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Latest From the SFCV Feed

Jason Victor Serinus - January 26, 2010

Those of us fortunate enough to attend Opera Colorado’s 2008 production of John Adams’ engrossing opera Nixon in China were swept to our feet by its cumulative impact.

Marianne Lipanovich - January 25, 2010
Music has always had a way of bridging gaps between cultures and bringing people closer together.
Janos Gereben - January 25, 2010
 [The sound of Max Bruch’s Kol Nidrei is heard, starting with the full sound of the cello, as Arnold Schoenberg and Theodor Adorno listen.]

Schoenberg: “Stop! Today is Yom Kippur, the Day of Atonement when Kol Nidre is played. But why always Max Bruch’s? At least up here, on Parnassus, let’s hear my version for a change. Without the cello sentimentality of the Bruch.

Jeff Dunn - January 25, 2010

The Armenian proverb “We learn more from a clever rival than a stupid ally” was much in evidence in the second half of Friday’s Oakland East Bay Symphony concert. During that segment, the music of three little-known Armenian composers proved that derivative music can nevertheless be persuasive.

Jason Victor Serinus - January 25, 2010
How can religious music devoid of language serve as a unifying force in a world divided by doctrine? This question led Veretski Pass, a unique klezmer trio, to create a new body of Jewish religious music titled The Klezmer Shul. Premiering in Jewish venues in Alameda (Feb. 8), Berkeley (Feb. 10), and Palo Alto (Feb.
Heuwell Tircuit - January 23, 2010
Thursday’s program of the San Francisco Symphony, under Michael Tilson Thomas, offered something new in my concert experience. Noting that the two works on the first half of the program were rather glum, MTT said he wanted to open with something lighter.
Michael Zwiebach - January 19, 2010
In our childhoods we all internalize the decimal system and its powers of 10. This is probably why we fetishize the ends of centuries and decades as important stock-taking moments. Not to be left out, SFCV will bring you a few end-of-decade musings over the next few months.
Michelle Dulak Thomson - January 19, 2010

The Cypress Quartet is probably best known for an enterprising commissioning program that by now has added a dozen or so substantial works to the string-quartet literature. It is heartening, then, to see the ensemble stake its claim to the heart of the literature that it didn’t engender itself.

Michelle Dulak Thomson - January 19, 2010
Voices of Music is one of those rare ensembles built from the bottom up: Founders and Codirectors David Tayler (lutes) and Hanneke van Proosdij (harpsichord) make up the bones of a continuo team that supports anything from solo singers or instrumentalists to a small orchestra. On Saturday at St.
Marianne Lipanovich - January 19, 2010
In some ways, the Ying Quartet will be returning to its roots when it plays the “American” String Quartet, Op. 96, by Dvořák at Kohl Mansion in February. Written when the composer was living in rural Iowa, it’s a special piece for the quartet, according to Phillip Ying, who plays viola.