These lively Q&A's aim to shed light on the personalities behind the music. Get to know your favorite artists...or discover someone new!
When Robert Cole took over Cal Performances in 1986, West Coast arts presenters were pretty much booking whatever came through on tour from the East. He changed all that. Cole, who’s calling it quits this summer after a brilliant and fruitful 23-year run, made things happen here. He helped originate new works of music and dance, and he brought in a vast range of artists from abroad, many of whom had never played here.
Jane Glover, music director of Chicago’s Music of the Baroque since 2002 and recently named artistic director of Opera at London’s Royal Academy of Music, is a Baroque scholar, author, and opera conductor with a penchant for modern dance. However unlikely a combination that may seem, for the past decade Glover has been a collaborator in several of choreographer Mark Morris’ projects that brilliantly use modern dance to embody 18th-century music.
In his extraordinary 17-year run as music director of the San Francisco Opera, Donald Runnicles has enriched the cultural life of the Bay Area. As a conductor, he has shaped many memorable performances, bringing forth Wagner’s Ring of the Nibelungs cycle, John Adams’ Doctor Atomic, and Messiaen’s Saint François d’Assise with equal passion and acuity.
From May 14 through May 19, the New Century Chamber Orchestra will perform its final program of the season, titled "Shadows and Light." The conductorless string orchestra, led by one of the world’s most preeminent violinists, Nadja Salerno-Sonnenberg, will be performing in Berkeley, Palo Alto, Marin, and San Francisco. I caught up with her to chat about the program and the orchestra as well as find out more about what makes her tick.
Cameron Carpenter is a rarity in the rarified world of classical organists. Flamboyant and virtuosic in performance, he has earned not only recognition among musicians, but also popularity as a soloist that overshadows all other exponents of the instrument. (Several of his YouTube videos have garnered over 100,000 plays.) Along the way he has purposefully trampled, questioned, or disregarded most of the received wisdom and shibboleths of the organ world.
This week, from April 22 through April 25, the San Francisco Symphony will be performing Ralph Vaughan Williams’ Symphony No. 4 (1935), one of the composer's best. Long-time symphony member and Associate Concertmaster Nadya Tichman is the soloist for the same composer's haunting tone poem, The Lark Ascending (1914, rev. 1920). A member of the San Francisco Symphony since 1980, Tichman is noted for her musicianship as well as her grace and presence. I had a chance to speak with her and to get a glimpse of the person behind the violin.
Life is full for guitarist and composer Sérgio Assad. The Brazilian performs with his brother, Odair, in arguably the best guitar duo on the planet, tours for other ensemble projects, and teaches at the San Francisco Conservatory of Music. Last November he won the 2008 Latin Grammy Award for Best Classical Contemporary Composition for a piece he composed titled Tahhiyya Li Ossoulina, from The Assad Brothers’ album Jardim Abandonado. There’s an urgency to all the activity, the kind that comes from an artist in full swing.
Pianist Jonathan Biss talks about what it's like to grow up in a family of musicians, finding time for tennis and Philip Roth, and what's in store for Bay Area audiences.
Both of your parents are professional musicians: Your mother is violinist Miriam Fried, and your father is violist and violinist Paul Biss. What was family life like growing up?
Mills College caps off its Music Festival this Sunday with a concert celebrating the reopening of its beautifully restored concert hall and the 60th birthday of Music Department Chair, Fred Frith. The composer, improviser, and guitar pioneer discusses teaching, improvisation, and what fuels his creative fire.
I’ve heard that you say that some of your students are more qualified to teach composition than you are.
Catching up with Nicholas McGegan isn’t easy. He may be based in Berkeley, but as a conductor and expert in Baroque and early music, he’s in demand across the country and in Europe, with forays into Asia. But when he is at home, one of his roles is as music director laureate of San Francisco’s Philharmonia Baroque Orchestra. Their upcoming performances of Handel’s Athalia will allow us to hear one of the composer’s lesser-known oratorios. We caught up with him at Yale, where he answered some questions about the upcoming concerts and his approach to music in general.