Janos Gereben

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

Articles By This Author

Janos Gereben - March 13, 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.
Janos Gereben - 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.

Janos Gereben - 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.

Janos Gereben - 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.

Janos Gereben - February 16, 2010

Dead Come Alive in Santa Cruz

Rockers all: Steve Reich, Terry Riley,<br/> Phil Lesh and MTT

If the establishment of the Grateful Dead Archive in the Ba

Janos Gereben - 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
Janos Gereben - 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:

Janos Gereben - February 2, 2010

West Bay Opera Goes A-Hunting

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

Janos Gereben - January 26, 2010

Merola 2010 Performances

The San Francisco Opera

Janos Gereben - 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.