Reviews

Bohemians in Paris populate Livermore Valley Opera’s lively, well-sung production of the Puccini classic.

In their concert British tenor Mark Padmore and American pianist Jonathan Biss fused words and music in a supreme partnership that conveyed emotions with transcendent, eye-opening profundity.

Paul Dresher’s invention, the quadrachord, posed unanswered questions in a concerto that showed off the composer’s considerable gifts.

Performance, conducting, and solos impress at the San Francisco Symphony in a program that was intricate, complex, and pulled-off with elegance.

Launching its season with terrific dancers and successful explorations of new repertory, Smuin Ballet appears poised to climb to a higher level in the regional ballet firmament.

Dipping into later-than-real-Baroque territory, Philharmonia Baroque clearly loves to perform Brahms Serenades, which it plays as if living in the style of his era.

Philharmonia Baroque essays Henry Purcell’s rarely performed Dioclesian, a semi-opera chockful of stories of love, lust, and politics, all dressed in splendid music.

The Cypress Quartet embraces music that’s both beautiful and original, in new and recent works that respond to classic composers.

The California Symphony tests another guest conductor, Robert Moody, who makes the music flow with a sense of purpose.

The brilliant new Weill Hall starred in the Green Music Center’s gala opening, eclipsing even the playing of the Santa Rosa Symphony and Lang Lang and the work of three conductors.