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San Francisco Ballet

As America’s oldest professional ballet company, San Francisco Ballet has enjoyed a long and rich tradition of artistic “firsts” since its founding in 1933, performing the first American productions of Swan Lake and Nutcracker, as well as the first 20th-century American Coppélia. A lively, vital ensemble, San Francisco Ballet is one of the three largest ballet companies in the United States.

To view San Francisco Ballet's listing of events, please click here.

Archive Review
March 18, 2008

Manuel Barrueco has been known as one of the world’s foremost classical guitarists since 1974, when, at 22, he became the first guitarist to win the Concert Artists Guild Award. Since then, his reputation has continued to grow. A large and enthusiastic audience was on hand on Saturday at Herbst Theatre to hear his substantial program, presented by San Francisco Performances and the Omni Foundation for the Performing Arts.

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Feature Article
March 11, 2008

If Pauline Viardot hadn’t actually lived, some opera composer might have invented her. The life of the 19th-century French singer-composer is the stuff of drama, and nearly a century after her death, she remains one of the more intriguing figures of European musical history.

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Feature Article
March 11, 2008

If Pauline Viardot hadn’t actually lived, some opera composer might have invented her. The life of the 19th-century French singer-composer is the stuff of drama, and nearly a century after her death, she remains one of the more intriguing figures of European musical history.

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Archive Review
February 26, 2008

Even Cal Performances' starrier guests don't routinely sell out Zellerbach Hall. But more than two decades into his high-profile career, Joshua Bell's name still deservedly wields an uncommon pull, and it was to a capacity audience that he and pianist Jeremy Denk played on Sunday afternoon. The duo's Berkeley recital represented the one Northern California blip in a taxing tour (tucked in between a Costa Mesa concert on Saturday night and a Palm Desert one Tuesday). I hope the blame for a vexingly uneven recital may be assigned at least partly to fatigue.

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Archive Review
January 29, 2008

Predictably, the two versions of Merce Cunningham's eyeSpace seen on consecutive nights of the Merce Cunningham Dance Company's engagement at Stanford University last weekend, presented by Stanford Lively Arts, looked so different from each other as to be separate creations. What was less predictable was the difference in their affect, their effect. One of the things, it seems, about Cunningham dance is that for all its still-fresh unorthodoxy — this, after 54 years of the company's existence — it has things to teach us about how we see all dance, all art.

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Archive Review
January 22, 2008

Is it possible to move in two directions simultaneously? Generally, you move either forward or backward. Moving in both directions at the same time seems appreciably trickier, and maybe even impossible outside the realm of quantum physics.

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Feature Article
January 22, 2008

The Merce Cunningham Dance Company, as has become widely known, does not dance to music, nor does the music play for the dancers. Both exist in the same time frame, but they're created separately, as are lighting and decor. When movements or sounds will occur are determined randomly, using chance methods that go back to the earliest collaborations between Cunningham and John Cage.

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Archive Review
November 20, 2007

The New Century Chamber Orchestra's search for a new music director has had the side benefit of allowing its audiences to hear not just a slew of interesting violinist/leaders, but also the diversity of the orchestra’s musical personality. Last Wednesday at San Rafael's Osher Marin Jewish Community Center, the leader-of-the-month was the Los Angeles Chamber Orchestra's Margaret Batjer. Batjer is not, as I understand it, in the running for the directorship (the results of the search are to be announced on November 29).

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Archive Review
October 23, 2007

We in the Bay Area have had a remarkable number of opportunities to hear the young violinist Hilary Hahn, whose more-or-less-yearly performances here stretch all the way back to her Brahms Concerto with the Santa Rosa Symphony in 1999. This year her return, courtesy of Cal Performances, was in recital with pianist Valentina Lisitsa, in a dauntingly difficult program given last Tuesday at Berkeley's Zellerbach Hall. It was a program seemingly calculated to demonstrate Hahn's range, and so it did, though not perhaps entirely as it was intended to.

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Archive Review
October 2, 2007

For the past year-plus, the New Century Chamber Orchestra has been auditioning prospective artistic directors to replace the departed Krista Bennion Feeney, the orchestra's leader from 1999 through 2006. The search is nearing its end — the winner is to be announced at the orchestra's "Evening Serenade" benefit performance Nov. 29 — and the orchestra's admirers are watching with some anticipation to see what direction the ensemble will take.

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