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Janos Gereben

Janos Gereben appreciates news tips, corrections, and words of encouragement at [email protected].

Articles by this Author

Music News
April 20, 2010

Yuja Cancellation

San Francisco Performances' much anticipated, soldout recital by Yuja Wang on Thursday was canceled because of the pianist's painful arm condition. Her doctor ordered at least a week's rest.

She has also canceled her Orange County recital, as reported by Tim Mangan.

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Feature Article
April 13, 2010

In the world of maestros with titanic egos, Pocket Opera’s Donald Pippin is a heartwarming exception. He is self-effacing, even humble. To a fault. Considering his accomplishments, all that modesty seems downright excessive.

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Music News
April 13, 2010

'Give Music a Chance'

In recent years the prospect of music education in public schools has dimmed considerably, but the present and future look even worse. Most states are facing huge budget deficits, none worse than California, and all aspects of education are endangered.

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Music News
April 9, 2010

Festival del Sole to Shine Again

Napa's Festival of the Sun will have its fifth season, July 16-25, with its usual star-studded list of artists. Returning to the Festival's various scenic venues are Joshua Bell, Jean-Yves Thibaudet, Chris Botti, Francesco Demuro, Omer Wellber, Nina Kotova, Carlo Ponti, Nikki Yanofsky, Conrad Tao, and Kelly O'Connor.

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Music News
April 9, 2010

Even Poor Tom Can Afford This 'Rake'

Advantages of the San Francisco Conservatory's production of Stravinsky's The Rake's Progress include expert musical and stage direction by Br

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CD Review
April 6, 2010

The transformation in the title of Yuja Wang's latest recording does not refer to her playing. Just as in her recitals and appearances with orchestras — more than a hundred each year — she sounds powerful but never loud, brilliant without arrogance, and always, always serving the music first, eliminating all the superficial stuff that so often plagues pianists.

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Opera Review
March 27, 2010

As someone coming from that neck of the woods, I will walk the plank with this about Eastern Europe: Notwithstanding the many splendid composers of the region, it has not done well as a source of great operas.

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Music News
March 23, 2010

Funding Mill Valley Freebies

Laurie Cohen's Mill Valley Philharmonic has been performing free concerts year-round for a decade now.

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Music News
March 16, 2010

'Tomorrow's Sounds & Stars' at Crowden

Events at Berkeley's Crowden School offer glimpses of both tomorrow's music and musical stars. Take just the Sundays @ Four and the John Adams Young Composers Program events.

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Chamber Orchestra/Orchestra Review
March 12, 2010

Every time I hear what Gustav Mahler did not call his “Resurrection Symphony” — but others did — I think about what the work must have sounded like to the first listeners 115 years ago. Sure, they had heard “big sounds” from Beethoven and Wagner, though without Stravinsky, Bartók, and others in their ears, what could they have made of Mahler’s dizzying complexity?

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Music News
March 9, 2010

Win a House, Give Kronos a Home

Yerba Buena Center for the Arts is running the second annual Dream House Raffle, a big fund-raising lottery with the grand prize a San Francisco house valued at $3 million or $1.5 million in cash. There are many other prizes and several drawings — from April 2 through the grand-prize drawing on July 10. 

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Music News
March 2, 2010

S.F. Symphony Ramps Up to Its Centennial

The San Francisco Symphony, launched in December 1911, is turning 99 next season (which runs from Sept. 2010 to June 2011), a rare accomplishment in the tough business of orchestral music.

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Music News
February 23, 2010

S.F. Symphony Ramps Up to Its Centennial

The San Francisco Symphony, born in December 1911, is turning 99 next season (which runs from Sept. 2010 to June 2011), a rare accomplishment in the tough business of orchestral music.

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Music News
February 16, 2010

Dead Come Alive in Santa Cruz

Rockers all: Steve Reich, Terry Riley,<br/> Phil Lesh and MTTIf the establishment of the Grateful Dead Archive in the Bay Area doesn’t sound like an item for Classical Voice, consider that Michael Tilson Thomas deemed it appropriate to inclu

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Music News
February 9, 2010

Philharmonia: Not So Baroque

As the Philharmonia Baroque announces its 30th anniversary season today, Music Director Nicholas McGegan ponders the then and now of the orchestra in terms unexpected from the renowned leader of a period-instrument orchestra:
Thirty years ago, there was a greater sense of righteousness, a claim of musical purit
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Upcoming Concert
February 8, 2010
On Feb. 20, the day before Riccardo Chailly conducts the first of two concerts with Leipzig’s venerable Gewandhaus Orchestra at Davies Symphony Hall, he will turn 57.

His return to San Francisco will come 33 years after his participation in a historic event that took place in the War Memorial Opera House:

  • The first time Luciano Pavarotti sang “Nessun dorma” on stage, in his role debut as Calaf
  • Montserrat Caballé’s debut in the title role of Turandot
  • And Chailly’s own conducting debut here, at age 24
Although I was there that evening — along with Prince Charles, he in the center box, me in standing room — it was Chailly who reminded me of the event when asked about his upcoming concerts here:
It is a great pleasure to return to San Francisco for the first time. I am coming back still with a fresh memory of the Turandot production I conducted as a young fellow, with Pavarotti and Caballé making sensational role debuts in the Jean-Pierre Ponnelle production.
The focus on the night of Oct. 29, 1977, was on those great singers and the artistic-social hubbub in and around the Opera House, and only partially on the man in the orchestra pit.

Yet there he was: a wunderkind leading a triumphant performance, the same age as Gustavo Dudamel when the Venezuelan first conducted at the BBC Proms, as a replacement for the indisposed Neeme Järvi; and a year younger than Leonard Bernstein when he substituted for Bruno Walter to lead the New York Philharmonic. 

Milano-born Chailly, a precocious conservatory student, was a teenage assistant to Claudio Abbado at La Scala and played drums in a rhythm-and-blues band. He went on to lead the Royal Concertgebouw Orchestra for two decades, and to conduct major orchestras and at opera houses around the world.

While Chailly hasn’t been back to San Francisco, the Gewandhaus Orchestra has returned several times during its 33-year touring history, with 229 concerts in the U.S. alone. In Davies Hall, Gewandhaus concerts were led by a familiar figure. San Francisco Symphony Conductor Laureate Herbert Blomstedt, music director here 1985-1995, headed the Gewandhaus from 1998 through 2005. Chailly took over from him as Gewandhauskapellmeister in 2005.

Even now, in Davies Hall, Blomstedt will overlap with Chailly and the Gewandhaus, conducting SFS Feb. 18-20, in works by Haydn and Beethoven.

Blomstedt’s tenure here and in Leipzig were characterized by rigorous adherence to the classics. His successor will follow suit: Before the all-Beethoven concert on Feb. 22 (Piano Concerto No. 5 and Symphony No. 7), the Sunday, Feb. 21, lineup consists of Chopin’s Piano Concerto No. 1 and Dvořák’s Symphony No. 9. (Louis Lortie replaces the originally scheduled Nelson Freire as the pianist on both evenings.)

Why the lack of variety? Chailly’s response:

It was obvious to focus on the core repertoire with which the orchestra has forged its reputation. We bring to California composers who had a personal relationship with the LGO in its lifetime.

During recent years, I have concentrated in Leipzig intensively on composers like Bach, Beethoven, Mendelssohn, Schumann, and Brahms. It was inevitable that we’ll come to the U.S. with composers who have been identified with the Gewandhaus and its tradition.

As to that “personal relationship,” Gewandhaus — which calls itself the world’s oldest orchestra — was first formed in 1743, and Beethoven (1770-1827) himself toured Leipzig in 1796, long after the orchestra moved into the “textile merchants’ building” — its residence and namesake.

But, pressing on with the question about the strictly 19th-century programming, aren’t there any calls for more variety? Chailly’s answer is that, besides the orchestra’s own preference, it’s also a matter of local requests. He says, somewhat surprisingly in pointing the finger at local organizations:

We gave a variety of programs to our management in New York and they — as always — dealt with the local promoters who invited us. In those programs of course was present more than one composition of the masters of the 20th-century period. But this time the choice focused on our core repertoire of the LGO.
Exactly the same programs are scheduled in Los Angeles, Boston, New York, and elsewhere. Apparently, nobody asked for more-current works or, at least, the music of LGO’s most famous music director, Mendelssohn.

Meanwhile, back in Leipzig, the LGO commissioned five works for the current season, in addition to presenting six world premieres. That’s well beyond “the core.”

Finally, back to the 1977 Turandot and Chailly’s initial career, which was primarily in opera, does he plan (with or without the Gewandhaus) to lead opera productions soon? The answer is no, though “There are talks with major European festivals about future possibilities.”

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Music News
February 2, 2010

West Bay Opera Goes A-Hunting

Carl Maria von Weber's 1821 opera Der Freischütz has many distinctions:

- It's one of the few foreign-language operas best left with its original title (similar to Puccini's The Bohemians, Verdi's The Troubadour, and even Korngold's The Dead City) because the English version is lame and meaningless: The Freeshooter. Say what? Tom Waits used Black Rider for his zany adaptation, and that's better, but no cigar.

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Music News
January 26, 2010

Merola 2010 Performances

The San Francisco Opera Merola Program's 53rd season will offer — besides 10 weeks of intensive training for 25 young selecte

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Upcoming Concert
January 25, 2010
 [The sound of Max Bruch’s Kol Nidrei is heard, starting with the full sound of the cello, as Arnold Schoenberg and Theodor Adorno listen.]

Schoenberg: “Stop! Today is Yom Kippur, the Day of Atonement when Kol Nidre is played. But why always Max Bruch’s? At least up here, on Parnassus, let’s hear my version for a change. Without the cello sentimentality of the Bruch. It needs words ... not just music!”

[Schoenberg’s Kol Nidre (Op. 39) is heard through the musical introduction, the male singer reciting the text.]

Adorno: “Enough! You’ve made your point, but this isn’t about music — 12-tone or otherwise ...”

In fact, this work, Carl Djerassi’s Schoenberg on Parnassus, is about music, but also about chess, philosophy, politics, Paul Klee’s Jewishness, Theodor Adorno’s musicology, Walter Benjamin’s Marxism, and much, much more.

This wild and crazy multimedia event, coming to San Francisco’s Contemporary Jewish Museum, opposite Yerba Buena Center, on Feb. 7, is a sophisticated, esoteric, academic play-conversation-concert. It is clever and chaotic and challenging and — to some — simply perplexing.

Djerassi, 86, is a Stanford chemistry professor emeritus, novelist, and founder of the Djerassi Resident Artists Program near his home in Woodside. The name may be familiar from his most famous accomplishment, Djerassi being one of the fathers, so to speak, of the birth control pill.

Schoenberg on Parnassus is a staged segment of his book Four Jews on Parnassus: A Conversation, or imagined posthumous conversations among Schoenberg, Benjamin, Gershom Scholem, and Adorno.

The four are interconnected in multiple ways, and through these dialogues Djerassi is exploring ideas of identity, canonization, and his own story as a Jew who had to flee Nazi Austria in 1938.

This production, directed by Vienna-based Isabella Gregor, features the London opera singer Loré Lixenberg; actors Gerry Hiken, Ken Sonkin, and Bill Wolak; and Stanford drama professors Kay Kostopolous and Rush Rehm. The music ranges from Schoenberg to a commissioned rap song by Eric Weiner, a San Franciscan, to an Icelandic pop song.

Paul Klee’s artwork is also prominent; Djerassi is a major collector of his works and has bequeathed his entire Klee collection to the San Francisco Museum of Modern Art.

The San Francisco event is cosponsored by the Stanford Institute for Creativity in the Arts and the National Center for New Plays at Stanford. There will be what organizers call a “related but different reading” in Stanford’s Pigott Theater at 7:30 p.m., Feb. 6. The two events represent the U.S. premiere of Schoenberg on Parnassus; numerous performances of various segments of the work have been given in Europe.

More about Contemporary Jewish Museum »
Music News
January 19, 2010

Opera to Offer Domingo, Ring, Much More

Just back at work for the first time in the new year, San Francisco Opera General Director David Gockley has announced plans for the company's 2010-2011 season, its 88th.

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