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!
Joana Carneiro, the music director of the Berkeley Symphony, has established herself as a conductor at the relatively young age of 33. After several prestigious conducting fellowships (the last with the Los Angeles Philharmonic), she is having a breakout year, conducting the opening concert of the Venice Biennale festival, making debut guest appearances with the Toronto and Seattle symphonies, and giving performances of John Adams’ A Flowering Tree in Paris and Cincinnati, as well as cutting a CD with Lisbon’s Gulbenkian Orchestra.
Renée Fleming is one of the opera world’s most recognizable divas. Blessed with gorgeous good looks and a golden voice, the Pennsylvania-born soprano started her career in Mozart roles and soon moved on to her favorite composer, Richard Strauss. Today, her repertoire includes a wide variety of roles, including Rusalka, Tatiana, Alcina, and Blanche DuBois in André Previn’s Streetcar Named Desire, a role she brought to luminous life in the opera’s world premiere at San Francisco Opera. Fleming returns to the Bay Area for a recital Dec.
William Bolcom has always made his own way. Throughout his career, which has produced symphonies, operas, chamber pieces, and piano and vocal works, the Seattle-born, Michigan-based composer has often rejected the prevailing notions of what “serious” music should include.
When mezzo-soprano Joyce DiDonato made her San Francisco Opera debut in 2003, as Rosina in The Barber of Seville, it was immediately apparent that audiences were hearing an artist of extravagant vocal gifts. The Kansas native has gone on to sing a wide variety of roles — from Cherubino and Cenerentola, to Octavian (which she sang in San Francisco in 2007) and Sister Helen Prejean in Jake Heggie’s Dead Man Walking.
Still, there’s no finer Rossini interpreter working today.
Texas-born mezzo-soprano Susan Graham is no stranger to these parts. Since 1990, she has sung everything from Monteverdi to Jake Heggie in six different productions with San Francisco Opera, performed several times in concert with the San Francisco Symphony, and sung two recitals here. Most recently, she brought an uncommonly gentle and intimate touch to Mahler’s five Rückert Lieder, recorded in performance for future release in the Symphony’s Mahler series.
On November 7, 2004, Sara Jobin made opera history by becoming the first woman to conduct a San Francisco Opera main stage production. The opera was Tosca, and Jobin has since conducted the company’s performances of The Flying Dutchman, Norma, and Appomattox, as well as the S.F. Opera–Cal Performances coproduction of Rachel Portman’s The Little Prince.
Concertmaster of the San Francisco Symphony for eight years, violinist Alexander Barantschik has won the hearts of patrons with his wide range of talent. As soloist, conductor, and section leader, “Sasha,” as his colleagues call him, has become something of a rock star at Davies Symphony Hall. Classical Voice recently asked him about his upcoming performances of Bach’s “Brandenburg” Concertos (Nov. 18-20) and his life as a leader.
How is playing in the San Francisco Symphony different from playing with other orchestras you’ve been with?
Renaissance music aficionado William Lyons is known for his work with the Dufay Collective and as music director of London’s Globe Theatre. On Oct. 18, MusicSources presents his new ensemble, City Musick, in its first American tour.
Where did you grow up, and what bearing did that have on your becoming an early-music freak?
Robert Geary is expanding the envelope of modern choral music, building a body of repertoire by commissioning and performing new music with his three groups — Volti, the Piedmont East Bay Children’s Choir, and the San Francisco Choral Society. On Oct. 18, the proud papa of Volti celebrates the group’s 30th anniversary with a special CD release and gala. SFCV caught up with him recently for a conversation.
What inspired you to start Volti?
The founders of the summer music festival [email protected] are returning to the Peninsula this fall. Wu Han and David Finckel, along with Anthony McGill, are performing on Oct. 11 at the opening of the new Menlo-Atherton Performing Arts Center, on the campus of Menlo-Atherton High School. It’s a state-of-the-art building, and, says Wu Han, “I can’t wait to play there.”
How did you become involved with this project?