review: Romeo and Juliet, the rush of new love with a short shelf life, at SF Opera

Charismatic tenor Pene Pati/Romeo is believably engulfed in the passion of true love in San Francisco Opera’s new production of Gounod’s “Romeo and Juliet,” last performed at SFO 32 years ago. Photo: Cory Weaver/SFO
No matter how familiar the plot, most of us are suckers for a passionate love story; there’s none more enthralling than Shakespeare’s “Romeo and Juliet.” As a live performance, though, it only clicks when the onstage chemistry is so electric that you find yourself seduced and falling in love with love. San Francisco Opera’s 97th season opener, “Romeo and Juliet,” Charles Gounod’s musical adaptation of Shakespeare’s classic sucks you in hook, line, and sinker. The intense longing, desire, and attraction of new love come alive again briefly for Romeo and Juliet, until it all tragically unravels.
The production clicks on so many levels—the gorgeous singing of leads Nadine Sierra and Pene Pati, their supporting cast, and the SFO Chorus; guest conductor Yves Abel’s and SFO Orchestra’s fluid interpretation of Gounod’s lyrical score. And a last minute twist that provided the thrilling suspense that makes opera, well, operatic.

Pene Pati and Nadine Sierra disappear into their characters and feed off of each other in four impassioned and lyrical duets that anchor Gounod’s “Romeo and Juliet.” Photo: Cory Weaver/SFO
Just three days before the season’s opening gala performance on Sept 6, Romeo, tenor Bryan Hymel, withdrew from the entire production citing personal reasons. New Zealand tenor Pene Pati, stepped up to sing the entire run. Pati, a former Adler, who sang the Duke of Mantua in Verdi’s “Rigloetto” in 2017, was already booked to sing Romeo in the last of the opera’s seven scheduled performances. His debut under pressure was splendid. In his second performance as Romeo, on Sept 13, Pati’s charisma was palpable, magical. He sang with such lyricism, passion and seemingly effortless precision that, even in the most challenging arias, he came off like a Ferrari that had just given everyone in attendance the ride of their life. The love-at-first-sight scene with Julia at the Capulet ball, was something to behold as soprano Nadine Sierra, in her role debut, first encountered her Romeo. For anyone living the daily grind of a romantic relationship, the interaction between these two was food for the soul.
Pati may be new to the role at SFO but he’s had years to reflect on it. In 2014, he beat out a remarkable 304 singers to win the Montserrat Caballé International Singing Competition in Zaragosa with his interpretation of the Romeo’s Act II taxing aria “Ah, lève-toi, soleil.” Last Friday, the tenor imbued the seven minute aria with such emotion, and then ended on what seemed like an impossibly-long extended note, that the audience was enraptured.
As Juliet, Nadine Sierra gave a sublime performance that was at times joyfully playful and, by turns, tender, passionate and heart-wrenching, always convincing and never over the top. Her Act I “Je veux vivre dans le rêve” (Juliet’s Waltz), where she expresses the desire to live inside her cozy dreamworld, where it is eternally spring, was radiant, light, and showcased her exceptional range.
Following in the steps of Ruth Ann Swenson, 32 years ago, Sierra is now the second artist in SFO history to sing Act IV’s notoriously daunting potion aria, “Amour ranime courage,” which contains two high C’s and and relentless vocal gymnastics. Those of us lucky enough to have followed Sierra’s rise through the ranks of the Merola and Adler programs will never forget how she beamed after slaying this wicked aria in 2012 for the Adler “The Future is Now” concert. Last Friday, she was in complete control of the aria from start to finish, delivering an astonishing array of glittering sound while enacting a roller-coaster of emotion that ends with her drinking the potion that will feign her death.

Mezzo soprano Stephanie Lauricella as in her SFO debut as Stéphano, Romeo’s male page. Photo: Cory Weaver
Among secondary roles, mezzo Stephanie Lauricella distinguished herself in her SFO debut as Stéphano, Romeo’s male page. Following her magical Act III aria, “Que fais-tu, blanche tourterelle?,” several in the audience rose to their feet. Baritone Lucas Meachem, another former Adler, impressed as Mercutio, Romeo’s friend from his first solo aria in Act I, “Mab, la reine des mensonges”.
Canadian conductor Yves Abel’s sensitive command over the SFO orchestra grew more impressive as the evening progressed. While hailed as Gounod’s most impressive opera, the score’s prelude and first act did not impress and the first 30 or so minutes were carried by the singing.
Dull staging is the thing that most often drags SFO operas down, contributing a stolid feel to productions that soar in other regards. Jean-Louis Grinda’s staging and Eric Chevalier’s Renaissance-era Verona set designs, a collaboration between Opéra de Monte-Carlo and Teatro Carlo Felice, were uninspired. Much of the action took place on an unattractive round starburst patterned concave platform that was surrounded by architectural details varying over the course of the opera. The audience was made to wait out several long scene changes which broke up the continuity of the drama and, when the curtain rose, nothing of high visual interest awaited.
Carola Volles’ costumes were hit and miss. Those of plush jewel-toned velvet added sumptuousness and vibrancy to the dull set, particularly in the masked ball, but gowns with more color and pizazz would have better showcased Juliet.
In the end, Pati and Sierra claimed the night…unstoppable in love and death.
Details: There are four remaining performances of Romeo and Juliet: Sat, 9/21 at 7:30 pm; Tues, 9/24 at 7:30 pm; Sun, 9/29 at 2 pm and Tues 10/1 at 7:30 pm. Run Time: 2 hours and 56 min, with one intermission. Tickets: Remaining performances are selling out; purchase online https://sfopera.com/2019-20-season/romeo-juliet/
Traffic alert: If you are driving in from the North Bay, allow at least 45 min travel/parking time from the Golden Gate Bridge to War Memorial Opera House. For a list of parking garages closest to the opera house, visit https://sfopera.com/plan-your-visit/directions-and-parking/
Maiden Yacht and its all female crew in SF now; free boat tours and talk Saturday, August 24

On Thursday, at the St. Francis Yacht Club, Angela Health stepped onto the Maiden yacht for the first time in 30 years. “Sitting up in the bough, it was like meditating. I felt all the memories rushing back. I can’t remember the bad bits; I remember it as all good.” Heath was part of the original all-women crew that raced the Maiden in the elite and grueling Whitbread Round the World race in 1989-90. Under the leadership of skipper Tracy Edwards MBE, the women persevered through relentless obstacles, defied stereotypes and made headlines all across the world. The Maiden has been entirely refurbished and, with a new all female crew, has embarked on the Maiden Project, a world tour to raise awareness for girls’ education globally. You can hear Heath’s story on Saturday when she speaks at San Francisco’s South Beach Yacht Club. Photo: Geneva Anderson
If you haven’t yet seen Alex Holmes’ new documentary Maiden, which is screening all over the Bay Area, it’s high time to experience the extraordinary journey of world’s first all female crew to enter the Whitbread yacht race in 1989. The film already has an Oscar nod and focuses on young Tracy Edwards MBE and her relentless quest to sail around the world in the face of seemingly insurmountable obstacles and prejudice. At the time of the race, women constituted just 3% of yacht crews; the sailing world was highly sexist. Edwards, enamored with sailing and very good at it, was undeterred and started out as a lowly cook in her first Whitbread race in 1985-86. After that stint ended, she set out to put together an all-woman team of her own and, as skipper, race around the world on her terms. With pure grit, she battled to find sponsorship and mortgaged herself to the hilt to buy a dilapidated fixer-up boat and get it in sailing shape; she put together a crew and entered the Whitbread. She kept her team together through 167 intense days at sea, won two legs of the race and proved throngs of chauvinistic naysayers dead wrong. Watching these heroic and highly-skilled women put everything on the line…and succeed… is an adrenaline rush that lasts for days, inspiring deep thinking about finding purpose in life. Aside from shots of men eating crow, some of the best footage is archival and it comes from Jo Gooding, the Maiden’s cook and Tracy Edward’s childhood friend, who manages to shoot steadily even when a life-threatening hole opens up in the boat’s hull.
Great news! The same Maiden yacht that Edwards skippered to Whitbread fame 30 years ago is in San Francisco through August 30 at the St. Francis Yacht Club as part of its new project, The Maiden Factor. The yacht has been entirely refurbished and has a new crew skippered by Australian sailor Wendy Tuck. With her spectacular victory in the 2018 Clipper Race, Tuck became the first female skipper to win a round-the-world yacht race and is a fitting ambassador for Maiden’s new mission. Operating under the Maiden Factor Foundation, the yacht and her crew are raising awareness and funding for girls’ educational organizations by circumnavigating the globe on a two and a half year worldwide tour that covers over 60,000 nautical miles and visits 30 far flung locales.

Maiden crew at the St. Francis Yacht Club, from L to R: Courtney Koos (USA, permanent crew), Angela Heath (UK, original Maiden crew), Matilda Ajanko (Finland, permanent crew), skipper Wendy Tuck (Australia, guest skipper), Amalia Infante (Spain, permanent crew). Photo: Geneva Anderson
Maiden left the UK in November 2018 and, so far, has stopped over in Fremantle, Sydney, Auckland, Honolulu, Vancouver, Seattle, and San Francisco. On August 30, it departs for Los Angeles and then on to Valparaiso and Uruguay via Cape Horn.

The Maiden and its all female crew as they competed in the Whitbread Round the World yachting race in 1989-90. The 32,000 nautical mile race entailed 167 days at sea with a course that went from England to Uruguay to Australia to New Zealand and back, with a stop in the US. Photo: courtesy Sony Pictures Classics
Details: Maiden is in San Francisco August 19-30, 2019
Saturday, August 24, 11am to 3 pm, open boat tour of the restored Maiden at St. Francis Yacht Club, West Harbor G17 (a few feet from the Yacht Club building), San Francisco. Free parking.
Saturday, August 24, 6-7:30 pm: South Beach Yacht Club (near Oracle Park/Pier 40) Original Maiden crew member Angela Heath and present day skipper, Wendy Tuck, will speak about the Maiden Factor. No host bar/cash only/ Happy Hour Cocktails 4-6 pm with a la carte menu available for dinner afterwards.
FILM: Maiden, released June 28, is playing throughout the Bay Area. See the trailer here.
The SF Jewish Film Festival moves to the Smith Rafael Film Center on Friday—beautiful, small, dramatic stories

Internationally acclaimed writer-director, and two-time Israeli Ophir Award winner Dani Menkin will be in attendance at SFJFF39 in San Rafael Sunday afternoon for an audience Q & A for his new documentary, Picture of His Life (2019), which he co-directed with Yonatan Nir. The film follows Amos Nachoum, the world-renowned underwater still photographer as attempts to fulfill the most challenging shoot of his 35-year-long career—to photograph a polar bear underwater, while swimming alongside it. Throughout his career, Nachoum has taken huge risks to get the images that no one else in the world has been able to capture. The creation of this exciting and gorgeously shot documentary required a skill set that carries its own thrilling story. Image: courtesy PRX, San Francisco
The 39th San Francisco Jewish Film Festival (SFJFF) comes to the Christopher B. Smith Rafael Film Center Friday through Sunday (Aug 2-4) with 15 of its most popular films from its 10-day run at the Castro Theater in July. With just four of the 15 films from the US, this mini-fest features a wide slate of stories from Austria, Belgium, France, Germany, Israel, Mexico, Poland, Russia, and the UK. What’s Jewish about the programming can be quite nuanced: the festival has been designed to appeal to a wide range of interests and diverse identities.
The mini-fest kicks off Friday afternoon with two films that have screened in the Bay Area before but are well worth seeing if you missed them: James Freedman’s documentary, Carl Laemmle (2018), which tells the extraordinary story of the German-Jewish immigrant who practically invented the movie business by starting Universal Pictures in 1912 and then went to rescue over 300 Jewish refugee families from the Holocaust and Alamork Davidian’s Fig Tree (2018), a sensitive first feature told through the eyes of a 16-year-old Ethiopian Jewish teenager in the throws of the Ethiopia’s 1989 Civil War who is offered safe immigration to Israel but becomes frantic with worry over those she will leave behind.
Below are my recommendations for films that have something special:
Dolce Fine Giornata (Friday, 6:20 pm)

Kasia Smutniak, Antonio Catania and Krystyna Janda in a still from Jacek Borcuch’s Dolce Fine Giornata (2019). Image: courtesy SFJFF
This Polish film about expats living in Italy hits several of our hot-topic buttons—immigration, terrorism, nationalism—and it’s set in gorgeous Tuscany. It offers a complex and very stimulating moral drama that features Polish film star Krystyna Janda in a role that earned her a Special Jury Award for Acting at Sundance. She plays Maria Linda, a Polish Nobel Laureate poet who is living la dolce vita in Tuscany with her Italian husband, Antonio, and her single daughter and two grand-kids. She is also involved with Nazeer, a young Egyptian émigré who runs a taverna in town. Everything comes crashing down when Maria accepts an award and gives a speech with some ill-thought out inflammatory words that seem to suggest she’s endorsing a recent terrorist act as a form of artistic expression. As her words go viral, Maria refuses to fully explain herself and the backlash escalates, implicating those she cares about most. (Poland, 2019, 96 min, in Italian w/ English subtitles) Screens: Friday, 6:20 pm
Standing Up, Falling Down (Saturday, 4:05 pm)

Ben Schwartz and Billy Crystal in a still from Matt Ratner’s feature debut Standing Up, Falling Down (2019), which has is West Coast debut at SFJFF 39. Image: courtesy SFJFF
When stand-up comedian Scott (Ben Schwartz) strikes out in the Los Angeles comedy scene, the affable millennial is forced to return with his tail between his legs to his parents’ home on Long Island. Everyone in his circle has moved on to adult life and he keeps running into Becky, the girlfriend he ditched when he left for the West Coast who is now married. Confronted with with the prospect of finding a real job, aimless Scott hits the local bars and makes a connection with Marty (Billy Crystal) a dermatologist and alcoholic who is in a rut of his own making. The two manage to forge a supportive friendship that provides the platform for moments of brilliant interaction between the two and for Crystal’s magnetic genius to shine. (USA, 2019, 91minutes, English)
Picture of His Life (Sunday 4:15pm)

Underwater photographer Amos Nachoum in a still from Picture of His Life (2019). Image: courtesy SFJFF
Everyone processes their inner demons in different ways. The world’s most renowned underwater photographer, Amos Nachoum, swims with crocodiles, leopard seals, killer whales, anacondas and great whites to snap some of the most breathtaking close-up photos of these creatures in existence. With a thrilling documentary that was 10 years in the making, Israeli documentarians Yonatan Nir and Dani Menkin, follow Nachoum, 65, on a treacherous expedition to Baker Lake in the Canadian Arctic where, working with local Inuits, he attempts to fulfill his final photographic dream—to photograph a polar bear underwater, while swimming alongside it. As the journey unfolds, so does Nachoum’s intimate and painful story of dedication, sacrifice and personal redemption. In addition to the breathtaking journey North, testimonies of famous scuba divers and wildlife experts are set against iconic images of sea creatures that Amos created throughout his career. Director Dani Menkin in person for a Q&A. (Israel, 2019, 75 minutes, in Hebrew w/ English subtitles)
Leona (Sunday, 8:35 pm)

Naian González Norvind and Christian Vazquez in a scene from Isaac Cherem’s Leona (2018). Photo: courtesy SFJFF
Spanish director Isaac Cherem’s debut feature Leona has its Northern CA premiere at SFJFF. Naian González Norvind co-wrote the film and picked up the Best Actress award at the Morelia International Film festival for her performance as Ariela, a 25 year-old Syrian Jewish street artist from Mexico City who is striving to lead the expressive and free-spirited life of an artist in a conservative and somewhat closed community. Facing pressure to find a suitable life partner, sparks fly when she meets Ivan, a non-Jewish writer. The decision to follow her heart will come with a price and Ariela is confronted throughout with the demands of growing up and asserting her own identity. Norvind delivers a triumphant performance that is in perfect sync with the film’s title “Leona,” the Spanish word for lioness. (Mexico, 2018, 94 minutes, Spanish w/ English subtitles)
Details: The 39th San Francisco Jewish Film Festival’s Marin segment is Friday, August 2- Sunday, August 4, 2019. 14 films, each screening once, with 4 to 5 screenings daily. Tickets: $15 (General Admission), $14 (students and seniors with ID), $12 JFI (Jewish Film Institute) members (JFI membership info here.) Purchase tickets in advance at jfi.org/sfjff-2019 or day of the show at the Smith Rafael.
Marin Passes: Marin Passes ($100 JFI members / $125 general public) available online here.
Meet Drogen, the unflappable equine star of SF Opera’s “Carmen”—he’s from Penngrove and is a rare Gyspy Vanner

Drogen, a 13 year-old Gypsy Vanner gelding owned by Eugene Power, of Novato, and boarded at Caryn and Howard Hoeflein’s Sky High Ranch in Penngrove. Drogen steals the show in Carmen, which opened SF Opera’s summer season on June 5 and runs through June 29. Photo: Hannah Beebe
There’s nothing like an extra-large, adorable animal on stage to get an audience oohing and ahhing and that’s exactly how Drogen, a 13-year-old horse from Penngrove, has become the most talked about star of SF Opera’s Carmen. Of course, the singers are wonderful and Bizet’s familiar music is as enthralling as ever but the chatter has been all about the bullfighter Escamillo’s horse, which bass baritone Kyle Ketelsen rides on stage for his rousing Act II Toreador aria, “Votre toast, je peux vous le rendre.” Drogen makes another brief appearance in Act IV, the final moments of the opera, when he dramatically carries in the heroine Carmen, soprano J’Nai Bridges, and she dismounts into Escamillo’s arms.
I was delighted to learn that Drogen is stabled in Penngrove, at Sky High Ranch, just a few miles from my country home. His handler, Caryn Hoeflein of Sky High Ranch, appears on stage as an extra in the opera and works with Drogen to ensure all goes as planned for his two stage appearances.
Drogen is a 13-year old Gypsy Vanner—a rare and gorgeous breed of draft horse first bred in Europe to pull Romani (gypsy) caravans in the UK, and introduced into the US by an enamored Florida couple, Dennis and Cindy Thompson, in 1996. Gypsy Vanners are captivating in motion because of their flowing feathers, the thick, long silky hair that starts at roughly the cannon bone of the leg and grows down and completely around the hoof. Gypsy Vanners have always been bred for temperament too, as they needed to be able to pull heavy wagons and work with a family. At nearly 16 hands high, Drogen is a very big boy in terms of the breed standard.
Drogen’s current owner, Eugene Power, of Novato, bought him as a private trail horse in the wake of the deadly fires last November in Paradise, CA. Drogen had spent ten years as the loving trail horse of a family that lost everything in the fires except their three horses. Exhausted and devastated by their loss, the owner and her daughter sold Drogen so that he could have the home and stability they could no longer provide. Caryn Hoeflein remembers the happy day last November when Drogen arrived at Sky High Ranch, “He became a part of our family too.” Hoeflein, who has ridden since she was a young girl, has encountered many rare horse breeds but Drogen is the first Gypsy Vanner she’s worked with.
When Hoeflein was first approached by Gary Sello of Indian Valley Carriage Company in Novato about providing a horse for SFO’s summer production of Carmen, her initial reaction was no. “I kind of laughed and thought no way. Generally, you don’t bring a horse into a building like that, through an elevator and up on stage with people singing, an orchestra, and a crowd…what goes through your head is everything that could go wrong.” Hoeflein mulled it over with Drogen’s owner, factoring in Drogen’s recent experience at Petaluma’s Butter & Egg Days Parade—a big, long, noisy parade with loudspeakers, kids, balloons and general chaos. “He really handled that very well, so I thought we’d give this a try. I’m really glad we did. It has been an absolute blast and everyone at the opera house has been bent over backwards to address my concerns and to make sure that Drogen is comfortable and happy.”
Before Drogen’s first visit to the opera house, Hoeflein had him fit with equine sneakers—think Sketchers…wide thick comfortable rubber shoes—so he wouldn’t slip on the painted plywood stage. Also, all the areas he walks on within the opera house were carpeted, which helps muffle the noise of him walking around backstage and helps with his sense of secure footing. His route was also outlined in white tape to ensure that, in low light, Hoeflein could find her way through the house.

Drogen’s handler Caryn Hoeflein, Sky High Ranch, Penngrove, makes two appearances with Drogen in Carmen. She’s a second-degree black belt in Taekwondo but uses a gentle approach with all the horses she works with. Prior to Carmen, Hoeflein had never attended an opera. Her husband and two boys, ages 10 and 13, attended both the final dress rehearsal and last Thursday’s performance and came away proud and loving opera. Photo: Caryn Hoeflein

Just like any other SF Opera artist, Drogen has an SFO ID badge and, when he enters the opera house; he stops for a security check. Photo: Caryn Hoeflein
Drogen’s introduction to the stage was a gradual build-up over several visits. At first, he went in and out of the opera house entrance. Then, he ventured further into the house, which entails going through another set of doors after the security desk and walking through a freight elevator to get backstage. Then, he was led onto the stage to get a good look around. He got used to the large crowd on stage and then they sang. Then, Escamillo mounted Drogen in the backstage area and Hoeflein led them both on stage for his aria, which is what really melts hearts in the audience. They were three or four practice runs in before they added the full orchestra, which turned out to be a non-issue for sweet Drogen. He seemed to find Bizet’s music soothing. Nonetheless, Drogen wears foam earplugs for every performance, which helps muffle the music and cheering. For the scene with Carmen, they did the same gradual build up with J’Nai Bridges.
Neither Kyle Ketelsen nor J’Nai Bridges had ridden much before and came up to Sky High Ranch to meet Drogen before the first performance. It was one of those unexpectedly stormy days we had this spring, so all the rehearsing, including Kyle singing, was done inside the barn. You can see that here.
Since most of Drogen’s performances are in the evenings, Caryn gives him a bath around 1 pm, shampooing his whole body, washing and conditioning his mane and tail and paying special attention to his feathers, which are “dirt magnets.” He is served a hearty lunch (a pelleted complete stable mix, which helps him keep his weight up) and eats al fresco, air drying in the sun. Hoeflein braids his mane and tail so that they are lush and wavy for his performance. For the ride down to SF, he wears a lightweight equine cotton sheet. They pack up and leave about 2.5 hours before the performance and their first entrance is about an hour into the show.
“I save his dinner (hay) for after we arrive so he has something to do while waiting,” says Hoeflein, who parks on the sidewalk of the opera house near the lawn area. She takes him out of the trailer upon arrival, gets him ready, and then loads him back in the trailer until about 10 min before he makes his stage appearance. “I leave him in the trailer while I go inside and get my chaps on. He’s very comfortable in his trailer and this keeps the crowd away. Everyone wants a photo and that can cause some anxiety.”

Caryn Hoeflein leads Drogen and Escamillo (bass baritone Kyle Ketelsen) on stage for Carmen’s Act II Toreador aria. Surrounded by a singing crowd, Drogen is every bit the pro. Photo: Cory Weaver

Drogen returns in Act IV. Hoeflein mounts in the parking lot, rides through several sets of doors and backstage and then moves Drogen over to a large set of stairs. J’Nai Bridges (Carmen) mounts bareback, sidesaddle style (with both legs on one side), and sits right behind Hoeflein. They have about 2 min before the signal to get on stage. Hoeflein rides Bridges out to front of the stage. While the chorus is singing, Bridges extends her arms and Escamillo helps her off Drogen. Hoeflein rides to an area in the back of the stage and waits for about 30 seconds while they do their scene and then rides Drogen backstage and they exit the opera house. Photo: Caryn Hoeflein
Drogen’s original owner attended last Friday’s performance, their first reunion since his sale. She loved the performance and Drogen received a special surprise—jolly rancher candies. “Putting him up for sale was so hard for her,” said Hoeflein, “but she is very happy that he has a wonderful home now and she feels she made the right choice.”
Prior to his appearances at SF Opera, Drogen led a quiet life. In fact, as a trail horse, all he had ever been asked to do was walk and trot; he rarely cantered. If there were ever an inspirational story about life as a senior, it’s his—Drogen has embraced life in the fast lane and the attention lavished on him on the SFO stage.
Details: There are 3 remaining performances of Carmen at SF Opera: Sun, 6/23 (2 pm); Wed, 6/26 (7:30 pm) and Sat, 6/29 (7:30 pm). Run time is 2 hours and 47 min. Tickets: www.sfopera.com, by phone at (415) 864-3330, or in person at the San Francisco Opera Box Office, 301 Van Ness Ave. Tickets are extremely limited and most performances are sold out.
Sky High Ranch’s Facebook page: click here.
MTT, SF Symphony, and Mahler’s 9th—Friday magic!

MTT (Michael Tilson Thomas) stepping up to the podium for his third of four ovations at Davies Hall last night for Mahler’s Symphony No. 9. San Francisco Symphony performs the Ninth two more times, on Saturday and Sunday, before MTT takes a leave of absence for heart surgery. Photo: Geneva Anderson
MTT delivered pure magic at Davies last night, directing San Francisco Symphony in a electrifying performance of Mahler’s Ninth Symphony, that drew four ovations from the audience. ARThound was lucky enough to have a seat in the front orchestra, third row, streaming the transcendent sound full on. The Ninth, Mahler’s landmark last symphony, is a 90-minute-long emotional voyage through the passing of time that was composed when Mahler himself was coping with a serious heart condition. He didn’t live long enough to ever rehearse or premiere it, passing in Vienna in May 1911 at age 50. Of course, times are different now. Two weeks ago, it was announced that MTT, 74, will take a leave of absence from June 17 through September 3 to have (unspecified) cardiac surgery in Cleveland for a chronic condition and to rest up before embarking on his 25th season with SFS. This will be his final season before turning over the reins to Esa-Pekka Salonen.
MTT has often said that the whole purpose of his music-making is passing things on. In January 1974, he made his conducting debut with SFS with Mahler’s Ninth. Under MTT, SF Symphony has won seven Grammy Awards for its recordings of Mahler Symphonies 3,6,7,8, and 10. Last night, he looked weary but connected deeply with his orchestra, often guiding them with ever slight gestures such as the wriggling of a finger and they responded with a performance that we felt in our hearts and bones. Good luck MTT!
Details: SF Symphony performs Mahler’s Ninth on Saturday, June 15, at 8pm and Sunday, June 16, at 2pm. For tickets and more information, click here.
Adoptees piece together Korean identities that bind them to a homeland they never knew: Deann Borshay Liem’s “Geographies of Kinship” has its world premiere Sunday at CAAMFest 2019

Emmy-winning Bay Area filmmaker Deann Borshay Liem (L) and subject Estelle Cooke-Sampson (R), a retired general and state surgeon for the District of Columbia National Guard, at Cooke-Sampson’s home in the Woodley Park neighborhood of Washington, D.C.. Liem’s new documentary, “Geographies of Kinship,” (2019) has its world premiere at CAAMFest 2019 and is the festival’s closing night film. Cooke-Sampson was adopted from a Korean orphanage at age 6 and raised in the U.S. She is one of over 200,000 South Korean children adopted from Korea in the aftermath of the Korean War (1950-53) and part of a much smaller pool of mixed-race children whose parentage was a source of stigma in Korea. After years of searching, Cooke-Sampson found a picture of herself as a child in a Korean orphanage, but she still knows little about her birth parents except that her birth father was most likely an African-American soldier. Liem, Cooke-Sampson, and subject adoptee-activist Kim Stoker will be in attendance. Image: Allison Shelley, courtesy of CAAMFest
Bay Area filmmaker Deann Borshay Liem’s new documentary Geographies of Kinship aptly has its world premiere this Sunday (May 19) at CAAMFest 2019, the annual festival that showcases Asian American filmmakers and artists and Asian stories from all over the globe. Borshay Liem is an ARThound favorite. I’ve written about her award-winning adoption documentaries “In the Matter of Cha Jung Hee” (2010) and First Person Plural (2000), both of which explored her own adoption story and the reconciling of her Korean and American identities. She has a remarkable gift for weaving together personal stories to create a living tapestry of collective history and, through her films, she has brought crucial awareness of the tensions within many Korean adoptees over their experiences.
Geographies of Kinship explores yet another facet of Korean adoption. Borshay Liem tracks four adult adoptees who were raised in foreign families as they return to South Korea to reclaim their personal histories and make sense of the complex trajectories of their lives. The stories are all immensely captivating, revealing the lifelong emotional struggles that many adoptees (Korean or not) face around identity and the struggles that are unique to trans-racial adoptees. She employs riveting images—black and white newsreel clips, U.S. military footage, archival photos, propaganda posters—to frame the complex political, social and historical forces that set the post-war Korean adoption machine in motion and its messy aftermath. Stay tuned to ARThound: I interviewed Liem last week and will be posting the interview shortly.
Details: Geographies of Kinship (80 min) screens twice at CAAMFest 2019— Sunday, May 19, 2019, 7:30 and 9:30 p.m., Roxie Theater, 3117 16th Street, San Francisco. Expected guests: Deann Borshay Liem (Director), Estelle Cooke-Sampson (Subject) and Kim Stoker (Subject). Purchase $20 tickets direct from CAAMFest here.
SFFilm Festival 2019—here are the films to see this weekend

All the way from Kenya! Emmy and Peabody winning filmmakers Mark Deeble and Victoria Stone will be at the San Francisco’s Castro Theater in conversation for Saturday’s screening of their stirring new documentary, The Elephant Queen. The film follows the impact of drought on Athena, a 50-year-old giant husker elephant matriarch and her youngsters who are forced to undertake a perilous migration across the savanna to ensure their survival. No ordinary nature film, this was four years in the making. Deeble’s intimate cinematography shines a light on the refined intelligence and distinct personalities of these unforgettable animals as well as the interrelationships of various species they co-exist with. Narrated by Chiwetel Ejiofor with extraordinary shots of the elephants and their animal world, this film will resonate on the big screen with a huge audience and engaging conversation about the chain of survival. Photo: Deeble & Stone Productions
SFFilm Festival 2019 has been off and running since April 10. This extraordinary showcase for cinema, now in its 62nd edition, just keeps getting better and better. One has to wonder why it’s had such a difficult time with leadership—the latest debacle is the April 1 announcement of executive director Noah Cowan’s resignation after just five years at the helm. Cowan rebranded the festival from the San Francisco International Film Festival to SFFilm Festival and, under his tenure, festival attendance has grown each year for the past three years according to festival sources. This year’s festival seems to be running quite smoothly, presenting 163 films and live events from 52 countries in 36 languages with over 200 filmmakers in attendance. As the festival enters its final weekend, there are plenty of great films to be seen. Here are ARThound’s recommendations:
Friday/Berkeley: Walking on Water

A still from Andrey Panouov’s documentary, Walking on Water of famed installation artist, Christo, at the summer 2016 press opening of his and Jeanne-Claude’s “Floating Piers” project at Italy’s Lake Iseo. Christo’s first large-scale project since “The Gates” in New York’s Central Park (2005). Image: SFFilm
There’s something about Christo and his unflinching passion, brilliant wit and stubbornness that has enthralled the world for decades, making any film about this intriguing artist a must-see. Bulgarian filmmaker Andrey Paounov’s The Floating Piers (2018) chronicles the evolution and realization of Christo and the late Jeanne Claude’s 2016 site-specific work, The Floating Piers, which created a golden path that stretched for two miles across northern Italy’s rustic Lake Iseo. The idea: let people experience walking on water. Designed as a gently undulating walkable surface, the artwork was an international sensation. First conceived of in the 1970’s, the highly-engineered project ultimately consisted of 70,000 square meters of yellow fabric, supported by a modular floating dock system of 226,000 high-density polyethylene cubes. Christo’s strong personality rises once again to do battle with bureaucracy, corruption, and nature. Coming seven years after the death of his beloved co-creator and life partner, Jeanne-Claude, Christo, age 81 when the project was completed, has painstakingly regrouped and once again asserted his unique vision in a world of skeptics. (Screens: 3 p.m., Friday, April 19, BAMPFA)
Friday/SF & Sunday/Oakland: Meeting Gorbachev
Mikhail Gorbachev, the eight and final president of the Soviet Union, the architect of Perestroika and Glasnost, sits down with iconoclastic filmmaker Werner Herzog to discuss his life and achievements in the fascinating documentary Meeting Gorbachev, co-directed by Werner Herzog and Andre Singer. As might be expected, it’s an engaging battle of wits as Herzog tries to pierce the Russian’s psyche and Gorbachev emerges resilient, preferring to curate his own story. Broadening the perspective are interviews with former Polish president Lech Wałęsa, the Bay Area’s George Schultz, and Horst Teltschik, former national security adviser to German Chancellor Helmut Kohl during the reunification period. Walesa’s shrewd assessment of Gorbachev’s critical errors seem to resonate even more when we hear then live but, most likely, you’ll come away with a sense of Gorbachev’s charisma and leadership skills. (Screens: 9 p.m., Friday, April 19, Creativity, SF, and 5 p.m., Sunday, April 21, Grand Lake, Oakland)
Friday/SF & Saturday/Berkeley: Honeyland

A still from Macedonian co-directors Tamara Kotevska and Ljubomir Stefanov’s documentary Honeyland, which won the grand jury award at Sundance. Photo: SFFIlm
Macedonian filmmakers Tamara Kotevska and Ljubomir Stefanov’s documentary, Honeyland focuses on Hatidze Muratova, the last of Macedonia’s nomadic beekeepers and shines a light on the fragile and deeply poetic relationship between her and her hives. Hatidze’s harmonious way of life is interrupted when a Turkish family shows up in her remote mountainous stomping grounds and disrespects her sustainable beekeeping practices to turn a quick profit. Shot by a six person crew who lived beside her for three years, this tender documentary delicately captures a life rarely depicted on screen and sheds light on threats to our environmental balance from an entirely different perspective. It also features mesmerizing cinematography of rural Macedonia, a land so blessed by the gods that its name and status has been the subject of bitter dispute for centuries. (Screens: 6 p.m., Friday, April 19, Victoria, SF, and 1:30 p.m., Saturday, April 20, BAMPFA, Berkeley)
Saturday/ San Francisco: The Elephant Queen

A still from Ralph Deeble and Victoria Stone’s documentary, The Elephant Queen (2018). Image: SFFilm.
Vaguely, we know it happens—the annual migration of animals in Africa. And we assume that as climate change continues to wreak havoc on weather patterns, the stakes are getting higher and higher for animals in the wild. Kenya-based filmmakers’ Ralph Deeble and Victoria Stone’s documentary, The Elephant Queen is a miraculous testament to the ingenuity of animals in the face of unprecedented threats from nature and mankind. It took four years of living alongside elephants in the African savanna to make their film, which tells the story of the life and death struggle of Athena, a 50 year-old giant tusker elephant as she makes critical decisions to help her family survive during a season drought in Kenya. Filmmakers Ralph Deeble and Victoria Stone in attendance. (Screens: noon, Saturday, April 20, Castro)
Sunday/Oakland: world premiere, We Believe in Dinosaurs

A still from Clayton Brown and Monica Long’s documentary We Believe in Dinosaurs (2019), about creationism, assembling the contents of Noah’s Ark and America’s perplexing views of science. Image: SFFilm
Shot over the course of three years, this exceptional doc recounts how the rural community of Williamston, Kentucky, planted firmly in the Bible Belt, supported the creation of a $100 million, 510 foot-long replica of Noah’s Ark, replete with the all the creatures they imagine would have been in the ark. Their theme park venture, Ark Encounter, was meant to debunk evolution and increase tourism to their community. Filmmakers Clayton Brown and Monica Long follow the designers and builders of the ark, from the blue prints phase to opening day and present an eye-opening glimpse into all the assumptions and decisions that are made along the way, talking with both proponents and protestors. Inside the theme park are exhibits showing how the universe is roughly 6,000 years old and how dinosaurs walked with early man. The assertion is made that dinosaurs were on board Noah’s Ark during the great flood. Both state and local government got behind the project, questioning the separation of church and state. Filmmakers Brown and Long will in attendance for what should be a riveting Q & A. (Screens: 2 p.m., Sunday, April 21 at Grand Lake Theater, Oakland)
Sunday/Oakland: Meeting Gorbachev
Mikhail Gorbachev, the eight and final president of the Soviet Union, the architect of Perestroika and Glasnost, sits down with iconoclastic filmmaker Werner Herzog to discuss his life and achievements in the fascinating documentary Meeting Gorbachev, co-directed by Werner Herzog and Andre Singer. As might be expected, it’s an engaging battle of wits as Herzog tries to pierce the Russian’s psyche and Gorbachev emerges resilient, preferring to curate his own story. Broadening the perspective are interviews with former Polish president Lech Wałęsa, the Bay Area’s George Schultz, and Horst Teltschik, former national security adviser to German Chancellor Helmut Kohl during the reunification period. (Screens: 5 p.m., Sunday, April 21, Grand Lake, Oakland)
Sunday/San Francisco: Official Secrets, Closing Night Film

Keira Knightley in a still from Gavin Hood’s political thriller Official Secrets (2019), SFSFilm Festival’s 2019 Closing Night Film. Image: SFFilm
Keira Knightley stars in Gavin Hood’s exciting thriller Official Secrets (2019) as Katharine Gun, the real-life British intelligence translator-turned-whistleblower who leaked classified documents revealing how the U.S. intended to strong-arm the U.N. Security Council into backing the 2003 U.S. invasion of Iraq. Outraged by a confidential staff email about coercing small countries to vote for a UN Iraq War resolution, she leaks the email to the British press and, after her identity is revealed, she is charged with treason. The cast couldn’t be better—Matt Smith, Ralph Fiennes, Rhys Ifans. This promises to be an enthralling real-life thriller that will surely hit Bay Area’s theaters but there’s something extra special about SFFilm’s big nights that makes the experience memorable. (Screens: 8 p.m., Sunday, April 21, Castro)
Details: The 2019 SFFilm Festival is April 10-23, 2019. Most films are $16 and big nights, awards, tributes, and special events are priced higher. Advanced ticket purchase is essential as most of the screenings and events sell out. For full program information and online ticket purchase, visit sffilm.org. Plan on arriving 30 minutes before each screening to ensure that you are seated in the theater.
The 22nd Sonoma International Film Festival kicks off Wednesday—here are your must-see’s

Luminous, emotional, dazzling…if you see just one of SIFF’s 123 films, see Yuli! Directed by Catalan filmmaker Icíar Bollaín (Take My Eyes) and written by Paul Laverty (I, Daniel Blake) with cinematography by Alex Catalán, this bio-pic follows Cuban dance super-star, Carlos Acosta, from his early life in an impoverished Havana neighborhood as he defies all odds and becomes the first black artist to perform as Romeo at the Royal Ballet in London. Acosta goes on to dance in the world’s leading companies and form his own dance company in Havana. Bollaín masterfully conveys the pride, frustration and contradictions of living in Castro’s Cuba. Wonderful performances by Carlos Acosta and the participation of the Acosta Danza Company will raise your heart beat.
Ask anyone who makes the film festival circuit and they’ll tell you that the Sonoma International Film Festival (SIFF) tops their list for the “best time” fests–good film, incredible atmosphere, great parties and music, and the Backlot tent’s superb food and unending flow of wine and craft booze. The 22nd edition of this gem kicks off Wednesday, March 27, with an opening-night reception at the Backlot Tent from 5 to 7 pm, followed by two screenings of Bruce Beresford’s new period drama, Ladies in Black. SIFF continues in full force Thursday through Sunday offering some 123 films from 31 countries with an anticipated 200 filmmakers in attendance who will participate in on stage interviews and audience Q&A’s. All films are shown at seven intimate venues within walking distance of Sonoma’s historic plaza so there’s no driving, just meandering charming streets where all the plants are beginning their glorious spring bloom.
SIFF has lots to offer both locals and destination visitors. Festival passes are the way to go if you’re interested in easy access to films, the marvelous parties, and the Backlot tent. If you want to see a few films, single tickets are $15 when purchased in advance. SIFF caters heavily to pass holders and offers just a limited number of individual tickets for many of its films. Lock in those tickets right now before they are snapped up. Click here to read about all the pass options and price points.
Here are ARThound’s festival recommendations:
OPENING NIGHT (WED): Ladies in Black

Australian director Bruce Beresford’s drama Ladies in Black stars Julia Ormond and Angourie Rice and powerfully recreates the postwar culture of 1950’s Sydney. It took Beresford (Driving Miss Daisy (1989), Tender Mercies (1983)) 24 years to bring the story to the big screen but it has become Australia’s highest grossing film, ever. Photo: Sony Pictures, Lisa Tomasetti
Based on Madeleine St. John’s 1993 debut novel The Women in Black, Ladies in Black is set in 1959 Sydney at a time when European migration and the women’s movement are starting to impact Australiaand offers an upbeat reflection on the impact of immigration and integration. Julia Ormond (Mad Men) stars as Magda, a wise and sophisticated Slovenian emigre who heads the evening wear section of a large department store. She, along with several other immigrants from Central and Eastern Europe, are vital to the store’s success. Angourie Rice plays the fresh faced and adorable student, Lisa, who lands a temporary job at the store and ends up working alongside these glamorous and self-assured women who encourage her to embrace fashion and to empower herself. SIFF always pairs shorts with features. Screening first is Domee Shi’s 8 minute animated film Bao about a dumpling that springs to life as a lively growing boy and gives a weary Chinese mom a life lesson.
Beauty and Ruin (THURS)

A still from Marc de Guerre’s feature documentary Beauty and Ruin of school children at the Detroit Institute of Art. Photo: courtesy Subject Chaser Films
How much does art matter to a city on the verge of distinction? Canadian director Marc de Guerre’s latest feature documentary explores the fate of the Detroit Institute of Art (DIA), one of America’s great art museums, in the wake of the city’s 2013 bankruptcy. With a debt approaching $18.5 billion in 2014, and the DIA the largest asset the city of Detroit owns outright, a bitter brawl emerges over whether the city-owned artworks should be sold to pay down the debt. DIA housed 66,000 artworks, including an irreplaceable collection of European masterpieces from Titian, Van Eyck, Rembrandt, Bellini, Brueghel, Tintoretto, Fra Angelico and dozens of others. Most of these were bought during the 30-year period, a century ago, when Detroit was the center of American industry. No other American museum the size of the institute has ever confronted such a threat to the integrity of its collection. Emotions and racial tensions reach their zenith when it is revealed that the pending bankruptcy has put the pensions of retired city workers are at risk. This thorough unpacking of the museum’s story includes interviews with all the key players—the DIA director, the Emergency Manager of Detroit, the retirees, an activist Baptist pastor and acclaimed artist Charles McGee. Screens: Thursday March 28, 6:30 p.m., Sonoma Valley Museum of Art. Open to festival pass-holders only.
Botero: (THURS and FRI)

A still from Don Millar’s documentary, Botero, the definitive documentary profile of the life and work of Fernando Botero, one of the world’s most recognized living artists. Image: Hogan Millar Media
Directed by Canadian film and television director, Don Millar (Oil Slick, Full Force, Off the Clock), Botero offers a poetic behind-the-scenes look at the life and art of the 86-year-old self-taught Colombian painter and sculptor whose unique style always evokes strong reactions. Art critic Rosalind Krauss of Columbia University calls his work “terrible,” while others offer praise and penetrating insight into his oeuvre, calling Botero’s critics intellectual snobs. Don Millar lets you decide. Either way, Botero’s story is fascinating. Born in provincial Medellin, Colombia, in 1932, he arrived in New York as a young artist with $200 in his pocket. Through a stroke of luck, he meets a curator whose connections get him into MOMA and, all of a sudden, he is famous. “I like fullness, generosity, sensuality” says Botero. “Reality is rather dry.” The audience learns that, even today, Botero is happiest in his Monaco studio where he says he is still learning as he strives to be the best painter in the world, because “my life is to paint.” The film weaves together original footage shot in 10 cities across China, Europe, New York and Colombia, with decades of family photos and archival footage alongside unprecedented access to the artist. Screens: Thursday, March 28, 4:14 p.m., Landmark Vineyards at Andrews Hall and Friday, March 29, 3:30 p.m., Sonoma Valley Museum of Art.
Yuli (THURS & SAT)

A still from Icíar Bollaín’s Yuli with Edilson Manuel Olbera as the young Carlos Acosta. Yuli won the Best Screenplay Award at San Sebastian and has gone on to receive five nominations for the Spanish ‘Goya’ awards including Best New Actor for Carlos Acosta, Best Cinematography and Best Adapted Screenplay.
It’s very difficult to pull off a drama about dance where the acting is an engaging as the dance itself. Icíar Bollaín has done it with a riveting drama set largely in Castro’s Cuba with astonishing dance scenes and bursts of family drama. Sit back and soak in the artistry of the astounding Carlos Acosta. (In Spanish with English subtitles) Screens: Thursday March 28, 1 p.m., Burlingame Hall and Saturday, March 30, 11:30 a.m., Meyer Sound & Dolby Hall at Vets I)
Yellow is Forbidden (FRI and SAT)

Chinese designer Guo Pei’s international breakthrough moment was designing Rihanna’s golden gown for the 2015 Met Gala. The 55 pound dress took 100 workers 50,000 hours to create and became one of the most talked about dresses in history. Pietra’s Brettkelly’s documentary explores Guo Pei’s rise to fame and her unique way of interpreting her aesthetic history. Photo: Getty Images
New Zealand documentarian Pietra Brettkelly (A Flickering Truth, 2015) has created a fascinating and intimate portrait of fashion designer Guo Pei that also speaks to the energy and aesthetic of a rapidly evolving China. She tracks Guo Pei just as she has burst onto the international scene—when Rihanna wore her hand-embroidered canary yellow gown to the Met Gala in 2015—through her remarkable 2017 show “Legend,” presented at La Conciergerie, in Paris, where Guo Pei proved to the world that she had penetrated haute couture’s most elite circle. The film takes us into Pei’s life, connecting the dots between her life experiences and aesthetic expression—her upbringing in the Cultural Revolution; her relationship with Cao Bao Jie, her husband and partner; her elderly parents who don’t grasp the scope of her talent, her A-list clients, and her team of craftsmen and embroiderers. Her world is one of struggle, passionate dreaming and a constant balancing of her artistic passions with the financial reality of running a business. Ample attention is devoted to her atelier, where she obsesses over the handcrafting of garments that can take over two years to create. Pei is a curious mix of old and new, a balancing of East and West with an absolutely unique way of interpreting her aesthetic history. (97 min, in Chinese and French with English subtitles.) Screens: Friday, March 29, 2019, noon, Andrews Hall, and Saturday, March 30, 2:15 p.m., Vintage House
Restaurant from the Sky: (FRI and SUN)
Yoshihiro Fukagawa has made a number of dramas that tenderly explore human emotions against the gourmet food backdrop. Restaurant in the Sky unfolds on a bucolic cattle ranch in Setana, Hokkidao where Wataru (Yo Oizumi) lives with his wife Kotoe (Manami Honjou) and his daughter, Shiori. He inherited the cattle ranch from his father and he also runs a cheese workshop but he lacks passion. He enjoys hanging out with his sheep farmer friend Kanbe (Masaki Okada) who moved to the area from hectic Tokyo. After a chef from a famous Sapporo restaurant visits and praises Waturu’s produce and creates a masterful farm-to-table meal with ingredients sourced the ranch, Wataru has his ahh-hah moment. He will open a restaurant for only one day to let people know about Setana’s wonderful food. This is a goal that unites the family and community but suddenly a tragedy occurs. (126 min, in Japanese with English subtitles) Screens: Friday, March 29, 9 a.m., Sebastiani and Sunday, March 31, 1:45 p.m., Sebastiani
Details: The 22nd Sonoma International Film Festival is Wednesday, March 22 through Sunday, March 31, 2019. For information, tickets, festival passes, prices, and benefits visit www.sonomafilmfest.org.
The 13th California Artisan Cheese Festival is this weekend: cheese and all the wonders that pair with cheese

Petaluman Phaedra Achor, founder of Monarch Bitters, will be sampling her craft bitters and flavored syrups at Sunday’s Artisan Cheese Tasting and Marketplace at Grace Pavilion. Last September, Monarch Bitters was ranked second place in a USA Today people’s choice competition for the nation’s top 10 Best Craft Mixers and in November 2018, the Press Democrat ranked it #6 of top Sonoma County businesses. Achor’s bitters, potent extracts, are handcrafted from organic and wild harvested roots, barks, aromatic herbs and flowers which are sourced in Sonoma County and bottled by hand in Petaluma. Achor operates out of a rented space in an industrial park in Petaluma, so the Artisan Cheese Festival is an opportunity to meet her in person, learn all about bitters and taste her wondrous concoctions. Her newest flavors include Smoked Salt & Pepper Bitters; Honey Aromatic Bitters; and Honey Lavender Bitters, which join her famous Bacon Tobacco, Citrus Basil, Cayenne Ginger, Celery Horseradish, Cherry Vanilla, California Bay Laurel, Orange, Rose Petal, and Wormwood bitters. Photo: courtesy Monarch Bitters
Bring on the cheese and please, bring on the cocktails! For the first time, specialty cocktails will be served at the California Artisan Cheese Festival’s Sunday Marketplace at Grace Pavilion at the Sonoma County Fairgrounds. Of course, cheese is front and center as the California Artisan Cheese Festival kicks off this Saturday morning with eight fabulous full-day Farm and Producer tours all around Sonoma and Marin Counties (there are a few remaining spaces in five of these tours) as well as educational seminars and pairing demos in the morning and afternoon at Santa Rosa’s historic mid-century Flamingo Hotel. Led by cheesemakers, cheese experts, bestselling authors and luminaries of wine, craft cocktails, ciders, and beers, these seminars ($75-$85) are a convergence of expertise and passion. Each seminar entails informed tasting, useful science and lots of ideas for inspired pairings. This year’s Seminar #5 “Cheese & Cocktails: The Basics of Bitters, Booze and Cheese,” promises to demystify the universe of bitters and help identify the cheeses that will round out cocktails like Manhattans and Mai Tais. Saturday evening’s new event, “Cheese, Bites & Booze!” at the Jackson Family Wines Hangar at the Sonoma Jet Center is sold out as is Sunday’s celebrity chef gourmet brunch.
Sunday’s Artisan Cheese Tasting and Marketplace, from noon to 4 p.m. at Grace Pavilion, at the Sonoma County Fairgrounds, is the event’s grand finale ($50). If you never attended the festival before, it’s an excellent introduction. The soirée is abuzz with energy, bringing together over 125 leading artisan cheese and food producers, winemakers, brewers, specialty spirit producers and makers for a final round of indulgence as participants chat, taste, sip, shop while meandering through a delightful epicurean maze. Everyone brings home an Artisan Cheese Festival insulated cheese tote bag, a wine glass, and oodles of ideas for elegant home gatherings. And most importantly, new and dear cheese friends.
It was ARThound’s pleasure to speak with Phaedra Achor about Monarch Bitters, which will be featured in Saturday’s seminar, “Cheese & Cocktails,” Saturday evening’s swank “Cheese, Bites & Booze” event at the Jackson Family Wines Hangar, and Sunday’s Artisan Cheese Tasting and Marketplace.
What are bitters?
Phaedra Achor: Bitters are high ABV (alcohol by volume), mine are 40-44%, and extracts that are created by macerating alcohol with any number of botanicals and aromatics such as spices, barks, roots, fruits. My syrups have no alcohol content, and are infusions.
What’s behind the name “Monarch Bitters”?
Phaedra Achor: I’ve always been very drawn to the monarch butterfly, its beauty and place in the world, its journey and metamorphosis, all of which are very symbolic for me. Another piece fits in with my logo—a woman wearing a crown of wild flowers. Since this is a botanically based product, I really wanted to convey the message of a strong and purposeful woman, a monarch of the forest, who is using the power of botanicals to create.
When and how did you start Monarch Bitters?
Phaedra Achor: I love flavor chemistry, especially working with plants and botanicals to create flavor profiles. In 2015, I hosted a cocktail party and wanted to do something very different, so I started planning a few months early. My idea was to create five unique cocktails. In my research, I came across these wonderful pre and post-Prohibition cocktails, all of which called for bitters. I remember looking into bitters and thinking ‘I can do this.’ I ended up using barks and roots and herbs and spices and I created five bitters, one for each of the cocktails I served. It was a huge hit. At some point during this gathering, I walked into my living room and found this woman, a guest of a guest, someone I did not know at all, sniffing my tincture bottles. She asked where these bitters came from. I told her I made them all and she was blown away. She explained that she was a bartender and that my bitters were far superior to what she was using and she offered to connect me with the owner where she worked. I never followed through on that, but she planted a seed at just the right moment. She left and I never saw her again but she was vital.
After that party, I started researching who was making bitters in Sonoma County, no one, and the craft cocktail industry. I learned that people were using bitters like cooks use spices in the kitchen, so I thought this was a very interesting niche. I was surprised that no one was doing this in Sonoma County because we are such an artisanal community. I spent all of 2016 researching and reformulating and that’s because a lot of the botanicals I had chosen to use were considered dietary herbal supplements by the FDA. I had to decide if I wanted my business to be categorized as a medicine, a dietary herbal supplement, or if I wanted it to be food bitters. I’m not an herbalist and wasn’t interested in making herbal medicine, so I had to make some changes. I launched in 2017 and from there, it just taken off. Those contests which have recognized my bitters have been such a complement and honor and really fueled my business.
How do you come up with your flavor profiles, which are so unique?
Phaedra Achor: The ideas just come to me. I think this comes from my culinary background. It’s taken a long time for me to own this and to state it out loud but I have ‘flavor wisdom.’ I just know how flavors will come together and taste. Aside from the orange, lavender and aromatics, which are quite common bitters flavors, I have very intentionally created flavor profiles that didn’t previously exist outside of my brand, such as cayenne ginger, bacon tobacco, and honey aromatics. I recently created a smoked salt and peppercorn bitters, which is also a fantastic culinary bitters. Bitters can be used widely and people just aren’t aware of their versatility. Aside from alcohol, bitters can be added to sparking water, lemonade, teas, coffees and in baking and cooking to replace an extract. I’ve added my cherry vanilla bitters to whipped cream and it creates a wonderful cherry cordial whipped cream with a gorgeous flavor.
Is there a reason why you use dropper bottles?
Phaedra Achor: Yes, it’s for accuracy and it recalls the history of bitters, which were initially used as medicine. When I’m using the dropper and drawing up the bitters, it feels healing and right.
What the best way to taste bitters?
Phaedra Achor: If people want to taste bitters straight, I will have them make a fist and hold out their hand upright, like they were holding a candle. I’ll put a little drop right into that little divot between the thumb and index finger and they can taste it with their tongue.
Your ideas for bitters and cheese.
Phaedra Achor: I tend to like softer, creamier cheeses, like bries. Typically, the astringency of high fruit alcohol can be challenging with foods, so for a cocktail, I tend to go with a lower AVB (alcohol by volume) content found in sherries or brandies and add my bitters to that when I want to indulge in cheese. I’ve also taken my Citrus Basil Bitters and mixed it with honey to create a bittered honey to use as a pairing with cheese. Bitters, adding bitter to the palate, can create wonderful opportunities to pair with food and cheese. When it comes to cheeses, I work more with my citrus and aromatic flavors.
What’s next for Monarch Bitters?
Phaedra Achor: I am working on opening up a little apothecary in downtown Petaluma that will be a storefront for all of my products and hope to be open in June. Right now, I am one of three bitters companies in the North Bay (King Floyd’s, Bitter Girl Bitters) and on Sunday, March 31, we will all be competing in The Bitter Brawl at Young and Yonder Spirits in Healdsburg. This is a benefit for Compassion Without Borders. We’ll each be paired with a bartender and will compete to create the best cocktail.
Details: California’s 13th Artisan Cheese Festival is March 23-24, 2019 at various cheese country locations in Sonoma and Marin counties. Tickets for all festival events are sold separately online. All events take place, rain or shine.
Click here for full information. Chick here to go to Eventbrite to purchase tickets