SACRAMENTO (KOVR-TV) – A California mother of four fears for the safety of her young family and wants law enforcement to take action after her doorbell captured a man who has come on her door four times in the past few weeks, including late at night , and claims to come from social services.

The woman, who asked not to be identified out of fear for her safety, said she had called 911 every time and so far the sheriff’s office had answered but neither quoted nor arrested the man.

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The series of ring videos shows the man and also records audio of the man.

“Yes, I’m with the social services,” he says in a video.

“You know, I hear a child crying, a little baby,” he says in another video.

A response from the frightened mother can be heard in the video. “You have to go,” she yells. “I’m calling the police.”

“I don’t know what to do, how to protect myself because I have no men at home,” she told CBS station KOVR-TV in Sacramento.

She says every time the husband came to her home, her husband left. She was home alone with her four children and believes the man knows. “He keeps wanting to come in, you know, because he keeps saying, ‘I want to come in, I have to come in,’ and he claims to come from social services,” she says.

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KOVR TV reporter Steve Large went to the man’s house to ask him why he kept knocking on the family door.

“I don’t go over there irritating them, I go over there every now and then to see if anyone is okay,” said the man.

“Did the sheriff’s department tell you not to go there anymore?” Large asked him.

“They did, so I said,” OK, I won’t do it, I won’t go there anymore, “said the man.

“But you went there yesterday?” In great demand.

“No, it wasn’t yesterday,” said the man.

Sacramento attorney Mark Reichel is an expert on civil harassment orders in California. He believes this man is breaking state law, and even if MPs fail to arrest him, a civil harassment order that a judge would grant can be filed against him.

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“This repeated annoyance and disturbance in this house when the husband is gone is a pattern, it’s predictable, it’s not right,” Reichel said.

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The San Francisco Opera is in the middle of its month-long festival dedicated to Wagner’s “Ring Cycle”. In the coming weeks, Lois Silverstein will explore her experience not only of repeating the 2018 opera production, but also of some of the events and panels presented by the company.

“Feminism in the Ring” was the final conversation at San Francisco’s virtual “Ring” festival. Led by Naomi Adele, Professor of African American Studies at the University of Michigan, director Francesca Zambello and mezzo-soprano Ronnita Miller spoke together about how this American ring revolves around a heroine.

“It is Brünnhilde, not Wotan, who is the hero of the cycle,” explained Zambello. Brünnhilde is the warrior who brings about the dissolution of the massive cycle. Instead of the traditional male-centered paradigm in which the man in Wagner’s tetralogy is a savior and a master power figure, we are saved and redeemed through the skills and strength of a woman. Brünnhilde’s arson scene at the height of Götterdämmerung brings about the ultimate fall of the gods and the redemption of the world under the aegis of human love.

Naomi Andre sets the 19th century context in which this occurs.

“Women in Italian opera before Wagner,” she said, “appear either as conventional romantic heroines or in trouser roles. Bellini’s and Donizetti’s operas are rich in such heroines – Lucia, Norma, for example. Wagner, on the other hand, replaces the crazy and dying soprano with a strong and successful woman, and her death is a sacrifice for the common good. She sleeps, she dreams, she creates. She’s an impressive presence, an inventive leader who is also trustworthy. ”

The heroine is even in contrast to the male characters who act for corrupt reasons and their lust for power and control. Wotan, Alberich, Hunding, Pantomime, Hagen, Fafner and Fasolt, even Siegfried, enforce their wishes and are thwarted. Zambello says that each of the women, on the other hand, has the power of salvation and acts on them. In addition, Freia, the Rheinjungfrauen, the Norns, the Valkyries and even Fricka achieve their full stature in the course of the conflicts and their resolution and thus help Brünnhilde to reach their full potential. They all actually do it. Indeed, Zambello added “that women must clean up even after men.”

In the Ring, Wagner offers us mothers, sisters, lovers, fortune tellers and daughters who have a variety of ways to express what they know and what they can do. “Even Gutrune,” said Zambello, “becomes a redeeming force as soon as she escapes her family.” Finally, she too is hugged by Brünnhilde as soon as Brünnhilde understands Hagens malicious acts.

Among other features of this American ring are the need for emotions and human responses to them. Every female figure delivers in the tetralogy. In Sieglinde to Erda, from Freia, Fricka to Brünnhilde and Gutrune, Wagner invested convincing personalities, whom we follow with interest and fascination. You’re new, energetic, and electric. Just imagine the Valkyries in pilot costumes zooming in on high wires! Zambellos production and Miller’s moving and brilliant performance as Erda and the Norn, for example, bring all of this electricity to life. Long after the curtain has fallen, Ronnita’s breathtaking vocal range can be heard. The shadow of the earth is well cast.

“Nothing is as comprehensive as the ring,” remarked Zambello. “The production required a long gestation period. When I first did it, it took me months to have it worn. Then the entire cast had to come together and weigh the different options we had. It was a great collective effort and adventure. Only big opera houses can do it. “

Ronnita Miller concluded: “You have to put yourself in this world when you enter it. It’s not just persistence that it naturally takes, but what I experience is the longer I’ve been in this world, the more I want to be there. I always want to be there. There, too, I always discover new things – new sounds, new nuances, new colors. It’s a pleasure to hear. I never want it to end “

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The San Francisco Opera is in the middle of its month-long festival dedicated to Wagner’s “Ring Cycle”. In the coming weeks, Lois Silverstein will explore her experience not only of repeating the 2018 opera production, but also of some of the events and panels presented by the company.

Matthew Shilvock, San Francisco Opera Director, hosted an excellent panel on the World of the Ring Orchestra. Getting the prospect of playing the glorious score of this cycle of four operas was instructive and filled a dimension we longed for.

Rufus Olivier (bassoon solo), Kevin Rivard (co-solo horn), Thalia Moore (associate principal cello) and Dian Zhang (first violin) were the four orchestra members who shared some of their experiences with Shilvock, including their first exposure and experience with Wagner before during her tenure as the San Francisco Opera Orchestra and especially during this intensive musical collaboration from 2018.

Each of the musicians expressed their strong attachment to the music and an obligation to do a long preparation before playing the score. Moore took the Greyhound Bus from the east coast and played the tapes for The Ring in the 1980s when she came out to audition for the orchestra. Olivier said he didn’t realize the depth and breadth of the music when he first signed up, even in the 80s. After Rivard and Zhang accepted the challenge, Zhang described the process as a process of demystifying the awe of doing so, much like climbing the mountain. Everest, Rivard, who distinguishes it from the familiar melody of the main horn’s leitmotifs and delves deep into the full music of the score. He said he prepared for a full year before even starting orchestral rehearsal.

Perseverance was a necessary challenge for everyone from the start. While the singers have a 16 hour performance, of course, most of them have a break during the course. But that’s not the case for the musicians who have to play all the time. As Olivier said, even if you may be “Gung-Ho” at the beginning of “Das Rheingold”, you have to monitor your enthusiasm if you are to get through this. You want the audience to feel the excitement, but you can’t stick with that intensity all the time. Hence, you need to mitigate your own excitement and monitor parts where you are pulling out the throttle and at other times when you are playing at a lower intensity. The other three were absolutely in agreement.

“It’s epic,” said Rivard, “and because I love it so much, I have to make sure I don’t miss out on over-emphasizing a part too soon.”

It’s unlike anything else he’s played – he has to give 100 percent over the entire performance.

Everyone spoke of the masterful writing of the music. Moore spoke of the extraordinary depth, variety and quality of the music for the cello created by Wagner.

“His music is rewarding to play,” she said, “especially in its idiomatic passages.”

Zhang talked about how he had learned to work with the gesture of the notes to create the texture Wagner wanted by working with his special string section to create an appropriate color, not too heavy or too light. Be it important to stay focused, but easy to play.

Olivier emphasized that his appreciation for music has grown significantly since he played in various productions of the San Francisco Opera Ring between 1985 and 2018. He loves playing bass in the middle of the orchestra, his highly talented colleagues everywhere; it makes the hair stand on end on the back of his neck. Moore, too, has grown to the depth of the music in her plumbers. She appreciates the immensity of the masterpiece. “You never get to the bottom of it.”

The real crowd of musicians huddled in the pit requires a little maneuvering, Zhang emphasized, especially since he is tall and has to “swing” his bow. He doesn’t mind, he said. The work brings everyone together spiritually and spiritually. Olivier said it was a bit like the Blue Angels in formation in the sky. “We always have to wobble a bit, but the result? Smooth and satisfying. “

As Shilvock pointed out, Wagner wanted bold colors in his orchestra, but didn’t want to cover up the singers.

Each of the musicians praised Sir Donald Runnicles for his particular mastery of the score. He’s got a big picture approach, but he’s very smart in every detail. Rivard also said that because Runnicles is a horn player himself, he knows exactly how to formulate the horn parts. He’s not at all averse to letting us play and sticking to the bigger picture. It’s a simple conversation between us as musicians and his senior leadership. Olivier adds, “Sir Donald uses us for what we were hired to do.”

As for the singers on stage, Olivier says he hasn’t seen what’s going on since 1995! Several comments followed on whether this was essential for the musicians. There was agreement that it was more than enough to follow their fellow musicians Runnicles and the score, especially since the professional performance “up there” was well under control. Overall, it was an informative and lively conversation.

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