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SF Ethnic Dance Festival Announces 2014 Line Up

One of the world’s greatest gatherings of dance artists returns to San Francisco this year, June 5 – 29, at the 36th annual San Francisco Ethnic Dance Festival (  Audiences will thrill to 31 extraordinary dance companies and over 300 dancers and musicians at the wildly anticipated event, highlighting the rich cultural and artistic diversity of the Bay Area.

Classical Indian sattriya dance, the first Festival performance of kathakali since 1978, a special Nelson Mandela Tribute at San Francisco City Hall, and the announcement of details about next year’s Pan-Pacific International Exposition Centennial are among the highlights of this year’s Festival. In addition, Indian Consul General Nagesh Parthasarathi will present Katherine and K.P. Kunhiraman with the Festival’s annual Malonga Casquelourd Lifetime Achievement Award at the June 14 evening performance.

“Kathakali dance is at risk of being lost forever and K.P. Kunhiraman is one of the few people alive who are sustaining this transcendent cultural tradition,” said Julie Mushet, Executive Director of the San Francisco Ethnic Dance Festival, noting that this year’s Festival will mark K.P. Kunhiraman’s final U.S. appearance. “K.P. Kunhiraman’s departure raises many questions about the future of dance and how, and even if, cultural traditions will be passed to the next generation, as they have been for millennia.”

Of all of the classical Indian dance forms, kathakali is the most stylized and is often compared to the kabuki tradition of Japan, especially in regards to the elaborate make-up worn by the performers. After this year’s Festival, K.P. Kunhiraman will be returning to India at the end of June after an illustrious 67-year career to live out his final years in his homeland.

Also as part of this year’s events, Festival artistic directors Carlos Carvajal and CK Ladzekpo will announce plans to celebrate the Centennial of the Panama-Pacific International Exposition with two weekends of performances in February 2015 at the Palace of Fine Arts, the Festival’s home for more than 25 years and the only remaining grand structure from the 1915 Exposition. Further details about the Centennial celebration and the twenty groups performing on the Festival stage will be released soon.

Since its inauguration in 1978, the San Francisco Ethnic Dance Festival has maintained its preeminent scope and reputation as one of the most comprehensive, widely respected, diverse, and engaging events of its kind in the world.

Following is an overview of the 2014 / 36th Annual San Francisco Ethnic Dance Festival and list of artists.

June 5 – 8: The 36th annual San Francisco Ethnic Dance Festival opens on June 5 at San Francisco City Hall with a tribute to late South African leader Nelson Mandela as part of the free Rotunda Dance Series. Concurrently, there will follow a series of workshops and panel dialogues throughout the Bay Area.
June 14 – 29:  The Festival continues at Yerba Buena Center for the Arts with three weekends of classic Festival performances, featuring a different group of performers on the stage of the Lam Research Theater each weekend. As always, audiences will experience an inspiring lineup of Bay Area artists and musicians collectively sustaining important cultural heritage from around the world, including Bali, Bolivia, Brazil, China, Congo, Hawai`i, India, Lebanon, Mexico, Okinawa, Peru, the Philippines, South Africa,  Tahiti, the continental United States, and West Africa. Audiences will have the chance to see 10 world premiere performances and 16 Festival debuts, including the wildly-popular Academy of Hawaiian Arts. Each weekend’s program is a different lineup and includes nine or ten dance performances in a two-hour show, with numerous cross-cultural, collaborative and transitional pieces.
Shining a spotlight on classical Indian dance, June 14 – 15: This year’s Festival includes a special weekend of performances where audiences can watch all eight classical Indian dance forms together on one stage for the first time in the United States. While the Festival has often featured four of the classical Indian forms—bharatanatyam, kathak, kuchipudi, and odissi—rarer are the remaining four: kathakali, manipuri, mohiniyattam, and sattriya. This weekend of Indian classical dance performances is presented in partnership with Sangam Arts, a Bay-Area non-profit dedicated to connecting cultures through Indian classical arts. More detailed information about the classical Indian dance forms can be found This will be the first time that sattriya dance will be seen on the Festival stage. Kathakali dance was featured only once in the Festival’s 36 year history, in the very first San Francisco Ethnic Dance Festival program in June 1978. The performers were Katherine and K.P.Kunhiraman of Berkeley, CA.

Indian Consul General Nagesh Parthasarathi will presentKatherine and K.P. Kunhiraman with the Festival’s annual Malonga Casquelourd Lifetime Achievement Award at the June 14 evening performance.

2014 San Francisco Ethnic Dance Festival Artists:

^ Academy of Hawaiian Arts* – Hawaiian kahiko
^ Alafia Dance Ensemble – Brazilian traditional
^ Azama Honryu Seifu Ichisen-kai Kinuko Mototake Ryubu Kenkyu-jo USA *– Okinawan classical
^ Bal Anat – Egyptian Folkloric (Festival Rotunda Dance Series performance – November)
^ Ballet Folklórico Compañía Mexico Danza – Mexican folkloric (Guerrero)
^ Bolivia Corazón de América – Afro-Bolivian
^ Lily Cai Chinese Dance Company – Chinese contemporary
^ Chitresh Das Dance Company – Indian kathak
^ De Rompe y Raja – Asociación Cultural Kanchis Alliance – Afro-Peruvian
^ Diamano Coura West African Dance Company – West African traditional
^ Dimensions Dance Theater – South African traditional
^ Ziva Emtiyaz* – Lebanese belly dance
^ Guru Shradha* – Indian odissi
^ Jubilee American Dance Theatre – Appalachian clogging
^ Kalanjali – Indian bharatanatyam and kathakali
^ Karavansaray Dance Company* – Egyptian folkloric (Festival Rotunda Dance Series performance – November)
^ Bhavajan Kumar* – Indian bharatanatyam
^ Los Danzantes de Aztlán de Fresno State University* – Mexican calabaceados (Baja California)
^ Sunanda Nair* – Indian mohiniyattam and kathakali
^ Natyalaya – Indian kuchipudi
^ Nava Dance Theatre* – Indian bharatanatyam
^ Nlolo Kongo* – Congolese traditional
^ Parangal Dance Company – Filipino traditional (Mindanao)
^ Proyecto Lando/Cunamacué Collaboration* – Afro-Peruvian
^ Sohini Ray*– Indian manipuri
^ Sahiyar Dance Troupe* – Indian folkloric
^ Sattriya Dance Company* – Indian sattriya
^ Sewam American Indian Dance – Native American hoop dance
^ Suciawani Balinese Dance* – Balinese traditional
^ Te Mana O Te Ra – Tahitian ‘ōte’a and ‘aparima
^ Tiruchitrambalam*– Indian bharatanatyam (Festival Rotunda Dance Series performance – April)
(* Artists who are new to the Festival)

June 2014 Festival Schedule:

Thursday, June 5, 12 noon
Opening event: Tribute to Nelson Mandela
Rotunda Dance Series
San Francisco City Hall
Music and dance featuring Diamano Coura West African Dance Company.

June 6, 7 & 8 – Festival Weekend One: Workshops and panel dialogues. Friday, June 6 at UC Berkeley; Saturday, June 7 at Stanford University; and Sunday, June 8 at the Palace of Fine Arts. (Specific times TBA)

June 14 & 15 – Festival Weekend Two: Eight classical Indian dance forms presented in partnership with Sangam Arts: Lam Research Theater, Yerba Buena Center for the Arts, 700 Howard Street, San Francisco

This will be the first performance in the United States featuring all eight classical Indian dance forms on one stage. Performances by Chitresh Das Dance Company, Guru Shradha, Kalanjali, Bhavajan Kumar, Sunanda Nair, Natyalaya, Nava Dance Theatre, Sattriya Dance Company, Sohini Ray.
Saturday, June 14, 1pm & 7pm*
Sunday, June 15, 1pm
*The June 14, 7pm performance includes the presentation of the Malonga Casquelourd    Lifetime Achievement Award to Katherine and K.P. Kunhiraman, founders of Kalanjali: Dances of India, in Berkeley.

June 21 & 22 – Festival Weekend Three: Nine dance companies in a classic Festival program: Lam Research Theater, Yerba Buena Center for the Arts, 700 Howard Street, San Francisco

Performances by Academy of Hawaiian Arts, Azama Honryu Seifu Ichisen-kai Kinuko Mototake Ryubu Kenkyu-jo USA, De Rompe y Raja – Asociación Cultural Kanchis Alliance, Dimensions Dance Theater, Ziva Emtiyaz, Los Danzantes de Aztlán de Fresno State University, Nlolo Kongo, Parangal Dance Company, Suciawani Balinese Dance.
Saturday, June 21, 2pm & 8pm
Sunday, June 22, 2pm

June 28 & 29 – Festival Weekend Four: Nine dance companies in a classic Festival program: Lam Research Theater, Yerba Buena Center for the Arts, 700 Howard Street, San Francisco

Performances by Alafia Dance Ensemble, Ballet Folklórico Compañía Mexico Danza, Bolivia Corazón De América, Lily Cai Chinese Dance Company, Jubilee American Dance Theatre, Proyecto Lando/Cunamacué Collaboration, Sahiyar Dance Troupe, Sewam American Indian Dance, Te Mana O Te Ra.
Saturday, June 28, 2pm & 8pm
Sunday, June 29, 2pm

Tickets to the San Francisco Ethnic Dance Festival are $18- $58 and go ON SALE BEGINNING APRIL 11 online, or by calling (415) 978-2787. Family matinees on Saturday afternoons offer 50% discounts to children age 12 and under, and group discounts are also available. For complete ticketing information and performance details  or call (415) 474-3914.

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Ecuador Plaintiffs, Steven Donziger, Committed Fraud against Chevron in Ecuador Case

Berlinger and Donziger

Joe Berlinger’s (left) Film “Crude,” paid for by Ecuador Plaintiff Attorney Steven Donziger, ultimately led to a crushing victory for Chevron Corporation in the Ecuador Case

Chevron Corporation won a major victory today when a New York federal judge ruled that the case against the oil company in Ecuador was procured by fraud.

U.S. District Judge Lewis Kaplan in New York found that lead plaintiff attorney Steven Donziger used bribery, coercion, fraud and other illegal means to create a fraudulent case against Chevron in Ecuador.

Donziger, whose fraudulent lawsuit was supported by environmental organizations such as AmazonWatch in San Francisco, Rainforest Action Network, Earthrights International, and other alleged environmental groups, might have gotten away with the crime if it were not for the sloppy work of Hollywood movie director Joe Berlinger.

Berlinger, who was paid by the plaintiffs to produce a film that lambasted Chevron for alleged pollution in Ecuador, ultimately and ironically, became Chevron’s savior.

Berlinger’s movie “Crude” produced evidence that led Chevron to its important court victory today in New York.

In making his ruling, Judge Kaplan  said Donziger and the Ecuador plaintiffs used “corrupt means” to secure a multi-billion-dollar pollution judgment against Chevron Corp in Ecuador, giving a major setback for attorneys hoping to collect on the award.

Kaplan said he found “clear and convincing evidence” that attorney Steven Donziger’s legal team bribed an Ecuadorean judge to issue an $18 billion judgment against the oil company in 2011.

The villagers had said Texaco, later acquired by Chevron, contaminated an oil field in northeastern Ecuador between 1964 and 1992.  Ecuador’s high court cut the judgment to $9.5 billion last year.

Kaplan’s decision bars Donziger and environmental groups like AmazonWatch and public relations agent Karen Hinton from enforcing the Ecuadorean ruling in the United States. It may also give Chevron legal ammunition in other countries where the plaintiffs could try to go after Chevron’s assets.

At a six-week trial last year, Chevron accused Donziger of fraud and racketeering and said Texaco cleaned up the site, known as Lago Agrio, before handing it over to a state-controlled entity.

Below is the full text of U.S. District Judge Lewis Kaplan’s opening judgement today against Steven Donziger and the Ecuador plaintiffs:

“Steven Donziger, a New York City lawyer, led a group of American and Ecuadorian lawyers who brought an action in Ecuador (the “Lago Agrio” case) in the names of 47 plaintiffs (the“Lago Agrio Plaintiffs” or “LAPs”), on behalf of thousands of indigenous peoples of the Orienté region of Ecuador, against Chevron Corporation (“Chevron”).

They claimed that Chevron was responsible for extensive environmental damage caused by oil activities of Texaco, Inc. (“Texaco”), that ended more than twenty years ago and long before Chevron acquired Texaco’s stock.

After years of pressuring Chevron to settle by a variety of both legitimate and illegitimate means, Donziger and his clients obtained a multibillion dollar judgment (the“Judgment”) in the Ecuadorian courts and now seek to enforce it around the world.

Chevron then brought this action, contending among other things that the Judgment was procured by fraud.  Following a full trial, it now seeks equitable relief against Donziger and the two of his Ecuadorian clients who defended this case in order to prevent any of them from profiting from the alleged fraud or from seeking to enforce the Judgment in the United States.

This case is extraordinary. The facts are many and sometimes complex. They include things that normally come only out of Hollywood – coded emails among Donziger and his colleagues describing their private interactions with and machinations directed at judges and a court appointed expert, their payments to a supposedly neutral expert out of a secret account, a lawyer who invited a film crew to innumerable private strategy meetings and even to ex parte meetings with judges, an Ecuadorian judge who claims to have written the multibillion dollar decision but who was so inexperienced and uncomfortable with civil cases that he had someone else (a former judge who had been removed from the bench) draft some civil decisions for him, an 18-year old typist who supposedly did Internet research in American, English, and French law for the same judge, who knew only Spanish, and much more. The evidence is voluminous.

The transnational elements of the case make it sensitive and challenging. Nevertheless, the Court has had the benefit of a lengthy trial. It has heard 31 witnesses in person and considered deposition and/or other sworn or, in one instance, stipulated testimony of 37 others. It has considered thousands of exhibits. It has made its findings, which of necessity are lengthy and detailed.

Upon consideration of all of the evidence, including the credibility of the witnesses– though several of the most important declined to testify – the Court finds that Donziger began his involvement in this controversy with a desire to improve conditions in the area in which his Ecuadorian clients live. To be sure, he sought also to do well for himself while doing good for others, but there was nothing wrong with that. In the end, however, he and the Ecuadorian lawyers he led corrupted the Lago Agrio case.

They submitted fraudulent evidence. They coerced one judge, first to use a court-appointed, supposedly impartial, “global expert” to make an overall damages assessment and, then, to appoint to that important role a man whom Donziger hand-picked and paid to “totally play ball” with the LAPs.

They then paid a Colorado consulting firm secretly to write all or most of the global expert’s report, falsely presented the report as the work of the court-appointed and supposedly impartial expert, and told half-truths or worse to U.S. courts in attempts to prevent exposure of that and other wrongdoing. Ultimately, the LAP team wrote the Lago Agrio court’s Judgment themselves and promised $500,000 to the Ecuadorian judge to rule in their favor and sign their judgment. If ever there were a case warranting equitable relief with respect to a judgment procured by fraud, this is it.

The defendants seek to avoid responsibility for their actions by emphasizing that the Lago Agrio case took place in Ecuador and by invoking the principle of comity. But that warrants no different conclusion.

Comity and respect for other nations are important. But comity does not command blind acquiescence in injustice, least of all acquiescence within the bounds of our own nation.

Courts of equity long have granted relief against fraudulent judgments entered in other states and, though less frequently, other countries. Moreover, the United States has important interests here. The misconduct at issue was planned, supervised, financed and executed in important (but not all) respects by Americans in the United States in order to extract money from a U.S. victim.

That said, considerations of comity and the avoidance of any misunderstanding have shaped the relief sought here. Chevron no longer seeks, and this Court does not grant, an injunction barring enforcement of the Lago Agrio Judgment anywhere in the world.

What this Court does do is to prevent Donziger and the two LAP Representatives, who are subject to this Court’s personal jurisdiction, from profiting in any way from the egregious fraud that occurred here. That is quite a different matter. Indeed, the LAP Representatives’ lawyer recently conceded before the Second Circuit that the defendants “would not have a problem” with “the alternative relief that [Chevron] would be seeking, such as enjoining the person who paid the bribe from benefitting from it,” assuming that the judge was bribed.

Defendants thus have acknowledged the propriety of equitable relief to prevent individuals subject to the Court’s jurisdiction from benefitting from misdeeds for which they are responsible. And while the Court does enjoin enforcement of the Judgment by these defendants in the United States, that limited injunction raises no issues of comity or international relations. It is the prerogative of American courts to determine whether foreign judgments may be no different conclusion.

Comity and respect for other nations are important. But comity does not command blind acquiescence in injustice, least of all acquiescence within the bounds of our own nation.

Courts of equity long have granted relief against fraudulent judgments entered in other states and, though less frequently, other countries. Moreover, the United States has important interests here.  The misconduct at issue was planned, supervised, financed and executed in important (but not all) respects by Americans in the United States in order to extract money from a U.S. victim.

That said, considerations of comity and the avoidance of any misunderstanding have shaped the relief sought here. Chevron no longer seeks, and this Court does not grant, an injunction barring enforcement of the Lago Agrio Judgment anywhere in the world.

What this Court does do is to prevent Donziger and the two LAP Representatives, who are subject to this Court’s personal jurisdiction, from profiting in any way from the egregious fraud that occurred here. That is quite a different matter. Indeed, the LAP Representatives’ lawyer recently conceded before the Second Circuit that the defendants “would not have a problem” with “the alternative relief that [Chevron] would be seeking, such as enjoining the person who paid the bribe from benefitting from it,” assuming that the judge was bribed.1

Defendants thus have acknowledged the propriety of equitable relief to prevent individuals subject to the Court’s jurisdiction from benefitting from misdeeds for which they are responsible. And while the Court does enjoin enforcement of the Judgment by these defendants in the United States, that limited injunction raises no issues of comity or international relations. It is the prerogative of American courts to determine whether foreign judgments may be laws of any nation that aspires to the rule of law, including Ecuador – and they knew it. Indeed, one Ecuadorian legal team member, in a moment of panicky candor, admitted that if documents exposing just part of what they had done were to come to light, “apart from destroying the proceeding, all of us, your attorneys, might go to jail.”2

It is time to face the facts.”

Link to the judgement:


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CAL Performances Presents Eva Yerbabuena And Dazzling Vocalist Estrella Morente

Two of Spain’s most thrilling and celebrated performers, Eva Yerbabuena and Estrella Morente come to Zellerbach Hall with two separate March performances set just days apart. Both artists embody a fierce contemporary spin on the distinctive features of flamenco. On March 12 at 8:00 p.m., Ballet Flamenco Eva Yerbabuena takes the stage with explosive footwork, powerful movements, and innovative choreography. Yerbabuena is the winner of six major Spanish choreographic awards and has performed worldwide in venues such as the Sydney Opera House, Theâtre de la Ville, and Opera de Dusseldorf. “At the heart of her performance is a fierce, dark rigour that accumulates a thrilling power,” wrote London’s The Independent. Flamenco vocalist Estrella Morente appears two days later on March 14 at 8:00 p.m. with a program consisting of “Pregón de Las Moras,” “La Habanera Impossible,” and “La Estrella” from her Grammy-nominated Autorretrato (2012), among other pieces. Yerbabuena and Morente will be flanked by world-class accompanists—guitarist Paco Jarana and four members of the Carbonell family, respectively.

In her innovative choreography, Eva Yerbabuena revitalizes traditional flamenco using new dynamic structures without sacrificing the rhythmic intensity and dramatic aspects of the style. She connects with the music on an emotional level and embodies the soulfulness essential to flamenco. Yerbabuena has been dancing flamenco professionally for nearly 20 years. In 1998 she formed her own dance company, the Eva Yerbabuena Ballet Flamenco, which has toured in Brazil, Chile, England, France, India, Japan, Peru, South Korea, and the United States. The program’s feature work, “Lluvia,” translates to “Rain.” “Born on a gray day of pure melancholy,” Yerbabuena says this original, moving work “is a tribute to melancholy and coldness, to being alive, to the endlessness of life.” She has won three MAX Stage Arts Awards (2004, 2005, and 2010) and has achieved lifetime honors including the Spanish Ministry of Culture’s Premio Nacional de Danza (2001), the Andalusian Medalla de Cultura (2007), and Premio Compás del Cante (2010).EvaYerbabuena_02_Credit_JoseLuisALvarez

The Grenada-born daughter of flamenco singer Enrique Morente and dancer Aurora Carbonell, Estrella Morente has been performing since age seven and made her solo debut at 17. With a wealth of knowledge, background, and intuition that only her musically-inclined family could provide, Morente is not averse to combining popular and traditional sounds in the same program. “Every time Estrella takes a stage to sing, the place becomes a theatre or an arena, whether in a tablao, on film, or in any performance,” said director and producer Fernando Trueba. “She is archaic and futuristic at the same time.” Mujeres (2006), her third album, was nominated for a Latin Grammy award. Prior to this nomination, Morente was best known in the United States for contributions to Pedro Almodóvar’s film Volver (2006), which featured actress Penelope Cruz. She was again shortlisted for a Latin Grammy award this past year for her 2012 album Autorretrato.


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The Bay Area Dance Community Throws Open Its Doors Once Again And Invites The Public To Experience Dance For Free

Bay Area Dance Week kicks off with an opening celebration at Union Square featuring a group dance to iconic dance moves


Friday, April 25 – Sunday, May 4, 2014

Dancers at Bay Area Dance Week’s kick off event in Union Square, photo by Kegan Marling
SAN FRANCISCO, CA, February 27, 2014 – Each year hundreds of dance organizations, companies, schools and artists open up their doors and invite the public to attend an event, completely free of charge, during Bay Area Dance Week (BADW). Presented as part of the nationwide festival National Dance Week, the Bay Area’s edition can proudly boast that is it the nation’s largest celebration. BADW draws more than 20,000 attendees each year to events in San Francisco, the East Bay, North Bay and South Bay. 

This year’s festival runs April 25-May 4, 2014 and kicks off on Friday, April 25 at 12noon with One Dance led by the Rhythm & Motion Dance Workout Program, at Union Square. This year’s edition is all about “iconic dance moves” from pop culture – and will feature dance groups, dance companies and students performing moves that include Tina Turner’s Rolling Down the River, the Bee Gees’ Stayin’ Alive, PSY’s Gangam Style, Madonna’s Vogue, the Village People’s Y.M.C.A, Michael Jackson’s Beat it, The Bangles’ Walk Like an Egyptian, among other top hits. The public can go online early and learn the moves at or just show up and learn them on the fly. For a trip down memory lane, check out the soundtrack here .


There is something for everyone at this year’s festival (the public can pick up a free event guide or visit to learn about the wide array of events presented this year). Among the 600 planned events this year are:



  • A screening of A History of Dance on Screen, featuring dance legends from Maya Plisetskaya to Rudolf Nureyev to Pina Bausch; Saturday, April 26 at the San Francisco Public Library.
  • An introduction to Kathak, a class presented by the Chitresh Das Dance Company, Sunday, April 27 in Mountain View
  • A day of dance for dancers of all sizes, presented by Big Moves, Sunday, April 27, in Berkeley
  • Everyone can dance, a class for people with and without physical disabilities, presented by AXIS Dance Company, Monday April 27, in Oakland


  • Dancing in the Park, an outdoor event featuring dance companies from around the Bay Area and sample dance classes, Saturday, April 26 in Golden Gate Park
  • Festival of the Silk Road, featuring dance, music and poetry, Sunday, April 27 in San Jose
  • Story Time Dance Along, a class of ballet fundamentals at Ballet San Jose School, Tuesday, April 29 in San Jose
  • An introduction to Korean Three Drum Dance, geared to beginners of all ages, Saturday, May 3 in San Francisco


  • A workshop of International Folk dance by the Stanford International Dancers, Friday April 25 in Palo Alto
  • A Tahitian dance class presented by Mahea Uchiyama Center for International Dance, Sunday April 27 in Berkeley
  • A Congolese dance class presented by Cultural Arts of GOLD, Sunday, April 27, in Oakland
  • A Bhangra dance class presented by Dholrhythms Dance Co., Tuesday, April 29 in San Francisco


  • A Cardio Barre Class fast paced, fun and addictive workout, Friday, April 25 in San Francisco
  • Healthy Mind and Body: Preparing for a Long Career in Dance, a lecture demonstration, Wednesday, April 30 in Walnut Creek
  • Feldenkrais for Dance, Wednesday, April 30 in San Francisco
  • Bellydance Cardio and Combos, Friday, May 2 in San Jose



  • An aerial performance by UpSwing Aerial Dance & Company, Saturday, April 26 in Berkeley
  • Teen Dancer Day, featuring a hip-hop dance class and performance by the ODC Dance Jam, Sunday, April 27 in San Francisco
  • An Open Rehearsal of Katharine Hawthorne’s The Escapement, Wednesday, April 30 in San Francisco
  • An Open Rehearsal of Cal State East Bay Dance Touring Company, Wednesday, April 30 in Hayward



  • A co-ed Power Pole class led by Poletential, Saturday, April 26 in Redwood City
  • Move to the Now, an evening of dance featuring performances by Imagery, Post:Ballet, ODC/Dance, Dance Through Time and others, Saturday, April 26 in San Francisco
  • Carnaval Showgirl Awakening dance technique, a class led by the Hot Pink Feathers, Monday, April 28 in San Francisco
  • Crystal Ball Tricks: Beginning/Intermediate Contact Juggling, led by Richard Hartnell, Wednesday, April 30 in Oakland


The History of Bay Area Dance Week

National Dance Week was founded in 1981 to increase awareness of dance and its contributions to our culture. The first Bay Area Dance Week (BADW) festival grew out of a public dialogue in 1998, when dance artists, administrators, and organizations came together to explore how best to spotlight Bay Area dance during National Dance Week. The festival that emerged took a national initiative and imbued it with the innovative and inclusive spirit of the Bay Area. As the largest per capita center for dance in the US, the Bay Area’s festivities have been the most extensive and best attended celebrations in the country since BADW’s inception. Each year, over 200 dance organizations and artists present events during Bay Area Dance Week, involving more than 2,500 artists and 22,000 attendees. Dancers’ Group presents the annual event.

Dancers’ Group promotes the visibility and viability of dance. Founded in 1982, we serve San Francisco Bay Area artists, the dance community and audiences through programs and services that are as collaborative and innovative as the creative process. As the primary dance service organization in the Bay Area, we support the second largest dance community in the nation by providing many programs and resources that help artists produce work, build audiences, and connect with their peers and community.


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Michael Tilson Thomas Conducts The San Francisco Symphony And The San Francisco Symphony Chorus In Performances Of Mahler’s Symphony No. 3 February 27 – March 2 At Davies Symphony Hall

Concerts feature mezzo-soprano soloist Sasha Cooke and The San Francisco Girls Chorus

Music Director Michael Tilson Thomas (MTT) conducts the San Francisco Symphony (SFS) and SFS Chorus, joined by mezzo-soprano Sasha Cooke and the San Francisco Girls Chorus, in performances of Mahler’s Symphony No. 3 February 27-March 2 at Davies Symphony Hall. MTT, Cooke and the Orchestra will also perform the work five times (in London, Paris, Geneva, Luxembourg, and Vienna) with local choruses during their upcoming European tour in March 2014.

MTT first conducted the work with the SFS in four 1987 concerts, eight years before he would assume the post of SFS Music Director. During his tenure as Music Director, MTT has brought back the work in 1997 and 2002, both times featuring Michelle DeYoung who appears on the 2003 Grammy Award-winning SFS Media recording, and during the Orchestra’s Centennial season in 2011, featuring Katarina Karnéus. The monumental work – Mahler’s longest piece and the longest symphony in the standard repertoire – has been performed a total of 25 times by the Orchestra, dating back to 1976, with 17 of those performances led by MTT.

MTT/SFS Mahler Recording Project
Michael Tilson Thomas has distinguished himself as one of the world’s foremost Mahler interpreters through his and the Orchestra’s award-winning recordings and signature performances. MTT and the SFS’ self-produced Mahler recording project, launched in 2001 and completed in 2010, contains all of Mahler’s symphonies and works for voice, chorus and orchestra. Their recording of Symphony No. 3 was released in 2003, featuring mezzo-soprano Michelle DeYoung, and is paired with Kindertotenlieder. It won the “Best Classical Album” Grammy and 5 stars from Diapason in France. In total, the Orchestra’s Mahler cycle on SFS Media has been recognized with seven Grammy Awards, including three for its recording of Mahler’s Symphony No. 8 and the Adagio from Symphony No. 10. Complete box sets of the cycle are available on vinyl and SACD. MTT and the SFS explore Mahler in an episode of their Keeping Score television series, an excerpt of which can be viewed here:

Sasha Cooke
Mezzo-soprano Sasha Cooke is a rising star who has been appearing with the San Francisco Symphony since 2009 in music by composers as diverse as Gilbert and Sullivan, Mahler, Debussy, Beethoven, Stravinksy and Berlioz. She most recently performed Viennese classics and American songbook favorites with the Orchestra at the SF Symphony’s glamorous New Year’s Eve Masquerade Ball to welcome in the year 2014. Other symphonic engagements of Cooke’s 2013-2014 season include appearances with Alan Gilbert and the New York Philharmonic performing Britten’s Spring Symphony, Pierre Boulez and the Chicago Symphony, and performances of Mahler’s Symphony No. 2 with both Deutsches Symphonie-Orchester Berlin with Tugan Sokhiev and the Columbus Symphony conducted by Jean Marie Zeituni. She makes her debut with The Philadelphia Orchestra under the baton of Cristian Macelaru. Last season she performed the title role in the world premiere of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera.  In the summer of 2013 she performed Mahler’s Second Symphony with Michael Tilson Thomas and the Los Angeles Philharmonic at the Hollywood Bowl.

The San Francisco Symphony Chorus
One of America’s most distinguished choruses, the 158-member San Francisco Symphony Chorus celebrates its 40th anniversary in the 2013-14 season, and is known for its precision, power, and versatility. Led by Director Ragnar Bohlin, the Chorus is in the spotlight during many of the 13-14 season’s artistic focal points, such as Peter Grimes, Beethoven’s Mass in C and excerpts from King Stephen with MTT, Bach’s Missa Brevis (Kyrie and Gloria) from Mass in B minor, the first SFS performances of Bach’s Cantata No. 207a, Auf, schmetternde Töne der muntern Trompeten with Ton Koopman, Mendelssohn’s Die erste Walpurgisnacht with Pablo Heras-Casado, and Britten’s War Requiem with Semyon Bychkov.
The SFS Chorus performs more than twenty concerts each season and is comprised of 30 professional and 128 volunteer members. Recordings featuring the SFS Chorus have won a total of eight Grammy awards, including three for Best Choral Performance. They were featured on the SFS Media’s recording of Mahler’s Symphony No. 8 with MTT and the SFS, which won three 2010 Grammys, including the award for Best Choral Performance. Most recently, a recording of the Chorus’ performances of Beethoven’s Symphony No. 9 with Michael Tilson Thomas and the SFS was released in April 2013.

The San Francisco Girls Chorus
Founded in 1978, the San Francisco Girls Chorus (SFGC) has become a regional center for choral music education and performance for girls and young women ages 5-18. 400 singers from 45 Bay Area cities participate in this internationally recognized program, deemed “a model in the country for training girls’ voices” by the California Arts Council. In the 2008-2009 season, the Chorus sang at the swearing in of President Barack Obama, and can be heard on several San Francisco Symphony recordings, including four Grammy winners: Mahler’s Symphony Nos. 3 and 8, Stravinsky’s Le Sacre du Printemps, The Firebird, and Perséphone  and Orff’s  Carmina burana.

According to MTT, “the SFGC is a treasure. Their training, musicality, and vibrant spirit are evident whenever they perform. I have enjoyed our long association and look forward to many years of collaboration.”

SFGC has won many honors, including the prestigious Margaret Hillis Award and two ASCAP Awards for Adventurous Programming in 1999, 2004 and 2011. They have been honored to sing at many national and international venues, including the World Choral Symposium in Kyoto, Japan in 2005. SFGC’s discography continues to grow with a 2-disc set entitled Heaven and Earth. The music represents some of the greatest sacred and secular repertoire ever written for treble voices. Other recordings include: Voices of Hope and Peace, a recording with many exciting SFGC commissions; Christmas, featuring diverse holiday selections; Crossroads, a collection of world folk music; and Music from the Venetian Ospedali, a disc of Italian Baroque music of which The New Yorker described the Chorus as “tremendously accomplished.”

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Cedar Lake Contemporary Ballet Makes Its Bay Area Debut 
In Zellerbach Hall On February 22 And 23 
Highlighting Top Contemporary Choreography

Powerful dancing of modern choreography is the focus when Cedar Lake Contemporary Ballet makes its Bay Area debut on Saturday, February 22 at 8:00 p.m. and Sunday, February 23 at 3:00 p.m. in Cal Performances’ Zellerbach Hall. The 16-dancer company, known for championing the works of living choreographers with European connections, will showcase dances by Jiří Kylián, Crystal Pite, and Jo Strømgren in a program that includes two Bay Area premieres. “Cedar Lake’s popularity has everything to do with its roster of technically strong, stylistically malleable dancers, and its formidable repertoire of works by A-list choreographers” (Boston Globe).

Three dance works are on Cedar Lake Contemporary Ballet’s Berkeley program. Indigo Rose was created by Czech-born choreographer Jiří Kylián in 1998, using music by Robert Ashley, François Couperin, John Cage, and J.S. Bach. Its three movements use muscular motion, tender duets, shadow play, and projected images to document and illuminate the transient nature of youth and human relationships. Making its Bay Area premiere, Ten Duets on a Theme of Rescue, a piece created in 2007 by Vancouver–based choreographer Crystal Pite, uses music by rock drummer Cliff Martinez from the 2002 motion picture Solaris. As its title implies, Pite’s work consists of 10 concise duets, separate yet interconnected, each with a unique emotional tone that is enhanced through creative lighting designed by Jim French. Another Bay Area premiere, Necessity Again, was commissioned by Cedar Lake from Norwegian choreographer Jo Strømgren in 2012. It uses music by popular French-Armenian singer/songwriter Charles Aznavour and a recorded interview with philosopher Jacques Derrida to explore those ineffable moments when emotion, represented by the music, trumps the rationality of words.

New York City–based Cedar Lake Contemporary Ballet was established in 2003 by heiress Nancy Walton Laurie and quickly rose to worldwide acclaim. Noted for daring, athletic movement that integrates contemporary and popular dance forms into ballet, Cedar Lake’s repertoire is heavily influenced by Benoit-Swan Pouffer, the French-born, Alvin Ailey–trained dancer who guided the company toward works by contemporary European choreographers in his eight years as artistic director. Pouffer recently resigned; the company’s interim artistic director is Alexandra Damiani, a French dancer who has been the troupe’s ballet master since 2005. The 16 dancers in Cedar Lake Contemporary Ballet are Jon Bond, Nickemil Concepcion, Jason Kittelberger, Navarra Novy-Williams, Matthew Rich, Joaquim de Santana, Acacia Schachte, Vânia Doutel Vaz, Ebony Williams, Rachelle Scott, Billy Bell, Ida Saki, Jin Young Won, Joseph Kudra, Guillaume Quéau, and Madeline Wong.


Tickets for Cedar Lake Contemporary Ballet on Saturday, February 22 at 8:00 p.m. and Sunday, February 23 at 3:00 p.m. in Zellerbach Hall range from $30.00 to $68.00 and are subject to change. Half-price tickets are available for UC Berkeley students. Tickets are available through the Ticket Office at Zellerbach Hall, at (510) 642-9988, at, and at the door. For more information about discounts, go to

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City Arts & Lectures Remembers Philip Seymour Hoffman With 2 Days of Film Screenings at the Nourse Theater

 Free Movie Marathon on Saturday February 22 & Sunday February 23 To Include Highlights From The Actor’s Career

City Arts & Lectures will pay tribute to the late actor and director, Philip Seymour Hoffman, with free screenings of nine films. Presented over the course of a weekend – Saturday February 22 and Sunday February 23 – the movie marathon will showcase some of Hoffman’s most memorable roles and his directorial debut. The event is free and open to the public (no tickets required). The Nourse Theater at 275 Hayes Street.

The back-to-back screenings (over nineteen hours playing over the course of two days) encourage people to remember, or perhaps see for the first time, Hoffman’s remarkable talents. The selection testifies to his broad range, his sensitivity to character and story, and the subtlety and concentration Hoffman brought to some of cinema’s most complex characters. The films include early career highlights like Magnolia, Boogie Nights, and The Big Lebowski and under- appreciated works like Synecdoche, New York, where Hoffman plays an eccentric playwright losing his mind, Jack Goes Boating, Hoffman’s directorial debut, and Owning Mahowny, featuring one of Hoffman’s most moving portrayals of an addict. Also screening: The Master, The Savages, and Before The Devil Knows You’re Dead.

Full schedule below and more info at WWW.CITYARTS.NET

About Philip Seymour Hoffman

As one of America’s most appreciated artists, Philip Seymour Hoffman inhabited a nearly impossible range of characters in more than 50 films and in numerous plays, both on and off Broadway. The consummate character actor portrayed flawed, complicated, and lonely individuals with intelligence and depth. His exceptional talent for subtlety and concentration compel many to call him an “actor’s actor,” but Hoffman impressed a much wider audience by bringing profound empathy to what might otherwise be dark or remote characters. Hoffman won an Oscar for his stunning work in “Capote,” and showcased a capacity to transform himself and enliven a part in many other unforgettable roles in movies like “Boogie Nights,” “Happiness,” “The Savages,” “25th Hour,” and “The Master,” and on Broadway in “Death of A Salesman.” In January 2006, City Arts & Lectures presented Hoffman in conversation with Roy Eisenhardt at Davies Symphony Hall. The program was a benefit for New York’s LAByrinth Theater Company, a multi-cultural ensemble devoted to producing new works. Hoffman was Artistic Director at the time. City Arts & Lectures will re-broadcast that conversation Tuesday, February 11 at 8pm on KQED 88.5 FM. Hoffman died on February 2, 2014 at the age of 46.

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Event Schedule


Saturday, February 22

Magnolia – 10 AM (running time: 180 min)

Synecdoche, New York – 1:30 PM (124 min)

Jack Goes Boating – 4:00 PM (89 min)

The Master – 6:00 PM (144 min)

The Big Lebowski – 9:00 PM (117 min)

Sunday, February 23

Boogie Nights – 12 PM (155 min)

Before The Devil Knows You’re Dead – 3 PM (117 min)

Owning Mahowny – 5:00 PM (104 min)

The Savages – 7:00 PM (113 min)

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Kronos Quartet presents Kronos: World Premiere featuring Bombs of Beirut

The Kronos Quartet / Kronos Performing Arts Association is proud to announce Kronos: Under 30 / #5 World Premiere, a series of four concerts featuring the world premiere of Mary Kouyoumdjian‘s Bombs of Beirut, the 5th work commissioned through the Under 30 Project. Launched in 2003, the Under 30 Project is designed to help nurture the careers of young artists, while enabling Kronos to forge stronger connections with the next creative generation. Each show also features a special locally-based opener: Friction Quartet (Feb. 6), Mobius Trio (Feb. 7), The Living Earth Show (Feb. 8), Amy X Neuburg (Feb. 9.)

Kronos: Under 30 / #5 World Premiere will take place February 6 – 9, 2014 at Z Space in San Francisco.

Kouyoumdjian (pronounced koo-YOOM-gee-an), who lives in New York and grew up in the Bay Area, was chosen from a call for composers that yielded nearly 400 applicants in 43 countries on five continents, the largest response in the program’s history. Upon her selection, she was commissioned to write a work for Kronos. Her new work, Bombs of Beirut, is a 23-minute piece for string quartet with prerecorded backing track and live processing.

A first-generation Armenian-American whose family was directly affected by the Lebanese Civil War and Armenian Genocide, Kouyoumdjian was inspired to create a work that would reflect day-to-day life during wartime in Beirut. Bombs of Beirut includes interviews with the composer’s family and friends about their experience in the war, together with recordings of ambient sounds taken from an apartment balcony during the war. Those recordings include the sounds of missiles hurtling through the air and bombs exploding nearby.

Organized into three connected movements, the piece is designed, says Kouyoumdjian, “to put a human face on violent events in the Middle East and to arouse feelings of disorder and nostalgia.”

The latest installment of the Kronos: Under 30 Project was open to all composers who had not reached the age of 30 by the application deadline. Choosing a recipient from the hundreds of applicants was no simple matter: “What people are writing now is amazing, just thrilling,” says Kronos Quartet Artistic Director David Harrington. “As we narrowed down the field, we were looking for someone who seemed poised to write their breakthrough piece. And every time I came back to Mary’s work, I was magnetized. She’s an exceptional composer, incredibly creative, and her connection to her family’s Armenian history has brought her sensibility into a very beautiful place.”

Each evening Kronos: Under 30 / #5 World Premiere will open with a performance by a special guest artist based in the Bay Area. Those guests include Friction Quartet, a string quartet with a reputation for edgy programming and the commissioning of new works, performing February 6; Mobius Trio, an ensemble of three guitars dedicated to contemporary music, performing February 7; The Living Earth Show, an electro-acoustic guitar and percussion duo which specializes in contemporary compositions, performing February 8; and Amy X Neuburg, a well known Oakland based genre-crossing artist known for her 4-octave vocal range, innovative use of live looping technology, and ‘avant-cabaret’ songs, performing February 9.

The Kronos: Under 30 / #5 World Premiere series will feature two different programs. On Thursday and Friday Kronos will perform works by Krzysztof Penderecki, John Oswald, Bryce Dessner and Dan Becker. On Saturday and Sunday the Quartet will perform works by Krzysztof Penderecki, John Oswald, Geeshie Wiley, Laurie Anderson, Terry Riley and more.

Since its inception in 2003, Kronos: Under 30 Project has commissioned a total of five pieces. Previous commissions include: Alexandra du Bois’ String Quartet: Oculus Pro Oculo Totum Orbem Terrae Caecat (2003), Felipe Pérez Santiago’s CampoSanto (2004), Dan Visconti’s Love Bleeds Radiant (2006) and Aviya Kopelman’s Widows & Lovers (2007).



For 40 years, San Francisco’s Kronos Quartet-David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello)-has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts worldwide, releasing more than 50 recordings, collaborating with many of the world’s most eclectic composers and performers, and commissioning more than 800 works and arrangements for string quartet. A Grammy winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize. With a staff of ten, the non-profit Kronos Performing Arts Association (KPAA) manages all aspects of Kronos’ work, including the commissioning of new works, concert tours and home-season performances, and education programs.



Mary Kouyoumdjian is a composer with projects ranging from concert works to multimedia collaborations and film scores. As a first generation Armenian-American and having come from a family directly affected by the Lebanese Civil War and Armenian Genocide, she uses a sonic pallet that draws on her heritage, interest in folk music, and background in experimental composition to progressively blend the old with the new. She has received commissions from the Kronos Quartet, Carnegie Hall, the American Composers Forum/JFund, REDSHIFT, the Los Angeles New Music Ensemble, the Nouveau Classical Project, Friction Quartet, Experiments in Opera, and Ensemble Oktoplus. In her work as a composer, orchestrator, and music editor for film, she most recently orchestrated on the soundtrack to The Place Beyond the Pines. Kouyoumdjian holds an M.A. in Scoring for Film & Multimedia from New York University and a B.A. in Music Composition from UC San Diego. She is also a co-founder and the executive director of contemporary music ensemble Hotel Elefant.

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Why We Love the Bay Area; Andreas Amador

If you live in San Francisco, then you may be lucky enough to come across the art of Andres Amador. He doesn’t paint or sculpt. He prefers a medium that is temporary but absolutely beautiful: a sandy beach at low tide. He uses a rake to create works of art that can be bigger than 100,000 sq. ft.

He spends hours creating these intricate masterpieces, knowing that the tide will soon come in and wash away his work forever.

He knows that it will all be temporary.

While making his beach mural explorations, he uses a rope as a guide so that he can make the geometric patterns.
While making his beach mural explorations, he uses a rope as a guide so that he can make the geometric patterns.
When asked WHY he does it, Andre gives the best answer…
When asked WHY he does it, Andre gives the best answer...
“The unanswerable question! Its fun. I get to be at the beach.”
"The unanswerable question! Its fun. I get to be at the beach."
Consider yourself lucky if you happen to stumble across one of his playa paintings, because it won’t be there long.
Consider yourself lucky if you happen to stumble across one of his playa paintings, because it won't be there long.

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beach art8

By raking up the wet sand at low tide, he is able to make contrasting sand colors.
By raking up the wet sand at low tide, he is able to make contrasting sand colors.
He even offers his services, helping people propose.
He even offers his services, helping people propose.
Or even teaching others to create these beachscapes as part of a team building exercise.
Or even teaching others to create these beachscapes as part of a team building exercise.
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According to Andres, it only takes a couple of hours once the tide is low enough to create the designs.
According to Andres, it only takes a couple of hours once the tide is low enough to create the designs.

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Andres’ creations are simply stunning and knowing that these delicate creations are temporary somehow makes them even more beautiful.

You should definitely Like Andres On Facebook and Visit His Web Site where you can buy prints of his designs if you want.

Above all, share his work by clicking the button below. It’s truly awesome.

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Peking Astronauts Tumble into Zellerbach


International stars The Peking Acrobats return to Cal Performances on Saturday, January 25 at 2 p.m. and 8 p.m. and Sunday, January 26 at 3 p.m. for three performances described as “amazing—and stunning and breathtaking and WOW!” (Seattle Times). Led by director Ken T. Hai, the troupe delights audiences with a stunning variety of performances, including wire-walking, trick-cycling, precision tumbling, somersaulting, and gymnastics. This elite group consisting of gymnasts, jugglers, cyclists, tumblers and musicians is considered one of the top practitioners of the ancient art of Chinese acrobatics. The Peking Acrobats will be accompanied by Jigu! Thunder Drums of China, a world-renowned company of drummers, percussionists, and musicians who play traditional Chinese instruments, such as the erhu (small bowed instrument with two strings), pipa (lute-like string instrument), dizi (flute made of bamboo) and the yangquin (dulcimer played with bamboo mallets).

The Peking Acrobats have been ambassadors of the unique and storied pageantry of Chinese Carnivals since the group’s 1986 tour of North America. The origins of Chinese acrobatics began nearly 2,200 years ago during the Ch’in Dynasty (221–207 B.C.). However, the art truly started to flourish into a wide variety of juggling, tumbling, and magic acts known as the “Hundred Entertainments” during the Han Dynasty (207 B.C.–A.D. 220). To this day, acrobats are given high status and honor in China as they are chosen from a highly selective process and are dedicated, hardworking artists.

The Peking Acrobats have enjoyed success worldwide. Notable performances include collaborations with the Hollywood Bowl Orchestra, Buffalo Philharmonic, and the Atlanta, San Diego, and San Francisco symphonies. The troupe has also been featured on many television shows and specials, including The Wayne Brady Show, ABC’s Wide World of Sports, NBC’s Ring in the New Year Holiday Special, Nickelodeon’s Unfabulous, and Fox’s Guinness Book Primetime TV in which they set the world record for on the height of the human chair stack.


Tickets for The Peking Acrobats on Saturday, January 25 at 2:00 p.m. and 8:00 p.m. and Sunday, January 26 at 3:00 p.m. in Zellerbach Hall range from $22.00 to $56.00 and are subject to change. Tickets are available through the Cal Performances Ticket Office at Zellerbach Hall; at (510) 642-9988; at; and at the door. Half-price tickets are available for children under 16 and UC Berkeley students. For more information about discounts, visit



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Dr. Pedro Moura Carvalho Appointed Deputy Director for Art and Programs at the Asian Art Museum

The Asian Art Museum announced today the appointment of Dr. Pedro Moura Carvalho as the museum’s new Deputy Director for Art and Programs, a key leadership position overseeing the curatorial, museum services, education and public programs departments. Reporting to the museum Director, Moura Carvalho will be responsible for providing strategic oversight and management of collections, exhibitions, education and interpretive initiatives that enhance audience engagement. He begins his tenure at the museum in March 2014.


A scholar of Islamic art with deep interests in cross-cultural artistic traditions, Moura Carvalho has been serving as Chief Curator and Deputy Director for Curatorial, Collections, and Exhibitions at the Asian Civilisations Museum and the Peranakan Museum, Singapore, since 2011. While there, he curated the exhibitions Treasures of the Aga Khan Museum; Islamic Art in Southeast Asia, and was the lead curator of The Peranakan World presented at The National Museum of Korea, Seoul, in the spring of 2013.

“I am delighted to join Jay Xu and museum trustees and commissioners in supporting the museum’s vision to deliver captivating art experiences centered on stunning artworks,” says Moura Carvalho. “The museum is a great institution with an extraordinary collection. I feel privileged to partner with staff, volunteers, and patrons to shape remarkable and innovative visitor-centered endeavors in the rapidly growing and changing field of Asian art and cultures.”

“Pedro brings an impressive record of accomplishments—including exhibition development, research and scholarship, and strong managerial experience—to the Asian Art Museum,” says museum Director Jay Xu. “We welcome his passion for art, creative spark, and finely tuned sense of humor to help guide our vision for presenting exhibitions and programs that stimulate discovery, discussion and excitement.”

Before his work in Singapore, Moura Carvalho was the curator and co-organizer of exhibitions at the Isabella Stewart Gardner Museum, McMullen Museum of Art, both in Boston; Gulbenkian Museum, Lisbon; Kunsthistorisches Museum, Vienna, and Hermitage Rooms/Somerset House, London. He lectured at the Catholic University of Portugal, and was deputy-curator of the Nasser D. Khalili Collection of Islamic Art, London.

Moura Carvalho has also published extensively. Among his books are Mirʾât al-quds (Mirror of Holiness): A Life of Christ for Emperor Akbar (Leiden/ Boston, 2012); Gems and Jewels of Mughal India, in the Khalili Collection (London, 2010); and Luxury for Export. Artistic Exchange Between India and Portugal around 1600 (Pittsburgh, 2008). He is the main author and editor of the exhibition catalogue The World of Lacquer; Two Thousand Years of History (Lisbon, 2001), and is co-author of the forthcoming catalogue of Later Islamic Pottery in the Khalili Collection. Moura Carvalho is also widely published on the European contribution to the art of India, Iran, China and Japan.

A native of Portugal, Moura Carvalho has lived in nine countries and traveled in over ninety. He holds a MA and PhD degrees in Art and Archaeology from the School of Oriental and African Studies, University of London. He was a Aga Khan Fellow at Harvard University for 16 months, a scholar-in-residence at the Doris Duke Foundation for the Islamic Arts, Honolulu, and the Isabella Stewart Gardner Museum, Boston, and received numerous grants namely from the Calouste Gulbenkian Foundation, and Fundação Oriente.

The Asian Art Museum is one of San Francisco’s premier arts institutions and home to a world-renowned collection of more than 18,000 Asian art treasures spanning 6,000 years. Through rich art experiences, centered on historic and contemporary artworks, the museum unlocks the past for visitors, bringing it to life, while serving as a catalyst for new art, new creativity, and new thinking. Founded in 1966, the Asian Art Museum is a public/private partnership with an annual operating budget of $21.6 million. The museum’s home at San Francisco’s Civic Center is an architectural gem featuring a dynamic blend of beaux arts and modern design elements. The building is the result of a dramatic $170 million transformation of San Francisco’s former main public library in 2003 by noted Italian architect Gae Aulenti. For more information, visit

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Programs include Mason Bates’ Liquid Interface and The B-Sides and Beethoven’s Mass in C, Symphony No. 7, Romances for Violin and Orchestra and Excerpts from King Stephen

Programs to be recorded for future release on the Orchestra’s SFS Media label


Music Director Michael Tilson Thomas (MTT) leads the San Francisco Symphony (SFS) in two weeks of concerts pairing the works of Ludwig van Beethoven and Mason Bates January 8-18 in Davies Symphony Hall.  MTT and the SFS continue their multi-season exploration of the music of both composers, pairing some of Beethoven’s most influential works with those by a composer who similarly expands the classical experience through his use of electronics, found recordings and the rhythms of techno.  Festival highlights include Bates’ SFS commission The B-Sides and the first SFS performances of Liquid Interface, and Beethoven’s Symphony No. 7 and Mass in C, with soloists Joélle Harvey, Kelley O’Connor, William Burden and Shenyang.  Both programs will be recorded for SFS Media, the Orchestra’s in-house label.

“One of my goals as a symphonic composer is to bring back the large-scale narrative forms, pioneered by Beethoven, but in the digital age with a 21st-century palette of sounds,” Bates said of his symphonic works. “Beethoven launched the age of programmatic music with the choral finale of his Symphony No. 9—the first symphony to include text and choral writing with symphonic music. After being explored by some of the greatest 19th century composers—Berlioz, Liszt, Wagner—programmatic music was largely forgotten, as the 20th century moved on to the ‘purity’ of serialism and, eventually, minimalism.  I’ve found a lot of inspiration in creating big works that work on both a musical and extra-musical level, exploring the programmatic approach with the sounds of the digital age.  For instance, recording the actual sounds of glaciers calving for Liquid Interface is, in my own small way, a response to the inclusion of text in the Ninth Symphony.”



The first week of concerts January 8-11 juxtapose Beethoven’s energetic, dance-infused Symphony No. 7 with Bates’ The B-Sides, which was originally premiered by the SF Symphony in 2009. “I had often imagined a suite of concise, off-kilter symphonic pieces that would incorporate the grooves and theatrics of electronica in a highly focused manner,” says Bates, whose work as a DJ under the moniker DJ Masonic highly informs his approach to electronics. “So, like the forgotten bands from the flipside of an old piece of vinyl, The B-Sides offers brief landings on a variety of peculiar planets, unified by a focus on fluorescent orchestral sonorities and the morphing rhythms of electronica.” Also on this program are Beethoven’s Romances for Violin and Orchestra Nos. 1-2, featuring SFS Concertmaster Alexander Barantschik.

Please note that The B-Sides replaces the previously announced Alternative Energy, which will be performed and recorded in the fall of 2014.



SF Symphony Concerts January 15-18 feature Beethoven’s powerful Mass in C major, excerpts from King Stephen, and the first SFS performances of Bates’ Liquid Interface. The Mass in C features soloists Joélle Harvey, Kelley O’Connor, William Burden and Shenyang. While it is much less frequently performed than his massive Missa solemnis, the Mass in C is considered by many critics and scholars to be one of the composer’s underrated masterpieces. Of Liquid Interface, Bates remarks, “Water has influenced countless musical endeavors—La Mer and Siegfried’s Rhine Journey quickly come to mind. But after living on Berlin’s enormous Wannsee and seeing this huge body of water transform from an ice sheet thick enough to support sausage venders, to a refreshing swimming destination heavy with humidity, I became consumed with writing a new take on the idea. If the play of the waves inspired Debussy, then what about water in its variety of forms?” These varying states are illustrated in Liquid Interface, most notably with an actual recording of glaciers breaking into the Antarctic. “Again, the distinguishing elements of Liquid Interface are not just the electronic sounds, but more so the way that these expanded palettes articulate large narrative forms,” Bates explains.



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The Marsh announces the return of Don Reed’s autobiographical journey CAN YOU DIG IT? The ‘60s – Back Down East 14th, now coming back in the new year, January 4 through February 2, 2014 following wildly successful extended runs at The Marsh San Francisco and The Marsh Berkeley.  Reed, an Oakland-born comedian, is currently the opening act/warm-up comedian for The Tonight Show with Jay Leno.  The third installment in Reed’s hilarious coming-of-age trilogy, CAN YOU DIG IT?, a view of the 1960s through the eyes of an awkward kid, will play Saturdays at 8:30pm and Sundays at 7pm in the The Marsh Berkeley Theater Stage, 2120 Allston Way, Berkeley. For tickets, the public may visit or call 415-282-3055 between 1:00 pm and 4:00 pm, Monday through Friday.

Called “Flat out hilarious!” by KQED and “Remarkable. Terrific. Very funny,” as well as “Unexpectedly touching” by the San Francisco Chronicle, CAN YOU DIG IT? rewinds to the ‘60s, going back to young Reed’s formative years in Oakland grammar school when the family was whole – that is before his father became a pimp and his mother reluctantly became a Jehovah’s Witness.  As the plot unfolds, a series of wild, wonderful, scary, amazing, unnecessary, cool, moving, unbelievably true stories are revealed.

The first installment in Reed’s trilogy, East 14th, traced the actor-comedian’s irregular teen years through the ‘70s (his stepfather forced him to become a Jehovah’s Witness, and his biological father was a pimp).  East 14th went on to become one of the Bay Area’s longest running solo shows, and also ran Off-Broadway.  The second installment, The Kipling Hotel, followed Reed’s collegiate years at UCLA through the ‘80s, as he struggled to supplement a partial scholarship by working as a live-in waiter at an unforgettable retirement hotel.

Reed, a San Francisco Bay Area Theatre Critics Circle Nominee and NAACP Double Nominee for Best Actor and Best Playwright, has performed, written, and directed in film, television, and theatre all over the country.  His 1991 segment on HBO’s Robert Townsend & His Partners in Crime, which featured a variety of up-and-coming comedians, was well-received and led to many recurring and guest starring roles on various television programs.  In addition to performing as the opening act/warm-up comedian for The Tonight Show with Jay Leno, Reed has opened for Tony Award winner Tommy Tune, and has worked on programs including Spiderman, The Flintstones, ER, Frasier, Friends, Scrubs, Will & Grace, Law & Order, and Saturday Night Live.  Reed has written promos for the Golden Globes, the Academy Awards and the Olympics.  Additionally, he has written and developed screenplays for Spike Lee’s 40 Acres and a Mule and Maverick Filmworks.  Reed is currently a board member of the thriving 51Oakland foundation keeping music and the arts alive in Oakland Public Schools.


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Music Director Michael Tilson Thomas (MTT), the San Francisco Symphony (SFS) and the world-renowned tenor Plácido Domingo come together this January to celebrate the 80th birthday of Gordon Getty, esteemed composer, philanthropist, and generous supporter of the San Francisco Symphony. This concert will be the only public celebration of Getty’s birthday. Domingo returns for his first concert with the SFS forty years after his SFS debut, a 1973 performance of Verdi’s Requiem with then-Music Director Edo de Waart. MTT will conduct a program including pieces by Beethoven, Tallis, and Getty himself. Getty’s history with the SFS spans 34 years of notable artistic, philanthropic, and administrative achievement.

About Gordon Getty

Gordon Getty has served on the Board of Governors of the San Francisco Symphony since 1979. During his tenure, he and his wife, Ann, have provided leadership and generous support for some the Symphony’s most important initiatives, including the acoustic renovation of Davies Symphony Hall in 1990, the Grammy award-winning Mahler recording cycle, and the Orchestra’s international tours. Raised in San Francisco and an alumnus of the San Francisco Conservatory of Music, Getty’s compositions have been widely performed in North America and Europe. In 1986, he was honored as an Outstanding American Composer at the John F. Kennedy Center for the Performing Arts, and he was awarded the 2003 Gold Baton of the American Symphony Orchestra League. The SFS has performed Getty’s works numerous times, including two world premieres and one West Coast premiere. The Orchestra and Chorus (led by Edo de Waart) performed “Scene I” from Getty’s first opera Plump Jack in 1985, and the entire work was premiered in 1987 with Andrew Massey conducting the Orchestra and Chorus as part of the SFS New and Unusual Music Series. Most recently, in 2004, MTT led the Orchestra and Chorus in the West Coast premiere of Getty’s Young America, a cycle of six movements for chorus and orchestra to texts by Getty and by Stephen Vincent Benét. In 2005, PentaTone released a CD of Getty’s principal choral works up to that time, performed by the SF Symphony and Chorus, with MTT conducting, and the Eric Ericson Chamber Choir and Russian National Orchestra.

Getty has recently devoted considerable attention to a pair of one-act operas, Usher House (derived from Edgar Allan Poe’s “The Fall of the House of Usher”) and The Canterville Ghost (after Oscar Wilde’s tale). The former will be premiered in 2014 by the Welsh National Opera. Although most of Getty’s works feature the voice, he has also written for orchestra, chamber ensembles, and solo piano. In 2010, PentaTone released a CD devoted to six of his orchestral pieces, with Sir Neville Marriner conducting the Academy of St. Martin in the Fields, and in 2013 it followed up with a CD of the composer’s solo piano works, performed by Conrad Tao. Currently in preparation is a PentaTone CD of his chamber music, which will include a string-quartet version of his Four Traditional Pieces (a work that was performed in a string-orchestra arrangement by Nadja Salerno-Sonnenberg and the New Century Chamber Orchestra in 2012) and a new album of works for chorus and orchestra. In 2009, his ballet Ancestor Suite was given its premiere staging with choreography by Vladimir Vasiliev, performed by the Bolshoi Ballet and Russian National Orchestra. It was then presented at the 2012 Festival del Sole in Napa.

Of his compositions Getty has said: “My style is undoubtedly tonal, though with hints of atonality, such as any composer would likely use to suggest a degree of disorientation. But I’m strictly tonal in my approach. I represent a viewpoint that stands somewhat apart from the twentieth century, which was in large measure a repudiation of the nineteenth and a sock in the nose to sentimentality. Whatever it was that the great Victorian composers and poets were trying to achieve, that’s what I’m trying to achieve.”’

About Plácido Domingo

Plácido Domingo: singer, conductor and administrator. He has sung over 140 different roles, more than any other tenor in the annals of music, with more than 3600 career performances. His more than 100 recordings of complete operas, compilations of arias and duets, and crossover discs have earned him 12 Grammy Awards, including three Latin Grammys, and he has made more than 50 music videos and won two Emmy Awards. In addition to three feature opera films—CarmenLa Traviata and Otello—he voiced the role of Monte in Beverly Hills Chihuahua, played himself on The Simpsons, and his telecast of Tosca from the authentic settings in Rome was seen by more than one billion people in 117 countries. He has conducted more than 450 opera performances and symphonic concerts with the Metropolitan Opera, Covent Garden, Vienna Staatsoper, LA Opera, Chicago Symphony Orchestra, Vienna Philharmonic, Montréal Symphony, National Symphony, London Symphony Orchestra, Los Angeles Philharmonic and Berlin Philharmonic. In 1993, he founded the international voice competition Operalia. In recent seasons, he has celebrated his 40th anniversaries at the Met, Vienna State Opera, La Scala, Arena dei Verona and Covent Garden. For LA Opera, where he is the Eli and Edythe Broad General Director, he created the role of Pablo Neruda in the 2010 world premiere of Daniel Catán’s Il Postino. Although he has no intention of moving substantially into the baritone repertoire, in 2009 he added the title role of Simon Boccanegra to his repertoire, with subsequent performances at the Met, La Scala, Covent Garden and in Madrid, Berlin and Los Angeles. In the 2012/13 season, he added two new baritone roles to his repertoire, Francesco Foscari in I Due Foscari in Los Angeles, and Germont in La Traviata during his 45th season at the Metropolitan Opera.

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Singin’ in the Rain film, All is Bright Christmas Matinee with the San Francisco Symphony, Colors of Christmas with Peabo Bryson, CeCe Winans, Melissa Manchester, and Ruben Studdard, Mariachi Sol de México de José Hernàndez, ‘Twas the Night and Deck the Hall children’s concerts also on Symphony’s holiday performance schedule

Holiday concerts with Burt Bacharach, Ozomatli, Preservation Hall Jazz Band, Chris Botti, Dianne Reeves, and the annual Colors of Christmas shows with Peabo Bryson, CeCe Winans, Melissa Manchester, and Ruben Studdard of American Idol fame are among the highlights of the December 2013 schedule at Davies Symphony Hall, presented by the San Francisco Symphony.

The Symphony’s holiday concerts include several programs particularly well suited for children and families to attend together, with several offering half-price tickets for children 17 and under. San Francisco Symphony musicians and special guests perform two Deck the Hall family concerts of holiday music December 8, followed by entertainment, refreshments, and arts and crafts for children. On December 14, the San Francisco Symphony Youth Orchestra will perform its popular Peter and the Wolf afternoon concerts, with actor John Lithgow as narrator. On December 20-21 the SFS introduces All is Bright, a new Christmas matinee for all ages. ‘Twas the Night on December 22- 24 offers Christmas Carols and sing-alongs with members of the San Francisco Symphony Chorus and brass section.

The iconic 1952 American musical comedy Singin’ in the Rain, starring Gene Kelly, Donald O’Connor and Debbie Reynolds, will be screened December 6-7, with live accompaniment by the San Francisco Symphony. Ragnar Bohlin leads soprano Katie Van Kooten, contralto Claudia Huckle, tenor Sean Panikkar, bass-baritone Joshua Hopkins, and the San Francisco Symphony Chorus and Orchestra in three performances of Handel’s Messiah on December 19- 21. Mariachi Sol de México de Jóse Hernàndez brings Mexican and traditional Christmas favorites to Davies Symphony Hall December 8. The lobby of Davies Symphony Hall will be transformed into a Christmas wonderland. Towering trees will each be decorated with handmade ornaments, made by kids from local schools and volunteers from community groups. The annual New Year’s Eve Masquerade Ball rings in 2014 on December 31.

Tickets are on sale now for all holiday concerts presented by the San Francisco Symphony at, by phone at 415-864-6000, and at the Davies Symphony Hall box office on Grove Street between Franklin Street and Van Ness Avenue.

Wednesday, December 4 and Thursday, December 5 at 7:30 pm at Davies Symphony Hall

Grammy® award-winning trumpet player Chris Botti joins the San Francisco Symphony for two special evenings of timeless jazz classics, conducted by Steven Reineke. Botti was persuaded to make a lifetime commitment to the trumpet when at 12 he heard Miles Davis play “My Funny Valentine.” After attending Indiana University and studying with David Baker, trumpet teacher Bill Adam, Woody Shaw and saxophonist George Coleman, he spent his early career crafting his skills in the Buddy Rich Big Band and playing with artists from Frank Sinatra to Natalie Cole and Joni Mitchell. Botti played extensively with Paul Simon and had an especially creative association with Sting. His his latest album, Impressions, a collection of romantic melodies from around the world, including “What A Wonderful World,” “Summertime” and “Over the Rainbow,” won a Grammy for Best Pop Instrumental Album.


Friday, December 6 and Saturday, December 7 at 7:30 pm at Davies Symphony Hall

The San Francisco Symphony presents the legendary Hollywood musical Singin’ in the Rain, starring Gene Kelly, Donald O’Connor, and Debbie Reynolds. In addition to the beloved “Singin’ in the Rain,” iconic songs such as “Make ‘Em Laugh,” “Gotta Dance,” and “You Were Meant for Me” are sprinkled throughout this classic, making it the American Film Institute’s number one movie musical to ever grace the silver screen. The Symphony accompanies the film live and brings the classic score to life in performances conducted by Sarah Hicks. Please note that these performances replace the originally scheduled White Christmas.


Sunday, December 8 at 11:00 am and 3:00 pm at Davies Symphony Hall

The San Francisco Symphony’s annual Deck the Hall event celebrates the holiday season with a magical stage show designed for children ages three to ten. Members of the cast of Beach Blanket Babylon, Chhandam Youth Dance Company, the San Francisco Ballet School Trainee Program, and San Francisco Boys Chorus perform with the San Francisco Symphony, conducted by Randall Craig Fleischer. Inaugurated more than 30 years ago by the late Louise M. Davies, this holiday classic is a Symphony tradition. The post-show party in the lobbies includes a variety of entertainment, arts and craft activities for children, and refreshments. Special VIP Packages are available with premium concert seating and a pre-concert reception with games, holiday crafts, and a special keepsake photo with Santa Claus for the kids. Some also include an invitation to attend the Symphony’s popular tree-lighting reception on December 4. Details can be found at

Deck the Hall proceeds support the Symphony’s Community Deck the Hall Day, a free holiday concert for under-served San Francisco children at Davies Symphony Hall. Net proceeds also benefit the San Francisco Symphony’s music education and community programs which serve more than 75,000 students in our Bay Area elementary, middle, and high schools each year.


Sunday, December 8 at 8:00 pm at Davies Symphony Hall

The 14-piece Grammy-nominated ensemble Mariachi Sol de México de José Hernàndez returns to Davies Symphony Hall for a colorful celebration of Mexico’s Christmas traditions. Mariachi Sol de México has performed with artists including Selena, Juan Gabriel, José Feliciano, Luis Miguel, Vikki Carr, Rocio Durcal, Lucha Villa, Maria Conchita Alonso, Paloma San Basilio, Emilio Navaira, Lola Beltran, Vicente Fernandez, The Beach Boys, and Willie Nelson. The music of Mariachi Sol de México has been heard on the soundtracks of Sea Biscuit, The Old Gringo, American Me, Don Juan de Marco, Disney’s The Wonderful Ice Cream Suit, A Million to Juan, and Beverly Hills Chihuahua. They have recorded more than a dozen CDs, including the Latin Grammy-nominated La Música,Tequila con Limón and the 25th Anniversario José Hernàndez y Su Mariachi Sol de México, also nominated for a Grammy Award.

Please note that the San Francisco Symphony does not perform in this concert.


Wednesday, December 11 at 7:30 pm at Davies Symphony Hall

Dianne Reeves, one of the preeminent female jazz vocalists in the world, joins the San Francisco Symphony for a performance of standards and holiday songs led by Sarah Hicks. A four-time Grammy Award winner, Reeves has recorded and performed extensively with the Lincoln Center Jazz Orchestra and Wynton Marsalis, who said of Reeves, “She has one of the most powerful, purposeful and accurate voices of this or any time.” The first Creative Chair for Jazz for the Los Angeles Philharmonic, Reeves recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim, and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves appeared throughout George Clooney’s award-winning film Good Night and Good Luck and performed every song on the Grammy-winning soundtrack. Reeves’ Concord Records debut, Beautiful Life – a blend of R&B, Latin, and pop within the framework of 21st-century jazz – is set for release in February 2014.


Thursday, December 12 at 7:30 pm at Davies Symphony Hall

Hailing from Los Angeles, the Grammy Award-winning, cross-cultural party band Ozomatli fuses music from around the world in an urban-Latino-and-beyond collision of hip hop and salsa, dancehall and cumbia, samba and funk, merengue and comparsa, East LA R&B and New Orleans second line, Jamaican ragga and Indian raga. Not only musicians, these global activists have gone from hometown heroes to being named U.S. State Department Cultural Ambassadors and recipients of the National Council of LA Raza’s Humanitarian Award. The group’s orchestral collaborators include the Boston Symphony Orchestra, the National Symphony Orchestra, the Colorado Symphony, the San Diego Symphony, and the New York Pops. San Francisco Symphony Resident Conductor Donato Cabrera conducts.


Friday, December 13 at 8:00 pm and Saturday, December 14 at 8:30 pm
at Davies Symphony Hall

One of the most accomplished popular composers of the 20th century, Burt Bacharach performs two concerts of his greatest hits and pop standards with his band and the San Francisco Symphony, plus additional vocalists to be announced. Combining elements of jazz, pop, Brazilian music and rock, Bacharach created a unique new sound that was as contemporary as it was popular. His unrivaled list of hits includes “What the World Needs Now is Love,” “I Say A Little Prayer,” and “(They Long to Be) Close to You.” Bacharach was a 2012 recipient of the Library of Congress’ Gershwin Prize for Popular Song. In May of this year he published his memoir, Anyone Who Had a Heart, offering a frank and riveting account of his unparalleled life. He simultaneously released a two-disc recording of the same name featuring his best known songs. Bacharach will conduct this concert from the piano.


Saturday, December 14 at 1:00 pm and 4:00 pm at Davies Symphony Hall

The San Francisco Symphony Youth Orchestra (SFSYO) performs Prokofiev’s Peter and the Wolf with special guest narrator actor John Lithgow in his San Francisco Symphony debut. Well-known for his work as a Tony, Emmy, and Academy Award-nominated stage and film actor, Lithgow has performed children’s concerts with the Chicago, Detroit, Baltimore, San Diego and Pittsburgh Symphonies. His acting credits include roles in the movies The World According to Garp and Terms of Endearment, plus the role of the alien High Commander on TV’s 3rd Rock from the Sun. He recorded a1999 album of children’s music, Singin’ in the Bathtub, and has written poetry and short stories for children. In this concert the Youth Orchestra will also perform a work Lithgow wrote with Bill Elliott entitled Never Play Music Next to the Zoo as well as festive holiday songs for the whole family to sing along to. SFSYO Music Director and conductor Donato Cabrera conducts.


Sunday, December 15 at 8:00 pm at Davies Symphony Hall

New Orleans’ Preservation Hall Jazz Band (PHJB) returns to Davies Symphony Hall for a spirited evening of traditional New Orleans jazz. The band, which made its San Francisco Symphony debut in a 2009 holiday concert, derives its name from Preservation Hall, the venerable music venue located in the heart of New Orleans’ French Quarter, founded in 1961 by Allan and Sandra Jaffe. The band has traveled worldwide spreading their mission to nurture and perpetuate the art form of New Orleans Jazz. Whether performing at Carnegie Hall or Lincoln Center, for British royalty or the King of Thailand, this music embodies a joyful, timeless spirit. Under the auspices of current director, Ben Jaffe, the son of founders Allan and Sandra, Preservation Hall continues. In July of this year Preservation Hall Jazz Band released their current recording, That’s It!, comprised of all-original music produced by Jaffe along with My Morning Jacket’s Jim James. That’s It! offers a collection of brand-new songs in the swinging blues and gospel-oriented traditions of New Orleans jazz as well as new songs co-written by several pop artists, including composer and singer-songwriter Paul Williams and Semisonic’s Dan Wilson.

Please note that the San Francisco Symphony does not perform in this concert.


Peabo Bryson, CeCe Winans, Melissa Manchester, Ruben Studdard
with the San Francisco Symphony and the First A.M.E. Oakland Mass Choir
Monday, December 16, Tuesday, December 17, and Wednesday, December 18 at 8:00 pm at Davies Symphony Hall

Peabo Bryson, CeCe Winans, Melissa Manchester, and Ruben Studdard celebrate the holidays at the annual Colors of Christmas concerts with the San Francisco Symphony and the First A.M.E. Oakland Mass Choir, performing traditional Christmas favorites and their individual hits. Bryson’s soft-rock/R&B hits include the Top 10 hit “If Ever You’re in My Arms Again,” the Grammy Award-winning “Beauty and the Beast” (with Celine Dion), and “A Whole New World (Aladdin’s Theme)” with Regina Belle. Gospel star Winans has received multiple Grammy, Stellar, and Dove awards for her work as a solo artist and as part of the hit-making brother-and-sister duo, BeBe & CeCe Winans. Manchester had international hits with songs including “Through The Eyes Of Love” and “Don’t Cry Out Loud,” and she co-wrote “Whenever I Call You Friend” with Kenny Loggins. R&B, pop and gospel singer Studdard rose to fame as winner of the second season of “American Idol.”


With the San Francisco Symphony and San Francisco Symphony Chorus
Thursday, December 19, Friday, December 20, and Saturday, December 21
at 8:00 pm at Davies Symphony Hall

The Grammy Award-winning SF Symphony Chorus, conducted by Chorus Director Ragnar Bohlin, is joined by the Orchestra and soloists soprano Katie Van Kooten, contralto Claudia Huckle, tenor Sean Panikkar, and baritone Joshua Hopkins in these performances of Handel’s glorious Messiah oratorio.


Friday, December 20 at 2:00 pm and Saturday, December 21 at 2:00 pm
at Davies Symphony Hall

A new tradition kicks off this season with All is Bright, a Christmas matinee concert featuring the San Francisco Symphony conducted by Randall Craig Fleischer, the Pacific Boychoir, directed by Kevin Fox and soloists to be announced. The first half of the program will feature orchestral holiday favorites and sing-alongs with the Boychoir and soloists. The second half of the program includes the animated 26-minute film, The Snowman accompanied by the Orchestra. All concert-goers will receive a complimentary glowing concert favor from the Symphony.


Carols and sing-alongs with members of the SF Symphony Chorus and brass section
Sunday, December 22 at 4:00 pm and Monday, December 23 at 8:00 pm,
and Tuesday, December 24 at 11:00 am at Davies Symphony Hall

This special Christmas concert offers conductor and SF Symphony Chorus Director Ragnar Bohlin leading soprano Lisa Vroman, pianist Joan Cifarelli, organist Robert Huw Morgan, members of the San Francisco Symphony, and members of the SFS Chorus in beloved Christmas carols and favorite childhood Christmas songs, plus audience sing-alongs.


Tuesday, December 31
Pre-concert entertainment begins at 8:00 pm
Orchestra concert begins at 9:00 pm

Ring in the New Year at the city’s most elegant celebration, the New Year’s Eve Masquerade Ball with the San Francisco Symphony. The December 31 event stars the San Francisco Symphony, conductor Michael Francis, mezzo-soprano Sasha Cooke, and baritone Kelly Markgraf. Everyone attending the event receives a complimentary mask as they enter the beautifully decorated lobby. Beginning at 8 pm, The Martini Brothers entertain and perform their “swingin’ cocktail music” in the lobby. Starting at 9 pm, the San Francisco Symphony performs Viennese classics and songbook favorites on stage in Davies Symphony Hall. Following the Symphony concert, guests are invited to celebrate and dance on the Davies Hall stage to The Peter Mintun Orchestra. Immediately following the Symphony performance, guests enjoy complimentary sparkling wine, desserts, savories, and party favors. Hit Waves offers additional entertainment with songs from 1920-2013 in the First Tier lobby. As the clock strikes midnight, 2,014 colorful balloons cascade from the ceiling and the crowd welcomes in 2014.

A special pre-concert dinner package includes a cocktail reception beginning at 6 pm followed by a sumptuous three-course dinner (wine included) in the lobby of the War Memorial Opera House. The dinner package also includes sparkling wine served in the Loge Level lobby at intermission. Parking is included. To purchase the special pre-concert dinners for $160 per person call the San Francisco Symphony’s Patron Services department at (415) 864-6000.

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The Photo that Changed the Epidemic

In November 1990 LIFE magazine published a photograph of a young man named David Kirby — his body wasted by AIDS, his gaze locked on something beyond this world — surrounded by anguished family members as he took his last breaths. The haunting image of Kirby on his death bed, taken by a journalism student named Therese Frare, quickly became the one photograph most powerfully identified with the HIV/AIDS epidemic that, by then, had seen millions of people infected (many of them unknowingly) around the globe.

More than two decades later, on the 25th World AIDS Day, shares the deeply moving story behind that picture, along with Frare’s own memories of those harrowing, transformative years.

“I started grad school at Ohio University in Athens in January 1990,” Frare told “Right away, I began volunteering at the Pater Noster House, an AIDS hospice in Columbus. In March I started taking photos there and got to know the staff — and one volunteer, in particular, named Peta — who were caring for David and the other patients.”

David Kirby was born and raised in a small town in Ohio. A gay activist in the 1980s, he learned in the late Eighties — while he was living in California and estranged from his family — that he had contracted HIV. He got in touch with his parents and asked if he could come home; he wanted, he said, to die with his family around him. The Kirbys welcomed their son back.

Peta, for his part, was an extraordinary (and sometimes extraordinarily difficult) character. Born Patrick Church, Peta was “half-Native American and half-White,” Frare says, “a caregiver and a client at Pater Noster, a person who rode the line between genders and one of the most amazing people I’ve ever met.”

“On the day David died, I was visiting Peta,” Frare, who today lives and works in Seattle, told LIFE. “Some of the staff came in to get Peta so he could be with David, and he took me with him. I stayed outside David’s room, minding my own business, when David’s mom came out and told me that the family wanted me to photograph people saying their final goodbyes. I went in and stood quietly in the corner, barely moving, watching and photographing the scene. Afterwards I knew, I absolutely knew, that something truly incredible had unfolded in that room, right in front of me.”

“Early on,” Frare says of her time at Pater Noster House, “I asked David if he minded me taking pictures, and he said, ‘That’s fine, as long as it’s not for personal profit.’ To this day I don’t take any money for the picture. But David was an activist, and he wanted to get the word out there about how devastating AIDS was to families and communities. Honestly, I think he was a lot more in tune with how important these photos might become.”

Frare pauses, and laughs. “At the time, I was like, Besides, who’s going to see these pictures, anyway?

Over the past 20 years, by some estimates, as many as one billion people have seen the now-iconic Frare photograph that appeared in LIFE, as it was reproduced in hundreds of newspaper, magazine and TV stories — all over the world — focusing on the photo itself and (increasingly) on the controversies that surrounded it.

Frare’s photograph of David’s family comforting him in the hour of his death earned accolades, including a World Press Photo Award, when published in LIFE, but it became positively notorious two years later when Benetton used a colorized version of the photo in a provocative ad campaign. Individuals and groups ranging from Roman Catholics (who felt the picture mocked classical imagery of Mary cradling Christ after his crucifixion) to AIDS activists (furious at what they saw as corporate exploitation of death in order to sell T-shirts) voiced outrage. England’s high-profile AIDS charity, the Terrence Higgins Trust, called for a ban of the ad, labeling it offensive and unethical, while powerhouse fashion magazines like ElleVogue and Marie Claire refused to run it. Calling for a boycott of Benetton, London’s Sunday Times argued that “the only way to stop this madness is to vote with our cash.”

“We never had any reservations about allowing Benetton to use Therese’s photograph in that ad,” David Kirby’s mother, Kay, told “What I objected to was everybody who put their two cents in about how outrageous they thought it was, when nobody knew anything about us, or about David. My son more or less starved to death at the end,” she said, bluntly, describing one of the grisly side effects of the disease. “We just felt it was time that people saw the truthabout AIDS, and if Benetton could help in that effort, fine. That ad was the last chance for people to see David — a marker, to show that he was once here, among us.”

David Kirby passed away in April 1990, at the age of 32, not long after Frare began shooting at the hospice. But in an odd and ultimately revelatory twist, it turned out that she spent much more time with Peta, who himself was HIV-positive while caring for David, than she did with David himself. She gained renown for her devastating, compassionate picture of one young man dying of AIDS, but the photographs she made after David Kirby’s death revealed an even more complex and compelling tale.

Frare photographed Peta over the course of two years, until he, too, died of AIDS in the fall of 1992.

“Peta was an incredible person,” Frare says. Twenty years on, the affection in her voice is palpable. “He was dealing with all sorts of dualities in his life — he was half-Native American and half-White, a caregiver and a client at Pater Noster, a person who rode the line between genders, all of that — but he was also very, very strong.”

As Peta’s health deteriorated in early 1992 — as his HIV-positive status transitioned to AIDS — the Kirbys began to care for him, in much the same way that Peta had cared for their son in the final months of his life. Peta had comforted David; spoken to him; held him; tried to relieve his pain and loneliness through simple human contact — and the Kirbys resolved to do the same for Peta, to be there for him as his strength and his vitality faded.

Kay Kirby told that she “made up my mind when David was dying and Peta was helping to care for him, that when Peta’s time came — and we all knew it would come — that we would care for him. There was never any question. We were going to take care of Peta. That was that.

“For a while there,” Kay remembers, “I took care of Peta as often as I could. It was hard, because we couldn’t afford to be there all the time. But Bill would come in on weekends and we did the best we could in the short time we had.”

Kay describes Peta, as his condition worsened in late 1991 and 1992, as a “very difficult patient. He was very clear and vocal about what he wanted, and when he wanted it. But during all the time we cared for him, I can only recall once when he yelled at me. I yelled right back at him — he knew I was not going to let him get away with that sort of behavior — and we went on from there.”

Bill and Kay Kirby were, in effect, the house parents for the home where Peta spent his last months.

“My husband and I were hurt by the way David was treated in the small country hospital near our home where he spent time after coming back to Ohio,” Kay Kirby said. “Doctors and nurses wore gloves and gowns whenever they were around him, and even the person who handed out menus refused to let David hold one. She would read out the meals to him from the doorway. We told ourselves that we would help other people with AIDS avoid all that, and we tried to make sure that Peta never went through it.”

“I had worked for newspapers for about 12 years already when I went to grad school,” Therese Frare says, “and was very interested in covering AIDS by the time I got to Columbus. Of course, it was difficult to find a community of people with HIV and AIDS willing to be photographed back then, but when I was given the okay to take pictures at Pater Noster I knew I was doing something that was important — important to me, at least. I never believed that it would lead to being published in LIFE, or winning awards, or being involved in anything controversial — certainly nothing as epic as the Benetton controversy. In the end, the picture of David became the one image that was seen around the world, but there was so much more that I had tried to document with Peta, and the Kirbys and the other people at Pater Noster. And all of that sort of got lost, and forgotten.”

Lost and forgotten — or, at the very least, utterly overshadowed — until contacted Frare, and asked her where the photo of David Kirby came from.

“You know, at the time the Benetton ad was running, and the controversy over their use of my picture of David was really raging, I was falling apart,” Frare says. “I was falling to pieces. But Bill Kirby told me something I never forgot. He said, ‘Listen, Therese. Benetton didn’t use us, or exploit us. We used them. Because of them, your photo was seen all over the world, and that’s exactly what David wanted.’ And I just held on to that.”

After the Benetton controversy finally subsided, Therese Frare went on to other work, other photography, freelancing from Seattle for the New York Times, major magazines and other outlets. While the world has become more familiar with HIV and AIDS in the intervening years, Frare’s photograph went a long way toward dispelling some of the fear and willful ignorance that had accompanied any mention of the disease. Barb Cordle, the volunteer director at Pater Noster when David Kirby was there, once said that Frare’s photo of David “has done more to soften people’s hearts on the AIDS issue than any other I have ever seen. You can’t look at that picture and hate a person with AIDS. You just can’t.”

Ben Cosgrove is the Editor of

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The Thick House
1695 18th Street  San Francisco, CA 94107
Featuring Over 3 Score and 10 New One-Minute Plays by:
Blake C. Aarens, Trevor Allen+, Abi Basch+, Tim Bauer+, E.H. Benedict, Amelia Bethel, William Bivins, Erin M. Bregman+, Eugenie Chan+, Chris Chen+, Victoria Chong Der, Anthony Clarvoe+, Megan Cohen, Roberta D’Alois, Bennett Fisher, Britney Fraiser, Elizabeth Gjelten+, Garret Jon Groenveld+, Lauren Gunderson+, Daniel Heath, Robert Henry Johnson+, A-Lan Holt, Inbal Kashtan, Lynne Kaufman, Carol Lashof, Jeffrey Lo, Aaron Loeb+, Jonathan Luskin, Alison Luterman, Madeline Mahrer, Braden Marks, Katie May, Patricia Milton, Nick Mwaluko, Marisela Treviño Orta+, David Perez, Evelyn Jean Pine, Kenn Rabin, Geetha Reddy+, Robin Lynn Rodriguez, Kate E. Ryan+, Andrew Saito+, Steven M. Salzman+, Dara Silverman, Marissa Skudlarek, Jonathan Spector+, Elizabeth Spreen, Aimee Suzara, Tom Swift, Brian Thorstenson+, Arisa White & Ignacio Zulueta  +PF Alumni
Directed by:  Jill MacLean-Heavey, Andrea Day, Ben Randle, Evren Odcikin, Katja Rivera, Jeffrey Lo, Hugo Carbajal, Rebecca Longworth, Adam Sussman, Siobhan Doherty, & Marilee Talkington
Curated by:Dominic D’Andrea
The One-­Minute Play Festival (#1MPF) America’s largest and longest running short form theatre company in the country, founded by Producing Artistic Director, Dominic D’Andrea. The Playwrights Foundation (PF) joins with the legendary One-­Minute Play Festival (#1MPF) for three performances only, on Saturday, December 14th At 8pm & Sunday December 15th At 3pm  and  8pm at The Thick House, on Potrero Hill in San Francisco.  “A night of 70 one-minute plays by phenomenally talented writers is an incredible journey, a veritable thrill-ride for audiences…” states PF’s Artistic Director, Amy Mueller who has been working with D’Andrea on the SF OMPF for four years. “…A fast-paced, fun evening, where your mind and heart get twisted and turned for 70 minutes of nonstop theater.”
A model of a shared “artistic economy,”  Producing Artistic Director, Dominic D’Andrea comments  “The work attempts to reflect the theatrical landscape of local artistic communities by creating a dialogue between the collective conscious and the individual voice.” D’Andrea continues “In each city, #1MPF works with partnering organizations to identify programs or initiatives in each community to support with the proceeds from the work. The goal is to find ways give directly back to the artists in each community.”
#1MPF is barometer project, which investigates the zeitgeist of different communities through dialogue and consensus building sessions and a performance of many moments. #1MPF works in partnership with theatres sharing playwright or community-specific missions across the country. #1MPF creates locally sourced playwright-focused community events, with the goal of promoting the spirit of radical inclusion by representing local cultures of playwrights of different age, gender, race, cultures, and points of career.

Playwrights are selected by invitation and asked to engage in OMPF’s playmaking approach, with Mr.D’Andrea providing dramaturgy to sharpen the dramatic story telling. Playwrights are encouraged towrite about anything they are passionate about, and, as emerging themes or ideas become apparent, the plays are grouped into “clumps” to reflect those elements. Teams of directors and actors work to stage each clump of plays. And the result: 70 fully mounted plays, all staged with 4 chairs.

The Playwrights Foundation (PF) joins fo this fourth year with the legendary One-­Minute Play Festival (#1MPF) featuring New One-Minute Plays by: Blake C. Aarens, Trevor Allen+, Abi Basch+, Tim Bauer+, E.H. Benedict, Amelia Bethel, William Bivins, Erin M. Bregman+, Eugenie Chan+, Chris Chen+, Victoria Chong Der, Anthony Clarvoe+, Megan Cohen, Roberta D’Alois, Bennett Fisher, Britney Fraiser, Elizabeth Gjelten+, Garret Jon Groenveld+, Lauren Gunderson+, Daniel Heath, Robert Henry Johnson+, A-Lan Holt, Inbal Kashtan, Lynne Kaufman, Carol Lashof, Jeffrey Lo, Aaron Loeb+, Jonathan Luskin, Alison Luterman, Madeline Mahrer, Braden Marks, Katie May, Patricia Milton, Nick Mwaluko, Marisela Treviño Orta+, David Perez, Evelyn Jean Pine, Kenn Rabin, Geetha Reddy+, Robin Lynn Rodriguez, Kate E. Ryan+, Andrew Saito+, Steven M. Salzman+, Dara Silverman, Marissa Skudlarek, Jonathan Spector+, Elizabeth Spreen, Aimee Suzara, Tom Swift, Brian Thorstenson+, Arisa White & Ignacio Zulueta  +PF Alumni
Annual partnerships have been created with theaters in close to 20 cities including: New York, Los Angeles, San Francisco, Chicago, Trenton, Atlanta, Philadelphia, Washington, DC, Baltimore, Boston, Miami, Minneapolis, New York, Seattle, Dallas, Austin, Indianapolis, Anchorage, and more, with partnering institutions like Primary Stages, Victory Gardens Theatre, Cornerstone Theatre Company, The Playwrights Foundation, Boston Playwrights Theatre, Actor’s Express, InterAct Theatre, Mixed Blood, Passage Theatre, Phoenix Theatre, Kitchen Dog, Salvage Vanguard, scriptWorks,  ACT, Perseverance Theatre, and others.
Notable #1MPF contributors have included: David Henry Hwang, Neil LaBute, Tina Howe, Donald Margulies, Nilaja Sun, Lydia Diamond, Phillip Kan Gotanda, Kristoffer Diaz, Rajiv Joseph, Sam Hunter, Karen Hartman, José Rivera, Craig Lucas, Mike Daisey, Greg Kotis, Michael John Garcés, & close to 600 famous, emerging, and midcareer playwrights.  For more information visit:
Playwrights Foundation supports and champions contemporary playwrights in the creation of new works in order to sustain contemporary theater as a vital, dynamic art form. Founded in 1976 by Robert Woodruff, PF is now recognized as one of the top six new play development centers in the nation, and is the only one of its size and scope on the West Coast. Founded on a deeply held belief that the relevance and vitality of American theater depends upon a continual infusion of new work, Playwrights Foundation sustains a commitment to the playwright, who we regard as the creative wellspring of theater.
Through its programs PF actively nurtures and supports exceptional contemporary playwrights at every stage of a play’s development and helps them forge connections to producers. Our mandate is to offer a full range of programs that provide multiple points of entry for a diverse range of playwrights–at a low cost or free of charge–so they can readily access our services; take advantage of our expertise, resources, and connections across the nation; and learn from their artistic peers.
Over 450 playwrights, first discovered and supported early in their careers, have come through our doors to develop new theatrical work for our nation and in so doing continuously push the boundaries of the form. These now include some of the most prominent names in contemporary theater with writers such as Sam Shepard, David Henry Hwang, Nilo Cruz, Anna Deavere Smith, Philip Kan Gotanda, Maria Irene Fornes and Paula Vogel – and in the very recent past, Marcus Gardley, Annie Baker, Aaron Loeb, Katori Hall and Rajiv Joseph, to name just a few. More than 80% of the works developed at PF are subsequently produced – either in the Bay Area – or beyond and in 2011 two plays developed here at PF went on to acclaimed Broadway runs: The Mountaintop by Katori Hall starring Samuel Jackson and Angela Bassett, and Bengal Tiger at the Baghdad Zoo by Rajiv Joseph staring Robin Williams in the titular role.
This year, as in past years – over two dozen PF-workshopped plays had productions across the U.S. and several in London, including Frances Ya-Chu Cowhig’s play The World of Extreme Happiness and George Brant’s Grounded both recently closed sold-out, acclaimed runs in London.
PF won Will Glickman Awards for two of the four premieres we have co-produced, most recently in 2013 for Christopher Chen’s The Hundred Flowers Project, which will soon open in Chicago.  In 2012, we provided direct services to 64 professional playwrights, 54% from the Bay Area; we also served roughly 3,000 individuals through our public programs and 3,500 unique viewers from ten countries on New Play TV. Most of PF’s services are offered free of charge, and in fact all artists are paid for their work.
For three decades PF has provided support for emerging writers who have gone on to infuse the American theater with vitality, innovation and relevance.
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The San Francisco International Hip Hop DanceFest celebrates its 15th Anniversary with 13 hip hop dance companies performing in two programs curated by Founding Director Micaya  

November 15 – 17, 2013

Palace of Fine Arts Theatre

The San Francisco International Hip Hop DanceFest (SFIHHDF) is proud to celebrate its 15th anniversary with performances featuring 13 of today’s hottest hip hop dance companies.

Curated by DanceFest Founder and Director Micaya, this year’s event includes two programs featuring new works by acclaimed returning artists Ill Style & Peace Productions, Funk Beyond Control, Mix’d Ingrdnts, SoulForce Dance Company, Loose Change, Groove against the Machine, Footworkingz and Chapkis Dance Family. Performing at the festival for the first time are UK’s Far from the Norm, the Lor Brothers (featuring artists Longka and Longkue Lor), Nicole Klaymoon’s Embodiment Project featuring d. Sabela grimes, bone breaking company Bones the Machine, Nextlevelsquad and Greathouse of Dance. The San Francisco International Hip Hop DanceFest runs from November 15 – 17, 2013 at the Palace of Fine Arts Theatre.

Groups hailing from San Francisco, Oakland, Sacramento, Suisun City, Los Angeles, Chicago, Philadelphia, New York and London headline this year’s festival. More than 100 individuals will take the stage at the Palace of Fine Arts Theatre mixing skillfulness with artistry and storytelling. Under the umbrella of hip hop, SFIHHDF showcases work that draws variously from b-boying, freestyle, jazz, modern, mime, locking, tap, house, popping and more. For 14 years, the event has brought audiences to their feet, and this year promises to be no exception.

Established in 1999 by Micaya, The San Francisco International Hip Hop DanceFest has earned an international reputation as one of the most prestigious presenters of hip hop dance. As the first festival dedicated to honoring the variety of hip hop dance forms – including companies from all over the globe – SFIHHDF has become a regular stop on the itinerary of talent scouts. Current and former DanceFest participants have gone on to earn spots on America’s Got Talent, So You Think You Can Dance and MTV’s America’s Best Dance Crew. Earlier this month Japanese dance artist and former DanceFest participant, Kenichi Ebina, won the eighth season of America’s Got Talent.

The festival also presents two master classes at the ODC Dance Commons Saturday, November 16 and Sunday, November 17. King Charles of the Chicago-based FootforKINGz teaches a class in Chicago Footworkin’, a complex and fast-paced movement style using the lower body on November 16 and the Lor Brothers teach a class on the fundamental aspects of b-boying on November 17.

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Exhibition Features Major Works by Celebrated Artists, Including Constantin Brancusi, Salvador Dalí, Fernand Léger, Man Ray, and More

Exhibition dates: November 13, 2013 March 16, 2014

Co-organized by the San Francisco Museum of Modern Art (SFMOMA) and the Cantor Arts Center at Stanford University, Flesh and Metal: Body and Machine in Early 20th­-Century Art presents more than 70 artworks that explore a central dynamic of art making in Europe and the Americas between the 1910s and the early 1950s. On view from November 13, 2013 to March 16, 2014 at the Cantor Arts Center, the exhibition includes a rich group of paintings, sculptures, photographs, drawings, prints, and illustrated books from the collection of SFMOMA. Taken together, the works offer a fresh view of how artists negotiated the terrain between the mechanical and the bodily—two oppositional yet inextricably bound forces—to produce a wide range of imagery responding to the complexity of modern experience.

Featured artists include Margaret Bourke-White, Constantin Brancusi, Giorgio de Chirico, Salvador Dalí, Marcel Duchamp, Germaine Krull, Fernand Léger, Wyndham Lewis, László Moholy-Nagy, Piet Mondrian, Man Ray, Alexander Rodchenko, and Charles Sheeler, among others.

The exhibition is part of the collaborative museum shows and extensive off-site programming presented by SFMOMA while its building is temporarily closed for expansion construction. From the summer of 2013 to early 2016, SFMOMA is on the go, presenting a dynamic slate of jointly organized and traveling exhibitions, public art displays and site-specific installations, and newly created education programs throughout the Bay Area.

Flesh and Metal is curated by Hilarie Faberman, Robert M. and Ruth L. Halperin Curator of Modern and Contemporary Art at the Cantor; Nancy J. Troy, Victoria and Roger Sant Professor in Art at Stanford; and from SFMOMA, Janet Bishop, curator of painting and sculpture; Caitlin Haskell, assistant curator of painting and sculpture; and Corey Keller, curator of photography. During winter and spring 2013, Troy and Faberman taught exhibition-related courses at Stanford wherein students assisted with curating, designing, and interpreting the exhibition.

“We are thrilled to pair SFMOMA’s world-class collection with Stanford’s renowned academic resources,” said Connie Wolf, the John and Jill Freidenrich Director of the Cantor Arts Center. “Cantor curators and the distinguished chair of the Department of Art and Art History guided seminars specifically for this exhibition, with students examining art of the period, investigating themes, studying design and display issues, and developing writing skills. The students gained immeasurably by this amazing experience and added new research and fresh perspectives to the artwork and to the exhibition. We are proud of the results and delighted to present a unique and invaluable partnership that will enrich the Stanford community, our museum members, and our visitors.”

SFMOMA’s Curator of Photography Corey Keller concurred: “The opportunity to work with our colleagues at Stanford has been a remarkable experience both in the galleries and in the classroom. We couldn’t be prouder of the exhibition’s unique perspective on a particularly rich area of SFMOMA’s collection that resulted from our collaboration.”

Exhibition Overview

The exhibition is organized into four thematic sections dealing with the human figure, the imagination, the urban landscape, and the object, which together reveal a range of artists’ responses to the conditions of modernity. At the beginning of the 20th century, many hailed the machine as a symbol of progress. “Speed” and “efficiency” entered the vocabularies of art movements such as Futurism (in Italy), Purism (in France), Vorticism (in England), and Constructivism (in Russia), all of which adapted the subject matter and formal characteristics of the machine. Factories and laborers were presented positively as emblems of modernity, and mechanization became synonymous with mobility and the possibility of social improvement. Countering this utopian position were proponents of the Dada and Surrealist movements (based largely in Germany and France), who found mechanical production problematic. For many of these artists who had lived through the chaos and destruction of World War I, the machine was perceived as a threat not only to the body, but to the uniquely human qualities of the mind as well. These artists embraced chance, accident, dream, and desire as new paths to freedom and creativity, in contrast to their counterparts who maintained their faith in an industrially enhanced future.

Though art from the first half of the 20th century is often viewed as representing an opposition between the rational, impersonal world of the machine and the uncontrollable, often troubling realm of the human psyche, the work in this exhibition suggests a more nuanced tension. In fact, artists regularly perceived these polarities in tandem. The codes of the bodily and the industrial coalesce in Fernand Léger’s machine aesthetic, on view in his 1927 painting Two Women on a Blue Backgound and an untitled collage from 1925. For his “rayographs,” Man Ray made use of mass-produced objects, but deployed them in a lyrical and imaginative manner—placing them on photosensitized paper and exposing it to light. Constantin Brancusi’s The Blond Negress (1927) and Jacques Lipchitz’s Draped Woman (1919) update the tradition of the cast bronze figure by introducing impersonal geometries. And even the seemingly formulaic surfaces of Piet Mondrian’s abstract paintings eventually reveal the artist’s sensitive hand.

The exhibition will be presented on the second floor of the Cantor Arts Center in the Ruth Levison Halperin Gallery and the Marie Stauffer Sigall Gallery; related films will also be screened as part of the exhibition

Flesh and Metal: Body and Machine in Early 20th-Century Art is jointly organized by the Cantor Arts Center at Stanford University and the San Francisco Museum of Modern Art. Major support is provided by Doris Fisher and the Cantor Arts Center’s Clumeck Fund and Susan and John Diekman Discretionary Fund. Generous support is provided by the Cantor’s Contemporary Collectors Circle. Gay-Lynn and Robert Blanding are sponsors of the exhibition. Additional support is provided by Phyllis Moldaw and Bobbie and Mike Wilsey.

About the Cantor Arts Center at Stanford University

The Cantor Arts Center, Stanford University’s only museum, is a vital and dynamic institution with a venerable history. Founded in 1891 with the university, the historic museum was expanded and renamed in 1999 for lead donors Iris and B. Gerald Cantor. The museum’s encyclopedic collection spans 5,000 years, includes 32,000 artworks, and beckons visitors to travel around the world and through time: from Africa to the Americas to Asia, from classical to contemporary. With 24 galleries presenting selections from the collection and more than 20 special exhibitions each year, the Cantor serves Stanford’s academic community, draws art lovers from the San Francisco Bay Area and beyond, and attracts campus visitors from around the world. Free admission, free tours, lectures, family activities, plus changing exhibitions make the Cantor one of the most well-attended university art museums in the country and a great resource for teaching and research on campus.

For more information about the Cantor Arts Center, visit the museum’s Web site at

About the San Francisco Museum of Modern Art

Founded as the first West Coast museum devoted to modern and contemporary art, SFMOMA is currently undergoing a major expansion project that will significantly enhance gallery, education, and public spaces, enabling the museum to better showcase its expanded permanent collection and serve its growing audiences. During the construction of its new building from the summer of 2013 to early 2016, the museum will go beyond its walls and directly into the community with an extensive array of off-site programming, including collaborative and traveling exhibitions, site-specific and commissioned projects, and new education initiatives throughout the city and region.

In addition to the Cantor Arts Center, future museum partners with SFMOMA include the Yerba Buena Center for the Arts (spring 2014); Asian Art Museum (summer 2014); Oakland Museum of California (fall 2014); Museum of the African Diaspora (winter 2015); and Berkeley Art Museum (spring 2015). On view concurrently in Silicon Valley with Flesh and Metal will beProject Los Altos: SFMOMA in Silicon Valley, an exhibition sited throughout the downtown commercial core of Los Altos, featuring new commissions by seven national and international artists (on view November 9, 2013–March 2, 2014).

For more information about SFMOMA, its off-site programming, and its expansion project, visit

San Francisco Museum of Modern Art

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The March Presents Alicia Dattner’s Acclaimed Comedy “The Oy of Sex”

November 21, 2013 – January 18, 2014

 The Marsh presents THE OY OF SEX, the “Best of SF Fringe” award-winning solo show from standup comedian Alicia Dattner.  Using true stories from her life, Dattner outlines a recipe for disaster: take one virgin, two boyfriends, several dozen lovers, half a dysfunctional family, and one comedian.  Bake 15 years, and sprinkle a pinch of polyamory. Serve hot, and voila! The result is this sizzling show about love addiction, created with help from contributing directors David Ford, Katie Rubin, and Jonathan Bender. THE OY OF SEX, a heart-wrenching, sobering, laugh-out-loud story of sex, drugs…and more sex, plays November 21, 2013 – January 18, 2014 (press opening December 6) at The Marsh San Francisco, 1062 Valencia Street.  For tickets ($20 – $100), the public may visit or call 415-282-3055 between 1:00 pm and 4:00 pm, Monday through Friday.

Winner of “Best Comedian 2013” from the SF Weekly Readers’ Poll, Alicia Dattner has been performing across the world from San Francisco to New York, Hollywood to Bombay and London. After a dozen years of performing standup comedy, Dattner turned to solo performance, racking up awards for her humorous, insightful one-woman shows, including the enormously popular The Oy of Sex and Eat, Pray, Laugh! Sold-out hit performances and extended runs have garnered her titles including “Best Storyteller” of the Off-Broadway NY Solo Festival, “Best of the Fringe” and “Best Female Solo Show” at the San Francisco Fringe Festival, “Best Comedian” by the East Bay Express, and more. The San Francisco Bay Guardiancalled her “Goofy, messy, and fun” and the LA Theater Review says she’s “Charming, likable, and funny.” Dattner helps very serious spiritual seekers to… lighten up. To that end, this year she created the first ever Online Spiritual Comedy Festival featuring Wavy Gravy, Wes “Scoop” Nisker, and many other luminaries. Alicia delights in coaching people creating solo performance, standup comedy, healing through humor, and all things “ha!”

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Edwin Outwater Leads Pianist Simon Trpčeski And The SF Symphony 
In Program Featuring Eastern European Composers
Ligeti, Prokofiev, Dvořák, And Lutosławski
October 24-26 At Davies Symphony Hall

Former San Francisco Symphony Resident Conductor Edwin Outwater returns to the SFS October 24-26 to lead a program of Eastern European works, including Ligeti’s Concert Românesc,  Dvořák’s Legends, Lutosławski’s Concerto for Orchestra, and Prokofiev’s Third Piano Concerto, with pianist Simon Trpčeski.

These are the first SFS performances of Concert Românesc and Dvořák’s Legends for Orchestra. Prokofiev’s Third Piano has a rich SFS history: its SFS premiere was in 1930 with Prokofiev himself as soloist and then-Music Director Alfred Hertz. In 1959, Van Cliburn performed the work with the SFS, led by then-Music Director Enrique Jordá. The piece was featured in the Prokofiev Festival and subsequent European tour in 2007 with MTT and Yefim Bronfman, and in 2012 MTT led Lang Lang in its most recent SFS performances. The first SFS performances of Lutosławski’s Concerto for Orchestra were in 1966 under conductor Hans Schmidt-Isserstedt at The War Memorial Opera House. Witold Lutosławski himself conducted the piece at Davies Symphony Hall in 1991, and the most recent SFS performances were in 2000, conducted by Yan Pascal Tortelier.

Edwin Outwater has a long history with the San Francisco Symphony and has become a regular presence at Davies Symphony Hall this year. In addition to these performances, Outwater also conducts the San Francisco Symphony Music for Families concerts on September 28 and December 7. Outwater conducted several SFS concerts during the Orchestra’s 2013 Summer and the Symphony series, including a Fourth of July concert at Shoreline Amphitheatre, the SFS’s annual outdoor concert at the Stern Grove festival, two performances with Johnny Mathis, and Carmina burana with the San Francisco Symphony and Chorus.

Outwater served as Resident Conductor of the SFS from 2001-2006 and Wattis Foundation Music Director of the San Francisco Symphony Youth Orchestra (SFSYO) from 2001-2005. As Resident Conductor, he worked closely with Michael Tilson Thomas and conducted numerous concerts each season, including family and summer concerts, as well as Adventures in Music and Concerts for Kids performances for grade school children. He first conducted the SFS in a series of 2001 holiday concerts, and made his SFS regular subscription concert debut in 2002 as one of two conductors (Kurt Masur was the other) for Britten’s massive War Requiem. On two occasions, Outwater stepped in for Michael Tilson Thomas, conducting performances of Stravinsky’s complete Pulcinella, as well as works by Beethoven, Wagner, and Cherubini. In 2006, Outwater conducted the world premiere performance of The Composer is Dead, an SFS-commissioned work with music by Nathaniel Stookey and text by Lemony Snicket, which was later released by HarperCollins.

As Music Director of the SFSYO, he led the ensemble in all of their season concerts, as well as on tour in Europe in the summer of 2004, when the orchestra made its debut at Vienna’s Musikverein and Paris’s Théâtre des Champs-Élysées and returned to Amsterdam’s Concertgebouw. Outwater’s work in music education and community outreach has been widely celebrated. In 2004 his education programs at the San Francisco Symphony were given the Leonard Bernstein Award for Excellence in Educational Programming, and his Chinese New Year Program was given the MET LIFE award for community outreach.

Outwater is currently Music Director of Ontario’s Kitchener-Waterloo Symphony and regularly guest conducts the Chicago and New World Symphonies. In addition to his appearances with the SFS, highlights of his 2013-14 season include three appearances with the Chicago Symphony, and further guest appearances with the New World Symphony, BBC National Orchestra of Wales, the Indianapolis Symphony, and many others.

In the United States, Outwater has conducted the New York and Los Angeles Philharmonic Orchestras, as well as the symphony orchestras of Baltimore, Houston, Detroit, and Seattle. In Canada, he has conducted the National Arts Centre Orchestra, as well as the symphonies of Toronto, Calgary, Edmonton, Winnipeg, and Victoria. International appearances include the Tokyo Metropolitan Orchestra, the BBC National Orchestra of Wales, the New Zealand Symphony, the Adelaide Symphony, the Malmö Symphony, the Nordwestdeutsche Philharmonie, the Mexico City Philharmonic, the Orquesta Sinfónica de Xalapa, and the Hong Kong Sinfonietta. In 2009 he made his professional opera debut with the San Francisco Opera conducting Verdi’s La Traviata, and he has since conducted Piazzolla’s María de Buenos Aires with concert:nova Cincinnati and the Cincinnati Opera, as well as Menotti’s one-act opera Amahl and the Night Visitors at New York’s Lincoln Center. He participated as Associate Conductor with MTT in both YouTube Symphony projects, at Carnegie Hall and the Sydney Opera House.


Simon Trpčeski made his SFS debut in 2004 playing Saint-Saëns’ Piano Concerto No. 2 with conductor Yan Pascal Tortelier. Most recently in 2012, he performed Rachmaninoff’s Piano Concerto No. 4 with former Music Director Edo de Waart conducting. He performs regularly with the world’s most important orchestras, including the London Symphony, Philharmonia Orchestra, London Philharmonic Orchestra, the Royal Concertgebouw Orchestra, Russian National Orchestra, St. Petersburg Philharmonic, Rotterdam Philharmonic, DSO Berlin, Bolshoi, Danish National Symphony Orchestra, NDR Hamburg, Strasbourg Philharmonic, Royal Stockholm Philharmonic, Orchestre National de France, Royal Flanders Philharmonic, Royal Liverpool Philharmonic, New Japan Philharmonic, Hong Kong Philharmonic, Seoul Philharmonic, Sydney and Melbourne symphony orchestras and on tour with the New Zealand Symphony.

In North America, Trpčeski performs regularly with many of the major orchestras, including those of Los Angeles, New York, Philadelphia, Chicago, Boston, Cleveland, Pittsburgh, Baltimore, and Toronto. He has also given solo concerts in Amsterdam (on the main stage of the Concertgebouw), Atlanta, Bilbao, Lisbon, Hamburg, London, Milan, Munich, New York, Paris, Prague, San Francisco, Seattle, Washington DC, Los Angeles, Tokyo, Toronto and Vancouver. Trpčeski often performs chamber music, having attended festivals such as Aspen, Verbier, and Risor. With the special support of KulturOp – Macedonia’s leading cultural and arts organization – and the Ministry of Culture of the Republic of Macedonia, Trpčeski works regularly with young musicians in Macedonia in order to cultivate the talent of the country’s next generation of artists.

In 2010, Trpčeski released his concerto recording debut on the Avie label, showcasing Rachmaninov’s notoriously challenging Piano Concertos Nos. 2 and 3 with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra. The album was awarded the Diapason d’Or de l’année and Classic FM’s “Editor’s Choice” Award. In 2011, Avie released the second concerto album from Trpčeski, Petrenko and the Royal Liverpool Philharmonic Orchestra, featuring Rachmaninov’s Piano Concertos Nos. 1 and 4 alongside Rhapsody on a Theme of Paganini. The second disc also received the Diapason d’Or de l’année and Classic FM’s “Editor’s Choice” Award, as well as an “Editor’s Choice” award from Gramophone magazine. In 2009, the President of Macedonia, H.E. Gjorge Ivanov, honored Trpčeski with the Presidential Order of Merit for Macedonia, a decoration given to foreign and domestic dignitaries responsible for promoting Macedonian culture abroad. In 2011, Trpčeski was awarded the first-ever title “National Artist of the Republic of Macedonia.”

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Alonzo King LINES Ballet presents its Fall Home Season 2013

Featuring the San Francisco premiere of Writing Ground, a collaboration with award-winning author Colum McCann; a world premiere work set to music by Bach; and the release of LINES Ballet’s beautiful new dance photography book

Yerba Buena Center for the Arts, Lam Research Theater, San Francisco
October 25 – November 3, 2013
Tickets: $30-$65,, 415.978.2787

Alonzo King LINES Ballet is pleased to announce the program for its fall season, October 25 – November 3, 2013 at the Lam Research Theater at Yerba Buena Center for the Arts.

This season the company brings Writing Ground home for its San Francisco premiere. Commissioned in 2010 by Les Ballets de Monte-Carlo, Alonzo King’s masterful work draws inspiration from writings by Colum McCann, winner of the National Book Award. An emotionally searing and lyrical work, set to a collection of sacred early music from the Jewish, Christian, Muslim, and Tibetan Buddhist traditions, Writing Ground challenges the Company to explore new physical territory. Writing Ground ”illustrates the power of Alonzo King’s story-telling at its height” (Huffington Post).

Of working with McCann, King says, “Colum’s words made me think of the endless trillions of thoughts that proceed from humanity in our unanimous quest to avoid suffering and attain some ever interesting joy, and how ultimately those words become sacred texts which design our lives.”

The fall season also features the world premiere of a highly physical full-company work set to Johann Sebastian Bach’s Double Violin Concerto. One of the composer’s most famous pieces, the Double Violin Concerto has been used in seminal works by a number of American choreographers – including George Balanchine and Paul Taylor.
In tandem with its 2013 fall home season LINES Ballet is also pleased to announce the publication of a luxurious new dance photography book about the company. The book includes never before published photos of the company created by photographer RJ Muna as well as several by Marty Sohl. Designed by Company Co-Founder and Creative Director Robert Rosenwasser, the book includes text by Alonzo King. A discussion and book signing with King, Rosenwasser and Muna will follow the performance on Sunday, October 27.

Alonzo King LINES Ballet’s fall home season will feature the company’s 11 dancers: Robb Beresford, David Harvey, Courtney Henry, Ashley Jackson, Babatunji Johnson, Yujin Kim, Michael Montgomery, Caroline Rocher, Jeffrey Van Sciver, Meredith Webster and Kara Wilkes.

About Alonzo King
Alonzo King is a visionary choreographer who collaborates with noted composers, musicians, and visual artists, creating works that draw on diverse sets of deeply rooted cultural traditions and imbue classical ballet with new expressive potential. King has been commissioned to create works for the repertories of companies throughout the world including the Swedish Royal Ballet, Frankfurt Ballet, Joffrey Ballet, Dance Theater of Harlem, Alvin Ailey American Dance Theatre, North Carolina Dance Theatre, and Washington Ballet. He has worked extensively in opera, television, and film, and has choreographed works for prima ballerina Natalia Makarova and film star Patrick Swayze. Mr. King has also collaborated with artists such as actor Danny Glover, legendary jazz saxophonist Pharoah Sanders, and the Shaolin Monks of China. Renowned for his skill as a teacher, King has been the guest ballet master for National Ballet of Canada, Les Ballets de Monte Carlo, San Francisco Ballet, Ballet Rambert, Ballet West and others.

In 1982, King founded Alonzo King LINES Ballet, which has developed into a world-renowned touring company. Seven years later, he inaugurated the San Francisco Dance Center, which has grown into one of the largest dance facilities on the West Coast. In 2001, King started the LINES Ballet School to nurture and develop the talents of young dancers. Expanding the scope of his educational visions to the college level in 2006, King and LINES Ballet embarked on a partnership with the Dominican University of California, creating the West Coast’s first Joint BFA program in Dance. It is the only Joint BFA program in the country to be led by a living master choreographer.

Alonzo King is the recipient of many prestigious awards, including the Dance Masters of America, President Award, and the first ever Barney Choreographic Prize from White Bird Dance, which King received in July 2013 and April 2013 respectively. In October 2008 King was honored to receive the 2nd Annual Mayor’s Arts Award by San Francisco Mayor Gavin Newsom. In June 2008, King received the Jacob’s Pillow Creativity Award, in recognition of his contribution to “moving ballet in a very 21st-century direction.” In 2006, he was recognized as one of the fifty outstanding artists in America by the United States Artists organization, and in 2005, received the Bessie Award for Choreographer/ Creator. He is also the recipient of the NEA Choreographer’s Fellowship, Irvine Fellowship in Dance, National Dance Project and the National Dance Residency Program, as well as five Isadora Duncan Awards. He has also received the Hero Award from Union Bank, the Lehman Award, and the Excellence Award from KGO, and was chosen as the recipient of the San Francisco Foundation’s 2007 Community Leadership Award.

About Colum McCann
Colum McCann was born in Ireland in 1965. He is the author of six novels and two collections of stories. He has been the recipient of many international honors, including the National Book Award, the International Dublin Impac Prize, a Chevalier des Arts et Lettres from the French government, election to the Irish arts academy, several European awards, the 2010 Best Foreign Novel Award in China, and an Oscar nomination. His work has been published in over 35 languages. He lives in New York with his wife, Allison, and their three children. He teaches at the MFA program at Hunter College.

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San Francisco Symphony Launches Season-Long Film Series With A Week Of Hitchcock Presentations, October 30-November 2 In Davies Symphony Hall

Hitchcock films include Vertigo, Psycho, and an evening of excerpts from

To Catch a Thief, Strangers on a Train, Dial M for Murder and North by Northwest,

all accompanied live by the SFS, along with The Lodger with organ accompaniment

The San Francisco Symphony (SFS) introduces a season-long film series beginning October 30 with a week devoted to Alfred Hitchcock’s classic films and their unforgettable scores. Subsequent film presentations in the series include Singin’ in the Rain, A Night at the Oscars—an evening of excerpts from Academy Award-winning films, Charlie Chaplin’s City Lights, and Fantasia in Concert, a compilation of the most memorable clips from Disney’s 1940 classic and Fantasia 2000. The San Francisco Symphony performs the scores to these iconic movies while the films are projected on a large screen above the stage.

The San Francisco Symphony launches its first film series during the regular season after overwhelmingly positive audience responses to several similar film presentations over the past few summers, including screenings of The Wizard of Oz and The Matrix with live orchestral accompaniment, and the world premiere of Pixar in Concert, a compilation of music and imagery from Pixar’s thirteen feature films.

To begin the series, the SFS devotes a week of presentations to the Master of Suspense, Alfred Hitchcock, for whom music played an essential role in the development of his characters, plot, and atmosphere. The Hitchcock Film Week includes full presentations of Psycho, the silent film The Lodger: A Story of the London Fog with organ accompaniment, Vertigo—in a world premiere presentation of the full score performed live—and an evening of excerpts from several of Hitchcock’s other classic movies. Joshua Gersen makes his SFS debut conducting the three orchestral presentations.

Steven Smith, a leading expert on the music of Hitchcock’s most frequent collaborator, Bernard Herrmann, observes of Hitchcock’s use of music, “Hitchcock learned his craft making silent films, and said throughout his career that he avoided making movies that were ‘pictures of people talking.’ Instead, he used sound to heighten emotion, whether through natural sounds without music or through full-blooded scoring.” As the composer with whom Hitchcock collaborated with the most, Herrmann’s music is featured prominently during this week of presentations. “The pairing of a master visualist like Alfred Hitchcock and a composer like Bernard Herrmann, who set out to pull viewers ‘into the drama,’ remains the greatest director-composer partnership in cinema,” Smith states. “Each artist excelled at exploring the dark side of human relationships—especially romantic ones—in ways that blended emotional intensity with formal beauty. For a decade, the partnership was so close that Herrmann could sometimes go against Hitchcock’s instructions—most famously in writing music for Psycho’s shower scene, which Hitchcock originally wanted to play out without score.”

Hitchcock Film Week opens on October 30 with Psycho, considered one of Hitchcock’s greatest films. Special guest Tere Carrubba, Alfred Hitchcock’s granddaughter, introduces the film that evening, and will sign memorabilia and books after the performance.

On October 31, audiences can experience an early realization of Hitchcock’s genius with the presentation of his 1927 silent film The Lodger: A Story of the London Fog. Organist Todd Wilson makes his San Francisco Symphony debut improvising an accompaniment to the film on Davies Symphony Hall’s Rufatti Organ. The Lodger introduces themes and filming techniques that run through much of Hitchcock’s later work, such as the theme of the innocent man on the run, hunted down by a self-righteous society, and the use of ominous camera angles and claustrophobic lighting. While Hitchcock had made two previous films, in later years he would refer to The Lodger as the first true “Hitchcock film.”

The San Francisco Symphony performs the score of Hitchcock’s Vertigo along with the film on November 1, marking the world premiere performance of the full score. The music for Vertigo was also composed by Bernard Herrmann, and Steven Smith notes that in this particular score, “The Wagner-tinged love theme evokes the obsessive desire of James Stewart’s character, and in the exhilarating opening credits, Herrmann’s music and Saul Bass’ visuals swiftly plant us in worlds of irrationality, fear and excitement.” Shot on location here in San Francisco, Vertigo is considered one of the defining works of Hitchcock’s career. One hour prior to the presentation of Vertigo on November 1, Steven Smith will give an informal talk from the Davies Symphony Hall stage to shed light on the working relationship of Alfred Hitchcock and Bernard Herrmann.

The Hitchcock Film Week concludes on November 2 with a presentation of Hitchcock!—Greatest Hits, in which the SFS performs excerpts along with the respective clips from a number of Hitchcock’s movies. The films included in the evening’s compilation are To Catch a Thief, with music by Lyn Murray; Strangers on a Train and Dial M for Murder, both of whose scores were written by Dimitri Tiomkin; and Vertigo and North by Northwest, scored by Bernard Herrmann. North by Northwest star Eva Marie Saint serves as host for the evening to guide audiences through some of the most famous scenes from Hitchcock’s films, with their unforgettable scores performed live by the Orchestra.

About the Hitchcock Week Performers and Speakers

Joshua Gersen made his conducting debut at age 11 with the Greater Bridgeport Youth Orchestra in Bridgeport, CT, and his professional conducting debut 5 years later, when he led the Greater Bridgeport Symphony in a performance of his own composition, A Symphonic Movement.  He is currently the John S. and James L. Knight Foundation Conducting Fellow of the New World Symphony, where he serves as the assistant conductor to Artistic Director Michael Tilson Thomas, and leads the orchestra in various subscription, education, and family concerts.  He is also the Music Director of the New York Youth Symphony, a post he began in September 2012. He has attended numerous conducting workshops and summer festivals, most recently the American Academy of Conducting at the Aspen Music Festival in the summers of 2010 and 2011, where he worked such distinguished conductors as Larry Rachleff, Hugh Wolff, and Robert Spano.  As a result of winning the 2011 Aspen Conducting Prize, he served as the festival’s assistant conductor for the 2012 summer season. Mr. Gersen is a graduate from the Curtis Institute of Music in Philadelphia, where he studied conducting with Otto-Werner Mueller.

Beyond his conducting interests, Gersen is also an avid composer.  In 2006, Gersen finished his work at the New England Conservatory in Boston, where he received his Bachelor of Music degree in composition studying with Michael Gandolfi. He has had works performed by the New Mexico Symphony, Greater Bridgeport Symphony, and frequently with the Greater Bridgeport Youth Orchestra. His work as a composer has also led to an interest in conducting contemporary music.  He has conducted several world premieres and collaborated with such established composers as John Adams, Christopher Rouse, Steven Mackey and his teacher Michael Gandolfi.

Todd Wilson is head of the organ department at the Cleveland Institute of Music, and Director of Music and Worship at Trinity Episcopal Cathedral in Cleveland, Ohio. Mr. Wilson has been heard in concert in many major cities throughout the United States, Europe, and Japan. In addition, he is Curator of the E.M. Skinner pipe organ at Severance Hall, home of the Cleveland Orchestra, and House Organist for the newly-restored Aeolian organ at the Stan Hywet Hall and Gardens in Akron, Ohio. Mr. Wilson was previously director of music and organist at the Church of the Covenant in Cleveland for nineteen years, and from 1989 through 1993 he was Head of the Organ Department at Baldwin-Wallace College Conservatory of Music. Prior to these positions, he served as organist and choirmaster of the Cathedral of the Incarnation in Garden City, New York. Mr. Wilson received his bachelor’s and master’s of music degrees from the College-Conservatory of Music at the University of Cincinnati, where he studied organ with Wayne Fisher and piano with John Quincy Bass. He received further coaching in organ repertory with Russell Saunders at the Eastman School of Music.

Producer and journalist Steven C. Smith is the author of the biography A Heart at Fire’s Center: The Life and Music of Bernard Herrmann, winner of the ASCAP-Deems Taylor Award. The book was the primary research source for the Academy Award-nominated documentary Music for the Movies: Bernard Herrmann. A four-time Emmy nominee and five-time Telly Award winner, he has produced over 200 documentaries for such television series as A&E Biography and AMC Backstory, including profiles of Steven Spielberg and Marlon Brando. Smith has provided DVD audio commentaries for such films as Vertigo, Jane Eyre and The Day the Earth Stood Still, and written about film music for The Los Angeles Times, Entertainment Weekly and Newsday.

With a career spanning more than six decades, Eva Marie Saint first starred opposite Marlon Brando in On The Waterfront, for which she won an Academy Award.  In addition to North by Northwest, she went on to star in several other movies including A Hatful Of Rain, Raintree County, Exodus, The Russians Are Coming! The Russians Are Coming!, All Fall Down, Grand Prix, Loving, Nothing In Common and I Dreamed Of Africa. Her recent films include Because of Winn-Dixie, Don’t Come Knocking, Superman Returns and the upcoming Winter’s Tale. Saint’s television appearances include roles on Frasier, Moonlighting, Time To Say Goodbye and The Last Days Of Patton.  She has earned four Emmy nominations for her work in Philco TV Playhouse, Our Town, with Frank Sinatra and Paul Newman, Hallmark Hall of Fame’s Taxi!!! With Martin Sheen and How The West Was Won.  In 1990, Saint won an Emmy for her performance in the NBC mini-series People Like Us. In theater, she has starred in the Broadway presentations of Trip to Bountiful, The Lincoln Mask and Duet for One.  Saint and her husband director Jeffrey Hayden produced the PBS television documentaries Primary Colors: The Story of Corita, which she narrated, and Children in America’s Schools, for which they won an Emmy.

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Pablo Heras-Casado Leads The SF Symphony And Chorus, Leila Josefowicz, And Guest Vocal Soloists In Two-Week Festival Pairing Music By Thomas Adès And Mendelssohn October 3-13 At Davies Symphony Hall

Festival program is inspired by Shakespearean and literary themes, dance, and the Baroque

Spanish conductor Pablo Heras-Casado, whose compelling command of the repertoire ranges from early music through core classical works and new music, returns to the SF Symphony to lead the Orchestra and Chorus with violinist Leila Josefowicz and guest vocal soloists in a two-week Mendelssohn-Thomas Adès festival October 3-13 at Davies Symphony Hall. The festival’s musical focus explores and juxtaposes the works of the two composers in orchestral and chamber settings of music influenced by Shakespeare, dance, literature, and the artists’ mutual fascination with the Baroque. Thomas Adès performs two of his own works and music by Ravel at the piano and harpsichord in an October 3 chamber concert with SF Symphony musicians.

Week 1: October 3-6

The festival’s opening orchestral program, beginning October 3 at 2 pm, features the first SFS performances of Adès’ Three Studies from Couperin and Mendelssohn’s Symphony No. 3, Scottish on a program with Stravinsky’s Violin Concerto, performed by Leila Josefowicz. Illuminating Mendelssohn and Adès’ shared enthusiasm for the Baroque, the program also includes the first SFS performances of Jean-Baptiste Lully’s Overture and Passacaille from Armide (1686).

Also on October 3, at 8 pm, Thomas Adès will perform two of his compositions, Piano Quintet, and Sonata da Caccia for Oboe, Horn, and Harpsichord, at the keyboard with members of the Orchestra in a chamber concert at Davies Symphony Hall. Debussy’s Sonata for Flute, Viola, and Harp and Ravel’s Chansons madécasses, with Adès on piano, round out the program.

Week 2: October 10-13

In a program inspired by William Shakespeare and Johann Wolfgang von Goethe, Heras-Casado conducts the SF Symphony and Chorus with a cast of soloists including soprano Audrey Luna (Ariel), mezzo-soprano Charlotte Hellekant, mezzo-soprano Isabel Leonard, tenor Alek Shrader, and baritone Rod Gilfry in the Orchestra’s first performances of scenes from The Tempest, Adès’ acclaimed second opera (his first was Powder Her Face). Luna sang the role of Ariel at the Metropolitan Opera in 2012 under Adès’ direction. The program also includes Mendelssohn’s A Midsummer Night’s Dream and the first SFS performances of Die erste Walpurgisnacht.

Hellekant’s SFS debut and only previous performances were in 1992 under Conductor Laureate and then-Music Director Herbert Blomstedt, performing Mahler’s Symphony No. 2. Luna, Leonard, Shrader and Gilfry will all make their SFS debuts with these performances.

About Pablo Heras-Casado


Pablo Heras-Casado enjoys an unusually varied conducting career, encompassing the great symphonic and operatic repertoire, historically-informed performance, and cutting-edge contemporary scores. In 2011 he was appointed Principal Conductor of the Orchestra of St. Luke’s in New York, beginning a four-year term, including an annual concert season at Carnegie Hall. He made his first conducting appearances with the SF Symphony in 2010, conducting the music of Mendelssohn, Shostakovich, Liszt, and Kurtág. He returned in 2012 and 2013, with programs encompassing Stravinsky, Prokofiev, de Falla, Ravel, Liszt, Magnus Lindberg, and Luigi Dallapiccola.

In the 2013-14 season, Heras-Casado debuts with the New York Philharmonic, Philadelphia Orchestra, London Symphony Orchestra, Philharmonia Orchestra, and Gewandhaus Orchester Leipzig, as well as at the Metropolitan Opera, where he conducts Verdi’s Rigoletto. He returns to Carnegie Hall and the Caramoor Festival with the Orchestra of St. Luke’s, and conducts Beethoven’s Symphony No. 9 at the New Year’s concerts of Staatskapelle Berlin. Other highlights, in addition to his performances with the San Francisco Symphony, include engagements with Münchner Philharmoniker, Royal Concertgebouw Orchestra, Rotterdam Philharmonic Orchestra and Ensemble Intercontemporain. He also tours with Freiburger Barockorchester and guest conducts a series of concert and opera performances at the Mariinsky Theatre.

This month, Harmonia Mundi releases Heras-Casado’s recording of Schubert’s Symphonies Nos. 3 & 4 with Freiburger Barockorchester. A second album, featuring Symphonieorchester des Bayerischen Rundfunks in Mendelssohn’s Symphony No. 2, Lobgesang, follows in March 2014. Also this fall is the release of a disc on Sony featuring Plácido Domingo in baritone arias by Verdi with the Orquestra de la Comunitat Valenciana, conducted by Heras-Casado.

Recognized also for his work with contemporary music, Heras-Casado is a laureate of the 2007 Lucerne Festival conductors’ forum. In summer 2013, he returned for the third time to co-direct the festival’s Academy at the personal invitation of Pierre Boulez.

Heras-Casado is the holder of the Medalla de Honor of the Rodriguez Acosta Foundation, and in February 2012 was awarded with the Golden Medal of Merit by the Council of Granada, his hometown, of which he is also an Honorary Ambassador. His 2011 DVD recording of Kurt Weill’s Rise and Fall of the City of Mahagonny from Teatro Real received the Diapason d’Or.

About Thomas Adès



Renowned as both a composer and a performer, Adès works regularly with the world’s leading opera companies and festivals. He has conducted the Chamber Orchestra of Europe, the Los Angeles Philharmonic Orchestra, London Symphony Orchestra, the Royal Stockholm Philharmonic Orchestra, the BBC, Finnish and Danish Radio Symphony Orchestras, the London Sinfonietta, and many others. The SF Symphony co-commissioned and performed his work Polaris with original video from Tal Rosner during its 2011-12 Centennial season. The Orchestra and Leila Josefowicz performed Adès’ Violin Concerto (Concentric Paths) in 2009.

Last season, Adès made his Metropolitan Opera debut both as a conductor and as a composer, leading the Met premiere of his 2004 masterpiece, The Tempest, in a new production by Robert Lepage that was also seen internationally as part of “The Met Live in HD” cinemacast series. He also led the Boston Symphony in performances of his piano concerto In Seven Days and Prokofiev’s Piano Concerto No. 1 – both with Kirill Gerstein – as well as Sibelius’s Sixth Symphony and Luonnotar with soprano Dawn Upshaw. During the 2013/2014 season, Adès returns to the Boston Symphony to conduct a program of Mendelssohn, Ives, Franck, and his own Polaris.

Adès’ first opera, Powder Her Face, has been performed all around the world, was televised by Channel Four, and is available on a DVD and an EMI CD. Most of the composer’s music has been recorded by EMI, with whom Adès has a contract as composer, pianist and conductor. Recently released to outstanding reviews, The Tempest is also available on an EMI CD. The disc was awarded the prestigious Diapason d’Or de l’année and Adès won the 2010 Classical Brit Award for Composer of the Year.

Adès’ most recent works include In Seven Days, a collaboration with video artist Tal Rosner, commissioned by the Los Angeles Philharmonic and London’s Southbank Centre, and Lieux Retrouvés, a work for cello and piano written for Steven Isserlis and commissioned by Aldeburgh Festival and Wigmore Hall. Adès’ music has attracted numerous awards and prizes, including the prestigious Grawemeyer Award (in 2000, for Asyla), of which he is the youngest ever recipient.

About Leila Josefowicz

An outstanding advocate and champion of contemporary music for the violin, Leila Josefowicz is a frequent collaborator of several leading composers, and works with orchestras and conductors at the highest level around the world. She has also been awarded a prestigious MacArthur Fellowship, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life.

Violin concertos have been written especially for Leila Josefowicz by Colin Matthews, Steven Mackey and Esa-Pekka Salonen, while John Adams and Luca Francesconi have recently been commissioned to write new pieces for her. The latter will be given its world premiere by Josefowicz in February 2014 with Susanna Mälkki and the Swedish Radio Symphony Orchestra. The Salonen concerto was first performed by Josefowicz with the Los Angeles Philharmonic conducted by the composer, before subsequent performances throughout Europe and North America. She also gave the premiere of Matthews’ Concerto with the City of Birmingham Symphony Orchestra before performing the piece with the Orchestre national de Lyon and the BBC Symphony and Finnish Radio Symphony orchestras.

During the 2013-14, season Leila Josefowicz performs John Adams’ Violin Concerto with the Sydney Symphony and Melbourne Symphony Orchestra, conducted by the composer. Elsewhere, she appears with the BBC Symphony, Finnish Radio Symphony and Toronto Symphony orchestras, the Orchestra della Scala, and the Orchestra Sinfonica Nazionale della Rai. In addition to her San Francisco Symphony performances, Josefowicz also has engagements this season with the Chicago Symphony and Baltimore Symphony orchestras, the Los Angeles Philharmonic, and National Symphony Orchestra. Josefowicz also appears in recital at London’s Milton Court Concert Hall and Handelsbeurs Concertzaal in Belgium.

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Weekend Two: David Serva
Celebrating over 50 Years in Flamenco                                              

This concert is a celebration of David Serva’s foundational influence on the flamenco community of the Bay Area. A Bay Area native who has lived and worked in Spain as a professional flamenco guitarist for most of his life, David Serva has built a singular style on the artistic legacy of his maestro, Gypsy guitarist Diego del Gastor (1908-1973). Read more…

David will be joined on stage by a group of extraordinary musicians and dancers from Spain including Jose Galvez “El Duende”, Kina Mendez, Javier Heredia and Luis de la Tota.  


Friday, September 27 8pm Kuumbwa Jazz Center, Santa Cruz    TICKETS


*Paella on the Patio: street-style paella by Ñora Spanish Cuisine available before the show on patio outside of Kuumbwa, Santa Cruz, Friday, 9/27 (No Reservations)


Sunday, September 29 8pm The Freight & Salvage, Berkeley      TICKETS






Baile Workshops with Javier Heredia: Berkeley, Saturday, September 28, 3:30pm Ashkenaz      REGISTER

Palmas with Luis de la Tota: Berkeley, Saturday September 28, Casa Latina Bakery                  REGISTER

Guitarra with Jose Galvez: Berkeley: Saturday, September 28, 2:30pm, Private Home, Oakland   REGISTER

Cante with Jose Galvez: Berkeley Sunday, Septemer 29, 1pm, Private Home, Oakland                REGISTER

Private Guitar Classes with David Serva: October 1-19  email



Special Event: Flamenco Project
A Slideshow & Roundtable Discussion
Vintage images from the acclaimed collection edited by guitarist photographer Steve Kahn will spark discussion among a group of artists and flamenco aficionados who lived in Spain in the 1960s & 70s. The rare, never before seen film “Flamencología” will also be shown. Read more…


Panelists include Steve Kahn, David Serva, Paul Shalmy, Jill Bacán, Mica Graña and Kenny Parker.


Thursday, September 26  7pm La Peña, Berkeley  TICKETS

Weekend Three: Gema Moneo                         
Rising Star of Gypsy Flamenco Dance from Jerez de la Frontera

Gema Moneo is from the legendary Moneo clan of Gypsy flamenco singers and guitarists in Jerez de la Frontera. Niece of the famed singer El Torta, she grew up in the middle of an ongoing flamenco fiesta with constant singing and dancing at home and at family gatherings. At the age of 18 she joined Farruquito’s company and has appeared with him all over Spain and at festivals including the Bienal de Flamenco in Sevilla. Last year Gema debuted in the US with the all-star ensemble led by Diego del Morao, Fiesta Jerez at Festival Flamenco Gitano USA. Read more…

Gema will be joined on stage with a group of artists from Jerez de la Frontera including Jose Gálvez “El Duende” and El Quini.

GEMA MONEO        Friday, October 4 8pm Brava Theater, San Francisco              TICKETS

PERFORMANCES:   Saturday, October 5 8pm Thrust Stage, Berkeley Rep.           TICKETS

Sunday, October 6 8pm Kuumbwa Jazz Center, Santa Cruz    TICKETS




Baile Workshops with GEMA MONEO: Berkeley, Saturday, October 5, 3:30pm Ashkenaz      REGISTER

Palmas with Luis de la Tota: Berkeley, Saturday October 5, 11am, Casa Latina Bakery          REGISTER

Cante with El Quini de Jerez: Berkeley: Saturday, October 5, 1pm, Private Home, Oakland     REGISTER

Guitarra with Jose Galvez: Berkeley Saturday, October 5, 2:00pm, Private Home, Oakland      REGISTER



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