Leif Ove Andsnes is a pianist with an enormous repertory, ranging from classics to many contemporary composers, so you might presume that performing the Brahms Piano Concerto No. 2 in B-flat Major Op.
San Francisco Conservatory of Music's young artists went way back in time to present an opera three-and-a-half centuries old, last weekend in Fort Mason Center's Cowell Theater.
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.
It doesn't matter how much hype is swirling around conductor Gustavo Dudamel. He is the real deal, a great all-around young talent, who consistently delivers the goods, as his debut concerts with the San Francisco Symphony last week proved.
All of Davies Hall’s 2,750 seats were sold for a 10 a.m.
L'elisir d'amore (The elixir of love) is not only one of most melodious and rhythmically exciting works in all opera, it also testifies to its composer's defiant humanity.
When Jacques Offenbach's Orpheus in the Underworld was first performed in Paris, in 1858, the famed critic Jules Noriac, of mighty Le Figaro, stammered with delight: "Unheard-of. Splendid. Outrageous. Graceful. Charming. Witty. Amusing. Successful.
West Bay Opera's current production of Così fan tutte stands tall on the twin ramparts of Barbara Day Turner's rock-solid conducting of a fair-to-middling orchestra, and Douglas Nagel's vital, if risky, staging.
Schubert’s song cycle Die Schöne Müllerin may be the richest treatment of a simple story in all music. Young man loves the miller's daughter, she prefers a hunter, young man drowns himself in the brook — and that's all there is.
And yet, for some 70 minutes, there is a universe of variety and beauty unfolding before the listener.
A music teacher returned to his old school on Saturday night, three decades after writing his breakout piece there, and the brilliant concert that took place exceeded all expectations of such an occasion.