Reviews

Mezzo-soprano Daniela Mack comes from Buenos Aires, and her home is now in San Francisco, but her future is in the great opera houses and recital halls of the world.

"Indigenous Instruments," composer Steve Mackey writes of one of his pieces, "is vernacular music from a culture that doesn't actually exist." But at UC Berkeley's Hertz Hall on Friday, the audience was able to catch aural samples of familiar vernacular music.

"Are all choral concerts like this?" asked my extremely sensitive sister-in-law. Had she not continued her thought, I could have responded in many ways. "No, they are not," I might have said. Of the thousands upon thousands of choral groups that grace the American landscape, precious few are as fine-tuned and impeccably voiced as San Francisco Choral Artists.

As soon as soprano Elza van den Heever started to pour forth her large, stunning sound, a story about Wagnerian soprano Kirsten Flagstad came to mind. For Flagstad's first Metropolitan Opera audition, she was sent to a small rehearsal room whose proportions so cramped her vocal projection that no one sensed her ultimate potential.

Tastes in violin recitals have changed markedly over the years. At one time, the second half of a virtuoso's program generally consisted entirely of what we now think of as encore pieces. Nowadays, paradoxically, the only time you are likely to see a program like that is when the player is an "intellectual" musician making a historical point.

Israeli percussionist Chen Zimbalista is a throwback to the days when “entertainer” wasn’t a pejorative term.

The first of two concerts by the Academy of St. Martin in the Fields, Sunday in Davies Symphony Hall, required some program shuffling. The venerable Sir Neville Marriner was filling in for the indisposed pianist-conductor Murray Perahia.

The young ensemble Harmonie Universelle adopted the title of its San Francisco Early Music Society concert this weekend from a collection by Johann Pachelbel, "Musicalische Ergötzung," which translates into, roughly, "musical pleasures." Indeed, the program from the early German Baroque period offered a smorgasbord of delights, demonstrating how much variety can be discovered within a unified and

Paul Galbraith, whose Sunday recital at the Florence Gould Theater was sponsored by Chamber Music San Francisco, is a unique figure in the classical guitar world. Winner of the Segovia International Guitar Competition and the BBC Young Musician of the Year Award in 1981 at age 17, he began giving concerts throughout Europe regularly.

If eclecticism is your thing, San Francisco's Mission Dance Theater was the place to be on Sunday for the first annual Switchboard Music Festival.