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ORGANIST CAMERON CARPENTER PERFORMS LIVE IMPROVISED ACCOMPANIMENT TO 1920 SILENT FILM THE CABINET OF DR. CALIGARI IN CELEBRATION OF HALLOWEEN ON OCTOBER 30 AT DAVIES SYMPHONY HALL

Carpenter will perform solo works for organ prior to the film

SAN FRANCISCO, October 2—Organist Cameron Carpenterwill perform live improvised organ accompaniment to a screening of the 1920 silent horror film The Cabinet of Dr. Caligari, at 7 pm on Tuesday, October 30 at Davies Symphony Hall in celebration of Halloween. Carpenter also performs and a mini-recital before the film begins and accompanies the short film Camera Man’s Revenge, a 1912 stop-motion film by Wladyslaw Starewicz about jealousy and infidelity among a love triangle of beetles. The Cabinet of Dr. Caligari is a German Expressionist silent horror film directed by Robert Wiene from a screenplay by Hans Janowitz and Carl Mayer that is widely considered to have introduced the twist ending into the film lexicon.

Cameron Carpenterstudied composition and organ performance at the North Carolina School of the Arts and at Juilliard, where he received his Master of Music in 2006. Currently based in Berlin, Carpenter was the first organist ever nominated for a Grammy® award for a solo record. In 2012, Carpenter made his debut at the BBC Proms in a pair of Bach recitals, and was recently awarded the prestigious Leonard Bernstein Prize at the Schleswig-Holstein Music Festival in Germany. Last year he performed his improvised score to The Phantom of the Opera on the Davies Hall Ruffatti organ. He will return to Davies Symphony Hall later this season to perform in recital on Sunday, March 30.

HALLOWEEN MOVIE: The Cabinet of Dr. Caligari Tuesday, October 30 at 7 pm
Davies Symphony Hall

Cameron Carpenter organ

Carpenter performs a mini-recital and performs live accompaniment to Camera Man’s Revenge (short) and The Cabinet of Dr. Caligari on the Ruffatti organ.

TICKETS $20-$60. 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.

CD SIGNING: Cameron Carpenter will be signing his CDs in the Symphony Store following the performance.

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SAN FRANCISCO SYMPHONY NOVEMBER AND HOLIDAY SEASON CONCERTS INCLUDE WILSON PHILLIPS, SHARON JONES AND THE DAP-KINGS, PINK MARTINI, CHRIS BOTTI, JUDY COLLINS, NATALIE COLE, COUNT BASIE ORCHESTRA, PETER AND THE WOLF WITH SF SYMPHONY YOUTH ORCHESTRA, HANDEL’S MESSIAH, AND NEW YEAR’S EVE MASQUERADE BALL


The Snowman film, Colors of Christmas with Peabo Bryson, Marilyn McCoo and Billy Davis, Jr., James Ingram, and Stephanie Mills, Mariachi Sol de México de José Hernandez, ‘Twas the Night and Deck the Hall children’s concerts also on Symphony’s holiday performance schedule

Concerts by Wilson Phillips and Sharon Jones and the Dap-Kings, and holiday concerts with Pink Martini, Chris Botti, Judy Collins, The Count Basie Orchestra,Natalie Cole, and the annual Colors of Christmas shows with Peabo Bryson, Marilyn McCoo and Billy Davis, Jr., James Ingram, and Stephanie Mills are among the highlights of the 2012-13 November and December schedule at Davies Symphony Hall, presented by the San Francisco Symphony.

The Symphony’s holiday concerts include several particularly suited for children and families to attend together, with several offering half-price tickets for children 17 and under. San Francisco Symphony musicians and special guests perform two Deck the Hall family concerts of holiday music December 2, followed by entertainment, refreshments, and arts and crafts for children. On December 8, the San Francisco Symphony Youth Orchestra will perform its popular Peter and the Wolf afternoon concerts, with actress Olympia Dukakisas narrator. Ragnar Bohlinleads soprano Joélle Harvey, mezzo-soprano Jennifer Johnson-Cano, tenor Andrew Stenson, bass-baritone Michael Sumuel, and the San Francisco Symphony Chorusand Orchestra in three performances of Handel’s Messiah on December 13, 14, and 15. The animated children’s film The Snowman will be screened December 21 at Mondavi Center at UC Davis and December 22 at Davies Symphony Hall, with live accompaniment by the San Francisco Symphony and the Pacific Boychoir.  Mariachi Sol de México de Jóse Hernándezbrings Mexican and traditional Christmas favorites to Davies Symphony Hall December 21. SFS Chorus Director Ragnar Bohlinleads soprano Lisa Vroman, and members of the Orchestra and Chorus in three ’Twas the Night Christmas concerts, featuring favorite carols and sing-alongs, December 22, 23, and 24.

The lobby of Davies Symphony Hall will be transformed into a Christmas wonderland. Towering trees will each be decorated with handmade ornaments, made by kids from local schools and volunteers from community groups. The annual New Year’s Eve Masquerade Ball rings in 2013 on December 31.

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

WILSON PHILLIPS
Saturday, November 17 at 8 p.m. at Davies Symphony Hall

The four-time Grammy® nominated group Wilson Phillips takes the stage at Davies Symphony Hall, performing songs from their new release Dedicated, which features covers of The Beach Boys and The Mamas and the Papas.  One of the best-selling female groups of all time, Wilson Phillips is Carnie Wilson and Wendy Wilson (daughters of Brian Wilson of The Beach Boys) and Chynna Phillips (daughter of John Phillips and Michelle Phillips of The Mamas & the Papas). The trio reinvents the songs of their parents and perform their beloved hits “California Dreamin’,” “Wouldn’t It Be Nice,” “Good Vibrations,” and more, as well as their own best-known songs. In spring 2012, the lifelong friends starred in Wilson Phillips: Still Holding On, a TV Guide Network reality show documenting the group’s adventures in and out of the recording studio. ( Note: the SF Symphony does not perform in this concert).

SHARON JONES AND THE DAP-KINGS
Saturday, November 24 at 8 p.m. at Davies Symphony Hall

Steeped in gospel, soul, and funk, this nine-piece Brooklyn collective has continued to electrify fans the world over with its authentic, heartfelt sound. Their four critically-acclaimed albums recall an honest, analog sound reminiscent of Motown and Stax Records, and have thrust Jones, a native of Augusta, GA, and crew into the multimedia limelight. Their live show has attracted collaborators including David Byrne, They Might Be Giants, Rufus Wainwright, Lou Reed, and Michael Bublé. The Dap-Kings’ musical chops have also been in high-demand by artists including Al Green. Jones celebrated her silver-screen debut in the Denzel Washington-led film, The Great Debaters, in which she acted, sang, and recorded the majority of the movie’s soundtrack. In June 2012, the band appeared at the Bonnaroo Festival, and heads next to Europe for a month-long tour, including dates in Denmark, Germany, Belgium, France, Spain, Turkey, Italy and Norway. (Note: the SF Symphony does not perform in this concert).

PINK MARTINI WITH THE SAN FRANCISCO SYMPHONY
Wednesday, November 28 and Thursday, November 29 at 7:30 p.m. at Davies Symphony Hall

The Portland, Oregon-based “little orchestra” was created in 1994 by Harvard graduate and classically trained pianist Thomas M. Lauderdale to play at political fundraisers for progressive causes.  Fronted by multilingual and multitalented China Forbes, the band plays an eclectic blend of 1930’s Cuban dance orchestra, classical chamber ensemble, Brazilian street band, and Japanese film noir. In 2010 the band released Joy To The World, a festive, multi-denominational holiday album featuring songs from around the globe. Its previous recordings, Hang On Little Tomato in 2004, Hey Eugene! in 2007, and Splendor In The Grass in 2009, have been popular worldwide. The group made its European debut at the Cannes Film Festival and in the years following went on to tour Europe, Asia, and the United States. Equally at home performing its eclectic repertoire on concert stages and in smoky bars, Pink Martini draws a wildly diverse crowd.  The ensemble made its orchestral debut with the Oregon Symphony Orchestra in 1999 and has since performed with other orchestras across the country including the Los Angeles Philharmonic, the Boston Pops, the National Symphony, and the BBC Concert Orchestra. Donato Cabrera conducts.

CHRIS BOTTI WITH
THE SAN FRANCISCO SYMPHONY
Friday, November 30 and Saturday, December 1 at 7:30 p.m. at Davies Symphony Hall

Trumpeter Chris Botti performs material from his new album, Impressions, with his band and the Orchestra, conducted by Brett Kelly.  Impressions expresses Botti’s love for rich, evocative melodies across a wide variety of genres, and includes music by Chopin, Gershwin, Harold Arlen, R. Kelly, Randy Newman, Bob Thiele and David Weiss, Ivan Lins, Astor Piazzolla, and Cesar Portillo de la Luz, as well as a pair of songs co-written by Botti with Herbie Hancock and David Foster. Botti was persuaded to make a lifetime commitment to the trumpet when at 12 he heard Miles Davis play “My Funny Valentine.” After attending Indiana University, and studying with David Baker, trumpet teacher Bill Adam, Woody Shaw and saxophonist George Coleman, he spent his early career crafting his skills in the Buddy Rich Big Band and playing with artists from Frank Sinatra to Natalie Cole and Joni Mitchell. Botti played extensively with Paul Simon, and had an especially creative association with Sting. His records have sold more than those by any jazz instrumentalist in the world.

DECK THE HALL CHILDREN’S HOLIDAY CONCERT AND PARTY
Sunday, December 2 at 11:00 and 3:00 p.m. at Davies Symphony Hall

The San Francisco Symphony’s annual Deck the Hall event celebrates the holiday season with a magical stage show designed for children ages three to 10. Members of the cast of Beach Blanket Babylon, Dance Through Time, San Francisco Boys Chorus, and SF Jazz High School All-Stars Orchestra perform.  Inaugurated more than 30 years ago by the late Louise M. Davies, this holiday classic is a Symphony tradition. The post-show party in the lobbies includes a variety of entertainment, arts and craft activities for children, and refreshments.  Special Angel Packages are available with premium concert seating and a pre-concert reception with gourmet treats, holiday crafts, and special time with Santa Claus for the kids.

PETER AND THE WOLF with the
SAN FRANCISCO SYMPHONY YOUTH ORCHESTRA
Saturday, December 8 at 1:00 p.m. and 4:00 p.m. at Davies Symphony Hall

The San Francisco Symphony Youth Orchestra performs Prokofiev’s Peter and the Wolf with special guest narrator Olympia Dukakis. The Orchestra will also perform festive holiday songs for the whole family to sing. SFSYO Music Director and conductor Donato Cabreraconducts.

COLORS OF CHRISTMAS
Peabo Bryson, Marilyn McCoo and Billy Davis, Jr., James Ingram, and Stephanie Mills with the San Francisco Symphony
Monday, December 10, Tuesday, December 11, and Wednesday, December 12 at 8:00 p.m. in Davies Symphony Hall

Peabo Bryson, Marilyn McCoo and Billy Davis Jr, James Ingram and Stephanie Mills celebrate at the annual Colors of Christmas concerts with the San Francisco Symphony, performing traditional Christmas favorites and their individual hits. Bryson’s soft-rock/R&B hits include the Top 10 hit “If Ever You’re in My Arms Again,” the Grammy® Award-winning “Beauty and the Beast” (with Celine Dion), and “A Whole New World (Aladdin’s Theme)” with Regina Belle. McCoo and Davis are best known for their hits with The 5th Dimension, including “Aquarius,” “Wedding Bell Blues,” and “Last Night (I Didn’t Get to Sleep)” and R&B crooner Ingram had major hits with songs including “Baby, Come to Me,” “I Don’t Have the Heart,” and “Yah Mo B There.”

HANDEL’S MESSIAH
With the San Francisco Symphony and SF Symphony Chorus
Thursday, December 13, Friday, December 14, and Saturday, December 15 at 7:30 p.m. at Davies Symphony Hall

The Grammy® Award-winning SF Symphony Chorus, conducted by Chorus Director Ragnar Bohlin, is joined by the Orchestra and soloists soprano Joélle Harvey, mezzo-soprano Jennifer Johnson-Cano, tenor Andrew Stenson, and bass-baritone Michael Sumuel in these performances of Handel’s glorious Messiah oratorio.

THE COUNT BASIE ORCHESTRA
Sunday, December 16 at 7:30 p.m. at Davies Symphony Hall

The Count Basie Orchestra embodies swing, style, rhythm and soul, and the ensemble brings its classic big band jazz to Davies Symphony Hall for a night of jazz and pop standards, and its unique, foot-tapping take on favorite Christmas carols.

JUDY COLLINS
WITH THE SAN FRANCISCO SYMPHONY
Wednesday, December 19 at 7:30 p.m. at Davies Symphony Hall

The folk and pop vocalist and songwriter Judy Collins joins the San Francisco Symphony for a performance of her timeless songs and hits as well as some holiday favorites. Collins’ Grammy® award-winning contemplative songs, paired with her creamy voice and heartfelt delivery, have been entertaining and enthralling fans for many years. Collins takes the audience on a journey showcasing her legendary, wide-ranging vocal talents, performing ballads from her vast songbook, along with special holiday songs, all delivered in her singular style.

NATALIE COLE
WITH THE SAN FRANCISCO SYMPHONY
Thursday, December 20 at 7:30 p.m. at Davies Symphony Hall

Vocalist and songwriter Natalie Cole,whose repertoire spans pop, r&b, jazz, and standards, performs a Christmas concert with the San Francisco Symphony. Her most recent album, Still Unforgettable, won two Grammy® awards, and her inspiring book, “Love Brought Me Back,” chronicles her journey from loss and recovery to joy and success following her 2009 kidney transplant. Cole rocketed to stardom in 1975 with her debut album, Inseparable, earning her a #1 single, “This Will Be (An Everlasting Love)” and two Grammy awards for Best New Artist, as well as Best Female R&B Vocal Performance. Her 1991 album Unforgettable…With Love included her sensational duet with her late father, Nat King Cole, on the title track.

MARIACHI SOL DE MÉXICO DE JOSÉ HERNANDEZ
Friday, December 21 at 7:30 p.m. at Davies Symphony Hall

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

THE SNOWMAN film
Animated film and sing-along with the San Francisco Symphony
Friday, December 21 at 7:00 p.m. at Mondavi Center, UC Davis,
and Saturday, December 22 at 11:00 a.m. at Davies Symphony Hall

This charming animated 26-minute film (Dianne Jackson, 1982) tells the tale of a young boy’s poignant friendship with a snowman. The San Francisco Symphony performs the score to this family-friendly movie, led by Resident Conductor Donato Cabrerawith the Pacific Boychoir. After the movie, hear Christmas favorites performed by the Orchestra. The audience is invited to sing along with the Orchestra to some great holiday chestnuts.

’TWAS THE NIGHT
Carols and sing-alongs with members of the SF Symphony Chorus and Orchestra
Saturday, December 22 at 7:30 p.m.
Sunday, December 23 at 4:00 p.m.
and Monday, December 24 at 2:00 p.m. at Davies Symphony Hall

This special Christmas concert offers conductor and SF Symphony Chorus Director Ragnar Bohlinleading soprano Lisa Vroman, members of the San Francisco Symphony, and members of the SFS Chorus in beloved Christmas carols and favorite childhood Christmas songs, plus audience sing-alongs  and traditional favorites.

NEW YEAR’S EVE MASQUERADE BALL WITH THE SAN FRANCISCO SYMPHONY
Monday, December 31
Doors open and pre-concert entertainment begins at 8:00 p.m.
Orchestra concert begins at 9:00 p.m.

Ring in the New Year at the city’s most elegant celebration, the New Year’s Eve Masquerade Ball with the San Francisco Symphony. The December 31 event stars the San Francisco Symphony, conductor Michael Francis, soprano Heidi Stober, and members of Dance Through Time. Everyone attending the event receives a complimentary mask as they enter the beautifully decorated lobby. Beginning at 8 p.m., The Martini Brothersentertain and perform their “swingin’ cocktail music” in the lobby. Starting at 9 p.m., the San Francisco Symphony performs polkas, waltzes, and dances on stage in Davies Symphony Hall. Following the Symphony concert, guests are invited to celebrate and dance on the Davies Hall stage to The Peter Mintun Orchestra. Super Diamond, covering the hits and gems of the one and only Neil Diamond, entertains in the First Tier lobby. Immediately following the Symphony performance, guests enjoy complimentary sparkling wine, desserts, savories, and party favors. As the clock strikes midnight, 2,013 colorful balloons cascade from the ceiling and the crowd welcomes in 2013.

A special pre-concert dinner package includes a cocktail reception beginning at 6 p.m. followed by a sumptuous three-course dinner (wine included) in the lobby of the War Memorial Opera House. The dinner package also includes sparkling wine served in the Loge Level lobby at intermission. Dinner packages begin at $160. Parking is included. Call the Davies Symphony Hall box office for more details on the special pre-concert dinners at (415) 864-6000, or visit sfsymphony.org/newyears.

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MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY PERFORM SIX-CITY, 10-CONCERT ASIAN TOUR IN NOVEMBER

 Tour includes Orchestras first performances in Beijing and Macau, first visits to Japan and Taiwan in more than 15 years, and concerts in Shanghai and Hong Kong 

Pianist Yuja Wang is soloist with Orchestra in Rachmaninoff, Prokofiev

Music Director Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS) perform for the first time in Beijing, China, on a six-city, 10-concert tour of Asia in November 2012. The Orchestra also performs two concerts each in Shanghai and Hong Kong, and plays its first concerts in Taiwan in 20 years. Its two concerts in Tokyo mark their first return to Japan in 15 years. The tour opens November 7 at the Macau Cultural Center, the Orchestra’s debut there.

Photo from Esther Hasse

Pianist Yuja Wang, a native of Beijing, is soloist with MTT and the Orchestra in all six cities on the tour, performing Rachmaninoff’s Rhapsody on a Theme of Paganini and Prokofiev’s Piano Concerto No. 2. The Orchestra also performs Mahler’s Symphony No. 5, Rachmaninoff’s Symphony No. 2, and music by three American composers: John Adams’ Short Ride in a Fast Machine, Lou Harrison’s “The Family of the Court” from Pacifika Rondo, and Henry Cowell’s Music 1957. This is the Orchestra’s seventh Asian tour, and their fifth visit to Japan since their debut there on their first international tour in 1968.

The Orchestra also plans a variety of educational and outreach activities in China. As a cultural exchange underscoring the sister city relationship between San Francisco and Shanghai, MTT and San Francisco Symphony musicians will lead a day of master classes with students from the Shanghai Conservatory of Music on November 13.  The Shanghai Conservatory of Music was founded in 1927 and is one of the most important music schools in China. MTT will also lead a master class in conducting for Conservatory students, and conduct the Shanghai Conservatory Youth Symphony musicians.  SFS Executive Director Brent Assink and General Manager John Kieser will speak with arts management students and faculty at the Conservatory’s Department of Arts Management. Musicians of the SF Symphony will also lead master classes at the Central Conservatory of Music in Beijing, where tour soloist Yuja Wang was a student. Further details of the Orchestra’s educational activities in China will be announced at a later date.

The Orchestra’s recording series on SFS Media continues to reflect the artistic identity of its programming, including its commitment to performing the work of American maverick composers alongside that of the core classical masterworks. In conjunction with the November tour, Tilson Thomas and the Orchestra will release a new recording from their acclaimed two-week American Mavericks Festival last season, including works by Lou Harrison, Henry Cowell and Edgard Varèse.  In February 2012, MTT and the Orchestra released a recording of John Adams’ Short Ride in a Fast Machine with the SFS-commissioned Harmonielehre on SFS Media.

Michael Tilson Thomas and the San Francisco Symphony maintain a leading presence among American orchestras around the world through an active touring program, award-winning recordings, and innovative broadcast and education projects. In 1996, MTT led the orchestra on the first of their nearly two dozen national and international tours together to Europe, Asia and throughout the United States, with annual performances at Carnegie Hall.  Recent tour highlights include the March 2012 two-week national U.S. tour of all-American Mavericks music, with Meredith Monk, Jessye Norman, Paul Jacobs, Emanuel Ax, Joan La Barbara, Jeremy Denk, and Mason Bates; a 2011 three-week tour of Europe; a 2007 European tour that featured two televised appearances at the BBC Proms in London, concerts in  Edinburgh, Berlin and Frankfurt, and at several major European festivals, including Lucerne; and their first appearances in mainland China, including opening the Hong Kong Arts Festival, as part of their 2006 Asia tour. They opened Carnegie Hall’s 2008-09 season with a gala tribute to Leonard Bernstein that was filmed and broadcast nationally on Thirteen/WNET New York’s Great Performances on PBS television.

Based in one of the most ethnically diverse communities in the United States, the San Francisco Symphony has a similarly diverse musician roster. Of the 100-plus musicians in the SF Symphony, almost a dozen are Chinese- or Japanese-Americans. The orchestra’s recordings have long been in demand by Japanese music fans and audiophiles, and the Orchestra and Tilson Thomas have a long-lasting relationship with the country. Japan was the Orchestra’s first destination on its first international tour, in 1968. They returned in 1975 under then-Music Director Seiji Ozawa, who led the Orchestra from 1970-1977.  Until 2000, Michael Tilson Thomas was co-Artistic Director of the Pacific Music Festival, which he and Leonard Bernstein inaugurated in Sapporo, Japan in 1990.

 

About Yuja Wang

Born in Beijing in 1987, Yuja Wang began studying piano at age six, with her earliest public performances taking place in China, Australia and Germany. She studied at the Central Conservatory of Music in Beijing under Ling Yuan and Zhou Guangren.  From 1999 to 2001 she participated in the Morningside Music summer program at Calgary’s Mount Royal College, an artistic and cultural exchange program between Canada and China, and began studying with Hung Kuan Chen and Tema Blackstone at the Mount Royal College Conservatory. In 2002, when she was 15, she won Aspen Music Festival’s concerto competition.  She then moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Philadelphia, where she graduated in 2008. In 2006 Yuja received the Gilmore Young Artist Award.  In 2010 she was awarded the prestigious Avery Fisher Career Grant.

Since her 2005 debut with the National Arts Centre Orchestra led by Pinchas Zukerman, Yuja Wang has already performed with many of the world’s prestigious orchestras, including, in addition to the San Francisco Symphony, the Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Dallas Symphony Orchestra, Detroit Symphony Orchestra, Houston Symphony, Los Angeles Philharmonic, National Symphony, New World Symphony, Philadelphia Orchestra, and the Pittsburgh Orchestra, and internationally with the Tonhalle Orchestra, China Philharmonic, Filarmonica della Scala, Gulbenkian Orchestra, London Philharmonic, the NHK Symphony in Tokyo and Orchestra Mozart, among others. She made her debut with the San Francisco Symphony in 2006 at its annual Chinese New Year concert, and has returned to perform with the Orchestra each year since then, developing a close artistic connection with Michael Tilson Thomas. She performed in Japan and Korea with the New York Philharmonic on its 2006 tour. In 2008 Yuja performed as a soloist with the YouTube Symphony Orchestra led by Tilson Thomas at Carnegie Hall.  Prior to this tour, she performs Rachmaninoff’s Rhapsody on a Theme of Paganini October 27 and Prokofiev’s Piano Concerto No. 2 on October 31 with MTT and the Orchestra in San Francisco.

Her acclaimed recordings include Transformation, for which she received an Echo Award 2011 as Young Artist of the Year. Wang next collaborated with Claudio Abbado and the Mahler Chamber Orchestra to record her first concerto album featuring Rachmaninoff’s Rhapsody on a Theme of Paganini and Piano Concerto No. 2 in C minor, which was nominated for a Grammy® as Best Classical Instrumental Solo.  Her most recent record, Fantasia, is a collection of encore pieces by Albéniz, Bach, Chopin, Rachmaninoff, Saint-Saëns, Scriabin and others.  She records with Deutsche Grammophon.

 

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JAAP VAN ZWEDEN MAKES HIS DEBUT PERFORMANCES LEADING THE SAN FRANCISCO SYMPHONY IN BRAHMS’ SYMPHONY NO. 4 OCTOBER 24, 25, 26, & 28 AT DAVIES SYMPHONY HALL

David Fray joins the Orchestra in performances of Mozart’s Piano Concerto No. 22

 Conductor Jaap van Zwedenmakes his San Francisco Symphony(SFS) debut in performances of Brahms’ Symphony No. 4 on October 24, 25, 26, and 28 at Davies Symphony Hall. Pianist David Frayjoins the Orchestra in performances of Mozart’s Piano Concerto No. 22, a work he and van Zweden recorded together. Opening the program is the Prelude to Act I from Wagner’s Lohengrin.

Amsterdam-born Jaap van Zwedenhas risen rapidly in little more than a decade to become one of today’s most sought-after conductors. Acclaimed for the intensity of his performances and the depth and clarity of his musicianship, he has been Music Director of the Dallas Symphony Orchestra since 2008, and is also Honorary Chief Conductor of the Netherlands Radio Philharmonic and Radio Chamber Orchestras (having been Chief Conductor and Artistic Director from 2005-2011). He works as a guest with the most prestigious orchestras worldwide, including the Chicago Symphony, Cleveland and Philadelphia Orchestras, the Munich Philharmonic Orchestra, Royal Concertgebouw Orchestra, Orchestre National de France, and London Philharmonic Orchestra, and has appeared at the BBC Proms, Carnegie Hall and the Tanglewood and Aspen Festivals. In November 2011 van Zweden was named as the recipient of Musical America’s 2012 Conductor of the Year Award in recognition of his critically-acclaimed work as Music Director of the Dallas Symphony Orchestra.

French pianist David Fraywas named Newcomer of the Year by BBC Music Magazine in 2008. Since then, he has performed as soloist with orchestras including the Cleveland Orchestra, the New York Philharmonic, and the Boston Symphony. He was also awarded the “Instrumentalist of the Year-Piano” award by ECHO Classic in 2009. Fray made is San Francisco Symphony debut in May 2010, performing Beethoven’s Second Piano Concerto under Christoph Eschenbach. Fray has collaborated frequently with Jaap van Zweden, most recently at the BBC Proms in 2011. They have also recorded Mozart’s Piano Concerto No. 22 together on Virgin Classics.

SAN FRANCISCO SYMPHONY Wednesday, October 24 at 10 am (Open Rehearsal)
Davies Symphony Hall Thursday, October 25 at 2 pm
Friday, October 26 at 8 pm
Sunday, October 28 at 2 pm

Jaap van Zweden conductor
David Fray piano
San Francisco Symphony

Wagner Prelude to Act I of Lohengrin
Mozart Piano Concerto No. 22 in E-flat major, K. 482
Brahms Symphony No. 4 in E minor, Opus 98

PRE-CONCERT TALK: Alexandra Amati-Camperi will give an “Inside Music” talk from the stage one hour prior to each concert. Free to all concert ticket holders; doors open 15 minutes before.

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DAN SAVAGE, AUTHOR, JOURNALIST AND CREATER OF THE “IT GETS BETTER” PROJECT, SPEAKS AT ZELLERBACH HALL SATURDAY, NOVEMBER 3 AT 8:00 PM


FOR IMMEDIATE RELEASE: September 26, 2012
The famously frank sex columnist, author, and social commentator, Dan Savage, comes to Cal Performances’ Zellerbach Hall for one night only, Saturday, November 3 at 8:00 p.m. Known as the creator of “Savage Love,” which dishes out matter-of-fact advice and is read by millions each week, Savage does not shy away from often taboo topics like homosexuality. Similarly, with his husband Terry Miller, he created the “It Gets Better” video project on YouTube which has gained immense popularity since its creation in 2010. In addition to his LGBT activism which has clashed with both the right and left wing of politics, he has written multiple books and independently directed theatre projects under the name “Keenan Hollahan.” He is touring college campuses in conjunction with the release of his new MTV show, “SavageU”, in which he provides sex advice to students. Savage will talk to audiences about life and love and take questions from the audience. Due to frank subject matter and language, this performance is for mature audiences.

Daniel Savage was born in Chicago, Illinois, later attending University of Illinois at Urbana-Champaign to study theater and history. In 1991, Savage advised his friend Tim Keck (co-founder of The Onion) to include an advice column in a newspaper Keck was thinking about starting in Seattle. Savage wrote up a mock column and was hired on the spot; the column would later become “Savage Love.” Savage and Miller have one adopted son, D.J., and were married in Vancouver, BC in 2005.

TICKET INFORMATION
Tickets for Dan Savage on Saturday, November 3 at 8:00 p.m. at Zellerbach Hall start at $20.00 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 PRESENTS CONCERTO KÖLN SATURDAY, NOVEMBER 3 AT 8:00 P.M. AT FIRST CONGREGATIONAL CHURCH

The “resplendent” (Guardian) Baroque chamber music ensemble Concerto Köln comes to Berkeley’s First Congregational Church on November 3 at 8:00 p.m. Performing on period instruments under the artistic direction of flutist Martin Sandhoff, the group presents the music of Vivaldi, Händel, Telemann and dall’Abaco in their program Concertare. The Grammy Award-winning ensemble boasts an extensive discography that has garnered top awards in the recording industry. Praised as an ensemble of “remarkable precision and zest” by The New York Times, Concerto Köln keeps an ambitious touring schedule, with upcoming concerts throughout Europe and North America, including a three-city California tour in May.

Concerto Köln will begin with Concerto Grosso Op. 6 Nr. 1 G-Dur by Georg Friedrich Händel (1685-1759). The program will also consist of two works by Evaristo Felice dall’Abaco (1675-1742): Concerto Op. 5 Nr. 3 e-Moll and Concerto Op. 5 Nr. 6 D-Dur; and three works by Antonio Lucio Vivaldi (1678-1741): Concerto für Streicher und Cembalo RV 156 g-Moll, Konzert für Piccoloblockflöte, Streicher und B.C. RV 443 C-Dur and Concerto für Fagott und Orchester RV 484 e-Moll. The concert will conclude with Konzert für Blockflöte, Traversflöte, Streicher und B.C. TWV 52:e1 e-Moll by Georg Philipp Telemann (1681-1767).

Concerto Köln was founded in 1985, and before long established itself amongst the highest-ranking orchestras for historical performance practice.  From the very beginning, both audience and critics alike were highly enthusiastic about the energetic performance style of the ensemble, which brings thoroughly researched interpretations to the stage with their trademark vivacity.  Since its inception, Concerto Köln has toured extensively throughout the United States, Southeast Asia, Canada, Latin America, Japan, Israel and most of Europe.

Concerto Köln boasts a discography of more than fifty recordings, including a Grammy-winning recording of Mozart’s Le Nozze de Figaro on the Harmonia Mundi label, released in 2005.  The ensemble currently collaborates with Berlin Classics; their recordings have been additionally released by labels including Deutsche Grammophon, Harmonia Mundi, Teldec, EMI-Virgin Classics and Capriccio.  Concerto Köln’s recordings have been honored by Echo Klassik, and German Record Critics Awards, the Choc du Monde de la Musicque and the Diapason d’Or, among others.

In 1992, with the collaboration of Deutschland Radio, Concerto Köln founded the Cologne Festival for Early Music; since then, the festival has developed into a platform for the ensemble to bring the newest discoveries of 17th- and 18th-century music to public performance.

Although Concerto Köln generally performs without a conductor, a consideration of historical performance practice, conductors such as René Jacobs, Marcus Creed, Daniel Harding, Evelino Pidò, Ivor Bolton, David Stern, Daniel Reuss, Pierre Cao, Laurence Equilbey and Emmanuelle Haïm have led the ensemble in the choral-orchestral repertoire.

Under the artistic direction of Martin Sandhoff since 2005, Concerto Köln has collaborated with a wide range of musicians and artists, including vocalists Cecilia Bartoli, Natalie Dessay, Andreas Scholl, pianist Andreas Staier, actors Bruno Ganz and Ulrich Tukur, director Peter Sellars and choirs including the RIAS Chamber Choir, Accentus and Arsys de Bourgogne.

TICKET INFORMATION
Tickets for Concerto Köln, on Saturday, November 3, 2012, at 8:00 p.m. in First Congregational Church are priced at $48.00. 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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SAN FRANCISCO SYMPHONY ANNOUNCES 2012-2013 DAVIES SYMPHONY HALL CHAMBER MUSIC SERIES

Five concert programs each feature music by living composers

Yefim Bronfman to perform in Brahms’ Piano Quartet in F minor

The 2012-2013 San Francisco Symphony(SFS) Chamber Music Series at Davies Symphony Hall features six concert programs of repertoire chosen by SFS musicians.  Five of the concerts feature a work by a living composer and a sixth features Beethoven string quartets as part of the May 2013 Beethoven Project. Special guest Yefim Bronfman joins SFS musicians in December for a performance of Brahms’ Piano Quintet in F minor.

The performance on October 14 at 2 pm will feature Prélude et Danse for low brass and percussion by French composer Jacques Castérède, a student of Olivier Messiaen. On December 9, the complete SFS horn section will perform Hornworks by American composer Bruce Broughton, who has written soundtracks for films such as Silverado and The Rescuers Down Under and whose music was included on The Bay Brass’ 2011 Grammy-nominated CD Sound the Bells!, featuring members of the SFS brass section. On April 7 at 2 pm, SFS musicians perform Books I-IV from George Crumb’sMadrigals. American composer George Crumb is known for his exploration of unusual instrumental timbres. The performance on June 23 features composer Dalit Warshawand her works Transformations for string quartet and theremin (an early electronic instrument using the position of the players’ hands in between antennas to determine pitch and volume) and Nizk’Orah for cello, piano, and theremin.  Warshaw, born in New York in 1974, studied composition at the Juilliard School, and her works have been performed by orchestras including the New York Philharmonic, the Boston Symphony Orchestra, and The Cleveland Orchestra. She performs the theremin part on both of her own works on this program as well as on Martinů’s Fantasia for string quartet, piano, oboe, and theremin.

Other works programmed for this season include the Ravel String Quartet in F major (February 3), Schubert’s Trout quintet (October 14), Brahms’ Piano Quartets in C Minor (February 3) and A major (June 23), and Brahms’ Piano Quintet in F minor, featuring special guest Yefim Bronfman joining SFS musicians (December 9). On May 12, musicians perform three Beethoven string quartets as part of the May 2013 Beethoven Project, which also includes three full orchestra concert programs led by Michael Tilson Thomas. Concertmaster Alexander Barantschik and SFS musicians also perform four chamber music concerts at the Legion of Honor in San Francisco, beginning December 9.

Please see below for complete chamber concert programs and personnel.  For more information about individual San Francisco Symphony musicians, please visit the About Us section of our website.

 

CHAMBER MUSIC with SF Symphony Musicians       Sunday, October 14 at 2 pm   Davies Symphony Hall

Jacques Castérède Prélude et Danse
Timothy Higgins, trombone; Paul Welcomer, trombone; John Engelkes, bass trombone; Jeffrey Anderson, tuba; James Lee Wyatt III and Raymond Froehlich, percussion; Keisuke Nakagoshi, piano
Ysaÿe Sonata in C for Two Violins, Op. Posthume
Chen Zhao, Florin Parvulescu, violin
Schubert Piano Quintet in A major, Trout
Diane Nicholeris, violin; Yun Jie Liu, viola; David Goldblatt, cello; Charles Chandler, bass; Gwendolyn Mok, piano

Tickets: $36.  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.

 

CHAMBER MUSIC with SF Symphony Musicians and Yefim Bronfman    Sunday, December 9 at 2 pm   Davies Symphony Hall

John Harbison Twilight Music: Trio for Horn, Violin, Piano
Nicole Cash, horn; Dan Carlson, violin; Marc Shapiro, piano
Dohnányi Serenade in C major for String Trio, Opus 10
Yukiko Kurakata, violin; Katie Kadarauch, viola; Sébastien Gingras, cello
Brahms Piano Quintet in F minor, Opus 34
Nadya Tichman, Dan Nobuhiko Smiley, violin; Jonathan Vinocour, viola; Amos Yang, cello; Yefim Bronfman, piano

Tickets: $36.  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.

 

CHAMBER MUSIC with SF Symphony Musicians          Sunday, February 3 at 2 pm   Davies Symphony Hall

Bruce Broughton Hornworks—Theme and Variations for 2 Descant Horns, 3 Horns in F, and Tuba
Robert Ward, Nicole Cash, Jonathan Ring, Bruce Roberts, Jessica Valeri, horns; Peter Wahrhaftig, tuba
Ravel String Quartet in F major
Polina Sedukh, David Chernyavsky, violin; Wayne Roden, viola; David Goldblatt, cello
Brahms Piano Quartet in C minor, Opus 60
Sarn Oliver, violin; Matthew Young, viola; Sébastien Gingras, cello; Akimi Fukuhara, piano

Tickets: $36.  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.

 

CHAMBER MUSIC with SF Symphony Musicians                 Sunday, April 7 at 2 pm   Davies Symphony Hall

Andriasov Trio for Violin, Cello, and Piano, Opus 7
Victor Romasevich, violin; Jill Brindel, cello; Marilyn Thompson, piano
George Crumb Madrigals, Books I-IV
Catherine Payne, piccolo; Scott Pingel, bass; Douglas Rioth, harp; James Lee Wyatt, III; percussion
Bruch Eight Pieces for Clarinet, Viola, and Piano
David Neuman, clarinet; Wayne Roden, viola; June Oh, piano
Hindemith Octet (1958)
Dan Carlson, violin; Jonathan Vinocour and David Kim, viola; Peter Wyrick, cello; Mark Wright, bass; David Neuman, clarinet; Steven Dibner, bassoon; Bruce Roberts, horn

Tickets: $36.  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.

 

CHAMBER MUSIC with SF Symphony Musicians: Beethoven      Sunday, May 12 at 2 pm   Davies Symphony Hall

Beethoven String Quartet in G major, Opus 18, No. 2
Yun Chu, Amy Hiraga, violin; Nanci Severance, viola; Peter Wyrick, cello
Beethoven  String Quartet in E-flat major, Opus 74, Harp
Dan Carlson, Melissa Kleinbart, violin; Katie Kadarauch, viola; Amos Yang, cello
Beethoven String Quartet in E-flat major, Opus 127
Mariko Smiley, Kelly Leon-Pearce, violin; Gina Feinauer, viola; Margaret Tait, cello

Tickets: $36.  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.

 

CHAMBER MUSIC with SF Symphony Musicians             Sunday, June 23 at 2 pm   Davies Symphony Hall

Dalit Warshaw Transformations for String Quartet and Theremin
John Chishom, Chunming Mo, violin; Yun Jie Liu, viola; Barbara Bogatin, cello; Dalit Warshaw, theremin
Dalit Warshaw Nizk’Orah for Cello, Piano, and Theremin
Barbara Bogatin, cello; Robin Sutherland, piano; Dalit Warshaw, theremin
Martinů Fantasia for string quartet, piano, oboe, and theremin
Jonathan D. Fischer, oboe; John Chisholm, Chunming Mo, violin; Yun Jie Liu, viola; Barbara Bogatin, cello; Robin Sutherland, piano; Dalit Warshaw, theremin
Brahms Piano Quartet in A major, Opus 26
Nadya Tichman, violin; Katie Kadarauch, viola; Michael Grebanier, cello; Marc Shapiro, piano

Tickets: $36.  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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SAN FRANCISCO NAMED AMERICA’S BEST CITY BY BLOOMBERG BUSINESSWEEK

Thriving Economy, World-Class Events & Skilled Workforce Lauded By Businessweek.com

Mayor Edwin M. Lee today announced that San Francisco has received the distinction as America’s Best City in Bloomberg Businessweek.com’s 2012 best places to live ranking. San Francisco topped their list of 100 American cities researched.

“It’s certainly an honor for San Francisco to be named ‘America’s Best City,’ and it’s great to get recognition for the good work San Franciscans have done,” said Mayor Lee. “San Francisco is committed to being the best place to live, work and visit, and there is nowhere else on earth where you will find the economic opportunities and world-class events found in our great City.”

San Francisco ranked first overall due to an impressive performance across the board, with the highest score for education, ranking sixth in leisure and placing in the top 20 for economic factors and air quality. Because of the endless stream of international sporting events and cultural celebrations being held in San Francisco, thousands of tourists pour into the City every day and will continue to do so for years. The wealth of food trucks, restaurants, bars and parks make it one of the most unique and diverse places to live in the world.

For the study, Bloomberg Businessweek.com evaluated data on the country’s largest cities, looking at the number of restaurants, bars, libraries, museums, professional sports teams, park acres by population, public school performance, the number of colleges, rate of graduate-degree holders, income, unemployment, crime and air quality. San Francisco finished ahead of Seattle, Portland, New York, San Diego, Los Angeles and Washington, D.C.

For ranking results of the Businessweek.com’s 2012 Best Places to Live, go to: http://images.businessweek.com/slideshows/2012-09-26/americas-50-best-cities

In just a few weeks, San Francisco is set to host a number of large scale events – from neighborhood driven events like the Castro Street Fair to Hardly Strictly Bluegrass in Golden Gate Park to international events like Fleet Week and the 34thAmerica’s Cup World Series Races to highly anticipated sporting events from our hometown teams, the National League West Champion San Francisco Giants and the San Francisco 49ers.
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NOTES FROM MT. DAVIDSON NEIGHBORS: Upcoming Changes to Mt. Davidson Park

Forestry Inspection/Tree Removal

The 2008 Clean and Safe Neighborhood Parks Bond allocated $4 Million to a Park Forestry Program to assess the condition and health of the City’s urban forest. The program includes inspection of trees along the public boundaries of the City’s Natural Areas. Additional forestry inspections will be done on Mt. Davidson for the upcoming $500,000 trail restoration project with potential removal of trees within 50 feet of each side of existing and new trails. Another 1600 healthy trees over 6 inches in diameter are planned for removal to implement the Natural Areas Program Plan – if the Environmental Impact Report approves the project (to be released this fall).

Hort Science is doing the evaluations and recently inspected 78 trees on the perimeter of Mt. Davidson Park – along Myra, Molimo, Juanita, and Dalewood.  Supervisor Elsbernd kindly assisted with the Club obtaining a copy of the report. You can see which trees they surveyed as they are identified with a numbered metal tag about the size of a quarter. The arborist recommends 11 of the 78 trees surveyed for removal:

#7 Myra at Hillcrest, #17 oppos. 252 Juanita, #27 oppos. 278 Juanita,# 36 oppos. 181 Dalewood,  #42 oppos. 157 Dalewood, #45, 46, 47 oppos. 149 Dalewood, #53 oppos. 117 Dalewood, #70, 71 oppos. 45 Dalewood.

While everyone agrees that hazardous trees should be pruned or removed if necessary for public safety, one of the criteria for this risk determination is based on “suitability for preservation” for sites planned for development: ability to adapt to new environment and perform well in landscape; tolerate impacts such as root injury, demolition …; blue gum and cypress are sensitive to construction impacts …; old trees have limited capacity to adjust to altered environment.” Since there is no development planned along the perimeter of the park and no proposed site changes, this part of the risk rating seems primarily based on the trees being a non-native species and an assumption that they therefore displace indigenous species – even though these trees are all in the MA-3 zone – an area that is to remain forest in the Significant Natural Resource Management Plan for Mt. Davidson Park.

The MPIC Board has asked for Supervisor Elsbernd’s assistance in notifying the club of any changes to this assessment or future ones conducted for the park (which has occurred in Glen Canyon and other natural areas); full removal of these 11 trees from the park; and replacement of the trees one-for-one with Monterey Cypress within Mt. Davidson Park within one year of removal. (The City is not likely to do the replanting to rejuvenate the forest, but we have asked for it anyway).

Potential Trail Closure Ahead

Local environmental activists petitioned the Federal Government to designate the Franciscan Manzanita an endangered species (a single specimen was recently discovered in the Doyle Drive re-construction project) and include Mt. Davidson Park as part of a 380 acre critical habitat in San Francisco. The controversy over closing the Sharp Park Golf Course in Pacifica gives us a hint of what is in store for our neighborhood park if this designation is approved. Whether an endangered species is found at a location or brought there, the area will be restricted from the public. The area is vaguely described as 12 acres on the eastern slope of Mt. Davidson near Myra Way and Molimo Drive. (See map below – a more detailed map has been requested). At least two popular trails cross through this part of the park and would likely be closed if this approved. The U.S. Fish and Wildlife Service is “looking for specific information related to the amount and distribution of historic habitat and the range of the plant, probable economic impacts of designating critical habitat, and whether the Service should or should not designate critical habitat for the plant.” Comments will be accepted until November 5, 2012. Comments may be submitted online at the Federal eRulemaking Portal at http://www.regulations.gov (Docket Number FWS–R8–ES–2012–0067) or by U.S. mail to:

Public Comments Processing
Attn:  FWS–R8–ES–2012–0067
Division of Policy and Directives Management
U.S. Fish and Wildlife Service
4401 N. Fairfax Drive, MS 2042-PDM
Arlington, VA 22203.

 

 

 

 

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THE SAN FRANCISCO SYMPHONY and VIVAFEST! PRESENT THE FIFTH ANNUAL DÍA DE LOS MUERTOS COMMUNITY CONCERT ON SATURDAY, NOVEMBER 3 AT 2:00 P.M. IN DAVIES SYMPHONY HALL

Featured artists include The San Francisco Symphony Chorus and Youth Orchestra, Mariachi Nuevo Tecalitlán,
Los Lupeños de San José and Tony nominee Luis Valdez, founder of Teatro Campesino

On Saturday, November 3 at 2:00 pm, the San Francisco Symphony(SFS) and VivaFest! co-present a cultural collaboration to celebrate Mexican heritage and community with music and festivities for all ages at the San Francisco Symphony’s fifth annual Día de los Muertos (Day of the Dead) Community Concertheld at Davies Symphony Hall in San Francisco. The program joins the SFS Chorus and SFS Youth Orchestra with the renowned Mariachi Nuevo Tecalitlánfrom Jalisco, Mexico, ballet folklorico Los Lupeños de San José, and Luis Valdez, the father of Chicano theater in the United States. Mr. Valdez will be presenting a narration of poetry and prose in English, Spanish, and Nahuatl, the indigenous language of the Aztecs. Conducted by SFS Resident Conductor Donato Cabrera, this matinee concert is designed for the entire family to enjoy. Beginning at 1:00 pm, an hour before the performance, ticketholders will enjoy a host of pre-concert festivities, refreshments, and colorful displays celebrating Día de los Muertos in the Davies Symphony Hall lobby. In a new collaboration this year, the fifth annual Día de los Muertos Community Concert is co-presented with VivaFest!, a festival program of the Mexican Heritage Corporation. The Día de los Muertos Community Concert is presented in partnership with the Mexican Consulate and with support provided by the San Francisco Arts Commission. The San Francisco Symphony offers half-price tickets to this concert for those aged 17 and under.

Performers

San Francisco Symphony Resident Conductor Donato Cabreraworks closely with SFS Music Director Michael Tilson Thomas and as Wattis Foundation Music Director of the San Francisco Symphony Youth Orchestra leads them in all concerts and tours, including their summer 2012 six-concert tour to Europe. Cabrera made his San Francisco Symphony debut in April 2009. Before thatfrom 2005 to 2008 was Associate Conductor of San Francisco Opera. He has also served as Assistant Conductor at the Ravinia, Spoleto (Italy), and Aspen Music Festivals, and as Resident Conductor at the Music Academy of the West. He made his South American debut in the summer of 2008 conducting Madama Butterfly with the Orquesta Sinfónica de Concepción in Chile and returns regularly to conduct both symphonic and operatic repertoire. In February 2010, Cabrera was recognized as a Luminary by the Friends of Mexico Honorary Committee, a group led by San Francisco’s Consul General of Mexico Carlos Félix dedicated to celebrating Mexico’s bicentennial in San Francisco. Cabrera was honored for his contributions to promoting and developing the presence of the Mexican community in the Bay Area.

Luis Valdez will narrate and emcee the San Francisco Symphony’s Día de los Muertos Community Concert on November 3. He founded the internationally renowned,Obie award winning theater company El Teatro Campesino (The Farm Workers’ Theater) in 1965 during the United Farm Workers struggle and the Great Delano Grape Strike in California’s Central Valley, led by Cesar Chavez. Valdez was the first Latino playwright to have a work presented on Broadway (Zoot Suit), and his many feature film and television credits include the films La Bamba, Cisco Kid starring Jimmy Smits and Cheech Marin, and Corridos: Tales of Passion and Revolution starring Linda Ronstadt. He has written numerous plays, articles and books. His latest anthology is Mummified Deer and Other Plays, published by Arte Publico Press. He has taught at the University of California at Berkeley, UC Santa Cruz, and was one of the founding professors of CSU Monterey Bay. He is the recipient of honorary doctorates from, among others, the University of Rhode Island, the University of South Florida, Cal Arts, the University of Santa Clara, and his alma mater, San Jose State University. Valdez was inducted into the College of Fellows of the American Theatre at the Kennedy Center for the Performing Arts in Washington D.C. In 2007 he was awarded a Rockefeller fellowship and he has won many awards including LA Drama Critic Awards, Dramalogue Awards, Bay Area Critics Awards, the George Peabody Award for excellence in television, the Presidential Medal of the Arts, the Governor’s Award for the California Arts Council, and Mexico’s prestigious Aguila Azteca Award given to individuals whose work promotes cultural excellence and exchange between US and Mexico. El Teatro Campesino is located 60 miles south of San Jose in the rural community of San Juan Bautista and is the longest running Chicano Theater in the United States.

At the Día de los Muertos Community Concert Mariachi Nuevo Tecalitlán will perform a selection of popular mariachi songs including El Son del Gavilan, El Son de La Negra, and El Pasajero, for which the Los Lupeños de San José dancers will join them on stage.Mariachi Nuevo Tecalitlán was founded in Guadalajara, Jalisco, Mexico in 1965 by brothers Pepe and Fernando Martinez. The ensemble made numerous recordings in the late 1960’s and 70’s and has toured internationally ever since. Since 1998 it has been led by Fernando Martinez’s sons Fernando, Angel, Alejandro, and Carlos, who carry on the group’s national and international reputation as the “best mariachi in Jalisco.” In recent years, Mariachi Nuevo Tecalitlán has added new musicians, including harp and a third trumpet, performed new musical arrangements by Carlos Martinez, and released 10 recordings. Since 2002 Mariachi Nuevo Tecalitlán has participated in Encuentro Internacional del Mariachi y la Charrería in Guadalajara as one of the featured mariachis and participated in gala performances that are the centerpiece of the festival. The group has performed as ambassadors for mariachi music in South America, South Korea, and throughout the U.S.

In the first half of the Día de los Muertos Community Concert the San Francisco Symphony Youth Orchestra(SFSYO) will perform Mexican favorite Huapango by José Pablo Moncayo (1912-1958) and Aaron Copland’s (1900-1990) El Salón México. The work is a symphony in one movement conveying a musical depiction of a dance hall in Mexico City and references four Mexican folk songs, El Palo Verde,La Jesusita,El Mosco, and El Malacate. Copland completed the work in 1936 and the Mexico Symphony Orchestra gave the premiere performance. Founded in 1981, the SFSYO is recognized throughout the United States, Europe and Asia as one of the finest youth orchestras in the world. SFSYO’s purpose is to provide a tuition-free orchestral experience of pre-professional caliber to young musicians from the greater Bay Area. The SFSYO rehearses and performs in Davies Symphony Hall under the direction of Wattis Foundation Music Director Donato Cabrera. In June-July 2012, the SFSYO embarked on its ninth international tour, returning to Europe for the eighth time to perform at the Berlin Philharmonie, the Munich Philharmonie, the International Festival d’Echternach in Luxembourg, the Rheingau Festival in Wiesbaden, and in Regensburg and Salzburg.

One of America’s most distinguished choruses, the 150-member San Francisco Symphony Chorus is prized for its precision, power, and versatility. Led by Chorus Director Ragnar Bohlin, the Chorus performs more than twenty concerts each season and is comprised of 30 professional and 120 volunteer members. At the fifth annual Día de los Muertos Community Concert the San Francisco Symphony Chorus will perform selections from Argentine composer Ariel Ramírez’s (1921-2010) most famous work, Misa Criolla, a mass written in 1964, in the second half of the concert. The Washington Post described Misa Criolla as “a stunning artistic achievement, combining text in Spanish with indigenous instruments and rhythms”.
Folkloric dance ensemble Los Lupeños de San José, based in San Jose, California, promote the awareness, appreciation, and understanding of the rich and passionate culture of Mexico through dance. Los Lupeños perform a varied repertoire from master teachers on both sides of the border. The award-winning company has toured throughout the United States, most notably as part of Linda Ronstadt’s “Canciones de Mi Padre” tour, and celebrates its 43rd anniversary in 2012. They will accompany Mariachi Nuevo Tecalitlánon stage at Davies Symphony Hall for performances of El Son del Gavilan, El Son de La Negra, and El Pasajero. This is Los Lupeños first time performing at the San Francisco Symphony.

Circulo Cultural is a Redwood City-based organization that promotes the art and culture of the Hispanic world within the Latino Community through theater, visual, and literary art. This year marks their third time participating at the San Francisco Symphony’s Día de los Muertos Community Concert.

Pre-Concert Festivities

Beginning at 1:00pm on Saturday, November 3, the Mixcoatl Anahuac Aztec dancers perform a welcome to all concertgoers in front of the Grove Street Box Office entrance to Davies Symphony Hall. Once inside, performers from Circulo Cultural will roam the lobby costumed as Catrines and Catrinas in Day of the Dead-themed face paint and costumes to welcome everyone. The Community Music Center’s two senior choirs, Solera Singers and 30th Street Chorus, will perform songs from Mexican and Latin American folk repertoire in the Davies Symphony Hall lobbies. Danniel Martínez’s larger than life Catrina sculptures welcome audiences to the celebration and invite everyone to enter a village of paper-mache skeletons on the first tier. Bay Area artist Victoria Canby will create a 3-D life-size reproduction of painter Frida Kalho wearing clothing adorned with images of famous artists and musicians honoring the creativity of the past. Rene Yáñez of SOMArts Cultural Gallery will present a tableaux of multiple Frida Kahlos as a photo opportunity for audience members. Artists Aiko Cuneo, the father-daughter team Anais Azul & Adrián Arias, and Casa Bonampak are each creating Day of the Dead-themed altars and experiences for concertgoers to engage in throughout the lobbies. The Good Samaritan Family Resource Center, in collaboration with San Francisco International High School and the RebelARTE Latinos Unidos Club, will create elaborate kites to commemorate and communicate with loved ones who have passed away, a tradition celebrated in the cemeteries of Guatemala. The Community Music Center will install an altar with a musical theme created by students from the Buena-Vista Horace Mann School in San Francisco. Audiences will also enjoy artwork created especially for the Symphony’s celebration by Oaxacan street artists LaPiztola.

Bilingual activities for children will include paper flower making, face painting, and a photo booth with Day of the Dead props coordinated by Elena Finestone. Mexican sugar skull artists Irma Ortiz and Rob-Owill give a sugar skull-making demonstration and both of their sugar skulls, hers traditionally sized and his oversized, will be on display and offered for sale. Spanglish Arteart gallery and store will have a pop-up presence at the Symphony Store in Davies Symphony Hall featuring Day of the Dead jewelry, home décor, crafts, and folk art. Complimentary Day of the Day bread—pan de muerto—baked by the Wills Bay Bakery will be served along with cinnamon-infused Mexican hot chocolate.

The Día de los Muertos Community Concert is part of the San Francisco Symphony’s ongoing commitment to providing compelling musical experiences for families from all of the Bay Area’s diverse communities. The San Francisco Symphony’s Music for Familiesseries offers matinee performances focusing on different aspects of the orchestra and symphonic repertoire. Specially designed to be engaging, informative and fun, these matinee concerts introduce children and families to the world of live orchestral music.

Partners

Día de los Muertos Community Concert Co-Presenter The Mexican Heritage Corporationis the presenter of VivaFest!, Northern California’s leading Latino cultural destination event now in its twenty-first year. With a mission to affirm, celebrate and preserve the rich cultural heritage of the Mexican community and showcase multicultural arts within the region and nationally, the Mexican Heritage Corporation presents and produces a vibrant array of multi-disciplinary arts programs in theatre, dance, , music education, and in visual arts. Vivafest!’s Creative Director Dan Guerrero was instrumental in curating this year’s Día de los Muertos Community Concert with the San Francisco Symphony. Visit www.mhcviva.orgor www.vivafest.orgfor more information about their work and offerings.

In a move to encourage innovative community partnership, the Tom Kat Charitable Trust is an underwriter of the program and has donated a block of tickets to the Día de los Muertos Community Concert to the Good Samaritan Family Resource Centerto sell as a fundraiser through Eventbrite. Good Samaritan was established in 1894 as a settlement house, a movement that created the basis of the family resource center model and inspires change for good by helping immigrant children, youth, and their families access essential life skills that reduce poverty and promote self-sufficiency. Good Samaritan’s vision is that every child can succeed in life and that they deserve the chance. To learn more about Good Samaritan and its programs visit www.goodsamfrc.org

Community Music Center(CMC) makes high quality music accessible to all people, regardless of their financial status. Founded in 1921, CMC is the Bay Area’s oldest community arts organization and San Francisco’s largest provider of free and low-cost music classes and concerts. During the last school year, nearly 2,400 students of all ages, ethnicities and income levels enrolled in CMC programs and over 18,500 people enjoyed musical performances at no or low cost. Learn more atwww.sfcmc.org.

The Consulate General of Mexico in San Franciscois committed not only to protect and assist all Mexicans in Northern California, but also to serve as the voice of Mexico, its culture and its traditions. The Mexican Consulate organizes multiple cultural activities throughout the year and partners with various organizations in the Bay Area, in order to continue strengthening its alliances and sharing the cultural richness of Mexico with Mexicans and friends of Mexico. To learn about all its activities visit www.mexicoinsf.com

The Symphony’s Community Partner Mission Cultural Center for Latino Arts(MCCLA) was established in 1977 by artists and community activists with a shared vision to promote, preserve and develop the Latino cultural arts that reflect the living tradition and experiences of the Chicano, Mexican, Central and South American, and the Caribbean people. The MCCLA makes the arts accessible as an essential element to the community’s development and well-being. This year on October 6, 20 & 27 from 11:00am – 1:30 pm, the Mission Cultural Center will offer community art workshops with renowned Bay Area artist Victor Zaballa to create an installation for the lobby at the Día de los Muertos Community Concert in their studio located at 2868 Mission Street in the heart of the Mission district of San Francisco. For more information on the MCCLA visit missionculturalcenter.org.

On Sunday, October 28 The Mexican Museumin Fort Mason Center will offer free interactive Day of the Dead activities for families lead by artist Victor Zaballa as a build-up to the San Francisco Symphony’s Día de los Muertos Community Concert. The Mexican Museum, initially located in San Francisco’s Mission District, was founded in 1975 by San Francisco resident and artist Peter Rodríguez. The Museum was the realization of Mr. Rodríguez’s vision that an institution be created in the United States to exhibit the aesthetic expression of the Mexican and Mexican-American people. Today, it has expanded to reflect the evolving scope of the Mexican, Chicano, and Latino experience. In 1982, the Museum moved to Fort Mason Center where it has amassed a permanent collection of over 12,000 objects. The collection includes pre-conquest, colonial, popular, modern and contemporary Mexican, Latino, and Chicano Art. The Mexican Museum voices the complexity and richness of Latino art throughout the Americas, encouraging dialogue among the broadest public

SOMArts Cultural Center presents its 2012 Day of the Dead exhibit Calling on the Spirits to Face the Future: Dia de los Muertos 2012, curated by René and Rio Yañez, from October 13 through November 10 at 934 Brannan Street. Calling on the Spirits to Face the Future features altars and installations created by more than 80 artists from a wide breadth of cultural backgrounds. The opening celebration on Friday, October 12 from 6 pm to 9 pm features live music and painting, interactive installations, Frida Kahlo themed performances, and an artists’ market. Additional events include Gathering the Embers: A Día de los Muertos Tribute show on Saturday, October 20 from 7:30 – 9:30 pm and a “Neighborhoods of Mexico City” concert by the adventurous chamber music group The Bernal Hill Players on Saturday, October 27 at 8:00 pm. For more information, visit somarts.org/callingonthespirits.

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Shuttle Ridership from SF to Silicon Valley up to 14,000 daily

If you live in San Francisco and work at a tech company in Silicon Valley, you probably take a shuttle to work.

A fantastic new map by design company Stamen Design shows just how extensive these shuttle services are.

Google, Yahoo, Apple, Facebook, eBay, and Electronic Arts all operate shuttles that go up and down the San Francisco Peninsula every workday. It’s a substantial employee benefit: You can live in culturally-rich San Francisco, surrounded by young, well-off techies like yourself; you get to work in the heart of Silicon Valley where the biggest and best-paying companies are located; and instead of spending hours a day driving, you pass the time in air-conditioned comfort.

Companies win, too: With Wi-Fi on these buses, employees can start working the instant they hop on the bus instead of waiting until they walk in the door an hour later.

Stamen estimates that the number of people taking these shuttles is huge: over 14,000 people per day, or 35 percent as many as train service Caltrain, which also runs between San Francisco and Silicon Valley.

That could be a sign that something is not working with public transit. If so many companies are forced to pay buses to carry workers to and fro, it’s probably a safe bet the existing train systems aren’t convenient enough.

On the other hand, at least those 14,000 people aren’t driving their own cars up and down 101 and 280, adding to traffic congestion and pollution.

The story of how Stamen assembled this visualization is pretty cool. Its researchers used a site (and open-source project) that Stamen created called Dotspotting to collect information about the locations of shuttle stops around the city (using information from Foursquare to help it ID locations). Then it sent field workers out into the city, riding bicycles and armed with data-collection forms created using another Stamen site, Field Papers, which simplifies getting field notes in the proper geographic locations. Then the notes were scanned (or camera-phoned) and imported into a database.

Finally, Stamen designers assembled and massaged the data until they had a good sense of the main shuttle routes and the volume of passengers on each.

The resulting visualization is on display at the ZERO1 Biennial Exhibition, “Seeking Silicon Valley,” in San Jose, through December 8.

Via Waxy.org and All Things D

 

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7th Annual Bay Area Flamenco Festival September 24-30, 2012 – Featured Event – ¡Fiesta Jerez! Gypsy Flamenco All-Stars

Thursday, September 27, 7pm

Palace of Fine Arts, San Francisco

A return to the roots, joy and soul of flamenco, this concert, intimate, immediate, impassioned, feels less like a stage production and more like an invitation to a Gypsy family celebration in Andalucia. From the heart of Andalusia’s wine country, this brilliant 12-member ensemble of musicians and dancers represents several of the most important Gypsy flamenco dynasties of Jerez including the Moneos, the Moraos, the Mendez, the Pipas, the Sotos, and the Zambos. Artists include Juana la del Pipa, Diego del Morao,Enrique el Zambo,  Luis Moneo, Kina Mendez, and Gema Moneo, a rising star in flamenco. 

“These artists are bringing the Gitano essence of flamenco into the 21st century,” explains Festival 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.”

“Juana la del Pipa sings out with marvelously deep-throated resonance” -New York Times

http://festivalflamencogitano.com/artists/fiesta-jerez/

Tickets start at $30

www.BayAreaFlamencoFestival.org

1-800-838-3006

 

Tickets start at $30

www.BayAreaFlamencoFestival.org

1-800-838-3006


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2 Blocks of Art Showcases Art and Culture in Central Market

In a celebration of arts and culture, 100 local artists will exhibit in 25 locations on September 28 and October 19 during the third annual 2 Blocks of Art event in San Francisco. These art walks, which were developed to boost economic activity for small businesses and create visibility for local artists on 6th Street between Market and Howard, have expanded this year into the emerging Central Market area with performances and temporary public art in partnership with the San Francisco Arts Commission.

“Sixth Street is one of San Francisco’s main thoroughfares with a diversity of small businesses, and a long history of innovative arts and performance centers and galleries,” said Tracy Everwine, project director at Urban Solutions. “2 Blocks of Art is an open house for the community. We are proud to be able to extend into Central Market to showcase local talent. ”

“Over the past two years, the San Francisco Arts Commission has been deeply involved with a variety of neighborhood non-profit organizations, local businesses, and city agencies to support Central Market’s development into a lively and sustainable cultural district with arts at its core,” said Director of Cultural Affairs Tom DeCaigny. “By working with Urban Solutions and featuring local artists, we’re capitalizing on the neighborhood’s strengths and bringing positive activity and interest to the area.”

This year’s event includes an outdoor photography installation by 6th Street resident Rey Cayetano, Jr. and illustrated, life-size portraits of Central Market residents by Joel Philips, cutting edge fashions by Hector Manuel, and performances to live music by Tenderloin-based dance company Theatre Flamenco of San Francisco. Fashion designers, jewelry makers, illustrators and musicians round out this truly unique arts experience.

Produced by the non-profit economic development group Urban Solutions, 2 Blocks of Art spotlights the vibrant and diverse creative community in Central Market as well as the small businesses in the neighborhood. The art walk is free and open to the public. Restaurants, bars, nightclubs and theaters along the walk will offer discounted food, drinks and admission prices. A walking map of artists, venues and food and drink specials can be downloaded at 2 Blocks of Art.

What:                  2 Blocks of Art, Central Market art walks
Where:               Market Street (5th to 7th) and 6th Street (Market to Howard) in San Francisco
When:                 Friday, September 28, 4-8 pm and Friday, October 19, 4-8 pm

2 Blocks of Art 2012 is sponsored in part by a grant from Grants for the Arts/San Francisco Hotel Tax Fund.

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FOR IMMEDIATE RELEASE: September 21, 2012 CAL PERFORMANCES PRESENTS THE WEST COAST PREMIERE OF ROBERT WILSON & PHILIP GLASS’S EINSTEIN ON THE BEACH FRIDAY-SUNDAY OCTOBER 26–28 IN ZELLERBACH HALL

The New York Times has called the Robert Wilson and Philip Glass’s collaboration, Einstein on the Beach, An Opera in Four Acts, an “original, visionary and generous work.”  Widely recognized as one of the great theatrical achievements of the 20th century, Einstein on the Beach will be presented by Cal Performances, Friday, October 26 at 6:00 p.m., Saturday, October 27 at 5:00 p.m. and Sunday, October 28 at 3:00 p.m. in Zellerbach Hall. Defying the rules of conventional opera, Glass composed the work for his own Philip Glass Ensemble, consisting of synthesizers, amplified woodwinds and voices. The minimalist work designed and directed by Wilson, has no discernible plot or characters and uses a series of powerful recurrent images shown in juxtaposition with abstract dance sequences. American choreographer Lucinda Childs created the movement for Einstein on the classical principle of theme and variation.  The opera consists of four acts connected by a series of short scenes that carry the audience through time and space. The performance lasts nearly five hours and has no traditional intermissions; audience members are invited to wander in and out of the theater at their own discretion. Of the 2012 production, Armelle Heliot of Le Figaro, said, “It’s beautiful, it’s funny, it’s touching, it’s mesmerizing…it is undoubtedly the most spectacular work of the twentieth century that exists before us.”

Photo credit: Lucie Jansch

 

Einstein on the Beach was the first partnership between Robert Wilson and Philip Glass.  For the new production they are working with a number of their longtime collaborators, including Childs who choreographed the opera’s two revivals in 1984 and 1992.  All of these artists are now in their 70s. They are committed to passing on the work to a new generation, thus recruiting younger artists for the creative team and cast.  “In this production, my composition will remain consistent with the 1976 original,” said Glass recently. “The technology of theater staging and lighting has improved to such an extent that it will be interesting to see how Bob [Robert Wilson] uses these innovations to realize his original vision.”  The opera was written by Glass, with additional writings by Christopher Knowles, Samuel M. Johnson and Childs.  The production will be a cornerstone of Glass’s 75th birthday year.

Aside from New York, Einstein on the Beach has never been seen in any of the cities currently on the tour.  Produced by Pomegranate Arts, Inc., the 2012 production of Einstein on the Beach, An Opera in Four Acts was commissioned by the Brooklyn Academy of Music; the Barbican, London; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre National de Montpellier Languedoc-Rousillon; the University Musical Society of the University of Michigan; and Cal Performances at the University of California, Berkeley. For further information, go to pomegranatearts.com/project-einstein.

The Department of Music at UC Berkeley is hosting a Composer Colloquium on Friday, October 26 at 3:00pm in 125 Morrison Hall. It will feature Philip Glass talking about his work including Einstein on the Beach with Associate Professor of Composition, Ken Ueno.

There will be a symposium, called Einstein on the Beach: Re-staging/Re-construction/Re-enactment, on Saturday, October 27, 11:00 a.m.-2:00 p.m., in the Zellerbach Playhouse. In 1976 Einstein on the Beach brought together the minimalism of composer Philip Glass with director/designer Robert Wilson’s non-narrative approach to performance to create a work that radically changed expectations about opera. In conjunction with the current production, this symposium examines what it takes and what it means to re-create and perform a seminal but rarely-seen work almost forty years after its premier with scholarly and behind-the-scenes reflection. Participants will include: Linda Brumbach, Producer, Pomegranate Arts; Lisa Bielewa, soprano, Philip Glass Ensemble; Robert Fink, Department of Music, UCLA;
Frédéric Maurin, Department of Theatre Studies, Université de Paris 3, Sorbonne Nouvelle;
Charles Otte, Department of Theatre and Dance, University of Texas, Austin; Alisa Regas, Associate Producer, Pomegranate Arts; Mary Ann Smart, Department of Music, UC Berkeley; Sue-Ellen Case, School of Theater, Film, and Television; and Susan Leigh Foster, Department of World Arts and Culture, UCLA. This event is co-sponsored by Cal Performances, the Arts Research Center, The Doreen B. Townsend Center for the Humanities, and The Department of Music at UC Berkeley.

Artist Talk takes place on Sunday, October 28 from 1:00 p.m.-2:00 p.m. in the Zellerbach Playhouse. It will be a unique opportunity to hear from all three creators of Einstein on the Beach: Robert Wilson, Philip Glass and Lucinda Childs.

For more information about these and other Education and Community Programs at Cal Performances, visit http://calperformances.org/learn/

ROBERT WILSON
The New York Times has described Robert Wilson as “a towering figure in the world of experimental theater.” His works integrate a wide variety of artistic media, combining movement, dance, lighting, furniture design, sculpture, music and text into a unified whole. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide.

A native of Waco, Texas, Wilson was educated at the University of Texas and arrived in New York in 1963 to attend Brooklyn’s Pratt Institute. Soon thereafter Wilson set to work with Byrd Hoffman School of Byrds and together with this school developed his first signature works, including King of Spain (’69), Deafman Glance (’70), The Life and Times of Joseph Stalin (’73), and A Letter for Queen Victoria (’74). Regarded as a leader in Manhattan’s burgeoning avant-garde, Wilson turned his attention to large-scale opera. After Einstein on the Beach, Wilson worked increasingly with European theaters and opera houses. In collaboration with internationally renowned writers and performers, Wilson pioneered original works that were featured regularly at the Festival d’Automne in Paris, the Schaubühne in Berlin, the Thalia Theater in Hamburg, and the Salzburg Festival.

Wilson continues to direct revivals of his most celebrated productions including The Black Rider in London, San Francisco, and Sydney, The Temptation of St. Anthony in New York and Barcelona, Erwartung in Berlin, Madama Butterfly at the Bolshoi Opera in Moscow, LA Opera, Het Muziektheater in Amsterdam, and Wagner’s Ring cycle at Le Chatelet in Paris.  For the Berliner Ensemble he created two highly acclaimed recent productions: Brecht’s Dreigroschenoper and Shakespeare’s Sonnets.

Wilson hosts students and professional artists from around the world at the International Summer Arts Program at the Watermill Center in eastern Long Island, an interdisciplinary performance laboratory. In 2006 the Watermill Center dedicated a brand new building on its grounds and inaugurated a year-round programming schedule.

PHILIP GLASS
“Philip Glass’s place in musical history is secure. His sprawling, churning, monumentally obsessive works of the nineteen-seventies…have fascinated several generations of listeners, demonstrating mesmeric properties that are as palpable as they are inexplicable.” (The New Yorker) His 20 plus operas, eight symphonies (with more on the way) and his wide-ranging collaborations with artists ranging from Twyla Tharp and Alan Ginsberg to Woody Allen and David Bowie, Philip Glass has had an extraordinary impact upon contemporary music. His operas—including Satyagraha, Akhnaten and The Voyage, among many others—play throughout the world’s leading opera houses. Glass has written music for experimental theater and for Academy Award-winning films such as The Hours and Martin Scorcese’s Kundun. His initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, Koyaanisqatsi, may be the most radical and influential mating of sound and vision since Fantasia. His association with leading rock, pop and international music artists dates back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Glass is the first composer to win a wide, multi-generational audience in opera houses, concert halls, the dance world, film and popular music.

Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, Juilliard and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble—seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer. The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry.  He currently presents lectures, workshops and solo piano performances and continues to appear regularly with the Philip Glass Ensemble.

TICKET INFORMATION
Tickets for Einstein on the Beach, an Opera in Four Acts on Friday-Sunday, October 26-28 in Zellerbach Hall start at $35.00 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 thanks Wells Fargo and The Andrew W. Mellon Foundation for their major support of the Season.

Made possible, in part, by the National Endowment for the Arts and by Patron Sponsors Louise Gund and Liz and Greg Lutz.

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CAL PERFORMANCES PRESENTS NANCARROW AT 100: A CENTENNIAL CELEBRATION IN ASSOCIATION WITH OTHER MINDS AND BAM/PFA FRIDAY–SUNDAY, NOVEMBER 2–4

Other Minds, the UC Berkeley Art Museum, Pacific Film Archive (BAM/PFA) along with Cal Performances salute the visionary yet oft-overlooked American composer Conlon Nancarrow with a weekend of events titled Nancarrow at 100: A Centennial Celebration. Cal Performances presents three concerts in Hertz Hall that will display his diverse body of work, much of it composed while Nancarrow was an expatriate in Mexico. Best known for his pianola (a.k.a. player piano) studies, “Conlon’s music has such an outrageous, original character,” said John Cage. In addition to concerts, there will be a number of events taking place at BAM/PFA, including an art installation, film screenings, panel discussions and interviews. Some of these events are free and open to the public and will feature performances of selected works.

The first concert on Saturday, November 3, at 2:00 p.m. in Hertz Hall will feature musical instrument maker and composer Trimpin, performing various Nancarrow studies on a mechanical piano-playing device known as the vorsetzer. The Seattle-based Trimpin, who goes by a single name, was an apprentice of Nancarrow’s for many years. Pianola player Rex Lawson will also perform a Nancarrow work alongside those of Percy Grainger and Sergei Rachmaninoff. The concert will conclude with a performance of the pianola score to the French silent film Un tour au large — Voyage to the Open Sea, originally composed and directed by Jean Grémillon in 1926. Though the film was lost, the pianola score survived. Despite the seemingly automatic nature of the pianola, the human operator is responsible for controlling dynamics, articulation and pedaling and can be likened to an orchestra conductor.

At 8:00 p.m. also on Saturday, November 3, the Calder Quartet, consisting of Benjamin Jacobson and Andrew Bulbrook, violins, Jonathan Moerschel, viola and Eric Byers, cello, takes the Hertz Hall stage with a program consisting of two of Nancarrow’s string quartets and a pianola study arranged by Paul Usher. Nancarrow’s works will be interspersed with movements from Thomas Adès’s The Four Quarters. After intermission, the quartet will perform Béla Bartók’s String Quartet No. 5. The chamber ensemble is known for its eclectic programming that spans genres and centuries and has been “garnering notoriety as a group that can do anything from tackle the pillars of the string quartet repertoire…to perform with the indie band Airborne Toxic Event” (WQXR-FM).

The festival’s closing concert on Sunday, November 4 at 7:00 p.m. features percussionist Chris Froh performing Nancarrow’s Piece for Tape. Rex Lawson returns as pianist with violinist Graeme Jennings to perform Toccata for piano and violin. Lawson will also perform Igor Stravinsky’s masterwork Le sacre du printemps (The Rite of Spring). The Bugallo-Williams Piano Duo, consisting of Helena Bugallo and Amy Williams, closes the festivities with Nancarrow’s Sonatina for Piano, Nine Early Pieces and several pianola studies transcribed for two pianos.

The festival’s opening event on Friday, November 2 at 5:30 p.m. features BAM/PFA Chief Curator and Director of Programs and Collections Lucinda Barnes in conversation with Trimpin. This event is free and open to the public. There will also be two screenings at the Pacific Film Archive Theater: Conlon Nancarrow: Virtuoso of the Player Piano on Friday, November 2 at 7:00 p.m. and Music for 1,000 Fingers: Conlon Nancarrow on Sunday, November 4 at 4:00 p.m. The screenings will be bookended by short films and remarks by special guests. Lastly, there will be two free and open to the public panel discussions at Hertz Hall: The Expanding Universe of Conlon Nancarrow on Saturday, November 3 at 11:00 a.m. and Eyeballs Out! How Performers Learned to “Play” Nancarrow on Sunday, November 4 at 12:00 p.m. Guests at these discussions will include Yoko Sugiura-Nancarrow, widow of the composer, Other Minds Artistic Director Charles Amikhanian, music archivist Felix Meyer, music publisher Peter Garland, biographer Kyle Gann, as well as a number of musicians from the festival. These discussions will also feature performances of selected works by Nancarrow. BAM/PFA’s exhibition Trimpin: Nancarrow Percussion Orchestra / MATRIX 244, will be on view from November 2 through December 23. The exhibition, commissioned by Other Minds, introduces a new sculptural sound installation by Trimpin that incorporates percussive elements designed by Nancarrow. Further details can be found at bampfa.berkeley.edu.


Born on October 27, 1912, in Texarkana, Arkansas, Conlon Nancarrow left to fight against the fascists in the Spanish Civil War in the 1930s. Because of his membership in the Communist Party, he was harassed by the American government, prompting him to immigrate to Mexico where he focused on his highly sophisticated and viscerally exciting musical creations. He is best known for his series Studies for the Player Piano, an exploration of a musical instrument as a machine. The pianola’s ability to perform notes with infinite speed and complexity allowed Nancarrow to experiment with writing music beyond the human ability to perform. Were it not for his discovery by famed Hungarian composer György Ligeti in the 1980s, Nancarrow and his works would surely have been lost in obscurity.

San Francisco-based Other Minds initiated the Nancarrow at 100 project as part of its ongoing portrait concerts of American experimental composers. Previous festivals have been devoted to Henry Cowell, Dane Rudhyar, Ruth Crawford and Alan Hovhaness. Charles Amirkhanian, Executive & Artistic Director, and longtime champion of Conlon Nancarrow’s music, conceived and programmed the event. Other Minds also produces an annual avant-garde music festival, curates a large archive of radio programs online (radiOM.org), produces a weekly radio program on KALW FM, and operates a CD label that has released the complete studies of Nancarrow.

TICKET INFORMATION
Tickets for Nancarrow at 100: A Centennial Celebration concerts on November 3 and 4 at 2:00 p.m. and 7:00 p.m., respectively, in Hertz Hall, are $20.00. Tickets for the concert with the Calder Quartet on November 3 at 8:00 p.m. are $30.00. Ticket prices 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, call (510) 642-9988 or go to http://calperformances.org/buy/discounts.php.

Tickets for the screenings at the Pacific Film Archive Theater are available online at bampfa.berkeley.edu/tickets, by phone at (510) 642-5249, daily at the BAM/PFA admissions desk (11:00 a.m.–5:00 p.m.), and at the PFA Theater box office beginning one hour before each showtime. Tickets are $9.50 general admission; $6.50 for UC Berkeley faculty and staff, non-UC Berkeley students, seniors, youth, and disabled persons; and $5.50 for BAM/PFA members and UC Berkeley students. A special price of $7.50 is being offered to Nancarrow at 100 concert ticket holders.

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Cal Performances thanks Wells Fargo and The Andrew W. Mellon Foundation for their major support of the Season.

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Obama to Come to Final Bay Area Fundraiser for 2012 Campaign

President Barack Obama will return to the Bay Area on Oct. 8 for his sixth fundraising visit in the last year.

A concert and rally — for which the musical guests are yet to be announced — will be held at San Francisco’s Bill Graham Civic Auditorium on Grove Street in the city’s Civic Center.

Tickets for the 7:30 p.m. event are selling at $100 for “Muni;” $250 for “Cable Car;” $1,000 for “Ferry,” which includes preferred seating; and $2,500 for “Bay,” which includes premium seating.

The $7,500 “Golden State” package gets you premium seating plus a photo opportunity with the president. And then you can pay an additional $2,500 for each guest you want in the photo with you.

It wasn’t clear Thursday whether this will be his only event in the Bay Area. He usually does one big rally-type event and several smaller, more exclusive and expensive events during the same visit. He’ll be in Los Angeles on Oct. 7.

Obama’s most recent visit, in July, included fundraisers in Oakland and Piedmont.

(From the Mercury News)

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THE MARSH San Francisco Extends Dan Hoyle’s THE REAL AMERICANS through October 27, 2012

The Marsh San Francisco is delighted to extend Dan Hoyle’s overwhelmingly popular show, THE REAL AMERICANS through October 27, 2012. Along with Will Durst’s “Elect To Laugh,” The Marsh now has two of The Bay Area’s most celebrated and original political commentators to carry us through this exciting election period.

Directed by Charlie Varon, the show connects two worlds that usually prefer to stay apart: the liberal, achingly hip, moral-relativism of gentrified city life and the conservative, absolutist, and often hostile populism that Dan found overflowing in small-town America during his 100-day trip in 2009. Living out of his van and sleeping in backyards and Walmart parking lots, he shared meals and conversation with cowboys, coal miners, soldiers, rural drug dealers, itinerant preachers, closeted gay fundamentalists and creation theory experts. Frequently grateful for their hospitality, often perplexed by their beliefs, he sought to see the world through their eyes and understand their anger. His show brings direct insight into the current election cycle where many of the states he visited are duking it out over the same issues he confronts in the play.

A native San Franciscan, Dan is the creator of his own unique form of journalistic theater. He won the prestigious 2007 Will Glickman ‘Best New Play’ Award for his previous show, “Tings Dey Happen,” which enjoyed extended runs at The Marsh and also Off-Broadway, where it was nominated for a Lucille Lortel Award for Outstanding Solo Show.

For more information, visit www.themarsh.org or call 415-826-5760

 

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IN THE MOMENT: JAPANESE ART FROM THE LARRY ELLISON COLLECTION

Asian Art Museum debuts Ellison’s Japanese art collection, coinciding with 2013 America’s Cup


Next summer, as the America’s Cup Challenger Series takes to San Francisco Bay, the Asian Art Museum will feature an exhibition of Japanese art from the rarely seen collection of Larry Ellison, Oracle CEO and owner of ORACLE TEAM USA, defender of the 2013 America’s Cup.


In the Moment: Japanese Art from the Larry Ellison Collection will introduce approximately 80 exceptional artworks spanning 1,300 years. The exhibition explores the dynamic nature of art selection and display in traditional Japanese settings, where artworks are often temporarily presented in response to a special occasion or to reflect the change of seasons. In the Moment also considers Mr. Ellison’s active involvement in displaying art in his Japanese-style home, shedding light on his appreciation for Japan’s art and culture.

Included in the exhibition are significant works by noted artists of the Momoyama (1573–1615) and Edo (1615–1868) periods along with other important examples of religious art, lacquer, woodwork, and metalwork. Highlights include a 13th–14th century wooden sculpture of Shotoku Taishi; six-panel folding screens dating to the 17th century by Kano Sansetsu; and 18th century paintings by acclaimed masters Maruyama Okyo and Ito Jakuchu.

“This exhibition offers a rare glimpse of an extraordinary collection,” said Jay Xu, director of the Asian Art Museum. “We aim to present it in a fresh and original way that explores traditional Japanese principles governing the relationship of art to our surroundings and social relationships.”

The exhibition is organized by the Asian Art Museum and curated by Dr. Laura Allen, the museum’s curator of Japanese art, and Melissa Rinne, associate curator of Japanese art, in consultation with Mr. Ellison’s curator, Dr. Emily Sano.

The exhibition is on view June 28, 2013 through September 22, 2013. The Asian Art Museum will serve as the only venue for the exhibition.

For more information visit: www.asianart.org

 

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THE MARSH San Francisco EXTENDS Brian Copeland’s The Waiting Period Through October 27, 2012

The Marsh San Francisco is proud to extend Brian Copeland’s critically acclaimed solo show, THE WAITING PERIOD through October 27, 2012. October is National Depression Education And Awareness Month and The Marsh could not be more proud of this sold-out show’s continuing and significant contribution to local discussion and understanding of this often fatal disease.

The show plays on Thursday and Friday at 8:00 pm and Saturday at 5:00 pm on The Marsh MainStage, 1062 Valencia Street in San Francisco. For tickets, the public may visit www.themarsh.orgor call 415-282-3055. Fridays are Educator Nights. Please note Teachers, students and those working in the mental health field get special discounts. For information call 415-282-3055.

Copeland, a multi-talented actor, playwright, author and talk show host, has basked in the glow of both public and critical acclaim for nearly a decade. And yet, along with such other well-known figures as Mike Wallace, Tipper Gore and Yves San Laurent, he suffers from debilitating bouts of depression. As William Styron, another well-known sufferer, put it: “Mysteriously and in ways that are totally remote from normal experience…depression takes on the quality of physical pain…it is entirely natural that the victim begins to think ceaselessly of oblivion.”

This show is an unrelenting look at a ten-day period in Copeland’s life—the mandatory ten-day waiting period before he could lay his hands on the newly purchased gun with which he planned to take his own life. Even in the midst of this tragedy, however, his wonderful sense of the comedy of life does not desert him (how much should he spend on the gun?), indeed serves him insidiously well as a buffer against the grim reality of his intention. Copeland hopes this very personal, and ultimately redemptive, story will reach people who struggle with depression—often called the last stigmatized disease—as well as their families and loved ones. Interspersed with interviews with other sufferers, the play, like so many Marsh stories, also offers outsiders an insider’s view, thereby expanding our understanding and, hopefully, our humanity. As critic Sam Hurwitt put it in The Idiolect: “It’s a play I’d strongly recommend to anyone who is now or has ever been depressed or who knows someone in that situation. But honestly, it’s such a strong piece that I’d recommend it just as heartily to anyone who’s ever been human.”

In 1995, San Francisco ABC radio affiliate KGOpremiered The Brian Copeland Showthat remains the most listened to program in its time slot. His previous hit show, Not A Genuine Black Man, ended a seven-year run at The Marsh Berkeley earlier this year.

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SF Playhouse 2012-2013 Season Opener: Bloody Bloody Andrew Jackson

A brash look at one of our nation’s founding rock stars

San Francisco Playhouse will launch its Tenth Season in a new venue at 450 Post Street with the Tony-nominated, Bloody Bloody Andrew Jackson.  Opening October 13th, Jon Tracy will direct with Jonathan Fadner as musical director.

Bloody Bloody Andrew Jackson, an audacious mix of historical fact and fiction, redefines America’s controversial seventh president–the man who invented the Democratic Party, drove the Indians west, and ultimately doubled the size of our nation–with a raucous blend of outrageous comedy, anarchic theatricality and an infectious emo rock score.

“What Mr. Timbers and Mr. Friedman are examining is a fierce emotionalism in American politics that transcends party lines and has existed for centuries. Idealism, resentment, a short attention span, a fear of being perpetually misunderstood and a ravenous sense of entitlement are mixed together here in one big, gawky, sexually charged package: America, the eternal teenager. And who better to lead this restless, appetite-driven creature than a red-blooded rock star?”-NY Times.

The 2009 world premiere opened with Alex Timbers directing at the Public Theater to rave reviews. It returned to the Public the following year, extended three times, and became the second highest-grossing show in the downtown institution’s history. It transferred to the Bernard B. Jacobs Theatre on Broadway on September 20, 2010. The show won a Lucille Lortel Award, an Outer Critics Circle Award, and a Broadway.com Award for Best Musical. Timbers won a Drama Desk Award for Best Book of a Musical and was nominated for a Tony Award for his book, as well as an Outer Critics Circle Award for his direction.

Ashkon Davaran*, a rock star in his own right (check out the number of Youtube hits for “Don’t Stop Believing” during the Giants 2010 World Series), will star in the role of Andrew Jackson. The eleven person ensemble that will double as the band includes: Michael Barrett Austin*, El Beh, Angel Burgess, William Elsman*, Jonathan Fadner, Safiya Fredericks*, Gavilan Gordon, Lucas Hatton, Ann Hopkins, Olive Mitra, Daniel Vigil and Michelle Vigil.

Nina Ball will inaugurate the new stage with her set design, Kurt Landisman lights, Brendan Aanes sound, Tatjana Genser* costumes and Jacqueline Scott will design properties.

Alex Timbers is a two-time Tony-nominated writer and director and the recipient of Lucille Lortel, Drama Desk, and Outer Critics Circle Awards, as well as two OBIE Awards. His Broadway directing credits include Peter and the Starcatcher for which he was nominated for a 2012 Tony Award, Bloody Bloody Andrew Jackson which he also wrote the dialogue for and was nominated for a 2011 Tony Award, and The Pee-Wee Herman Show which was filmed for HBO and was nominated for a 2011 Emmy Award. Timbers is Artistic Director of the New York-based company Les Freres Corbusier.

Michael Friedman is an American composer and lyricist. He is a founding Associate Artist of The Civilians and an Artistic Associate at New York Theatre Workshop. He received a 2007 Obie award for sustained excellence. His musical Saved earned him a Lucille Lortel Award nomination for Best Musical.

Founded by Bill English and Susi Damilano in 2003, The San Francisco Playhouse is the fastest growing and most awarded Theater Company in San Francisco. It has been hailed as a “small delicacy” by SF Weekly, “eclectic” by the San Francisco Bay Guardian, and “local theater’s best kept secret” by San Francisco Magazine. Located in Union Square, The San Francisco Playhouse offers intimate, professional theatre with top notch actors and world class design. It has received multiple awards for overall productions, acting, and design including the SF Weekly Best Theatre Award, Bay Guardian’s Best Off-Broadway Theatre Award. The San Francisco Chronicle raved, “One of the most meteoric rises [of the decade] has been that of SF Playhouse, Bill English and Susi Damilano’s 7-year-old- start-up that has been attracting more top-notch actors, directors, and scripts every year.” The SF Playhouse has become the intimate theatre alternative to the traditional Union Square theatre fare, providing a creative home and inspiring environment where actors, directors, writers, designers, and theatre lovers converge to create works that celebrate the human spirit.


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ART INSTALLATION TO LIGHT UP THE BAY BRIDGE

(From KTVU/WIRES)  About 25,000 LED lights will be strung along the western span of the Bay Bridge over the next several months as part of a two-year art installation inspired by the bridge’s 75th anniversary.

“The Bay Lights,” an $8 million project expected to be unveiled in March 2013, will help bring attention to a bridge Bay Lights,” an $8 million project expected to be unveiled in March 2013, was expected to help bring attention to a bridge that is often overshadowed by its neighbor to the north, the Golden Gate Bridge, said Ben Davis, whose organization, Illuminate the Arts, was overseeing the project.

The Bay Bridge, which opened in 1936, “didn’t get quite the recognition that I felt it deserved,” Davis said. “I wanted to find a way, at least for a brief while, to bring the consciousness back to this bridge.”

The privately funded “light sculpture” is being designed by Leo Villareal, who has created light installations in museums and public spaces around the country and world.

The lights, which will not be visible drivers on the bridge but can be seen from a distance, will be mounted on the vertical cables of the western span and will operate for about seven hours per night.

Permits for the project were awarded in August, and installation was begin next month, organizers said.

Two former San Francisco mayors, Willie Brown and now-Lt. Gov. Gavin Newsom were on hand at a news conference Tuesday to announce the project.

“This is the kind of thing we need to do to remind people what a special place this is,” Newsom said. “I think this thing is going to blow people away.”

The lights will be installed during weekday overnight hours and will cause some lane closures on the upper deck of the bridge, but the effect on traffic is expected to be minimal, Davis said.

Illuminate the Arts has collected $5.5 million for the project and is still seeking donors for the rest of the funding.

“We are going to raise the $2.5 million,” he said. “I think we’re going to do it relatively quickly, this is an inspiring piece and it does make a difference to our city.”

The March lighting ceremony will come just months before the new eastern span of the bridge was expected to open on Labor Day weekend in 2013.

Donations for “The Bay Lights” project can be made at www.causes.com/thebaylights.

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The Marsh Berkeley Cabaret Presents Joni Takanikos In THE SONGBIRD OF PARIS, EDITH PIAF

The Cabaret at The Marsh Berkeley is proud to present Joni Takanikos in Martha Furey’s THE SONGBIRD OF PARIS, EDITH PIAF. Piaf’s stagehand (played by Max Cole-Takanikos) helps the iconic French singer to a park bench in Belleville, the working class neighborhood of her impoverished childhood, and leaves her there, wrapped in a blanket against the cold. Knowing she is nearing the end of her life, Piaf takes a final reckoning, sharing her vast triumphs and hair-raising tragedies with the cabaret audience, as though the audience represents the ghosts of her past. It’s a passionate ride: funny, forceful, wild and raw, sensual and romantic, replete with Piaf’s famous and heart-rending songs. Takanikos sings a cappella, an evocation of the young Piaf busking on the streets of her beloved Paris.

The show plays on Thursdays and Fridays at 8:00 pm and Saturdays at 8:30 pm from November 1 – December 1, 2012 (press opening Saturday, November 3) in The Cabaret at The Marsh Berkeley, 2120 Allston Way (off Shattuck.) For tickets, the public may visit www.themarsh.orgor call 415-282-3055.The audience is seated at tables, and can enjoy wine, cocktails and beer from a full bar as well as delicious sandwiches, salads and snacks.

Tiny and frail, Piaf sometimes looked as if she could barely stand up, and yet perhaps no performer has so totally embodied herself on stage, mesmerizing audiences with the raw passion and beauty of her voice. When she died at 48, her second husband and final lover, the actor Théo Sarapo, 20 years her junior, drove her corpse to Paris, perhaps wanting people to believe she died in the city she loved, the city with which her name is still synonymous. Because of her celebrated life – the lovers, the booze, the drugs – the archbishop of Paris forbade her a mass; nonetheless, 40,000 fans mobbed her funeral at Père Lachaise.

Joni Takanikos is a singer-songwriter, poet and performer. She met the playwright Martha Furey over two decades ago on Whidbey Island, near Seattle, where Takanikos still lives. In those early days, both were involved in theater, although Takanikos worked as a jewelry designer and Furey delivered the mail! In 2010, encouraged by Furey, Takanikos took a three- month sabbatical to Ireland, where Furey now lives, and where Takanikos realized her dream of becoming a traveling minstrel. In March 2012, after Takanikos returned to the States, Furey, who wrote Songbird” specifically for her, brought the project to Whidbey Island where it premiered in November before traveling back to Ireland in December to play at St. Johns Theatre in Listowel. Takanikos has successfully produced and performed in many cabaret-style evenings and was awarded the Local Artist Series from Whidbey Island Center for the Arts in 2007. She credits the post-modern dancer and writer, Deborah Hay, with helping her to embody what she calls Edith Piaf’s “willingness to be seen: when she sings, she gives you everything.” For two sample tracks from her second album, Love in a Mist, Devil in a Bush, visit http://soundcloud.com/joni-takanikos.

Max Cole-Takanikos, Joni Takanikos’ son, is an aspiring young artist who has been involved with theater since the age of seven. His credits include Solyony in The Three Sisters, Romeo in Romeo & Juliet, Rosencrantz in Rosencrantz & Guildenstern are Dead, Antony in Sweeney Todd and Jason in Rabbit Hole.

Martha Furey is a playwright known for capturing the essence and depth of some of the world’s most engaging and compelling women. During the course of her long theatrical career she has written and starred in eight one-woman plays, all of which have been performed in the United States where she was born, and Ireland, where she now lives. La Flor de Mexico/Frida Kahlo and Tea With Emily, about poet Emily Dickinson, received four star reviews in The Scotsman after performances at the Edinburgh Fringe Festival. Of La Flor de Mexico/Frida Kahlo critic Joy Hendry said, “Furey’s script is music to the ears, pulse to the heart and food for the brain. Unlike so many biographical one-person shows, you feel truly in Kahlo’s presence.”

WHEN:             November 1 – December 1, 2012

SHOWTIME:     Thursdays & Fridays at 8:00 pm; Saturdays at 8:30 pm

WHERE            The Cabaret at The Marsh Berkeley, 2120 Allston Way in Berkeley near Shattuck

TICKETS:         $15-35 Sliding Scale
For tickets, visit www.themarsh.org or call 415-282-3055

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ANDRÁS SCHIFF BEGINS PROJECT SAN FRANCISCO RESIDENCY AND TWO-YEAR EXPLORATION OF BACH’S MUSIC WITH RECITALS AND ORCHESTRAL PRESENTATIONS IN OCTOBER AT DAVIES SYMPHONY HALL

  • Schiff on Bach & His Legacy in a lecture and performance on October 9
  • October 7 and 21 Recitals featuring Bach’s Well Tempered Clavier Books 1 & 2 – Co-presented with San Francisco Performances
  • Schiff conducts the San Francisco Symphony in works by Bach and Mendelssohn on October 11-13

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Pianist András Schiff , as 2012-13 Project San Francisco Artist, begins his two year residency in the month of October with a variety of events and performances exploring the keyboard works of Johann Sebastian Bach. The residency will include the complete The Well-Tempered Clavier, the French Suites, and the English Suites, and works for keyboard and orchestra. Schiff is considered one of the foremost proponents of Bach’s keyboard music.

András Schiff performs two recital programs featuring The Well-Tempered Clavier co-presented by the San Francisco Symphony and San Francisco Performances at  2 pm on October 7 (Book I) and 2 pm on October 21 (Book II) at Davies Symphony Hall. He will host an evening of lecture and performance titled Bach & His Legacy on October 9 at 7 pm at Davies Symphony Hall.  Schiff then leads the San Francisco Symphony in concerts both from the keyboard and the podium October 11-13 in a program featuring Bach’s Keyboard Concertos Nos. 1 and 2 and Mendelssohn’s Fingal’s Cave Overture and Symphony No. 4, Italian.

Hungarian pianist András Schiffmade his San Francisco recital debut with San Francisco Performances in 1985, performing Bach’s Goldberg Variations. One of the foremost proponents and performers of music by Bach, his performances here mark the beginning of a year-long exploration of the works by Bach.  In addition to his recitals, orchestra performances, and lecture here in October, he will perform the French and English suites on two recital programs in April 2013 and will also give two recitals here in October 2013. These performances are part of Schiff’s two-year commitment to the music of JS Bach which also includes residencies in New York and Los Angeles. He has a new recording of The Well Tempered Clavier, Books I and IIon ECM Records.

 

ANDRÁS SCHIFF PLAYS BACH, Sunday, October 7 at 2 pm

Bach The Well-Tempered Clavier, Book I, BWV 846-BWV 869

Co-presented by the San Francisco Symphony and San Francisco Performances.  Tickets: $15-$93.  Tickets are available at sfsymphony.org or sfperformances.org; by phone at 415-864-6000 or 415-392-2545 and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

 

ANDRÁS SCHIFF LECTURE: BACH & HIS LEGACY, Tuesday, October 9 at 7 pm

To launch his Project San Francisco residency, András Schiff presents an evening of insight into the music of
J. S. Bach.

Co-presented by the San Francisco Symphony and San Francisco Performances.  Tickets: $20.  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.

 

SAN FRANCISCO SYMPHONY: András Schiff,  Thursday, October 11 at 10 am (Open Rehearsal)
Thursday, October 11 at 8 pm
Friday, October 12 at 6:30 pm
Saturday, October 13 at 8 pm

Mendelssohn Fingal’s Cave Overture, Opus 26

Bach Keyboard Concerto No. 2 in E major, BWV 1053
Bach Keyboard Concerto No. 1 in D minor, BWV 1052
Mendelssohn Symphony No. 4 in A major, Opus 90, Italian

Tickets: Open Rehearsal: $22 general, $40 reserved. Concerts: $15-$150.  Tickets are available at sfsymphony.org or sfperformances.org; by phone at 415-864-6000 or 415-392-2545 and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

 

ANDRÁS SCHIFF PLAYS BACH, Sunday, October 21 at 2 pm

Bach The Well-Tempered Clavier, Book II, BWV 870-BWV 893

Co-presented by the San Francisco Symphony and San Francisco Performances. Tickets: $15-$93.  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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Under One Roof Restructures Organization to Better Serve AIDS/HIV Agency Partners; Will Close Castro Storefront by March 2013

 Nonprofit returns to its roots with seasonal pop-up stores; expands fundraising efforts and increases volunteer opportunities

Under One Roof (www.underoneroof.org), the first charity retail organization to benefit the AIDS & HIV community, announced today that it will be significantly changing its business model to better support its 20+ AIDS, HIV and LGBT service partners due to a variety of economic circumstances. Part of this restructuring will include the closing of Under One Roof’s permanent retail space in the Castro district in March of 2013.

After much consideration, Under One Roof’s board of directors voted to close its doors and mark a return to the 21-year-old organization’s early business model of operating short-term, holiday-driven retail events in donated or low-cost locations. Board members saw this change as the best, most cost-effective solution to allow the nonprofit to fulfill its mission in the wake of a challenging economy, soaring overhead costs, a decrease in charitable donations and a changing retail landscape.

Under One Roof is in the process of clarifying the specifics of its next steps, called the ‘Greater DEPTHS’ plan, but will reveal these details at a community event later this fall.

“This decision was by no means an easy one; it is the result of much soul searching and effort to try and make our current model work,” said Tony Hart, Under One Roof’s Board Chairman.

“In the end, it was clear that in order for us to remain viable and truly support the agencies we exist to serve, we would need to rethink our model and make some big changes. We are excited to roll out our plans for the future, and are confident that Under One Roof will remain an inspirational and important member of the AIDS, HIV and LGBT community for years to come.”

In its early years, the majority of Under One Roof’s sales came from merchandise provided free of charge by generous vendors. This, in addition to large corporate donations, allowed Under One Roof to provide its agency partners with healthy payouts for many years.

That model evolved into a traditional and permanent gift shop, which involved purchasing merchandise for resale, and pulling together agency donations from the margins generated by selling these items for a modest profit. These payouts were smaller than desired and less than what organization leaders believed should be provided to beneficiaries. As a result, leadership ultimately decided that the best solution would be to revise the nonprofit’s structure.

The Greater DEPTHS vision currently outlines the organization’s return to its seasonal and holiday legacy with periodic pop-up sales events, an expanded fundraising program, new partnerships with other community-based organizations, a strategic focus on ecommerce, and an enhanced volunteer network. Under One Roof’s board believes these changes will lead to increased agency donations and more opportunities for local volunteers passionate about participating in the ongoing fight against HIV/AIDS and LGBT equality.

Hart emphasized that this change is in no way indicative of Under One Roof’s belief that the disease is over, or that its benefiting organizations no longer need support.

“Quite the contrary,” Hart said. “ We are committed to continuing to provide necessary funds to our agency partners and believe this new plan will help us meet this goal much more effectively.”

For its final holiday season on Castro, Under One Roof is already gearing up to make it lively and festive, with a major celebratory event to take place in mid-November and a splendid array of wonderful holiday gift merchandise to purchase through the end of the year.

 

ABOUT UNDER ONE ROOF: www.underoneroof.org

Created in 1991, Under One Roof was the first non-profit retail store of its kind. The organization raises unrestricted funds for 22 AIDS/HIV Service Organizations that provide direct assistance to San Francisco Bay Area men, women, and children living with HIV/AIDS and other diseases. Since its opening, Under One Roof has sold over $11 million in retail merchandise to benefit local AIDS charities.

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CAL PERFORMANCES RECEIVES MORE THAN $1 MILLION FROM FOUR NEW GRANTS: JAN SHREM & MARIA MANETTI SHREM, ANN AND GORDON GETTY, THE ANDREW W. MELLON FOUNDATION AND THE NATIONAL ENDOWMENT FOR THE ARTS

Cal Performances has been awarded $1.3 million dollars in new gifts in recognition of the institution’s outstanding performances and innovative educational programs, it was announced by Director Matías Tarnopolsky. A gift from Jan Shrem and Maria Manetti Shrem of $250,000 will support the Simón Bolívar Symphony Orchestra of Venezuela’s residency with music director Gustavo Dudamel in Berkeley November 26-30. The engagement will be named “The Jan Shrem and Maria Manetti Shrem Orchestra Residency.” In honor of the Shrems, Ann and Gordon Getty are matching their contribution to Cal Performances Orchestra Residency Program and directly supporting the Philharmonia Orchestra’s engagement under the baton of Esa-Pekka Salonen on November 9-11. A $760,000 award over five years was given by The Andrew W. Mellon Foundation to further the integration of Cal Performances’ artistic programs into the academic life of UC Berkeley.  Lastly, the National Endowment for the Arts $75,000 grant supports the presentation of Einstein on the Beach, An Opera in Four Acts, a groundbreaking work which will have its West Coast premiere in Zellerbach Hall October 26-28. The largest grant ever given to Cal Performances from the NEA, the award is also the NEA’s largest in the Art Works opera category for this funding year.

“The performing arts are vital to the cultural and intellectual life of the campus community,” commented UC Berkeley Chancellor Robert J. Birgeneau. “With the extraordinary leadership of Matías Tarnopolsky, Cal Performances is acknowledged as one of the top presenting arts organizations in the world and we are thrilled that his vision has been recognized by these prestigious arts funders.”

“Cal Performances is an organization in a unique class. We have extraordinary artistic standards and attract the world’s greatest artists and ensembles, and we are situated at the heart of one of the world’s top public universities,” said Tarnopolsky. “These gifts are at once a powerful endorsement of our vision and a recognition of the importance of the role of Cal Performances both on the UC Berkeley campus and in the Bay Area at large. Cal Performances’ mission is to meaningfully engage our audiences with transformative experiences in the performing arts. When we reach the students at UC Berkeley, we fulfill our crucial role in creating well-rounded and culturally connected citizens of tomorrow. I’m tremendously grateful for these gifts, which allow us to forge new programs and promote ever deepening relationships between the artists on our stages, and the great minds at work in our students, faculty and in our community.”

Engaging students and the community is a fundamental element which inspired the gift from Jan Shrem and Maria Manetti Shrem underwriting Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela’s residency. “Maria and I have focused our philanthropic efforts on three strong and simple concepts. We believe in a life of culture and that all of the arts enrich society. We believe in a lifetime of learning, in new possibilities and ideas being necessary to regenerate civilization. And we believe that the arts must be accessible to people of all ages and all social and economic strata,” said Jan Shrem. “What Matías Tarnopolsky is creating with these orchestra residencies embodies everything we believe is best about the intersection of arts and education,” added Maria Manetti Shrem. “The spirit of outreach, generosity and inclusion speaks directly to our philosophy. We are delighted to be in a position to support and encourage this kind of thinking, programming and courageous vision.” This gift encompasses two main stage concerts and educational events including a SchoolTime performance for K-12 students, a major educational symposium titled “Reaching for the Stars: A Forum on Musical Education” aiming to stimulate an expansion of music education in public schools with a slate of nationally-recognized speakers, masterclasses for UC Berkeley students, a rehearsal of the UC Berkeley Symphony Orchestra conducted by Dudamel and numerous  activities in local schools with the musicians of the Simón Bolívar Symphony Orchestra. Continuing an ambitious plan laid out by Tarnopolsky in his first season of programming, this residency follows hugely successful earlier residencies with the Vienna Philharmonic and the Mariinsky Orchestra.

Ann and Gordon Getty’s gift of $250,000 is in support of the Philharmonia Orchestra’s residency at Cal Performances, the other signature Orchestra Residency of the 2012-2013 season.  Esa-Pekka Salonen will lead the Philharmonia Orchestra in three performances of repertoire including Berlioz’s Symphonie Fantastique, Salonen’s own Helix, Berg’s Wozzeck with an internationally-renowned cast, and Mahler’s Symphony No. 9. The performances will be accompanied by a host of exciting and enriching education and community programs. Perhaps the most meaningful for UC Berkeley students will be the opportunity for members of the UC Berkeley Symphony Orchestra to perform in Wozzeck, playing the Tavern and Military bands. These students will also have the opportunity to travel with the Philharmonia Orchestra to Los Angeles and to New York for further performances.

The Andrew W. Mellon Foundation grant, and one-time gift of $760,000 to be utilized over five years beginning in Fall 2012, focuses on supporting and encouraging fuller integration between Cal Performances’ artistic programs and the academic programs on the campus of UC Berkeley. Among the ambitious plans proposed is the creation of courses linking performances with current teaching and research yielding a new level of exchange of ideas which will enrich the programming at Cal Performances and the intellectual lives of UC Berkeley students and faculty. Further plans include an in-depth Performing Arts Course, providing a comprehensive study of six performances in the organization’s season, and a new survey class to introduce students to the performing arts. “Magic happens when the worlds of ideas and performance interact. The Mellon Foundation has made it possible for us to bring these worlds together, launch new programs and further our primary goal of engaging more Cal students in live performance,” explained Tarnopolsky.

The National Endowment for the Arts grant supports Cal Performances’ role in recreating the masterpiece Einstein on the Beach, An Opera in Four Acts by Philip Glass and Robert Wilson, widely recognized as one of the great theatrical achievements of the 20th century. Einstein on the Beach will receive its West Coast debut in Berkeley; these will be the first fully realized performances in the United States outside of New York. Cal Performances is part of an international consortium of co-commissioners that includes BAM; the Barbican, London; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre National de Montpellier Languedoc-Rousillon; and the University Musical Society of the University of Michigan, Ann Arbor. The work is produced by Pomegranate Arts, Inc.

Cal Performances is a beneficiary of UC Berkeley’s renowned intellectual and cultural environment. Under the leadership of Matías Tarnopolsky, who became Director in 2009, the organization has expanded its artistic and educational programs to include annual Orchestra Residencies by some of the finest orchestras in the world, a new music program for at-risk young adults called TEMPO and a variety of open rehearsals, master classes and lectures for the campus and greater Bay Area community. Cal Performances receives around 3% of its budget from the University, generates a healthy 60% from ticket sales and other earned income, and relies upon the generous contributions of individuals, foundations and corporations to provide the remaining funds. Through this important private support Cal Performances is able to curate one of the world’s finest performing arts seasons reaching nearly 200,000 people each year.

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