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"content": "\u003cp>When you’ve played some of the finest concert halls in America, shared the stage with some of the finest players in your art form, and earned a byline on another artist’s album title all before turning 21 — what’s next?\u003c/p>\n\u003cp>For Elena Pinderhughes, the answer is to start at the beginning, and to synthesize those lessons into a singular, individual sound.\u003c/p>\n\u003cp>Now 21, the flutist and vocalist has spent half her life learning from a host of musical “aunties and uncles,” as well as playing alongside Herbie Hancock, Joshua Redman and Carlos Santana. Her work on trumpeter Christian Scott’s acclaimed album \u003cem>\u003ca href=\"https://itunes.apple.com/us/album/stretch-music-introducing/id1024394279\" target=\"_blank\" rel=\"noopener\">Stretch Music\u003c/a>\u003c/em> was considered worthy of special recognition in the title (“Introducing Elena Pinderhughes” follows in parentheses). She’s also recently recorded with rapper Common and pianist Robert Glasper, contributing to his work on the soundtrack to the Miles Davis biopic \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12064731\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Elena2.jpg\" alt=\"Elena Pinderhughes.\" width=\"750\" height=\"500\" class=\"size-full wp-image-12064731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Elena2.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Elena2-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes. \u003ccite>(Julie Vastola)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinderhughes occupies a curious musical predicament — ten years deep as a working musician, yet only starting her recording career as a bandleader. Instead of feeling pressure to deliver an album as soon as possible, she chooses to remain patient, crafting her sound as it slowly reveals itself.\u003c/p>\n\u003cp>“One of my really close mentors told me not to be in a rush, and I think that was a really key thing for me to hear,” Pinderhughes admits by phone. “Oftentimes, we’re in a rush because we think the best time is now. In this industry, and especially as a female sometimes, there’s a draw to go early. But I haven’t had that pressure of feeling like I’m too late.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the work that will comprise her debut is still largely in its formative stages, audiences at the 59th annual \u003ca href=\"http://www.montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> will hear a handful of these new compositions when Pinderhughes performs \u003ca href=\"http://www.montereyjazzfestival.org/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener\">Sunday, Sept. 18, on the festival’s Garden Stage\u003c/a>. While she notes Monterey is a “festival that’s heard me play a lot of flute in the past,” this is the first time she’ll lead her own band there. (She also appears on the Arena Stage with Terri Lyne Carrington’s \u003ca href=\"http://www.montereyjazzfestival.org/artists/terri-lyne-carringtons-mosaic-project\" target=\"_blank\" rel=\"noopener\">Mosaic Project\u003c/a> on Sept. 17.)\u003c/p>\n\u003cp>https://youtu.be/1XxA6mT6bu0\u003c/p>\n\u003cp>Pinderhughes, the child of academics, grew up in Berkeley. Like her older brother, pianist Samora Pinderhughes, she discovered a passion for music at a very young age — she remembers being immediately drawn to the flute at a concert when she was four, sharing that “I think [the instrument] really did choose me.”\u003c/p>\n\u003cp>Her parents quickly plugged the two into the Bay Area’s music community, and people like John Santos and Howard Wiley began taking an active interest in refining their daughters’ talent. Elena remembers being picked up from school by mentors and shuttled to shows, where she would sit in to learn the ropes not in a classroom but actively on the bandstand. She also learned alongside musicians her age as part of ensembles and music programs like the Grammy Band, the San Francisco Youth Symphony Orchestra and Young Musicians Choral Orchestra. The latter helped instill in her a persistent yet patient work ethic, she says, that she’s carried ever since.\u003c/p>\n\u003cp>Trumpeter Christian Scott, with whom she’s toured extensively, has proven particularly helpful in pushing Pinderhughes musically. Soon after securing a space in Scott’s ensemble, she discovered a new degree of musical intensity. “Christian steadily taught me to play with a different kind of fire than I had before,” she shares. “I didn’t really know that I possessed that kind of fire with the flute.”\u003c/p>\n\u003cp>But now, as Pinderhughes enters her final year at the Manhattan School of Music, her focus has returned to making her own musical statement. She’s been signed to \u003ca href=\"http://www.srpmusicgroup.com/\">SRP Music Group\u003c/a> (the same outfit responsible for grooming Rihanna) for a little over a year, and has been consistently writing and recording material. She accepts that half of what she’s created so far will likely never see the light of day, but acknowledges that’s simply a part of the creative process.\u003c/p>\n\u003cp>“There’s no way to figure out what your sound is unless you try on different things. It’s been really cool to be able do that in an environment that’s just for me to work on those things,” she says. “My career’s just beginning. I feel like I have so much I want to say, and half of it, I don’t know how to say yet.”\u003c/p>\n\u003cp>https://youtu.be/rVoY1hbnFNg\u003c/p>\n\u003cp>Her vocals are entering the mix more and more, a piece of her musical puzzle she’s excited to share with the Monterey crowd. She’s also finding space to integrate dance, a discipline she practiced through high school, into her performances.\u003c/p>\n\u003cp>She’s reluctant to reveal much about specifics around her new project, but she does share a trio of names — James Blake, Frank Ocean, Drake — that have served as inspirations. They’re not a literal indicator of a change in sound, but rather a reflection of the modern tinge she aims to bring to her debut, even integrating electronic 808 kickdrums to her set.\u003c/p>\n\u003cp>Thanks to her partnership with SRP, she’s in no rush to finalize exactly what encompasses her “sound.” At this point, though, her closest confidantes have offered some pretty specific praise.\u003c/p>\n\u003cp>“This might sound weird, but everybody that I’ve played it for — the closest people to me — they’ve said it sounds like \u003cem>me\u003c/em>,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can’t wait for people to hear it and see where I’m going,” she adds. “They’ve got a taste of what I do with other people, but I think when they hear my sound, it’s gonna be different. They’ll get to know me a lot better.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the work that will comprise her debut is still largely in its formative stages, audiences at the 59th annual \u003ca href=\"http://www.montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> will hear a handful of these new compositions when Pinderhughes performs \u003ca href=\"http://www.montereyjazzfestival.org/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener\">Sunday, Sept. 18, on the festival’s Garden Stage\u003c/a>. While she notes Monterey is a “festival that’s heard me play a lot of flute in the past,” this is the first time she’ll lead her own band there. (She also appears on the Arena Stage with Terri Lyne Carrington’s \u003ca href=\"http://www.montereyjazzfestival.org/artists/terri-lyne-carringtons-mosaic-project\" target=\"_blank\" rel=\"noopener\">Mosaic Project\u003c/a> on Sept. 17.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1XxA6mT6bu0'\n title='//www.youtube.com/embed/1XxA6mT6bu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pinderhughes, the child of academics, grew up in Berkeley. Like her older brother, pianist Samora Pinderhughes, she discovered a passion for music at a very young age — she remembers being immediately drawn to the flute at a concert when she was four, sharing that “I think [the instrument] really did choose me.”\u003c/p>\n\u003cp>Her parents quickly plugged the two into the Bay Area’s music community, and people like John Santos and Howard Wiley began taking an active interest in refining their daughters’ talent. Elena remembers being picked up from school by mentors and shuttled to shows, where she would sit in to learn the ropes not in a classroom but actively on the bandstand. She also learned alongside musicians her age as part of ensembles and music programs like the Grammy Band, the San Francisco Youth Symphony Orchestra and Young Musicians Choral Orchestra. 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I feel like I have so much I want to say, and half of it, I don’t know how to say yet.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rVoY1hbnFNg'\n title='//www.youtube.com/embed/rVoY1hbnFNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her vocals are entering the mix more and more, a piece of her musical puzzle she’s excited to share with the Monterey crowd. She’s also finding space to integrate dance, a discipline she practiced through high school, into her performances.\u003c/p>\n\u003cp>She’s reluctant to reveal much about specifics around her new project, but she does share a trio of names — James Blake, Frank Ocean, Drake — that have served as inspirations. 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"content": "\u003cp>Leonard Haze, original drummer for East Bay hard rockers Y&T, died Sunday at the age of 61 after a long battle with chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hazexperience/posts/1548020788557476\" target=\"_blank\" rel=\"noopener\">A press release\u003c/a> from Haze’s band, HazeXperience, stated “Haze had been battling chronic obstructive pulmonary disease (COPD) for several years, making breathing difficult. Even so, he had fought to keep playing drums, performing regularly with his band, HazeXperience, and joining Y&T on-stage at the Fillmore in San Francisco in both 2015 and 2016.”\u003c/p>\n\u003cp>Haze died in his sleep Sunday evening in his hometown of Hayward, where he, Bob Gardner, and Wayne Stitzer started playing together in an unnamed cover band back in 1972. A year later, guitarist Dave Meniketti joined the group and the band found a name before their first show: Yesterday and Today, taken from the Beatles album they were listening to on Haze’s stereo while they were brainstorming.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UqCfZIyljVk\u003c/p>\n\u003cp>Gardner and Stitzer would leave the group, to be replaced by bassist Phil Kennemore and guitarist Joey Alves. With the new lineup, Yesterday and Today began writing their own songs and playing shows all over the Bay Area and beyond. They were often the headlining band, with bands like Van Halen, Mötley Crüe and Stevie Ray Vaughan opening for them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Y&T made a name for itself not only for their heavy riffs and Meniketti’s smoking leads, but for Haze’s standout drumming; his kick drum work was compared frequently to that of Led Zeppelin’s legendary drummer John Bonham.\u003c/p>\n\u003cp>The band would go on to record several albums with that lineup, finally having a radio hit with 1984 with “Don’t Stop Runnin'” off their sixth album, \u003ci>In Rock We Trust.\u003c/i> The following year the band released their biggest hit, “Summertime Girls,” which had a popular MTV video that was surely a product of its time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8b2SVxOPwww\u003c/p>\n\u003cp>In 1986, Haze was booted from the band he founded for unknown reasons. But he never gave up playing and later joined former Deep Purple singer Ian Gillian’s group, with whom Haze toured to 71 countries, including the Soviet Union.\u003c/p>\n\u003cp>Haze joined a reformed Y&T in 2001. But left the band in 2006. He continued to play on other projects while battling COPD. He reportedly started HazeXperience just two years ago and he would play shows while hooked up to an oxygen tank.\u003c/p>\n\u003cp>“The worst gig I’ve ever had is still better than the best day anyone has working a forty-hour week,” Haze says \u003ca href=\"http://www.hazexperience.com/bio-leonard.html\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>. “Getting paid to play music is a dream job on par with being a pro athlete, astronaut, or movie star. To make money doing something you love for 35 years…who says we didn’t make it big?”\u003c/p>\n\u003cp>Haze played his last show with HazeXperience on Aug. 20 in Sunnyvale, and he had two more shows scheduled in November at the Mystic Theatre in Petaluma. He was also recording new songs for a new EP. \u003c/p>\n\u003cp>After his death was announced, many in the Bay Area expressed condolences for Haze.\u003c/p>\n\u003cp>“Rest in Peace to long time friend and a major influence in my musical life Leonard Haze. I’m just shocked to hear the news this morning,” Jimmy Francis of the band “Crucifix” wrote on Facebook.\u003c/p>\n\u003cp>Old bandmates weighed in as well.\u003c/p>\n\u003cp>“It is with shock and sadness that I type this. Leonard Haze, the legendary drummer, and a guy I spent decades with creating great music together, has passed away at 61. This, just a few days after his birthday,” \u003ca href=\"https://www.facebook.com/DaveMeniketti/posts/1462133057139084\" target=\"_blank\" rel=\"noopener\">Meniketti wrote on Facebook\u003c/a>.\u003c/p>\n\u003cp>Haze is survived by his wife Kelly and his stepdaughter. Y&T band mate Kennemore \u003ca href=\"http://www.billboard.com/articles/news/473737/phil-kennemore-yt-bassist-dies-at-57\" target=\"_blank\" rel=\"noopener\">died in 2011 at the age of 57\u003c/a>, shortly after being diagnosed with lung cancer while touring with Y&T.\u003c/p>\n\u003cp>\u003ci>Watch Haze playing with Y&T in San Francisco in 2015:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JL6FFrNJOfE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leonard Haze, original drummer for East Bay hard rockers Y&T, died Sunday at the age of 61 after a long battle with chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hazexperience/posts/1548020788557476\" target=\"_blank\" rel=\"noopener\">A press release\u003c/a> from Haze’s band, HazeXperience, stated “Haze had been battling chronic obstructive pulmonary disease (COPD) for several years, making breathing difficult. Even so, he had fought to keep playing drums, performing regularly with his band, HazeXperience, and joining Y&T on-stage at the Fillmore in San Francisco in both 2015 and 2016.”\u003c/p>\n\u003cp>Haze died in his sleep Sunday evening in his hometown of Hayward, where he, Bob Gardner, and Wayne Stitzer started playing together in an unnamed cover band back in 1972. A year later, guitarist Dave Meniketti joined the group and the band found a name before their first show: Yesterday and Today, taken from the Beatles album they were listening to on Haze’s stereo while they were brainstorming.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UqCfZIyljVk'\n title='//www.youtube.com/embed/UqCfZIyljVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gardner and Stitzer would leave the group, to be replaced by bassist Phil Kennemore and guitarist Joey Alves. With the new lineup, Yesterday and Today began writing their own songs and playing shows all over the Bay Area and beyond. They were often the headlining band, with bands like Van Halen, Mötley Crüe and Stevie Ray Vaughan opening for them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Y&T made a name for itself not only for their heavy riffs and Meniketti’s smoking leads, but for Haze’s standout drumming; his kick drum work was compared frequently to that of Led Zeppelin’s legendary drummer John Bonham.\u003c/p>\n\u003cp>The band would go on to record several albums with that lineup, finally having a radio hit with 1984 with “Don’t Stop Runnin'” off their sixth album, \u003ci>In Rock We Trust.\u003c/i> The following year the band released their biggest hit, “Summertime Girls,” which had a popular MTV video that was surely a product of its time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8b2SVxOPwww'\n title='//www.youtube.com/embed/8b2SVxOPwww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1986, Haze was booted from the band he founded for unknown reasons. But he never gave up playing and later joined former Deep Purple singer Ian Gillian’s group, with whom Haze toured to 71 countries, including the Soviet Union.\u003c/p>\n\u003cp>Haze joined a reformed Y&T in 2001. But left the band in 2006. He continued to play on other projects while battling COPD. He reportedly started HazeXperience just two years ago and he would play shows while hooked up to an oxygen tank.\u003c/p>\n\u003cp>“The worst gig I’ve ever had is still better than the best day anyone has working a forty-hour week,” Haze says \u003ca href=\"http://www.hazexperience.com/bio-leonard.html\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>. “Getting paid to play music is a dream job on par with being a pro athlete, astronaut, or movie star. To make money doing something you love for 35 years…who says we didn’t make it big?”\u003c/p>\n\u003cp>Haze played his last show with HazeXperience on Aug. 20 in Sunnyvale, and he had two more shows scheduled in November at the Mystic Theatre in Petaluma. He was also recording new songs for a new EP. \u003c/p>\n\u003cp>After his death was announced, many in the Bay Area expressed condolences for Haze.\u003c/p>\n\u003cp>“Rest in Peace to long time friend and a major influence in my musical life Leonard Haze. I’m just shocked to hear the news this morning,” Jimmy Francis of the band “Crucifix” wrote on Facebook.\u003c/p>\n\u003cp>Old bandmates weighed in as well.\u003c/p>\n\u003cp>“It is with shock and sadness that I type this. Leonard Haze, the legendary drummer, and a guy I spent decades with creating great music together, has passed away at 61. This, just a few days after his birthday,” \u003ca href=\"https://www.facebook.com/DaveMeniketti/posts/1462133057139084\" target=\"_blank\" rel=\"noopener\">Meniketti wrote on Facebook\u003c/a>.\u003c/p>\n\u003cp>Haze is survived by his wife Kelly and his stepdaughter. Y&T band mate Kennemore \u003ca href=\"http://www.billboard.com/articles/news/473737/phil-kennemore-yt-bassist-dies-at-57\" target=\"_blank\" rel=\"noopener\">died in 2011 at the age of 57\u003c/a>, shortly after being diagnosed with lung cancer while touring with Y&T.\u003c/p>\n\u003cp>\u003ci>Watch Haze playing with Y&T in San Francisco in 2015:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JL6FFrNJOfE'\n title='//www.youtube.com/embed/JL6FFrNJOfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Netflix's \u003cem>Stranger Things\u003c/em> took over American pop culture this summer, thanks to its genuinely creepy, sci fi-meets-horror storyline, as well as its unabashed love for '80s movies and music. The show's creators love the synth-heavy soundtracks so much they enlisted Austin, Texas's \u003ca href=\"https://survive.bandcamp.com/\" target=\"_blank\">S U R V I V E\u003c/a> to write a theme song that paid tribute to masters of the genre, such as \u003ca href=\"https://www.youtube.com/watch?v=VLFx30Ijiq0\" target=\"_blank\">John Carpenter\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EV95Yu6gZSY&list=PL3ABE2FBA2900C03E%20target=\">Vangelis\u003c/a> and others.\u003c/p>\n\u003cp>Now one of those synth bands is returning the favor and paying tribute to the show: Tangerine Dream, the German synth geniuses whose \"\u003ca href=\"https://www.youtube.com/watch?v=J9wo0cqq_Mk\" target=\"_blank\">Love On A Real Train\u003c/a>\" was the theme of one of the most iconic '80s movies, the 1983 Tom Cruise-as-a-high-school-pimp vehicle \u003ci>Risky Business\u003c/i> (though the movie is much more known for a \u003ca href=\"https://www.youtube.com/watch?v=EdfqEnTX7QE\" target=\"_blank\">Bob Seger earworm\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=UuQZfwWyTWY\" target=\"_blank\">Cruise dancing in his underwear\u003c/a>).\u003c/p>\n\u003cp>Could it be that the band wanted say thank you for \u003ci>Stranger Things\u003c/i> using the Tangerine Dream song \"Exit\" in Episode 6 of the first season? Regardless, Germany's electronic heroes knocked it out of the park; we're guessing the guys from S U R V I V E are pinching themselves.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282259179\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>UPDATE\u003c/strong>: \u003cstrong>Tickets are now completely sold out\u003c/strong>.\u003c/p>\n\u003cp>You’ll want to hop on this one quick: Bruce Springsteen, New Jersey’s patron saint of the healing power of rock ‘n’ roll, is \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2248&rrprc=2224840\" target=\"_blank\" rel=\"noopener\">coming to City Arts & Lectures on Oct. 5 to discuss his \u003c/a>\u003ca href=\"http://brucespringsteen.net/news/2016/springsteens-autobiography\" target=\"_blank\" rel=\"noopener\">upcoming autobiography\u003c/a>.\u003c/p>\n\u003cp>Tickets are $35–$60 and on sale now to City Arts members. Tickets theoretically go on sale to the general public tomorrow — Tuesday, Sept. 13, at 10am — but with all the Springsteen fans around the country who I’ve found on Twitter boasting about becoming a member just to buy tickets, I seriously doubt the tickets will last long. A rep from City Arts & Lectures confirms: when they’re gone, they’re gone, and \u003cstrike>there may be no tickets available tomorrow\u003c/strike> \u003cstrong>UPDATE\u003c/strong>: As ticket sales continued to soar throughout the afternoon, a “very limited number” of balcony tickets were held back for the \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2248&rrprc=2224840\" target=\"_blank\" rel=\"noopener\">public onsale Tuesday at 10am\u003c/a>, says the rep. \u003cstrong>Member tickets now appear to be off sale\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrike>Don’t want to take the chance on the public onsale? Here’s what to do:\u003c/strike>\u003c/p>\n\u003cp>1. Become a member for $100. You can \u003ca href=\"https://www.cityarts.net/membership/?\" target=\"_blank\" rel=\"noopener\">do so here\u003c/a>. That way, you’ll have access to buy tickets while they last.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>2. Buy tickets, for $35–$60, \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2248&rrprc=2224840\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>3. Don’t be a jerk and sell them for a profit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Onstage at the Nourse, Springsteen will chat with Dan Stone about his new autobiography, \u003cem>Born to Run\u003c/em>. Orchestra ticketholders receive a copy of the book. We’ll be keeping an eye on tickets to see when they sell out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE\u003c/strong>: \u003cstrong>Tickets are now completely sold out\u003c/strong>.\u003c/p>\n\u003cp>You’ll want to hop on this one quick: Bruce Springsteen, New Jersey’s patron saint of the healing power of rock ‘n’ roll, is \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2248&rrprc=2224840\" target=\"_blank\" rel=\"noopener\">coming to City Arts & Lectures on Oct. 5 to discuss his \u003c/a>\u003ca href=\"http://brucespringsteen.net/news/2016/springsteens-autobiography\" target=\"_blank\" rel=\"noopener\">upcoming autobiography\u003c/a>.\u003c/p>\n\u003cp>Tickets are $35–$60 and on sale now to City Arts members. Tickets theoretically go on sale to the general public tomorrow — Tuesday, Sept. 13, at 10am — but with all the Springsteen fans around the country who I’ve found on Twitter boasting about becoming a member just to buy tickets, I seriously doubt the tickets will last long. A rep from City Arts & Lectures confirms: when they’re gone, they’re gone, and \u003cstrike>there may be no tickets available tomorrow\u003c/strike> \u003cstrong>UPDATE\u003c/strong>: As ticket sales continued to soar throughout the afternoon, a “very limited number” of balcony tickets were held back for the \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2248&rrprc=2224840\" target=\"_blank\" rel=\"noopener\">public onsale Tuesday at 10am\u003c/a>, says the rep. \u003cstrong>Member tickets now appear to be off sale\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrike>Don’t want to take the chance on the public onsale? Here’s what to do:\u003c/strike>\u003c/p>\n\u003cp>1. Become a member for $100. You can \u003ca href=\"https://www.cityarts.net/membership/?\" target=\"_blank\" rel=\"noopener\">do so here\u003c/a>. That way, you’ll have access to buy tickets while they last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>2. Buy tickets, for $35–$60, \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2248&rrprc=2224840\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>3. Don’t be a jerk and sell them for a profit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Onstage at the Nourse, Springsteen will chat with Dan Stone about his new autobiography, \u003cem>Born to Run\u003c/em>. Orchestra ticketholders receive a copy of the book. We’ll be keeping an eye on tickets to see when they sell out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>, one of the country’s most prominent and long-running annual festivals devoted to new music for orchestras, announced Friday the appointment of a new musical director and conductor.\u003c/p>\n\u003cp>After a year-long search, the Santa Cruz-based festival’s board of directors hired award-winning conductor \u003ca href=\"http://macelaru.com/\" target=\"_blank\" rel=\"noopener\">Cristian Măcelaru\u003c/a> to take over the artistic reins of the 53-year-old event.\u003c/p>\n\u003cp>“We are absolutely thrilled to have found Cristian Măcelaru,” said Cabrillo Festival executive director Ellen Primack, who led the search with the board of directors. “His curiosity and genuine passion for new music, coupled with his skill and dynamism on the podium, make him a perfect fit for the festival.”\u003c/p>\n\u003cp>Măcelaru’s tenure at Cabrillo is effective immediately. The 36-year-old maestro, who hails from Romania, will also continue to serve as the conductor-in-residence at the Philadelphia Orchestra. He makes his home in that city, where he lives with his wife Cheryl and children Beniamin and Maria.\u003c/p>\n\u003cp>Widely considered a rising star in the orchestral music world, Măcelaru has conducted orchestras all over the world, including the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic and the National Symphony Orchestra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Măcelaru is a good fit for Cabrillo because of his passion for new music. “My interest in working closely with living composers, to also be able to go deeper into the meaning of the music they write, never diminished,” he said in an email interview. Măcelaru consistently programs works by living composers, such as John Corigliano, Jake Heggie, Jennifer Higdon, Pierre Jalbert, and Karim Al Zand. His credits include leading the U.S. premieres of the Wynton Marsalis Violin Concerto at the Ravinia Festival with the Chicago Symphony and Nicola Benedetti, and Colin Matthews’ \u003cem>Turning Point\u003c/em> at the Tanglewood Contemporary Music Festival.\u003c/p>\n\u003cp>Măcelaru takes over from Marin Alsop. Alsop was the first conductor to win a MacArthur “Genius” Grant and became the festival’s music director in 1992. As the 58-year-old Alsop leaves after conducting her \u003ca href=\"https://ww2.kqed.org/arts/2015/09/17/marin-alsop-to-step-down-as-leader-of-cabrillo-contemporary-music-festival/\" target=\"_blank\" rel=\"noopener\">25th season at Cabrillo\u003c/a>, Măcelaru says he plans to continue the course that his predecessor set out on with the festival.\u003c/p>\n\u003cp>“During the process of learning about the Cabrillo festival I never felt there was something that needed to change immediately,” Măcelaru said. “Thus my current approach is to continue identifying great talent, both in terms of composition and performance, remain flexible in our embrace of innovation and work hard in maintaining a standard well established already.”\u003c/p>\n\u003cp>\u003cem>The first Cabrillo Festival with Măcelaru at the helm will run from Sunday, Jul. 30 to Saturday, Aug. 12, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Marin Alsop’s tenure at Cabrillo and her ongoing fight to put more women on the podium \u003ca href=\"https://ww2.kqed.org/arts/2016/08/05/marin-alsop-quits-cabrillo-continues-fight-for-women-conductors/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>, one of the country’s most prominent and long-running annual festivals devoted to new music for orchestras, announced Friday the appointment of a new musical director and conductor.\u003c/p>\n\u003cp>After a year-long search, the Santa Cruz-based festival’s board of directors hired award-winning conductor \u003ca href=\"http://macelaru.com/\" target=\"_blank\" rel=\"noopener\">Cristian Măcelaru\u003c/a> to take over the artistic reins of the 53-year-old event.\u003c/p>\n\u003cp>“We are absolutely thrilled to have found Cristian Măcelaru,” said Cabrillo Festival executive director Ellen Primack, who led the search with the board of directors. “His curiosity and genuine passion for new music, coupled with his skill and dynamism on the podium, make him a perfect fit for the festival.”\u003c/p>\n\u003cp>Măcelaru’s tenure at Cabrillo is effective immediately. The 36-year-old maestro, who hails from Romania, will also continue to serve as the conductor-in-residence at the Philadelphia Orchestra. He makes his home in that city, where he lives with his wife Cheryl and children Beniamin and Maria.\u003c/p>\n\u003cp>Widely considered a rising star in the orchestral music world, Măcelaru has conducted orchestras all over the world, including the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic and the National Symphony Orchestra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Măcelaru is a good fit for Cabrillo because of his passion for new music. “My interest in working closely with living composers, to also be able to go deeper into the meaning of the music they write, never diminished,” he said in an email interview. Măcelaru consistently programs works by living composers, such as John Corigliano, Jake Heggie, Jennifer Higdon, Pierre Jalbert, and Karim Al Zand. His credits include leading the U.S. premieres of the Wynton Marsalis Violin Concerto at the Ravinia Festival with the Chicago Symphony and Nicola Benedetti, and Colin Matthews’ \u003cem>Turning Point\u003c/em> at the Tanglewood Contemporary Music Festival.\u003c/p>\n\u003cp>Măcelaru takes over from Marin Alsop. Alsop was the first conductor to win a MacArthur “Genius” Grant and became the festival’s music director in 1992. As the 58-year-old Alsop leaves after conducting her \u003ca href=\"https://ww2.kqed.org/arts/2015/09/17/marin-alsop-to-step-down-as-leader-of-cabrillo-contemporary-music-festival/\" target=\"_blank\" rel=\"noopener\">25th season at Cabrillo\u003c/a>, Măcelaru says he plans to continue the course that his predecessor set out on with the festival.\u003c/p>\n\u003cp>“During the process of learning about the Cabrillo festival I never felt there was something that needed to change immediately,” Măcelaru said. “Thus my current approach is to continue identifying great talent, both in terms of composition and performance, remain flexible in our embrace of innovation and work hard in maintaining a standard well established already.”\u003c/p>\n\u003cp>\u003cem>The first Cabrillo Festival with Măcelaru at the helm will run from Sunday, Jul. 30 to Saturday, Aug. 12, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Marin Alsop’s tenure at Cabrillo and her ongoing fight to put more women on the podium \u003ca href=\"https://ww2.kqed.org/arts/2016/08/05/marin-alsop-quits-cabrillo-continues-fight-for-women-conductors/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nick Cave is Spiritually Adrift in the Stirring 'One More Time with Feeling'",
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"content": "\u003cp>An early scene in the new film \u003cem>One More Time with Feeling\u003c/em> finds the songwriter and Bad Seeds bandleader Nick Cave, a lyricist fixated on tales of calamity and redemption, discarding a cornerstone of his career. “I don’t believe in narrative anymore,” he says, gazing out a car window. “I just don’t believe that’s what life is like.”\u003c/p>\n\u003cp>If Cave seems adrift and beset by spiritual crisis, it’s due to the tragic death of his 15-year-old son, who fell from a cliff near the family home in Brighton, England last summer. The incident, though hardly referred to explicitly, stalks every moment of the movie. Cave scoffs, in one scene, at empty “platitudes,” especially the ones dispensed by acquaintances like Hallmark cards, including himself in this indictment as well. “Everything I’m saying,” he says, “is bullshit.”\u003c/p>\n\u003cp>A stirring, gorgeously composed movie about splintering under the weight of grief,\u003cem> One More Time with Feeling\u003c/em> depicts Cave at home and in the studio recording the Bad Seeds’ 16th album, \u003cem>The Skeleton Tree\u003c/em>. The hybrid narrative and documentary film, which premiered in theaters Sept. 8, was directed by Andrew Dominik, who’s worked closely with the songwriter before: Cave and key collaborator Warren Ellis composed a soundtrack for Dominik’s 2007 western, \u003cem>The Assassination of Jesse James by the Coward Robert Ford.\u003c/em>\u003c/p>\n\u003cp>There’s palpable intimacy — Cave, once a famously combative interviewee, smiles naturally enough to undermine years of dour branding — but there are also references to the cameraman and other such nods to documentary contrivance. The 2014 film \u003cem>20,000 Days on Earth\u003c/em>, which ostensibly chronicled Cave writing and recording the Bad Seeds’ last album, similarly combined documentary tropes and screenwriting, though to significantly more misdirecting effect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=svru1jNLIK8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the camera lingers on Cave staring at a piano, the artist voices over his internal dialog, expressing frustration that the chords to a song seem to have escaped him. After his wife brandishes a childhood painting by their late son of the fateful cliffs, Cave recites a poem with the refrain, \u003cem>There’s more paradise in hell than we’ve been told\u003c/em>. That Cave’s fictions sometimes seem prophetic is a potent theme.\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling\u003c/em> is partly a performance film. Black-and-white cinematography renders the studio-cum-venue in vivid tones, lit neither too starkly nor ethereally, and the camera floats about really rather freely. The band plays almost all of \u003cem>The Skeleton Tree\u003c/em>, a spare album composed of piano patter, accentual strings, and Ellis’ rippling electronic effects. But with the intensity of little more than a murmuring thrum, it envelops.\u003c/p>\n\u003cp>It’s telling that at one point in the movie Cave and his band mates mention disagreeing about where exactly the turnaround beat rests in a song. \u003cem>The Skeleton Tree\u003c/em> is one of most of amorphous albums in the Bad Seeds’ catalog, unmoored from the ballad structures and plodding grooves that underpin so much of the group’s material.\u003c/p>\n\u003cp>And Cave actually improvises many passages on the record. He’s less composed than usual. They’re not densely literary songs. At least, not compared to something like \u003cem>Push the Sky Away\u003c/em>’s oblique interrogation of faith and science, “Higgs Boson Blues.” And yet his wavering intonation of simple, direct phrases such as “Nothing really matters,” or “They told us our gods would outlive us / But they lied” resonates instead with its vulnerability.\u003c/p>\n\u003cp>It’s a departure from the image, cultivated throughout Cave’s career, of the scholar in pop culture exile, the lyrical tactician who reproduces excerpts from his notebook for fans. But his relationship to words, which he once feared and revered, as a moving segment of \u003cem>One More Time with Feeling\u003c/em> illustrates, is broken. Writers often turn personal experience into material. “But this kind of trauma,” he says, “it was extremely damaging to the creative process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling runs in limited encore screenings at the Roxie Theater in SF from Sept. 9 – 11. \u003ca href=\"http://www.roxie.com/ai1ec_event/one-more-time-with-feeling/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An early scene in the new film \u003cem>One More Time with Feeling\u003c/em> finds the songwriter and Bad Seeds bandleader Nick Cave, a lyricist fixated on tales of calamity and redemption, discarding a cornerstone of his career. “I don’t believe in narrative anymore,” he says, gazing out a car window. “I just don’t believe that’s what life is like.”\u003c/p>\n\u003cp>If Cave seems adrift and beset by spiritual crisis, it’s due to the tragic death of his 15-year-old son, who fell from a cliff near the family home in Brighton, England last summer. The incident, though hardly referred to explicitly, stalks every moment of the movie. Cave scoffs, in one scene, at empty “platitudes,” especially the ones dispensed by acquaintances like Hallmark cards, including himself in this indictment as well. “Everything I’m saying,” he says, “is bullshit.”\u003c/p>\n\u003cp>A stirring, gorgeously composed movie about splintering under the weight of grief,\u003cem> One More Time with Feeling\u003c/em> depicts Cave at home and in the studio recording the Bad Seeds’ 16th album, \u003cem>The Skeleton Tree\u003c/em>. The hybrid narrative and documentary film, which premiered in theaters Sept. 8, was directed by Andrew Dominik, who’s worked closely with the songwriter before: Cave and key collaborator Warren Ellis composed a soundtrack for Dominik’s 2007 western, \u003cem>The Assassination of Jesse James by the Coward Robert Ford.\u003c/em>\u003c/p>\n\u003cp>There’s palpable intimacy — Cave, once a famously combative interviewee, smiles naturally enough to undermine years of dour branding — but there are also references to the cameraman and other such nods to documentary contrivance. The 2014 film \u003cem>20,000 Days on Earth\u003c/em>, which ostensibly chronicled Cave writing and recording the Bad Seeds’ last album, similarly combined documentary tropes and screenwriting, though to significantly more misdirecting effect.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/svru1jNLIK8'\n title='//www.youtube.com/embed/svru1jNLIK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the camera lingers on Cave staring at a piano, the artist voices over his internal dialog, expressing frustration that the chords to a song seem to have escaped him. After his wife brandishes a childhood painting by their late son of the fateful cliffs, Cave recites a poem with the refrain, \u003cem>There’s more paradise in hell than we’ve been told\u003c/em>. That Cave’s fictions sometimes seem prophetic is a potent theme.\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling\u003c/em> is partly a performance film. Black-and-white cinematography renders the studio-cum-venue in vivid tones, lit neither too starkly nor ethereally, and the camera floats about really rather freely. The band plays almost all of \u003cem>The Skeleton Tree\u003c/em>, a spare album composed of piano patter, accentual strings, and Ellis’ rippling electronic effects. But with the intensity of little more than a murmuring thrum, it envelops.\u003c/p>\n\u003cp>It’s telling that at one point in the movie Cave and his band mates mention disagreeing about where exactly the turnaround beat rests in a song. \u003cem>The Skeleton Tree\u003c/em> is one of most of amorphous albums in the Bad Seeds’ catalog, unmoored from the ballad structures and plodding grooves that underpin so much of the group’s material.\u003c/p>\n\u003cp>And Cave actually improvises many passages on the record. He’s less composed than usual. They’re not densely literary songs. At least, not compared to something like \u003cem>Push the Sky Away\u003c/em>’s oblique interrogation of faith and science, “Higgs Boson Blues.” And yet his wavering intonation of simple, direct phrases such as “Nothing really matters,” or “They told us our gods would outlive us / But they lied” resonates instead with its vulnerability.\u003c/p>\n\u003cp>It’s a departure from the image, cultivated throughout Cave’s career, of the scholar in pop culture exile, the lyrical tactician who reproduces excerpts from his notebook for fans. But his relationship to words, which he once feared and revered, as a moving segment of \u003cem>One More Time with Feeling\u003c/em> illustrates, is broken. Writers often turn personal experience into material. “But this kind of trauma,” he says, “it was extremely damaging to the creative process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling runs in limited encore screenings at the Roxie Theater in SF from Sept. 9 – 11. \u003ca href=\"http://www.roxie.com/ai1ec_event/one-more-time-with-feeling/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From its start back in 2004, the Soundwave Festival has been about harnessing the power of sound in order to revel in it. Yet this season, its 7th biennial, is the first its artists have performed at the \u003ca href=\"http://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a>, San Francisco’s Mecca of sound, where Duke Ellington premiered his first set of \u003ca href=\"https://en.wikipedia.org/wiki/Duke_Ellington%27s_Sacred_Concerts\" target=\"_blank\" rel=\"noopener\">Sacred Concert compositions\u003c/a> — what he called “the most important thing I’ve done.”\u003c/p>\n\u003cp>The festival occurs every two years, and the organizers, the \u003ca href=\"http://me-di-ate.net/\" target=\"_blank\" rel=\"noopener\">ME’DI.ATE Art Group\u003c/a>, take an entire month to host performances from dozens of artists in various venues all over the city, all of which were inspired by a theme that changes with each season.\u003c/p>\n\u003cp>The theme of \u003cem>Soundwave ((7)) Architecture\u003c/em>, 2016’s Soundwave Biennial, was to commission works that explored the connections to our physical environment and how they shape our lives. For its first two performances at the acoustically gorgeous, almost century-old French cathedral, the artists were tasked with creating performances that both exploited the Grace Cathedral’s structure and explored different themes.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In the July 29 concert, Sounding Bodies: Embodied Architectures, four \u003c/span>\u003cspan class=\"s1\">artists were tasked with demonstrating the different ways bodies could be \u003c/span>\u003cspan class=\"s1\">used as vessels for sound. For the second concert on August 5, Invisible \u003c/span>\u003cspan class=\"s1\">Fortress, another four \u003c/span>\u003cspan class=\"s1\">artists explored the concept of buildings and issues facing the \u003c/span>\u003cspan class=\"s1\">communities that inhabit them.\u003c/span>\u003c/p>\n\u003cp>Many of the artists explored these themes using dancing, singing, electronic noises and elaborate light shows. For example, \u003ca href=\"http://www.joelasqo.com/\" target=\"_blank\" rel=\"noopener\">Joe Lasqo\u003c/a> and Ensemble used ancient Vedic architectural principles to create structures of sound, light, and even digital information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was very important that is wasn’t just only an art piece, it was a ritual, it was something that should bring more magical energy into existence,” Lasqo said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The video above, from KQED Arts, is a sampling of the performances at Grace Cathedral over two nights this past summer.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From its start back in 2004, the Soundwave Festival has been about harnessing the power of sound in order to revel in it. Yet this season, its 7th biennial, is the first its artists have performed at the \u003ca href=\"http://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a>, San Francisco’s Mecca of sound, where Duke Ellington premiered his first set of \u003ca href=\"https://en.wikipedia.org/wiki/Duke_Ellington%27s_Sacred_Concerts\" target=\"_blank\" rel=\"noopener\">Sacred Concert compositions\u003c/a> — what he called “the most important thing I’ve done.”\u003c/p>\n\u003cp>The festival occurs every two years, and the organizers, the \u003ca href=\"http://me-di-ate.net/\" target=\"_blank\" rel=\"noopener\">ME’DI.ATE Art Group\u003c/a>, take an entire month to host performances from dozens of artists in various venues all over the city, all of which were inspired by a theme that changes with each season.\u003c/p>\n\u003cp>The theme of \u003cem>Soundwave ((7)) Architecture\u003c/em>, 2016’s Soundwave Biennial, was to commission works that explored the connections to our physical environment and how they shape our lives. For its first two performances at the acoustically gorgeous, almost century-old French cathedral, the artists were tasked with creating performances that both exploited the Grace Cathedral’s structure and explored different themes.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In the July 29 concert, Sounding Bodies: Embodied Architectures, four \u003c/span>\u003cspan class=\"s1\">artists were tasked with demonstrating the different ways bodies could be \u003c/span>\u003cspan class=\"s1\">used as vessels for sound. For the second concert on August 5, Invisible \u003c/span>\u003cspan class=\"s1\">Fortress, another four \u003c/span>\u003cspan class=\"s1\">artists explored the concept of buildings and issues facing the \u003c/span>\u003cspan class=\"s1\">communities that inhabit them.\u003c/span>\u003c/p>\n\u003cp>Many of the artists explored these themes using dancing, singing, electronic noises and elaborate light shows. For example, \u003ca href=\"http://www.joelasqo.com/\" target=\"_blank\" rel=\"noopener\">Joe Lasqo\u003c/a> and Ensemble used ancient Vedic architectural principles to create structures of sound, light, and even digital information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Santa Cruz native \u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic/?fref=ts\" target=\"_blank\">Kendra McKinley\u003c/a> first moved to San Francisco in 2014, she did what most musicians do: set about finding a day job, so she could pay rent in the Mission while she played gigs on the side. She considered bartending, or some kind of food service. She worked as a bike courier for one whole day before deciding it wasn't for her.\u003c/p>\n\u003cp>And then she had a terrifying idea: What if she committed to music full-time?\u003c/p>\n\u003cp>\"I had this moment of realizing, hey, if I try and find some other crappy job just to stay in the city, I'm not gonna do what I'm passionate about,\" remembers McKinley. \"I want to be a musician. I want to take it seriously, and I want that to be my job.\"\u003c/p>\n\u003cp>Inspired by an interview she'd heard with Fiona Apple in which the singer described writing \"Extraordinary Machine\" as a way of giving herself advice, McKinley sat down to write herself a pep talk.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/328575980.png\">\u003cimg class=\"aligncenter size-medium wp-image-36037\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/328575980-800x800.png\" alt=\"328575980\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-400x400.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-768x768.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-960x960.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-150x150.png 150w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Do What You Want\" is the result: a joyful, liberated indie-pop tune that layers McKinley's sultry vocals over a driving disco beat. It appears on her sophomore LP and first full-band electric effort, \u003cem>Treat\u003c/em>, which the singer and guitarist released in June. And it was a no-brainer of a choice when, a few weeks later, she got a call from director Pete Lee at Scandinavia, an East Bay production studio that was hosting a free music video-making summer camp for kids.\u003c/p>\n\u003cp>For the first week of August, under the auspices of the arts education nonprofit \u003ca href=\"http://www.omgeverywhere.org/home/\" target=\"_blank\">OMG Everywhere\u003c/a>, 20 youth ages 10 to 15 learned the ins and outs of designing and directing music videos, from creating props to operating cameras. The camp is free for kids to attend. KQED Pop is pleased to premiere one of their final products below.\u003c/p>\n\u003cp>\"I got so excited about this idea of realizing this song in particular with children,\" says McKinley, noting that she worked with the campers to come up with the concept -- which is, loosely, that sometimes you must put down the video games and go to a dance party -- and then the young filmmakers directed her from start to finish.\u003c/p>\n\u003cp>\"Committing to my passions really held me accountable. And I wanted to help reinforce the idea that [kids] do have that potential, that, you know, 'You deserve to ask yourself what you're passionate about and take that seriously, to devote time to being creative.'\"\u003c/p>\n\u003cp>\"'Do what you want' is basically a more PC way of saying 'Don't bullsh*t yourself,\" she says with a laugh. \"Also, 'Do What You Like' was already taken decades ago by Blind Faith.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BtWBPVBcbVo\u003c/p>\n\u003cp>\u003cem>Kendra McKinley plays the poster room at The Fillmore this Sunday, Sept. 11 (\u003ca href=\"http://thefillmore.com/event/wilco-5/\" target=\"_blank\">with Wilco on the main stage\u003c/a>) and \u003ca href=\"https://www.facebook.com/wearescandinavia/?fref=ts\" target=\"_blank\">Scandinavia\u003c/a> in Emeryville on Monday, Sept. 12 (with Portland's \u003ca href=\"http://www.npr.org/2016/08/25/491093526/first-listen-y-la-bamba-ojos-del-sol\" target=\"_blank\">Y La Bamba\u003c/a>). Learn more about OMG Everywhere \u003ca href=\"http://www.omgeverywhere.org/home/\" target=\"_blank\">right here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Santa Cruz native \u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic/?fref=ts\" target=\"_blank\">Kendra McKinley\u003c/a> first moved to San Francisco in 2014, she did what most musicians do: set about finding a day job, so she could pay rent in the Mission while she played gigs on the side. She considered bartending, or some kind of food service. She worked as a bike courier for one whole day before deciding it wasn't for her.\u003c/p>\n\u003cp>And then she had a terrifying idea: What if she committed to music full-time?\u003c/p>\n\u003cp>\"I had this moment of realizing, hey, if I try and find some other crappy job just to stay in the city, I'm not gonna do what I'm passionate about,\" remembers McKinley. \"I want to be a musician. I want to take it seriously, and I want that to be my job.\"\u003c/p>\n\u003cp>Inspired by an interview she'd heard with Fiona Apple in which the singer described writing \"Extraordinary Machine\" as a way of giving herself advice, McKinley sat down to write herself a pep talk.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/328575980.png\">\u003cimg class=\"aligncenter size-medium wp-image-36037\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/328575980-800x800.png\" alt=\"328575980\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-400x400.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-768x768.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-960x960.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980-150x150.png 150w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/328575980.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Do What You Want\" is the result: a joyful, liberated indie-pop tune that layers McKinley's sultry vocals over a driving disco beat. It appears on her sophomore LP and first full-band electric effort, \u003cem>Treat\u003c/em>, which the singer and guitarist released in June. And it was a no-brainer of a choice when, a few weeks later, she got a call from director Pete Lee at Scandinavia, an East Bay production studio that was hosting a free music video-making summer camp for kids.\u003c/p>\n\u003cp>For the first week of August, under the auspices of the arts education nonprofit \u003ca href=\"http://www.omgeverywhere.org/home/\" target=\"_blank\">OMG Everywhere\u003c/a>, 20 youth ages 10 to 15 learned the ins and outs of designing and directing music videos, from creating props to operating cameras. The camp is free for kids to attend. KQED Pop is pleased to premiere one of their final products below.\u003c/p>\n\u003cp>\"I got so excited about this idea of realizing this song in particular with children,\" says McKinley, noting that she worked with the campers to come up with the concept -- which is, loosely, that sometimes you must put down the video games and go to a dance party -- and then the young filmmakers directed her from start to finish.\u003c/p>\n\u003cp>\"Committing to my passions really held me accountable. And I wanted to help reinforce the idea that [kids] do have that potential, that, you know, 'You deserve to ask yourself what you're passionate about and take that seriously, to devote time to being creative.'\"\u003c/p>\n\u003cp>\"'Do what you want' is basically a more PC way of saying 'Don't bullsh*t yourself,\" she says with a laugh. \"Also, 'Do What You Like' was already taken decades ago by Blind Faith.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BtWBPVBcbVo'\n title='//www.youtube.com/embed/BtWBPVBcbVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Kendra McKinley plays the poster room at The Fillmore this Sunday, Sept. 11 (\u003ca href=\"http://thefillmore.com/event/wilco-5/\" target=\"_blank\">with Wilco on the main stage\u003c/a>) and \u003ca href=\"https://www.facebook.com/wearescandinavia/?fref=ts\" target=\"_blank\">Scandinavia\u003c/a> in Emeryville on Monday, Sept. 12 (with Portland's \u003ca href=\"http://www.npr.org/2016/08/25/491093526/first-listen-y-la-bamba-ojos-del-sol\" target=\"_blank\">Y La Bamba\u003c/a>). Learn more about OMG Everywhere \u003ca href=\"http://www.omgeverywhere.org/home/\" target=\"_blank\">right here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282023539″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uIaFn5lsLd8\u003c/p>\n\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gk1rTKB6ZF8\u003c/p>\n\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cbtuw6ptZW4\u003c/p>\n\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=42t0ij0wj-U\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Fall Arts Preview: A Whiz Kid at Monterey and an Oakland Rapper on Treasure Island | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/282023539″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/282023539″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uIaFn5lsLd8'\n title='//www.youtube.com/embed/uIaFn5lsLd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gk1rTKB6ZF8'\n title='//www.youtube.com/embed/gk1rTKB6ZF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cbtuw6ptZW4'\n title='//www.youtube.com/embed/cbtuw6ptZW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/42t0ij0wj-U'\n title='//www.youtube.com/embed/42t0ij0wj-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "curtain-call-for-screens-7-kid-friendly-theater-events",
"title": "Curtain Call for Screens: 7 Kid-Friendly Performances",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Need to take away the screens from your children and get them out of the house? We have a few options for you.",
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"title": "Curtain Call for Screens: 7 Kid-Friendly Performances | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What's behind SF Opera's Chinese Opera Kick?",
"headTitle": "What’s behind SF Opera’s Chinese Opera Kick? | KQED",
"content": "\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>San Francisco Opera’s \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">Dream\u003c/a>\u003cem>\u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\"> of the Red Chamber\u003c/a>\u003c/em> plays Saturday, Sep.10 – Thursday, Sep. 29 at the War Memorial Opera House in San Francisco.\u003c/strong>\u003c/p>\n\n",
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"excerpt": "With its latest world premiere 'Dream of the Red Chamber,' SF Opera hopes to build on a growing trend for new, Chinese-themed works.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Joan Baez was 18 when she first performed at the Newport Folk Festival. She quickly rose to fame, popularizing songs like “Diamonds and Rust” and “The Night They Drove Old Dixie Down.” But the folk singer also quickly established herself as an activist, marching alongside Martin Luther King, Jr. and protesting the Vietnam War. “I sang about what I believed in,” she says.” Baez joins us in studio and reflects on her music, the influence of her Mexican heritage and the activism still to be done.\u003c/p>\n\u003cp>More Information:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.pbs.org/wnet/gperf/joan-baez-75th-birthday-celebration-8-things-you-didnt-know-about-joan-baez/4904/\">8 Things You Didn’t Know About Joan Baez\u003c/a> (PBS.org)\u003c/li>\n\u003cli>\u003ca href=\"http://www.joanbaez.com/\">JoanBaez.com\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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