The Emerging Black Composers Project Returns in San Francisco
8 Great Classical Music Experiences in the Bay Area This Summer
Michael Tilson Thomas Bids an Emotional Farewell at His 80th Birthday Concert
Montero and Marin Are a Hit at Davies Symphony Hall
San Francisco Symphony Announces 2025–26 Season of ‘Just Play the Hits’
Concert at Davies Symphony Hall to Benefit Musicians Affected by LA Wildfires
With Yuja Wang Out, Vikingur Ólafsson Performs a ‘Goldberg Variations’ Full of Life
Bay Area Grammy Winners: Taj Mahal, Sheila E., SF Symphony and More
John Adams’ New Piano Concerto Is a Dreamlike Thrill Ride at Davies
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After months of uncertainty, the \u003ca href=\"https://www.kqed.org/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston\">Emerging Black Composers Project\u003c/a> (EBCP), launched in 2020 by the San Francisco Conservatory of Music and the San Francisco Symphony, is back on track.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In early March 2025, SFCM and the SF Symphony announced the program was paused, citing a memo from the Department of Education’s Office for Civil Rights that instructed schools to eliminate diversity, equity and inclusion efforts or face the possibility of losing their federal funding.\u003c/p>\n\u003cp>Side-stepping that memo, the SF Symphony — not an educational institution — is now the sole administrator of the project, with the SFCM in a supporting role. \u003c/p>\n\u003cp>Created in the wake of the George Floyd protests, the \u003ca href=\"https://www.kqed.org/arts/13884821/a-new-grant-and-mentorship-program-seeks-to-elevate-black-composers\">EBCP was established\u003c/a> as a 10-year commissioning project meant to lower some of the barriers Black composers face in the field of classical music. The program awards $15,000 to early-career Black composers, gives them a premiere with the SF Symphony, and provides them with mentorship from music directors at local partner organizations.\u003c/p>\n\u003cp>“I am thrilled that the Emerging Black Composers Project will continue finding and funding some of the best musical talent in the country,” Daniel Bartholomew-Poyser, chair of the EBCP said in a \u003ca href=\"https://www.sfsymphony.org/About-SFS/Press-Room/Press-Releases/EBCP-August-2025-Update\">statement\u003c/a> released by the SF Symphony on Friday. “It’s been very gratifying to see our past laureates continue to create and enjoy success, which speaks to the importance of not only our program, but all that celebrate and support early-stage artists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The winner of the fifth annual EBCP Michael Morgan Prize will be announced in the fall, and a call for the 2026 award will go out in November. (The prize was renamed in 2023 to honor the late Oakland Symphony conductor and co-founder of the EBCP, \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">who died in 2021\u003c/a>.)\u003c/p>\n\u003cp>So far, the program has commissioned 11 pieces. Past prize winners include Jens Ibsen, Xavier Muzik, Tyler Taylor and Trevor Weston, with additional monetary awards going to composers Jonathan Bingham, Shawn Okpebholo and Sumi Tonooka.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tyler Taylor, the winner of the 2024 Michael Morgan Prize, will have a premiere of his new work in May 2026, performed by the SF Symphony and conductor Cristian Măcelaru.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-classical-music-concerts-opera-bay-area-summer-2025",
"title": "8 Great Classical Music Experiences in the Bay Area This Summer",
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"headTitle": "8 Great Classical Music Experiences in the Bay Area This Summer | KQED",
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"content": "\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n",
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"title": "Your Guide to Classical Music in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Tilson Thomas Bids an Emotional Farewell at His 80th Birthday Concert",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> walked on stage at Davies Symphony Hall Saturday night, two things were evident. One: the applause from both the orchestra and audience was unbridled. And two: the beloved maestro was moving slowly.\u003c/p>\n\u003cp>As if to acknowledge the crowd’s concern, Thomas cracked a wry smile and asked for a drumroll. Then, like he’d done thousands of times before, he climbed the steps to stand at the podium. Trouble-free.\u003c/p>\n\u003cp>You guessed it: the crowd went wild.\u003c/p>\n\u003cfigure id=\"attachment_13975347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue balloons fall from the ceiling for Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Christopher M. Howard / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this was no ordinary symphony performance, but a party — balloon drop and all — for the esteemed conductor, composer and music director’s 80th birthday. The mood was festive, even with the hard facts hanging in the air. Thomas \u003ca href=\"https://www.instagram.com/p/DGdpQOVzcsW/\">announced in February\u003c/a> that after three and a half years of treatment for brain cancer, the tumor had returned, and that this would be his final appearance with the symphony.\u003c/p>\n\u003cp>He was a little weaker, yes. But the love in the room was about the strongest I’ve ever seen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The night’s testimonials and blown kisses nearly outnumbered the hues of blue, Thomas’ favorite color. A screen showed \u003ca href=\"https://www.youtube.com/watch?v=doe__TCUH3c\">a photo montage spanning a life in music\u003c/a>, from boyhood to global stature. Commemorative blue bandanas draped on every seat bore a quote from Thomas reading, in part, “To be an artist is to have the courage for rebirth and growth. It’s never ending.”\u003c/p>\n\u003cfigure id=\"attachment_13975349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony in a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the stand, furnished with a chair he ended up not using, Thomas conducted with stoic deliberation. During the opener, Variations and Fugue on a Theme of Henry Purcell from Britten’s \u003cem>Young Person’s Guide to the Orchestra\u003c/em>, numerous instruments got solo time: tympani, piccolo, harp. Amid the context of the evening, it felt like each orchestra section taking turns talking to Thomas, wishing him the best.\u003c/p>\n\u003cp>During the program closer of Respighi’s \u003cem>Roman Festivals\u003c/em>, with all sections playing over each other seemingly on their own time, a conductor might be tempted to lunge in with dramatic flair. Instead, amidst the chaos, he calmly marked the beat, 1-2-3-4, trusting the orchestra as always.\u003c/p>\n\u003cp>Even while Teddy Abrams or Edwin Outwater assumed the podium for the remaining pieces, such as the finale to \u003cem>Chichester Psalms\u003c/em> by Thomas’ mentor and close friend Leonard Bernstein, Thomas couldn’t help but half-conduct along, sitting in a special chair onstage next to his husband Joshua Robison, who produced the event.\u003c/p>\n\u003cfigure id=\"attachment_13975354\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg\" alt=\"\" width=\"2000\" height=\"1342\" class=\"size-full wp-image-13975354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1920x1288.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) Sasha Cooke, Daniel Lurie, Frederica Von Stade and Ben Jones with conductor Teddy Abrams at Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>For a series of his own songs, all of them vocal pieces performed in new arrangements, he allowed himself the pleasure of listening.\u003c/p>\n\u003cp>There has been meaning and earnestness in everything Thomas does. His original songs are no exception — musings on life which acknowledge sadness but are never consumed by it. His song “Not Everyone Thinks That I’m Beautiful” warns of wearing the heart too prominently on one’s sleeve; meanwhile, “Grace” opens with a reference to a plate of herring.\u003c/p>\n\u003cp>Nearly everybody called to the stage used their time to sing Thomas’ praises. While City Hall across the street was lit up in blue, San Francisco Mayor Daniel Lurie proclaimed April 26 “Michael Tilson Thomas Day” — not before remarking on the Davies stage that “I’ve always wondered what it would be like to be as great as MTT.” Edwin Outwater, who was hired by Thomas the week of 9/11, proclaimed to the maestro with affection and awe that “some of your ideas are insane,” and meant it as a high compliment.\u003c/p>\n\u003cfigure id=\"attachment_13975356\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas sits in a chair near center stage to receive tributes during a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>The four solo singers employed for the performance shared anecdotes and memories of how Thomas changed their careers. Sasha Cooke joked about almost wearing a cowboy hat to the concert. Jessica Vosk recalled how Thomas cast her in \u003cem>West Side Story\u003c/em> after she kicked off a shoe during her audition. Frederica von Stade recalled singing Debussy’s \u003cem>La flûte de Pan\u003c/em> “ff-f-ff-ff-ff-\u003cem>forty\u003c/em> years ago?!” at Carnegie Hall in mock discombobulation at the passage of time. \u003c/p>\n\u003cp>Ben Jones, his voice cracking, summed up the influence that Thomas as a mentor has had on so many: “You were one of the first people to make me feel like I might be able to do this,” he said.\u003c/p>\n\u003cp>Just as with \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Thomas’ performance last year conducting Mahler’s Fifth Symphony in his last series concert with the Symphony\u003c/a>, emotions were tempered by the remarkable life and career of a monumental figure who has become indelibly interwoven with the city of San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13975350\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13975350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony celebrates the 80th birthday of Music Director Laureate Michael Tilson Thomas. In a program featuring Michael Tilson Thomas, Conductor, Teddy Abrams, Conductor, Edwin Outwater, Conductor, Sasha Cooke, Mezzo-soprano,\u003cbr>Frederica von Stade, Mezzo-soprano, Jessica Vosk, Vocalist, Ben Jones, Tenor, John Wilson, Piano, and the San Francisco Symphony Chorus, with Jenny Wong, Chorus Director. At Davies Symphony Hall on Saturday night, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the concert’s end, before blue balloons bounced around the stage and the orchestra chanted “MTT! MTT!,” Cooke, Jones, Vosk and von Stade sang one last song. “Some Other Time,” written by Bernstein with colleagues Betty Comden and Adolph Green, had a plaintive, reflective spirit perfect for the moment.\u003c/p>\n\u003cp>Once again, from his chair, Thomas conducted a downbeat here, a cymbal accent there. And then — to Robison, to the orchestra, to the audience, to the world — he began singing along at the song’s end:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>There’s so much more embracing\u003cbr>\nStill to be done\u003cbr>\nBut time is racing\u003cbr>\nOh well, we’ll catch up some other time \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> walked on stage at Davies Symphony Hall Saturday night, two things were evident. One: the applause from both the orchestra and audience was unbridled. And two: the beloved maestro was moving slowly.\u003c/p>\n\u003cp>As if to acknowledge the crowd’s concern, Thomas cracked a wry smile and asked for a drumroll. Then, like he’d done thousands of times before, he climbed the steps to stand at the podium. Trouble-free.\u003c/p>\n\u003cp>You guessed it: the crowd went wild.\u003c/p>\n\u003cfigure id=\"attachment_13975347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue balloons fall from the ceiling for Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Christopher M. Howard / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this was no ordinary symphony performance, but a party — balloon drop and all — for the esteemed conductor, composer and music director’s 80th birthday. The mood was festive, even with the hard facts hanging in the air. Thomas \u003ca href=\"https://www.instagram.com/p/DGdpQOVzcsW/\">announced in February\u003c/a> that after three and a half years of treatment for brain cancer, the tumor had returned, and that this would be his final appearance with the symphony.\u003c/p>\n\u003cp>He was a little weaker, yes. But the love in the room was about the strongest I’ve ever seen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The night’s testimonials and blown kisses nearly outnumbered the hues of blue, Thomas’ favorite color. A screen showed \u003ca href=\"https://www.youtube.com/watch?v=doe__TCUH3c\">a photo montage spanning a life in music\u003c/a>, from boyhood to global stature. Commemorative blue bandanas draped on every seat bore a quote from Thomas reading, in part, “To be an artist is to have the courage for rebirth and growth. It’s never ending.”\u003c/p>\n\u003cfigure id=\"attachment_13975349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony in a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the stand, furnished with a chair he ended up not using, Thomas conducted with stoic deliberation. During the opener, Variations and Fugue on a Theme of Henry Purcell from Britten’s \u003cem>Young Person’s Guide to the Orchestra\u003c/em>, numerous instruments got solo time: tympani, piccolo, harp. Amid the context of the evening, it felt like each orchestra section taking turns talking to Thomas, wishing him the best.\u003c/p>\n\u003cp>During the program closer of Respighi’s \u003cem>Roman Festivals\u003c/em>, with all sections playing over each other seemingly on their own time, a conductor might be tempted to lunge in with dramatic flair. Instead, amidst the chaos, he calmly marked the beat, 1-2-3-4, trusting the orchestra as always.\u003c/p>\n\u003cp>Even while Teddy Abrams or Edwin Outwater assumed the podium for the remaining pieces, such as the finale to \u003cem>Chichester Psalms\u003c/em> by Thomas’ mentor and close friend Leonard Bernstein, Thomas couldn’t help but half-conduct along, sitting in a special chair onstage next to his husband Joshua Robison, who produced the event.\u003c/p>\n\u003cfigure id=\"attachment_13975354\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg\" alt=\"\" width=\"2000\" height=\"1342\" class=\"size-full wp-image-13975354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1920x1288.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) Sasha Cooke, Daniel Lurie, Frederica Von Stade and Ben Jones with conductor Teddy Abrams at Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>For a series of his own songs, all of them vocal pieces performed in new arrangements, he allowed himself the pleasure of listening.\u003c/p>\n\u003cp>There has been meaning and earnestness in everything Thomas does. His original songs are no exception — musings on life which acknowledge sadness but are never consumed by it. His song “Not Everyone Thinks That I’m Beautiful” warns of wearing the heart too prominently on one’s sleeve; meanwhile, “Grace” opens with a reference to a plate of herring.\u003c/p>\n\u003cp>Nearly everybody called to the stage used their time to sing Thomas’ praises. While City Hall across the street was lit up in blue, San Francisco Mayor Daniel Lurie proclaimed April 26 “Michael Tilson Thomas Day” — not before remarking on the Davies stage that “I’ve always wondered what it would be like to be as great as MTT.” Edwin Outwater, who was hired by Thomas the week of 9/11, proclaimed to the maestro with affection and awe that “some of your ideas are insane,” and meant it as a high compliment.\u003c/p>\n\u003cfigure id=\"attachment_13975356\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas sits in a chair near center stage to receive tributes during a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>The four solo singers employed for the performance shared anecdotes and memories of how Thomas changed their careers. Sasha Cooke joked about almost wearing a cowboy hat to the concert. Jessica Vosk recalled how Thomas cast her in \u003cem>West Side Story\u003c/em> after she kicked off a shoe during her audition. Frederica von Stade recalled singing Debussy’s \u003cem>La flûte de Pan\u003c/em> “ff-f-ff-ff-ff-\u003cem>forty\u003c/em> years ago?!” at Carnegie Hall in mock discombobulation at the passage of time. \u003c/p>\n\u003cp>Ben Jones, his voice cracking, summed up the influence that Thomas as a mentor has had on so many: “You were one of the first people to make me feel like I might be able to do this,” he said.\u003c/p>\n\u003cp>Just as with \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Thomas’ performance last year conducting Mahler’s Fifth Symphony in his last series concert with the Symphony\u003c/a>, emotions were tempered by the remarkable life and career of a monumental figure who has become indelibly interwoven with the city of San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13975350\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13975350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony celebrates the 80th birthday of Music Director Laureate Michael Tilson Thomas. In a program featuring Michael Tilson Thomas, Conductor, Teddy Abrams, Conductor, Edwin Outwater, Conductor, Sasha Cooke, Mezzo-soprano,\u003cbr>Frederica von Stade, Mezzo-soprano, Jessica Vosk, Vocalist, Ben Jones, Tenor, John Wilson, Piano, and the San Francisco Symphony Chorus, with Jenny Wong, Chorus Director. At Davies Symphony Hall on Saturday night, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the concert’s end, before blue balloons bounced around the stage and the orchestra chanted “MTT! MTT!,” Cooke, Jones, Vosk and von Stade sang one last song. “Some Other Time,” written by Bernstein with colleagues Betty Comden and Adolph Green, had a plaintive, reflective spirit perfect for the moment.\u003c/p>\n\u003cp>Once again, from his chair, Thomas conducted a downbeat here, a cymbal accent there. And then — to Robison, to the orchestra, to the audience, to the world — he began singing along at the song’s end:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>There’s so much more embracing\u003cbr>\nStill to be done\u003cbr>\nBut time is racing\u003cbr>\nOh well, we’ll catch up some other time \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-marin-alsop-gabriela-montero-san-francisco-symphony",
"title": "Montero and Marin Are a Hit at Davies Symphony Hall",
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"headTitle": "Montero and Marin Are a Hit at Davies Symphony Hall | KQED",
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"content": "\u003cp>In the 1990s, the freestyle rapper \u003ca href=\"https://youtu.be/zoUsLm_Kf6Q?feature=shared&t=39\">Supernatural\u003c/a> had a routine that always won over the club. He’d solicit suggestions for words or phrases from the audience, or even items from rap fans’ pockets or purses, and then tell the DJ to drop the beat. Three minutes of complex wordplay would follow, all tightly in rhythm, involving the crowd’s suggestions. It \u003cem>killed\u003c/em>.\u003c/p>\n\u003cp>On Thursday night, the pianist Gabriela Montero brought this approach into the classical concert hall. As an encore to her piano concerto, she asked patrons at Davies Symphony Hall for a melody upon which she could improvise. A few loudly sung suggestions followed: Beethoven’s \u003cem>Missa solemnis\u003c/em>, Burt Bacharach and Hal David’s “What the World Needs Now Is Love.”\u003c/p>\n\u003cp>I didn’t recognize the winning melody, but Montero plunked it out on the piano a few times, thought it over for a few seconds, and then launched into a dazzling improvisation — something like Louis Moreau Gottschalk, with more meat on its bones — that lasted several minutes and inspired the crowd to its feet.\u003c/p>\n\u003cfigure id=\"attachment_13974440\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero and conductor Marin Alsop take a bow with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Improvisation in music is a gooey concept. What, really, is pre-written, and what is the performer’s input? Is some improvisation planned beforehand? Isn’t soloing in jazz, as the saxophonist Gary Bartz once told me, “composing all the time” rather than “improvising”? Is a singer’s particular phrasing of a lyric improvisation?\u003c/p>\n\u003cp>Within the relative rigidity of classical music, Montero is an outlier. I’ve heard other improvisations-as-encores (speaking of gooey, Jeffrey Kahane’s “America the Beautiful,” played just after 9/11, comes to mind), but they’ve been preordained to some degree. With Monerto, her style, filigree and technique may all be prepared tools of construction, but I have to believe the blueprint was spontaneous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a highlight of a program of music from Mexico, Venezuela and the United States, conducted by Marin Alsop. Highly decorated worldwide, Alsop is especially loved in the Bay Area for her 25 years as director of the Cabrillo Festival of Contemporary Music in Santa Cruz. Understandably, then, the best moments of Thursday’s concert involved new works.\u003c/p>\n\u003cfigure id=\"attachment_13974441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero performs with the San Francisco Symphony, conducted by Marin Alsop, on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gabriela Ortiz’s \u003cem>Antrópolis\u003c/em> led things off, sounding like a Martin Denny album from the late 1950s: a repetitive bass line, triplets on the wood block, vibraphone, a wooden fish güiro. Upon this Polynesian foundation, the strings and brass rose and collapsed, not as batty as Juan García Esquivel, but tilting in that direction. The brass had some timing issues in the faster sections (this is not music of most of the musicians’ native land), but the crowd ate it up.\u003c/p>\n\u003cp>Speaking before Montero performed her own Piano Concerto No. 1, Alsop quipped of Montero that “she’s always complaining that the composer wrote too many notes.” I may have to agree. To the extent that there is a melody in the first movement, a mambo, it was hidden beneath a constant thrum of fingers-as-pistons, churning the engine along. A second movement replaced the pistons with arpeggios, but the third brought back the busywork on the keys. For all its impressive technique, I could barely notice the congas and maracas, let alone Montero’s intention to show the malevolence and corruption of her home country of Venezuela. Is it possible for a piano concerto to \u003ca href=\"https://www.nytimes.com/2025/01/28/us/politics/trump-policy-blitz.html\">flood the zone\u003c/a>?\u003c/p>\n\u003cp>Levity was found in the second half opener, a pairing of Aaron Copland’s \u003cem>Fanfare for the Common Man\u003c/em> with, hilariously, Joan Tower’s \u003cem>Fanfare for the Uncommon Woman\u003c/em> — the latter dedicated to and conducted by Alsop. Whereas Copland’s Olympic games staple trumpets mankind’s entrance and loudly announces his importance, the “uncommon woman” in Tower’s fanfare furtively sidles her way into the proceedings and usurps them from within. The pairing was welcome.\u003c/p>\n\u003cfigure id=\"attachment_13974444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop, center, appears with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also the moment I realized that this program was alive with things we don’t ordinarily get at the symphony: audience participation, Latin rhythms, improvisation, humor. (I also couldn’t help but hear it in contrast to \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">the San Francisco Symphony’s upcoming season\u003c/a>, disappointingly heavy on \u003ca href=\"https://www.amazon.com/s?k=Classical+Music+for+People+Who+Hate+Classical+Music&i=popular&crid=3AUZSAD3I8KSR&sprefix=classical+music+for+people+who+hate+classical+music%2Cpopular%2C143&ref=nb_sb_noss_1\">tried-and-true repertoire\u003c/a>.)\u003c/p>\n\u003cp>And at its peaks, the night contained one more element. In the Andante tranquillo section of Samuel Barber’s Symphony No. 1, the oboe solo led to a moving climax, during which Alsop ceased her demands from the orchestra and allowed herself to become engulfed in that simple, unexplainable thing: beauty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alsop Conducts Music of the Americas’ with the San Francisco Symphony repeats on Friday, April 11 and Saturday, April 12 at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/marin-alsop-americas\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1990s, the freestyle rapper \u003ca href=\"https://youtu.be/zoUsLm_Kf6Q?feature=shared&t=39\">Supernatural\u003c/a> had a routine that always won over the club. He’d solicit suggestions for words or phrases from the audience, or even items from rap fans’ pockets or purses, and then tell the DJ to drop the beat. Three minutes of complex wordplay would follow, all tightly in rhythm, involving the crowd’s suggestions. It \u003cem>killed\u003c/em>.\u003c/p>\n\u003cp>On Thursday night, the pianist Gabriela Montero brought this approach into the classical concert hall. As an encore to her piano concerto, she asked patrons at Davies Symphony Hall for a melody upon which she could improvise. A few loudly sung suggestions followed: Beethoven’s \u003cem>Missa solemnis\u003c/em>, Burt Bacharach and Hal David’s “What the World Needs Now Is Love.”\u003c/p>\n\u003cp>I didn’t recognize the winning melody, but Montero plunked it out on the piano a few times, thought it over for a few seconds, and then launched into a dazzling improvisation — something like Louis Moreau Gottschalk, with more meat on its bones — that lasted several minutes and inspired the crowd to its feet.\u003c/p>\n\u003cfigure id=\"attachment_13974440\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero and conductor Marin Alsop take a bow with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Improvisation in music is a gooey concept. What, really, is pre-written, and what is the performer’s input? Is some improvisation planned beforehand? Isn’t soloing in jazz, as the saxophonist Gary Bartz once told me, “composing all the time” rather than “improvising”? Is a singer’s particular phrasing of a lyric improvisation?\u003c/p>\n\u003cp>Within the relative rigidity of classical music, Montero is an outlier. I’ve heard other improvisations-as-encores (speaking of gooey, Jeffrey Kahane’s “America the Beautiful,” played just after 9/11, comes to mind), but they’ve been preordained to some degree. With Monerto, her style, filigree and technique may all be prepared tools of construction, but I have to believe the blueprint was spontaneous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a highlight of a program of music from Mexico, Venezuela and the United States, conducted by Marin Alsop. Highly decorated worldwide, Alsop is especially loved in the Bay Area for her 25 years as director of the Cabrillo Festival of Contemporary Music in Santa Cruz. Understandably, then, the best moments of Thursday’s concert involved new works.\u003c/p>\n\u003cfigure id=\"attachment_13974441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero performs with the San Francisco Symphony, conducted by Marin Alsop, on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gabriela Ortiz’s \u003cem>Antrópolis\u003c/em> led things off, sounding like a Martin Denny album from the late 1950s: a repetitive bass line, triplets on the wood block, vibraphone, a wooden fish güiro. Upon this Polynesian foundation, the strings and brass rose and collapsed, not as batty as Juan García Esquivel, but tilting in that direction. The brass had some timing issues in the faster sections (this is not music of most of the musicians’ native land), but the crowd ate it up.\u003c/p>\n\u003cp>Speaking before Montero performed her own Piano Concerto No. 1, Alsop quipped of Montero that “she’s always complaining that the composer wrote too many notes.” I may have to agree. To the extent that there is a melody in the first movement, a mambo, it was hidden beneath a constant thrum of fingers-as-pistons, churning the engine along. A second movement replaced the pistons with arpeggios, but the third brought back the busywork on the keys. For all its impressive technique, I could barely notice the congas and maracas, let alone Montero’s intention to show the malevolence and corruption of her home country of Venezuela. Is it possible for a piano concerto to \u003ca href=\"https://www.nytimes.com/2025/01/28/us/politics/trump-policy-blitz.html\">flood the zone\u003c/a>?\u003c/p>\n\u003cp>Levity was found in the second half opener, a pairing of Aaron Copland’s \u003cem>Fanfare for the Common Man\u003c/em> with, hilariously, Joan Tower’s \u003cem>Fanfare for the Uncommon Woman\u003c/em> — the latter dedicated to and conducted by Alsop. Whereas Copland’s Olympic games staple trumpets mankind’s entrance and loudly announces his importance, the “uncommon woman” in Tower’s fanfare furtively sidles her way into the proceedings and usurps them from within. The pairing was welcome.\u003c/p>\n\u003cfigure id=\"attachment_13974444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop, center, appears with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also the moment I realized that this program was alive with things we don’t ordinarily get at the symphony: audience participation, Latin rhythms, improvisation, humor. (I also couldn’t help but hear it in contrast to \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">the San Francisco Symphony’s upcoming season\u003c/a>, disappointingly heavy on \u003ca href=\"https://www.amazon.com/s?k=Classical+Music+for+People+Who+Hate+Classical+Music&i=popular&crid=3AUZSAD3I8KSR&sprefix=classical+music+for+people+who+hate+classical+music%2Cpopular%2C143&ref=nb_sb_noss_1\">tried-and-true repertoire\u003c/a>.)\u003c/p>\n\u003cp>And at its peaks, the night contained one more element. In the Andante tranquillo section of Samuel Barber’s Symphony No. 1, the oboe solo led to a moving climax, during which Alsop ceased her demands from the orchestra and allowed herself to become engulfed in that simple, unexplainable thing: beauty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alsop Conducts Music of the Americas’ with the San Francisco Symphony repeats on Friday, April 11 and Saturday, April 12 at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/marin-alsop-americas\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Symphony Announces 2025–26 Season of ‘Just Play the Hits’",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">2025–26 season\u003c/a> Thursday, with a lineup of programs heavy on well-known, well-loved classics.\u003c/p>\n\u003cp>Among the pieces in the season: Beethoven’s Fifth. Vivaldi’s \u003cem>Four Seasons\u003c/em>. Holst’s \u003cem>The Planets\u003c/em>. Mozart’s Requiem. Berlioz’s \u003cem>Symphonie Fantastique\u003c/em>. Dvořák’s \u003cem>New World\u003c/em> symphony. Tchaikovsky’s Piano Concerto No. 1. Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>. Respighi’s \u003cem>Pines of Rome\u003c/em>.\u003c/p>\n\u003cp>The season comes during a \u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">precarious time financially\u003c/a> for the Symphony, which is looking to turn things around as it announces a season of tried-and-true favorites seemingly curated from a Reader’s Digest box set of \u003cem>Classical Music’s Greatest Hits\u003c/em>. It also marks the first season since \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the departure of Music Director Esa-Pekka Salonen\u003c/a>, known for his advocacy for more modern works and cross-disciplinary collaborations.\u003c/p>\n\u003cp>[aside postID='arts_13972538']To be clear, the season includes world premieres (by the Symphony’s Principal Trombone Timothy Higgins, and Tyler Taylor, winner of the Emerging Black Composers Project), and lesser-performed composers like Jimmy López, Outi Tarkiainen and Olli Mustonen. The Symphony’s adventurous Soundbox programming — scaled back in 2024 — will be curated by Alexi Kenney and Gabriella Smith.\u003c/p>\n\u003cp>But the overall tone of the season appears to be: \u003cem>play the hits and sell tickets\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Salonen’s absence, 23 guest conductors will take the podium, including Jaap van Zweden, who conducts a total of four programs, including the Symphony’s opening gala with Yuja Wang on Sept. 12. He also kicks off a three-season cycle of Beethoven’s nine symphonies. Other guest conductors include James Gaffigan, Donald Runnicles and Simone Young.\u003c/p>\n\u003cp>As for a new Music Director, whose programming vision shapes a season’s themes and musical arc, the Symphony formed a search committee last summer. The process of hiring a Music Director for a major symphony orchestra can take years, and occurs in private; the eventual successor is often the subject of much speculation and rumor.\u003c/p>\n\u003cp>[aside postID='arts_13970454']“Most importantly, we’re looking for someone with exceptional talent and a strong artistic vision who will inspire our musicians, audiences and community,” Symphony CEO Matt Spivey told KQED on Wednesday. “We can’t share more specifics while the search is underway, but we’re looking forward to sharing more when we’re ready to make an official announcement.”\u003c/p>\n\u003cp>Among the season’s roster of guest artists are Yo-Yo Ma, Itzhak Perlman, Nicola Benedetti, Joshua Bell, Hélène Grimaud and Emmanuel Ax. Five programs will feature principal musicians with the Symphony, including Timothy Higgins (trombone), Mark Inouye (trumpet) and Yubeen Kim (flute).\u003c/p>\n\u003cp>Annual standbys like Handel’s \u003cem>Messiah\u003c/em>, Prokofiev’s \u003cem>Peter and the Wolf\u003c/em> and a film series all make their return as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full 2025–26 San Francisco Symphony season here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">2025–26 season\u003c/a> Thursday, with a lineup of programs heavy on well-known, well-loved classics.\u003c/p>\n\u003cp>Among the pieces in the season: Beethoven’s Fifth. Vivaldi’s \u003cem>Four Seasons\u003c/em>. Holst’s \u003cem>The Planets\u003c/em>. Mozart’s Requiem. Berlioz’s \u003cem>Symphonie Fantastique\u003c/em>. Dvořák’s \u003cem>New World\u003c/em> symphony. Tchaikovsky’s Piano Concerto No. 1. Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>. Respighi’s \u003cem>Pines of Rome\u003c/em>.\u003c/p>\n\u003cp>The season comes during a \u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">precarious time financially\u003c/a> for the Symphony, which is looking to turn things around as it announces a season of tried-and-true favorites seemingly curated from a Reader’s Digest box set of \u003cem>Classical Music’s Greatest Hits\u003c/em>. It also marks the first season since \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the departure of Music Director Esa-Pekka Salonen\u003c/a>, known for his advocacy for more modern works and cross-disciplinary collaborations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be clear, the season includes world premieres (by the Symphony’s Principal Trombone Timothy Higgins, and Tyler Taylor, winner of the Emerging Black Composers Project), and lesser-performed composers like Jimmy López, Outi Tarkiainen and Olli Mustonen. The Symphony’s adventurous Soundbox programming — scaled back in 2024 — will be curated by Alexi Kenney and Gabriella Smith.\u003c/p>\n\u003cp>But the overall tone of the season appears to be: \u003cem>play the hits and sell tickets\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Salonen’s absence, 23 guest conductors will take the podium, including Jaap van Zweden, who conducts a total of four programs, including the Symphony’s opening gala with Yuja Wang on Sept. 12. He also kicks off a three-season cycle of Beethoven’s nine symphonies. Other guest conductors include James Gaffigan, Donald Runnicles and Simone Young.\u003c/p>\n\u003cp>As for a new Music Director, whose programming vision shapes a season’s themes and musical arc, the Symphony formed a search committee last summer. The process of hiring a Music Director for a major symphony orchestra can take years, and occurs in private; the eventual successor is often the subject of much speculation and rumor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Most importantly, we’re looking for someone with exceptional talent and a strong artistic vision who will inspire our musicians, audiences and community,” Symphony CEO Matt Spivey told KQED on Wednesday. “We can’t share more specifics while the search is underway, but we’re looking forward to sharing more when we’re ready to make an official announcement.”\u003c/p>\n\u003cp>Among the season’s roster of guest artists are Yo-Yo Ma, Itzhak Perlman, Nicola Benedetti, Joshua Bell, Hélène Grimaud and Emmanuel Ax. Five programs will feature principal musicians with the Symphony, including Timothy Higgins (trombone), Mark Inouye (trumpet) and Yubeen Kim (flute).\u003c/p>\n\u003cp>Annual standbys like Handel’s \u003cem>Messiah\u003c/em>, Prokofiev’s \u003cem>Peter and the Wolf\u003c/em> and a film series all make their return as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full 2025–26 San Francisco Symphony season here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The wildfires that ravaged Los Angeles burned for four weeks, but Angelenos will spend far longer rebuilding their livelihoods and homes. Clearing toxic ash, assessing damage and dealing with insurance all take an immense amount of time and energy, as does maintaining access to necessities like clean water, shelter and clothing.\u003c/p>\n\u003cp>For musicians, getting back to work comes with the additional costly challenge of replacing instruments, cases, mouthpieces, reeds and bows, among other music-related essentials. \u003c/p>\n\u003cp>To raise funds for musicians affected by the wildfires, a benefit concert will being held on Saturday, March 8, at Davies Symphony Hall. Presented by the San Francisco Symphony, Musicians of the San Francisco Symphony and the San Francisco Conservatory of Music, the benefit’s proceeds will be split evenly between two vital organizations: Habitat for Humanity of Greater Los Angeles’ ReBUILD LA campaign and the Entertainment Community Fund.\u003c/p>\n\u003cp>[aside postID='arts_13972538']Both organizations offer critical services to wildfire survivors; the ReBUILD LA campaign helps wildfire survivors relocate and provides essential goods, while the Entertainment Community Fund’s emergency financial assistance funds go toward providing health care and covering other basic living expenses. \u003c/p>\n\u003cp>The concert, featuring pianist Garrick Ohlsson and conducted by Edwin Outwater, will feature Aaron Copland’s “The Promise of Living” (from \u003cem>The Tender Land\u003c/em>), Rachmaninoff’s Piano Concerto No. 2 and Dvořák’s “New World” Symphony. Special guest soloists include mezzo-soprano Nikola Printz and tenor Christopher Oglesby. Ticket prices for the event range between $50 and $200; donations of all amounts will be accepted. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘SF Musicians for LA: A Benefit for Fire Relief’ takes place Saturday, March 8, at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/SF-for-LA-Fire-Benefit\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The wildfires that ravaged Los Angeles burned for four weeks, but Angelenos will spend far longer rebuilding their livelihoods and homes. Clearing toxic ash, assessing damage and dealing with insurance all take an immense amount of time and energy, as does maintaining access to necessities like clean water, shelter and clothing.\u003c/p>\n\u003cp>For musicians, getting back to work comes with the additional costly challenge of replacing instruments, cases, mouthpieces, reeds and bows, among other music-related essentials. \u003c/p>\n\u003cp>To raise funds for musicians affected by the wildfires, a benefit concert will being held on Saturday, March 8, at Davies Symphony Hall. Presented by the San Francisco Symphony, Musicians of the San Francisco Symphony and the San Francisco Conservatory of Music, the benefit’s proceeds will be split evenly between two vital organizations: Habitat for Humanity of Greater Los Angeles’ ReBUILD LA campaign and the Entertainment Community Fund.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both organizations offer critical services to wildfire survivors; the ReBUILD LA campaign helps wildfire survivors relocate and provides essential goods, while the Entertainment Community Fund’s emergency financial assistance funds go toward providing health care and covering other basic living expenses. \u003c/p>\n\u003cp>The concert, featuring pianist Garrick Ohlsson and conducted by Edwin Outwater, will feature Aaron Copland’s “The Promise of Living” (from \u003cem>The Tender Land\u003c/em>), Rachmaninoff’s Piano Concerto No. 2 and Dvořák’s “New World” Symphony. Special guest soloists include mezzo-soprano Nikola Printz and tenor Christopher Oglesby. Ticket prices for the event range between $50 and $200; donations of all amounts will be accepted. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘SF Musicians for LA: A Benefit for Fire Relief’ takes place Saturday, March 8, at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/SF-for-LA-Fire-Benefit\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "With Yuja Wang Out, Vikingur Ólafsson Performs a ‘Goldberg Variations’ Full of Life",
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"content": "\u003cp>Mutterings filled Davies Symphony Hall. Some people gasped. Still others, at least 11 that I counted, rose from their seats and left.\u003c/p>\n\u003cp>And all before a note was played. \u003c/p>\n\u003cp>Such was the reaction to the stage announcement before Sunday’s concert that Yuja Wang had come down with an affliction, and canceled her appearance with Vikingur Ólafsson of a highly anticipated program for two pianos. The man on stage with the night’s most unenviable job reported that instead, Ólafsson had prepared, on just two hours’ notice, to perform Bach’s complete \u003cem>Goldberg Variations\u003c/em>. \u003c/p>\n\u003cp>Wang has a large, diehard fanbase here in the Bay Area, where an appetite coexists for modern composers like Luciano Berio, John Cage and Conlon Nancarrow, all who had works in the jettisoned program. Stylistically, Bach was a 180-degree turn. And no Wang? In the moment, the disappointment was obvious. \u003c/p>\n\u003cp>Ólafsson, then, entering quickly thereafter, had the night’s hardest job: turning that disappointment around. At least from my perspective, and against the odds, he did.\u003c/p>\n\u003cfigure id=\"attachment_13972553\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg\" alt=\"A man in blue slacks and patterned jacket plays the grand piano on a sparsely lit stage\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the 30 variations, Ólafsson upended the reputation of Bach as mathematical. Through tempo, dynamics and a precise command of touch, he made what on paper appears as a musical crossword puzzle into something porous, elastic and alive. At multiple points, he raised his right hand to “conduct” the playing of his left, as if it were a separate organism from the rest of his body. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Icelandic pianist knows this material well. He released a \u003ca href=\"https://www.deutschegrammophon.com/en/artists/vikingur-olafsson/news/vkingur-olafsson-wins-his-first-grammy-275053\">Grammy-winning\u003c/a> recording of the \u003cem>Goldberg Variations\u003c/em> on Deutsche Grammophon in 2023, and in the following year toured it across six continents, including a performance at Zellerbach Hall in Berkeley. On Sunday, across its 75-minute run time, he used no sheet music. \u003c/p>\n\u003cp>[aside postID='arts_13970454']That familiarity has bred a facility in Ólafsson that was alternately sublime and thrilling to witness. In variation No. 5, his hands performed like electrocuted spiders, jumping over each other with twittering fingers as legs. On challenging variations like No. 14, those fingers competed for real estate on the piano keys with the cutthroat determination of someone trying to rent a place in North Beach. \u003c/p>\n\u003cp>By about 45 minutes in, my furrowed brow had turned into a ridiculous grin. \u003cem>Can humans really do this?\u003c/em> \u003c/p>\n\u003cp>But this was more than pyrotechnics. These rapid-fire passages could easily be played rote, and flat. If you want to hear a computer play them, \u003ca href=\"https://www.youtube.com/watch?v=n-_SNlOHMEQ\">go ahead\u003c/a>. Then check in on Ólafsson’s renditions and get back to me. \u003c/p>\n\u003cfigure id=\"attachment_13972554\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall. \u003ccite>(Kristen Loken/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some additional audience members did leave at periodic times throughout the performance — a half hour in, an hour in, or near the end. The \u003cem>Goldberg Variations\u003c/em> are, to be fair, stylistically similar, and mostly in the same key. \u003c/p>\n\u003cp>Perhaps Ólafsson had those people on his mind when he addressed the audience after his standing ovation, remarking that “one should never apologize for the \u003cem>Goldberg Variations\u003c/em>, or Johann Sebastian Bach.”\u003c/p>\n\u003cp>Ólafsson also explained that Wang had to bow out due to a “crazy infection to her finger,” and that the sudden change in program caused him no small amount of anxiety. He specifically thanked the backstage staff at the San Francisco Symphony for “calming me down.”\u003c/p>\n\u003cp>Ideally, he calmed the audience, as well, who were expecting something completely different, and who didn’t receive emails regarding the change; this was due to the last-minute timing of the cancellation, according to the symphony. (A symphony representative confirmed that refunds were given to those who requested them.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco date would have been the two star pianists’ final tour date together after a string of acclaimed performances. Wang’s next scheduled dates are next week, with Gustavo Dudamel conducting the New York Philharmonic. Ólafsson, meanwhile, heads to his home country this week for performances in Reykjavik.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mutterings filled Davies Symphony Hall. Some people gasped. Still others, at least 11 that I counted, rose from their seats and left.\u003c/p>\n\u003cp>And all before a note was played. \u003c/p>\n\u003cp>Such was the reaction to the stage announcement before Sunday’s concert that Yuja Wang had come down with an affliction, and canceled her appearance with Vikingur Ólafsson of a highly anticipated program for two pianos. The man on stage with the night’s most unenviable job reported that instead, Ólafsson had prepared, on just two hours’ notice, to perform Bach’s complete \u003cem>Goldberg Variations\u003c/em>. \u003c/p>\n\u003cp>Wang has a large, diehard fanbase here in the Bay Area, where an appetite coexists for modern composers like Luciano Berio, John Cage and Conlon Nancarrow, all who had works in the jettisoned program. Stylistically, Bach was a 180-degree turn. And no Wang? In the moment, the disappointment was obvious. \u003c/p>\n\u003cp>Ólafsson, then, entering quickly thereafter, had the night’s hardest job: turning that disappointment around. At least from my perspective, and against the odds, he did.\u003c/p>\n\u003cfigure id=\"attachment_13972553\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg\" alt=\"A man in blue slacks and patterned jacket plays the grand piano on a sparsely lit stage\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the 30 variations, Ólafsson upended the reputation of Bach as mathematical. Through tempo, dynamics and a precise command of touch, he made what on paper appears as a musical crossword puzzle into something porous, elastic and alive. At multiple points, he raised his right hand to “conduct” the playing of his left, as if it were a separate organism from the rest of his body. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Icelandic pianist knows this material well. He released a \u003ca href=\"https://www.deutschegrammophon.com/en/artists/vikingur-olafsson/news/vkingur-olafsson-wins-his-first-grammy-275053\">Grammy-winning\u003c/a> recording of the \u003cem>Goldberg Variations\u003c/em> on Deutsche Grammophon in 2023, and in the following year toured it across six continents, including a performance at Zellerbach Hall in Berkeley. On Sunday, across its 75-minute run time, he used no sheet music. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That familiarity has bred a facility in Ólafsson that was alternately sublime and thrilling to witness. In variation No. 5, his hands performed like electrocuted spiders, jumping over each other with twittering fingers as legs. On challenging variations like No. 14, those fingers competed for real estate on the piano keys with the cutthroat determination of someone trying to rent a place in North Beach. \u003c/p>\n\u003cp>By about 45 minutes in, my furrowed brow had turned into a ridiculous grin. \u003cem>Can humans really do this?\u003c/em> \u003c/p>\n\u003cp>But this was more than pyrotechnics. These rapid-fire passages could easily be played rote, and flat. If you want to hear a computer play them, \u003ca href=\"https://www.youtube.com/watch?v=n-_SNlOHMEQ\">go ahead\u003c/a>. Then check in on Ólafsson’s renditions and get back to me. \u003c/p>\n\u003cfigure id=\"attachment_13972554\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall. \u003ccite>(Kristen Loken/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some additional audience members did leave at periodic times throughout the performance — a half hour in, an hour in, or near the end. The \u003cem>Goldberg Variations\u003c/em> are, to be fair, stylistically similar, and mostly in the same key. \u003c/p>\n\u003cp>Perhaps Ólafsson had those people on his mind when he addressed the audience after his standing ovation, remarking that “one should never apologize for the \u003cem>Goldberg Variations\u003c/em>, or Johann Sebastian Bach.”\u003c/p>\n\u003cp>Ólafsson also explained that Wang had to bow out due to a “crazy infection to her finger,” and that the sudden change in program caused him no small amount of anxiety. He specifically thanked the backstage staff at the San Francisco Symphony for “calming me down.”\u003c/p>\n\u003cp>Ideally, he calmed the audience, as well, who were expecting something completely different, and who didn’t receive emails regarding the change; this was due to the last-minute timing of the cancellation, according to the symphony. (A symphony representative confirmed that refunds were given to those who requested them.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco date would have been the two star pianists’ final tour date together after a string of acclaimed performances. Wang’s next scheduled dates are next week, with Gustavo Dudamel conducting the New York Philharmonic. Ólafsson, meanwhile, heads to his home country this week for performances in Reykjavik.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 67th Grammy Awards on Sunday night delivered heartfelt tributes to Los Angeles as it recovers from wildfires, plus \u003ca href=\"https://www.kqed.org/arts/13971169/grammys-awards-2025-highlights-analysis-surprises-chappell-roan\">many memorable moments\u003c/a> — including Beyoncé finally winning Album of the Year and a powerful speech about music industry’s inequities from Best New Artist \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Chappell Roan\u003c/a>. [aside postid='arts_13971169']\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.grammy.com/news/2025-grammys-nominations-full-winners-nominees-list\">the winners\u003c/a> were several from the Bay Area, including San Francisco mastering engineer Nicolas de Porcel, founder of the studio Million Dollar Snare. de Porcel shared in Kendrick Lamar’s Record of the Year win for “Not Like Us,” which \u003ca href=\"https://www.kqed.org/arts/13969210/kendrick-lamar-west-coast-hip-hop-culture\">united the West Coast\u003c/a> while decimating Drake in their rap beef.\u003c/p>\n\u003cp>Berkeley singer and guitarist Taj Mahal won Best Traditional Blues Album for \u003cem>Swingin’ Live at The Church in Tulsa\u003c/em> — and also \u003ca href=\"https://www.grammy.com/news/2025-grammys-special-merit-awards-recipients\">received a Lifetime Achievement Award\u003c/a>. In a statement, the Recording Academy praised his impact on blues music over the past six decades by pulling in global influences and collaborating with artists like the Rolling Stones, Eric Clapton and San Francisco’s own Etta James.\u003c/p>\n\u003cp>Late R&B legend \u003ca href=\"https://www.kqed.org/arts/13964072/frankie-beverly-maze-dead-at-77\">Frankie Beverly\u003c/a>, who was originally from Philadelphia but resettled in Oakland, also received a Lifetime Achievement Award for genre-defining hits like “Before I Let Go.”\u003c/p>\n\u003cp>https://youtu.be/VkOu6mE07-8?si=92yy2yTxDLz_8T48\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sheila E., the Bay Area-raised pop hitmaker, percussionist and Prince collaborator, won Best Global Music Performance with “Bemba Colorá.” The conga-heavy, groove-laden salsa song features Gloria Estefan and Mimy Succar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>, San Francisco Symphony Chorus and music director Esa-Pekka Salonen took home the trophy for Best Opera Recording for \u003cem>Adriana Mater\u003c/em>, a meditation on war from a woman’s perspective from Finnish composer Kaija Saariaho.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 67th Grammy Awards on Sunday night delivered heartfelt tributes to Los Angeles as it recovers from wildfires, plus \u003ca href=\"https://www.kqed.org/arts/13971169/grammys-awards-2025-highlights-analysis-surprises-chappell-roan\">many memorable moments\u003c/a> — including Beyoncé finally winning Album of the Year and a powerful speech about music industry’s inequities from Best New Artist \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Chappell Roan\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.grammy.com/news/2025-grammys-nominations-full-winners-nominees-list\">the winners\u003c/a> were several from the Bay Area, including San Francisco mastering engineer Nicolas de Porcel, founder of the studio Million Dollar Snare. de Porcel shared in Kendrick Lamar’s Record of the Year win for “Not Like Us,” which \u003ca href=\"https://www.kqed.org/arts/13969210/kendrick-lamar-west-coast-hip-hop-culture\">united the West Coast\u003c/a> while decimating Drake in their rap beef.\u003c/p>\n\u003cp>Berkeley singer and guitarist Taj Mahal won Best Traditional Blues Album for \u003cem>Swingin’ Live at The Church in Tulsa\u003c/em> — and also \u003ca href=\"https://www.grammy.com/news/2025-grammys-special-merit-awards-recipients\">received a Lifetime Achievement Award\u003c/a>. In a statement, the Recording Academy praised his impact on blues music over the past six decades by pulling in global influences and collaborating with artists like the Rolling Stones, Eric Clapton and San Francisco’s own Etta James.\u003c/p>\n\u003cp>Late R&B legend \u003ca href=\"https://www.kqed.org/arts/13964072/frankie-beverly-maze-dead-at-77\">Frankie Beverly\u003c/a>, who was originally from Philadelphia but resettled in Oakland, also received a Lifetime Achievement Award for genre-defining hits like “Before I Let Go.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VkOu6mE07-8'\n title='//www.youtube.com/embed/VkOu6mE07-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sheila E., the Bay Area-raised pop hitmaker, percussionist and Prince collaborator, won Best Global Music Performance with “Bemba Colorá.” The conga-heavy, groove-laden salsa song features Gloria Estefan and Mimy Succar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>, San Francisco Symphony Chorus and music director Esa-Pekka Salonen took home the trophy for Best Opera Recording for \u003cem>Adriana Mater\u003c/em>, a meditation on war from a woman’s perspective from Finnish composer Kaija Saariaho.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "John Adams’ New Piano Concerto Is a Dreamlike Thrill Ride at Davies",
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"content": "\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13919101']But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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},
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},
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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