Edgar Meyer could be said to be playing all the “basses”: he’s collaborated and recorded in classical, jazz, bluegrass, and several other contexts. At Herbst Theatre this month, he’ll be taking on an unfamiliar role: playing bass solo, in public.
Conductor Michael Morgan’s modesty becomes him, yet it’s in service to a mission that he pursues no less relentlessly than most other conductors pursue fame and fortune.
For the first time, visionary New York City vocalist Meredith Monk and the Oakland-based Kitka Women’s Vocal Ensemble will showcase four decades of Monk’s dramatic compositions.
The young French artist is well on the rise, performing this week with the S.F. Symphony — and in June playing “live” to hundreds of American theaters with fellow hotshot Gustavo Dudamel.
Christian Tetzlaff, visiting S.F. with his longtime quartet, insists that a chamber musician’s job is to draw listeners into the story — whether of friendship, compassion, intimate feelings, or terrible things happening.
