“101 Pianist’s” at Weill Hall Sunday─ Lang Lang’s dedication, passion, and teaching prowess front and center
Lang Lang at “101 Pianists” at Weill Hall on Sunday, October 4, 2015. The superstar spent two hours guiding 100 young pianists, from all the Bay Area, in an on-stage music workshop, culminating in a performance of Schubert’s “Marche Militaire” No. 1 and Brahm’s “Hungarian Dance” in F sharp minor. Photo: Geneva Anderson
Green Music Center’s season openers are always magical but yesterday’s finale event, “101 Painists,” led by Lang Lang, was most of my most memorable afternoons ever at Weill Hall. One hundred gifted young piano students, from all over the Bay Area, gathered for an on-stage music lesson and performance with Lang Lang. The piano legend, who gave the very first performance at Weill Hall in 2012, opened GMC’s 2015-16 season on Saturday evening with a sold-out concert of music from Chopin, followed by a gala reception and dinner. Sunday’s finale concert, though, was all about kids and musicianship and giving back. Packed to capacity with families and scampering kids of all ages, Weill Hall was hopping as we experienced Lang Lang inspiring the next generation of young musicians with his passion, humor, and undeniable gift for communication.
After initial preparation with their local music teachers, the lucky 100 young pianists, sitting two to a keyboard, perfected and performed Schubert’s “Marche Militaire” No. 1 and Brahms’s “Hungarian Dance” in F sharp minor. Since its launch in 2009, “101 Pianists” has been presented in global cities from Amsterdam to Kowloon, to Rome to Washington D.C.. Rohnert Park is the 14th participant to date and 1400 young pianists have participated so far. The program allows students of the solo piano to enjoy the social nature of creating music as an ensemble.
Green Music Center executive director, Zarin Mehta, introducing Lang Lang to a crowd of proud families and young musicians at Sunday’s “101 Pianists” at Weill Hall. Photo: Geneva Anderson
In between the rehearsal and performance portions of the two-hour session, Lang Lang took questions from the students and responded thoughtfully about his favorite music, his practice routine, and how to infuse music with emotion. He revealed that he began playing at age two and a half and had a rigorous rehearsal regimen─ six hours a day on weekdays and longer on the weekends. Now days, though, he practices 2 hours daily, unless he’s preparing for a concert. He revealed frankly that there’s no sense practicing if your heart is not in it, “best to take a break.” There’s great complexity in motivating young musicians to imbue their playing with heartfelt emotion. He encouraged parents to motivate their children with positive reinforcement, mentioning Transformers (toys) and candy. Many of us recall the relentless pressure that Lang Lang’s parents placed on him at a very young age to succeed. Lang Lang, now 33, seems to have digested that and is trying to inspire a passion for playing with much gentler methods. And, as a teacher, he is gifted─within minutes he helped the group work through nuances in pacing, volume and pitch relationships that made a tremendous difference in their final performance. There were one or two moments of fast-handed flash but Lang was very focused on bringing out the color in the students’ playing.
It was endearing to hear Lang Lang relate how, at age 17, he got his big break from GMC executive director, Zarin Mehta, whom he considers one of his great mentors. Mehta, at that time, was in Chicago, working with the Chicago Symphony, and was president and chief executive of the Ravinia Festival. Lang Lang was a student at Philadelphia’s Curtis Institute of Music. Having heard Lang Lang audition at length on a Tuesday for the following year’s Ravinia festival, Mehta called him up and asked him to return to Chicago on Saturday to play with the Chicago Symphony for their “Gala of the Century,” as a last minute substitute for André Watts. The piece─ Tchaikovsky’s Piano Concerto No. 1. Lang Lang’s intensity, delicacy, fabulous technique and absolute control through those unforgiving tempos in that performance launched his career.
Lang Lang has also long been championed by Joan and Sandy Weill, who met him in 1999, when he was 17, and gave a stunning performance at Carnegie Hall for significant donors. Over the years, they have become musically and philanthropically entwined and have become friends. Since 2008, Weill has been on the board of the Lang Lang International Music Foundation and it was Lang Lang who convinced him to invest the money ($12 million) that finished the concert hall that was ultimately named Weill Hall. Lang Lang also suggested that Zarin Mehta would be perfect for the executive director position at Weill Hall.
The afternoon was also a great success in audience building. Afterwards, there were lots of kids asking their parents if they could come again and the season brochures were flying off the stand.
Now Smell this─ This past January, Lang Lang launched his first fragrance, “Amazing Lang Lang,” for men and women (90 to 100 Euros and initially available just in Europe). I didn’t get close enough for verification but the two scents apparently share notes (pun intended) of jasmine, kyara wood, and pepper.
Green Music Center welcomes Zarin Mehta as its new Executive Co-director
Zarin Mehta, the former president and executive director of the New York Philharmonic Orchestra, is the new co-executive director of Green Music Center. He officially starts work on November 1, 2013. Mehta will focus on artistic planning and management of GMC alongside Sonoma State University CFO Larry Furukawa-Schlereth, who also serves as co-executive director of GMC. Mehta is pictured standing in the Joan & Sanford I. Weill Hall. Photo: Kristen Loken
It’s been somewhat of a whirlwind at Weill Hall—this Tuesday’s Silk Road Ensemble performance, which people are raving about, was the tenth concert in the Green Music Center’s (GMC) 2013-14 Mastercard Performance Series which is delivering a very strong and diverse line-up. Just eight months ago, with great fanfare, GMC welcomed French diplomat Emmanuel Morlet as its first Artistic Director. That relationship didn’t jell and Mortlett exited during the summer without having had much of an impact—the second season’s programming was locked in before his arrival. Yesterday afternoon, GMC made public the appointment of Zarin Mehta as its new co-executive director. Mehta, who turned 75 on Monday, recently concluded his 12-year tenure as president and executive director of the New York Philharmonic Orchestra. At GMC, he will focus on artistic planning and management alongside Sonoma State University (SSU) Chief Financial Officer Larry Furukawa-Schlereth, who also serves as co-executive director of GMC.
Mehta, the younger brother of famed conductor Zubin Mehta, currently resides in Chicago with his wife, Carmen, and will be splitting his time between Chicago and Sonoma County. Mehta will be paid an annual salary of $300,000. Two hundred and fifty thousand dollars of that will be underwritten by Sandy and Joan Weill, and SSU will make up the remaining $50,000 until GMC is able to raise the funds to cover the cost, an issue their GMC advisory board met about Wednesday and assigned a very high priority.
“With the leadership of Zarin Mehta, and his world-class expertise and experience, the GMC is set to become the centerpiece of Sonoma cultural life and a major draw to the region, without doubt, from near and far,” said Furukawa-Schlereth. “I’m looking tremendously forward to working with Zarin to put the GMC on the international musical map and welcoming him to the Sonoma County community.”
“It was during Lang Lang’s recent visit to Sonoma to perform at Weill Hall last month when he asked me whether Zarin had been approached by the GMC,” said Sandy Weill. “Upon hearing that he had not, Lang Lang reached out to his mentor Zarin…and they talked about the unique opportunity at the GMC. Joan and I could not be more excited…The hard work has just begun but attracting the caliber of somebody like Zarin gives us every confidence that we can achieve greatness.”
In 2011, Weill and his wife, Joan, donated $12 million to finish GMC’s concert hall which had been 15 years in the planning but stalled due to lack of funds. After the donation, Weill became GMC’s chairman; the 1400 seat concert hall was named the Joan and Sanford I. Weill Hall and a grand vision emerged. GMC’s spectacular first season offered 22 concerts in the MasterCard Performance Series with luminaries as Lang Lang, Alison Krauss, Yo Yo Ma, and Joyce DiDonato. Some 60 other musical events, including regular performances of the San Francisco Symphony and the Santa Rosa Symphony that were not part of the series, were also realized.
Mehta’s artistic influence will ease itself in gradually over the next year. Under the helm of artistic consultant Robert Cole, GMC’s second season is well underway and its 2014-15 season programming is nearly complete. It was Cole, who retired recently from a very successful run with Cal Performances, who locked in soprano Renée Fleming as GMC’s second season’s opener and the renowned Vienna Philharmonic Orchestra, which will perform on March 11, 2014. GMC programming is tweaked on a regular basis and, at any point, Mehta can bring in additional programming. GMC reports there is room for change.
Calling on seasoned musical friendships and his broad international experience, Mehta will ultimately set the artistic vision for GMC and its year-round MasterCard Performance Series in Weill Hall, including presentations of important orchestras, ensembles and artists from a wide spectrum of classical music, jazz, world music and other forms. Each season will also continue to feature regular performances by the San Francisco Symphony and the Santa Rosa Symphony
Mehta will also cultivate GMC programming as two exciting new performance venues are completed – the 250 seat Schroeder Hall, featuring a Brombaugh tracker organ, slated to open in 2014, and the MasterCard Performing Arts Pavilion, an open-air space, expected to open in 2015. He will build and further develop public and young people’s educational programs and partnerships, including ongoing work with The Weill Music Institute at Carnegie Hall in New York. In all of these endeavors, he will work closely with Furukawa-Schlereth.
Mehta’s first official day on the job is Friday, November 1, 2013. “The vision that was begun by Sonoma State University’s President, Dr. Ruben Armiñana, with Donald and Maureen Green, and brought to fruition by Sandy Weill and the Board, with Larry Schlereth’s quiet hard work, is exemplary in the American musical landscape,” said Zarin Mehta. “To create a new, world-class center for music, performance, and education, in the heart of the magnificent Sonoma County Wine Country – one of the most beautiful settings imaginable – requires determination, dedication, and most of all, a true love of music…My wife, Carmen, and I, look forward to becoming part of the San Francisco Bay Area community and developing GMC into an international musical destination.”
As for Mehta’s hefty salary, Furukawa-Schlereth reported Wednesday that the GMC advisory board met on Wednesday and plans to fundraise to support Mehta’s position, so that the center will not be a drain on the university’s budget. For an indefinite period though, Sonoma State will pay $50,000 of Mehta’s $300,000 annual salary.
Jessia Anderson, Associate Director of Communications GMC, confirmed that Mehta is currently looking for a home near GMC and he will be splitting his time between here and Chicago. His wife of 47 years, Carmen, is a vocal instructor in Chicago and the couple has roots there so they will not be giving up their home there.
Mehta comes with considerable arts management experience. Mehta started out as an accountant in Montreal and served as managing director of the Montreal Symphony (1981-1990), CEO of the Ravinia Festival (1990-2000), and began his New York Philharmonic position in 2000 as executive director, becoming president four years later. Around 2003, when Sandy Weill was chairman of Carnegie Hall, he and Mehta (along with Philharmonic board chair Paul B. Guenther) were involved with negotiating the merger of Carnegie Hall with the Philharmonic, but the deal collapsed in 2003. Daniel Wakin of The New York Times reported September, 27, 2010, in an article about Mehta’s retirement, that Mehta’s accomplishments during his tenure at New York Philharmonic include maintaining labor peace; a record of exotic touring, including a singular visit to North Korea; and helping bring Credit Suisse aboard as global sponsor.
If you’re looking to catch a glimpse of Mehta at Weill Hall, he will not be attending Saturday’s Mariza concert. He will be back in Chicago. The question of when his famed brother, Zubin, will make his Weill Hall debut is open. As for a car, Zarin will have to scramble as brother Zubin nabbed the vanity CA plate “M8A” long ago for the commute from Brentwood to the Los Angeles Philharmonic Orchestra.
The Green Music Center opens next Saturday with Lang Lang’s inaugural concert in the Joan and Sanford I. Weill Concert Hall—he’ll be playing the Center’s Steinway … AND you can still buy tickets for outdoor seating
7 days and counting! We’re all looking forward to Chinese celeb pianist Lang Lang’s concert Saturday evening at the Joan and Sanford I Weill Hall, officially opening the Green Music Center. Lang Lang will play a Steinway piano owned by the center that he knows well. The gregarious 29 year old prodigy, deemed “the hottest artist on the classical musical planet” by the New York Times, visited the hall at the invitation of Joan and Sanford Weill in January, prior to their $12 million donation in March. Lang Lang was asked to test the hall’s acoustics by playing the center’s 9 foot concert series Steinway grand piano. He recognized it.
The Green Music Center acquired the gorgeous ebony piano in 2009 when it was gifted by an anonymous Sonoma County donor. Every Steinway grand piano is a numbered work of art with more than 12,000 individual parts and over 125 patented features. The GMC’s piano, #552, had previously been in Seattle and it came to the Green Music Center slightly used but in mint condition. When Lang Lang checked its number, he confirmed that he’d played it before. After playing the piano for nearly an hour, he gave both it and the hall’s acoustics a stellar thumbs up according to Kamen Nikolov, associate director of production operations at the Green Music Center. Nikolov spoke to me during a tour of the 1,400 seat Weill Hall on July 10, 2012. The Weill’s, who are great fans and friends of Lang Lang, wanted him to play the inaugural concert and wouldn’t take no for an answer. In the video clips below, Nikolov talks about the Steinway and Lang Lang and he plays a Bach piece demonstrating the Steinway’s magnificient sound and Weill Hall’s stellar acoustics.
If you’ve never heard Lang Lang play before, you’re in for an utterly dazzling display of ebony and ivory, and bursts of color, outrageous color. If you’re familiar with his talent, it’s rumored that he’s getting even better: the master classes he been taking of late have matured him and led him into a more authentic emotionality. There’s only one Lang Lang and only one magical celebration of this opening of this lovely hall…so don’t miss out.
Stay tuned to ARThound for several articles this coming week exploring the Green Music Center and Weill Hall, including an interview with Nolan Gasser, the acclaimed Petaluma composer whose Sonoma Overture was especially commissioned by Santa Rosa Symphony for its inaugural concert in Weill Hall on Sunday.
Thrilling! Weill Hall Acoustics: Kamen Nikolov plays Bach Prelude in C Major
Lang Lang’s Program for Saturday’s Inaugural concert:
Wolfgang Amadeus Mozart:
Piano Sonata No. 5 in G major, KV 283
Piano Sonata No. 4 in E flat major, KV 282
Piano Sonata No. 8 in A minor, KV 310
–Intermission—
Frédéric Chopin:
Chopin Ballade No. 1 Op 23 in G minor
Chopin Ballade No. 2 Op 38 in F Major
Chopin Ballade No. 3 Op 47 in A flat
Chopin Ballade No. 4 Op 52 in F minor
Read ARThound’s review of Lang Lang’s performance at Davies Symphony Hall, January 18, 2011 here.
Lang Lang teaches Mozart: click here for Ben Chan’s April 11, 2012 Piano Sage blog post showing video of Lang Lang teaching a piano master class in Mozart, explaining the nuances of Mozart.
Lang Lang takes a master class on Beethoven:
Outdoor Seating for Lang Lang’s concert Saturday is Still Available: As of Friday at 4:30 p.m., the tickets sales office reported that there was still ample outdoor lawn seating at $25 per person (767 seats had sold with a total capacity of 2,700) and outdoor table seating at $55 per person (668 had sold with a total capacity of 1648)
To purchase tickets online, click here.
If you encounter difficulty with online purchases, tickets can purchased by phoning the Box Office at (866) 955-6040 open Monday–Thursday 8 a.m. to 4:40 p.m. and Friday 8 a.m. to 6 p.m. or In Person at the Green Music Center Box Office (same hours as above).
Don’t Miss Out on the rest of the Opening Weekend!
Sunrise Choral Concert, Sunday, September 30, 2012, 7a.m.: Watch the sunrise through the windows of Weill Hall while marveling in the vocal splendor of local choral ensembles and soloists. This free choral concert, which will run about 40 minutes, features original compositions by Jeff Langley and Amanda McTigue, performed by members of the community including the Sonoma State University Chorus and Chamber Singers, Santa Rosa Children’s Chorus, Maria Carrillo High School Chamber Singers, Cantiamo Sonoma and The Sunrise Chamber Players. Vocal soloists include Carol Menke, Jenni Samuelson, Christopher Fritzshe, Kevin Baum, and Thomas Hart. There will be a reception in the lobby afterward. Completely Sold Out!
Santa Rosa Symphony’s Orchestral Opening Concert, Sunday 2 p.m.: The Santa Rosa Symphony will proudly step over the threshold of its new performance home as Resident Orchestra at the Green Music Center on Sunday, September 30, celebrating 85 years of music making and recognizing three individuals who helped usher in this new era: Conductor Emeritus Corrick Brown, Conductor Laureate Jeffrey Kahane and current Music Director Bruno Ferrandis.
Maestro Brown will conduct Beethoven’s overture, Consecration of the House as an appropriate beginning to the 2 p.m. concert and Maestro Ferrandis takes the podium for the remainder of the program—Ravel’s Bolero, Beethoven’s Piano Concerto No. 4, performed by Kahane, and Copland’s great Canticle of Freedom, featuring the 100-voice Symphony Honor Choir.
World Premiere Composition by Nolan Gasser: The Symphony has commissioned an orchestral work by Petaluma resident and critically-acclaimed contemporary composer Nolan Gasser. His Sonoma Overture evokes the natural beauty of Sonoma County, and recognizes the energy and dynamism of its cities, industries and people. The piece will introduce the second half of the concert.
Seating Indoors is Sold Out;
Lawn and Table Seating is Still Available: Outdoor Table Seating on the Weill Terraces (many have a good view inside the hall) is $25 per person. Outdoor lawn seating is complementary but you should reserve your tickets in advance. Tickets for outdoor seating will be available at the door, subject to availability. The outdoor lawn seats do NOT have a stage view but large outdoor viewing screens will be installed and a sound system should deliver very high quality sound. If you go for the outdoor option, remember to dress for the chill and bring blankets or something to sit on. Low chairs are allowed.
For tickets, purchase (or reserve) online at http://www.santarosasymphony.com OR by phone (707) 546-8742 OR in person at the Symphony Patron Services Office, 50 Santa Rosa Avenue (first floor, off elevator lobby), from 9 a.m. to 5:30 p.m. Monday-Friday.
Selling out the HOUSE!!!! Alison Krauss and Union Station featuring Jerry Douglas: Sunday, September 30, 2012, 7:30 p.m.: The capstone of the Grand Opening weekend celebration is the band The New York Times hails as “the most popular and accessible bluegrass act in the country.” Alison Krauss’ remarkable career goes back more than a quarter century. In 2000, she gained legions of new fans with her performance on the soundtrack of the Coen brother’s hit film, O’ Brother, Where Art Thou. She has won 27 Grammys, the most of any female artist in history, and has collaborated with Robert Plant, James Taylor, Phish, Dolly Parton, Yo-Yo Ma, and Bonnie Raitt.
Seating Indoors is Sold Out;
Lawn Seating is Still Available: As of Friday, 4:30 p.m., there were 32 tickets, $25 each, left for Outdoor lawn seating. To purchase tickets online, click here. If you encounter difficulty with online purchases, tickets can purchased by phoning the Box Office at (866) 955-6040 open Monday–Thursday 8 a.m. to 4:40 p.m. and Friday 8 a.m. to 6 p.m. or In Person at the Green Music Center Box Office (same hours as above).
review: Lang Lang at Davies Symphony Hall
Lang Lang played Beethoven, Albeniz and Prokofiev to a sold-out audience at Davies Symphony Hall on January 18, 2011 as part of their Great Performers Series. Photo courtesy SF Symphony.
World-renowned pianist Lang Lang was in San Francisco this week for two special performances: a Davies Symphony Hall Recital on Tuesday, January 18th, under the auspices of the San Francisco Symphony’s Great Performers Series and his 101 Pianists event Monday evening at San Francisco State University in which he joined 100 young Bay Area pianists in playing Schubert’s Marche Militaire. Both events were packed to capacity.
I caught his performance at Davies Symphony Hall on Tuesday evening, my first time to hear him live. The program featured Beethoven’s Piano Sonatas No. 3 and 23; Iberia Book 1 by Isaac Albéniz; and Prokofiev’s Piano Sonata No. 7. This was basically a run-through of the most popular sonatas from his best-selling Live in Vienna album recorded in 2008–his second live recorded recital after his best-selling Live at Carnegie Hall in 2004. It’s also a program he has been touring with.
Lang Lang, now 28, has two decades of performances and celebrity under his belt. In 2008, over five billion people watched him play in the opening ceremony for the Beijing Olympics, where he was seen as a symbol of the youth and the future of China. He is said to have subsequently inspired over 40 million Chinese children to learn to play classical piano – a phenomenon coined by The Today Show as “the Lang Lang effect.” But as much as audiences love Lang Lang for his zeal, critics waver, praising his technical virtuosity but panning his flamboyant gyrations, interpretation and lack of emotional connection to the music.
I came expecting something bold and spectacular. I’d read that at his last concert in San Francisco, for an encore, he played Nikolai Rimsky-Korsakov’s “Flight of the Bumblebee” on his iPad using the Magic Piano app and the audience went wild. Tuesday’s performance was energetic but nowhere near what my imagination had conjured in terms of showing-off.
Lang Lang conducted a workshop with 100 young Bay Area pianists practicing Schubert's Marche Militaire at San Franacisco State University's McKenna Theatre as part of his 101 Pianists event on Monday, November 17, 2011.
Lang Lang quietly walked onto the stage, sat down at the piano and started immediately with Beethoven’s Piano Sonata No. 3 in C major, a very challenging piece. It didn’t take long for me to become immersed in the beauty of his playing. Beethoven’s Piano Sonata No.3 in C major, written in 1796, in four movements, roughly 24 minutes, is often referred to as Beethoven’s first virtuosic piano sonata. It’s very demanding, especially the first movement and very emotive in the second, Adagio, movement. Lang Lang nailed the energetic second movement and then brought it to a tempered soft close.
Beethoven’s Piano Sonata No. 23 in F Minor, the Appassionata, composed in 1804-5, followed immediately. It is widely considered one of the masterworks of the composer’s middle period, very dense, evocative and meant to be played with the unrelenting ferocity that Lang Lang is often criticized for. This was one of the first pieces written after Beethoven became fully aware of his progressive and irreversible deafness and was written during the period that he was labeled with the madman/genius image. The Appassionata was also the first piece he wrote after having received a state of the art piano as a gift from the Érard piano company. Beethoven’s statement– this is very beautiful music that is also testing the crap out of this piano, as it is my own hearing. How did Lang Lang do? Respectfully well. The piece was about twenty three minutes long. Almost immediately, I felt myself floating away on a cloud orbiting the concert hall channeling the very deep despair that Beethoven himself must have felt. When I landed, I noticed Lang Lang’s the left hand stationary in space as the right played…the right hand then slowly and weirdly directing, coaxing the left. There were moments too when he seemed to be acting with sensitivity to accentuate that he was playing with sensitivity. It looked like a guy trying way too hard to manufacture feelings he didn’t have and importantly, we felt that. And this is the core of the debate about Lang Lang. It’s completely subjective, but the antics took away from my experience of a piece played exquisitely.
The highlight came after the intermission with Albéniz’s Iberia, Book One in three movements, a century (1905-1909) and miles apart stylistically from Beethoven. From the first muted bars of Evocación to El Corpus in Sevilla, Lang Lang excelled at this beautiful and richly textured piece thought by many to have been truly mastered only by the great Spanish pianist Alicia de Larrocha. Book One’s three movements are typical of the entire piece—poetic middle episodes, incisive rhythms, bold harmonies, and infused with local color. Evocación is dreamlike with a very powerful climax in the middle section which Lang Lang mastered. El Corpus in Sevilla, one of Iberia’s most popular segments, employs a march tune from the Spanish town of Burgos. The great procession is at first distant and then ushered in by the piano imitating drumbeats that grow louder and louder and the excitement builds. The movement grows quieter in its mid-section, gets festive again, and then ends with a long serene coda all mystery and poetry. Lang Lang’s body movements and hand gestures punctuated the silences as well as the counter-rhythms.
He closed with Prokofiev’s revolutionary and explosive war sonata, Sonata No. 7 in B flat major, Op. 83 a piece he was clearly at ease with but passionately banged the heck out of, ending in a flurry of speed.
He encored with Rachmaninoff’s D-Major Prelude, Op. 23, No. 4, then followed with a gorgeous Chopin Etude.
In all, I came away in awe of Lang, who like Elvis, does it his way. Lang Lang was off the very next day (Wednesday) to play for President Obama and first lady, Michelle Obama, at a lavish State Dinner honoring Chinese President Hu Jintao. Lang Lang will play four-hands with Jazz legend Herbie Hancock and “My Motherland,” the theme song of a famous 1956 film called Battle on Shangganling Mountain set during the Korean war.
Details: next up in the Great Performers Series is Russian opera baritone Dmitri Hvorostovsky in solo recital of songs by Fauré, Taneyev, Liszt, and Tchaikovsky on Sunday, February 13, 2011, 8 p.m., Davies Symphony Hall. Tickets: $15 to $83. Box Office: (415) 864-6000 or http://www.sfsymphony.org.
Lang Lang’s next Bay Area performance is this Sunday, January 23, 2011, 7:30 p.m., at the “Master Piano Series: an Evening with Lang Lang,” at California Theatre, 345 South First Street, San Jose. Tickets: Sold Out. Check for last minute availability.
ARThound 