Christmas started early for ARThound when a dear friend invited me to Saturday night’s unveiling of SoundBox, MTT’s (Michael Tilson Thomas’) and San Francisco Symphony’s (SFS) newest venture. SoundBox was designed to fill a gap in Bay Area music scene by providing an experimental space where anything musical can happen and to engage a younger, hipper audience with SFS and serious music. Judging from Saturday’s thrilling reception which enthralled its sellout crowd of 450, Soundbox will do all that and more. It also seems poised to give our brilliant but nerdy MTT some street swagger, the kind of coolness cred that he’s been aching for while collecting all those Grammies for classical recordings. If you haven’t heard, SoundBox is a huge refurbished music space at 300 Franklin Street (in San Francisco). Formerly known as Zellerbach A, it was one of SFS’s most dour on-site rehearsal spaces, ironically renowned for its dead sound.
With generous patron funding and the board’s desire to revision SFS’ audience outreach, the cavernous space was entirely revamped. Berkeley’s Meyer Sound was engaged to install its patented multi-speaker “Constellation” system, transforming the space into a virtual sound lab. Now, with the push of touchscreen button, the venue can seamlessly tweak its acoustics (reverberation and decay times) for various pieces in a performance allowing otherworldly sounds to emerge from its tremendously talented SFS musicians and choral members. Add state-of-the-art video projection capacity, making for an incredible visual experience, sleek quilted leather ottoman and low tables (even the furnishings will be tweaked with each performance), a fully-stocked bar serving thematic cocktails and innovative cuisine—wella! SoundBox has the grit of an European art house, the verve of a sophisticated nightclub, the acoustics of a world class concert hall, and, as if it needs to be said, the world’s best musicians playing tunes exquisitely curated by MTT.
On Saturday, 7:45PM, the crowd was already lining up on Franklin Street. The buzz: no one knew exactly what to expect but we were all excited by the program we’d read about online and the promise of road-testing something completely new. The pre-concert hour was dedicated to John Cage, who believed that every sound can be music, and featured a musical feast of his “Branches,” featuring electronically amplified giant cacti, and “Inlets” which coaxed sounds from shells filled with water that gurgled when moved and from amplified burning pinecones. As people entered the darkened foyer of Soundbox and were confronted with Cage’s music, they passed by a curious gallery space, specially curated by MTT, that included beautifully lit minimalist arrays of live cacti, a table of sea shells in a pool of water and colorful huge multi-layered projections of cacti. Wow…felt like entering one of those East European art happenings I’d covered in the 1980’s. Once we passed through a closed black door, we entered the spacious main hall, which offered a hip but relaxed atmosphere—two low wooden platforms served stages and lots of low leather seating that could be easily re-arranged. People were free to amble about and get a drink or just settle in and get busy with their phones and texting.
The inaugural run, called “Extremities,” kicked off dramatically with “Stella splendens in monte,” a brief anonymous Spanish work (local composer Mason Bates contributed the percussion arrangements.) The SFS chorus, in flowing robes, entered from the back of the hall, and made a dramatic procession to the stage, their lyrical voices swelling to fill every corner of the space. As they passed by each of us, we got a sampling of each singer’s individual voice. From there, it only got better—a very well-thought sonic and visual feast was about to unfold and we were ravenous for it. The audience snapped their fingers, clapped, yowled and tossed their exquisite locks…and the musicians beamed with pride. A glowing MTT looked like he’d dropped a decade as he engaged with the audience in a very heartfelt way, talking about musical choices and the potential of the space.
Highpoints for ARThound: Steve Reich’s minimalist “Music for Pieces of Wood” featured five SFS percussionists with tuned hardwood claves creating a pulsing bed of rhythmically complex continuous sound. This reminded me of the miraculous frog concerto I am treated to in my pond in Sonoma County every time a serious storm blows through. After 8 minutes of this mesmerizing sound, which was accompanied by projections of Adam Larsen’s images of a New York skyline, we were all in trance mode. When it ended, and everyone stopped playing, we were left with a very perceptible silence, a void in the acoustic atmosphere that left us all profoundly aware of the power of sound to inflate and deflate the psyche.
Ravel’s exquisite “Introduction and Allegro” (1905) shimmered and glowed when played by a small ensemble of seven SFS musicians including principal harpist Douglas Rioth and concertmaster Sasha Barantschik whose beloved 1742 Guarnerius del Gesù (“The David”) cast a spell over the audience, some of whom swept away tears. The chamber piece showcased the space’s ability to tease out nuances in the contrasting sonorities. The velvety woodwinds, the percussive harp and the warm resonance of the strings were all so clear, so distinct, that I felt I was getting a personal introduction to the possibilities of these instruments.
One of the evening’s hip visuals was the Nordic visual art pioneer, Steina’s (Steina Vasulka’s), seven minute video, “Voice Windows” (1986), featuring the voice of Joan La Barbara. The short engrossing film was co-presented by SFS and SFMOMA and points to the limitless possibilities for future collaboration in a space like this. Since the early 1970’s, Steina, in collaboration with Woody Vasulka, has explored intricate transformations of vision, space and sound, through digital technologies, mechanical devices and natural landscape. “Voice Windows” was an exquisite and haunting example of her artistry in manipulating digital and camera-generated images and layering that with “real” and altered sound.
After two intermissions, the evening closed with Monteverdi’s glorious “Magnificat” (1610) from Vespro della Beata Vergine. It is one of the eight most ancient Christian hymns and is taken directly from the Gospel of Luke where the Virgin Mary visits her cousin Elizabeth who is pregnant with the future John the Baptist. When Elizabeth praises Mary for her faith, Mary sings the “Magnificat” in response. Talk about immersive—the 19 minute piece featured soloists, the chorus and orchestra, all in rapturous splendor with gorgeous golden-hued projections of a Venetian church enhancing the mood.
Details: The next Sound Box performance, “Curiosities,” is January 9 and 10th, 2015. Doors open at 8 PM and performance starts at 9 PM. Tickets on sale now: $25 for open seating. The space accommodates 450 and will sell out quickly. The SoundBox website is not working correctly. Call the SFS Box office (415) 864-6000 to purchase tickets. SoundBox is located at 300 Franklin Street, San Francisco, CA. Parking: (is hell) Performing Arts Garage (360 Grove Street) or Civic Center Garage (between Polk, Larkin, Grove and McAllister).
We’re all excited about the weekend of great music ahead as Green Music Center rolls out its new jewel, Schroeder Hall, which seats 250. Free tickets for all the grand opening weekend concerts were snapped up within the first hour of their release on August 12, which means a lot of music lovers were disappointed. There’s hope. At 2 p.m. today (Friday), I spoke with Green Music Center’s (GMC) press liaison, Jessica Anderson, and here’s how you can get those extra tickets held in reserve that Zarin Mehta referred to in the papers and online media you’ve been reading—
Sure thing—Saturday morning, show up early at GMC and wait in line until 10 a.m. when the Green Music Center Box Office opens. They will have anywhere from 25 to 75 additional tickets for each of Saturday’s 4 performances and you can get free tickets for 1, 2, 3 or all Saturday performances if you are early enough. You cannot get tickets for any Sunday performances on Saturday but, on Sunday, the same procedure will be in place. This is strictly in person, not online.
Risky—Show up early before the concert of your choice and wait in the stand-by line by the GMC ticket office. IF ticket holders do not get their tickets scanned 10 minutes before the performance as they enter the hall, their tickets will be released and, depending on your place in line, you may get in.
Do not phone the box office, go there in person. The Green Music Center Box Office is adjacent to the courtyard of Weill Hall.
The 9th annual Taste of Petaluma is this Saturday, August 23, from 11 a.m. to 4 p.m. and it’s all about connecting with Petaluma’s small-town charm and rich sense of community—bite by glorious bite. Taste is a benefit for Cinnabar Theater’s youth repertory programs and if you’ve ever attended one of Cinnabar’s remarkable youth performances, you understand what a treasure Cinnabar is. This year, Taste of Petaluma is bigger than ever with over 100 of Petaluma’s restaurants and food, wine and beverage purveyors participating at 54 locales. Some 85 musicians will be playing in a dozen locales downtown too, offering just as promising a musical menu (full performance schedule here). The event draws people from all over the Bay Area and $40 gets you 10 generously portioned tastes of your choosing.
Recently, I participated in two “mini-tastes” and had the chance to meet the owners and chefs of several new restaurants, hear their stories and sample what they’re preparing for Taste. I tried everything from bacon jam BLTs with duck egg mayo and heirloom tomatoes on homemade sourdough from Miriam Donaldson and her team at homey Wishbone on Petaluma Blvd. North, down by the Police Station, to Wagyu New York Tataki from Joe O’Donnell at upscale Seared on Petaluma Blvd. North’s restaurant row. Both of these inviting establishments opened in the past year, have chefs and staff in their 20’s and 30’s, and represent the energy and diversity in our local food scene. As if cooking weren’t a full time job, many chefs are growing their own vegetables and fruits and are highly attuned to what’s peaking on a daily basis. Their menus are constantly changing and they are experimenting with their bounty. A few are even raising their own meat. They’re all joyous about having a hand in every step of the process and that includes scoring some great salvaged wood or a glass case or pulling all-nighters ripping out flooring. “It’s been nice to move around,” says O’Donnell, “but Petaluma feels like home and it’s got everything I need close at hand. There’s no place like it. We’ve caught up.”
“Even though it’s bigger than ever, Taste was a lot easier this year,” explained the event’s founder Laura Sunday, who estimates that 1,500 people will turn out. “A lot of restaurants contacted me early, eager to participate, and several of the hosting venues took the initiative and told me who they were partnering with. This is the only tasting event on this scale I know of that doesn’t operate like a food fair. People actually get to go into a restaurant, check out the ambiance, and sample very generously. You couldn’t buy better advertising. We’ve got new establishments eager to introduce themselves to the community and lots of well-rooted restaurants and vendors who do this year after year because they enjoy giving back to Petaluma and to Cinnabar Theater.”
Stay-tuned to ARThound for more on Taste of Petaluma.
More About Cinnabar: Cinnabar Theater, located in the old red Cinnabar Schoolhouse on Petaluma Blvd and Skillman Lane, opens its 42 season on Friday, September 5, 2014, with the musical, Fiddler on the Roof, celebrating this golden oldie’s 50th anniversary. The heartwarming story centers on Tevye, father of five strong-willed daughters who is struggling to maintain his family’s Jewish traditions. Stephen Walsh, who wowed Cinnabar audiences in last November’s hit, La Cage aux Folles, plays Papa Tevye with Cinnabar own Elly Lichenstein (Artistic Director) as his wife. “This has enormous personal significance for me,” said Lichenstein. “All four of my grandparents came to America from villages like Anatevka, and it excites me that our magnificent cast is so committed to tell their story.” The original Broadway incarnation of this beloved musical racked up an astonishing 10 Tony Awards by introducing unforgettable songs like “Tradition” and “If I Were A Rich Man.” Music is by Jerry Brock, lyrics by Serldon Harnick and book by Joseph Stein. Fiddler ends September 21 with a special performance and party commemorating the day it first opened on Broadway. Runs: Sept 5-21, 2014, just 10 performances; tickets $35. Pounce! This is selling out. Cinnabar Theater is a 501(c)(3) California non-profit.
Cinnabar’s Young Repertory Theater opens its new season on November 28, 2014 with the classic musical, The Wizard of Oz. This charming adaptation by John Kane for the Royal Shakespeare Company is based on the beloved classic motion picture and features our adorable local munchkins on stage along with Dorothy, Toto, the Scarecrow, the Lion and the Tin Man. There’s no better way to celebrate the holidays! Runs: November 28-December 14, 2014; tickets $15. Pounce! This too will sell out.
Details: The 9th Annual Taste of Petaluma is Saturday, August 23, 2014 from 11:30 AM to 4 PM. Ticket packages are $40 and consist of 10 tasting tickets, good for 1 taste each. Advance tickets can be purchased in person until Friday, August 22, 3 p.m. at the following venues in Petaluma—
Gallery One – 209 Western Ave.
Velvet Ice Collections – 140 2nd Street, Theater Square
Blush Collections – 117 Kentucky Street
Cinnabar Theater between 10-2:30 weekdays
Tickets can be purchased online here (with $4 surcharge per ticket). Tickets can also be purchased on the day of the event from 10:30 AM onwards at Helen Putnam Plaza. Only 1500 tickets will be sold.
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. You can purchase more tickets throughout the day for $4 each.
Interview—The Fillmore Jazz Festival turns 30 this weekend and ARThound chats with its legendary poster artist, Michael Schwab
You’ve seen them across San Francisco— striking posters and banners featuring a wavy haired female vocalist in silhouette against a fiery orange background. Her arms are outstretched and beckoning. Less obvious is an old-fashioned gray stand microphone that runs up from the floor to her heart, reinforcing a strong vertical. Behind her, blazoned across the top in a hand-lettered, earthy cream custom font is “Fillmore Jazz.” The message is simple, transcendent—jazz is here. The artwork was created by Marin artist Michael Schwab, one of our country’s leading graphic artists. His dynamic posters, images and logos for the Golden Gate National Parks, Major League Baseball, America’s Cup, Robert Mondavi, Peet’s Coffee, San Francisco Opera, Muhammad Ali, Nike, and others are icons of our lifestyle. Schwab’s signature visual groove lends itself perfectly to jazz—large, flat areas of color, dramatic perspectives, and bold images of archetypal human forms. He created his first Fillmore Jazz poster in 2006—a standing base player in silhouette against an intense teal. His 2010 poster of a trumpeter playing up into a blue night sky journeyed right into the roots of jazz. Both artworks became classics. I caught up with Michael earlier this week to discuss his third poster and his creative process.
What makes a really effective poster? And, why are so many posters today so bad?
Michael Schwab: Simplicity. There’s way too much visual noise out there. Graphic messages are conveyed much more effectively when the design is simple, bold and efficient.
You’ve had a long involvement with this festival. What is it about jazz lends itself to visual expression?
Michael Schwab: I love all kinds of music but jazz in particular inspires me. I love this project because I’ve had complete freedom do whatever I want, provided it worked on banners. The base player I created eight years ago was my first Fillmore Jazz poster and I envisioned him as a Ray Brown-like bass player. If you’re driving down the street, you’ve only got a second or two to get the message, so I wanted to evoke the romance and history of Fillmore Street Jazz. Four years later, they called me again. At the time, I was really into Miles Davis and was playing Ascenseur pour l’échafaud, his soundtrack for the Louis Malle film, a lot. I made a Miles Davis-esque horn player. I wanted a really cool color so I went with a deep blue that evokes that late evening jazz atmosphere that’s so special to Fillmore Street. Now, four years later, I realize that I’ve been slowly creating my own jazz band here and it was time for a singer and a woman.
What was your conception for this year’s festival poster?
I was inspired by the great romance of Billie Holiday. Initially, I had just the singer there in silhouette and then I realized that she needed a microphone, which was the last element I added. That old-fashioned microphone, which harkens back to the 1940’s and 50’s, really pulled it all together. It often happens that way—that adding something relatively small becomes very important.
What types of source materials do normally you use? Also, since this year’s festival is all about women of jazz, who do you listen to for inspiration?
Michael Schwab: When appropriate, I work with models—human or otherwise. I pose and shoot my own photos myself. In this case, there was a model I’d used a while back and I was able to piece together a few polaroids and work from that. I wanted the hands to be special and they are actually my wife Kathryn’s hands. As for female vocalists, it doesn’t get any better for me than early Diana Krall.
And what about your bold colors, how did you decide what to go with?
Michael Schwab: Not all jazz is blue and cool. This time, I wanted a color that complimented the other two posters and this bold orange red represents the hot side of jazz. The flat color tones make the images, which are already abstracted by the silhouette, seem mysterious, almost two-dimensional. I wanted all three to become a triptych and to work well together.
There is a romantic/nostalgic aspect to these images as well, harkening back to old woodcuts. I get that sense from their color, strong line and overall energy.
Michael Schwab: Several of my heroes were Japanese woodcut and old European poster artists——Henri de Toulouse-Lautrec and A.M. Cassandre, from France, and Ludwig Holwein, from Germany, and the Beggarstaff Brothers from England. There’s a lot of graceful movement as well as drama in those works. I was never very painterly in my style. I enjoy working with big bold shapes and challenge myself to get a message across using as few shapes and colors as possible. I’ll keep working with the colors, combining them and fine-tuning, until they’re right to me. Then, it’s a matter of getting the image and text to work together effectively. I really enjoy these jazz posters because I can get very dramatic with them. Speaking of old-school, I begin each project with a pencil and paper and use a Rapidograph pen and ink to create the line work. In the end, tough, it becomes a digital file so I’m speaking the same language as everyone else.
What’s the first poster you made and what are a few of your personal favorites?
Michael Schwab: My first professional poster was for Levi’s, back in 1975, for creative director, Chris Blum. I’ve been a graphic artist now for almost 40 years and I’ve had a few home runs. The images for the Golden Gate Parks and Amtrak are favorites. I feel very good about some of the logos—the Robert Mondavi corporate logo, Pebble Beach, David Sedaris. I love all of the Fillmore Jazz and San Francisco Opera posters. Frankly, my current favorite is always the one I’m working on, it becomes my child.
What are you working on now?
Michael Schwab: I just finished the logo design for the San Francisco Bay Area Super Bowl 50 Host Committee for 2016. It’s a gold seal design—a silhouette of a football and the Golden Gate Bridge.
Michael Schwab’s current Fillmore jazz poster can be purchased at the festival. His posters for the 2006 and 2010 festivals are available at www.michaelschwab.com.
The 30th Fillmore Jazz Festival is Saturday, July 5 and Sunday, July 6th, 10AM to 5PM on San Francisco’s historic Fillmore Street between Jackson and Eddy Streets. This year’s theme is “Celebrating Women of Jazz & Beyond.” For information about the line-up, which unfolds on three separate stages, click here. A more expansive version of this interview with Michael Schwab appears on the Fillmore Jazz website.
Soulful, spirited, political—the 17th Sonoma International Film Festival has a line-up of stories from around the world with an emphasis on Cuban film—it kicks off tonight
ARThound loves a great film, one whose story speaks right to my heart. This year’s 17th Sonoma International Film Festival (SIFF), which kicks off tonight, features over 115 hand-selected films from 22 countries—features, documentaries, world cinema, and shorts. Two hundred filmmakers and celebrities will attend and participate in premieres, Q&A’s and panel discussions spread over five glorious days in Sonoma. The festival is also one long party, offering pass holders world-class cuisine from local artisans and exceptional wine from Sonoma vintners in “The Backlot,” SIFF’s culinary hub, a one-of-a-kind hospitality tent on the North side of Sonoma’s City Hall. Whether you’re a passholder or come for individual film screenings, this festival has a to offer. It all starts this evening with an opening night party, two opening night films and an after party. If you’ve missed my previous coverage of the festival basics and Big Nights, here are the links explaining all about the passes vs going solo—
ARThound’s top picks in the World Cinema category:
In choosing these must-see films, I’m looking for something that I won’t be able to see elsewhere, countries that are less represented/new directors generating a buzz, a unique story with an international point of view, and the promise of cinematic magic. SIFF doesn’t provide critics with screeners, so putting this information together requires lots of research and some guesswork. Given the ascendency of Latin cinema, I recommend attending as much as you can of this year’s Vamos Al Cine programming. This wonderful series, initiated three years ago by Claudia Mendoza-Carruth, began as programming for the Spanish speaking community but has morphed into one of the festival’s biggest draws. This year, it offers 10 films, emphasizing distinctive new voices from Columbia (2), Cuba (4), Dominican Republic (1), Mexico (2) and Venezuela (1). There’s an emphasis on Cuban cinema with 4 Cuban films and several Cuban directors and actors in attendance.
Everything is Fine Here— Iran | 2012 | 75 min. | Dir. Pourya Avarbaiyany (in attendance)
On the verge of her marriage, Arghavan a 25 year old writer who is newly engaged and acclaimed, with an invitation to lead a prestigious writing workshop in Germany, is gang-raped in a deserted area of Tehran. In a strict, conservative society where young women are expected to be virgins before marriage, the crime is that of her assailants but the catastrophe is hers. Overwhelmed by rumors, her life turns into a nightmare and her pending marriage and her relationship with her parents are threatened. The film addresses Iran’s perplexing state of gender inequality and the battle of the individual in a discriminatory society to cope when a tragedy occurs. In 2011 in Iran, there were reports from Human Right Agencies chronicling 6 brutal rapes of Iranian women and in some of these cases, Iranian officials blamed the victims. Iran’s women face a host of laws which limit their rights in marriage, divorce and child custody. In some cases, their testimony in court is regarded as less than half that of a man’s. This young director is from Tehran. I can’t wait to hear how he managed to make a film like this. Screens: Thursday, April 3 (12:15 pm) Vintage House and Friday, April 4 (9:30 pm) Murphy’s Irish Pub
Melaza—Cuba | 2012 | 80 min. | Dir. Carlos Lechuga (in attendance)—With the closure of its local sugar mill, the picturesque (fictional) Cuban town of Melaza has become desolate and lifeless. School teacher Aldo (Armando Miguel Gómez) and now-unemployed Monica (Yuliet Cruz) eke out a meager living, going as far as renting out their tiny home to the local prostitute for extra cash. When they get in trouble with the authorities, resulting fines lead to more desperate measures. This beautifully filmed, contemplative first feature explores the social crisis in the Cuban sugar factory neighborhoods following the dismantling of many production units. It poses the question of how to survive in a country in crisis.
This is Lechuga’s first feature film. Director’s statement: “While the post-production process went on, I began to realize that a love story was being told that in the end left an optimistic taste, but which, like molasses (melaza), hides certain bitterness. The bitterness of a tragedy set up in the Tropics, with a brilliant sun, green sugarcane and lovers holding each other’s hands, awaiting the worse.” Screens: Thursday, April 3 (8:45 pm) Murphy’s Irish Pub and Saturday, April 5 (7:15 pm) La Luz Center
Chronic Love (Amor Crónico)—Cuba | 2012 | 83 min. | Dir. Jorge Perugorria (in attendance)—This exhilarating and energetic blend of fact and fiction follows flamboyant Cuban-born/New York-based singer and Grammy nominee Cucú Diamantes on her first tour of Cuba. This unique road film interweaves footage of her cabaret-style performances with a fictional love story. A love letter to Cuban cinema, to Cuban music and to its people. Directed by Cuban actor and visual artist Jorge Perugorría (famous for his part as Diego in Tomás Gutiérrez Alea’s fresa y chocolate (Strawberry and Chocolate), 1994). Screens: Friday, April 4 (8:00 pm) Sebastani Theater and Saturday, April 5 (5:00 pm) La Luz Center
The Butterfly’s Dream (Kelebeğin Rüyası)—Turkey | 138 min. | 2013 | Dir. Yilmaz Erdogan—Turkey’s submission for Best foreign Language Oscar which had a long gestation period—seven years of screen-writing and two years in pre-production. Set during World War II in impoverished Zonguldak, Turkey, the film is the real life story of the bond between two young poets long forgotten by history—Muzaffer (Kivanç Tatlitug), the optimist romantic, and Rüştü (Mert Firat) the pessimist dreamer—whose brotherly camaraderie is based upon their shared loved for the written word and their mutual misfortune. Forced to work in the coal mines, they both contract tuberculosis and fall in love with the same woman, an aristocrat’s daughter, played by star Belçim Bilgin, who is also Erdogan’s wife. The title is from an ancient passage by Chinese thinker Chuang Tzu, in which he pondered his dream of being a butterfly. Erdoğan’s gorgeously-shot film addresses the nature of reality and the power of artistic practice to mitigate hardship. Screens: Saturday, April 5 (3:15 pm) Burlingame Hall and Sunday, April 6 (10:00 am) Murphy’s Irish Pub
Field of Amapolas (Jardín de Amapolas)— Colombia | 87 min. | Dir. Juan Carlos Melo Guevara— Filmed very close to director Juan Carlos Melo Guevara’s hometown of Ipiales in the Nariño region of Colombia, this is the first feature film to ever be shot in the area. When accused of collaborating with the enemy in the ongoing guerilla war in Colombia, farmer Emilio, along with his nine-year- old son Simon, is forced by rebels to vacate his piece of land. After relocating with the help of a relative, Emilio and his son face such an economic struggle that Emilio to takes work in the illegal poppy (Amapolas) fields belonging to a local drug lord, who happens to be his cousin. Meanwhile, Simon meets and befriends Luisa, a girl his own age. She is obsessed with playing with a puppy dog she can’t afford. Simon steals it for her every day, but returns it each night. One day, the cousin discovers Simon’s secret and decides to use him for his own greedy plan.
This is Guevara’s first feature as director, screenwriter and producer. Director’s statement: “The idea was not only make a portrayal unique to the film history of Colombia, but to make a story through the point of view of two kids who can only see their reality with innocence, without speeches or academic criticism; that’s why this is not a film about war, on the contrary, the war is only a stage where life, dreams, and hopes can continue.”Screens: Sunday, April 6 (11:00 am) La Luz Center
Half of a Yellow Sun Nigeria | 2013 | 113 min. | Dir. Biye Bandele—For the first time, SIFF17 welcomes a film from Nigeria, first time writer-director Biyi Bandele’s acclaimed Half of a Yellow Sun, an adaptation of Chimamanda Ngozi Adichie’s bestselling novel of the same name.
This epic chronicle of family drama and tribal violence begins in 1960 and leads up to the Nigerian-Biafran War which ended in 1970. The film tracks war through the story of headstrong twin sisters Olanna (Thandie Newton—Crash, The Pursuit of Happiness) and Kainene (Anika Noni Rose), privileged girls from Lagos, who return home after their respective university educations abroad. Both make similarly scandalous decisions. Olanna defies familial expectations and convention not only by becoming a sociology professor herself, but also by moving in with firebrand academic Odenigbo (Chiwetel Ejiofor—12 Years A Slave, Children of Men) in the college town of Nsukka. Kainene assumes management of the family business and falls in love with an English – and married – writer (Joseph Mawle). The loyalties of the sisters are tested amidst the horrors of the Nigerian Civil War, and the rise and fall of short-lived republic of Biafra. The main focus is on the Olanna and Odenigbo whose passion is ignited over political protest but things get rocky when Odenigbo’s battle-ax mother (Onyeka Onwenu) comes to visit. An uneducated village woman with a mean and scheming personality, Mama is determined to split up the lovebirds up any way she can, and nearly succeeds.Rich in period atmosphere, evoking a strong sense of how these Nigerians lived their lives day-to-day, and how devastated they are when war and all its atrocities rip that fabric apart. Screens: Friday, April 4 (11:00 am) Murphy’s Irish Pub and Sunday, April 6 (2:30 pm) Vintage House
The 17th Sonoma International Film Festival is April 2-6, 2014. All films are screened in seven intimate venues, all within walking distance along Sonoma’s historic plaza
Click here to purchase all SIFF passes.
Click here for more information, or call 707 933-2600
Jazz at Lincoln Center Orchestra with Wynton Marsalis at Green Music Center this Thursday, March 21, 2013
Winner of nine Grammy Awards for both jazz and classical records, the virtuoso trumpet player and composer Wynton Marsalis is the world’s first jazz artist to perform and compose across the full jazz spectrum, from New Orleans and bebop to modern jazz. In 2011, Marsalis stepped in as artistic director of the Jazz at Lincoln Center Orchestra and his impact has been nothing short of monumental in both the creative and management realms. Drawing from an extensive repertoire that includes original compositions by Mr. Marsalis, Ted Nash, and other members of the orchestra, as well as the masterworks of Ellington, Mingus, Coltrane, and other great jazz composers, the Jazz at Lincoln Center Orchestra with Wynton Marsalis concerts are internationally critically acclaimed. Marsalis and the orchestra, composed of many of the finest jazz soloists and ensemble players today, will play at the Green Music Center’s Weill Hall this Thursday, March 21, 2013, at 8 p.m. The concert has been sold-out since last spring, when tickets first went on sale for GMS’s inaugural season.
Prelude Restaurant Pre-concert dinner: Taste of New Orleans: An exclusive pre-concert event featuring true New Orleans-style cuisine, bluesy-jazz music, and the best wine and beer Sonoma County has to offer will be held from 6pm – 8pm (concert begins at 8pm) this Thursday at Prelude Restaurant at the Green Music Center. Price $375 / person, including concert seating. This is one way to get tickets. Contact: Caroline Ammann at 707-664-3517 or email email@example.com by Thursday evening
Wynton Marsalis & Jazz at Lincoln Center Orchestra perform Wigwam at the XIV Festival Internacional de Jazz San Javier in 2011—
In 1997, David Frost interviewed Wynton Marsalis at his home and they discussed jazz, music and culture in general. Marsalis, then 36, had already won a Pulitzer and several Grammy Awards and comes across as thoughftul and wise beyond his years. What a wodnerful ambassador for jazz—
In 1983, Wynton marsalis won Granny Awards in both the Jazz and Classical recordings, and did this agian in 1984. Here is his performance of selections from both genres in the 1983 national broadcast of the awards ceremony with John Denver hosting—
Details: Wynton Marsalis and the Jazz at Lincoln Center Orchestra perform Thursday, March 13, 2013 at 8 pm at Joan and Sanford I. Weill Hall, Green Music Center, Sonoma State University, Rohnert Park. The concert is SOLD OUT. Check for last minute returns at the Box Office in person, starting 1 hour before the performance or phone the Box Office at 7 p.m. at (866) 955-6040 to inquire about returns. The Box Office closes at 4:30 p.m. but re-opens one hour before the performance.
Parking: As you enter the Sonoma State University campus from the Rohnert Park Expressway, there are multiple parking lots immediately to your right. Parking Lots L, M, N and O are available for parking for GMC performances. Parking is included in your ticket purchase – no stub or receipt is needed to park.