Reviews

ChamberBridge’s Sunday recital at Old First Church in San Francisco was a model of compositional and interpretive invention, with the San Francisco–based duo of soprano Lara Bruckmann and pianist Eva-Maria Zimmermann providing vivid performances of newly commissioned work by a mix of American and Swiss composers.

It would not be impossible to construct a program of three piano trios more taxing than the one the Skride/Vogler Trio played last Tuesday at Herbst Theatre. It might, though, be difficult to find anyone willing to play it.

Anyone who might have arrived very late for Saturday’s splendid New Century Chamber Orchestra concert at Herbst Theatre would have gotten an amusing summary from fiddler Evan Price.

When considering this well-performed recording, don’t place too much significance in its title. Geographically, historically, and stylistically, the five compositions are stretched so far that they defy any programmatic theme, though the Germans may have bought into the cutesy, New World concept more quickly than those of us who actually live here.

From almost the moment that guest conductor Christoph Eschenbach struck up Brahms’ Symphony No. 2 with the San Francisco Symphony last Wednesday, it was clear that this was going to be a Brahms of the bright colors. It was set against a lovely recent French work by Marc-André Dalbavie.

Guest conductor Christoph Eschenbach lit flames in two symphonies with the San Francisco Symphony at Davies Hall on Saturday evening. Whether he was conducting a familiar warhorse or a rarity Eschenbach made them sear.

Bach’s great Passion According to Saint John was given eloquent voice by the California Bach Society Sunday afternoon at the First Congregational Church of Berkeley. The Passion — the story of the end of Jesus’ life — is operatic, in the sense of combining narrative and commentary.

The 50th of Hyperion’s cycles devoted to Romantic piano concertos features a generous heap of Tchaikovsky by pianist Stephen Hough, partnered by Osmo Vänskä and his Minnesota Orchestra. It’s quite an undertaking, with terrific sonics, though made during live performances.

Manuel Barrueco gave a panoramic view of the history and future of the classical guitar in the 20th and 21st centuries in a marvelous recital Thursday at San Francisco’s Herbst Theatre.

For general ballet-goers, the run of Romeo and Juliet that opened Saturday and continues through this week is the crowning jewel of San Francisco Ballet’s 2010 season, which takes over the War Memorial Opera House every January through May.