Archive | Art

Conductor Roberto Abbado Leads The SF Symphony
 And Pianist Jonathan Biss In Works By Schumann, Ivan Fedele, And Schubert
 June 13-15 At Davies Symphony Hall

Concerts include the U.S. premiere of Fedele’s Scena

Conductor Roberto Abbado and pianist Jonathan Biss make return appearances with the SF Symphony in performances June 13-15 at Davies Symphony Hall. The program includes Schumann’s Overture to Genoveva and Piano Concerto in A minor (performed by Biss), the U.S. premiere of Ivan Fedele’s Scena, and Schubert’s Symphony No. 3 in D major.

Born in 1953, Italian composer Ivan Fedele has an expansive list of compositions for film, orchestra, chorus and chamber ensembles. Scena was commissioned by the Orchestra Filarmonica della Scala, founded in 1982 by Claudio Abbado, and premiered at the La Scala theater in 1998. As the title implies, Scena can be thought of as an operatic scene performed entirely by the musicians of the orchestra (without text, singing or stage movement), with references to Italian theater and La Scala in particular.

Jonathan Biss made his SFS debut at age 21 in 2002, performing Mendelssohn’s Piano Concerto No. 2 in D minor with Conductor Laureate Herbert Blomstedt, and has returned five more times since, including most recently in 2011 performing Beethoven’s Piano Concerto No. 5 in E-flat major with conductor Peter Oundjian. His current season includes performances with the National Symphony, the Philadelphia Orchestra, the Seattle Symphony, the Rotterdam Philharmonic, the Swedish Radio Symphony, the Prague Philharmonic, and the Danish National Symphony. Biss’s chamber music series entitled Schumann: Under the Influence, with tenor Mark Padmore, soprano Miah Persson, violist Kim Kashkashian, and the Elias Quartet, was performed in San Francisco at the Herbst Theater in March, and includes performances at Wigmore Hall in London and Amsterdam’s Concertgebouw. Biss made his Carnegie Hall recital debut in 2011 and will present his second recital there in January 2014.

In 2012, Onyx Classics released the first CD in a nine-year, nine-disc recording cycle of Biss performing Beethoven’s complete sonatas. He wrote about this project in Beethoven’s Shadow, an essay that was published electronically by Rosetta Books as a Kindle Single. He is also the author of the Kindle Single A Pianist Under the Influence. His previous recordings include an album of Schubert and Kurtág for the Wigmore Hall Live label, an all-Schumann recital album for EMI Classics which won a Diapason d’Or de l’année award, and a recital album of Beethoven piano sonatas for EMI Classics which received an Edison Award. Biss has been recognized with numerous awards, including the Schleswig-Holstein Festival’s Leonard Bernstein Award, Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant, the 2003 Borletti-Buitoni Trust Award, and the 2002 Gilmore Young Artist Award. He was an artist-in-residence on American Public Media’s Performance Today and was the first American chosen to participate in the BBC’s New Generation Artist program.

Roberto Abbado made his San Francisco Symphony debut in 1999, and appeared most recently in 2007 leading the Orchestra in Saint-Saëns’ Symphony No. 3 Organ with Jonathan Dimmock, and Chopin’s Piano Concerto No. 2 with pianist Ingrid Fliter. He was Chief Conductor of the Munich Radio Orchestra from 1991-1998, and is currently an Artistic Partner with the Saint Paul Chamber Orchestra, where he appears regularly. In 2009, Abbado was honored with the Franco Abbiati Award of the National Association of Italian Music Critics as Conductor of the Year. In 2012-13, he leads Mozart’s Don Giovanni at Bari’s Teatro Petruzzelli, Ponchielli’s La Gioconda at Rome’s Teatro dell’Opera, and a celebration of the centenary of Verdi’s birth with a production of Macbeth at Teatro Comunale in Bologna. He also appears with the orchestras of Cincinnati and Atlanta and continues his collaboration with the Orchestra Sinfonica della RAI in Torino and the Orchestra del Teatro Comunale di Bologna.

Abbado has made several recordings for BMG (RCA Red Seal) including award-winning recordings of Bellini’s I Capuleti e i Montecchi and Rossini’s Tancredi, as well as discs of Donizetti’s Don Pasquale, Puccini’s Turandot, ballet music from Verdi operas, the two Liszt piano concertos with Gerhard Oppitz, a collection of arias with tenor Ben Heppner, and a CD of opera scenes with soprano Carol Vaness. For Decca, he has recorded aria albums with soprano Mirella Freni and tenor Juan Diego Flórez. His other recordings include Bel Canto with mezzo-soprano Elīna Garanča on Deutsche Grammophon and the world premiere recordings of two works by Luca Francesconi for the Stradivarius Label. On DVD, Abbado can be seen leading Giordani’s Fedora for Deutsche Grammophon, Rossini’s Ermione for Dynamic, and on Hardy Classic Video, the 2008 New Year Concert from the Teatro La Fenice in Venice.

Schumann’s Overture to Genoveva saw its SFS debut in 1919 at the Curran Theater under Music Director Alfred Hertz, and Hertz also conducted the SFS premiere of Schumann’s Piano Concerto in A minor in 1922 at the Columbia Theater (now the American Conservatory Theater); Conductor Kirill Karabits and pianist Hélène Grimaud performed the most recent SFS performances in 2011. The Orchestra last performed Schubert’s Symphony No. 3 in 2006 with Herbert Blomstedt conducting.

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Rufus Wainwright Performs Solo Concert, Sunday June 9, 8 pm


Acclaimed vocalist and songwriter Rufus Wainwright returns to Davies Symphony Hall Sunday, June 9 at 8 pm, accompanying himself on piano and guitar. Affectionately referred to by Elton John as “the greatest songwriter on the planet” and praised by The New York Times for his “genuine originality,” Grammy nominee Wainwright has established himself as one of the great male vocalists and songwriters of his generation. The son of folk singers Loudon Wainwright III and Kate McGarrigle and brother of Martha Wainwright, Wainwright has achieved his success by carving out his own singular sound in the worlds of rock, opera, theater, dance and film.

A frequent performer in Bay Area venues including Davies Symphony Hall throughout his career, Wainwright performed with the SF Symphony in 2010 under conductor Michael Francis, premiering Five Shakespeare Sonnets, his own large scale orchestrations of five of the eleven songs he composed for a theatrical adaptation of Shakespeare’s Sonnets with director Robert Wilson. Following several significant and dramatic events in his life—the birth of his daughter, Viva, the death of his mother, and his engagement to partner Jorn Weisbrodt—his seventh studio album, Out of the Game, was released in 2012 with the input of a new collaborator, celebrated producer Mark Ronson. The results are the loosest, most accessible music of Wainwright’s career, retaining his distinctive narrative sense and wry wit while adding classic pop pleasures.

“What I wanted was a warmth and a depth in terms of quality of sound, and a certain clarity that’s still easy on the ears,” Wainwright says. “I’ve done that whole ponderous, pseudo-genius thing, so it was fun to get in there and work really fast and do something that was more about the songs.”

Wainwright’s catalog includes eight albums and two DVDs, and he has appeared on numerous soundtracks and compilations, as well as collaborating with artists like Elton John, David Byrne, Rosanne Cash and Keane. His album All Days Are Nights: Songs For Lulu was released in 2010 with People Magazine noting, “[Wainwright] brings the album to a beautifully intimate level with just voice, piano and some deeply personal lyrics. Bravo.” Billboard Magazine said Wainwright’s “solo piano accompaniment highlights his extremely adaptable voice…a single piano is all that’s needed to show off his immense vocal talent.” Two live recordings (Milwaukee At Last!!! and Rufus Does Judy at Carnegie Hall) were nominated for Grammy awards and released concurrently with a live DVD, Rufus! Rufus! Rufus! Does Judy! Judy! Judy!  The disc captured his celebrated Judy Garland tribute performance at the London Palladium in 2007. His album Release the Stars went gold in Canada and the U.K. A career-spanning box set, House of Rufus, was released in 2011. Wainwright received Juno Awards for Best Alternative Album in 1999 and 2002 for Rufus Wainwright and Poses, respectively, and nominations for his albums Want Two (2005) and Release the Stars (2008). He was nominated for the Juno Award for Songwriter of the Year in 2008 for Release the Stars.

Wainwright’s first opera, Prima Donna, premiered at the Manchester International Festival in 2009, made its London debut at Sadler’s Wells, and its North American debut in Toronto at the Luminato Festival in 2010. Excerpts have been performed with the Oregon Symphony for The Portland Institute for Contemporary Art’s Time-Based Art Festival and at the Royal Opera House in London. The work received a 2011 Dora Award for Outstanding New Musical/Opera and made its U.S. debut in 2012 at the Brooklyn Academy of Music’s Howard Gilman Opera House.

In addition to Wainwright’s musical pursuits, he has also made his mark onscreen. He has acted in Academy Award-winning director Deny Arcand’s film, L’Age des Tenebres (2007), the Merchan-Ivory film Heights (2005), and the major blockbuster The Aviator (2004), directed by Martin Scorsese.

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Kirill Karabits Leads The San Francisco Symphony, Concertmaster Alexander Barantschik, And Principal Viola Jonathan Vinocour In Performances Of Britten, Sibelius And Honegger


Ukranian conductor Kirill Karabits leads the San Francisco Symphony (SFS) and soloists Concertmaster Alexander Barantschik and Principal Viola Jonathan Vinocour in performances of Benjamin Britten’s Double Concerto June 6-9 at Davies Symphony Hall. The Orchestra also performs Jean Sibelius’ Symphony No. 2 in D major and Arthur Honegger’s Pacific 231.

Barantschik was the violinist for the SFS premiere of Britten’s Double Concerto in 2004 with then-Principal Viola Geraldine Walther and conductor Yan Pascal Tortelier. Concertmaster of the SFS since 2001, he is a frequently featured soloist. He led the Orchestra and was featured along with Catherine Payne and Jonathan Fischer in performances of Vivaldi, Bach and Mozart in January. He is the former concertmaster of the London Symphony Orchestra (LSO) and Netherlands Radio Philharmonic Orchestra and an active soloist and chamber musician in the United States and throughout Europe.

Kirill Karabits first performed with the SFS in 2011. He is in his fourth season as Principal Conductor of the Bournemouth Symphony Orchestra, and this season they tour Germany with percussionist Martin Grubinger. He and the Bournemouth have numerous recordings, including Schchedrin and Khachaturian albums, Tchaikovsky’s Symphony No. 2 and Mussorgsky’s Pictures at an Exhibition. In 2012, Karabits conducted the finale of the BBC Young Musician of the Year Award at The Sage Gateshead, broadcast nationwide on BBC Television. This season he conducts the Münich Radio Orchestra, Konzerthausorchester Berlin, Orchestre de Chambre de Lausanne, The Cleveland Orchestra at the Blossom Festival and makes his Canadian debut with Ottawa’s NAC Orchestra. Next season, Karabits conducts Der fliegende Holländer at the Wagner Geneva Festival and returns to Den Norske Opera.

Jonathan Vinocour has been Principal Viola of the San Francisco Symphony since 2009, and has been a featured soloist numerous times, most prominently in a 2011 SFS premiere of Morton Feldman’s Rothko Chapel with MTT and the Orchestra. He previously served as Principal Viola of the Saint Louis Symphony Orchestra and guest Principal Viola of the Gewandhaus Orchestra of Leipzig and the Orchestra Ensemble Kanazawa in Japan. While principal of the Saint Louis Symphony Orchestra, he performed as soloist with conductors Nicholas McGegan and Hans Graf. Vinocour is also an active solo and chamber performer. He received first prize in the Holland America Music Society Competition, has been a regular participant at the Marlboro Music Festival and has toured extensively with Musicians from Marlboro. Other festival credits include the Steans Institute at the Ravinia Festival, Open Chamber Music at Prussia Cove, the Aspen Music Festival and the Tanglewood Music Center where he was awarded the Henri Kohn Memorial Prize.

Sibelius’ Symphony No. 2 saw its SFS premiere in 1939 at War Memorial Opera House under Music Director Pierre Monteux, and was last played by the Orchestra in 2011 under Conductor Laureate Herbert Blomstedt. Vladimir Shavitch conducted the SFS premiere of Honegger’s Pacific 231 in 1927 at the Exposition Auditorium (now the Bill Graham Civic Auditorium). Performed several times on education concert programs, this is the first time the Orchestra will perform Pacific 231 in a regular season concert.

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Local 2 UNITE HERE Union Leader Mike Casey Denigrates Navy, Marines, Disabled Veterans: Sued by Centerplate For Violation of Federal Labor Law, Attempt to Eliminate Nonprofits In San Francisco AT&T Park Labor Dispute

 Local 2 UNITE HERE President Mike Casey: No Need for Military Veterans to Have Prosthetic Limbs

San Francisco– Centerplate, the concessionaire at AT&T Park today filed a dynamic lawsuit against Local 2 Unite Here union for violations of national labor laws and for attempting to block charity groups and nonprofits from raising money at the ballpark.

Centerplate said Local 2 is attempting to illegally force the San Francisco Giants into signing a “successor addendum” that would bind the baseball team, and any future concessionaire at AT&T Park, to the same terms Local 2 negotiates with Centerplate. This action is illegal under the federal labor laws, Centerplate officials said.

Normally, the legal charges as Centerplate made today are filed with the National Labor Relations Board, but Centerplate said immediate action is necessary by the legal system to protect the Giants, Centerplate and nonprofits from Local 2’s illegal activities, which could harm all the parties. The lawsuit was filed in U.S. District Court in San Francisco and seeks damages and declaratory relief.

Furthermore, the lawsuit says Local 2 President Michael Casey seeks to end Centerplate’s relationship with nonprofit organizations, forcing out such groups as St. Teresa Music and Arts, Leukemia Lymphoma Society, Athletes Committed to Academics, Berkeley Youth Alternatives, the United States Navy, and others nonprofits, from working at the stadium to raise money for their charitable works.

“Local 2’s President scoffed at the value of the (nonprofit) program at one point stating that the U.S. Navy did not need to work a stand at the ballpark to pay for prosthetic limbs for wounded Veterans,” the lawsuit states. “Casey also quipped about the Marines, “Why don’t you have them man a boat and they can sell hot dogs on the water,” according the lawsuit against Local 2.

The nonprofits make hundreds of thousands of dollars a year through partnering with Centerplate at Giants games by staffing concession stands and earning commissions based upon sales for their charitable work. Local 2 is now demanding Centerplate pay a penalty of $200 for each volunteer used for charitable work, which would eliminate Centerplate’s ability to partner with nonprofits.

“Local 2 has overstepped the bounds of the law and of humanity,” said a spokesman for Centerplate.  “They are illegally attempting to force the Giants into a labor dispute between Centerplate and the union and wrongly trying to harm the many nonprofits that rely upon income from their charitable work at AT&T Park. We are going to fight to win this battle for Centerplate, our employees, our customers and the charitable causes which we support.”

This past week, Local 2 union leaders walked out on contract negotiations with Centerplate and a Federal Mediator, refusing to accept or to even make an economic counter proposal and thereby denying, for the time being, Centerplate’s employees at AT&T Park the economic benefits that would flow from a new contract.

Local 2 Unite Here publically acknowledged that Centerplate’s employees are already the highest paid workers in the concession industry. In a YouTube video posted on May 12, the union spokesperson is quoted saying “so what if they’re (the employees) the best paid…that doesn’t mean anything.”

As a seasonal, part-time labor force, Centerplate’s employees currently earn the highest wages in the nation, making an average of approximately $15 to $20 per hour. These part time employees also receive some of the best benefits, with fully paid healthcare individually and for their families. To ensure seamless exceptional service for fans, Centerplate has made an offer than includes:

  • A 4.5 percent ratification bonus for those who worked more than 40 games in 2012
  • A 1.7 percent annual wage increase on top of the best compensation package in the industry
  • Increased contribution of 9.2 percent to the Unite Here benefit plans
  • Employer paid health care for employees and their families

Since early this year, Centerplate has been in negotiations over a new contract. The previous one expired in 2010 but was continued from year to year when Unite Here failed to request new negotiations. Even after it sought to make changes to the existing agreement, Local 2 dragged its feet and delayed negotiations for months. Throughout this time, Centerplate has been encouraging Local 2 to move quickly to find a solution.

“Nothing is more important to Centerplate than our employee partners and the customer service experience we provide guests. Local 2’s threats are an attack against our guests and the community groups we partner with at AT&T Park. It is time for Local 2 to come back to the table and focus on a realistic agreement,” spokesman Sam Singer said.

Centerplate said in the unfortunate event of a strike by Local 2 that “protecting the guest experience at AT&T Park is paramount and it will not be disrupted as the company has contingency plans in place in the event of a labor action.”

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“FELA!” Three-Time Tony Award-Winning Musical Comes to the Bay Area

R&B Recording Star Michelle Williams Stars as “Sandra Isadore” and

Adesola Osakalumi Stars as “Fela Kuti”

June 4 – 9, 2013, Paramount Theatre

Following overwhelming success and critical acclaim from coast to coast, the smash Broadway hit and 3-Time Tony Award-Winning musical, Fela! returns to the Bay Area. The recent engagement in San Francisco at The Curran Theatre was celebrated by critics. Robert Hurwitt of the San Francisco Chronicle proclaimed Fela! the “embodiment of exhilaration” while Karen D’Souza of The Mercury News/Bay Area News Group raved “Fela! sets the mind and the pulse racing” and “prepare to surrender to the beat.” So, due to intense popular demand, producers Jay-Z, Will Smith, Jada Pinkett-Smith and Stephen & Ruth Hendel have announced the musical’s return to the Bay Area on June 4-9, 2013 for an Exclusive Engagement at The Paramount Theatre, 2025 Broadway, Oakland, CA 94612.

The national touring production of the hit Award winning Broadway musical features Adesola Osakalumi in the starring role of “Fela Kuti” and International R&B superstar Michelle Williams of Destiny’s Child fame will star in the role of “Sandra Isadore,” activist and love interest of Fela Kuti when it returns to the Bay Area.

Other principals featured are Duain Richmond, who also stars as “Fela Kuti” in select performances, Melanie Marshall as “Funmilayo,” Fela Kuti’s mother, Ismael Kouyate as “Ismael” and Gelan Lambert as “J.K. Braimah/Tap Dancer/Egungun”. Also included in the cast are Oneika Phillips, Shakira Marshall, Jill Marie Vallery, Daniel Soto, Kafi Pierre, Ade Chike Torbert, Justin Prescott, Jason Herbert, Maliayka Reid, Talu Green, Shawn Alynda Fisher, Lauren De Veaux, India McGee, Tricia Taitt and Uyoata Udi.

A multi-award winning international singer, songwriter, record producer, and actress, Michelle Williams is best known as a member of the record-breaking R&B and Pop sensation, Destiny’s Child, one of the world’s best-selling female groups of all time. Born and raised in the small Chicago suburb of Rockford, Illinois, Michelle always dreamed of a life on stage.

In between recordings and concert tours, Michelle conquered yet another challenging mountain as an actress. First, she took the reins of Broadway’s Aida in 2003 to critical acclaim and audience raves. Then, in 2006, she took to the television screen for a hotly touted, ground-breaking multi-episode run in the popular UPN sitcom “Half & Half,” where she played the role of Naomi, a record company executive that was HIV-positive. In 2007, Michelle took on her greatest acting challenge when she joined the cast of the Broadway smash, The Color Purple for its national tour. She dazzled in the role of Shug Avery. In 2009, Michelle joined the London West End production of Chicago where she made history as being the first African American woman to play the lead role ofRoxie Hart. She reprised her role in February 2010 on Broadway for a limited engagement. In 2011, Michelle starred in the acclaimed touring stage play What My Husband Doesn’t Know which is now showing on BET.

Michelle is currently in the recording studio working on new material for her pop inspirational album due in 2013. She is also spokesperson for TERI (Training Education & Research Institute) a non-profit dedicated to improving the quality of life for children and adults with developmental and learning disabilities and works with the American Heart Association as an ambassador for the American Stroke Association. Most recently she became a spokesperson for NVEEE (National Voices for Equality, Education and Enlightenment), an organization focused on preventing bullying, violence and suicide among young people.

A triumphant and inspirational tale of courage, passion and love, Fela! Is the true story of Kuti, who created a type of music, Afrobeat, and mixed these pounding eclectic rhythms (a blend of jazz, funk and African rhythm and harmonies) with rousing lyrics that openly attacked the corrupt and oppressive military dictatorships that ruled Nigeria and much of Africa. Featuring many of Fela Kuti’s most captivating songs and Bill T. Jones’s visionary staging, the global phenomenon that is Fela! reveals Kuti’s controversial life as an artist and political activist, while at the same time celebrating his pioneering music and commitment to the cause of universal human dignity.

Fela! is directed and choreographed by Tony Award-winner Bill T. Jones, with a book by Jim Lewis and Bill T. Jones. It was conceived by Bill T. Jones, Jim Lewis and Stephen Hendel. Fela! received three 2010 Tony Awards, including Best Choreography.

Fela! had its world premiere Off-Broadway in the summer of 2008, and opened on Broadway at the Eugene O’Neil Theater to rapturous reviews a year later where it played 34 previews and 463 regular performances. Numerous celebrities and dignitaries caught the groundbreaking musical, including First Lady Michelle Obama, Bruce Springsteen, Madonna, Kanye West, Oprah Winfrey and Hugh Jackman, among others. Prior to its closing on Broadway, London’s Royal National Theatre presented the production as part of its season in the fall of 2010, marking the first time ever that the National Theatre had presented a show that was simultaneously running on Broadway. There, too, the show received rave reviews and numerous awards and accolades. The show went on to tour internationally, selling out theaters in Nigeria, Amsterdam, a return stint in London then a successful tour across the United States, culminating in an acclaimed encore four-week engagement on Broadway during the summer of 2012.

Tickets range from $37.50 – $77.50, plus applicable taxes and fees. Tickets can be purchased online at, by calling 800-745-3000 and at The Paramount Theatre Box Office (Tues – Fri 11 AM – 5:30 PM and Sat 11 AM – 3 PM). Summer Hours (after May 20) -Wednesday 11 AM-5:30 PM and Thursday, Friday and Saturday 11 AM-3 PM. Call (510) 465-6400 for the Ticket Office and call (510) 893-2300 for Administration.

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Marilee Talkington Becomes Living Art By Carrying Out Her In Vitro Fertilization Injections Publicly In Her World Premiere Performance Art Work

Marilee Talkington, the award-winning interdisciplinary artist and performer, launches her latest work THE CREATIVE PROCESS: An IVF Living Art Piece on May 30th 8 pm 2013 at SOMArts in San Francisco. In this courageous real-time Performance Art work Marilee brings forward an empowering, and radical exploration into the issues of conceiving life. In publicly performing the still taboo, deeply personal and subrosa process of In Vitro Fertilization (IVF), THE CREATIVE PROCESS breaks ground in the realm of performance and social dialogue about IVF, and redefines the meaning of “Life as Art”.

Encouraging transparency and demystification through baring her body and fertility journey, Marilee will become LIVING ART by literally taking her IVF hormone injections to the streets. This piece will take place over a 14 day period where every IVF injection will be visually accessible to the public and Live Streamed across the country on USTREAM.  “There is so much isolation in this process.  Even after 35 years of IVF procedures, people still have no idea what it truly involves and the intense highs and lows that women and couples go through. It’s about time to break this silence and taking ownership over this process inherently filled with uncertainty.”

On May 30th, 8 pm Marilee will do her first public injection at SOMArts as part of one of two full evening performance art pieces. During this performance, she will be unveiling her art installation inspired by a 1920’s broken down hospital room, which will be open to viewers for the duration of the two weeks. From May 30th-June 12th as the hormone injections begin to affect Marilee’s body, she will externalize her internal physical changes by transforming the old and distressed hospital installation into a vibrant and lush garden.

Curious what IVF involves? IVF requires women to do 10+ days of self-administered hormone injections 2-3 times per day. During these injections the eggs in the woman’s ovaries ripen very quickly, and after 10 or so days the eggs are then retrieved in an intensely delicate procedure, fertilized with sperm, and implanted back into the woman’s womb. With much luck, the woman will become pregnant.  As women grow older, the chances of conceiving, even through IVF, drop dramatically (13% chance of conceiving for women over 40).  So the tremendous emotional, physical and financial investment can result in either great joy or terrible sadness.

As part of this potentially paradigm shifting work, Marilee is extending a standing invitation to any other woman going through IVF injections to come meet her, either at the SOMArts installation,  out in public, or online to do choreographed injections together. All information about where Marilee will be at what times each day will be available on her website,  “I’m hoping to create an in person community of support and recognition for IVF patients. A community that feels fierce and fantastic!”

Talkington will also be injecting herself throughout the city.  She has scheduled herself to inject at the MOMA, deYOUNG, Exploratorium and other San Francisco treasures. All of which will be live-streamed.  “I’m injecting myself in these public places as part social statement, part community outreach.  But mostly because these places inspire me. I can’t predict if this IVF process will work and I’ll become pregnant.  But I can control what I’m doing while trying. These museums and public places are filled with exquisite art that move me to my core.  I want to express my own creative ability while steeping myself in the profound creations of others.”

On Saturday, June 8th, there will be a second public performance at PUSH Fitness.  This curated evening of performances celebrating “Femininity and ability to create” will also be live-streamed on USTREAM and will include aerial dancing, live music, beat poetry, martial arts, and Marilee performing a 10 character monologue about best practices to get pregnant. This show is free and open to the public.


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San Francisco Symphony Announces Summer & The Symphony Concert Lineup — Updated


Jessye Norman Performs The American Songbook July 31

SF Symphony And Warren Haynes Commemorate Jerry Garcia’s Birthday With Two Special Symphonic Celebration Concerts Aug. 1-2

Johnny Mathis, Rufus Wainwright, Bernadette Peters, Michael Feinstein, The Matrix Film, Disney In Concert With Video, Two Concerts Of Video Games Live!, Battleship Potemkin Film, And Classical Concerts Are Highlights Of Summer and The Symphony With San Francisco Symphony

Orchestra performs free concerts at Stern Grove Festival and in Dolores Park and presents annual Fourth of July concert with fireworks at Shoreline Amphitheatre; Orchestra to perform at America’s Cup Pavilion in SF and at Green Music Center, Sonoma State University

The San Francisco Symphony’s annual Summer & the Symphony concerts, announced today, include iconic soprano Jessye Norman singing standards from the American songbook July 31 and two concerts in celebration of Jerry Garcia’s birthday with vocalist and guitarist Warren Haynes (Allman Brothers, Gov’t Mule) and the Orchestra performing Garcia’s music August 1 and 2. The Orchestra also presents and performs in a variety of film and video game music programs. On July 28, the Symphony performs a concert of music from classic Disney films, including Aladdin, The Lion King, The Little Mermaid, and Beauty and the Beast, with video and original storyboard art. The classic sci-fi film The Matrix is screened while the Orchestra plays live accompaniment July 27, and the SFS plays music from popular video games Halo, Final Fantasy, and others in this new incarnation of Video Games Live™, created especially for the San Francisco Symphony, in two concerts July 25 and 26. The classic Eisenstein film Battleship Potemkin will be screened, with Cameron Carpenter playing the Ruffatti organ, on July 28.

The Orchestra’s summer season includes three classical concerts conducted by SFS Youth Orchestra alumnus and Detroit Symphony Orchestra Assistant Conductor Teddy Abrams, with music by Beethoven, Tchaikovsky, and American composers, and two free outdoor classical concerts. Soloists at Davies Symphony Hall include pianists Valentina Lisitsa and Benjamin Grosvenor. The Orchestra also performs an all-Tchaikovsky concert led by Abrams with violinist Nicola Benedetti at the new America’s Cup Pavilion on the San Francisco waterfront July 20. At the Stern Grove Festival, conductor Edwin Outwater leads soprano Measha Brueggergosman and the Orchestra in Ravel and Gershwin in a free concert July 7. The Orchestra also plays its annual free concert in Dolores Park July 21. Outwater leads a performance of Orff’s Carmina burana at Davies Symphony Hall July 30. On the Fourth of July, the Orchestra performs its annual Shoreline Amphitheatre Independence Day concert followed by a fireworks extravaganza. On August 4, in its final concert of the summer, the Orchestra performs a late afternoon concert of film music led by Sarah Hicks in Weill Hall at the Green Music Center at Sonoma State University.

On August 1 and 2, the Orchestra celebrates the birthday of native son Jerry Garcia with a new symphonic project highlighting the American musical icon’s legacy. This ground-breaking orchestral adventure features Garcia’s storied original compositions as well as classic interpretations of timeless standards that were hallmarks of Garcia’s shows. Renowned vocalist/guitarist Warren Haynes (Allman Brothers, Gov’t Mule) collaborates with the Symphony, lending his soul-soaked, introspective blend of rock, blues, R&B and jazz to Garcia’s masterworks. Sarah Hicks conducts.

Jessye Norman performs a rare recital of American Masters July 31, including compositions by Ellington, Gershwin, Harold Arlen, Kurt Weill, and Rodgers & Hammerstein. Johnny Mathis returns to Davies Symphony Hall July 5 and 6 to perform two concerts with the SFS of his classic hits and fan favorites, with John Scott Lavender and Edwin Outwater leading the Orchestra. Vocalist and pianist Michael Feinstein performs his The Gershwins and Me show with his big band on July 12, Broadway star vocalist Bernadette Peters performs July 23, and Rufus Wainwright performs solo June 9, accompanying himself on piano and guitar.

Tickets are on sale now for Summer & the Symphony concerts through, SFS Patron Services at (415) 864-6000, and at the Davies Symphony Hall box office on Grove Street between Van Ness Avenue and Franklin Street. Tickets are priced from $15-125, with tickets for concertgoers 17 and under half-price for selected concerts.

Tickets for the San Francisco Symphony Fourth of July Celebration at Shoreline Amphitheatre go on sale through on May 3 at 10 am. Tickets for the SF Symphony concert at America’s Cup Pavilion go on sale through on May 17.  Tickets for the SF Symphony concert at Green Music Center August 4 go on sale May 13 at 8 am at, or over the phone with the Sonoma State University Box Office at 866-955-6040.


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Marga Gomez Brings Her Very Gay Stand-Up To The Marsh Berkeley Cabaret

Friday, June 21, 2013 at 8:00 pm 

One Night Only!


Marga Gomez (named “Best Comedian 2012” by The SF Bay Guardian, SF Weekly and the Bay Area Reporter) returns to the intimate Marsh Cabaret in Berkeley with “Marga Gomez: Pride Baby” an adults only night of rip roaring, knee slapping, hilarious rants about gay people, straight people and everyone in between. To celebrate Pride Month Marga’s topics will include lesbian cruises versus Carnival Cruises, growing up as a gay baby, hypothetically dating Jodie Foster, rainbow fever and public nudity on Castro Street.

Marga tours nationally as one of the first openly gay comedians in America. She has appeared on LOGO’s “One Night Stand-Up,” HBO’s “Comic Relief,” Showtime’s “Latino Laugh Festival,” Comedy Central’s “Out There” and the PBS series “In the Life.” Marga is the winner of a GLAAD Media Award . For more Information visit

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San Francisco Symphony Youth Orchestra Releases New Recording: Live At The Berlin Philharmonie, Mahler Symphony No. 1 May 14 From The Symphony And Itunes, July 9 Worldwide

Recording released in conjunction with Youth Orchestra’s final concert of the season

Sunday, May 19 at 2:00pm


The San Francisco Symphony Youth Orchestra (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 worldwide, and on July 9 on disc from other North American music retailers. The performance was captured live in concert on July 3, 2012 while the Youth Orchestra was on their most recent tour of Europe. The SFSYO Live at the Berlin Philharmonie Mahler Symphony No. 1 recording can be purchased from iTunes and on CD from the San Francisco Symphony Store in Davies Symphony Hall and online from Proceeds from the sale of the album benefit the San Francisco Symphony Youth Orchestra touring program. The SFSYO performs its final concert of the 2012-13 season on Sunday, May 19 at 2:00pm at Davies Symphony Hall.

The San Francisco Symphony Youth Orchestra (SFSYO), led by Wattis Foundation Music Director Donato Cabrera, made its ninth international tour in summer 2012 with concerts in Germany, Austria, and Luxembourg. The six-date tour included performances at Regensburg’s Auditorium Maximum, Munich’s Philharmonie am Gasteig, at Wiesbaden’s Rheingau Festival, Luxembourg’s Festival international d’Echternach, in the Berliner Philharmonie and Europa Hall in Salzburg. Tour repertoire included Bay Area composer John Adams’s Shaker Loops, Mahler’s Symphony No. 1, Prokofiev’s Symphony No. 5 in B-flat major and Berlioz’s Roman Carnival Overture. Pianist Lars Vogt also joined the SFSYO on tour performing Grieg’s Piano Concerto in A minor. The SFSYO won a 2011-12 ASCAP Award for Adventurous Programming of American Music on foreign tours.

The SFSYO, composed of highly gifted young people ranging from age 12 to 21, is a hallmark of the San Francisco Symphony’s commitment to Bay Area youth and music education. The SFSYO tours internationally every three to four years. Touring is a vital part of musical development for musicians. Since the average tenure of a Youth Orchestra musician is three to four years, this allows most young musicians to experience the rigors of touring, ensemble building, and the once-in-a-lifetime experience of making music in some of the world’s most venerable concert halls.  A scholarship fund ensures that no student is left behind due to financial reasons.

The SFSYO toured Europe for the first time in 1986, and won the “City of Vienna” prize at the prestigious International Youth and Music Festival in Vienna. The orchestra made its first tour of Asia in 1989 and returned to Europe in 1992, 1995, 1998, 2001 and 2004. Their previous most recent European tour, in 2008, included performances at some of the Europe’s most prestigious music venues including debuts at the Berlin Philharmonie, the Munich Philharmonie am Gasteig and Prague’s Smetana Hall.

Read the San Francisco Symphony Youth Orchestra’s full bio here.

Donato Cabrera

Donato Cabrera joined the San Francisco Symphony conducting staff in September 2009. As the Resident Conductor he works closely with SFS Music Director Michael Tilson Thomas, and as Wattis Foundation Music Director leads the San Francisco Symphony Youth Orchestra. He conducts the San Francisco Symphony throughout the year, including the annual Día de los Muertos Community Concert, as well as the Concerts for Kids, Adventures in Music, and Music for Families concerts, which annually draw more than 60,000 young people and their families from throughout the Bay Area to Davies Symphony Hall. In March 2012, he conducted the San Francisco Symphony Chorus, with Paul Jacobs on organ, in the world premiere of Mason Bates’ Mass Transmission, subsequently conducting it with the Young People’s Chorus of New York City in Carnegie Hall for the American Mavericks Festival. In 2002, Cabrera was a Herbert von Karajan conducting fellow at the Salzburg Festival. He has also served as Assistant Conductor at the Ravinia, Spoleto, and Aspen Music Festivals, and as Resident Conductor at the Music Academy of the West. The 2011-2012 season marked his first year as Music Director of the Green Bay Symphony Orchestra.  Mr. Cabrera has been recognized as a Luminary by the Friends of Mexico Honorary Committee for his contributions to the Bay Area’s Mexican community.

Support for the San Francisco Symphony Youth Orchestra’s 2012 European Tour provided by Bernard and Barbro Osher,with additional support from Bettye Ferguson, Jennifer MacCready, the Phyllis C. Wattis Youth Orchestra Fund, and many other generous donors.

All SFS Media recordings are available from the Symphony Store in Davies Symphony Hall and online at as well as other major retailers. The recordings can also be purchased as downloads from iTunes, Amazon and other digital outlets. SFS Media recordings are distributed by harmonia mundi in North America, Avie Records internationally, and by The Orchard to digital outlets.


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“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, 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.


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


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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.

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 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, 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



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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

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

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; 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 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 and on CD from the San Francisco Symphony Store in Davies Symphony Hall and online from 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.


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.


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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


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; 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 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,, 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



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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.

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

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.

$20-30. Tickets are available at, 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.


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.


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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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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