Few operas have been worked over as much as Bizet's Carmen. In the East Bay, where Berkeley West Edge Opera's Carmen Fixation opened Saturday night, the opera company offered a "different" version, with a standout performance by Buffy Baggott.
A phantasmagorical winged figure from a temple door, a carved offering shrine, coin images of deities — the Asian Art Museum's Bali exhibit (Feb. 25–Sept. 11) seems to be all in motion, very different from the usual static feel of museums.
Only half-jokingly did I say to some of the orchestra musicians in the lobby of the War Memorial Opera House Thursday night that "There will be dancing, too." The distinguished audience — including many members of the S.F. Symphony, the S.F. Opera Orchestra, and the “Freeway Philharmonic” — was there partly to hear the music.
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.
The Wallace Alexander Gerbode Foundation and the William and Flora Hewlett Foundation have announced six $75,000 grants for the creation and world premiere of new works by California composers, created in collaboration with another California artist of their choice.
In a delightful recital Tuesday night, Lang Lang — probably the best pianist around, and once likened to Elvis in stature — presented a different pianist, who was also subtle, self-effacing, while exhibiting the highest level of artistry.
Music truly is the international language. Case in point at the San Francisco Symphony: A French conductor leads an American orchestra in an all-Russian program — and it all sounds amazingly authentic, and mostly excellent.
When you first encounter the quiet, eerie, achingly stretched opening chords of Bartók’s first string quartet, you know that you are in the presence of something magnificent. That the Alexander String Quartet’s would present the complete cycles of Bartók’s six and Kodály’s two string quartets is newsworthy enough, but there is more to the story.
San Francisco Symphony opens the 2011 portion of its 99th season with great music presented through the collaboration of a world-famous French pianist and a rapidly emerging young Ukrainian conductor making his debut.