Author Amy Tan and composer Stewart Wallace discuss the process of adapting Tan's novel The Bonesetter's Daughter into an opera. The opera premiered in San Francisco in the fall of 2008. Roy Eisenhardt leads the conversation for City Arts & Lectures- City Arts & Lectures
Roy Eisenhardt practiced law for twelve years in San Francisco and taught at UC Berkeley's Boalt Hall School of Law.
He was President of the Oakland Athletics and served as the Executive Director for the California Academy of Sciences for five years.
Roy Eisenhardt has been a frequent interviewer for City Arts & Lectures for the past fifteen years.
Amy Tan is author of six bestselling books, most recently, 2013’s The Valley of Amazement. She is also creator of the libretto for San Francisco Opera’s production of her book, The Bonesetter’s Daughter. As dominatrix singer for the Rock Bottom Remainders, she has helped raise millions for literacy.
Composer Stewart Wallace grew up in Texas, both playing in a rock and roll band, and singing as a cantor in his synagogue.
He describes himself as an entirely self-taught composer; he began writing music when he was eight-years old, and wrote his first opera as his thesis for an interdisciplinary honors program at the University of Texas at Austin.
His major breakthrough came with his fifth opera, Harvey Milk, which he wrote with long-time collaborator, librettist Michael Korie. The hugely successful Harvey Milk debuted in Houston before traveling to New York, San Francisco and Germany. In addition to his work with opera, Wallace has composed several film scores and a popular ballet of J.M. Barrie's Peter Pan.