Reviews

Thomas Busse - March 14, 2012

A Dutch early-instrument orchestra and choir give a fine rendition of a Bach Mass, despite the hall’s acoustic limitations.

John Lutterman - March 14, 2012

Brilliance and “guts” define the work of a cello soloist and a period-instrument orchestra.

Michelle Dulak Thomson - March 13, 2012

Two sterling violinists “mess about” with Bach, producing interesting but mixed results.

Catherine Getches - March 12, 2012

Songs by guitarist Trey Anastasio experience new life in an amazing space, backed by the Los Angeles Philharmonic.

Be'eri Moalem - March 12, 2012

Maverick composers are set loose to assault traditional styles and even bust the 12-step Western octave.

Georgia Rowe - March 9, 2012

With programs built around composers such as John Cage, Charles Ives, Meredith Monk, and Lou Harrison, the S.F. Symphony’s three-week “American Mavericks Festival” emerged as one of this conductor’s unmitigated triumphs.

Janice Berman - March 7, 2012

The San Francisco Ballet sets fair Verona aglow as Helgi Tomasson’s Romeo and Juliet returns to the War Memorial Opera House

Jason Victor Serinus - March 7, 2012

An esteemed baritone’s long-awaited debut recital raises questions about the gift of communication.

Anatole Leikin - March 6, 2012

Charm and elegance distinguish performances of Enrique Granados’ scintillating piano suite.

Thomas Busse - March 6, 2012

A male vocal ensemble meshes with a young string quartet in compositions based on psalms, a biblical figure, and weather .