How many performances of the “Jupiter” Symphony does it take to turn on a light bulb above the head of attentive listeners? In the case of the Santa Rosa Symphony, it only takes one.
Paul Bowles, once described as “famous for not being famous,” was an allusive artist of elusive categorization. On Saturday, Nicole Paiement’s Blue Print project began its ninth season, with a intriguing focus on Bowles’ music.
Our very own San Francisco Symphony have come up with an excellent performance of the most famous symphony of them all. This release is worth making some sublime noise about.
Lyric tenor and composer Roland Hayes (1887-1977) may be the most important “Aframerican” (his term) classical singer of the 20th century that you don’t know about.
Many enthusiastic Gilbert & Sullivan fans are not familiar with The Yeomen of the Guard.
And yet, when you finally get to this atypical, unusual work — currently presented by Lamplighters — there are great rewards to be found, including some of G&S' best music and most clever lyrics.
A concert put on by the Bay Area Rainbow Symphony offered great variation in technical accomplishment — often very good — and it took on interest for the wider musical community with the appearance of Brian Thorsett and with the premiere of three songs by S.F. composer David Conte.
Stanford Lively Arts’ “Sundays With the St. Lawrence” series has become one of the more consistently rewarding events on the Bay Area music calendar. Stanford’s ensemble in residence since 1998 returned with a special guest to continue its ongoing exploration of the chamber repertoire.
Giselle might have seemed merely an ordinary start to the San Francisco Ballet’s 78th season were it not for the sharply contrasting talents of two of the world’s most interesting ballerinas: Yuan Yuan Tan and Sarah Van Patten.
Michael Morgan and the Oakland Symphony and Chorus blessed concertgoers at the Paramount Theatre with a taste of heaven — an earnest and wonderfully played performance of Brahms’German Requiem.
