Catherine Getches
Catherine Getches is Managing Editor of San Francisco Classical Voice. Her writing has appeared in The Washington Post, The International Herald Tribune, The Los Angeles Times, Salon, Chicago Tribune, and The Wall Street Journal, and others. She received her Masters in Journalism from Columbia University and Bachelors from Kenyon College.
Articles by this Author
Can You Hear the Music Now? After Volume Won
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Article
November 21, 2011
To anyone who enjoys listening to music, it sounds like some sort of bad play on words for ears: The more you listen to music, the less you can actually hear. But this is not some unfortunate formula with which Boomer parents (“turn-that-garbage-down!”) used to scold their offspring. The aural tit-for-tat is an increasingly modern problem, and an equation that is growing exponentially for younger generations.
Festival Opera's Turandot
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Preview
June 16, 2009
“It is somewhat unexpected when a small company like Festival Opera takes on a very grand opera like Turandot. The size of the piece and the enormous role of the chorus make it a challenge,” says Artistic Director Michael Morgan.
Krystian Zimerman
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Preview
April 14, 2009
Polish pianist Krystian Zimerman is known for his technical polish, recently seen here as in a performance of Witold Lutoslawski’s 1987 Piano Concerto under the baton of Herbert Blomstedt. (Zimerman was the concerto’s dedicatee who premiered the work at the Salzburg Festival in 1988.)
Krystian Zimerman
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Preview
March 31, 2009
Polish pianist Krystian Zimerman is known for his technical polish, recently seen here as in a performance of Witold Lutoslawski's 1987 Piano Concerto under the baton of Herbert Blomstedt. (Zomerman was the concerto's dedicatee who premiered the work at the Salzburg Festival in 1988.)
The Secret of the Muse
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Preview
March 11, 2009
The Catacoustic Consort delves into an intriguing era in musical history with music of the French Baroque for the rare pardessus de viole, a hybrid that blends violin and viola da gamba. While the viola da gamba first appeared around 1480 in Italy, the pardessus did not appear until the early 1700s in France, when it became a staple of Versailles heyday. Unless you were palling around with Marie Antoinette many of these works will be new to you and will showcase the unique sonority of the pardessus.
Ye Sacred Clerestory
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Preview
March 2, 2009
In a concert titled "Ye Sacred Muses — Music of the Chapel Royal" the choral group Clerestory gets back to its cathedral roots and music that inspired the ensemble's name.
