Archive | Art

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

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

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

About Rebar

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

About BAM/PFA

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

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

Museum Information

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

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

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

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

TDD (510) 642-8734.

Website: bampfa.berkeley.edu

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

A SIGHTLINES pre-performance conversation with choreographer

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

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

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

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

TICKET INFORMATION

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

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Cal Performances Announces 2013/14 Season

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

About Roots of Peace

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

 

 

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

ART AUCTION 2013 HIGHLIGHTS

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

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

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

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

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

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

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

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

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

COMPLETE LIST OF PARTICIPATING ARTISTS

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

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

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

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

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NICOLE EISENMAN / MATRIX 248 MAY 3—JULY, 2013


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


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


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


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


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

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


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


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


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


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


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


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


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


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

 

 

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


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


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


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


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


TICKET INFORMATION


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

 

 

 

 

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

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

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

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

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

Artist Bios

JAVIER HEREDIA

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

 


Kina Mendez

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

 

BAY AREA FLAMENCO

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

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

Website: BayAreaFlamenco.org

 

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

by Zennie Abraham

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

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

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

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

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

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

Really?

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

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

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

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

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

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

Mirko -

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Best Regards,
Mark Guelfi

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

Hi Mark,

thanks for being available this morning to talk.

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

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

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

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

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

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

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

Best, Mirko

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

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

Stay tuned.

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

 

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

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

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

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

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

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

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

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

WHERE:

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

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


TICKET PRICE RANGE:  $20-$30

TICKET INFORMATION:

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

PERFORMANCE SCHEDULE: (Knight Stage 3 Theatre)

THURSDAY – April 25, 8:15PM

FRIDAY – April 26, 8:15PM

SATURDAY – OPENING April 27, 8:15PM

SUNDAY – April 28, 2:15PM

 

THURSDAY – May 2, 8:15PM

FRIDAY – May 3, 8:15PM

SATURDAY – May 4, 8:15PM

SUNDAY – May 5, 2:15PM

 

THURSDAY – May 9, 8:15PM

FRIDAY – May 10, 8:15PM

SATURDAY – May 11, 8:15PM

SUNDAY – May 12, 2:15PM

 

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

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

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

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

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

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

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

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

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

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

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

 

* Member of Actors Equity Association

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

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

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

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

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

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

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

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

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

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

 

TICKET INFORMATION

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

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

 

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

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

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

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

TICKET INFORMATION

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

 

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Greedy San Francisco Musicians Turn Down Federal Mediator Recommendation of Cooling Off Period, Forcing SF Symphony to Cancel New York Performances

The Musicians of the San Francisco Symphony (who make $165,000 annually, plus platinum healthcare and pension funds and don’t even work 12 months) have rejected a federal mediator’s proposal to resume playing concerts during a “cooling off” period while negotiations over the collective bargaining agreement continue. The Symphony’s administration was willing to abide by the federal mediator’s recommendation, based on developments over the past three days of talks.

As a result of the musicians’ continuing work stoppage, the orchestra’s three-city East Coast tour on March 20-23 will not go forward.  The tour was set to include performances at Carnegie Hall March 20 and 21, the New Jersey Performing Arts Center in Newark on March 22, and the Kennedy Center in Washington, D.C. on March 23. The ongoing five-day musicians’ strike has already forced cancellations of four concerts in San Francisco.

Over the past three days of lengthy negotiations, overseen by a federal mediator, the musicians’ union rejected the latest administration proposals and continued their strike.

Several proposals by the administration have been rejected by the musicians’ union.  The most recent proposal offered increases in musician compensation to achieve a new annual minimum salary of $145,979 with annual increases of 1% and 2% for the latest two-year proposal.  Contractual benefits also included a $74,000 maximum annual pension, 10 weeks paid vacation, and full coverage health care plan options with no monthly premium contributions for musicians and their families for three of the four options.  Additional compensation for most active musicians also includes radio payments, over-scale, and seniority pay which raises the current average pay for SFS musicians to over $165,000.

“We are deeply disappointed that the musicians have continued to reject proposals for a new agreement and that the musicians will not proceed with our planned East Coast tour,” said Brent Assink, Executive Director of the San Francisco Symphony.  “We have negotiated in good faith since September, have shared volumes of financial information, and have offered many different proposals that we had hoped would lead to a new agreement by this time.  We will continue to work hard to resolve this situation.”

In the current economic environment, the San Francisco Symphony is facing the same challenges that many other orchestras and arts organizations around the country are facing.  For all four years of its most recent collective bargaining agreement with its musicians, operating expenses have outpaced operating income.  The Orchestra has incurred an operating deficit in each of those years.

As a non-profit organization, the Symphony’s financial statements are audited annually by an independent certified public accounting firm.  These statements and related tax filings are publicly available in accordance with the law.  Since negotiations began, the administration has been cooperative in sharing financial records and responded to the union’s requests for information in a timely manner.  Since September, that includes over 50 formal requests for which over 500 pages of documentation were provided.

The administration has also offered to cooperate with third party financial consultants designated by the musicians to review the audited financial statements.  In addition, the administration had offered the musicians the opportunity to have two members join the organization’s Audit Committee of the Board of Governors.

The administration remains willing to continue negotiations with the musicians’ union under the auspices of a federal mediator in an effort to achieve a mutually agreeable contract. The administration will continue to work with the musicians to respond to requests for information, including requests about the Symphony’s finances.

Today’s rejection of the administration’s latest proposal also represents the latest in a series of delays by the musicians’ union in working with the administration on an agreement.  While the administration provided its first proposal October 15, 2012 and offered six subsequent proposals, the musicians’ union did not formally respond to any administration proposal until mid-January 2013. The union did not formally respond to any of this information until just over 60 days ago, weeks after the November 24, 2013 expiration of the four-year contract.

Media may contact Oliver Theil, SFS Director of Communications, for more details on the negotiations at (415) 264-1241, by email atotheil@sfsymphony.org, or visit www.sfsymphony.org/press.

 

For Ticketholders to Cancelled Concerts in San Francisco:

Refunds and exchanges will be offered for all cancelled Davies Symphony Hall concerts. We deeply appreciate your patience during this difficult time.

We apologize again for the inconvenience. Our Box Office opens at 10am on Monday and can help you with the following options for your tickets:

  • Exchange your tickets for another San Francisco Symphony performance this season
  • Donate your tickets, as the total ticket value is tax deductible to the extent permitted by law
  • Exchange your tickets for a Gift Certificate, which can be used at any time
  • Receive a refund for the value of the ticket

Please contact the San Francisco Symphony Box Office with your preferred option in the following ways:

  • email at tickets@sfsymphony.org and include your name and email address, and your preferred option
  • by phone at (415) 864-6000
  • in person at the Box Office on Grove St., between Van Ness and Franklin.

Box office hours this week are 10am – 6pm Monday – Friday, Saturday Noon – 6pm

 

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Center Rep Announces 2013-2014 Subscription Season

Center REP’s 2013-2014 mainstage season includes two musicals, a Pulitzer and Tony winner, one of the most brilliant bedroom farces of all time, the holiday favorite: A Christmas Carol, one of the world’s greatest British thrillers, and an Off Center World Premiere musical

 Center REPertory Companys Artistic Director Michael Butler today unveiled the company’s 47th subscription season. Running from September 6, 2013 to June 21, 2014, the season will be continuing Center REP’s programming to include seven productions to be performed in all three theatres of the Lesher Center for the Arts.  The diverse season moves from a Pulitzer and Tony Award winning comedy to the life story of the First Lady of Song; from one of the greatest British thrillers of all time to the spelling bee championship of a lifetime; from a brilliant bedroom farce to the World Premiere Off Center production and Center REP’s classic holiday tradition for the entire family.  A variety of subscription packages, ranging from $140 to $498, can be purchased by calling 925-943-SHOW.  The productions at Center REP are made possible by the gaenerous support of Chevron, Comcast, Contra Costa Times, The Diablo Regional Arts Association, The Lesher Foundation and Union Bank.

“This is a season of extraordinary plays that will feature bravura performances,” says Center REP Artistic Director Michael Butler. “From Broadway veteran Yvette Cason to the Bay Area’s own triple threat musical theatre Jedi, Molly Bell.  And each play and musical is a triumph of well crafted theatre.”

The season will kick off with Ella, The Musical (September 6 – October 12, 2013). Weaving myth, memory, and music, this vivacious new musical tells the inspirational story of Ella Fitzgerald, one of the greatest jazz vocalists of the 20th century. Featuring more than a dozen of her most famous hits, including They Can’t Take That Away From Me, How High the Moon and That Old Black Magic, this swinging celebration is a sensational musical event for anyone who wants to fall in love with the magic and soul of Ella Fitzgerald all over again.

Next comes Don’t Dress For Dinner (October 25 – November 23, 2013), the brilliant “sort of” sequel to REP’s 2011 hilarious and stylish sold-out hit, Boeing-Boeing. Ten years later, Robert and Bernard are at it again, and the mischievous antics continue in what many consider to be the most brilliant bedroom farce of all time. With crisscrossed affairs, a suspicious wife, and mistaken identities, everyone is guaranteed a good time at this hilarious romp through the French countryside.

Charles DickensA Christmas Carol (December 12 – 22, 2013) heralds the holiday season with colorful costumes and delightful music. Directed by Center REP Managing Director Scott Denison, the annual feast for the eyes and ears includes stunning special effects as the curmudgeonly Scrooge learns that it is better to give than to receive.

Written as a response to the famous play A Raisin in the Sun, Clybourne Park (January 31 – March 1, 2014) tells a new story in a social commentary about race and real estate in America. This Tony Award and Pulitzer Prize winning play focuses on a pair of connected events, 50 years apart, and two generations of a neighborhood in times of social upheaval and racial transition. Filled with jokes and hidden agendas, this rich and lightning-quick comedy is every bit as provocative as it is entertaining.

For decades, Sleuth (March 28 – April 26, 2014) has been wowing audiences with its breathtaking surprises and revelations, which has led it to be deemed one of the best stage thrillers of all time. Successful British mystery writer Andrew Wyck lures his wife’s lover to his mansion and suggests a proposal that sets off a chain of events that leaves the audience trying to decipher where Wyck’s imagination ends and reality begins.

Center REP closes the mainstage season with a hilarious tale of over-achievers’ angst. The 25th Annual Putnam County Spelling Bee is the story of six young people in the throes of puberty, overseen by grown-ups who barely managed to escape childhood themselves. A Tony Award-winning musical about adolescent outsiders vying for the spelling championship of a lifetime, learning that winning isn’t everything and that losing doesn’t necessarily make you a loser. This riotous musical comedy is guaranteed to have you howling with laughter as you root for your favorites to win first place.

In addition to its six-show mainstage season, Center REP’s season also includes its popular Off Center selection. Designed to present new, challenging works to its audience, the Off Center series has been a hit with audiences for the past four years. “I’m thrilled that Off Center has grown to where we’re able to commission a new musical,” says Butler. “This is a tremendously exciting development, for us and for our audience.”

Off Center celebrates its fifth season with the World premiere of a NEW, REP-commissioned pop musical. Inspired by one of America’s favorite (and perhaps despised) reality series, The Real Housewives of Walnut Creek: The Musical (April 17 – May 4, 2014) channels all the craziness and cat-fights that – for better or worse – keep audiences tuning in for more. In a new musical from the star and co-author of Becoming Britney, Molly Bell exposes the world of reality television set to an original score. REP Artistic Director, Michael Butler says, “Molly Bell wowed us with Becoming Britney and showed she has a great comedic gift for cultural observation. And as a singer/dancer/actor, she always delivers a powerhouse performance. I can’t wait to see her take on this!”

For more information on the 2013-14 season and to purchase subscriptions, call 925-943-SHOW or go online to www.lesherartscenter.org.

ABOUT CENTER REP

Center REPertory Company, the resident professional theatre company of the Lesher Center for the Arts (LCA), will be celebrating its 47th Subscription Season of high-quality theatrical productions during 2013-2014. Center REPertory Company’s mission is to celebrate the power of the human imagination by producing emotionally engaging, intellectually involving, and visually astonishing live theatre and, through our outreach and education programs, to enrich and advance the cultural life of the communities we serve.

Director’s Matinee. Join Center REP’s Artistic Director, Michael Butler, for an engaging discussion at a selected matinee performance during the run of each show.  Michael often enlists the cast as well as some of the show’s designers to add their perspectives to this always-lively dialogue.

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

 

 

 

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Grammy Award-Winners Paquito D’rivera And The Assad Brothers Perform Dances From The New World In Zellerbach Hall, Wednesday, April 10 At 8:00 Pm

Cuban-born clarinetist Paquito d’Rivera, widely considered one of the great jazz geniuses of our time, will be joined by virtuoso Brazilian guitarists Sérgio and Odair Assad at Cal Performances on Wednesday, April 10 at 8:00 p.m. in Zellerbach Hall. Their performances together display the exuberant spirit and scorching musical technique that has earned them reputations as three of today’s most innovative, interesting musicians in the world of Latin music and beyond. The three first met while touring with Yo-Yo Ma’s Obrigado Brazil project; they improvised together backstage after a performance and the idea for Dances from the New World was born. The Berkeley concert will feature music from a selection of well known dances, like the merengue, bolero, paso doble, rumba, samba, salsa, and tango composed by a variety of classical and contemporary composers including the Assads. “Call it one of the most engaging musical presentations of the season. Better yet, call it a stunning display of the music of the Western Hemisphere, performed by three of that region’s (and the world’s) finest artists” (Los Angeles Times).

A pre-performance Artist Talk will take place before the concert on April 10 in Zellerbach Hall at 6:00 p.m. This event will be moderated by Chuy Varela, music director of KCSM jazz radio, and is free and open to the public,

Winner of four Grammy Awards, clarinetist Paquito D’Rivera is celebrated for his skills as a Latin jazz artist as well as his achievements as a classical composer. Born in Cuba, he was a featured soloist with the Cuban National Symphony at age 17. D’Rivera co-founded the Orquesta Cubana de Música Moderna; the group has since toured internationally and won a Grammy Award for Best Latin Jazz Ensemble. He has toured internationally with his other ensembles—the Paquito D’Rivera Big Band, the Paquito D’Rivera Quintet, and the Chamber Jazz Ensemble. He has recorded over 30 solo albums. More information can be found at paquitodrivera.com.

The Assad brothers are known for their impeccable musical union and collaborations with artists including Yo-Yo Ma, Dawn Upshaw, Nadja Salerno-Sonnenberg, and Gidon Kremer. They have played a major role in reviving contemporary music for guitar duo and their virtuosity has inspired a wide range of composers such as Astor Piazzolla, Terry Riley, Marios Nobre, and Jorge Morel to write music for them. They have won two Latin Grammy awards their recordings and one American Grammy for Yo-Yo Ma’s Songs of Joy and Peace (Paquito D’Rivera was also on this album).  Now Sérgio Assad is composing music for their duo as well as for various musical partners, including symphonies and orchestras.

The brothers began studying guitar together as children and went on to study for seven years with Monina Tavora, a disciple of Andres Segovia. Their international career began in 1979 at the Young Artists Competition in Bratislava, Czechoslovakia. Since then, they have toured and recorded extensively.  In 2001 Sérgio and Odair Assad Play Piazzolla won a Latin Grammy Award. In the winter of 2008, the Assads curated a guitar festival at the 92nd St. Y in New York and then toured with some of those artists in a project called Brazilian Guitar Festival featuring Badi Assad, Romero Lubambo, and Celso Machado. In February 2011, Sérgio premiered a new concerto for two guitars with the Seattle Symphony. Odair is currently based in Brussels where he teaches at Ecole Supérieure des Arts and Sérgio resides in Paris and San Francisco, where he is on the faculty of the San Francisco Conservatory. More information is available at assadbrothers.com.

TICKET INFORMATION

Tickets for the Paquito D’Rivera and The Assad Brothers on April 10 at 8:00 p.m. in Zellerbach Hall range from $22.00 – $48.00, and are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door. Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets. For more information about discounts, go to http://calperformances.org/buy/discounts.php or call (510) 642-9988.

 

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Alonzo King LINES Ballet Presents its 30th Anniversary Spring Season

Alonzo King LINES Ballet, the internationally celebrated contemporary ballet company, culminates its 30th Anniversary year this Spring with a world premiere collaboration between visionary choreographer Alonzo King and Grammy award winning double bassist and composer Edgar Meyer, April 19-28, 2013. The collaboration also features a set by Academy Award winning designer Jim Doyle, one of the world’s leading creators of water feature designs.

Celebrated by the New Yorker as “…the most remarkable virtuoso in the relatively unchronicled history of his instrument,” Meyer draws audiences from all music corners – his styles include classical, bluegrass, newgrass, and jazz. Meyer and his musicians will perform live alongside the LINES Ballet dancers for every performance – with Meyer on double bass and piano, and a cellist and violinist.

Of his aspiration to work with Meyer, King says, “When I first heard the second movement of Edgar Meyer’s Violin Concerto, I was knocked off my feet. Its profoundly mesmerizing beauty and wave like repetitions interrupted by rhythmic shifts was an ideal world to construct choreography. The music seemed to embody the ancient with the new, with a stillness that moved.”

Doyle is a specialist in the world of fog and water and a Director at WET Design, a water design firm best known for its 9-acre Fountains of Bellagio in Las Vegas. Along with lighting designer Axel Morgenthaler, Doyle will create an elemental environment of liquid and light to accompany King’s work.

LINES Ballet’s 30th Anniversary Gala will be held on Saturday, April 20, 2013 celebrating three decades of Alonzo King’s artistry, innovation, and collaboration.

Since its founding in 1982, Alonzo King LINES Ballet has been guided by the unique artistic vision of Alonzo King. King creates works that draw on a diverse set of deeply rooted cultural traditions, imbuing classical ballet with new expressive potential. He is celebrated for his collaboration with noted composers, musicians, and visual artists – his collaborators over the last three decades have included jazz saxophonist Pharoah Sanders, tabla master Zakir Hussain, actor Danny Glover, Polish composer Pavel Syzmanski, Nubian oud master Hamza El Din, percussionist Mickey Hart, visual artist Jim Campbell, the BaAka from the Central African Republic, and the Shaolin monks of China, to name a few. The conceptual design, production, aesthetic and artistic direction of each project is shaped in collaboration with Creative Director and Designer Robert Rosenwasser.

In addition to the company’s home seasons, LINES Ballet tours globally and has been featured at venues such as the Venice Biennale, Monaco Dance Forum, Maison de la Dance, the Edinburgh Festival, Montpellier Danse, the Wolfsburg Festival, and the Holland Dance Festival. The Company continues its robust international touring schedule throughout 2013, with a fall touring schedule that includes performances in Israel and throughout Europe, including in Lyon, La Rochelle, Rouen, Marseilles and at the Théâtre National de Chaillot in Paris.

Alonzo King LINES Ballet’s company dancers are David Harvey, Ashley Jackson, Caroline Rocher, Meredith Webster, Keelan Whitmore, Ricardo Zayas, Michael Montgomery, Courtney Henry, Kara Wilkes, Zack Tang, Yujin Kim and Paul Knobloch

About Alonzo King

Alonzo King is a visionary choreographer who is altering the way we look at ballet. King calls his works ‘thought structures’ which are created by the manipulation of energies inherent in matter, through laws that govern the shapes and movement directions of everything that exists. 

King has works in the repertories of the Royal Swedish Ballet, Ballets de Monte Carlo, Béjart Ballet, Joffrey Ballet, Alvin Ailey, Hong Kong Ballet, NCDT, and Washington Ballet. He has worked extensively in opera, television, and film. Known for collaborations, King’s seminal works include People of the Forest (2001), choreographed with BaAka artists from Central African Republic, and Long River High Sky (2007), with China’s Shaolin Monks. He has collaborated with actor Danny Glover, legendary jazz saxophonist Pharaoh Sanders, Hamza al Din, Pawel Szymanski, jazz composer Jason Moran, and tabla master Zakir Hussain. Renowned for his skill as a teacher, King has been guest ballet master for dance companies around the globe.

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

San Francisco Mayor Gavin Newsom presented the Mayor’s Art Award to Alonzo King in 2008, calling him a “San Francisco treasure.” That year Alonzo King was also honored with the Jacob’s Pillow Creativity Award, in recognition of his contribution to “moving ballet in a very 21st-century direction.” In 2006, King received the US Artists award, just after being given New York’s Bessie Award for Choreographer/Creator in 2005. He is also the recipient of the NEA Choreographer’s Fellowship, Irvine Fellowship in Dance, National Dance Project and the National Dance Residency Program, and five Isadora Duncan Awards. Additional honors include the Hero Award from Union Bank, the Los Angeles Lehman Award, the Excellence Award from KGO, the San Francisco Foundation’s 2007 Community Leadership Award, the 2012 CORPS de Ballet Lifetime Achievement Award and the San Francisco Museum & Historical Society’s San Francisco Treasure Award.

In 2005, he was named a Master of Choreography by the Kennedy Center. He is a former commissioner for the city and county of San Francisco, and a writer and lecturer on the art of dance. He was awarded the Green Honors Chair Professorship from Texas Christian University, and holds honorary Doctorates from Dominican University of California and California Institute of the Arts.

 

More information about Alonzo King LINES Ballet and its 30th Anniversary is at www.linesballet.org

 

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Cal Performances Presents Two World Premieres From Choreographer Mark Morris

Cal Performances will present two world premieres by renowned choreographer Mark Morris within the span of less than one year featuring musical works by radically different composers both recognized as geniuses in their own time:  Stravinsky, one of the most influential composers of the 20th century and Händel, one of the most prolific and admired of all baroque composers.

This coming June, Cal Performances will present the world premiere of Mark Morris’s new choreography to Igor Stravinsky’s Rite of Spring  June 12 and 13 at Hertz Hall. The two performances will open the third annual Ojai North!, a multi-year partnership with the esteemed Ojai Music Festival.  Rite of Spring will be performed by Mark Morris Dance Group and jazz trio The Bad Plus (“about as badass as highbrow can get” according to Rolling Stone Magazine), who has rescored the explosive masterpiece for piano, bass, and drums. The collaborative effort between the Ojai Festival and Cal Performances makes possible annual reprises of Ojai concerts in Berkeley, as well as co-commissions and co-productions. More than just a sharing of resources, Ojai North! represents a joining of artistic ideals and aspirations. The combined efforts of Ojai’s legacy of artistic innovation and Cal Performances’ tradition of groundbreaking productions create a joint force that allows artists to achieve more than would be possible by each organization separately.

Cal Performances again partners with the legendary choreographer for the world premiere of a new, fully staged opera production of Mozart’s arrangement of Händel’s Acis and Galatea April 25-27, 2014. This new production features visual artist and scenic designer Adrianne Lobel, fashion and costume designer Isaac Mizrahi, and lighting designer Michael Chybowski. Four lead singers will perform the work in English: Thomas Cooley as Acis, Sherezade Panthaki as Galatea, Douglas Williams as Polyphemus, and Zach Finkelstein as Damon.  Nicholas McGegan leads the Philharmonia Baroque Orchestra for the three performances in Berkeley.  The popular Händel opera Acis and Galatea is based on Ovid’s Metamorphoses with the libretto written by John Gay in 1739. Mozart’s arrangement, written in 1788, broadens Händel’s original orchestration through the addition of bassoon, clarinet, and horn which allows an expanded range of sound color. The two-act opera—a tale of great tenderness, rivalry, and eternal love—focuses on a triangle tragically tested by unrequited love between Acis, an Arcadian shepherd, Galatea, a sea nymph, and the cyclops Polyphemus, who jealously slays Acis. Acis and Galatea is a Mark Morris Dance Group/Cal Performances/ Celebrity Series of Boston production, in association with the Harriman-Jewell Series, Kansas City; Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign; and Lincoln Center for the Performing Arts, New York. After the premiere at Cal Performances, the production will tour the commissioning partners’ cities through 2015.

Morris, whom the New York Times called … “the most successful and influential choreographer alive, and indisputably the most musical”  has long considered Cal Performances his West Coast home, having partnered with the organization since 1987. In recognition of his significant long-term collaborative relationship with the institution, Cal Performances recently honored him with its Award of Distinction in the Performing Arts.

“The Bay Area understands the genius of Mark Morris and his talents as a dancer, choreographer and musician, perhaps better than anywhere else in the world,” said Cal Performances’ Director Matías Tarnopolsky.  “We are fortunate to be able to bring Mark’s unique creative vision with two such remarkable works written hundreds of years apart to genius composers with radically different ideas.”

Cal Performances, located on the campus of the nation’s finest public university, is a beneficiary of UC Berkeley’s renowned intellectual and cultural environment. Under the leadership of Director Matías Tarnopolsky, Cal Performances offers one of the world’s finest performing arts seasons reaching nearly 200,000 people each year through its programming and community outreach.  Local, national and international collaborations and partnerships allow Cal Performances the opportunity to combine a significant local impact with global reach.

TICKET INFORMATION

Tickets for Ojai North! on Wednesday-Saturday, June 12-15, at Hertz Hall range from $20.00-$110.00 and are subject to change. Tickets for Mark Morris’s Acis and Galatea April 25-27, 2014, will go on sale April 29, 2013. Tickets are available through the Cal Performances’ Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door. Half-price tickets are available for purchase by 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.  Rush tickets are announced three hours prior to a performance on Cal Performances’ Facebook page and at 510-642-9988 and are available in person only at the Ticket Office beginning one hour before the performance; one ticket per person; all sales are cash only. For more information, call Cal Performances at (510) 642-9988, or visit www.calperformances.org.

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San Francisco Symphony And Michael Tilson Thomas Announce 2013-14 Season Concert Programs, Events, And Recordings

The San Francisco Symphony (SFS) and Music Director Michael Tilson Thomas (MTT) announced their 2013-14 season today, a slate of concerts, programs, and events that reflects their commitment to performing and recording core classical repertoire and new music by contemporary and emerging composers, presenting them side by side in in-depth explorations and creative settings. MTT continues his multi-year focus on performing and recording Beethoven, with three weeks of concerts pairing some of Beethoven’s infrequently performed works alongside three recent compositions by Bay Area composer and electronica artist Mason Bates.  In celebration of the 100th anniversary of the birth of Benjamin Britten, MTT leads three weeks of concerts, including a new semi-staged production of Peter Grimes, and Four Sea Interludes with original co-commissioned video.  MTT also conducts the Orchestra in major works by Antheil, Bartók, Berlioz, Brahms, Debussy, Ives, Steven Mackey, Mahler, Mozart, Prokofiev, Rachmaninoff, and Schumann.  Other high points of the season include Pablo Heras-Casado leading a two-week festival pairing the music of Felix Mendelssohn and Thomas Adès, with common literary and musical inspirations as a theme, and a season-long focus on J.S. Bach with some of today’s foremost musical proponents of his music: Ton Koopman, András Schiff, and Christian Tetzlaff.  The Orchestra makes its first performances of works by Thomas Adès, Mason Bates, J.S. Bach, C.P.E. Bach, Dvořák, Ligeti, Lully, Mendelssohn, and Schulhoff; debuts a new season-long film series including the first live performances of the complete score of Hitchcock’s Vertigo, accompanying the film; and launches a series of immersive and informal musical events featuring SFS musicians, Bay Area-based and visiting composers, and visual artists. Other highlights of the SF Symphony’s eleven-month season are the West Coast premiere of Zosha Di Castri’s New Voices project commission and composer Mason Bates and pianist Yuja Wang returning as Project San Francisco artists. The Orchestra returns to Europe for a three-week tour in March 2014, and tours the U.S. in November 2013.  On its SFS Media label, the Orchestra releases recordings of music by Beethoven, and will record performances of music by Bates and Beethoven for future release.

Subscription ticket packages start at $186 (a six-concert package in the 2nd Tier) for the San Francisco Symphony’s 2013-14 season and are on sale now to renewing subscribers and the general public.  Ticket information is available through the San Francisco Symphony Web site at www.sfsymphony.org/subscribe, through the SFS Patron Services Office 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.  Tickets for individual 2013-14 San Francisco Symphony concerts will go on sale on July 22.

MICHAEL TILSON THOMAS’ 2013-14 HIGHLIGHTS

Michael Tilson Thomas marks his 19th season as Music Director with the SFS in 2013-14, and is currently the longest-tenured music director of any major American orchestra.  In 18 concert weeks this season, in Davies Symphony Hall and on tour in Europe and the U.S., MTT leads the Orchestra in a wide variety of programs and events that highlight his commitment to new and rarely performed music as well as providing audiences new context to core classical repertoire.

“One of the great rewards of a long partnership between a conductor and an orchestra is the opportunity to explore works old and new, by many composers,” said Michael Tilson Thomas.  “Just as we continue to examine the music of Beethoven and find new pathways into hearing his work, it is important to develop and support composers writing today, and treat new music in the way we treat music of the past—to revisit it over the years. This is part of developing creative partnerships with composers over the course of their careers, such as our continued explorations of the music of Bay Area composers John Adams and Mason Bates. Ongoing relationships with composers, present as well as past, are inseparable from our work together as musicians and open new dimensions in our music-making.”

SEASON OPENING GALA – ALL-AMERICAN PROGRAM WITH AUDRA McDONALD

The San Francisco Symphony’s 102nd season opens Tuesday, September 3, 2013, with Music Director Michael Tilson Thomas leading the Orchestra in its annual Opening Gala concert and celebration at Davies Symphony Hall. Soprano Audra McDonald and the Orchestra offer a program of works by American composers including Gershwin’s An American in Paris and Antheil’s Jazz Symphony. The gala concert will be broadcast live on Classical KDFC 90.3/89.9/104.9 FM and kdfc.com. The Orchestra’s All-San Francisco concert for San Franciscans served by local community groups takes place September 5, with Gershwin’s An American in Paris, and violinist James Ehnes joining MTT and the Orchestra in Barber’s Violin Concerto. MTT also conducts as James Ehnes and the Orchestra perform Barber’s Violin Concerto September 6, alongside Gershwin’s An American in Paris and Antheil’s Jazz Symphony.

BENJAMIN BRITTEN CENTENARY

The first SF Symphony performances of Benjamin Britten’s opera Peter Grimes (1945) are the culminating events in a four-week celebration of the English composer’s work and music, marking the centenary of his 1913 birth. The celebration encompasses Britten’s works for opera, vocal music, a ballet score, and orchestral writing, and spans the prolific career of a composer, conductor and pianist who died in 1976 at the age of 63.   For the centenary, MTT will create a new semi-staged production of the complete Peter Grimes in June 2014, with tenor Stuart Skelton (Peter Grimes) and soprano Elza van den Heever (Ellen Orford) heading a cast of singers including baritone Alan Opie (Captain Balstrode), mezzo-sopranos Ann Murray (Auntie) and Nancy Maultsby (Mrs. Sedley), baritone Eugene Brancoveanu (Ned Keene), bass John Relyea (Mr. Swallow), and the SFS Chorus. Four Sea Interludes from Peter Grimes will be presented with original co-commissioned video by visual artist Tal Rosner (“Polaris”). In other programs, Britten’s works are paired with those of his colleague and close friend, Dmitri Shostakovich.  The Orchestra is joined by a gamelan ensemble in excerpts of music from Britten’s 1945 ballet The Prince of the Pagodas alongside Shostakovich’s Violin Concerto with Janine Jansen.  SFS Principal Horn Robert Ward is featured in Britten’s Serenade for Tenor, Horn and Strings (1943), with tenor Toby Spence in a program that includes Shostakovich’s Symphony No. 15. During the composer’s 100th birthday week in November 2013, Semyon Bychkov leads soprano Christine Brewer, tenor James Gilchrist, baritone Roderick Williams, the SFS Chorus, the Pacific Boychoir, and the Orchestra in Britten’s War Requiem (1962). Concertmaster Alexander Barantshik leads the Orchestra in Britten’s Simple Symphony for string orchestra during a week of January concerts.

BEETHOVEN AND BATES FESTIVAL 

MTT and the Orchestra continue their multi-season exploration of Beethoven with three concert weeks that pair some of his early and lesser-heard works alongside recent music by Bay Area composer and electronica artist Mason Bates, a frequent SFS collaborator and this season’s Project San Francisco composer. Bates’ music will be recorded live during these concerts for later release on SFS Media. Since Bates attended the first American Mavericks Festival in 2000, he and MTT have worked together in multiple settings, including with the SFS at Davies Symphony Hall (the SFS commissioned Mass Transmission in 2011 for its centennial season, part of theAmerican Mavericks Festival,) on the American Mavericks Festival tour, and in the YouTube Symphony Orchestra project. In the Beethoven and Bates Festival’s first week, in January, Beethoven’s Symphony No. 1 is paired on a program with his Romances Nos. 1 and 2. Concertmaster Alexander Barantschik is featured as soloist in these infrequently performed works, and he performs Romance No. 1 for the first time with the Orchestra.  Mason Bates performs on electronica with the Orchestra in his Alternative Energy, performed in San Francisco by the Chicago Symphony Orchestra during the SFS centennial season.  In the second week, for the first time since 1998, the Orchestra and the SFS Chorus perform Beethoven’s complete Mass in C. Excerpts from Beethoven’s rarely performed music for King Stephen, including the Overture and selected choral movements, open the concerts, and Bates joins the Orchestra on electronica for performances of his Liquid Interface.

“I can always count on a trip to the SFS to shake up my musical reality. Whether it’s new music, old music, or some provocative combination of the two, I always leave with retuned hearing. Few institutions this large behave so adventurously. It’s been wonderful to create several new works for MTT and the musicians, and I am deeply honored that several pieces dear to me will be performed and recorded next season,” Bates said.

In the festival’s third week, in February, The B-Sides by Mason Bates opens the evening, again with Bates on electronica performing with the Orchestra. The SFS commissioned and premiered Bates’ The B-Sides in 2009. Beethoven’s Symphony No. 7, which the Orchestra recorded with MTT in 2010, also will be performed as part of the Beethoven and Bates Festival’s final week, and Gil Shaham is soloist in Prokofiev’s Violin Concerto No. 2.

In addition to the Beethoven and Bates Festival weeks, in September, Emanuel Ax returns to perform Beethoven’s Piano Concerto No. 3 with MTT and the Orchestra; a recording of his live performances of Beethoven’s Piano Concerto No. 4 with the Orchestra was released on SFS Media in 2011. The Orchestra also performs Beethoven’s Leonore Overture No. 3, which it also recently recorded and issued on SFS Media, at Davies Symphony Hall and on tour in Carnegie Hall and in Champaign-Urbana, IL.

NEW VOICES COMPOSER – ZOSHA DI CASTRI

Canadian composer Zosha Di Castri was chosen last year as the first composer to have her work fostered, promoted and performed as part of New Voices, a new collaborative composer development initiative with the San Francisco Symphony, New World Symphony, and publisher Boosey & Hawkes. The SFS presents and performs Di Castri’s new orchestral work Lineage in its West Coast premiere in September, following its world premiere in Miami in April 2013.  Her work will be performed by the Orchestra in Davies Symphony Hall and also at the Green Music Center at Sonoma State University. The New Voices project supports composers in developing their work in chamber and orchestral settings, preparing them for public performances, and promoting their music, with performances in Miami and San Francisco.  Di Castri’s chamber music piece will be performed by SFS musicians in 2014.

TOURS

MTT leads the Orchestra on tours of Europe and the U.S. during the 2013-14 season, performing the music of contemporary and maverick American composers including John Adams, Aaron Copland, Charles Ives, and Steven Mackey alongside core classical repertoire by Mahler, Beethoven, Berlioz, Prokofiev, and Mozart. In March 2014, MTT and the Orchestra perform two weeks of concerts in the musical capitals of Europe, visiting London, Paris, and Vienna for two concerts each, as well as Prague, Geneva, Luxembourg, Dortmund, and Birmingham.  Tour repertoire reflects the diverse array of works from its Grammy award-winning SFS Media catalogue, including Mahler’s Symphony No. 3 with mezzo-soprano Sasha Cooke; Beethoven’s Symphony No. 7; Berlioz’s Symphonie fantastiqueThe Alcotts from Ives’ A Concord Symphony, orchestrated by Henry Brant; and the St. Lawrence String Quartet in John Adams’ Absolute Jest, a San Francisco Symphony co-commission.  Julia Fischer will join the Orchestra as soloist in Prokofiev’s Violin Concerto No. 1. For Mahler’s Symphony No. 3 tour performances, the Orchestra is joined by local choruses including St. Paul’s Boys Choir and Women of the London Symphony Orchestra Chorus (London), Maîtresse de Radio France and Choeur des femmes de l’Orchestre de Paris (Paris and Geneva), Choeur symphonique de la Grande Région and Pueri cantores of the Luxembourg Conservatoire (Luxembourg), and Vienna Boys Choir and Women of the Wienersingakademie (Vienna).

In November 2013, the Orchestra performs four concerts on a U.S. tour to New York’s Carnegie Hall, Ann Arbor, MI, and Champaign-Urbana, IL. Repertoire includes Mahler’s Symphony No. 3 with soprano Susan Graham (at Carnegie) and soprano Sasha Cooke (at Ann Arbor) and, at Carnegie and Champaign-Urbana, Steven Mackey’s Eating Greens, Mozart’s Piano Concerto No. 25 with Jeremy Denk, Copland’s Symphonic Ode, and Beethoven’s Leonore Overture No. 3, recently released on SFS Media.

RECORDINGS

The Orchestra’s recordings on its own Grammy award-winning SFS Media label continue to reflect the artistic identity of its programming, a commitment to the work of contemporary American composers alongside that of the core classical masterworks. In the 2013-14 season, MTT and the Orchestra record performances of the Beethoven and Bates Festival, including three works by Bay Area composer Mason Bates: Liquid Interface, Alternative Energy and the SFS-commissioned The B-Sides. On April 9, 2013 SFS Media will release a recording of Beethoven’s Symphony No. 9, captured live in the concluding concerts of the 2011-12 centennial season with MTT, the Orchestra, the Chorus, and soloists Erin Wall, Kendall Gladen, William Burden, and Nathan Berg. During MTT and the Orchestra’s May 2013 Beethoven Festival, SFS Media will record John Adams’ Absolute Jest with the St. Lawrence String Quartet for future release. Absolute Jest was inspired by and based on fragments of Beethoven’s scherzos for string quartets and was co-commissioned by the SFS and premiered as part of its American Mavericks Festival last season.  Release dates for all future recordings will be announced at a later date.

ADDITIONAL HIGHLIGHTS WITH MTT

Among other highlights of MTT’s season are programs featuring visits by some of the most acclaimed and beloved soloists, returning to perform with the Orchestra:

 

  • Pianist Yefim Bronfman performs
  • The week of September 18, MTT leads the Orchestra and soprano Sasha Cooke with the women of the SF Symphony Chorus and SF Girls Chorus in Mahler’s Symphony No. 3.
  • Pianist Emanuel Ax joins MTT and the Orchestra the week of September 26 for Beethoven’s Piano Concerto No. 3, in a program that includes Mahler’s Blumine and a selection of short pieces by Copland, Debussy, Delius, Grieg, and Rachmaninoff.
  • Cellist Yo-Yo Ma joins the Orchestra and MTT for one concert in February, performing Schumann’s Cello Concerto. MTT also leads Beethoven’s Symphony No. 7 andThe Alcotts, from Ives’s A Concord Symphony, orchestrated by Henry Brant.
  • Christian Tetzlaff performs Bartók’s Violin Concerto No. 2 with MTT and the Orchestra the week of May 14. The program also includes Brahms’ Symphony No. 4, and opens with Sibelius’ Lemminkäinen’s Return.
  • Pianist Yuja Wang joins the Orchestra the week of May 22 to perform Rachmaninoff’s Piano Concerto No. 4 with MTT. The Orchestra also performs Debussy’sImages and Tchaikovsky’s The Tempest, Opus 18.

 

THOMAS ADÈS AND MENDELSSOHN FESTIVAL WITH PABLO HERAS-CASADO

Spanish conductor Pablo Heras-Casado leads a two-week festival in October pairing the music of English composer Thomas Adès with that of Felix Mendelssohn, performing music spanning four centuries. In a program inspired by William Shakespeare and Goethe, Heras-Casado conducts a cast of soloists including soprano Audrey Elizabeth Luna (Ariel), mezzo-soprano Charlotte Hellekant, and baritone Rodney Gilfrey in the Orchestra’s first performances of excerpts from Adès’ The Tempest. Luna sang the role at the Metropolitan Opera in 2012 under Adès’ direction. The program includes Mendelssohn’s A Midsummer Night’s Dream and the first SFS performances of Die erste Walpurgisnacht.  The festival’s second program illuminates Mendelssohn and Adès’ mutual fascination with the Baroque, featuring the Orchestra’s first performances of Adès’ Three Studies from Couperin and Jean-Baptiste Lully’s Overture and Passacaille from Armide (1686). Mendelssohn’s Symphony No. 3, Scottish, and Stravinsky’s neoclassical Violin Concerto, with soloist Leila Josefowicz, round out the program. Thomas Adès will participate in the festival. Heras-Casado will showcase the composers’ chamber works in a concert featuring SFS musicians and will also conduct the SF Symphony Youth Orchestra in rehearsal. Further details about the festival concerts and related activities will be announced at a later date.

SFS PREMIERES AND FIRST PERFORMANCES

MTT leads the Orchestra in a variety of commissions, premieres and first performances, including the first SFS performances of Mason Bates’ Liquid Interface andAlternative Energy; its first performances of Britten’s complete Peter Grimes, in a semi-staged presentation; and the West Coast premiere of New Voices composer Zosha Di Castri’s new work for orchestra, Lineage, an SFS co-commission.  Under Pablo Heras-Casado, the Orchestra makes its first performances of excerpts from Thomas Adès’ The Tempest and Three Studies from Couperin, as well as Mendelssohn’s Die erste Walpurgisnacht and Jean-Baptiste Lully’s Overture and Passacaille from Armide. Ton Koopman leads the SFS in two first performances:  C.P.E. Bach’s Cello Concerto No. 3 and J.S. Bach’s Cantata No. 207a, Auf, schmetternde Töne der muntern Trompeten. With Charles Dutoit on the podium, the Orchestra and SFS Chorus debut Poulenc’s Litanies à la vierge noire (Litanies of the Black Virgin), in a program that features the Chorus on all three works. Former SFS Resident Conductor Edwin Outwater, now music director of the Kitchener-Waterloo Symphony, leads the Orchestra in the SFS premieres of Ligeti’s Concert Românesc and three of Dvořák’s Legends for Orchestra, Nos. 2, 6 and 10.  James Conlon, music director of Los Angeles Opera, joins the Orchestra for debut SFS performances of Schulhoff’s Scherzo from his Symphony No. 5. The Orchestra performs the world premiere of Bernard Herrmann’s full score for Hitchcock’s film Vertigo with a screening of the film, and the first SFS performances of Herrmann’s scores for Hitchcock!, an evening of excerpts from the master’s films. Sarah Hicks leads the Orchestra in a performance of the complete score of Fantasia with the Disney movie on the big screen.

NEW SERIES OF INFORMAL, EXPERIMENTAL MUSICAL EVENINGS HIGHLIGHT SFS MUSICIANS, BAY AREA ARTISTS AND COMPOSERS

MTT and the SFS are launching a new series of intimate and experimental musical evenings in a newly-created alternative space at Davies Symphony Hall. The events will be curated by innovative and forward-thinking composers, artists and musicians and will highlight members of the SFS. As a platform for musical ideas and passions of the participating artists, the series of ten events will offer explorations in program, format, technology, audience interaction, and curatorial elements. All events will feature SFS musicians in live performance with such composers as electronica artist and DJ Mason Bates (DJ Masonic), performing in and curating his Mercury Soul club event. Other performers and composers participating include Samuel Carl Adams, a Brooklyn composer and Bay Area native whose music combines elements of jazz, electronica, and classical influences; Nathaniel Stookey, the San Francisco-based composer and SFSYO alumnus who wrote the modern kids’ guide to the orchestra, The Composer is Dead, and Mahlerwerk; and New Voices composer Zosha Di Castri, who is writing a work for percussion as part of the project.  Programming is currently under development and full details will be announced this summer.

PROJECT SAN FRANCISCO:  YUJA WANG AND MASON BATES

Pianist Yuja Wang and composer Mason Bates, two young artists championed by Michael Tilson Thomas and the SFS, return as this season’s Project San Franciscoresident artists, collaborating with the Orchestra in concerts, chamber music, lectures and education and community events.  Three works by Mason Bates – The B-SidesAlternative Energy, and Liquid Interface – will be performed by MTT, Bates, and the Orchestra as part of a three-week festival pairing his music with Beethoven’s.  Bates’ works will be also recorded for release on SFS Media.  Since meeting at the original American Mavericks Festival in 2000, Bates and MTT have collaborated on a variety of projects, with the SFS, New World Symphony, and the YouTube Symphony Orchestra.  His The B-Sides was commissioned by the SFS and premiered in 2009. The SFS commissioned and played Bates’ work for chorus and electronica, Mass Transmission, on the 2012 American Mavericks Festival, performing with Bates on electronica both in SF and on its two-week all-American Mavericks national tour. Bates is also a collaborator with the SFS on its new, curated musical experiences in the newly-created alternative performance space at Davies Symphony Hall, and is a well-known DJ who hosts and curates Mercury Soul nightclub dates.

One of the world’s most dynamic artists, Yuja Wang first appeared with the SFS in 2006 as a soloist on its Chinese New Year concert and has returned to the SFS every year since her debut.  Most recently she joined MTT and the Orchestra on its acclaimed November 2012 tour of Asia. She also appears as soloist in its March 2013 concerts in Carnegie Hall and Newark.  She joins the Orchestra to perform Rachmaninoff’s Piano Concerto No. 4 with MTT, and also performs a solo recital of works by Albéniz, Granados, and Liszt. As part of the Great Performers Series, she joins the visiting Los Angeles Philharmonic led by Gustavo Dudamel in Rachmaninoff’s Piano Concerto No. 1.

Additional details of Bates’ and Wang’s Project San Francisco residencies will be announced at a later date.

SEASON-LONG FOCUS ON J.S. BACH

The Orchestra continues its multi-year, in-depth exploration of the work and influence of J.S. Bach, featuring conductors and artists who bring a unique and historically informed perspective on the composer. Conductor Ton Koopman, one of the world’s preeminent Bach interpreters, begins a series of annual visits to the SFS to conduct the Orchestra in Bach and other Baroque repertoire. His May 2014 programs include works by father and son, J.S. Bach’s Orchestral Suite No. 4 and Jauchzet Gott in allen Landen, BWV 51 and C.P.E. Bach’s Cello Concerto No. 3 and Symphony in G major. SFS Principal Trumpet Mark Inouye is soloist in Jauchzet Gott in allen Landen, along with soprano Carolyn Sampson, and Associate Principal Cello Peter Wyrick solos in C.P.E. Bach’s Cello Concerto. In Koopman’s second week of concerts, the SF Symphony Chorus joins soloists soprano Teresa Wakim, mezzo-soprano Bogna Bartosz, tenor Tilman Lichdi, and bass Klaus Mertens with the Orchestra in J.S. Bach’s Cantata No. 118, Cantata No. 207a, Auf, Schmetternde Tone der muntern Trompeten, and Missa Brevis (Kyrie and Gloria from Mass in B minor). Three renowned Bach interpreters are featured in solo recitals throughout the year. Violinist Christian Tetzlaff performs a program of Bach’s Sonatas and Partitas for Solo Violin.  András Schiff, in his second year of recital performances of works by Bach co-presented by the SFS and SF Performances, performs Bach’s Partitas Nos. 1-6, his celebrated 2009 recording of which is a milestone of the Bach discography. In Schiff’s final recital, audiences have the rare opportunity to hear two monumental works of the keyboard literature in one program: J.S. Bach’s Goldberg Variations, and Beethoven’s Diabelli Variations. Conductor and organist Martin Haselböck performs his Davies Symphony Hall solo organ recital debut, preceding Koopman’s concert weeks.

SAN FRANCISCO SYMPHONY MUSICIANS IN THE SPOTLIGHT

San Francisco Symphony principal musicians are featured in variety of solo turns with the Orchestra this season. Concertmaster Alexander Barantschik, Principal Clarinet Carey Bell, Principal Trumpet Mark Inouye, Principal Horn Robert Ward and Associate Principal Cello Peter Wyrick all will be featured soloists during the year.  Inouye is soloist on two successive concert weeks in April and May, with James Conlon in Shostakovich’s Piano Concerto No. 1 (Concerto for Piano, Trumpet, and String Orchestra) and then with Bach specialist Ton Koopman in J.S. Bach’s Jauchzet Gott in allen Landen.  Associate Principal Cello Peter Wyrick is soloist in C.P.E. Bach’s Cello Concerto No. 3, also with Ton Koopman on the podium. Alexander Barantschik leads the SFS in a week of January concerts that include Mendelssohn’s Violin Concerto in D minor and Mozart’s Divertimento for Strings.   Barantschik performs the Mendelssohn Concerto on the famed “David” Guarnerius violin. In April, Carey Bell appears with Herbert Blomstedt in Nielsen’s Clarinet Concerto. Principal Horn Robert Ward is soloist with Michael Tilson Thomas leading the SFS in Britten’s Serenade for Tenor, Horn, and Strings in June during its Britten Centenary Festival.

The San Francisco Symphony Chorus, led by Chorus Director Ragnar Bohlin, celebrates its 40th anniversary in 2013-14 with a season of major works, first performances, and recordings. The Chorus is in the spotlight during many of the season’s artistic focal points, such as Britten’s Peter Grimes and Beethoven’s Mass in C and excerpts from King Stephen, with MTT on the podium; Bach’s Missa Brevis (Kyrie and Gloria) from Mass in B minor and the first SFS performances of both Bach’s Cantata No. 207a, Auf, schmetternde Töne der muntern Trompeten, with Ton Koopman; and Mendelssohn’s Die erste Walpurgisnacht, with Pablo Heras-Casado. Semyon Bychkov leads the Orchestra and Chorus in Britten’s War Requiem the week of the 100th anniversary of his birth. With Charles Dutoit conducting, the Chorus is featured in the first SFS performances of Poulenc’s Litanies of the Black Virgin, as well as Stravinsky’s Symphony of Psalms, and the first performances of Fauré’s Requiem since 2003. Also, with MTT on the podium, the women of the SFS Chorus perform Mahler’s Symphony No. 3. Chorus Director Ragnar Bohlin conducts the Chorus in December holiday performances of Handel’s Messiah.

GUEST ARTISTS AND CONDUCTORS

The San Francisco Symphony’s 2013-14 season features some of the world’s most distinguished guest conductors, instrumentalists, and singers and many young, emerging artists. Returning for two-week engagements are SFS Conductor Laureate Herbert Blomstedt, Semyon Bychkov, Charles Dutoit, Pablo Heras-Casado, and Ton Koopman.   Returning to lead the Orchestra in a week of concerts each are James Conlon, Rafael Frühbeck de Burgos (conducting the orchestra for the first time since 1985), Marek Janowski, Edwin Outwater, and Osmo Vänskä. Sarah Hicks leads the Orchestra in two film nights: A Night at the Oscars and Fantasia in Concert, and Richard Kaufman conducts Chaplin’s music for his film City Lights as the movie is presented on the big screen.

Soloists familiar to Davies Symphony Hall audiences include violinists James Ehnes, Julia Fischer, Janine Jansen, Leila Josefowicz,  Gil Shaham, and Christian Tetzlaff; pianists Emanuel Ax, Yefim Bronfman, Jeremy Denk, Kirill Gerstein, Hélène Grimaud, Garrick Ohlsson, Jean-Yves Thibaudet, Simon Trpčeski, and Yuja Wang; and cellists Yo-Yo Ma and Alisa Weilerstein.  Mason Bates performs on electronica.

Returning singers include sopranos Christine Brewer, Audra McDonald, Carolyn Sampson, Elza van den Heever, and Katie van Kooten; mezzo-sopranos Sasha Cooke, Charlotte Hellekant, and Nancy Maultsby; tenors James Gilchrist, Stuart Skelton, and Toby Spence; baritones Eugene Brancoveanu, Joshua Hopkins, and Alan Opie; and bass John Relyea.

Making their conducting debuts on the SFS podium are Lionel Bringuier, resident conductor of the Los Angeles Philharmonic, and  Jaap van Zweden, music director of the Dallas Symphony Orchestra and Hong Kong Philharmonic Orchestra.  Joshua Gersen, winner of the prestigious 2011 Aspen Conducting Prize, and conducting fellow at the New World Symphony, where he is assistant conductor to MTT, is on the podium as the Orchestra performs Bernard Herrmann’s film scores for Psycho andVertigo with the films, and also conducts the Orchestra in music to accompany Hitchcock! Greatest Hits.

Debut artists appearing this season with the SFS include pianists Till Fellner, Martin Helmchen, and Daniil Trifonov; violinist Simone Lamsma; sopranos Audrey Elizabeth Luna and Teresa Wakim, mezzo-sopranos Bogna Bartosz  and Ann Murray; contralto Claudia Huckle; tenors Tilman Lichdi and Sean Panikkar; baritones Rodney Gilfrey and Roderick Williams, and bass Klaus Mertens.

GREAT PERFORMERS SERIES and SPECIAL CONCERTS

András Schiff, the Symphony’s 2012-13 Project San Francisco resident artist and one of the world’s greatest interpreters of Bach, returns next season to continue his multi-year exploration of Bach keyboard works, with two October recitals. His solo programs of Bach’s Partitas 1-6 and Bach’s Goldberg Variations with Beethoven’sDiabelli Variations are co-presented by the San Francisco Symphony and San Francisco Performances.

Gustavo Dudamel leads the Los Angeles Philharmonic in two concerts, one with pianist Yuja Wang performing Rachmaninoff’s Piano Concerto No. 1. The Orchestra performs a work by Anders Hillborg and John Corigliano’s Symphony No. 1, in addition to Brahms and Tchaikovsky. Wang also performs a solo recital. Two other visiting orchestras perform in Davies Symphony Hall in 2013-14: the Saint Petersburg Philharmonic, led by Yuri Temirkanov, and soloists pianist Denis Kozhukhin and violinist Vilde Frang, in programs of Tchaikovsky, Rachmaninoff, Prokofiev, and Rimsky-Korsakov, and the Royal Philharmonic Orchestra performs an all-Beethoven program led by Pinchas Zukerman, who is soloist in Beethoven’s Violin Concerto. Gidon Kremer is featured in his Kremerata Baltica chamber orchestra in a program of Britten, Shostakovich, and Mieczyslaw Weinberg.

Baritone Dmitri Hvorostovsky sings Shostakovich and other Russian repertoire, violinist Christian Tetzlaff performs Bach, and pianists Murray Perahia and Evgeny Kissin perform solo recitals. Pianists Katia and Marielle Labèque appear in a special concert of all-American repertoire: Philip Glass, Gershwin, and excerpts from Bernstein’sWest Side Story with percussionists.

NEW FILM SERIES

This season the San Francisco Symphony introduces a new film series, with live orchestral performances accompanying great films, starting Halloween week.  Among the presentations are four Alfred Hitchcock film events, including the first performances by an orchestra of the full Bernard Herrmann score of Vertigo accompanying the film screening. The Orchestra will perform Hermann’s score live to the classic thriller Psycho (Oct. 30), and also performs a program featuring essential scenes from Hitchcock’s body of work, Hitchcock! Greatest Hits, on Nov. 2. Joshua Gersen conducts, in his debut with the Orchestra. Organist Todd Wilson performs the music for Hitchcock’s The Lodger, a silent early classic, on Davies Symphony Hall’s magnificent Ruffatti organ. On four Saturdays throughout the season, beginning withHitchcock! Greatest Hits, the Symphony performs live to accompany highlights from Oscar-winning movies in A Night at the Oscars; Chaplin’s score to City Lights (with music by Chaplin and Arthur Johnston), and Fantasia in Concert, with a soundtrack of Stravinsky, Bach, Dukas, Beethoven, Tchaikovsky, Mussorgsky, Ponchielli, and Schubert.

GREEN MUSIC CENTER SERIES AND COLLEGE CAMPUS CONCERTS

In the 2013-14 season, beginning in September, the San Francisco Symphony continues its four-concert, Thursday night series at Weill Hall in the new Donald and Maureen Green Music Center (GMC) on the campus of Sonoma State University. In the GMC season’s opening concert, MTT leads the Orchestra in Zosha Di Castri’s new co-commissioned work, Lineage; Tchaikovsky’s Piano Concerto No. 1 with Yefim Bronfman, and Prokofiev’s Symphony No. 3. Later in the season, Semyon Bychkov leads the Orchestra in R. Strauss’s An Alpine Symphony; Alexander Barantschik performs Mendelssohn’s Violin Concerto and leads the Orchestra in Britten, Mozart and Piazzolla; and Charles Dutoit and Kirill Gerstein bring Beethoven’s Piano Concerto No. 2 and Shostakovich’s Symphony No. 10. The Orchestra also performs two concerts at the Mondavi Center at the University of California at Davis.  At UC Davis, Marek Janowski leads pianist Martin Helmchen in Schumann’s Piano Concerto in October, and Dvořák’s Symphony No. 7, and Tilson Thomas conducts the Orchestra and Christian Tetzlaff in Sibelius, Bartók and Brahms in May.

FAMILY CONCERTS / YOUTH ORCHESTRA / ORGAN SERIES / CHAMBER MUSIC

Special events of the San Francisco Symphony’s 102nd season include a variety of family, heritage, and community concerts, including its annual Día de los MuertosCommunity Concert and the annual Lunar New Year Concert and Celebration.

The San Francisco Symphony performs a variety of free and low-cost family and community concerts throughout the year, offering the Bay Area the widest possible opportunity to hear and experience orchestral music. The Orchestra’s annual free summer concerts at Dolores Park and Stern Grove take place in July. The Orchestra also performs its annual low-priced All-San Francisco concert for San Francisco’s community groups, Community Deck the Hall Holiday Concert,  low-cost Concerts for Kids,and the Music for Families series.

The San Francisco Symphony Youth Orchestra (SFSYO) performs three concerts under the direction of Wattis Foundation Music Director Donato Cabrera, beginning in November. The SFSYO also performs at the Bay Area Youth Orchestra Festival, held in January in Davies Symphony Hall, and its annual holiday performances of Prokofiev’s Peter and the Wolf.

The Orchestra’s three organ recitals scheduled for 2013-14 include the Davies Hall recital debut of conductor/ organist Martin Haselböck (playing Bach), and the returns of Olivier Latry and Paul Jacobs. The musicians of the SF Symphony perform both classical and contemporary repertoire in more intimate groups in two annual chamber music series, with six concerts at Davies Symphony Hall beginning in October and four at the Palace of the Legion of Honor.

Complete programs and artists for holiday concerts, Youth Orchestra, chamber music, and summer 2014 concerts will be announced at a later date.

MUSIC EDUCATION AND COMMUNITY CONCERTS

In its second century, the SF Symphony continues its commitment to bringing orchestral music and access to music to people at every age and life stage. The Symphony’s pioneering music education programs in San Francisco public schools serve students throughout their elementary and secondary years—grades 1-12.  ItsAdventures in Music program in San Francisco’s public schools reaches every first through fifth grader with comprehensive music education experiences, making it possible for them to learn about music in the classroom. Launching in 2013 is a revitalized children’s music education website, www.sfskids.org, developed in conjunction with the UC Irvine Center for Computer Games and Virtual Worlds. For older students, the Instrument Training and Support program offers substantial support for every San Francisco public middle and high school with an instrumental music program. Through the SFS Youth Orchestra and performances on Bay Area college campuses, the SFS continues to offer connections to young adults.

For adults, the Symphony offers Community of Music Makers amateur music-making choral and instrumental workshops, giving people the opportunity to develop their musical skills onstage at Davies Symphony Hall with the support of the musicians, staff, and resources of the SF Symphony. For chamber musicians seeking rehearsal or performance partners, a convening website developed with San Francisco Classical Voice (http://comm.sfcv.org) launched in 2012.


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“ACID TEST: The Many Incarnations Of Ram Daas” Moves to The Marsh San Francisco for a Limited Engagement

After a successful four month run in Berkeley, The Marsh is delighted to announce that Lynne Kaufman’s critically acclaimed new play, ACID TEST: The Many Incarnations Of Ram Dass, is moving to The Marsh San Francisco from April 12 – May 18, 2013. The show will play on Friday at 8:00 pm and Saturday at 5:00 pm (except Saturday, May 11 at 8:00 pm.) For tickets, the public may visit www.themarsh.org or call 415-282-3055.

Performed by Warren David Keith and directed by Joel Mullennix, this is the true story of Richard Alpert, aka Ram Dass, the famous Harvard psychology professor and spiritual seeker, who, along with Timothy Leary, started the psychedelic revolution and then, in the third of three life transformations, went on to become an international teacher on enlightenment. “Just when you find the answer, the question changes.”

In December, the production travelled to Hawaii to perform the play for Ram Dass who has taken a keen interest in the show but is too frail to travel. He loved the play (he said his ego soared, an occurrence he has battled against for a lifetime!)

Lynne Kaufman’s twenty full-length plays have been produced all over the country, including Actors Theatre of Louisville, Magic Theatre, Theatreworks, The Fountain Theatre and The Abingodon. Warren David Keith has appeared at theaters throughout the Bay Area, including the Aurora, Marin Theatre Company, Word For Word and the California Shakespeare Theater. Joel Mullennix most recently directed the highly successful productions of Olive Kitteridge, More Stories by Tobias Wolff and Which is More Than I Can Say About Some People for Word For Word.

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