Archive | Art

“When You’re In Love, The Whole World Is Jewish Launches A Three-City California At San Francisco’s Marines’ Memorial Theatre

Following a wildly successful sold-out run in Los Angeles, the hit musical comedy revue WHEN YOU’RE IN LOVE, THE WHOLE WORLD IS JEWISH will be on the road for a three-city California summer tour. The show will open at San Francisco’s Marines’ Memorial Theatre from May 24-26 (Memorial Day Weekend).\

 WHEN YOU’RE IN LOVE, THE WHOLE WORLD IS JEWISH had an SRO World Premiere last February in Los Angeles and went on to have 35 consecutive sold-out shows and extended its limited run. Based on several ground-breaking comedy albums, this material has never been seen live until this production. Producers Danny Gold and Billy Riback decided to mount the show for one simple reason: “We were both weaned on classic comedy,” said Riback, “and the albums ‘You Don’t Have To Be Jewish,’ and ‘When You’re In Love, The Whole World Is Jewish,’ were gut-bustingly funny way back then, and because of the timeless nature of the comedy, part character study, part self-effacing lampooning, but always sweet-natured and good-hearted, they remain just as hilarious today.” Directed by Tony® Award-winner Jason Alexander (Seinfeld), the production brings to life the comedy albums of Bob Booker & George Foster with additional segments written by Jason Alexander, Danny Gold and Billy Riback.

Tickets are now on sale for performances at the Marines’ Memorial Theatre, located in the heart of San Francisco’s Theatre District at 609 Sutter Street. Tickets range from $45.00 – $66.00 and are currently available on the web at www.cityboxoffice.com, or by phone at (415)392-4400. The show will open in San Francisco on Friday, May 24th at 8:00pm, and will be followed by two performances on Saturday, May 25th — at 2:00pm and 8:00pm. The show will close with a 2:00 pm performance on Sunday, May 26th.

For this tour, producers Danny Gold and Billy Riback are excited to announce 12 more shows throughout the summer. “We wanted to share the laughter with the rest of California,” said Gold. “The audience in Los Angeles loved the show so much, and we’re thrilled to have the opportunity to bring it to larger audiences across the state.” Gold and Riback sought out Bob Booker, the creator of “When You’re In Love,” and enlisted the help of director Jason Alexander (Seinfeld) to revitalize the comedy albums that captivated the world in the 1960s. Gold and Riback are excited to be bringing back Alexander and the acclaimed original cast for each summer performance. The ensemble includes Broadway veterans Barry Gordon, Rena Strober and Jay Brian Winnick, and the supremely talented Michael Pasternak, Ellen Ratner and Robert Shampain.

THE BACKSTORY

In 1965, there was an innovative album that was capturing the public’s imagination, and it was called “You Don’t Have To Be Jewish” (Kapp Records), featuring the talented voices of Lou Jacobi, Betty Walker, Jack Gilford, and Frank Gallop. This collection of classic Jewish humor was written and produced by Bob Booker & George Foster, and within weeks of its release it was a Top 10 hit. It also received a Grammy nomination as “Comedy Album of the Year.” The next year a follow-up album was released entitled, “When You’re In Love, The Whole World Is Jewish” (Kapp Records), again featuring Lou Jacobi, Betty Walker, Frank Gallop, and introducing a young actress from New York named Valerie Harper. This album featured the Top 10 hit “The Ballad of Irving,” sung by Frank Gallop.

*Bob Booker and his first partner Earle Doud were the brains behind the largest and fastest selling album in the history of the record industry at the time, THE FIRST FAMILY, the 1962 satire on President Kennedy and his family featuring Vaughn Meader. THE FIRST FAMILY went on to win two Grammys: “Comedy Album” of the year, and “Album of the Year.”—–

 

For more information, visit the show’s official website at http://www.worldisjewishtheplay.com/

 

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SFMOMA Announces New Capital Campaign Goal To Make Art Even More Accessible For The People Of San Francisco And The Bay Area

SFMOMA Increases Campaign Goal by 11 Percent, with Focus on Education, Digital Engagement, and Public Art

Museum Also Announces $5 Million Challenge Grant from Anonymous Donor to Provide Free Admission for Visitors Ages 18 and Under

With 89 percent of the capital campaign goal raised three years ahead of the opening of the San Francisco Museum of Modern Art (SFMOMA)’s expanded home, and with 100 percent of the museum’s Board of Trustees supporting the campaign, SFMOMA’s Board has raised the capital campaign goal to $610 million from $555 million, an increase of 11 percent.

The additional funds will enable SFMOMA to pursue three goals: to become a national leader in digital engagement; to pursue an expanded art commissioning program in the museum’s public spaces; and to increase accessibility to the museum, particularly for school-age children. As part of this new campaign goal, the museum also announced a $5 million challenge grant from an anonymous donor, with the aim of creating a $10 million endowed fund that would enable SFMOMA to offer free admission to all visitors ages 18 and under.

“We are deeply encouraged by and thankful for the tremendous support we’ve already received for our vision of a transformed SFMOMA—a forward-facing institution that will further enrich the cultural and educational ecologies of San Francisco and the region,” said SFMOMA Director Neal Benezra. “We view this community enthusiasm as a testament to the fact that SFMOMA is committing to the potential of the city and region. The incredible response to the capital campaign among museum leadership and friends spurred us to increase the campaign goal so we can offer even better art experiences to even more people when we reopen in 2016.”

SFMOMA began its capital campaign in 2009, with the goal of increasing the museum’s space for the presentation and study of art, developing a more robust set of programs and community initiatives, and growing the museum’s endowment. In 2009 the museum also announced that the Fisher family would share its renowned collection of contemporary art with the public through a century-long agreement and presentation of the collection at SFMOMA. In 2010 SFMOMA announced the selection of architecture firm Snøhetta as its design partner and in 2011 released the conceptual design for its new building. The formal groundbreaking for the project will take place on May 29, 2013, and completion is projected in early 2016. In addition to increasing the museum’s space, art and educational programming, and accessibility to the public, SFMOMA’s capital campaign is also ensuring the museum’s future stability by more than tripling the size of its current $100 million endowment to a total of $320 million.

“One of the main goals of the museum leadership and the Board is to work with the community throughout the expansion period to make sure that the new museum is accessible to all,” noted Charles R. Schwab, chairman of the SFMOMA Board of Trustees. “The increase in the capital campaign goal is a reflection of our belief that we can develop even better access and education programs to share our passion for art with the San Francisco and Bay Area community for generations to come. We hope that people from across the community continue to join in our campaign and thus ensure that SFMOMA is open to everyone and remains a leader in collections and exhibitions, an innovator in arts education, and a pioneer in digital interpretation.”

Increasing Accessibility
Central to SFMOMA’s expansion program is growing opportunities for all audiences to visit the museum—and doing so in a manner that is financially sustainable over time. The creation of a $10 million endowed fund to offer free admission to all visitors ages 18 and under—spurred by a $5 million challenge grant from an anonymous donor—will expand the museum’s current policy of providing free admission to visitors ages 12 and under. This initiative will specifically help SFMOMA engage students from underserved public schools throughout the region.

Extending free admission to visitors ages 18 and under is the final component in the museum’s $50 million investment in education and access as part of its expansion. This initiative began in 2012 with a lead gift from Lisa and John Pritzker to enable SFMOMA to triple the volume of school visitors the museum currently serves, from 18,000 to 55,000 annually in 2016.

Other new components of SFMOMA’s commitment to education, young people, and families include:

  • As part of an expanded partnership with the San Francisco Unified School District, SFMOMA will create a Teacher Institute that will provide professional development and training for more than 2,000 elementary, middle, and high school teachers annually
  • The creation of the Deborah and Kenneth Novack Associate Curator of Education position
  • Continued commitment to family experiences, including offering four free days of admission annually to families
  • New and expanded facilities for educational programming, included the expanded Koret Visitor Education Center and the “white box,” a versatile space in the new building that will open new doors for school-group tours, film screenings, and special events.

“The city of San Francisco looks forward to welcoming a transformed SFMOMA that will serve as an even greater resource to all who live, work, and visit the San Francisco Bay Area region,” said San Francisco Mayor Edwin M. Lee. “We appreciate the tremendous generosity demonstrated so far, and are particularly excited by the plans for the next phase of the museum’s capital campaign, especially providing free admission to all young people and increasing free access to art for the whole community.”

The museum is currently exploring ways to further broaden accessibility for school-age visitors, such as providing free transportation to the museum from public schools and expanding after-school programming. Building upon a decade of industry leadership in the area of digital teaching resources, SFMOMA will also pioneer digital content strategies and resources with and for teachers.

Expanding Digital Engagement
As part of its commitment to improving the overall visitor experience, SFMOMA is also pursuing new digital initiatives that specifically aim to offer more personalized digital engagement and more interactive possibilities for exploring the museum’s permanent collection. In order to do this, the museum is currently exploring how to maximize the use of real-time location services and on-demand content delivery. SFMOMA is also striving to develop a digital engagement model that will enhance the museum experience while developing new technologies. Throughout the expansion period, SFMOMA will use its off-site programming as an opportunity to prototype various digital strategies for exploring and sharing art.

“Expanding digital engagement is an integral part of the museum’s mission of making the art of our time a vital and meaningful part of public life,” said Chad Coerver, chief content officer at SFMOMA. “Our aim is to provide digital tools and experiences that bring the museum’s collection to life in the eyes of visitors, and to create as many digital methods as possible for exploring the collection.”

Ongoing Art Commissioning Program 
SFMOMA today also announced that, as part of the new capital campaign goal, the museum is seeking to endow an expanded contemporary art commissioning program for the public spaces of the museum, including the Evelyn and Walter Haas Jr. Atrium and the Howard Street Gallery. SFMOMA has commissioned artists such as Sol LeWitt and Bill Fontana to create artworks specifically for public spaces of the museum in the past, and in 2009 began regularly commissioning artworks for the Haas Atrium, starting with Kerry James Marshall, who worked with local painters to create two murals for the museum. Building on the success of these commissions, SFMOMA will expand the commissioning program to additional public spaces in the museum’s new building, providing more opportunities for the whole community to connect with art for free.

Collections Campaign
SFMOMA holds one of the world’s foremost collections of the art of our time, and the leading collection of modern and contemporary art on the West Coast. Concurrent with the capital campaign, the museum is also expanding its permanent collection, which forms the foundation of the museum’s exhibition programming. In February 2009 SFMOMA launched a multiyear campaign to further strengthen the collection, which has more than doubled in size to over 29,000 works since the museum moved to its current home in 1995. In February 2011 the museum announced that it had received 195 promised gifts of art from nine leading Bay Area collectors. These promised gifts encompass major works by artists including Diane Arbus, Joseph Beuys, Robert Gober, Eva Hesse, Jasper Johns, Ellsworth Kelly, Bruce Nauman, Jackson Pollock, Ed Ruscha, Cindy Sherman, and David Smith. And in November of 2012 SFMOMA announced pledged gifts to the campaign of 473 photographs, deepening the museum’s renowned holdings in 20th-century American and Japanese photography. These and other works promised or pledged to the collections campaign will be on view in the expanded museum.

Source: http://www.sfmoma.org/about/press/press_news/releases/962#ixzz2Sny66Ykc
San Francisco Museum of Modern Art

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THE MARSH San Francisco Presents Safiya Martinez’s So You Can Hear Me

The Marsh San Francisco is proud to present Safiya Martinez’s new solo show, SO YOU CAN HEAR ME, a love letter to New York and voices from its public schools. The show is based on her experience as a young twenty-three year old who, flashing hubris like a 9mm pistol, signed up to teach special education classes to middle and high school students in the South Bronx public schools after only three weeks of formal training. Her parents, who lived in the Lower East Side projects, were struggling artists. Her father was an African-American jazz musician and her mother, a modern dancer, was part Puerto-Rican, part Russian Jew. Martinez loved them dearly—as she puts it, “there was Tolstoy in the house” —but given the artistic nature of her family, when compared to the hard-boiled working class neighborhood in which they moved, surrounded by drug addicts and the homeless, she was sometimes a little unclear about her place in the jigsaw puzzle. At the same time, she felt rooted in what she calls “a lot of sweetness and community” (her mother was a third-generation Lower East Sider) and her family reveled in the diverse, counter-cultural, politically engaged and often radical atmosphere.

One thing was certain, however; she wanted to earn enough money to rent her own place and live better than her parents did. So, after graduating from school, when she saw a poster advertising a special-ed teaching opportunity, she jumped at it, seduced by the $40,000 salary…with benefits…combined with the chance to do some good in the world. She considered herself a super-smart tough girl, a born and bred New Yorker, who could take the best the City had to throw at her. Piece of cake she thought.

The show, a world premiere directed by David Ford, plays on Thursday and Friday at 8:00 pm and Saturday at 5:00 pm from May 23 through July 20, 2013 on The Marsh MainStage, 1062 Valencia Street in San Francisco. For tickets, the public may visit www.themarsh.org or call 415-282-3055.

In the show, Martinez tells the stories of nine kids, first from her point of view, and then from theirs, in a series of inter-connected narratives. Her students were in special ed for a wide range of reasons, from rampant ADD to autism to multiple sclerosis to mild cases of dyslexia—meaning there was little rhyme or reason to the wildly disparate abilities and energies of the class. Her characters speak with urgency, swagger, vulnerability as Martinez struggles through a series of sometimes funny, sometimes scary, often moving interactions with them. Frequently, they gain the upper hand and leave her unable to impose even a semblance of order and discipline. This upsets her sense of her own abilities. Taken aback, she has to move beyond her tough-girl hubris, which clearly isn’t working, and dig for more effective solutions, both pedagogical and personal.

Safiya Martinez is a playwright, performer, poet and educator. She began her career as a dancer, and was a soloist in the Obie-nominated site-specific work entitled “Demeter’s Daughter” in New York City [1997]. She studied Vagonova Ballet technique from Madame Darvash at Broadway Dance Center, and Horton and Graham modern technique at Alvin Ailey School of Dance. Her poetry has been published in Generations Literary Magazine. She has a BA in Anthropology from the New School, has completed the New York City Teaching Fellows Program and received an M.S. in Urban Education from Mercy College in New York. She has also recently received an MFA in Creative Writing at San Francisco State. Currently she works as an Arts Integration Specialist for Community Works, Inc, an organization engaging youth and adults in arts, education and restorative justice programs aimed at interrupting the far-reaching impact of incarceration and violence. She has conducted acting workshops at the San Francisco Juvenile Justice Center.

 

Martinez developed SO YOU CAN HEAR ME at Tell it on Tuesdays and Monday Night Marsh and has performed it as part of Stanford University’s Live Shorts storytelling program. Her Marsh Rising performance earlier this year was greeted with amazement and stunned emotion. Many of the audience were in tears, not because the show is sad (it’s not—it’s actually more funny than sad) but because of its overall impact—it packs a punch. Stephanie Weisman, Artistic Director, was so thrilled she booked the show that very evening and is proud and excited to present Martinez’s work on The Marsh stage.

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Z Space presents Josh Kornbluth’s hit stage show, Love & Taxes, for a two-night exclusive engagement benefiting Z Space

Z Space is pleased to announce that author, performer and actor Josh Kornbluth returns to Z Space for an exclusive two-night engagement of his critically-acclaimed show Love & Taxes. Initially directed Z Space founder David Dower, Love & Taxes is a hilarious yet harrowing tale of a man who must get out of a really, really bad tax situation before his baby is born. Proceeds from the performances benefit Z Space and its 20th Anniversary year.

Z Space and Kornbluth have a long history together – over the years Z Space has been involved in the production of many of his hit shows, including: Mathematics of Change, Citizen Josh, Haiku Tunnel, Red Diaper Baby and Love & Taxes. It is only fitting that Kornbluth return to Z Space along with its founder Dower, to present one of his most popular shows. Love & Taxes is also currently being adapted into a new feature film by the Kornbluth Brothers.

The first-ever pro-tax romantic comedy, Love & Taxes tells the story of Josh, a legal secretary who has gone seven uneventful years without filing his tax returns. But when his boss, a prominent tax attorney, demands that he get back into “The System,” Josh rapidly falls down a rabbit hole of ever-deepening tax miseries. His instinct, honed over a lifetime of being a slacker, would be to simply drop out of “The System” again-but he’s fallen in love with Sara, a neurotically shy but charmingly impulsive public school teacher. Sara gets pregnant with Josh’s child and she demands that they get married by the time the baby is born and that Josh solve his increasingly terrible tax problem before they get married. Faced with this ultimatum, Josh must confront the source of his antipathy towards “The Man” – a countercultural childhood in which his parents seemed to teach him that the responsibilities of citizenship (like paying taxes) were an impediment to love and intimacy. Now, however, he begins to realize that in order to be a loving husband, father and citizen, he must embrace those communal responsibilities-that, for him, love and taxes are inextricably bound together.

Wednesday-Thursday, May 22 2013 – May 23 2013, 8pm
Z Space, 450 Florida Street, San Francisco
Tickets: $25-$70, www.zspace.org or 866.811.4111

About Z Space

Founded in 1993, Z Space is a hub for artists and audiences to revel in the creation, development, and production of outstanding new work. Z Space commissions, develops, and produces a full season of new works from a variety of disciplines including theater, dance, music, performance art, and new media. Z Space fosters opportunities around the nation for these works and for their Bay Area artists. The organization engages diverse audiences through direct interactions with the process, the projects, and the artists. Since 2009 Z Space has managed and operated a 13,000 sq/ft, 229-seat performing arts venue and gallery: home to more than 40 weeks of public multidisciplinary arts programming annually. In March 2013 Z Space opened Z Below, a 2,100 sq/ft 88-seat second stage ideal for the development of new work that will allow the organization to provide more rehearsal and performance options for its companies in residence.www.zspace.org.

 

 

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Conductor David Robertson Leads The SF Symphony And Pianist Marc-André Hamelin In Performances Of Carter, Ravel And Gershwin May 22-25 At Davies Symphony Hall And Sonoma State University’s Weill Hall

Acclaimed American conductor David Robertson leads the San Francisco Symphony in performances of Ravel’s La Valse and Elliott Carter’s Variations for Orchestra, and renowned pianist Marc-André Hamelin is featured in performances of Ravel’s Piano Concerto in D major for the Left Hand and Gershwin’s Rhapsody in Blue May 22, 24-25 at Davies Symphony Hall and May 23 at Weill Hall at Sonoma State University’s Green Music Center.

Gershwin’s Rhapsody in Blue has been frequently performed by the Orchestra, perhaps most famously with Gershwin himself and Music Director Pierre Monteux at UC Berkeley in 1937. In 1921, Music Director Alfred Hertz conducted the U.S. premiere of Ravel’s La Valse at the Columbia Theater (now the American Conservatory Theater), and Ravel himself led the SFS in La Valse and other impressionist works at the Curran Theater in 1928. Commissioned by Austrian pianist Paul Wittgenstein, who lost his right arm during World War I, Ravel’s Piano Concerto in D major for the Left Hand was first performed by the SFS in 1946 with Wittgenstein at the piano and Monteux conducting. Composer Elliott Carter, who died at age 103 in November 2012, had his Variations for Orchestra first performed by the SFS in 1963 under conductor Enrique Jordá.

David Robertson is completing his eighth season as Music Director of the 133-year-old St. Louis Symphony. In January 2014, Robertson will assume the post of Chief Conductor and Artistic Director of the Sydney Symphony in Australia.

In March, Robertson and his orchestra toured California, including an intensive three-day residency at the University of California-Davis and a performance at the Mondavi Center for the Performing Arts with violinist James Ehnes. Robertson led the St. Louis Symphony and violinist Christian Tetzlaff on a European tour in 2012 which included appearances at London’s BBC Proms, at the Berlin and Lucerne Festivals, and culminated at Salle Pleyel in Paris.

French-Canadian pianist Marc-André Hamelin made his SFS debut in 2006 with the world premiere (and MTT/SFS commission) of Kevin Volans’ Piano Concerto No. 2, Atlantic Crossing, and appeared here most recently in 2010 performing works by Chopin and Mendelssohn. This season, Hamelin performs Haydn’s piano concertos with Les Violons du Roy and Bernard Labadie in a performance that will be recorded for release on Hyperion Records. He also performs Beethoven’s Piano Concerto No. 4 with the Zürich Tonhalle Orchestra, the Atlanta Symphony, and the National Arts Centre Orchestra in Ottawa. Hamelin will also perform Shostakovich’s Piano Quintet with the Takacs String Quartet on tour throughout North America. Also a composer, he will appear in recital at the 92nd Street Y for the New York premiere of his Variations on a Theme by Paganini. His most recent releases include Reger’s and Strauss’s piano concertos with the Berlin Radio Symphony, and a disc of solo piano works by Liszt that was selected for Gramophone’s 2011 Critic’s Choice feature. An album of his own compositions, Hamelin: Études, received a 2010 Grammy nomination (his ninth) and a first prize from the German Record Critic’s Association.

Wednesday, May 22 at 8 pm
Thursday, May 23 at 8 pm (Sonoma State University Green Music Center – Weill Hall)
Friday, May 24 at 6:30 pm
Saturday, May 25 at 8 pm

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Conductor Nicola Luisotti Returns With The Sanfrancisco Opera Orchestra On Friday, May 17

Nicola Luisotti and the San Francisco Opera Orchestra step out of the pit and into the bright lights of center stage at Zellerbach Hall on Friday, May 17 at 8:00 p.m. The concert begins with Giacomo Puccini’s Capriccio sinfonico. Written during his time as a student at the Milan Conservatory, this was the last orchestral piece that Puccini ever wrote and expresses a musical style like that of the preambles of his famous operas. Next comes a more modern piece, Nino Rota’s Piano Concerto in C major (1959-1962). Rota was a contemporary Italian composer most famous for writing film scores for The Godfather and The Godfather Part II, the latter of which received an Academy Award. Johannes Brahms’ passionate and lyrical Symphony No. 3 in F major completes the program. San Francisco Chronicle praised the orchestra’s last appearance at Cal Performances in 2011 for its “robust and finely colored ensemble sound, [and] powerful sense of dramatic momentum.”

Mastro Nicola Luisotti has led the San Francisco Opera Orchestra since 2009. Luisotti has conducted with nearly every major opera company in the world, including La Scala, Paris Opera, Metropolitan Opera, Royal Opera Covent Garden, and the Vienna State Opera. He has also worked with many of the world’s great orchestras, including the Berlin Philharmonik, London Philharmonia, NHK Symphony, Russian National Orchestra, and the San Francisco Symphony. He was also previously the principal guest conductor of the Tokyo Symphony for three years. In 2012, Luisotti was named the music director of Teatro di San Carlo in Naples, Italy. In this position, he has led a performance of Verdi’s rarely performed Masnadieri and a concert of Puccini’s Messa di Gloria. This season, he also produced a new production of Nabucco at Milan’s La Scala and Covent Garden. Praised by Opera Magazine for being “both an original thinker and a great respecter of tradition,” he is currently a finalist of their prestigious Conductor Award. To learn more about Luisotti, visit his official page at http://nicolaluisotti.com.

The San Francisco Opera Orchestra was founded in 1923. Today, the orchestra has nearly 70 professional musicians and plays a full season of opera and concert performances. In addition to performing with the opera orchestra, the orchestra’s members play in numerous Bay Area ensembles including the San Francisco Ballet Orchestra, San Francisco Chamber Orchestra and San Francisco Contemporary Music Players. Artists also teach at local institutions, including the San Francisco Conservatory of Music, UC Berkeley, San Francisco State University and St. Mary’s College. Members also maintain active studio recording careers, are featured in music festivals and run private teaching studios. To learn more about the orchestra, visit their official page at http://sfopera.com/About/People/Orchestra.

TICKET INFORMATION
Tickets for the San Francisco Opera Orchestra on May 17 at 8:00 p.m. in Zellerbach Hall range from $20.00-$80.00 and are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door. Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets. For more information about discounts, go to http://calperformances.org/buy/discounts.php or call (510) 642-9988.

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San Francisco Symphony Youth Orchestra Concludes 2012-13 Season In Davies Symphony Hall May 19, 2013



  Program includes West Coast premiere of SFSYO Alumnus Nathaniel Stookey’s Mahlerwerk 

SFSYO’s recording of Mahler’s Symphony No. 1 from the Berlin Philharmonie

to be released on CD by SFS Media May 14

 The San Francisco Symphony Youth Orchestra (SFSYO) and Wattis Foundation Music Director Donato Cabrera conclude their 2012-13 season with a concert that includes the West Coast premiere of Nathaniel Stookey’s Mahlerwerk, Beethoven’s Symphony No. 5, Ligeti’s Atmosphères, and Ravel’s Daphnis and Chloe at Davies Symphony Hall on Sunday, May 19 at 2 pm. Additionally, SFS Media, the San Francisco Symphony’s in-house label, releases a recording on May 14 of the SFSYO performing Mahler’s Symphony No. 1 live at the Berlin Philharmonie. This is the SFSYO’s first recording since 2001, and its first on the SFS Media label. Proceeds from the sale of the album benefit the San Francisco Symphony Youth Orchestra touring program.

Mahlerwerk, Stookey’s latest orchestral work, was commissioned by NDR-Sinfonie (Hamburg) for the final concert of its centennial Mahler cycle and was premiered under Christoph Eschenbach before an audience of 10,000. It received its United States premiere at the New England Conservatory in 2011 and will be recorded by NDR in 2013. The Schleswig-Holsteiner Zeitung describes Mahlerwerk as a “crazy puzzle” and an “intelligent, musically appealing, even exhilarating homage to Gustav Mahler.”

Nathaniel Stookey has a particularly special connection to the San Francisco Symphony and its Youth Orchestra: in addition to being an alumnus of the SFSYO, Stookey received his first commission from the SFS at the age of 17, for the Orchestra’s New and Unusual Music series. In 2006, the San Francisco Symphony commissioned, premiered, and recorded Stookey’s The Composer Is Dead, a sinister guide to the orchestra with narration by Lemony Snicket. The work has since been performed by over 100 orchestras on four continents and is one of the five most performed classical works of the 21st century, worldwide. In 2007, members of the SFSYO performed in the world premiere of Stookey’s Junkestra, a work for an orchestra of objects scavenged at the San Francisco Solid Waste Transfer and Recycling Center. Junkestra subsequently drew thousands of listeners to warehouses, public squares, and YouTube before being taken up by the San Francisco Symphony and other classical presenters.

In advance of the May 19 concert, the SFSYO will release its new recording, Live at the Berlin Philharmonie, Mahler Symphony No. 1, on SFS Media, the San Francisco Symphony’s in-house label, on May 14 from the San Francisco Symphony Store and the iTunes music store, and on July 9 from all other music retailers. The performance was captured live in concert on July 3, 2012 during the Youth Orchestra’s most recent on tour of Europe. The SFSYO’s recording can be purchased from iTunes at itunes.com and on CD from the San Francisco Symphony Store in Davies Symphony Hall and online from sfsymphony.org/store. Proceeds will benefit the San Francisco Symphony Youth Orchestra touring program.

About the SFSYO


The San Francisco Symphony Youth Orchestra (SFSYO) is recognized internationally as one of the finest youth orchestras in the world. Founded by the San Francisco Symphony in 1981, the SFSYO’s musicians are chosen from more than 300 applicants in annual auditions.  The SFSYO’s purpose is to provide an orchestral experience of pre-professional caliber, tuition-free, to talented young musicians from the greater Bay Area.  The more than 100 diverse musicians, ranging in age from 12 to 21, represent communities from throughout the Bay Area.  The SFSYO rehearses and performs in Davies Symphony Hall under the direction of Wattis Foundation Music Director Donato Cabrera.  Jahja Ling served as the SFSYO’s first Music Director, followed by David Milnes, Leif Bjaland, Alasdair Neale, Edwin Outwater, and Benjamin Shwartz.

As part of the SFSYO’s innovative training program, musicians from the San Francisco Symphony coach the young players each Saturday afternoon in sectional rehearsals, followed by full orchestra rehearsals with Cabrera. SFSYO members also have the opportunity to work with many of the world-renowned artists who perform with the SFS each week.  SFS Music Director Michael Tilson Thomas, SFS Conductor Laureate Herbert Blomstedt, Sir Simon Rattle, Kurt Masur, Valery Gergiev, Leonard Slatkin, Yo-Yo Ma, Isaac Stern, Yehudi Menuhin, Vladimir Ashkenazy, Midori, Joshua Bell, Gil Shaham, Sarah Chang, and many others have worked with the SFSYO.  Of equal importance, the students are able to talk with these prominent musicians, asking questions about their lives, their professional and personal experiences, and about music.

In June 2012, Donato Cabrera led the SFSYO on its eighth European tour.  For its series of six performances—including appearances at the Berlin Philharmonie, Munich Philharmonie, the International Festival d’Echternach in Luxembourg, the Rheingau Festival in Wiesbaden, Regensburg and Salzburg—the SFSYO won a 2011-12 ASCAP Award for Adventurous Programming of American music on foreign tours.

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University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA) Presents Rebar: Kaleidoscape

The Berkeley Art Museum and Pacific Film Archive (BAM/PFA) presents Kaleidoscape, a new installation by the San Francisco–based design firm Rebar. Both a work of art and a piece of furniture, the modular sculpture is designed to be reconfigured spontaneously by visitors and is theother visitors to enjoy Kaleidoscape as a site for study and socializing. The installation will be on view from May 12, 2013 through late 2015.

Rebar is known for work that challenges expectations about the use of public space, the potential of materials, and the opportunities for social and cultural interaction. Recent projects include Park(ing) (2005), which transformed metered parking spaces in San Francisco into temporary parklets, the Panhandle Bandshell (2007) fabricated from recycled materials, and the restoration of degraded bird habitats on Año Nuevo Island with nest modules and habitat ridges (2009-2011).

About Rebar

Rebar was founded in 2004; the principal designers are Matthew Passmore, John Bela, Blaine Merker, and Teresa Aguilera. Their work has been exhibited at the 2008 Venice Architecture Biennale; ExperimentaDesign Amsterdam; ISEA 2009 Dublin; Yerba Buena Center for the Arts; the American Institute of Architects; the Canadian Centre for Architecture; Harvard Graduate School of Design; and Parsons School of Design.

About BAM/PFA

Founded in 1963, the UC Berkeley Art Museum and Pacific Film Archive (BAM/PFA) is UC Berkeley’s primary visual arts venue and among the largest university art museums in terms of size and audience in the United States. Internationally recognized for its art and film programming, BAM/PFA is a platform for cultural experiences that transform individuals, engage communities, and advance the local, national and global discourse on art and ideas. BAM/PFA’s mission is “to inspire the imagination and ignite critical dialogue through art and film.”

BAM/PFA presents approximately fifteen art exhibitions and 380 film programs each year. The museum’s collection of over 16,000 works of art includes important holdings of Neolithic Chinese ceramics, Ming and Qing Dynasty Chinese painting, Old Master works on paper, Italian Baroque painting, early American painting, Abstract Expressionist painting, contemporary photography, and video art. Its film archive of over 14,000 films and videos includes the largest collection of Japanese cinema outside of Japan, Hollywood classics, and silent film, as well hundreds of thousands of articles, reviews, posters, and other ephemera related to the history of film, many of which are digitally scanned and accessible online.

Museum Information

2626 Bancroft Way, just below College Avenue across from the UC Berkeley campus

Gallery and Museum Store Hours: Wednesday through Sunday, 11 a.m.–5 p.m.

Open L@TE Fridays until 9 p.m. Closed Monday and Tuesday.

24-hour recorded message (510) 642-0808; fax (510) 642-4889;

TDD (510) 642-8734.

Website: bampfa.berkeley.edu

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Eifman Ballet Of St. Petersburg Led By Renegade Russian Choreographer Boris Eifman Brings Rodin, A Fervent Tale Of Passion And Creation To Zellerbach Hall On May 10–12

A SIGHTLINES pre-performance conversation with choreographer

Boris Eifman and dance specialist Kathryn Roszak will be held Friday, May 10 at 7:00 at Zellerbach Hall

Art and passion will course from the Zellerbach Hall stage when the renowned Eifman Ballet of St. Petersburg gives the Bay Area premiere of their latest ballet, Rodin, on Friday through Sunday, May 10–12. Created in 2011 by Russian choreographer Boris Eifman, Rodin explores the stormy and tragic 15-year relationship between the French sculptor Auguste Rodin and his apprentice, lover, and muse, Camille Claudel, in a way that only Eifman—known for the highly charged, emotional tone of his work—can do. Eifman’s “trademark style, with its high drama, color, and expressionist overtones, is anything but subtle” (The Australian).

Rodin, which premiered in St. Petersburg in 2011 and has traveled to the United States just once prior to this tour, has been described by Boris Eifman as “a contemplation of the unreasonable price that geniuses have to pay for the creation of eternal masterpieces, and also about those torments and mysteries of the creative process that will always disturb the minds of artists.” The production begins and ends with Camille Claudel in a mental asylum, and depicts the emotional, physical, and psychological interaction between Claudel and Rodin, as well as the effects of that passion on the art they produced. Done with Eifman’s inimitable sense of stagecraft and drama, Rodin uses a prerecorded soundtrack of great French composers—Maurice Ravel, Camille Saint-Saëns, Jules Massenet, Eric Satie, and Claude Debussy—whose lives and art overlapped with Rodin’s.

Choreographer and artistic director Boris Eifman has long been a rebellious outsider. Born in Siberia, he trained at the Leningrad Conservatory and soon thereafter left the Soviet dance system to found the New Ballet (which received no government subsidies) in 1977. He has created more than 40 ballets in his unique and powerful style over his career, often relying on characters from timeless literature and their stories—Don Quixote, Don Juan, Hamlet, and Anna Karenina. In addition to leading the Eifman Ballet of St. Petersburg, Eifman also operates the Dance Academy of Boris Eifman in St. Petersburg, a cutting-edge dance training facility that includes ballet halls, a medical complex, sports facilities, and state-of-the-art technology that opened in January 2013. Since renaming itself as Eifman Ballet, the company has dedicated itself solely to works created by its founder. Members of the troupe are selected not only for being outstanding dancers, but also for their acting ability—a key element in Eifman’s psycho-sexual choreography. Fifteen soloists and 20 members of the corps-de-ballet make up the company, whose official website is eifmanballet.ru.

TICKET INFORMATION

Tickets for Eifman Ballet of St. Petersburg performing Rodin in Zellerbach Hall from Friday, May 10–Sunday, May 12 are priced from $30.00–$92.00 and are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door.  Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets.  For more information about discounts, go to http://calperformances.org/buy/discounts.php or call (510) 642-9988.

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Cal Performances Announces 2013/14 Season

World Premiere Of Mark Morris’s Acis And Galatea; Three-Concert Orchestra Residency By Vienna Philharmonic; Jeremy Denk Curates Ojai North!; Emanuel Ax Salutes Brahms With Yo-Yo Ma And Anne Sofie Von Otter; And Kronos Quartet Celebrates 40 Years With Two Concerts, Including World Premiere Top Cal Performances’ 2013/14 Season Season Kicks Off with Fall Free for All on September 29

Highlights of Cal Performances’ 2013/14 season, announced today by Director Matías Tarnopolsky, include the world premiere of a new, fully staged opera production of Mozart’s arrangement of Handel’s Acis and Galatea choreographed and directed by Mark Morris; 40th birthday celebrations for the Kronos Quartet, including A Meditation on the Great War, a world premiere commission from composer Aleksandra Vrebalov and filmmaker Bill Morrison; more than a dozen multiperformance residencies, including the return of the legendary Vienna Philharmonic for three concerts with three stellar conductors; Emanuel Ax’s personal journey into the music of Johannes Brahms with colleagues Yo-Yo Ma and Anne Sophie von Otter; John Malkovich exploring the legend of Casanova; Jeremy Denk curating the fourth season of Ojai North!; seven of the finest early music ensembles and musicians, including Jordi Savall and Hespèrion XXI and Stephanie Blythe with Les Violons du Roy; the Bay Area’s Marcus Shelby Jazz Orchestra in a salute to Duke Ellington; and the otherworldly vocals of the Barefoot Divas bringing alive the indigenous music of Australia, New Zealand, and New Guinea. A commitment to new work and collaborations remains a hallmark of Tarnopolsky’s tenure, with two major world premieres anchoring a season that brings more than 20 new works to the Bay Area from prestigious commissioning partners, including Carnegie Hall, the Los Angeles Philharmonic, and the Ojai Music Festival.

The Kronos Quartet, Cal Performances’ Artists-in-Residence and arguably the most well-known contemporary string quartet in the world, celebrates 40 years of innovation and adventure with two concerts in Berkeley. The first concert brings the ensemble full circle, featuring the work that inspired its founding: George Crumb’s astonishing Black Angels, a haunting work evocative of the Vietnam War and its aftermath. The concert also features music by Terry Riley and the extraordinary pipa virtuoso Wu Man (featured in two concerts this season) in a Bay Area premiere by Philip Glass. Later in the season, Cal Performances presents Kronos in the world premiere of A Meditation on the Great War—a multimedia commission from Serbian composer Aleksandra Vrebalov, filmmaker Bill Morrison, and Iraq War veteran-turned-visual artist Drew Cameron of the Combat Paper Project. Kronos continues its exploration into works that offer reflection and solace in the wake of profound events in modern history with this new work centered on war and its consequences. Morrison, known for his artistic signature collages of rare archival footage, will draw on seldom seen World War I film from the Library of Congress.

The 2013/14 season launches on September 29, 2013, with Fall Free for All—a free, daylong festival initiated by Tarnopolsky to introduce new audiences to Cal Performances’ impressive range of music, dance, and theater presentations. Since its inception in 2010, Fall Free for All has featured more than 500 artists and ensembles performing for audiences totaling more than 30,000 people. Highlights of the 2013 Fall Free for All include the New Century Chamber Orchestra, La Tania Baile Flamenco, Theatre of Yugen, Los Cenzontles, Pete Escovedo Latin Jazz, a family stage with percussionist Keith Terry, and much more.

The music of Schubert, Brahms, and Beethoven is presented on the programs of many artists and series. Pinchas Zukerman on violin and viola joins forces with pianist Yefim Bronfman for a recital program featuring all three of these master composers: the duo will perform Schubert’s Sonatina in A minor; Beethoven’s Sonata in C minor, Op. 30, No. 2; and Brahms’s Viola Sonata in F minor. Two celebrated artists make their Cal Performances debut this season in programs that feature Schubert: pianist Mitsuko Uchida, praised by The New York Times for her “transporting brilliance,” performs the Sonata in G major, D. 894, and baritone Gerald Finley, widely known for his exceptional performance as Robert Oppenheimer in the world premiere of John Adams’s Dr. Atomic at San Francisco Opera, performs Schubert’s haunting Winterreise, accompanied by pianist Julius Drake. Richard Goode brings the Austrian master’s Sonata in A major, D. 959. Shai Wosner, whose performance at the 2012 Fall Free for All received an enthusiastic ovation, offers a program that combines Drei Klavierstücke, the Sonata in A major, D. 664, and the Sonata in B-flat major, D. 960, with a work by the brilliant German composer Jörg Widmann, whose Idyll and Abyss: Six Schubert Reminiscences was written specifically to precede the Sonata in B-flat. The Calder Quartet brings “Death and the Maiden” Quartet, Schubert’s masterful rumination on mortality.

Three soloists and two ensembles offer audiences a chance to experience varied, distinct, and critically acclaimed viewpoints on Beethoven. Mitsuko Uchida performs his Diabelli Variations; Paul Lewis, whose recording of Beethoven’s sonatas was chosen as New York Times critic Anthony Tommasini’s number-one pick, performs Op. 27, Nos.1 and 2 (“Moonlight”); and Jonathan Biss, in the midst of a nine-year project to record Beethoven’s complete sonatas, returns to play two of them, Op. 90 and Op. 53 (“Waldstein”).

Anchoring the exploration of Brahms is pianist Emanuel Ax’s major project, Brahms and Beyond, offered over two evenings with cellist Yo-Yo Ma and mezzo-soprano Anne Sophie von Otter. In addition, Jonathan Biss offers his interpretation of Brahms’s Klavierstücke, and Andris Nelsons leads the Vienna Philharmonic in an evening featuring the composer’s Third Symphony and his Variations on a Theme by Joseph Haydn. In speaking of the inspiration for his major project, Ax credits a statement attributed to the late Herbert von Karajan: “Brahms’s music is like a deep well—you can keep drawing from it forever and never come to the bottom.” To add a new dimension to the musical evenings, Ax sought out four very different composers—Anders Hillborg, Brett Dean, Missy Mazzoli, and Nico Muhly—and asked each to create a new work using the beautiful opening notes of the Third Symphony as an inspiration or motif. Von Otter joins Ax for a program featuring Nico Muhly’s new work for mezzo-soprano and piano, Brahms’s Four Serious Songs, and selections from folksong and lieder repertoire. On the second evening, Ax performs Australian composer Brett Dean’s new work for solo piano and Yo-Yo Ma performs Anders Hillborg’s new cello sonata alongside Brahms’s Cello Sonatas No. 1 in E minor, Op. 38, and No. 2 in F major, Op. 99. The new works were co-commissioned by Cal Performances, Carnegie Hall, Chicago’s Symphony Center Presents, and the Los Angeles Philharmonic Association.

A remarkable number of contemporary works are interwoven in a similar way on programs throughout the season, including many United States, West Coast, and Bay Area premieres (see press kit for a complete list). With Thomas Dunford on the lute, countertenor Iestyn Davies makes his debut with a program that includes the West Coast premiere of another new work by Nico Muhly. Newly commissioned song cycles from Jonathan Leshnoff and David Bruce will be presented on a program featuring soprano Jessica Rivera, with the debut of mezzo-soprano Kelley O’Connor and an unusual chance to experience Atlanta Symphony music director Robert Spano in the role of accompanist. Franz Welser-Möst leads the Vienna Philharmonic in the West Coast premiere of On Comparative Meteorology, a work from contemporary Viennese composer Johannes Maria Staud. Premiered in 2010, the work is made up of six short pieces, which follow each other without pause and which are offset by fragments of text by the Polish Jewish visionary poet Bruno Schulz. Ned Rorem’s How Like a Winter, William Bolcom’s Cabaret Songs, and Michel van der Aa’s And how are we today? (2012) are featured on mezzo-soprano Christianne Stotijn’s program of solo, duo, and trio works. Cal Performances supports UC Berkeley composer Edmund Campion in bringing two world premieres to Bay Area audiences: Campion’s The Ossicles will receive its world premiere by the Berkeley Symphony in a co-commission with Cal Performances, and the Eco Ensemble performs the composer’s new work for piano and electronics on one of the chamber group’s two concerts featured on the 2013/14 season. The Eco Ensemble’s concerts also feature works by Franck Bedrossian, György Ligeti, Pierre Jodlowski, Erin Gee, Jonathan Harvey, and Mei-Fang Lin. A key work from the early period of Danish composer Hans Abrahamsen will be given its West Coast premiere by the Danish String Quartet.

New work is also central to programming for Cal Performances 2013/14 Dance series. In addition to the world premiere of Mark Morris’s Acis and Galatea, Nederlands Dans Theater brings West Coast premieres of Paul Lightfoot and Sol León’s Sehnsucht and Schmetterling; Trey McIntyre Project performs a new work to be named; and Cedar Lake Contemporary Ballet brings three works, all new to the Bay Area. The Shanghai Ballet will perform The Butterfly Lovers for the first time to Cal Performances patrons, and Alvin Ailey American Dance Theater traditionally includes premieres in its Berkeley residency.

Situated in the nation’s finest public university and at the heart of campus life, Cal Performances brings the performing arts front and center with the academic experience. We are deeply committed to collaborations and partnerships that strengthen the relationships between great artists, the campus community of UC Berkeley, and the audiences of Northern California. To this end, Tarnopolsky inaugurated the annual Orchestra Residency in 2011 with the Vienna Philharmonic, and the Austrians return this season with conductors Danielle Gatti, Andris Nelsons, and Franz Welser-Möst. Over three evenings, this legendary orchestra will explore some of the finest music by Schubert, Mahler, Brahms, and Bruckner and introduce Staud’s On Comparative Meteorology. A special symposium on the Vienna Philharmonic’s history in the context of politics and culture and master classes with the University’s student musicians further inform a wide variety of residency activities being planned. Another important partnership is the multi-year collaboration of Cal Performances and the legendary Ojai Music Festival, making possible annual reprises of Ojai concerts in Berkeley, as well as co-commissions and co-productions. More than a sharing of resources, Ojai North! represents a joining of artistic ideals and aspirations. The 2014 Music Director will be the renowned pianist Jeremy Denk.

Throughout the season, more than a dozen artists and ensembles, including Alvin Ailey American Dance Theater, the Kronos Quartet, the Mark Morris Dance Group, the Shanghai Ballet, the Martha Graham Dance Company, Jordi Savall with Hespèrion XXI and Tembembe Ensamble Continuo, and the Venice Baroque Orchestra, will spend an extended period working with the UC Berkeley community in lecture-demonstrations, master classes, school concerts, and symposia. Students and faculty benefit in numerous ways from Cal Performances’ programs, including performance opportunities with world-class artists and ensembles, fellowships and internships with the institution, opportunities to attend rehearsals and performances and to meet leading artists as part of coursework, significant discounts on performance tickets, performance opportunities through Student Musical Activities, and master classes designed and created specifically for University choral and instrumental ensembles.

“In this season we offer the opportunity to experience transformative performances by great artists from around the world—ranging across continents and genres, and spanning hundreds of years from the music of John Dowland to new projects born on our stages by such artists as the Kronos Quartet and the Mark Morris Dance Group,” said Tarnopolsky. “From the transcendent virtuosity of Mitsuko Uchida to the entirely unique vocal styling of Mariza, these artists and what they do are at the heart of Cal Performances. ‘Discover’ and ‘engage’ are the words we live by as we craft a season that stimulates the imagination and curiosity of our audiences.”

 

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The San Francisco Symphony’s Adventures In Music (AIM) Program Celebrates 25 Years Of Music Education In San Francisco’s Public Schools

Program provides curriculum-based music education to every single elementary school student in grades 1-5 in the San Francisco Unified School District free of charge

In 2013 the San Francisco Symphony (SFS) celebrates the 25th anniversary of Adventures in Music (AIM), the longest running and most comprehensive music education program of its kind among American Orchestras in public schools. AIM is an interdisciplinary music education program that integrates live music performances and experiences with everyday classroom lessons in language arts, social studies, science and other subjects. AIM is the result of a unique partnership between the San Francisco Symphony and the San Francisco Unified School District (SFUSD), and offers music education to every single San Francisco public elementary school student in grades 1 through 5, over 24,000 students each year. The San Francisco Symphony provides AIM free of charge to all schools, teachers and students.

Adventures in Music is comprised of multiple components that give elementary school children a well-rounded musical education experience that explores a variety of genres and topics. The AIM program also provides training, resources and materials for teachers to incorporate music into their lesson plans, regardless of the teacher’s own background in music. Key aspects of the AIM program include:

· Each year, the SFS develops a classroom curriculum that links musical experiences to disciplines such as language arts, science, geography, history, or social studies.

· SFUSD teachers are provided professional development workshops to help them integrate music into their everyday classroom lessons.

· Teachers receive classroom materials such as books, compact discs, simple instruments and other resources to assist them in implementing the program.

· Each student receives his/her own AIM student journal, which is tied to the ensemble’s performances and classroom curriculum and resources.

· The curriculum provided to the teachers prepares each student to experience four in-school musical presentations by specially-trained AIM ensembles made up of professional musicians from throughout the Bay Area.

· These AIM Ensembles present more than 1,100 in-school performances each school year.

· The music reflects the diversity of the San Francisco community by representing a variety of musical genres such as jazz, Latin, Western classical, traditional Chinese music, and other styles.

· All AIM students visit Davies Symphony Hall each year for a private concert by the San Francisco Symphony, which is specially-designed for them and incorporates ideas and subjects that students have been learning in their classrooms.

The National Association for Music Education has collected a range of studies and statistics that point to music education contributing to children’s success in both academic environments and social interactions, as well as in expanding their understanding of the world and cultures around them. An evaluation of AIM documenting the impact of the program on the students and teachers of the SFUSD reported:

· 87% of teachers and 86% of principals found their students more interested in music and the arts because of AIM.

· 86% of principals reported that AIM has helped increase student learning and achievement in other subject areas.

· 78% of principals reported that students are more accepting of cultures other than their own because of AIM. The report also confirmed that the SFS is perceived as an active member of its community, with a keen understanding of issues relating to children, learning, and community building.

SFUSD officials confirmed that the AIM program has led to an increase in students enrolling in instrumental music programs in middle and high school, which subsequently led to the SFS expanding its Instrument Training and Support program to serve every instrumental music student in SFUSD’s middle and high schools, grades 6-12.

Founded in 1988, the AIM program is a cornerstone to the San Francisco Symphony’s commitment to music education, which has been a part of its mission since its founding in 1911 when the second performance ever presented was a concert for children. That commitment continues today with a variety of programs that are designed for all age groups, including Music for Families concerts for parents and children, the award-winning online music education resource for children, SFSkids.org, the internationally-renowned San Francisco Symphony Youth Orchestra, the Instrument Training and Support program for middle and high school music students, and Community of Music Makers workshops for adult amateur singers and instrumentalists. Praising the SFS’s education programs, the Wall Street Journal states, “The San Francisco Symphony serves as the industry standard,” while The New York Times refers to the SFS as “a music education powerhouse.”

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American Group at Center of Historic Israel-Palestine Effort to Remove Landmines from Bethlehem April 24

San Francisco, Calif.—The San Francisco Bay Area should be proud that one of its own locally headquarted non-profits has assisted in helping bring together–in an historic first–both Israel and Palestine to remove landmines from a residential neighborhood in the holy city of Bethlehem this week.  And, the effort would not have been possible without the financial assistance of Napa Valley winery Spiriterra Vineyards, which founded the landmine removal effort.

Roots of Peace, which spearheaded the historic Palestine and Israel agreement to remove landmines from the City of Bethlehem, will join Israeli and Palestinian officials at a ceremony in Bethlehem to begin safely removing and detonating mines left over from a 1948 territorial dispute in one of the holiest of cities to three of the world’s major religions, Muslim, Christian and Jewish.

Heidi Kühn, founder and CEO of Roots for Peace, a landmine removal advocacy group in the San Francisco Bay Area, will participate in the at 10 a.m. April 24 explosion of the first landmine to be removed from the Husan Village in Bethlehem.

The project began when Daniel Yuval, an 11-year-old Israeli boy who lost his leg three years ago playing in the Golan Heights, appealed to Roots for Peace, an international landmine removal organization, to ensure the explosives were removed so no other child would be harmed.  Present will be a 75-year-old Palestinian shepherd who lost his arm to a landmine as a young boy in the same field.

“This is an historic occasion made possible by the cooperation from the Israeli Prime Minister Benjamin Netanyahu, President Mahmoud Abbas, Israeli Ministry of Defense, Palestinian Ministry of Defense, and the Bethlehem Governorate of the Palestinian Authority,” said Kühn.  “We are honored to have played a role in bringing these concerned and thoughtful parties together to make this neighborhood safe again for humanity.”

“The 3 acre site, located 4 miles from Nativity Manger Square where Jesus Christ was said to have been born, will be cleared of mines during a one month operation conducted jointly by Palestinian and Israeli militaries working cooperatively.  The area will be replanted with grapes as part of Roots of Peace’s Mines to Vines (Demine~Replant~Rebuild®) program.”

 

Governor of Bethlehem Mr. Abd Al Fattah Hamaye and Roots of Peace CEO Heidi Kuhn

The project cost was donated by well-known Napa Valley vintners Shirley and Paul Dean, owners of Spiriterra Vineyards, to Roots for Peace to pay the military for the mine removal.

“No child should be born anywhere in the world with the risk of losing life or limb to a landmine.  This is an important first effort in the Holy Land and we hope to clear other fields when additional funding becomes available,” Kühn said.

During the past 3 years, Kuhn has worked with both Prime Minister Benjamin Netanyahu and President Mahmoud Abbas to gain their support for her landmine initiatives.

Roots of Peace CEO Heidi Kuhn and Israel PM Netanyahu and Daniel Yuval, who lost his leg in a landmine explosion

Interfaith support for the landmine removal includes the Sheikh of Bethlehem. “We are pleased to put our hand in yours to demine The Holy Land and start from Husan Village in The Fields of Bethlehem where Jesus was born and his feet stepped once upon a time so as our children will step in the same place with peace and love,” the Sheikh said.

In a personal letter of support from Dr. Andy David, Consul General of Israel to the Pacific Northwest, he wrote of the effort: “the work of Roots of Peace is in alignment with the Hebrew phrase ‘Tikkum Olam’ which translates into ‘Repairing the World,’ humanity’s responsibility to make good amongst our nation and others, and bring justice to all mankind.”

There are an estimated 1.5 million landmines and UXO (unexploded ordinance) in The Holy Land. Following the completion of her work in Bethlehem, Kühn aims to broaden the Roots of Peace demining efforts in Qasr al Yahud, the Baptismal Site of Jesus—respected by Muslims, Christians and Jewish alike.

About Roots of Peace

Roots of Peace an international humanitarian, non-political organization works to unearth dangerous landmines in war-torn countries and empowers the local communities scarred by these inhumane weapons. For more information visit www.rootsofpeace.org

 

 

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Paul Jacobs And The San Francisco Symphony Chorus 
Perform Bach’s Organ Masterwork Clavierubung Iii
Sunday, April 28 At Davies Symphony Hall


Bach’s Jesu, meine Freude conducted by Ragnar Bohlin and featuring the SF Symphony Chorus, organist Jonathan Dimmock and SFS cellist Amos Yang opens the concert

Organist Paul Jacobs and the San Francisco Symphony Chorus, under the direction of Ragnar Bohlin, will perform Johann Sebastian Bach’s organ masterwork.  Clavierübung III in its entirety at Davies Symphony Hall on Sunday, April 28 at 3:00 pm as part of the San Francisco Symphony’s Organ Series. Bach’s Jesu, meine Freude,conducted by Bohlin and featuring the San Francisco Symphony Chorus, organist Jonathan Dimmock, and SFS cellist Amos Yang, opens the concert.

Clavierübung III is the third volume of Bach’s compendium on keyboard music, Clavierübung, published between 1731 and 1741. While other volumes of this collection include more frequently performed works such as the Italian Concerto (Vol. II) and the Goldberg Variations (Vol. IV), the third volume is less familiar to most audiences. These are the San Francisco Symphony’s first performances of Clavierübung III. “I am frequently surprised to learn of what little acquaintance many fine musicians and even scholars have with Bach’s major organ works and, in fact, I would challenge anyone to identify a major Bach work that is as unheralded as Clavierübung III has been,” says Jacobs. “Hopefully this performance will provide an opportunity to deepen the understanding and fervor we have for Bach.”

Paul Jacobs has been a frequent guest of the San Francisco Symphony’s since he made his debut with the Orchestra in April 2009. He most recently performed with the SFS in its American Mavericks festival in March 2012 both in Davies Symphony Hall and on tour. Jacobs performs on two SFS Media recordings with MTT and the San Francisco Symphony: in Copland’s Organ Symphony, released in February 2011, and Harrison’s Concerto for Organ and Percussion Orchestra in November 2012. He currently serves as chairman of the organ department at The Juilliard School and is the only organ soloist ever to receive a Grammy Award for Best Instrumental Soloist Performance (without orchestra) for his recording of Messiaen: Livre Du Saint-Sacrement. He made musical history at the age of 23 when he performed the complete organ works of J.S. Bach in an 18-hour, nonstop marathon performance, and has subsequently performed the complete organ works of Messiaen in nine-hour marathon concerts around the country. He had performed in all 50 states by the age of 31, and has also toured in Europe, Asia, South America, and Australia.

PAUL JACOBS, ORGAN CONCERT SERIES
Sunday, April 28 at 3 pm
Davies Symphony Hall
201 Van Ness Avenue, San Francisco, CA

Paul Jacobs organ
Ragnar Bohlin conductor
San Francisco Symphony Chorus
Amos Yang cello
Jonathan Dimmock organ

Bach Motet: Jesu, meine Freude, BWV 227
Bach / Clavierübung III (German Organ Mass) BWV 669-BWV685

PRE-CONCERT TALK:
Organist Paul Jacobs will share insights into the music of J.S. Bach on stage one hour prior the concert. Free to all concert ticket holders; doors open 15 minutes before.

TICKETS:
$20-30. Tickets are available at sfsymphony.org, by phone at 415-864-6000, and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

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Robert Bailis Becomes Director of External Relations and Artistic Initiatives at Cal Performances

Matías Tarnopolsky, Director of Cal Performances, today announced the appointment of Rob Bailis as Director of External Relations and Artistic Initiatives, effective June 3, 2013. A respected arts leader and a professional clarinetist, Bailis has consulted with a wide range of arts institutions and foundations, including Z Space, Pacific Mozart Ensemble, Chamber Music America, Dance USA, the MAP Fund, and the New England Foundation for the Arts. For eight years, he served as Director of ODC Theater where he was responsible for programming and artistic curation.

“I am delighted to announce Rob Bailis’s appointment as Cal Performances’ first Director of External Relations and Artistic Initiatives,” said Tarnopolsky. “Rob brings a depth of experience and understanding of the arts and artists that will complement the existing Cal Performances team and help lead us to ever greater artistic achievements.”

Bailis will provide direction and leadership support in fundraising with oversight to the marketing, communications, and education programs. He will also be responsible for assisting the Director in conceiving, developing, and implementing Cal Performances’ artistic vision and in creating programs for the season. Bailis will work together with the business and arts communities to broaden the educational outreach and impact of the organization.

“To be offered such an integral position in Cal Performances is truly an honor. Matías leads this institution with a powerful vision of the future; his passionate and nuanced programming is inspiring, offering the kind of rewards and challenges I so greatly admire,” said Bailis. “And as a Bay Area native, it is very meaningful to me to continue my service to the performing arts in the community that I call home—and doing so at UC Berkeley is very exciting.”

From 2003 to 2011, during Bailis’s tenure as Director of ODC Theater, he led the programmatic fundraising, including over 30 commissions of new work, and was instrumental to the team that completed the $10M capital campaign that built the new theater. He brought national recognition and acclaim to ODC Theater through the creation of numerous programs such as the ODC Theater Grand Opening and Inaugural season, ODC Theater Presents and Inner State Touring Network which brought together a roster of nine diverse dance companies to perform and create unique residencies in rural and urban communities. An active clarinet performer, Bailis has toured the United States, Canada, Asia and the United Kingdom as a solo, chamber and orchestral musician. Recent creative projects include writing the libretto for the world premiere of Jack Perla’s opera Love/Hate (2009-12), co-produced by San Francisco Opera and ODC Theater, and the play Theseus on String Theory (2008) for Suspended Labyrinth at Project Artaud.

When Sarah Bernhardt performed at the Hearst Greek Theatre on the University of California, Berkeley, campus in support of the victims of the 1906 earthquake, little did she know her appearance would mark the beginning of one of the largest arts presenters and commissioners on the West Coast. Today, with an international reputation and over one hundred years of artistic excellence, Cal Performances has lived up to its auspicious beginnings. 

Under the leadership of Director Matías Tarnopolsky, Cal Performances reaches nearly 150,000 people each year through its programming, education and community outreach. Located on the campus of one of the nation’s top ranked universities, Cal Performances is a beneficiary of UC Berkeley’s renowned intellectual and cultural environment. The organization presents more than 130 performances each year in classical music, jazz, world, and new music, dance and theater. Fall Free for All, a full day of free performances in September, has attracted over 10,000 people each year since its inception in 2010. 

Cal Performances’ education programs are recognized nationally as model curricula. They include SchoolTime performances for K-12 students; AileyCamp, a summer dance camp for underserved adolescents; arts education workshops for teachers; pre-concert lectures; extended residencies by orchestras and dance companies; and master classes, symposia, and international academic conferences on the UC Berkeley campus. Approximately 40,000 people take advantage of these events each year. 

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SFMOMA’S 2013 Art Auction To Feature Work By Jasper Johns, Gerhard Richter, Cindy Sherman, Chuck Close, Andy Warhol, Garry Winogrand, Rineke Dijkstra, And Other Major Artists

Andy Warhol – Still Life (Hammer and Sickle), 1977

 

The San Francisco Museum of Modern Art (SFMOMA) will hold its biennial art auction on April 24, 2013, benefitting SFMOMA’s celebrated exhibitions and innovative education programs.

Organized by SFMOMA’s Modern Art Council, the museum’s premier fund-raising auxiliary, this signature event will feature more than 40 exceptional lots representing a range of work in all media by internationally distinguished artists, including John Baldessari, Vija Celmins, Chuck Close, Rineke Dijkstra, Mark di Suvero, Andreas Gursky, Jasper Johns, Marilyn Minter, Martin Puryear, Gerhard Richter, Cindy Sherman, Katharina Sieverding, Kiki Smith, Andy Warhol, Garry Winogrand, and Christopher Wool.

Led by auctioneer Patrick Meade from Bonhams Auctioneers & Appraisers, the evening will offer both live and silent auctions, as well as bountiful champagne, cocktails, gourmet food, and—new to the event this year—a live musical performance by Geographer, in addition to the opportunity for guests to utilize mobile bidding throughout the night. The event begins at 5 p.m. with a VIP preview reception; doors open for all ticket holders at 6 p.m.

“With many significant milestones ahead for SFMOMA—including a major expansion project beginning this summer—this year’s auction promises to be an especially celebratory occasion,” says Event Chair and SFMOMA Trustee Alka Agrawal. “The museum has carefully assembled works by both established and emerging artists who have been featured in major exhibitions at the museum or who have produced works that are cornerstones of SFMOMA’s collection. This should be exciting bidding for collectors at all levels.”

Featured artworks will be on display at the museum prior to the auction on Saturday, April 20 and Sunday, April 21 from 11a.m. to 5 p.m in The Schwab Room. The auction preview is free and open to the public.

SFMOMA’s Art Auction 2013 is made possible through the generous support of presenting sponsor Northern California Porsche Dealers and supporting sponsors AT&T, Deloitte, and Webcor Builders. San Francisco magazine is the media sponsor and Bonhams Auctioneers & Appraisers is the auction house sponsor. In-kind sponsorship is provided by Blueprint Studios, Champagne Ruinart, Hafner Vineyard, The Painters Place Picture Framers, and Ship Art International.

ART AUCTION 2013 HIGHLIGHTS

Among many highlights of the live auction will be Andy Warhol’s Still-Life (Hammer & Sickle) (1977), a stunning work on paper estimated at $60,000 to $90,000. Warhol revolutionized the art world with a slick, colorful, commodified interpretation, manifested in some of the most iconic works of the Pop art movement. This particular work was an apolitical exploration of diluted symbolism that used photographs of the titular tools as the starting point, executed against the backdrop of the Cold War.

Another anticipated highlight is Gerhard Richter’s Untitled (21.5.07) (2007), an oil-on-color-photograph estimated at $75,000 to $85,000. An undisputed modern master with an oeuvre uniquely his own, Richter moves among painting styles with astounding ease, creating stunning examples of photorealism as well as minimalistic abstractions.

Jasper Johns’s Periscope (1981), a color aquatint print estimated at $20,000 to $25,000, evokes familiar symbols, text, and iconography in a lush, abstract composition. A fixture in the pantheon of great American artists, Johns enjoys a rich and long-standing relationship with the Bay Area. SFMOMA’s major survey of his work last fall highlighted the symbiosis between his pioneering spirit and local audiences.

Certain to mesmerize viewers will be Vija Celmins’s Web Ladder, Divided Night Sky, Reverse Galaxy, Falling Stars, and Dark Galaxy (2010), a suite of four mezzotints and one etching with drypoint, estimated at $22,000 to $28,000. In these works she has laboriously crafted photorealistic portrayals of fleeting phenomena—the waves of an ocean, the delicate frames of spiderwebs, and the unreachable brilliance of the night sky. Currently SFMOMA has 17 works by Celmins in the collection.

Photography collectors will be thrilled with lots featuring artists included in the museum’s renowned photography collection, including German artistAndreas Gursky’s Gasherd (Gas Cooker) (1980), estimated at $35,000 to $45,000, which was the artist’s first published picture and still stands as a brilliant example of Gursky’s ability to elevate mundane subject matter with hypnotic ease.

Cindy Sherman’s Untitled (2010/12), a chromogenic color print photograph estimated at $50,000 to $70,000, is expected to be a crowd favorite. The subject of a retrospective at SFMOMA last year, Sherman has wowed viewers with inventive and alluring self-portraits for nearly four decades. Playing the role of photographer, model, costumer, and set decorator, she casts herself in a range of characters to highlight the mutable nature of identity.

Another highlight is Garry Winogrand’s Central Park Zoo, New York (1967), estimated at $10,000 to $12,000. One of the most prolific photographers of the 20th century, Winogrand’s work is the subject of a comprehensive traveling retrospective currently on view at SFMOMA.

Rineke Dijkstra’s Sefton Park, Liverpool, June 10, 2006 B, (2006), estimated at $35,000 to $45,000, is an exceptional example of the artist’sPark Portrait series, which links decidedly contemporary depictions to art historical compositions. The subject of a 2012 traveling retrospective co-organized by SFMOMA, the Dutch artist captivates viewers with large-scale portraits that simultaneously showcase vulnerability and power.

Chuck Close’s Self-Portrait (Yellow Raincoat) (2013), a large-scale watercolor pigment print estimated at $75,000 to $95,000, beautifully captures the artist’s continuous exploration of both the portrait and self-portraiture. SFMOMA boasts a particularly rich concentration of Close’s works.

COMPLETE LIST OF PARTICIPATING ARTISTS

Live Auction: Jim Campbell, Vija Celmins, Chuck Close, Rineke Dijkstra, Mark di Suvero, Jim Goldberg, Andreas Gursky, Jasper Johns, Gerhard Richter, Cindy Sherman, Katharina Sieverding, Snøhetta, Andy Warhol, James Welling, Garry Winogrand

Silent Auction: Richard Aldrich, Mauricio Ancalmo, John Baldessari, Taha Belal, Miriam Böhm, Gerard Byrne, Ingrid Calame, Tammy Rae Carland, David Claerbout, Filip Dujardin, Brad Eberhard, Liam Everett, Kota Ezawa, David Goldblatt, Mark Hagen, Byron Kim, Ken Kitano, An-My Lê, Sze Tsung Leong, Tony Marsh, Marilyn Minter, Sandeep Mukherjee, Nendo, Nicholas Nixon, Alessandro Pessoli, Martin Puryear, Walid Raad, Ry Rocklen, Conrad Ruiz, Analia Saban, Matt Saunders, Hugh Scott-Douglas, Toshio Shibata, Gary Simmons, Kiki Smith, Fred Tomaselli, Monique van Genderen, JoAnn Verburg, Christopher Wool

Art Auction 2013 Chair: Alka Agrawal
Modern Art Council (MAC) President: Joni Binder Shwarts
Committee Chairs: Nathalie Delrue-McGuire, Marilyn Hayes, Charlot Malin, Laura Nagle, and Bea Wood
Art Auction 2013 Advisors: Dolly Chammas, Ariane Maclean Trimuschat, and Annie Robinson Woods
Art Advisory Committee: Claudia Altman-Siegel, John and Gretchen BerggruenSabrina Buell, Anthony Meier,
Chris Pérez/Ratio 3, Mary Zlot

Honorary Committee: Robert Mailer Anderson and Nicola Miner, Jim Breyer, Carolyn and Preston Butcher, Jean-Pierre L. Conte, James and Jean Douglas, Douglas Durkin, Mark Edmunds, Carla Emil and Rich Silverstein, Concepción S. and Irwin Federman, Mrs. Donald Fisher, Patricia W. Fitzpatrick, Cynthia and Eliot Fried, Jonathan Gans and Abigail Turin, Marjory Graue and Martin Bloes, Mimi Haas, Scott Hafner and Bill Glenn, Adriane Iann, Janet Lamkin, Marissa Mayer and Zachary Bogue, Nion McEvoy, Ken McNeely, Lisa and John Miller, Diana Nelson and John Atwater, Jes Pederson, Gina and Stuart Peterson, Laura King Pfaff, Helen and Chuck Schwab, Lydia Shorenstein, Norah and Norman Stone, Christine Suppes, Roselyne Chroman Swig, Carlie Wilmans, Shannon and Dennis Wong, and Robin Wright.

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NICOLE EISENMAN / MATRIX 248 MAY 3—JULY, 2013


The UC Berkeley Art Museum and Pacific Film Archive (BAM/PFA) proudly presents Nicole Eisenman / MATRIX 248, on view May 3 through July 14, 2013. The exhibition brings together approximately forty works by the New York–based artist, produced since 2009. Intermixing historical styles associated with American Regionalism and the Italian Renaissance with German Expressionism, Eisenman twists these themes, updating them with contemporary imagery and reimagining them with her own social commentary and aesthetic voice.


The first BAM/PFA exhibition organized by new Phyllis C. Wattis MATRIX Curator Apsara DiQuinzio, the exhibition focuses on a selection of paintings and works on paper that were motivated by the economic crisis and lingering political instability that continue to cloud post-Bush-era America. And though her works directly address the larger political sociological themes of our times, Eisenman goes beyond these concerns to explore a broader interest in the human condition, typified in the uneasy and disenchanted expressions that predominate the figures in her paintings and works.


Eisenman’s initial response to the prevailing social unease was to produce a series of colorful, shape-shifting, expressive monotypes of people weeping. She continued to channel this melancholia (for her inextricably linked to Bush’s terms in office) into psychologically charged works. Triumph of Poverty (2009), a contemporary reworking of Hans Holbein the Younger’s lost painting of the same title (c. 1533), is reinterpreted for today’s turbulent times. A dilapidated, made-in-the-U.S.A. sedan replaces Holbein’s mule-drawn cart, foregrounding the ruinous state of the American auto industry. Tea Party (2011), meanwhile, is fixated on the ever-growing political and social divides in the U.S. Learning about a notable New York art critic’s comment that there had been no good paintings of the Tea Party, Eisenman was inspired to accept the challenge. In her painting, a fractious foursome is holed up in a bunker, cut off from reality, preparing for their imminent apocalypse—perfectly articulating the absurdity of these times.


To alleviate some of the desperation she felt during that time, Eisenman began to paint beer gardens. In her hands, Parisian cafe settings found in late nineteenth-century paintings by Renoir and Degas become open-air beer gardens one might find in present-day Berlin or Brooklyn, with the smartphones on the tables locating the scene in time.


In conjunction with the Eisenman presentation, BAM/PFA also presents the thematic group exhibition Ballet of Heads: The Figure in the Collection, on view May 17 through August 25, 2013. Taking off from the Eisenman works, this complementary exhibition explores the polymorphous nature of the figure in art history drawing from paintings sculptures, and works on paper from the BAM/PFA Collection. The exhibition teases out many of the threads found in Eisenman’s paintings and works on paper—a blending of seemingly oppositional categories such as social realism, abstraction, folk art, and popular comics—and contextualizes those in the process. Eisenman cites many of the artists included in Ballet of Heads as important influences, such as William Blake, George Grosz, William Hogarth, and Pablo Picasso. While the work of more recent artists, including as Joan Brown, Nancy Grossman, and Sue Coe, bears striking affinities to Eisenman’s own.

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San Francisco Symphony Musicians and Board Ratify Approves New 26-Month Contract


The San Francisco Symphony (SFS) announced today that the Board of Governors and musicians of the Orchestra have approved and ratified a new 26-month collective bargaining agreement.  The agreement sets a course for the Orchestra’s future artistic and audience growth and represents a new partnership that charts a path toward a financially sustainable operating model and demonstrates an enhanced commitment to serve its community.


The new agreement includes increases in weekly base pay and changes in health care benefits and enhances the orchestra’s ability to attract and retain not only the most talented musicians, but also an audience facing an ever-wider variety of entertainment options.  It expands the commitment to the artistic development of the musicians, by enlarging the Orchestra’s instrument loan program, the pool of funds available to finance the purchase of their instruments, already the largest program of its kind in the country.  Increased flexibility of scheduling will allow the SFS to create new types of programming to reach new audiences and expand the concert experience in Davies Symphony Hall and beyond.


The agreement also outlines a new process for sharing information among the musicians, Board of Governors, and administration on an ongoing basis to maintain trust, respect and understanding between the members of a sustainable arts organization.  The administration and musicians are committed to working with a third party on an ongoing basis to improve communication and seek a cooperative spirit to address future challenges and opportunities.  A shared commitment to grow audiences and serve our community includes broadening musicians’ involvement in fundraising, marketing and audience development activities.


Negotiations for a new collective bargaining agreement began in September 2012. The previous agreement expired November 24, 2012 and was extended by mutual agreement to February 15, 2013.  A tentative agreement on a new contract was reached March 31, 2013 and has now been ratified and approved by the full Orchestra and Board of Governors.  Over the course of the 26 months of the agreement, musicians of the SF Symphony will receive a 4.5% increase in salary, with current minimum weekly compensation of $2,725 and increasing to $2,850 by the end of the contract.


“The success of the San Francisco Symphony lies in the dynamic partnership among the musicians, Michael Tilson Thomas , the careful stewardship of the board, hard work of the staff, and the enthusiastic and consistent support of our community,” said Sakurako Fisher, President of the SF Symphony.  “This agreement represents a significant amount of collaboration and a recognition that only a shared vision and a true partnership will propel our outstanding 100-year-old orchestra toward an even greater future. We remain deeply gratified by our community’s exceptional commitment to our orchestra and to the arts.”


“The musicians of the San Francisco Symphony recognize the important qualities of partnership and collaboration that defines all successful orchestras,” said violist David Gaudry, Chair of the musicians’ negotiating committee.  “Everything we do is for our audiences.  We love what we do, and we want to keep providing our listeners the highest level of musicianship, be active in growing our community, and ensure the long-term artistic vitality of our great orchestra.”


“This new agreement recognizes the immense talents and dedication of our musicians and underscores our commitment to their well-being on every level,” said Brent Assink, SF Symphony Executive Director.  Their artistry shapes and enriches the cultural landscape of our community in meaningful and far-reaching ways.  I want to express my thanks to Dave Gaudry and the musicians’ negotiating team for their many long hours of collaboration on this new contract.  I would also like thank the Board Labor Relations Committee, the entire Board of Governors, and our hard working staff.  But most of all, I deeply appreciate the patience and ongoing support of our Bay Area community, touring partners, and fans around the country during the past few weeks. We all have a stake in the success of this institution and we look forward to strengthening our partnership to move the orchestra forward.”


The Orchestra’s negotiating committee was chaired by David Gaudry and included Rob Weir, Cathy Payne, Linda Lukas, and Nanci Severance.   Also participating was David Schoenbrun, President of Musicians’ Union Local No. 6 of the American Federation of Musicians.  Susan Martin of Martin and Bonnett acted as counsel to the musicians.  Negotiating for the SFS administration were Executive Director Brent Assink, General Manager John Kieser, Human Resources Director Ken Auletta, Chief Financial Officer James Kirk, Orchestra Personnel Manager Rebecca Blum, and attorney Curt Kirschner of Jones Day.

 

 

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Montreal’s LES 7 DOIGTS DE LA MAIN CIRCUS Tumbles and Leaps into Zellerbach Hall


Circus ensemble Les 7 Doigts de la Main will perform in Cal Performances’ Zellerbach Hall Friday, May 3, at 8:00 p.m.; Saturday, May 4, at 2:00 p.m.; and Sunday, May 5, at 3:00 p.m. The ensemble embraces the style of cirque nouveau (contemporary circus), combining theater, dance, live music, and circus arts in order to present a coherent story in addition to traditional circus acts. Les 7 Doigts’ program PSY, directed by Bay Area native Shana Carroll, explores the unconventional theme of human weaknesses—the mental and emotional kind. Each performer represents a different issue, and they use their art and talent to overcome the obstacles. For instance, the trapeze artist plays a character that has a fear of heights, and the knife thrower has an issue with anger management. “The circus skills are brilliant, twisted into clever, often funny dramas” (The Independent).


Les 7 Doigts de la Main will give a SchoolTime performance for Bay Area students Friday, May 3 at 11:00 a.m. in Zellerbach Hall. Tickets available in advance only.


Les 7 Doigts de la Main translates literally to “the seven fingers of the hand,” a twist on words of the French idiom “the five fingers of the hand” that describes distinct parts working together towards one common goal. The number seven stands for the seven founding directors of the company, including PSY’s director Shana Carroll, Isabelle Chassé, Patrick Léonard, Faon Shane, Gypsy Snider, Sébastien Soldevila, and Samuel Tétreault, many of whom originally met as cast members of Cirque du Soleil. Founded in 2002, Les 7 Doigts de la Main has performed for the Queen of England and at the Opening Ceremonies for both the Turin and Vancouver Olympics. “PSY is filled with beautiful moments that combine ingenious set design and unusual displays of  circus skills” (Orange County Register).


PSY is the fourth work the company has created, which they describe as “merging acrobatics of the body with acrobatics of the mind and soul.” The initial scene is set up in a psychiatrist’s office but the setting quickly transforms into innovative bizarre locations that are meant to represent the deep recesses of the mind. The program will include a variety of circus acts including the trapeze, juggling, teeterboard, German wheel, and aerial rope. For more, visit 7doigts.com/en/shows/3-psy.


TICKET INFORMATION


Tickets for Les 7 Doigts de la Main Circus on May 3 at 8:00 p.m., May 4 at 2:00 p.m. and May 5 at 3:00 p.m. in Zellerbach Hall range from $22.00 to $52.00, and are subject to change. The performance on Saturday, May 4 at 2:00 p.m. is a Family Fare event; children 16 and under receives 50% off single ticket prices. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door. Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets. For more information about discounts, go to http://calperformances.org/buy/discounts.php or call (510) 642-9988.

 

 

 

 

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Bay Area Flamenco Presents Flamenco from Sevilla to Jerez Direct from Spain! Sunday, April 21st at La Peña Cultural Center, Berkeley

Bay Area Flamenco presents Javier Heredia and Kina Mendez, world-class flamenco artists from Spain at La Peña Cultural Center in Berkeley on Sunday, April 21st at 7:30pm

Visiting artist JAVIER HEREDIA is part dancer, part singer, part storyteller – all artist, integrated and inseperable. Javier brings authentic flamenco to audiences around the world, performing with spontaneity and charisma, communicating with his art wherever he finds himself, whether it be on the street, in the kitchen, at a local bar, in a club or on stage at a major international festival.

Tickets may be purchased at http://www.eventbrite.com/event/5942302587 Prices for general seating are $25 and for premium seating, $40.

“In recent years, the San Francisco Bay Area has become a major U.S. conduit for Spain’s greatest flamenco artists. [...] There’s really a vibrant scene here.”
-NPR The California Report

Artist Bios

JAVIER HEREDIA

Visiting guest artist from Seville, Spain. A festero in the tradition of Miguel Funi, Anzonini and Paco Valdepeñas.  Part dancer, part singer, part storyteller – all artist, integrated and inseparable – Javier performs with spontaneity and charisma, communicating with his art wherever he finds himself, whether it be on the street, in the kitchen, at a local bar or on stage. As a young man, Javier worked for a few years on the docks in Sevilla until elders of the Gypsy flamenco community discovered his ”arte” and encouraged him to become a professional. He has since appeared several times in Seville’s prestigious Flamenco Biennial in support of artist such as Jose Merce, Arcángel, Manuel Molina, Juana la del Pipa among others. He has toured all over Europe with the legendary dancer Manuela Carrasco and has appeared as a soloist in important flamenco events internationally such as the Mont de Marsan Flamenco Festival in the south of France. This will be Javier’s 4th time in the Bay Area. He will also be teaching a 3-day workshop Soquel at Flamenco Romantico Studios: workshop info

 


Kina Mendez

was born into the Mendez clan of Gypsy artists of Jerez de la Frontera. Steeped in the flamenco tradition, she began singing under the influence of her aunt, legendary singer La Paquera de Jerez. Her professional career began when she joined Manuel Morao’s company and led her to work with Mario Maya and tour internationally with Salvador Tavora’s productions Carmen and Carmina Burana. Her explosive, expressive presence on stage and her dynamic vocal range has made her a sought after performer in both Spain and the U.S.  Performing in festivals such as “La Fiesta de la Buleria” and “La Fiesta de la Vendimia” in Jerez de la Frontera, she has shared the stage with many renown flamenco artists including Manuel Agujetas, El Grilo and La Macanita. Her debut recording “De Sevilla a Jerez” was released in 2009 and she was a featured soloist with her own night at the prestigious XIV Festival de Jerez in 2010 in “Los Conciertos de Palacio”.  Since relocating to the US in 2010, Kina has been a featured guest artist with companies such as La Tania Baile Flamenco, Theatre Flamenco, Caminos Flamencos, Juan Siddi Flamenco Theatre Company and Zahara. She was a guest artist on Diego del Morao’s 2011 concert at the 6th Annual Bay Area Flamenco Festival/Festival Flamenco Gitano and she appeared in Bay Area Flamenco’s presentation of Concha Vargas and Juan del Gastor in 2012. Later that year she toured with Festival Flamenco Gitano USA 2012, performing in San Francisco, Los Angeles and New York City as part of the 12-member cast of “Fiesta Jerez” featuring Juana la del Pipa and Diego del Morao.

 

BAY AREA FLAMENCO

Founded in 2004, Bay Area Flamenco has presented some of the most important figures in the history of flamenco as well as prodigies from today’s generation of artists.

“These artists are bringing the Gitano essence of flamenco into the 21st century,” explains artistic director Nina Menendez. “They have an ease for improvisation that comes from living the art as part of everyday life. No choreography is required, only an intimate connection among the dancers and musicians who interact freely on the basis of a shared legacy and an insatiable hunger to find the spark of duende that transforms the mundane into the sublime.”

Website: BayAreaFlamenco.org

 

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America’s Cup Refuses to Pay Workers: Will This Impact Upcoming America’s Cup Finals in San Francisco This Year?

by Zennie Abraham

America’s Cup stiffs San Francisco Workers? Read on…

America’s Cup, SF. If you’re as excited about the event being here in San Francisco and the SF Bay Area as I am, then you expect the organization to get everything right, and maintain good relationships with everyone.

And if you’re as excited about the America’s Cup as I am, then you’re going to be as disappointed in America’s CUP CEO Stephen Barclay as I am after you read my blog post.

According to numerous reports and SF City Hall sources, America’s Cup CEO Stephen Barclay has not authorized the San Francisco America’s Cup organization to pay full contracted union wages to San Francisco-based businesses – in particular, Hartmann Studios.

Hartmann Studios is under contract with America’s Cup Event Authority to set up events related to and help stage the races at the center of what’s called “America’s Cup.” San Francisco ChronicleColumnists Matier and Ross reported today that the America’s Cup Event Authority owes Hartmann Studios almost half-a-million, or $400,000 in unpaid not including the $56,000 in administrative costs the City and County of San Francisco has incurred to date. That’s a total of $456,000.

Matier and Ross quote America’s CUP CEO Stephen Barclay as saying “I’m absolutely unaware of this. I’m staggered.”

Really?

Not according to an extensive email letter dated Sep 25, 2012, and titled “Budget Discussion.” The email specifically mentioned the contracted union wages, or “prevailing wages” that the America’s Cup Event Authority has to pay San Francisco organizations like Hartmann Studios.

The email was from Hartmann Studios President Mark Guelfi, and to Mirko Groeschner, the person’s who’s name is on a number of America’s Cup communications and is Marketing Director of BMW ORACLE Racing, and it was copied for Rosie Spaulding, who manages events for America’s Cup, and for Sam Hollis, America’s Cup Event Authority General Counsel (he’s their lawyer who previously worked on London’s 2012 Olympics Bid before then working for the America’s Cup).

Given that the “Budget Discussion” was with three top America’s Cup executives, and that they all report to and work with America’s CUP CEO Stephen Barclay, for Mr. Barclay to tell Matier and Ross that he’s “absolutely unaware of this” and that he’s “staggered” stretches the imagination.

Indeed, read on and you’ll see the smoking gun that points to this blogger’s assertion that Barclay did know about the prevailing wage costs and the monies owed both Hartmann Studios and The City and County of San Francisco.

Here’s the email, with the email addresses removed:

From: Mark Guelfi 
Date: Tue, Sep 25, 2012 at 6:37 AM
Subject: Re: Budget discussion
To: Mirko Groeschner
Cc: Keith Lovitt, Rosie Spaulding , Sam Hollis , *Matt Guelfi Guelfi , *Mike Guelfi Guelfi

Mirko -

Thanks for sending. I am always happy to discuss budgets and hope I was able to clear up some of your questions on our call Sunday morning. I circled back with Keith yesterday and reviewed the budget. Please see below for responses to your questions.

Shipping – These numbers come directly from our vendors to transport product to and from the venue. There is a significant amount of product ordered, which requires tractor trailer transporting. With fuel prices increasing these numbers are becoming significant costs to all of our budgets. We ask our vendors to break out their proposals by equipment, staff, labor and trucking/shipping so we can see and better analyze the detail.

Hartmann Production Staff – With regards to your call-out of Ian’s days onsite, I had the same question. Keith explained that Ian will be managing the load-out of the Yacht Club Peninsula Hospitality, which is planned to extend to October 15th. All of our pre-production time are estimates based on the scope of the project and will be billed as actuals once the project is complete although I don’t expect any surprises.

Hotel Nights/Per Diem/Travel – We normally use 100 percent local staff — both full time and those on our extended project team — however, there is nobody “left standing” in the Bay Area that is available. The city is extremely busy during the next ACWS race with Fleet Week, Blue Grass Festival, the 49ers Game, Giants Playoff Game, North Beach Festival not to mention Oracle OpenWorld. We would have had to book production staff 6 to 8 months ago in order to hire locally. Hotel costs are also significantly higher due to demand during this time period. Oracle OpenWorld alone sells out the entire city and much of the Bay Area. August costs in comparison were about half of what we are paying in October.

Parking Attendants – This was a request from Rosie via the city back in August, encouraging a “friendly face” assisting your security team in directing traffic. The request was made again for the October event.

Daily Maintenance – This was a carry over from August for litter pick-up/general cleaning for all tents on a daily basis. Rosie has since requested that this role is folded under the “greeners” that ACEA is hiring and will be removed on the budget revision.

Audio Labor – This is for the peninsula audio system, which runs the entire length of the peninsula…Nearly a mile, which requires running cable that distance. The 20k number is actually for the install, onsite crew to run the system for the entire week, and to strike the equipment post event. Labor is billed on per day basis, which is why you see a qty of 9…(1 day install, 7 day show (includes rehearsal day), 1 day strike. With the technical aspects of the requests, you have to have crew onsite managing the equipment/show.

Power – The significant portion of this cost, is again labor. Running cable, installing, onsite techs adds up quickly. Fuel is also factored in and with the economic climate this has a significant impact on costs. John Briggs with Race Management has worked directly with our technical director to ensure we are as efficient as possible when spec’ing this equipment.

As I mentioned, labor is a significant part of all event budgets, especially when there are Union Requirements and Prevailing Wage implications. Hartmann’s model is to pass along our costs directly to our clients, plus our management fee (at Oracle discount rate) and we work hard to create relationships with vendors to reduce these costs as much as possible for our clients. I agree with you. We do need to find a way to come up with a plan much further in advance so that we can minimize these costs for future events.

I will follow up, as promised, and send a separate note to you, Sam, Rosie, Keith and I will probably copy Stephen in regards to my concerns about the prevailing wage language in your contract with the City of San Francisco and the Port. The cost of labor is going to skyrocket. A laborer that we are currently paying $12 to $15 to $18 per hour is going to get paid somewhere between $50 and $85 per hour.

As you know, we are responding to the City’s Labor Standards Department’s investigation of labor rates that were paid by my company and by our subcontractors at the August race. We sent a very large stack of payroll records and copies of cancelled payroll checks to the department last week. We have since confirmed that they have received. This department has also been in touch directly with our subcontractors and they have all agreed to supply the same information. We expect the Labor Standards Department to come back to us and identify what the prevailing rate are for each discipline i.e. tenting, staging, janitorial, etc.

We will certainly have a significant amount of of back pay that we will need to send to most of the people that worked on the August project and on the upcoming October project. We are not able to pay prevailing wage at the next race since the Labor Standards Department has not yet given us the prevailing wage rates. We will provide them with our records after the race and wait for them to come back to us. This is a very time consuming process to say the least.

We will not have liability in regards to any theatrical/stagehand work since we gave all of this work to the local stagehand union, IATSE Local 16. Additionally, Hartmann Staff and any vendor staff that performed theatrical work and was not a member of the local, was paid at prevailing rates so we are covered on this front. No back pay will be required.

Please know that the final budgets that we submitted for the August events and the proposed budgets that we have prepared for the October events do not completely reflect prevailing wage. We will submit a invoice in October or November for the balance due based on the direction that we get from the City.

I hope this helps. I am available to discuss today if you have some time to discuss. I can be reached on cell.

Best Regards,
Mark Guelfi

In his response to Mark Guelfi’s email two things become obvious: first, that it becomes clear that Mirko Groeschner has issues with the union wages, and was already seeking a way to lower costs for the America’s Cup event, and second, that he was going to tell Mr. Barclay about it – he refers to him as “Stephen” – as well as Mr. Hollis, or “Sam,” the general counsel. Here’s Mirko Groeschner’s response email:

Hi Mark,

thanks for being available this morning to talk.

Looked more intensively at the budget again. Below are a few points where I would question some of the items or at least – I am not sure I understand fully the reasoning.

Perhaps we have a chance to talk towards the beginning of the week again.

Shipping: 21.400 USD. Do we need that much?
Hartmann Production Staff: as we discussed, pls have a look at the quantities again
Hotel nights, per diem and travel for crew: this is 44.000 USD, can we not have local crew that goes home each day?
Parking Attendant: Do we need that? Almost 6.500 USD
Daily Maintenance: 22.000 USD (what are these guys doing?)
Audio Labor: it says 1 day installation but still there are 20.000 USD – is that ok?
Power: when I add all costs for Labour, generators, shipping, electrician etc. I arrive at an amount of almost 100k USD….

Secondly, I will send to Stephen and Sam a note considering labour costs.

For labour in some areas it looks that we pay about 180.000 EUR. In more detail there is:

Stage Labour: 83.000 USD
Power distribution Labour: 55.100 USD
Audio Labour: 20.000 USD
Daily Maintenance: 22.000 USD

We need to find a way to plan all that a little more in advance and reduce some of these costs to make our events affordable.

Best, Mirko

So from this, it’s clear that America’s CUP CEO Stephen Barclay either wasn’t forthcoming with Matier and Ross or his deputy Mirko Groeschner withheld the information from him – neither direction is a good one, but I’m not believing that Mirko failed to tell Stephen about this issue . Again, the email exchange happened seven months ago – that’s ample time for Mr. Barclay to have known about the wage cost issue, and have done something about it.

As of this writing, it appears the something was to pay nothing to either Hartmann Productions or the City and County of San Francisco.

Stay tuned.

Originally published at: http://www.zennie62blog.com/

 

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Crowded Fire Theater Presents The West Coast Premiere Of Thomas Bradshaw’s The Bereaved April 4-27 (Press Opening April 8) Thick House 695 18th St, S F

The Crowded Fire Theater presents the West Coast Premiere of Thomas Bradshaw’s THE BEREAVED a wickedly funny take on Sex, Drugs, and the American Dream which opens on Monday April 8 at 8 PM at Thick House in San Francisco, (Previews April 4-7) and runs through April 27. This production marks the first fully staged production of a play in San Francisco by the satirical provocateur, playwright Thomas Bradshaw. Bradshaw’s aggressive voice undermines our cultural comfort and refuge inside of naturalism, taking well-worn tropes of the white middle class drama, and reframing them to reveal jarring truths. “Perhaps more than any American dramatist working today, Mr. Bradshaw walks — no, make that tramples — the lines that divide the good, the bad and the plug-ugly, both in art and in life. He aspires to amuse, shock, disgust, enlighten, bore and titillate you all at the same time” Ben Brantley, NY Times.

In THE BEREAVED the wife and breadwinner Carol realizes she is on borrowed time. Before she goes, you can be damn sure she will put her affairs in order. After all, what is more important than being certain her family maintain their upper-class-private-school Manhattan lifestyle? The play was a New York Times Critics’ Pick and named one of the Best Plays of 09’ by Time Out New York . Marissa Wolf directs this West Coast Premiere of Thomas Bradshaw’s THE BEREAVED featuring Jeremy Falla as Policeman, Denmo Ibrahim* as Katy, Michele Leavy* as Carol, Geoffrey Nolan as Doctor/Policeman, Lawrence Radecker* as Michael, Olivia Rosaldo as Melissa, Josh Schell as Teddy, and Reggie D. White as Jamal ( *member Actors Equity).

Thomas Bradshaw, Playwright
Thomas Bradshaw‘s plays have been produced at regional theaters, in NYC as as well as in Europe.

Commissions and productions from Soho Theatre (London),The Goodman Theater, Soho Repertory Theater (New York), The Flea Theater, Theater Bielefeld (Germany), and Partial Comfort Productions have garnered his work annual “best of year” inclusions in both the The New Yorker and Time Out New York. In 2012 Off-Off-Broadway the The Flea Theater’s production of Bradshaw‘s play JOB was described at its opening as “A jolting treat…. a bloody, Quentin Tarantino-esque tale, laced with graphic violence and fillips of frat-house humor.” (NY Times) JOB then went SRO and resulted this year in a remounted production in NY. In 2011, his play BURNING ran to rave reviews Off- Broadway at the New Group/NYC and the Goodman Theater produced his play MARY, which they had previously commissioned.

His play THE BEREAVED, produced by Partial Comfort, was named one of the Best Plays of 2009 in Time Out New York. At the New York premiere of THE BEREAVED the NY Times noted “His gift as a stylist marks him as a real talent. He has proved in play after play that he has a confident vision of the theater that is his own. No playwright applies as ruthlessly Hitchcock’s definition of drama ‘as life with the boring parts taken out.’ ” In 2008, two of his plays premiered in NYC: SOUTHERN PROMISES, at Performance Space 122 in September, and DAWN, at The Flea Theater in November, and both were listed among the Best Performances of Stage and Screen for 2008 in The New Yorker. Bradshaw has been featured as one of Time Out New York’s ten playwrights to watch, and as Best Provocative Playwright in the Village Voice. He is the recipient of a 2009 Guggenheim Fellowship, the 2010 Prince Charitable Trust Prize, The Lark’s NVNY Fellowship for 2011, and the 2012 Foundation for Contemporary Arts Award. He is creating a television series for HBO and Harpo Films. Thomas is also a Professor at Northwestern University.

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Center REPertory Company finishes off its 2012/13 OFF CENTER, second stage season with the Bay Area Premier of PILGRIMS MUSA AND SHERI IN THE NEW WORLD

Anyone who has ever looked for love knows the dilemma: Do you make a safe, sensible match? Or take a risk on an exciting someone who might – just might – be the one Great Romance of your life? Musa, an Egyptian immigrant and Sheri, a very quirky Caucasian waitress must negotiate the twists and turns of not only love, but cultural expectations in this charming romantic comedy with a delightful twist.

WHERE:

The intimate Knight Stage 3 Theatre.  Lesher Center for the Arts 1601 Civic Drive in downtown Walnut Creek.

Performances begin Thursday, April 25th at 8:15PM. Press opening is Saturday, April 27th at 8:15 PM. Closes Sunday, May 12th at 2:15PM.


TICKET PRICE RANGE:  $20-$30

TICKET INFORMATION:

For more information go to CenterREP.org or call 925.943.SHOW (7469).  You can also visit the LCA Ticket Office at 1601 Civic Drive or the Ticket Office Outlets at Barnes & Noble in Walnut Creek and the Downtown Walnut Creek Library.

PERFORMANCE SCHEDULE: (Knight Stage 3 Theatre)

THURSDAY – April 25, 8:15PM

FRIDAY – April 26, 8:15PM

SATURDAY – OPENING April 27, 8:15PM

SUNDAY – April 28, 2:15PM

 

THURSDAY – May 2, 8:15PM

FRIDAY – May 3, 8:15PM

SATURDAY – May 4, 8:15PM

SUNDAY – May 5, 2:15PM

 

THURSDAY – May 9, 8:15PM

FRIDAY – May 10, 8:15PM

SATURDAY – May 11, 8:15PM

SUNDAY – May 12, 2:15PM

 

Carl Lumbly* (Tayyib) From stage to screen, Carl Lumbly is an actor respected for his steadfast talent, versatility and class. His prolific career includes over 50 credits in television, film and the theatre and extensive critical acclaim.

Lumbly portrayed CIA agent ‘Marcus Dixon,’ the gentle, mild-mannered field partner to agent ‘Sydney Bristow’ (Jennifer Garner) on ABC’s fast-paced drama series, “Alias,” for five seasons.  He most recently had a recurring role on the TNT cop drama, “Southland,” where he played an old-school, no-nonsense LAPD Captain.

For the stage, Lumbly was most recently seen with San Francisco Playhouse for the West Coast Premiere of the raucous comedy, “The Motherf**ker with the Hat,” directed by Bill English.  Carl starred as drug and parole counselor ‘Ralph D.,’ in the role Chris Rock played on Broadway in 2011. Lumbly previously starred in the San Francisco Playhouse’s production of “Jesus Hopped the ‘A’ Train,” also directed by Bill English. For his remarkable performance, he was honored with a San Francisco Bay Area Theatre Critics Circle Award for Best Performance by an Actor.  Lumbly was also featured in the 2010 San Francisco Playhouse production of Cormac McCarthy’s “Sunset Limited.” More recently, Lumbly starred in the Lorraine Hansberry Theatre’s (LHT) production of British playwright Joe Penhall’s comedy drama “Blue/Orange” in San Francisco.

Lumbly was born in Minnesota, the son of Jamaican immigrants.  His father was an avid reader, which inspired Lumbly’s early appreciation for literature.  After graduating from Macalester College with a degree in English, he landed a job writing for the Associated Press in Minneapolis.  He also supplemented his income by doing freelance writing assignments for various periodicals and magazines. While on assignment for a story on Dudley Rigg’s Brave New Workshop Comedy Theatre, Lumbly attended a public audition and was handed an audition card.  “I thought it would be a great perspective from which to write the story,” he says.  After a three-week audition process, the company offered Lumbly a coveted spot in its cast.  He stayed for two years doing improvisational comedy flavored with political satire.

Lumbly moved to San Francisco intending to continue his work as a journalist for Associated Press.  Just two days after arriving in San Francisco, he came across a newspaper ad seeking “two black actors for South African political plays.”  He went to the audition and met the other actor already cast — an unknown Danny Glover.  Lumbly landed the part and toured with Glover in productions of Athol Fugard’s “Sizwe Bansi is Dead” and “The Island.” The plays brought Lumbly to Los Angeles, where he signed with an agent, followed by a move to New York.  He landed his first significant on-screen role in a movie-of-the-week, “Cagney and Lacey,” which turned into the hit series.  Lumbly starred as ‘Detective Mark Petrie’ for the show’s seven-year run.

Lumbly’s extensive feature credits include his role opposite Robert De Niro and Cuba Gooding Jr. in “Men of Honor” and “Everybody’s All-American” with Jessica Lange and Dennis Quaid. Other film credits include “How Stella Got Her Groove Back,” “South Central,” “Pacific Heights,” “To Sleep With Anger,” “The Bedroom Window,” “The Adventures of Buckaroo Banzai” and “Caveman.”  More recently, he starred as ‘Sam Nujoma’ in “Namibia: The Struggle for Liberation.”

For television, Lumbly starred in the telefilms “Color of Friendship” (directed by Kevin Hooks), “Little Richard,” “On Promised Land,” “The Ditchdigger’s Daughters,” “Nightjohn” and more recently “Sounder,” ABC’s telefilm remake of the 1972 classic. Lumbly also starred as the voice of action hero ‘J’onn J’onzz/Martian Manhunter,’ in the Cartoon Network’s animated series “Justice League.”

Off Center is Center REP’s second stage season of new plays and musicals. Theatre that is not only new, but adventurous, thought-provoking and brazen.  In the intimate 130-seat Knight Stage 3, where you are right on top of the action. With the same excellence and professional standards that you’ve come to expect from Center REP.

Center REPertory Company, the resident professional theatre company of the Lesher Center for the Arts (LCA), will be celebrating its 46th Subscription Season of high-quality theatrical productions during 2012-2013. Center REPertory Company’s mission is to celebrate the power of the human imagination by producing emotionally engaging, intellectually involving, and visually astonishing live theatre and, through our outreach and education programs, to enrich and advance the cultural life of the communities we serve. 

Director’s Matinee. Join Center REP’s Artistic Director, Michael Butler, for an engaging discussion of the afternoon’s performance on October 21st at 2:30 pm.  Michael often enlists the cast as well as some of the show’s designers to add their perspectives to this always-lively dialogue.

Teacher’s Day. Center REP hosts area teachers from elementary schools, middle schools, high schools and colleges for a matinee at the theatre! This is a great way to honor teachers. By enjoying the performance and then participating in the Director’s Post-Show discussion, teachers are provided tools to broaden their students’ understanding of live theatre. Call 925-295-1420 and press 1 for more information or to take advantage of this discount.

 

* Member of Actors Equity Association

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SF Symphony Youth Orchestra March 24 Concert To Talk Place As Scheduled

The San Francisco Symphony Youth Orchestra (SFSYO) concert scheduled for Sunday, March 24 at 2:00 p.m. at Davies Symphony Hall will take place as scheduled, as the Symphony is continuing to work toward a resolution to the dispute between the musicians of the Orchestra and the administration.

San Francisco Symphony musicians are central to the success of the SFS Youth Orchestra, as they serve as coaches every Saturday in sectional rehearsals and as mentors to the young musicians, both in music and in life. The YO musicians benefit from a pre-professional educational experience of the highest level under the auspices of the San Francisco Symphony.  SFS Youth Orchestra musicians, who have been preparing and rehearsing for this concert for months, should have the opportunity to share their music with audiences at Davies Symphony Hall as scheduled on Sunday.

The San Francisco Symphony Youth Orchestra (SFSYO) is recognized internationally as one of the finest youth orchestras in the world. The more than 100 diverse musicians, ranging in age from 12 to 21, represent communities from throughout the Bay Area.  In addition to its annual concert series at Davies Symphony Hall, the Youth Orchestra has toured Europe eight times, most recently in 2012, including appearances at the Berlin Philharmonie, Munich Philharmonie, the International Festival d’Echternach in Luxembourg, the Rheingau Festival Wiesbaden, Regensburg and Salzburg. For these appearances, the Orchestra won a 2011-12 ASCAP Award for Adventurous Programming of American music on foreign tours. The SFSYO program is central to the mission of the San Francisco Symphony, and reflects the collective commitment of musicians and administration to music education and to the greater Bay Area community the organization serves.

The concert on March 24 opens with the West Coast premiere of Evan Chapman’s second thoughts for percussion quartet, which will feature SFSYO percussionists Emily Aiken, Noah McKee, Benjamin Ring, and Marty Thenell. Evan Chapman is in his final year at Indiana University’s Jacobs School of Music. He composed second thoughts in 2012 for his alma mater, Marriotts Ridge High School, and the work was premiered at the school’s Jukebox Time Machine musical in October. Tchaikovsky’s Serenade for Strings, Richard Strauss’s Serenade for Winds, Respighi’sFountains of Rome, and Schumann’s Symphony No. 2 are also on the program.

Tickets are $45 for reserved seating and $12 general admission and are available at sfsymphony.org, 415-864-6000, or the Davies Symphony Hall Box Office on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

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Folk Icon Arlo Guthrie Returns in Celebration of his to Father Woody Guthrie’s Legacy

Folk music legend Arlo Guthrie will return to Cal Performances Thursday, April 18 at 8:00 p.m. at Zellerbach Hall in a solo tour titled Here Comes the Kid. This special tour celebrates the centenary of the birth of Arlo’s father, the inimitable Woody Guthrie. Through song and story, Arlo keeps his father’s music alive while adding his own personal touch as a musician and activist. “Arlo’s voice has retained much of the freshness it had in the 1970s. And he can still spin an amusing yarn between songs” (New York Times).

Arlo Guthrie was born in Coney Island, New York, in 1947 to legendary folksinger, songwriter, and political activist Woody Guthrie and Marjorie Mazia Guthrie, a dancer in the Martha Graham Dance Company. A multitalented musician who can play over a dozen instruments, Guthrie received his first guitar at six and began performing on stage with his father at 13. He achieved personal fame with the song “The Alice’s Restaurant Massacre,” an 18 minute track that he debuted at the Newport Folk Festival in 1967. The song became the anthem for the 1960s antiwar movement and was eventually adapted into a film starring Guthrie as himself. Other famous tracks include his rendition of Steve Goodman’s “The City of New Orleans” and “Coming into Los Angeles”, the latter of which he played at the Woodstock music festival and was featured on the subsequent Woodstock documentary and soundtrack. He has participated in many collaborations with famed musicians such as Bob Dylan, Joan Baez, Doc Watson, and Bill Monroe. Guthrie founded a record label named Rising Son Records in 1983, one of the first independent labels, which continues to produces contemporary folk music. Over the last four decades, he has toured internationally with his family and recently completed tours of Ireland and Australia.

Guthrie’s undertakings include community projects as well as artistic pursuits. In 1991, Guthrie purchased the Trinity Church in Great Barrington, Massachusetts—where the Alice’s Restaurant saga begins—renamed it The Guthrie Center after his parents, and opened it as a not-for-profit interfaith foundation and meditation space. The Guthrie Center and the separate Guthrie Foundation provide community services such as an HIV/AIDS referral service, art and music classes for children recovering from abuse, a lecture series, and leadership on issues such as the environment, healthcare, cultural exchange, and education. Guthrie has always been a political activist. He is a registered Republican, for he believes “to have a successful democracy, you have to have at least two parties, and one of them was failing miserably” (New York Times). Guthrie organized a bus tour with Willie Nelson and other musicians in support of the Occupy Wall Street movement. He last performed at Cal Performances in 2010 with the Guthrie Family Rides Again tour, which featured his family ensemble.

 

TICKET INFORMATION

Tickets for Arlo Guthrie on Thursday, April 18 at 8:00 p.m. in Zellerbach Hall Range from $22.00 to $48.00 are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door. Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets. For more information about discounts, go to http://calperformances.org/buy/discounts.php or call (510) 642-9988.

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Harpsichordist Davitt Moroney Performs Bach’s The Art Of Fugue Sunday April 7 At 3:00 P.M. In Hertz Hall

 

Keyboard player and UC Berkeley professor of music Davitt Moroney will perform J. S. Bach’s The Art of Fugue (BWV 1080) on Sunday, April 7 at 3:00 p.m. in Hertz Hall. The Art of Fugue is a collection of 14 fugues and two canons, all except one of which are based on the same simple D minor subject. It is Bach’s final work and is unfinished. Moroney knows The Art of Fugue well; he has performed it for the past three decades and has published his own edition of the work. His first recording of it was awarded a Gramophone Award in 1985, and was praised by the New York Times for its “vivid clarity” and “a sense of a voyage of the spirit.”

Davitt Moroney has recorded nearly 60 CDs of music of the 16th, 17th, and 18th centuries, winning several Gramophone Awards, France’s Grand Prix du Disque de l’Académie Charles Cros and other international prizes for his performances. He has been praised by critics throughout Europe and North America for his thoughtful musicality and expressive approach to the keyboard.

Born in England in 1950, Davitt Moroney studied at the University of London, King’s College, and earned concert performance and teaching diplomas from London’s Royal Academy of Music and Royal College of Music. After completing his doctorate in musicology at UC Berkeley in 1980, Moroney moved to Paris. For over 20 years he worked primarily as a freelance recitalist in various countries. He returned to Berkeley in 2001 and is now a Professor of Music, University Organist, and Director of the University Baroque Ensemble.

Among his most substantial recording sets are William Byrd’s complete keyboard works (127 pieces, on seven CDs, using six instruments) and the complete harpsichord and organ music of Louis Couperin (over 200 pieces, on seven CDs, using four historic instruments). His most recent recordings include: the complete harpsichord works of Louis Marchand and Louis-Nicolas Clérambault (2007); a two-CD album of works from the “Borel Manuscript” (2008) of French harpsichord music preserved only in Berkeley’s Hargrove Music Library. He has most recently  recorded the fifth in a ten-CD series devoted to the complete harpsichord works of François Couperin (234 pieces). Moroney has given organ and harpsichord master classes at the Paris Conservatoire, the Moscow Tchaikovsky Conservatoire, The Juilliard School and Oberlin Conservatory, as well as in South Korea, Finland, Belgium and Switzerland, and regularly serves as a judge of international organ and harpsichord competitions.  Recent concerts include recitals in Germany, Holland, Italy, England and Scotland, and in Berkeley with Cal Performances in the 2011/2012 season.

TICKET INFORMATION

Tickets for Davitt Moroney, on Sunday, April 7 at 3:00 p.m. in Hertz Hall are priced at $42.00.  Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door.  Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets.  For more information about discounts, go to http://calperformances.org/buy/ discounts.php or call (510) 642-9988.

 

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