TOM TRUHITTE**, **JONATHAN HODEL** & me in July, 2000

Backstage as Germont in *LA TRAVIATA* with **ELI FOCHS** as Marchese d’Obigny and **JOSEPH WRIGHT** as Baron Duphol in April of 2000

Backstage as the Prune Seller with Children’s Chorus member **LUKE HURD** in the April 2001 production of *LA BOHEME*

Backstage at the Montgomery Theatre with my Bride-To-Be in April of 2001

Darts and fun at Lake Tahoe with **JOSEPH WRIGHT** in the Summer of 2001

At **L’OPÉRA GARNIER** in Paris, July 2005

Backstage hijinks at the CALIFORNIA THEATRE during the September 2005 production of *THE CRUCIBLE* with **JOSEPH RAYMOND MEYERS** as The Unknown Comic & **JESSE MERLIN** as Francis Nurse

**BETTY POINDEXTER**‘S beautiful design for my costume as Mario Cavaradossi in Act 1 of *TOSCA* at **OSJ** in November of 2004

A sketch of me as Rodolfo in **OSJ’s** February 2006 production of *LA BOHEME* by **OSJ** supernumerary **STEPHEN J. HOWES**

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