ARThound

Geneva Anderson digs into art

Time to reset your GPS to EPS (Esa-Pekka Salonen), SF Symphony’s new music director designate

Esa-Pekka Salonen, taking in the love Friday evening at his inaugural concert as SF Symphony’s new music director designate.  Concertmaster Sasha Barantschik is on the left while associate principal cellist, Peter Wyrick, is on the right. Photo: Geneva Anderson

What great fortune to have a front row seat last night at Esa-Pekka Solonen’s inaugural concert as San Francisco Symphony’s new music director designate.  Davies Symphony Hall was packed and the audience was excited, rapturous, rising to their feet several times to applaud the 60-year-old Finn who will take the helm as SFS’s Music Director in September 2020.  He succeeds MTT (Michael Tilson Thomas) who, in 2020, will have been at the helm for a quarter of a century.

Esa-Pekka Salonen. Photo: Geneva Anderson

What a wonderful way to start things off with Icelandic composer Anna Thorvaldsdottir’s mysterious tonal poem METACOSMOS, composed in 2017.  It stuck just the right tone with an audience eager to hear something that had obvious meaning to Salonen and ready to embrace a female composer, which we haven’t had much of at Davies of late.  METACOSMOS had a Nordic feel and was both modern and  romantic, taking us on a short speculative journey down into a deep dark hole, the murky unknown of the consciousness, where epic battles ensue between forces of light and darkness.  It was followed by Also sprach Zarathustra, Richard Strauss’ grand tonal poem, from 1864, which was inspired by Nietzsche’s ideas about the course of humankind.  With moments of emblazoned flare, EPS coaxed a glorious sound from SFS.  Sitting just feet from his podium, I caught the fluidity and grace of his hands as well as the serenity in his face.  This is a man who is expressive, passionate, and in deep conversation with his musicians and his heart.  Musically, he knows exactly what he’s doing and it comes across in every gesture.

The evening closed with Sibelius’ Four Legends from the Kalevala, another tonal masterpiece, from 1895, which weaves the powerful Finnish epic Kalevala myth into four movements.  Again, a multi-sensory piece with wonderful contrasts and rich melodies, showcasing various sections of the orchestra throughout.    English horn player Russ deLuna and cellist Peter Wyrick were on fire.   What a journey we have ahead.  Experiencing the magic in person will cement memories for years to come.

Details:  There are two remaining chances to hear EPS conduct SFS this weekend: 8 p.m. Saturday, January 19 and 2 p.m. Sunday, January 20.  $50-$225. Davies Symphony Hall, 201 Van Ness Ave., S.F. 415-864-6000.  Tickets: www.sfsymphony.org

 

 

Advertisements

January 19, 2019 Posted by | Classical Music | , , , , , , , , , , , , , | Leave a comment

MTT conducts Mahler’s Symphony No. 3 with the San Francisco Symphony, mezzo Sasha Cooke, the SFS Chorus, and the San Francisco Girls Chorus

Grammy winning mezzo soprano Sasha Cooke guest solos with MTT and San Francisco Symphony this week in three performances of Mahler’s Symphony No. 3.  Cooke appeared this summer at San Francisco Opera in the world premiere of Mark Adamo's The Gospel of Mary Magdalene. Seen worldwide as Kitty Oppenheimer in the Met Opera and Grammy® Award-winning DVD of John Adams’ Doctor Atomic, Cooke is renowned for her command of Romantic and Contemporary repertoire.  Photo: Dario Acosta

Grammy winning mezzo soprano Sasha Cooke guest solos with MTT and San Francisco Symphony this week in three performances of Mahler’s Symphony No. 3. Cooke appeared this summer at San Francisco Opera in the world premiere of Mark Adamo’s The Gospel of Mary Magdalene. Seen worldwide as Kitty Oppenheimer in the Met Opera and Grammy® Award-winning DVD of John Adams’ Doctor Atomic, Cooke is renowned for her command of Romantic and Contemporary repertoire. Photo: Dario Acosta

Gustav Mahler’s Third Symphony in D Minor, the most expansive of his ten symphonies, is a cosmological tour de force.  Full of magic and mystery, it’s the musical journey of Nature coming to life, at first through flowers and animals and then on up to man, the angels and the love of God.  This Thursday, Saturday and Sunday, Michael Tilson Thomas (MTT) conducts the San Francisco Symphony (SFS) and mezzo soprano Sasha Cooke, the SFS Chorus, and the San Francisco Girls Chorus in this rarely performed epic—in six movements grouped into two parts—which clocks in at roughly 90 minutes, earning it the distinction of the longest symphony in the standard repertoire.   It almost goes without saying that MTT has sealed his reputation on Mahler.  In 2001, SFS and MTT launched the Mahler Project and recorded the balance of Mahler’s major works for voices, chorus and orchestra picking up four Grammys in the process.  The Symphony No. 3 and Kindertotenlieder recording won the 2004 Grammy for Best Classical Album.  Of course, nothing compares to the magic of a live MTT/SFS Mahler performance.  Whether it’s your first or 50th time, each performance reflects a constantly evolving understanding of the composer’s genius and complexities.

Michael Tilson Thomas with the bust of Gustav Mahler at the Weiner Staatsoper (Vienna Opera House) during the filming of the acclaimed "Keeping Score" series in which MTT mapped the actual geography of Mahler’s life. Photo: Courtesy SFS

Michael Tilson Thomas with the bust of Gustav Mahler at the Weiner Staatsoper (Vienna Opera House) during the filming of the acclaimed “Keeping Score” series in which MTT mapped the actual geography of Mahler’s life. Photo: Courtesy SFS

At Monday’s press conference announcing the 2014-15 season, Tilson Thomas, could not recall how many times SFS has played the work during his 19 year tenure as Music Director (3 times—1997, 2002 and 2011) but he did speak about the joys of revisiting Mahler— “I think of these pieces, these big symphonies, like the Mahler, are like National Parks that we love and we come back to.  We all know the map of the park.  I have the complete map and others on stage have the intricate trail maps of one path or another.  But no matter how much you look at the map of that, when you are actually on the trail, it’s a different thing every time—the nature and character of the piece will vary according to where you are in your life and what you’ve experienced and with whom you are on the trail.  Sometimes, you’ll stop and smell the mimosas and other times, you’ll press ahead to get to the view of the glacier.”

The San Francisco Girls Chorus includes 400 singers from 45 Bay Area cities.  In 2008-2009, the Chorus sang at the swearing in of President Barak Obama and can also be heard of several SFS recordings, including the Grammy winning Mahler Symphony No. 3.  Photo:  SFS

The San Francisco Girls Chorus includes 400 singers from 45 Bay Area cities. In 2008-2009, the Chorus sang at the swearing in of President Barak Obama and can also be heard of several SFS recordings, including the Grammy winning Mahler Symphony No. 3. Photo: SFS

Mahler wrote his Third Symphony between 1893 and 96, when he was in his mid-thirties.  When the German composer and conductor Bruno Walter, visited Mahler at his composing hut in Steinbach am Attersee, Austria (some twenty miles east of Salzburg), he wrote in his memoirs that he looked up at the sheer cliffs of the colossal Höllengebirge and Mahler told him “No need to look up there any more—that’s all been used up and set to music by me.”  This immense rockface inspired the introductory theme of the first movement—a grand unison chant for eight horns evoking the primitive forces of nature.  A offstage horn, also figures prominently in the third movement.  Heard floating in the distance, a melancholy haunting solo imitating an old posthorn or valveless coach horn creates one of Mahler’s soulfully nostalgic moments.

Grammy winner, mezzo Sasha Cooke, was radiant as Mary last summer in the world premiere of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera.   In the summer of 2013, she performed Mahler’s Second Symphony with MTT and the Los Angeles Philharmonic at the Hollywood Bowl. Her expressive and rich voice should be a good match for the dark fourth movement, a Nietzsche text that is sung against heavy strings.  By contrast, the fifth movement is light and will feature the voice of angels—women of the SFS Chorus in three part chorus, joined later by the San Francisco Girls Chorus who enter creating lovely bell like noises and join in the exhortation “Liebe nur Gott”(“Only love God”).   The symphony ends with an adagio, softly walking the edge of the sound and silence.

Cellist Margaret Tait joined SFS in 1974 and is one of the orchestra’s most tenured musicians.  When she plays Mahler’s No. 3, she pulls out her personal card which has markings and memories from previous performances and then “gets down to teaching her fingers how to do that.”  Tate especially likes the middle sections of No. 3 which are “light and very songful.”  Photo: Geneva Anderson

Cellist Margaret Tait joined SFS in 1974 and is one of the orchestra’s most tenured musicians. When she plays Mahler’s No. 3, she pulls out her music which has markings and memories from previous performances and then “gets down to reviewing the part and honing the upcoming performance.” Tait especially likes the middle sections of No. 3 which are “light and very songful.” Photo: Geneva Anderson

Cellist Margaret Tait (Lyman & Carol Casey Second Century Chair) has been with SFS since 1974 and currently heads the SFS Players Committee.  At Monday’s press conference, she said.  “We in the orchestra have a deep pool of shared experience, of performing this repertoire on world stages.  When we come to a piece again like the Mahler’s Third Symphony, we can enter the performance with a feeling of security, of asking ‘What can we bring to the work right now that is new and fresh?’  We rely on our deep knowledge of the piece and our understanding of it over years.  This is the only time I’ve had a relationship with a music director that has lasted 20 years.  The orchestra and MTT have been through a lot together and it’s been a wonderful journey for the orchestra. There’s a sense that what we do is deeply American and very adventuresome. ”

Details: “MTT Conducts Mahler’s Third Symphony” is Thursday (Feb 27) at 8PM; Saturday (March 1) at 8 PM and Sunday (March 2) at 2 PM at Davies Symphony Hall, San Francisco.  Tickets: $30 to $162; purchase online here, or, call (415) 864-6000.  For more information, visit www.sfsymphony.org.

Getting to Davies:  Davies Symphony Hall is located at 201 Van Ness Avenue at Grove Street, in San Francisco’s Civic Center, just across the street from City Hall.  The main entrance is on the south side of Grove Street between Van Ness Avenue and Franklin Street.  Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—there is frequently congestion around the toll-plaza.  Arrive early at your parking garage of choice because those also fill up on weekends.  Recommended Garages:  Two garages are very close to Davies— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)

February 25, 2014 Posted by | Symphony | , , , , , , , , , , , , , , | Leave a comment

Pianist Yuja Wang—young, fun, impeccable—joins Michael Tilson Thomas & San Francisco Symphony at Green Music Center this Thursday, March 7, 2013

Chinese pianist Yuja Wang is known for her colorfully explosive playing.  She performs on the Green Music Center’s Steinway with Michael Tilson Thomas and the San Francisco Symphony, Thursday, March 7, 2013, at Weill Hall.

Chinese pianist Yuja Wang is known for her colorfully explosive playing and tight, bright, short dresses. She performs on the Green Music Center’s Steinway with Michael Tilson Thomas and the San Francisco Symphony, Thursday, March 7, 2013, at Weill Hall.

Yuja Wang, the young Chinese pianist legendary for her dazzling playing, performs at the Green Music Center’s Weill Hall Thursday night with Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS).  The diverse program includes two well-known works— Beethoven’s Piano Concerto No.4 and Brahms Symphony No. 1—and one modern piece, Samuel Carl Adams’ “Drift and Providence.”  Adams, a Brooklyn resident, is the 26-year-old son of composer John Adams, a part-time Sonoma Coast resident, who, along with SFS, won a 2103 Grammy Award in the category of Best Orchestral Performance for a live recording of Adams works.

 This is the third of four SFS concerts at Weill Hall this inaugural season and marks MTT’s second concert appearance at the Green Music Center (GMC).  At 26, Yuja Wang is the youngest musician to perform at Weill Hall in the MasterCard Performance Series and demand for tickets has been overwhelming for this performance as well as for the her three SFS Davies Hall performances on Wednesday, Friday and Saturday.    Also on stage will be three SFS musicians who are based in Sonoma County—violist Wayne Roden of Cotati, percussionist Tom Hemphill who lives in a rural unincorporated area near the Washoe House, and bass player Chris Gilbert of Petaluma. (For ARThound’s profile of these musicians upon their first appearance at Weill Hall, click here.)   Recognizing that getting to know a concert hall is really alot like getting to know a person—it’s only over time that you start to ntoice things —ARThound grabbed the chance to gather some further  impressions about the experience of playing Weill Hall.

“I really like Weill Hall and I’ve heard almost completely positive comments from all of my colleagues,” said violist Wayne Roden, who spoke to me from his home in rural Cotati.  “I like the way it looks and feels and sounds. It’s just a beautiful place to play and that really does make a difference.  A lot of modern halls are not that inviting. We play the best of them when we are on tour and this one is particularly nice, especially the sense of light and warmth.”

The acoustics also get a thumbs up, with an interesting caveat that only a seasoned musician can provide. “It’s very nice—it’s warm, live, and it feels good to play there,” said Roden. “Having played there now a few time times, I’ve experienced something I didn’t notice before—when you are on stage, there’s a little bit of the feeling that you hear yourself more than you would ideally like.  This is not the only hall where I have experienced that.  In the ideal world, you like to hear a warm sound and the sound of the whole. You do hear the whole quite well in Weill Hall but, in acoustical terms, there’s a slight feeling of isolation.  It feels a little bit naked which has a slightly inhibiting effect for me because I am hyper aware of what I am putting out.  One of the toughest things you have to do as a player in an orchestra is to balance expressing yourself—you try to put out musically, emotionally—while fitting into the whole.  Some people err on the side of being careful and some err on the side of being expressive, which means they go for it and stick out.  In an orchestra as good as SFS, you’ve got most people hitting the middle but that’s the art of playing in an orchestra. The acoustics of a hall can really impact that.”

Thursday’s program is quite varied musically and includes two pieces—Beethoven’s Piano Concerto No.4 and Brahms Symphony No. 1— which are standard sympony repertoire.  Of course, under MTT’s skilled conducting, the audience can expect magic from the Bay Area’s treasured orchestra.

“When you know pieces this well it’s very easy to fall into habits of playing and so it’s a question of whether you can find something vital in it each time and that’s the challenge of both the conductor and the musician,” said Roden.  “Musicians are a kind of tabula rasa for the conductor and we kind of give ourselves over to him.  I really think that a conductor can bring something to the moment emotionally and conceptually and that can make a huge difference in pieces that are standard repertoire.”  

 Program:  Michael Tilson Thomas conductor, Yuja Wang piano, San Francisco Symphony

Samuel Carl Adams | \Drift and Providence
Beethoven | Piano Concerto No.4 in G major, Opus 58
Brahms | Symphony No. 1 in C minor, Opus 68

Beethoven’s No. 4, a Piano Classic:  After its public premiere in December 1808 in Vienna at the Theater an der Wien, a review in the May 1809 edition of the Allgemeine musikalische Zeitung stated that Beethoven’s Piano Concerto No. 4 in G major “is the most admirable, singular, artistic and complex Beethoven concerto ever.”  Widely considered to be one of the central works of the piano concerto today, the No. 4 begins unconventionally—instead of entering after a lengthy wait, the solo instrument, the piano, starts the piece off by playing in almost improvisational style before the orchestra gently takes over and develops it.  The second movement has a particularly distinct and intimate dialog between piano and orchestra as the serene and lyrical piano line is met with restless strings that mellow as the conversation continues.   The piece is made to order as a showcase for Wang’s astounding technique and imagination, MTT’s strong conducting and for SFS and, of course, Weill Hall and its wondrous Steinway. 

A strong mentor in  MTT:  Michael Tilson Thomas and Yuja Wang have a particularly close collaboration that began in 2006 when she, then 19, made her debut with the SFS at its annual Chinese New Year concert.  Since then, she has returned to perform with SFS each year and performed on tour with MTT and the Orchestra in Macau, Hong Kong, Taipei, Shanghai, Beijing and Tokyo in November 2012. In 2008, Wang performed as a soloist with the YouTube Symphony Orchestra led by MTT at Carnegie Hall.  

In the YouTube clip below, Yuja Wang talks about her working relationship with MTT.   The clip was made in 2011, to mark several performances Yang would have with MTT and SFS that year.

More about Yuja Wang: Born in Beijing in 1987, Wang began studying piano at age six, with her earliest public performances taking place in China, Australia and Germany. She studied at the Central Conservatory of Music in Beijing under Ling Yuan and Zhou Guangren. From 1999 to 2001 she participated in the Morningside Music summer program at Calgary’s Mount Royal College, an artistic and cultural exchange program between Canada and China, and began studying with Hung Kuan Chen and Tema Blackstone at the Mount Royal College Conservatory. In 2002, when she was 15, she won Aspen Music Festival’s concerto competition. She then moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Philadelphia, where she graduated in 2008. In 2006 Yuja received the Gilmore Young Artist Award. In 2010 she was awarded the prestigious Avery Fisher Career Grant. 

Michael Tilson Thomas (MTT) conducts the San Francisco Symphony Orchestra at Weill Hall on December 6, 2012, in their first of four concerts this season.   In Feburary, , the Orchestra’s recording of Bay Area composer John Adams’ works won a 2013 Grammy Award, the 15th Grammy win for SFS.  Photo: courtesy SFS

Michael Tilson Thomas (MTT) conducts the San Francisco Symphony Orchestra at Weill Hall on December 6, 2012, in their first of four concerts this season. In Feburary, , the Orchestra’s recording of Bay Area composer John Adams’ works won a 2013 Grammy Award, the 15th Grammy win for SFS. Photo: courtesy SFS

 Her acclaimed recordings include Transformation, for which she received an Echo Award 2011 as Young Artist of the Year. Wang next collaborated with Claudio Abbado and the Mahler Chamber Orchestra to record Rachmaninoff, her first concerto album featuring Rachmaninoff’s Rhapsody on a Theme of Paganini and Piano Concerto No. 2 in C minor, which was nominated for a Grammy® as Best Classical Instrumental Solo. Her most recent recording, Fantasia, is a collection of encore pieces by Albéniz, Bach, Chopin, Rachmaninoff, Saint-Saëns, Scriabin and others. 

CD’s for Sale:  A selection of CDs by Yuja Wang and SFS will be sold before the cocnert and during intermission in Weill Hall’s Person Lobby.  The lobby is named after Evert and Norma Person, long-time Santa Rosa Symphony patrons.

PRE-CONCERT TALK: Interested in going deeper?  One hour prior to the concert, Alexandra amati-Camperi will give an “Inside Music” talk from the stage all about the repertoire. Free to all concert ticket holders; doors open 15 minutes before, or 6:45 p.m.

Program Notes: Downloadable concert program notes can be found online here.

Upcoming SFS Performances at Weill Hall:  The Orchestra’s four-concert series for GMC concludes Thursday, May 23 at 8 pm David Robertson conductor, Marc-André Hamelin piano, San Francisco Symphony

Elliott Carter Variations for Orchestra

Ravel Piano Concerto in D major for the Left Hand

Gershwin Rhapsody in Blue

Ravel La Valse

Details: The San Francisco Symphony Orchestra performs Thursday, March 7, 2013 at 8 pm at Joan and Sanford I. Weill Hall, Green Music Center, Sonoma State University, Rohnert Park.

Tickets: $15-$145. Tickets are still available at www.sfsymphony.org or by phone at 415-864-6000

New Fees SSU Parking: Parking is $10 for the lot nearest Weill Hall.  Have cash ready to hand attendants as you drive in.  All other SSU general parking lots have had a rate increase to $5, and a parking receipt must now be displayed all 7 days of the week, no exceptions.

March 4, 2013 Posted by | Classical Music, Symphony | , , , , , , , , , , , , , , , , , , | Leave a comment

Soprano Renée Fleming is in San Francisco for the next week—there are several chances to hear her at Davies Hall—special recital with Susan Graham next Wednesday, January 16, 2013

America’s regal soprano, Renée Fleming, will perform an all French program, including a new Debussy arrangement, on January 10, 12 and13, and in duo recital with Susan Graham on January 16, 2013, both at Davies Symphony Hall.  Photo: @Decca/Andrew Eccles

America’s regal soprano, Renée Fleming, will perform an all French program, including a new Debussy arrangement, on January 10, 12 and13, and in duo recital with Susan Graham on January 16, 2013, both at Davies Symphony Hall. Photo: @Decca/Andrew Eccles

Lyric soprano Renée Fleming has long captivated audiences with her sumptuous voice, consummate artistry, accessibility, and joie de vivre.  While opera is clearly her sweet spot, you can’t help but admire this Grammy-winning soprano for her sense of experimentation.  She cut her first rock album Dark Hope in 2010 at age 51 and hasn’t slacked off one bit in the classical realm.  In October, she drew tears with her tender “Ave Maria” as Desdemona in Verdi’s “Otello” at the Metropolitan Opera. She opened her Met career with this challenging role 17 years ago.  In December 2012, she was nominated for a Grammy for “Poèmes,” her visceral album of French works for soprano and orchestra.  Bay Area audiences are in for a special treat this week as Fleming returns to Davies Symphony Hall Thursday, Saturday and Sunday with an all French program of orchestral songs by Debussy and Canteloube, with Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS).  And next Wednesday, at Davies, Fleming will perform a duo recital of French works by Debussy, Fauré, and Saint-Saëns with the legendary mezzo-soprano Susan Graham and pianist Bradley Moore.  In addition to singing, there’ll be ample opportunity to meet both Fleming and Graham as they sign cd’s following Wednesday’s performance.

MTT & Renée Fleming, January 10, 12, 13, 2013:  Davies Symphony HallMichael Tilson Thomas leads SFS and soprano Renée Fleming in the world premiere of Robin Holloway’s arrangement, commissioned by the SFS, of Debussy’s C’est l’extase. Fleming also performs selections from Canteloube’s Chants d’Auvergne, and the Orchestra performs Debussy’s Jeux and La Mer.  Approximate length: 2 hours

C’est l’extase is Robin Holloway’s  new orchestration of Debussy’s settings of the poems of French 19th century poet Paul Verlaine; the cycle includes the six Debussy titled Ariettes oubliées.  An SFS commission, the work receives its world premiere in these performances. Previously, SFS and MTT have commissioned and premiered three works by composer Robin Holloway, including Clarissa Sequence (1998), the Fourth Concerto for Orchestra (2007), and 2004’s En blanc et noir, an orchestration of a Debussy work for two pianos that the Orchestra performed on tour in the US and Europe.  Holloway taught music at Cambridge University for 32 years, and his students included Judith Weir and Thomas Adès.

Debussy Jeux

Debussy (arr. Robin Holloway) C’est l’extase (Settings of Paul Verlaine) (SFS Commission, world premiere)

Canteloube Selections from Chants d’Auvergne: La Delaïssádo,” Malurous qu’o uno fenno,” “Baïlèro

Debussy La Mer

 Pre-Concert Talk:  Peter Grunberg will give an “Inside Music” talk from the stage one hour prior to each concert. Free to all concert ticket holders; doors open 15 minutes before.

Audio Program Notes: A free audio podcast about Debussy’s La Mer will be downloadable from sfsymphony.org/podcasts and from the iTunes store.

Thursday, January 10, 2013 at 8 p.m.; Saturday, January 12, 2013 at 8 p.m.; Sunday, January 13, 2013 at 2 p.m. 

Mezzo Soprano Susan Graham will perform a selection of French art songs in duo recital with Renée Fleming on January 16, 2013 at Davies symphony Hall.  Part of a month long tour with Fleming, this is Graham’s only Bay Area performance in the 2012-13 season.  Photo: @Dario Acosta

Mezzo Soprano Susan Graham will perform a selection of French art songs in duo recital with Renée Fleming on January 16, 2013 at Davies symphony Hall. Part of a month long tour with Fleming, this is Graham’s only Bay Area performance in the 2012-13 season. Photo: @Dario Acosta

Renée Fleming and Susan Graham, Davies Symphony Hall, Wednesday, January 16, 2012 at 7 p.m  Their pairing in Richard Strauss’s Der Rosenkavalier in 2000 and 2009 at the Metropolitan Opera was kismet.  Since then, whenever Renée Fleming and Susan Graham team up, they create magic.  Davies is the first stop in their new month-long cross country tour and these celebrated all-American divas will perform a light-hearted program of 19th century French song literature.  This is Graham’s only Bay Area performance in the 2012-13 season.   Eight composers, ranging from the romantic Hector Berloiz to the fin-de-siècle Raynaldo Hahn and André Messager, will be featured.  French composers from this period were mesmerized by lure of the exotic as were their audiences and, running through these pieces, you’ll hear references to Spain and even India.  Bradley Moore will accompany on piano.  Approximate length: 2  hours

 Saint-Saëns Pastorale,Viens! Une flute invisible,” and “El desdichado” (Ms. Fleming, Ms. Graham)

FauréPiusqu’ici-bas tout âme”, Opus 10, no.1, “Pleurs d’or”, Opus 72, Pavane, Opus 50, and Tarentelle, Opus 10, no.2 (Ms. Fleming, Ms. Graham)

Debussy Claire de lune (Mr. Moore)

Debussy Mandoline” “Beau soir” (Ms. Fleming)

O. StrausJe t’aime quand meme” from Trois valses (Ms. Fleming)

Hahn Le Rossignol” “Infidélité” “Fêtes galantes” “Le Printemps” (Ms. Graham)

BerliozLa mort d’Ophélie”, Opus 18, no.2 (Ms. Fleming, Ms. Graham)

Messager Blanche-Marie et Marie-Blanche” from Les p’tites Michu (Ms. Fleming, Ms. Graham)

Offenbach Barcarolle from Les contes d’Hoffmann (Ms. Fleming, Ms. Graham)

Delibes Duo des fleurs from Lakmé (Ms. Fleming, Ms. Graham)

CD signing:  Meet Renée Fleming and Susan Graham at a CD signing in the Symphony Store following the concert.

More about Susan Graham:  Those who attend the Metropolitan Opera’s Live in HD performances—at Sebastopol’s Rialto Cinemas for Sonoma County—were able to experience Susan Graham in full force last week as Dido in Berlioz’s rarely performed French opera of Trojan War, Les Troyens.  Slam dunk!  Dido calls for every emotion imaginable—from the agonizing disappointment and hurt of Aeneas’ abandonment to palpable moments of shared tenderness, love and respect.  Graham poured forth, taking up the reins held by legendary Lorraine Hunt-Lieberson whose last remarkable performances at the Met in 2003 defined the role. But seeing Graham on screen in a movie theatre is one thing and interacting with her live is another.  This is Graham’s only performance in the Bay Area in 2013 and is not to be missed.  

Susan Graham as Dido in Act V of Berloiz’s Les Toyens, conducted by Fabio Luisi; produced by Francesca Zambello.  2012-13 season.  Video: Metropolitan Opera.  Graham is featured on SFS Media’s 2010 release Mahler Songs with Orchestra, singing selections from Mahler’s Rückert-Lieder.  In October 2012, Graham released her first solo album since 2008, a compilation on Onyx titled Virgins, Vixens & Viragos, featuring music by Purcell, Berlioz, and Poulenc, among others.

Getting to Davies : Davies Symphony Hall is located at 201 Van Ness Avenue at Grove Street, in San Francisco’s Civic Center, just across the street from City Hall. The main entrance is on the south side of Grove Street between Van Ness Avenue and Franklin Street. Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—on weekends, there can be a 15 to 30 minute back-up on Highway 101 South from Sausalito onwards due to congestion around the toll-plaza.  Arrive early at your parking garage of choice because those also fill up on weekends. Recommended Garages: Two garages are very close to Davies— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)

Tickets and information: www.sfsymphony.org , by phone at (415) 864-6000. Half-price tickets for children 17 and under are available for certain performances.

January 10, 2013 Posted by | Symphony | , , , , , , , , , , , , , , , , , , , , , | 1 Comment