Two kings of Americana—Lyle Lovett and John Hiatt—perform Monday, November 18, at Green Music Center’s Weill Hall…sold out
He grew up in Texas, studied journalism and German at Texas A&M, was married briefly to Julia Roberts, loves the sport of reining and is known for his wild locks and wily sense of humor. Over the span of his 30 years as a singer-songwriter, Lyle Lovett has recorded 14 albums, released 22 singles and won four Grammy Awards. While he’s best known for his contribution to country music, Lovett is also at home with blues, jazz, swing, folk, and rock and is admired for his authenticity and audience engaging performances. Bonnie Raitt, with whom he made his first big tour, following her bus in his pickup, said that when he looks her in the eye, “her knees buckle.” Singer and songwriter, John Hiatt, a native of Indianapolis, is also no stranger to country influences and his music also mixes in folk, blues and rock. Hiatt has released 19 studio albums and has had 11 Grammy nominations. His songs have been recorded by countless musicians from Bob Dylan to Bonnie Raitt, and Iggy Pop to Keith Urban.
An Acoustic Evening with Lyle Lovett & John Hiatt, at Green Music Center’s Weill Hall, on Monday, November 18, 2013, brings their nationwide tour to our doorstep, showcasing these two remarkably gifted singer-songwriters who have performed together periodically over the past 15 years.
Weill Hall….More than Classical— Green Music Center’s Weill Hall, which opened in September 2012, is one of the world’s most acoustically superb concert venues. The hall’s variable acoustics, engineered by Larry Kirkegaard, are achieved through the use of motorized fabric banners on the east and west walls. By adjusting these banners, the hall can be fine-tuned for the specific genre of music being performed—from a single vocalist to a full orchestra setting. This season, performances have ranged from the electric jazz of Herbie Hancock to the soulful fado of Mariza to the eastern influenced riffs of the Silk Road Ensemble. Weill Hall lobby opens one hour prior to performances and has well-stocked refreshment bar and the concert hall opens 30 minutes prior to performances. Prelude Restaurant is open before the concert and after the performance.
Lyle Lovett and John Hiatt – Natural Forces
“Have A Little Faith in Me”… John Hiatt straight through his heart
Lyle Lovett with John Hiatt “Nobody Knows Me”
The performance will last roughly 2 hours.
Details: An Acoustic Evening with Lyle Lovett & John Hiatt is 8:00 p.m., Monday, November 18, 2013, at Weill Hall, Green Music Center. GMC/Weill Hall is located on the Sonoma State University campus, 1801 East Cotati Blvd., Rohnert Park. Parking: Parking is included in the ticket price. Park only in the Green Music Center lots (directly in front of the concert hall, or you may be ticketed.
Tickets: The concert is sold-out. A small number of tickets are expected to be available on Monday throughout the day on a first come first serve basis due to patrons donating or exchanging tickets. Tickets may also be available right before the concert. Ticket purchases for this concert are best made by phone through the Sonoma State University Box Office at 866.955.6040 or in person at the GMC Box Office, adjacent to the courtyard of Weill Hall, which is open Monday through Friday from 8 a.m. to 4:30 p.m. and one hour before all performances.
Benvenuto Novembre! New Italian Cinema starts Wednesday, November 13, with a line-up of 14 new films and a spotlight on Neapolitan cinema, through Sunday, at San Francisco’s Landmark Clay Theatre
Celebrating its 17th year, New Italian Cinema (NIC) is the much-loved annual festival of newly-released Italian films which comes to San Francisco every November. NIC opens tomorrow, November 13, at San Francisco’s Landmark Clay Theatre with Garibaldi’s Lovers, the latest film from Silvio Soldini (Days and Clouds, 2007), and will feature a Closing Night tribute to Paolo Sorrentino (This Must Be the Place, 2011) that includes a screening of his new film The Great Beauty. NIC 2013 will screen a total of 14 new films, including a three-film spotlight of recent Neapolitan cinema and eight terrific features by up-and-coming directors entered in the City of Florence Award competition. Decided by audience ballot, this annual award is announced at Closing Night on Sunday, November 17. There is also a fabulous Closing Night Party at 1300 On Fillmore, known for Chef David Lawrence’s inspired soul food and its smooth jazz. The program eases into weekend by offering two films on Wednesday, Thursday, and Friday evenings starting and four films on both Saturday and Sunday.
NIC provides the opportunity not only to see these films before they are widely available (and some will always be difficult to find outside Italy) but also to experience them presented by directors, actors, producers and other involved parties, and to participate in lively Q&A’s about the films. Attending this year: Silvio Soldini, director, Garibaldi’s Lovers (Opening Night film); Paolo Sorrentino, director, The Great Beauty (Closing Night film); Stefano Mordini, director, Steel; and actor Luigi Maria Burruano who appears in The Ideal City. Thematically, this year’s NIC delves into issues of economic instability, cultural and familial conflict and metropolitan living.
NIC is organized by the San Francisco Film Society, in collaboration with New Italian Cinema Events (nicefestival.org) and Italian Cultural Institute, San Francisco, under the auspices of the Consulate General of Italy. NIC is one of more than 200 participating events taking place in more than 50 American cities this year in recognition of 2013 The Year of Italian Culture in the United States.
The charming venue, Clay Theatre, situated on the busting Fillmore Street, was built in 1910 and is one of the oldest theatres in San Francisco (refurbished with comfortable new seats).
Thursday 6:45 pm: There Will Come a Day (Un giorno devi andare) (Georgio Diritti, Italy/France 2013)
Having suffered the double whammy of losing her baby and then being abandoned by her husband for her inability to have children, soulful Augusta (Jasmine Trinca) flees Italy for the Brazilian Amazon to restore some meaning to her life. There, hoping to do aid work, she joins up with Franca, a hard-line Catholic whose conversion tactics clash with her own spiritual values. As the two women float down the river in a houseboat ministering to indigenous peoples, Augusta grows increasingly frustrated and leaves. She ultimately ends up in the favelas in the port city of Manaus doing work that seems authentic and right for her. Depicting Augusta’s journey with compassion and complexity and an often astonishing visual magnificence, director Giorgio Diritti’s second feature film is a work of great beauty about finding one’s place in this world, something all of us grapple with. Diritti (The Man Who Will Come, SFIFF 2010) also address important issues like the surge in World Evangelism, the displacement of poor Brazilians (in preparation for the World Cup and Olympics), the Amazon’s fragile ecology, and the widening disparity between rich and poor. Augusta’s story is delicately interwoven with that of her mother and new adoptive sister whose set-backs and own emotional wounding make for a compelling story of suffering, growth, and spiritual healing. Features aerial shots of the grandeur of the Amazon. 110 minutes.
Sunday 6:00 pm Closing Night Film: The Great Beauty (La grande bellezza, Paolo Sorrentino, Italy/France 2013)
(Sunday 6:00 pm Closing Night Film) The Great Beauty (La grande bellezza, Paolo Sorrentino, Italy/France 2013) In Italian, “grande bellezza,” like “grande tristezza,” can relate to love, sex, art, or death. In Paolo Sorrentino’s swooning epic, it refers to Rome, and Sorrentino evokes the eternal city with exacting panache, melancholy, and knowing. It’s also been hailed as a very timely reflection on the excesses and stagnation of Italy in the era of prime minister Berlusconi. The film premiered at the 2013 Cannes Film Festival where it was a contender for the Palme d’Or and has been selected as the Italian entry for the Best Foreign Language Film at the 86th Academy Awards. It reunites Sorrentino with his favorite leading man, Toni Servillo, Italy’s leading stage and screen actor, who has starred in three of his previous films— films One Man Up (2001), The Consequences of Love (2004), and Il Divo (2008). Servillo plays aging Roman playboy Jep Gambardella, a man who wrote one promising novel in his youth and, since then, has lived on its fumes. A cultivated gentleman by day; at night, Jep chases away death and introspection by hosting wild parties to the stylish elite at night. Following his 65th birthday and a shocking news about a long lost love, Jep looks beyond his shallow and amusing world to find a timeless Roman landscape of absurd, exquisite beauty—a classic in the high Italian style of Fellini’s La Dolce Vita and Antonioni’s La Notte. (142 mins.)
New Italian Cinema 2013 line up:
12:15pm We Believed (Mario Martone, 2010) Neapolitan Retrospective*
4:15pm Ali Blue Eyes (Claudio Giovannesi, 2012)
6:30pm Out of the Blue (Edorado Leo, 2013)
9:00pm The Interval (Leonardo di Costanzo, 2012)
1:00pm Gorbaciof (Stefano Incerti, 2010) Neapolitan Retrospective*
3:00pm The Ideal City (Luigi Lo Cascio, 2012) Luigi Maria Burruano, actor, attending*
6:00pm Closing Night Film: The Great Beauty (Paolo Sorrentino, 2013) filmmaker attending*
9:15pm Closing Night Reception at 1300 on Fillmore
9:30pm One Man Up (Paolo Sorrentino, 2013)
Details: New Italian Cinema is November 13-17, 2013 at San Francisco’s Landmark Clay Theatre, 2261 Fillmore Street, San Francisco. (Please click here for a map of the location.) Film tickets $12 for SFFS members, $14 general, $13 seniors, students and persons with disabilities, $10 children (12 and under); Closing Night film and party tickets $20 for SFFS members, $25 general; Fall Season CineVoucher 10-Packs $110 for SFFS members, $130 general. Purchase tickets online here.
Smooth trumpeter Chis Botti closes Green Music Center’s Summer Season this Sunday afternoon, September 25, 2013—plenty of ticket options still remain
Chris Botti wraps the Green Music Center’s summer programming this Sunday, August 24, with an afternoon concert at Weill Hall and lawn. Smooth as silk, Botti—who originally hails from Oregon—imbibes the style of the jazz’s great trumpeters like Davis, Louis Armstrong and Dizzy Gillespie and pop sophisticates Peter Gabriel and Sting. His haunting, minor-key playing evokes some of the introspection of Miles Davis whose playing was so inspirational for Botti that he sites it as the reason why he chose to play the trumpet. Botti’s melodies, many of which are his own, are also incredibly romantic. I like to think of them as a portal to a dream world where time is suspended. Since the release of “When I Fall in Love,” his 2004 critically acclaimed CD, the trumpeter has become the world’s largest-selling jazz instrumentalist (3 million plus albums) with PBS specials, Grammy Awards, gold and platinum records and A-list collaborators that have included Frank Sinatra, Joni Mitchell, Paul Simon and best pal Sting (the two even share similar blond-tipped spiky coifs). His latest Grammy-winning album, “Impressions” (Columbia Records, 2012) features even more noted collaborators: Vince Gill, Herbie Hancock, Andrea Bocelli and David Foster, to name a few. An afternoon at GMC in the summer is simply the best gig in Northern California: the combination of the music and the setting can’t be beat. It looks the weather will cooperate Sunday for a peak lawn experience too—with temps projected in the high 70’s, the outdoor ambience should be maximal for those trying the lawn table or lawn seating.
Botti is joined by:
Billy Kilson, drums
Geoffrey Keezer, piano
Andy Ezrin, keyboards
Leonardo Amuedo, guitar
Richie Goods, bass
Sy Smith, vocal
Caroline Campbell, violin
Chris Botti performs My Funny Valentine
Chris Botti performs When I Fall in Love
Details: Chris Botti is Sunday, August 25, 2013, at 4 PM at Green Music Center’s Weill Hall and Lawn.
Ticket Availability: As of Friday (August 23, 2013) there were approximately 100 Table Seats available at $45 and ample lawn places available at $25. There are scattered tickets inside Weill Hall and additional seats may open up ($55 to $100) due to ticket returns: check with the Box Office in person 30 minutes prior to Sunday’s concert. Ticket purchases can be made online at www.gmc.edu, or over the phone with the Sonoma State University Box Office at 866.955.6040. Regular business hours are Monday through Friday from 8 a.m. to 4:30 p.m. The Box Office is located in the interior of the Sonoma State University campus – ticket windows adjacent to the Green Music Center are only open prior to performances.
Dining: Concessions at the Green Music Center are offered all year in the Person Lobby and during the summer on the south end of Weill Lawn. Offering everything from small bites to full meals, the concession offerings can help complete your Green Music Center experience. Guests are also From the south, take U.S. Highway 101 north to the Rohnert Park Expressway exit. At the end of the exit ramp, turn right onto Rohnert Park Expressway. Drive 2.2 miles to the Sonoma State University entrance on your right.
From the north, take U.S. Highway 101 south to the Rohnert Park Expressway exit. At the end of the exit ramp, turn left onto Rohnert Park Expressway. Drive 2.2 miles to the Sonoma State University entrance on your right.
Goat Rodeo Sessions, at Green Music Center this Friday, September 23, 2013 —the concert everyone’s buzzing about….plenty of ticket options still remain
The Goat Rodeo Sessions, joined by singer Aoife O’Donovan, wraps its first tour with just three West Coast performances including Friday night at Green Music Center’s Weill Hall and Lawn. It wasn’t too long ago that we had to trek down in traffic to Berkeley’s Greek Theatre for big name concerts. All that’s behind us now—nestled right here we’ve got the acoustically stellar Weill Hall with its back doors that open out to expansive terraced patios and lawn seating, giving audiences a wonderful way to connect with performers on stage while enjoying the magic of late summer in the wine country.
If you were lucky enough to get tickets to Yo-Yo Ma’s January 26 concert at Weill Hall with Kathryn Stott on piano—a program of cello masterpieces that brought us to tears and introduced us Ma’s extraordinary humbling humanity—chances are you were first to snap up tickets coveted inside-the-hall seats for Friday’s performance. In a 2005 article for Smithsonian magazine, Bay Area music critic Josh Kosman summed it up “If Yo-Yo Ma didn’t exist, no novelist in the world would have dared invent him. The combination of virtues—musical, intellectual, personal—is simply too implausible.” At the press conference for the summer season we learned that our new hall and enthusiasm had impressed Ma too and that he was excited to come back with the innovative ensemble The Goat Rodeo Sessions and show us another side of his musical expression. He’ll be sharing the stage with bluegrass fiddler Stuart Duncan, bassist Edgar Meyer, and mandolin master Chris Thile—each Grammy winners and virtuosos in their own right and with Aoife O’Donovan, lead singer for Crooked Still string band and the folk-noir trio Sometymes Why.
Call it what you will—bluegrass, chambergrass or just plain good grass for string quartet, The Goat Rodeo Sessions combines a variety musical styles and traditions while leaving plenty of room for improvisation. Immensely popularized by their Grammy Award-winning 2011 album for Sony Masterworks, the ensemble has reunited outside the studio just once for a January 2012 concert at Boston’s House of Blues that was simulcast to theaters around the country and later released as a DVD.
What’s a “goat rodeo,” you might wonder? The term is from the world of aviation where so many things go wrong that a right move needs to made for it all not to end in disaster. The group feels kinship with that concept and the name has suits highly their improvisational approach to music and life.
I’ve been to several of GMC’s summer performances, with seats inside and outside the hall, and they’ve all been spectacular in their own right. Truth be told, it can get chilly when the fog rolls in, but there’s an exciting crowd vibe that emerges when you’re outdoors. I’m trying a table seat for this concert. There’s something about Ma’s personality and his profound ability to from a connection with his audience that came through in his January performance that touched me—I can’t wait to see him as part of this group and to experience the give and take vibe that this type of intense collaboration requires. With over 15 songs on the program, with plenty of opportunity for improvisation from all four of the players, it’s bound to be a goat rodeo to beat all.
Members of the Goat Rodeo Sessions—cellist Yo-Yo Ma, bassist Edgar Meyer, mandolinist Chris Thile, and fiddler Stuart Duncan— performing “Attaboy,” from the Goat Rodeo Sessions Live.
The Goat Rodeo Sessions performs at Google New York in 2011 (Presented by Google on YouTube)
Details: Goat Rodeo Sessions is Friday, August 23, 2013, at 7:30 PM at Green Music Center’s Weill Hall and Lawn.
Ticket Availability: As of Tuesday (August 20, 2013) there were approximately 100 Table Seats available at $45 and 2,000 lawn places available at $25. Tickets inside Weill Hall sold out almost immediately when they were listed. There may inside seating available ($55 to $100) due to ticket returns: check with the Box Office in person 30 minutes prior to Friday’s concert. Ticket purchases can be made online at www.gmc.edu, or over the phone with the Sonoma State University Box Office at 866.955.6040. Regular business hours are Monday through Friday from 8 a.m. to 4:30 p.m. The Box Office is located in the interior of the Sonoma State University campus – ticket windows adjacent to the Green Music Center are only open prior to performances.
Dining: It is too late to order from the selection of special Whole Foods dinners. Concessions at the Green Music Center are offered all year in the Person Lobby and during the summer on the south end of Weill Lawn. Offering everything from small bites to full meals, the concession offerings can help complete your Green Music Center experience. Guests are also welcome to bring their own food and non-alcoholic beverages (unopened, must be sealed) into the venue but no alcohol. All alcohol must be purchased on-site.
Directions: Green Music Center is located on the campus of Sonoma State University in Rohnert Park, California, at the intersection of Rohnert Park Expressway and Petaluma Hill Road.
From the south, take U.S. Highway 101 north to the Rohnert Park Expressway exit. At the end of the exit ramp, turn right onto Rohnert Park Expressway. Drive 2.2 miles to the Sonoma State University entrance on your right.
From the north, take U.S. Highway 101 south to the Rohnert Park Expressway exit. At the end of the exit ramp, turn left onto Rohnert Park Expressway. Drive 2.2 miles to the Sonoma State University entrance on your right.
The 8th annual Taste of Petaluma is this Saturday, August 24, and it’s all about eating your way—bite by bite—across Petaluma and connecting with its small-city charm and rich sense of community. Taste is a benefit for Cinnabar Theater’s youth repertory programs and, this year, the event has over 50 Petaluma restaurants and food, wine and beverage purveyors participating and is expected to draw people from all over the Bay Area. Enjoy everything from “A” (Artisan Angus Beef gluten free meatballs with Arrabbiata Tomato Sauce at Wild Goat Bistro in the historic Petaluma Mill) to “V” (Vegetable Tikka Kabobs at Everest Indian Restaurant in River Plaza) and along the way stop to take in the live musical entertainment from 17 Bay Area solo and group performers offering just as promising a musical menu (full performance schedule here).
“Everyone wins with Taste,” explained the event’s founder Laura Sunday who estimates that 1,000 people will turn out. “This is the only tasting event I know of where people actually get to go into a restaurant and check out the environment and sample so generously. Most of these things are held in tents and operate like food fairs. Our restaurants do this year after year because they enjoy giving back to Petaluma and to Cinnabar Theater and it’s the best advertising around.”
Stay-tuned to ARThound for more on Taste of Petaluma.
More About Cinnabar Theater: Cinnabar Theater, located in the 1908 Cinnabar Schoolhouse on Petaluma Blvd and Skillman Lane, is a 501(c)(3) California non-profit. It opens its 41st season with Craig Wright’s The Pavilion, a tender story of two former lovers who encounter each other at a high-school reunion. Against the backdrop of old tunes Peter and Kari dance around big questions. Is happily ever after still possible… or is that just in fairy tales? A terrific cast takes the stage for this enthralling and lyrical play about the mysteries of forgiveness. Runs: Sept 6-22, 2013; tickets $25.
Cinnabar’s Young Repertory Theater opens its season the musical Annie, based on the Little Orphan Annie comic strip created by Harold Gray. This charming adaptation of Thomas Meehan’s beloved children’s book Annie, with music by Charles Strouse and lyrics by Martin Charnin is the perfect family-friendly musical.
With equal measures of pluck and positivity, little orphan ANNIE charms everyone’s hearts, despite a next-to-nothing start in 1930s New York City. She is determined to find her parents, who abandoned her years ago on the doorstep of a New York City Orphanage run by the cruel, embittered Miss Hannigan. With the help of the other girls in the Orphanage, ANNIE escapes to the wondrous and magical world of NYC. In adventure after fun-filled adventure, ANNIE foils Miss Hannigan’s evil machinations and befriends President Franklin Delano Roosevelt. She finds a new home and family in billionaire Oliver Warbucks, his personal secretary Grace Farrell, and a lovable mutt named Sandy. Runs: November 29-December 15, 2013. Tickets: $15 ages 22 and over; $10 ages 21 and under.
Details: Taste of Petaluma is Saturday, August 24, 2013 from 11:30 AM to 4 PM. Advance tickets are discounted at $35 through Friday, August 23, the day before the event. Tickets are $40 at the event. Ticket packages consist of 10 tasting tickets, good for 1 taste each. Additional tickers can be purchased for $4 each on the day of the event. Buy advance tickets from Cinnabar Theater between 10-2 weekdays (707) 763-8920, online here (with fee), or in person at the following venues—
Gallery One – 209 Western Ave., Petaluma
Velvet Ice Collections – 140 2nd Street, Theater Square,
Blush Collections – 117 Kentucky Street
Advance tickets can be picked up at WILL CALL at Helen Putnam Plaza (129 Petaluma Blvd. North) after 10:30 AM on the day of the event.
The first 1,000 guest to purchase tickets will receive a free Taste of Petaluma tote bag. All participants receive a plastic wine glass.
A chance to hear the future of opera—delightful, affordable, favorite excerpts from well-known operas—the Merola Grand Finale concert is this Saturday, August 17, 2013
Every summer, the Merola Opera Program concludes with its delightful Grand Finale concert, featuring the current year’s Merola fellows singing excerpts from major operas on the stage of the War Memorial Opera House, the home of the San Francisco Opera (SFO). This summer’s concert is Saturday, August 17, at 7:30 PM. All 23 of the 2013 Merolini will sing and the entire production will be staged by George Cederquist, the 2013 Merola Apprentice Stage Director. John DeMain, Director of the Madison Symphony and Artistic Director of the Madison Opera, will conduct the San Francisco Opera Orchestra and Merolini in a program featuring beloved classics by Barber, Bernstein, Britten, Gounod, Handel, Korngold, Massenet, Monteverdi, Offenbach, Purcell, Rossini and Wagner sung in Italian, French, German, and English. If you, or someone accompanying you, are somewhat new to opera, the 17 selections are a perfect introduction to opera—they are all classics, the excerpts are short and varied and feature gorgeous orchestral music and were chosen by the singers to showcase their unique vocal talents. And, it goes without saying; the concert is both a launchpad and an opportunity to meet the next generation of opera luminaries, in the formative phases of their careers. These young Merola singers will go to sing major roles in the world’s leading opera houses.
“The Merola Grand Finale is, for all of us Merolini, one of the highlights of the summer. It’s our chance to show how much we’ve grown and how much potential we have,” said 2013 Merola Apprentice Stage Director George Cederquist. “My goal is to create a staged concert that is celebratory, beautiful and fluid. This is not the time for highly conceptual work. My aim is to help my singer-colleagues sound great, act great and look great, and I intend to do just that.” Cederquist, was one of only 10 Americans to receive the 2011-2012 German Chancellor Fellowship from the Alexander von Humboldt Foundation and the first Stage Director ever to win this prestigious award. Next season, he will be Resident Artist Stage Director at Pittsburgh Opera under the mentorship of General Director Christopher Hahn.
The songs to be performed (but not in the order of performance) and the singers are as follows:
“Mein lieber Schwann”
Lohengrin: Issachah Savage (tenor)
“Ortrud! Wo bist du?”
Elsa: Aviva Fortunata (soprano)
Ortrud: Daryl Freedman (mezzo-soprano)
Billy Budd (Britten)
“Claggart, John Claggart, beware!”
Captain Vere: Robert Watson (tenor)
Billy Budd: Alex DeSocio (baritone)
John Claggart: Thomas Richards (bass-baritone)
“Restons ici … Voyons, Manon … J’ai marqueé l’heure de depart”
Manon: Maria Valdes (soprano)
Des Grieux: Pene Pati (tenor)
“Is it still snowing? … Must the winter come so soon? … Do not utter a word”
Erika: Rihab Chaieb (mezzo-soprano)
Vanessa: Linda Barnett (soprano)
Il ritorno d’Ulisse (Monteverdi)
Ulisse: Joseph Lattanzi (baritone)
La Cenerentola (Rossini)
“Ma dunque io sono un ex? … Un segreto d’importanza”
Dandini: Efraín Solis (baritone)
Magnifico: John Arnold (bass-baritone)
“Vanne pronto, Odoardo … Voli colla sua tromba”
Il Ré: Rhys Lloyd Talbot (bass-baritone)
Luisa Miller (Verdi)
“Il padre tuo … Tu punisicmi, o signore … A brani, a brani, o perfido”
Luisa: Jacqueline Piccolino (soprano)
Wurm: David Weigel (bass-baritone)
“Où suis-je? … O ma lyre immortelle”
Sapho: Zanda Švēde (mezzo-soprano)
Die Freischütz (Weber)
“Nein, länger trag’ ich nicht die Qualen … Durch die Wälder, durch die Auen”
Max: Casey Finnigan (tenor)
Ascanio in Alba (Mozart)
“Dal tuo gentil sembiante”
Fauno: Alisa Jordheim (soprano)
La belle Hélène (Offenbach)
“C’est le ciel qui m’envoie”
Hélène: Kate Allen (mezzo-soprano)
Paris: Matthew Newlin (tenor)
Die tote Stadt (Korngold)
“Mein Sehnen, mein Wähnen”
Fritz: Chris Carr (baritone)
Dido and Aeneas (Purcell)
“Thy hand Belinda … When I am laid in earth”
Dido: Katie Hannigan (mezzo-soprano)
“Make our garden grow”
Candide: Pene Pati (tenor)
Cunegonde: Maria Valdes (soprano)
Old Lady: Kate Allen (mezzo-soprano)
Governor: Casey Finnigan (tenor)
Maximillian: Rhys Talbot (bass-baritone)
Pangloss: David Weigel (bass-baritone)
Chorus: tutti Merolini
More about Merola: Guided by Sheri Greenawald, San Francisco Opera Center Director and internationally acclaimed soprano, the Merola Opera Program is an independent nonprofit organization which operates in collaboration with the San Francisco Opera. Founded in 1957 and named for San Francisco Opera’s urbane and forward-thinking founder, Gaetano Merola, the Program is recognized as one of the most prestigious operatic training programs in the world. The Merola Opera Program typically receives more than 800 applications for approximately 30 positions. Throughout the summer, the Merola artists participate in master classes and private coachings with opera luminaries and give several public performances. Participants—who include singers, apprentice coaches and an apprentice stage director—also receive training in operatic repertory, foreign languages, diction, acting and stage movement. The Merola Opera Program fully underwrites each participant’s travel, housing, coaching and educational expenses, as well as all production costs associated with the summer schedule and a weekly stipend for each participant. Program alumni include Joyce di Donato, Sylvia McNair, Patricia Racette, Ruth Ann Swenson, Carol Vaness, Deborah Voigt, Anna Netrebko,Susan Graham, Dolora Zajick, Brian Asawa, Jess Thomas, Thomas Hampson, Rolando Villazón, and Patrick Summers.
Details: The Merola Grand Finale is Saturday, August 17, at 7:30 p.m. at War Memorial Opera House, 301 Van Ness Avenue, San Francisco (across from City Hall). One of the last Beaux-Arts structures built in the United States, the Opera House seats 3,146, with 200 standing room places. Tickets: $25 to $45. Purchase online here (all Merola events are listed under “Other Productions”) or in person at the San Francisco Opera Box Office in the lobby of the War Memorial Opera House at 301 Van Ness Avenue. The Box Office is open from 10 a.m. to 5 p.m. on Monday and from 10 a.m. to 6 p.m. Tuesday through Friday. Tickets may also be ordered by calling 415-864-3330. There is a special student ticket rate of $15, but these tickets can only be purchased in person at the Box Office with proper identification. There will also be a reception beginning at 10 p.m. downstairs in the Opera House Café. Each ticket for the reception is an additional $50.
Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—there is frequently a 20 to 30 minute back-up on Highway 101 South from Petaluma through Novato due to wine country traffic and road work related to highway expansion. Arrive early at your parking garage of choice because those also fill up on weekends. Recommended Garages: Two garages are very close to War Memorial Opera House— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)
The San Francisco Silent Film Festival wraps this Sunday with a program worth devoting the entire day to. The festival’s spectacular historical footage of foreign lands and old customs is always a huge draw. This year, they have outdone themselves. Victor Sjöström’s The Outlaw and His Wife (1918), newly restored by the Swedish Film Institute, and German director Friedrich Zelnik’s The Weavers (1927), based on actual weaver uprisings of 1892, are both screening on Sunday afternoon. And just before The Weavers, the festival is gifting the audience with a screening of Aleksander Rodchenko’s newly discovered short trailer for Dziga Vertov’s The Eleventh Year (1928), along with the world premiere of the musical score performed by Beth Custer and Ken Winokur. Sunday afternoon also includes the world premiere of the restoration of Emory Johnson’s The Last Editon (1925), focused around the San Francisco Chronicle and featuring rich historical footage of San Francisco. The day begins and ends with two classic comedies—in the morning, Kings of Silent Comedy is a delightful pastiche of comedy clips featuring the titans of the silent era and, at 9 p.m., the festival close with Safety Last! (1923) featuring Harold Lloyd, one of the masters of silent-era comedy.
The Outlaw and His Wife (Berg-Ejvind och Hans Hhustru) (Sweden, 1918, ~105 min)
Adapted from a play by Johann Sigurjonson, director Victor Sjöström’s Berg-Ejvind och Hans Hhustru is one of Swedish cinema’s first major films. The 1918 silent drama features dramatic footage of vast expanses of wild nature and is one of the finest examples of Sigurjonson’s life-long exploration of the theme of spirituality’s connection to nature and the elements. It is also hailed as a work of remarkable psychological complexity, which had a strong influence on the work of Ingmar Bergman and Carl Theodor Dreyer. It stars Victor Sjöström (Bergman’s Wild Strawberries) as Berg-Eyvind, a drifter who begins working on the farm of a generous and extremely self-sufficient widow named Halla (Edith Erastoff). The couple falls in love only to have it revealed that Berg-Eyvind is a thief on the run. When a jealous rival alerts authorities to Eyvind’s true identity, the lovers escape together into the mountains of Iceland where they manage to eke-out a rather enviable existence until they are discovered by another fugitive and the story takes a very dark turn. “The film is incredible love story that takes place in a beautiful vista and it’s based on an old Icelandic tale, with amazing cinematography and story,” said SFSFF director Anita Monga. “It just had its premiere last week at Il Cinema Ritrovato, the Bologna Film Festival, and now it’s here for its second-ever screening after its restoration.” The Matti Bye Ensemble from Sweden provides musical accompaniment. (Screens Sunday, July 20, at 1 p.m.)
The Weavers (Die Weber) (Germany, 1927, ~ 97 min)
Friedrich Zelnik’s The Weavers is based on the 1892 play by Gerhart Hauptman dramatizing a Silesian cotton weavers uprising of 1844. The film was once known as the German Potemkin. It is a high budget German drama focused on class struggle, a subject matter that resonated closely with epic works of Soviet cinema. The film has a strong sense of drama and tragedy and shows the poor workers being exploited by the rich manufacturers and the devastation which ensues when the crowd degrades into a mob which destroys the textile magnate’s manor and proceeds to break the textile machines which threaten the traditional livelihood of the weavers. Some of the workers refuse to participate in the revolt but are harmed nonetheless. Its creators downplayed its radical message, but The Weavers resonated with viewers in 1927 whose social reality reflected a chasm between rich and poor. “This is a very rousing film,” said Anita Monga. The incident itself had a major impact throughout the world and it was a touchstone for Marx and Engels writing the Communist Manifesto
The excellent 2012 restoration, by F. W. Murnau Stiftung and Transit Film GmbH, showcases the work of the great graphic designer George Grosz, from his animal vignettes in the opening credit sequence and continuing with the animated graphic design of the intertitles which goes further than in Metropolis: there is a 3D mobile approach to certain key sentences which become moving lettrist vignettes. The standoff scene between the revolutionary crowd and the police and military are epic. Musical accompaniment is by the acclaimed Günter Buchwald, the director of the Silent Movie Music Company and conductor of the Freiburg Filmharmonic Orchestra, which he founded in 1992. Buchwald has incorporated a very Brechtian folksong into the accompaniment. (Screens Sunday, July 20, at 6 p.m.)
Aleksander Rodchenko’s newly discovered trailer for Dziga Vertov’s The Eleventh Year with the world premiere of the musical score performed by Beth Custer and Ken Winokur
Ken Winokur of the Alloy Orchestra made an amazing discovery while the orchestra was traveling in the Ukraine—a two-minute trailer for Dziga Vertov’s THE ELEVENTH YEAR, created by famed Constructivist artist Aleksander Rodchenko. As a special gift to San Francisco, Winokur and Beth Custer will perform the World Premiere of their score accompanying Vertov’s trailer on Sunday, July 21, just before the 6 p.m. screening of The Weavers. (For ARThound’s previous coverage of this, click here.)
The Last Edition (USA, 1925, 105 min)
One of the few surviving films created by Emory Johnson in the mid-1920’s, The Last Edition stars veteran actor Ralph Lewis as a pressman at the San Francisco Chronicle who has been denied a well-deserved promotion by his boss, publisher Jerome Hamilton (Louis Payne). The film’s last known screening was on November 28, 1930, in Utrecht, the Netherlands, so Sunday’s premiere of its new restoration is a cause for celebration. This gem is filmed on location in and around the Chronicle pressroom with major footage of Market Street, Civic Center and Mission Street and includes a thrilling car chase throughout the City as newsmen valiantly tackle the forces of corruption. The film was unearthed in an archive in the Netherlands two years ago and was in poor condition due to having been shot on highly-degradable nitrate film. Its painstaking two-year restoration was a collaboration between the archive, Eye Film Institute Netherlands and the film festival. Leading silent film accompanist Stephen Horne will be on piano. (Screens Sunday, July 21, 3:30 p.m.)
Details: SFSFFruns Thursday, July 12, 2012 through Sunday, July 15, 2012 at the Castro Theatre, 429 Castro Street (between Market and 18th Streets), San Francisco. Tickets: $14 to $20; $180 to $215 for passes. Click here to purchase all tickets and passes. Information: (415) 777-4908 or www.silentfilm.org
Parking Alert: If you plan on coming by car, street parking is the only parking available. Plan to arrive 45 minutes early to leave sufficient time for parking and walking to/from the theatre.
Whether it’s folk, pop, opera, languid ballads like Leonard Cohen’s “Hallelujah,” or acting on the big screen—no matter what he’s up to—vocalist and songwriter Rufus Wainwright remains one of the most unique and fascinating performing artists around. Luminous, he seems to radiate intoxicating otherworldliness, coupled with sadness and loneliness that make it almost impossible to take one’s eyes off of him when he’s performing. And that voice! It ranges from the depths of bass to soaring tenor heights. Affectionately referred to by Elton John as “the greatest songwriter on the planet” and praised by The New York Times for his “genuine originality,” Grammy nominee Wainwright, 39, has established himself as one of the greats of his generation. Wainwright performs solo and will accompany himself on the piano and guitar, Sunday, June 9, 2013 at Davies Symphony Hall.
A frequent performer in Bay Area venues including Davies Symphony Hall throughout his career, Wainwright performed with the SF Symphony in 2010 under conductor Michael Francis, premiering Five Shakespeare Sonnets, Wainwright’s own large scale orchestrations of five of the eleven songs he composed for a theatrical adaptation of Shakespeare’s Sonnets with director Robert Wilson. If Sunday’s performance takes anything from his last appearance at Davies, it will be Wainwright’s genius with messing with form to create songs that bear his own stamp. Following several significant and dramatic events in his life—the birth of his daughter, Viva, who was conceived with childhood friend Lorca Cohen, the daughter of Leonard Cohen; the death of his mother, Canadian folk-singer Kate McGarrigle; and his engagement (and subsequent marriage) to partner Jorn Weisbrodt—his seventh studio album, Out of the Game, was released in 2012 with the input of a new collaborator, celebrated British producer and DJ, Mark Ronson. It’s been hailed as his “pop recording” but it’s far from reductive. He plays guitar and produces songs that allude to 1950s rock, light 1970s funk, Southern California folk-pop and music hall by way of the Beatles. “But even in his closest approach to current pop — “Bitter Tears,” with synthesizer chords and a thumping Euro dance beat — Mr. Wainwright is still stubbornly himself.” (Jon Pareles, New York Times 5.10.2012)
OPERA, stubbornly: Wainwright’s life is the stuff of opera—child of Loudon Wainwright III and Kate McGarrigle, he was raised in an atmosphere where the creative juices and drama flowed freely. His first opera, Prima Donna, was quite an undertaking for someone with no formal music education—it premiered at the Manchester International Festival in 2009 and had its North American debut in Toronto at the Luminato Festival in 2010. In 2008, Wainwright made the news when the language of the libretto got him in a dispute with its would-be commissioners— the Metropolitan Opera and Lincoln Center Theatre. Wainwright wanted the opera to be in French but the sponsors insisted that a new opera should be in English as their respective creative teams all were native English speakers and the accompanying creative workshops would all be conducted in English. They also proposed a very late—2014—production date. Wainwright so said, “no thank you” and then promptly moved on, achieving his vision.
Prima Donna, written in French with English subtitles (and co-written by Bernadette Colomine), follows an acclaimed, but forgotten soprano, Regine Saint Laurent, who is preparing a return to the stage in the role she was known for, “Alienor d’Aquitaine.” Convinced her voice is forever gone, Regine has high anxiety about reprising the role. In her quasi-deranged state, she latches on to a young journalist who is all too ready to lavish attention on her. The New York Times said, “There are inspired touches and disarmingly beautiful passages in this mysterious, stylistically eclectic work in Rufus Wainwright’s first opera…” The London Times declared, “…the Canadian singer-songwriter hasn’t just written an opera. He’s written a love song to opera, soaked in the perennial operatic themes of loss, betrayal, delusion and nostalgia, and saturated in the musical styles of opera’s golden age.” Excerpts have been performed with the Oregon Symphony for The Portland Institute for Contemporary Art’s Time-Based Art Festival and at the Royal Opera House in London. The work received a 2011 Dora Award for Outstanding New Musical/Opera and made its U.S. debut in 2012 at the Brooklyn Academy of Music’s Howard Gilman Opera House.
Director George Scott also made a fascinating documentary “Rufus Wainwright: Prima Donna” (2009, 60 min), which airs periodically on the Sundance Channel and delves into Wainwright’s forays with opera long before his first formal opera, Prima Donna was conceived.
RUFUS WAINWRIGHT: “Prima Donna” documentary trailer
COMMEMORATIVE FILM: Australian actress and documentary filmmaker Lian Lunson’s Sing Me the Songs That Say I Love You: A Concert for Kate McGarrigle (2012, 107 min) produced a lush and intimately shot hybrid documentary/concert film on Wainwright’s mother, Canadian folk legend, Kate McGarrigle, who passed in January 2010 of Clear-cell sarcoma. The film screened at the 56th San Francisco International Film Festival in May 2013 and weaves many treasured clips of Wainwright performing as a child, as a young adult and with his sister, Martha Wainwright into the tribute. The May 2011 concert, the subject of Lunson’s film, was hosted by Rufus and Martha Wainwright in honor of their late mother at New York City’s Town Hall Theatre. It features performances of McGarrigle songs both famous (e.g. “Heart Like A Wheel”) and obscure (e.g. “I Am A Diamond”). Accompanying the Wainwright siblings in this performance are such friends and admirers as Emmylou Harris, Jimmy Fallon, Norah Jones, and Michael Ondaatje. Rufus and Martha sing most of the songs and speak in several pre-taped vignettes interspersed between songs. Their voices resonate with sadness and gratitude in this mesmerizing portrait of their mother.
Wainwright has also acted in Academy Award-winning director Deny Arcand’s film, L’Age des Tenebres (2007), the Merchan-Ivory film Heights (2005), and the major blockbuster The Aviator (2004), directed by Martin Scorsese.
RUFUS WAINWRIGHT performs Leonard Cohen’s “Hallelujah” (Live at The Fillmore)
Pre- and post-show Events—Come early, relax, and treat yourself at the Tier with a Twist on the Second Tier. A fresh way to take in a concert this summer, the Tier with a Twist offers food and drinks in the updated Second Tier bar. The added bonus? Take your beverage to your seat and use the free wifi! It’s the Second Tier—with a twist.
Tickets and information: “An Evening with Rufus Wainright” is Sunday, June 9, 2013 at 8 p.m. at Davies Symphony Hall. Tickets: $22-88. For tickets and information, visit www.sfsymphony.org or phone at (415) 864-6000.
Getting to Davies: Davies Symphony Hall is located at 201 Van Ness Avenue at Grove Street, in San Francisco’s Civic Center, just across the street from City Hall. The main entrance is on the south side of Grove Street between Van Ness Avenue and Franklin Street. Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—there is frequently a 15 to 30 minute back-up on Highway 101 South from Sausalito onwards due to congestion around the toll-plaza. Arrive early at your parking garage of choice because those also fill up on weekends. Recommended Garages: Two garages are very close to Davies— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)
SFMOMA (San Francisco Museum of Modern Art) officially began construction on its 225,000-square-foot expansion project with a celebratory groundbreaking ceremony on Wednesday, May 29, 2013. The festivities were officiated by SFMOMA director, Neal Benezra, Mayor Ed Lee and other city and museum officials including SFMOMA Board Chair, Charles Schwab, and Snohetta principal Craig Dykers, the lead architects for the expansion. Supervisor Jane Kim, whose district includes SFMOMA, led students from nearby Bessie Carmichael Elementary School in the countdown which culminated in several shovels breaking ground as confetti shot of out a cannon. Guests were treated to a specially-created wall of vanilla and chocolate sugar cookies created by the pastry team at SFMOMA’s own Blue Bottle cafe, which is renowned for its delicious art-inspired desserts. The rectangular cookies resembled the current SFMOMA’s bricks and guests were encouraged to use edible spray paint to create graffiti messages on these bricks. SFMOMA Board members, trustees, and high level donors were given festive hardhats–way to protect the cashflow!— while members of the press got commemorative SFMOMA shopping bags.
Those attending the ceremony were the first to try a very clever artist-commissioned augmented reality mobile application that they downloaded on their cell phones which assists with envisioning what the new space will look like. 2012 ZERO1 Biennial artists Will Pappenhiemer and John Craig Freeman, created the “app-arition” that is both an interactive and animated assemblage of the building’s various parts, reflecting its potential existence as a fluid network and beacon for the surrounding community as well.
The expansion will include a new 10-story addition along the back of its current building at 151Third Street, San Francisco. The expansion will be over 15 meters taller than the existing Mario Botta-designed building and both gallery exhibition and education spaces will be doubled. The new building will feature a glass-wall gallery facing Howard Street that will allow pedestrians to see select artworks when the museum reopens in 2016.
Museum officials are still fundraising. So far, they have raised about 90 percent of the $610 million needed for the project.
More information about SFMOMA and the expansion can be found on the museum’s website at www.sfmoma.org. SFMOMA will officially close for construction on June 2, 2013, at which time, the museum will take its shows to various other venues. Stay tuned to ARThound for more video coverage tomorrow…the HUGE file is still downloading.