the live running of productions. At the end of the summer, the apprentice crews are invited to apply for staff positions for the two weekends of "Apprentice Scenes", a showcase for the apprentice singers, and can serve as everything from costume and lighting designers, to lighting and stage supervisors, to follow spot operators and assistant stage managers and more. Notable past apprentices Some major American opera singers who have been company apprentices include the sopranos Susanna Phillips (2004), Judith Blegen (1961), Ashley Putnam (1973 and 1975), and Celena Shafer (1999–2000); mezzos Joyce DiDonato (1995), Susan Quittmeyer (1978), and Michelle DeYoung (?); tenors Carl Tanner (1992,93), William Burden (1989–90), Richard Croft (1978), Chris Merritt (1974–75), and Neil Shicoff (1973); baritones David Gockley (1965–67; later general manager of the Houston Grand Opera and the San Francisco Opera) and Sherrill Milnes (1959); and basses Mark Doss (1983), James Morris (1969) and Samuel Ramey (1966). Many former apprentice singers have returned to perform major roles with the company. These have included Mark Doss in the 2011 Faust; Joyce DiDonato in the 2006 Cendrillon (and again in 2013 in La donna del lago); Chris Merritt also in 2006 in The Tempest; Carl Tanner in the 2005 production of Turandot; and Joyce El-Khoury (2006 and 2008 Apprentice Singer) as Micaëla in the 2014 production of Carmen. Theatres and other facilities There have been three theatres on the present site of The Santa Fe Opera's approximately (now) 150 acres of land. Each has been located on the same site on a mesa, with the audience facing West toward an ever-changing horizon of sunsets and thunderstorms, frequently visible throughout many productions when no backdrops are used. Over the years, because of the first and second theatres' exposure to weather, rains covered audiences and orchestra members (and threatened the latter's instruments), requiring occasional cancellations, postponements, or extended intermissions. This situation, along with other factors (e.g. the general wish to improve acoustics, to comply with the Americans with Disabilities Act, to improve patron facilities, and to provide more seating) led to the decision to construct the third theatre. Three key features of each of the theatres has been the fact that, unlike a conventional opera house or theatre, there is no fly system to allow for scenery to be lowered from above, there is no proscenium arch (and thus no curtain nor means of projecting surtitles), the sides of the