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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Move over, Julie Andrews, there’s a new Mary Poppins in town.\u003c/p>\n\u003cp>Walt Disney Studios announced Tuesday that \u003cem>Into the Woods \u003c/em>star Emily Blunt would be taking over the part of the P.L. Travers-created nanny in a sequel to the 1964 classic, with \u003cem>Hamilton\u003c/em> creator Lin-Manuel Miranda joining as a new character, Jack, the street lamplighter.\u003c/p>\n\u003cp>The film, entitled \u003cem>Mary Poppins Returns\u003c/em>, will center on a now-grown Michael Banks and his three children in the aftermath of a tragedy and the help they get from Mary Poppins and Jack in Depression-era London.\u003c/p>\n\u003cp>Rob Marshall is set to direct off of a script from \u003cem>Finding Neverlan\u003c/em>d writer David Magee.\u003c/p>\n\u003cp>The film is scheduled to hit theaters on Dec. 25, 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Johnny Depp’s estranged wife has given Los Angeles police a statement to support her account of an alleged domestic violence incident involving the actor, her lawyers said Tuesday.\u003c/p>\n\u003cp>Attorneys Samantha Spector and Joseph P. Koenig wrote in a statement that model-actress Amber Heard had spoken to Los Angeles police. The statement did not indicate when Heard gave the statement, and the Los Angeles Police Department says it has no information about Heard speaking with officers.\u003c/p>\n\u003cp>“With her statement Amber hopes to give the LAPD the opportunity to conduct an accurate and complete investigation into the events of that evening and before,” Heard’s lawyers wrote. “If that occurs, and the truth is revealed, there is no doubt that Amber’s claims will be substantiated beyond any doubt, and hopefully Johnny will get the help that he so desperately needs.”\u003c/p>\n\u003cp>Heard obtained a temporary restraining order against Depp on Friday, alleging the actor threw her cell phone at her face, striking her below the right eye during a fight on May 21.\u003c/p>\n\u003cp>Los Angeles police have said they responded to the incident but found no evidence of a crime.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spector and Koenig wrote that Heard did not initially give a statement to police because she was trying to protect Depp’s reputation and career.\u003c/p>\n\u003cp>An email message sent to Depp’s publicist was not immediately returned Tuesday.\u003c/p>\n\u003cp>Heard submitted a photo of her bruised face when she applied for the restraining order. She also wrote that the actor pulled her hair, screamed at her and repeatedly hit her and violently grabbed her face.\u003c/p>\n\u003cp>She appeared at a Los Angeles court on Friday and had a bruise on her right cheek below the eye.\u003c/p>\n\u003cp>Heard filed for divorce on May 23, two days after the alleged abuse, citing irreconcilable differences. Depp’s lawyer has accused Heard of using the abuse allegations to try to gain an advantage on the actor in divorce proceedings. She is seeking spousal support, but Depp is asking a judge to deny that request.\u003c/p>\n\u003cp>“Amber is simply a victim of domestic violence, and none of her actions are motivated by money,” Heard’s lawyers wrote. “Amber is a brave and financially independent woman who is showing the courage of her convictions by doing the right thing against Johnny’s relentless army of lawyers and surrogates.”\u003c/p>\n\u003cp>Heard and Depp met on the set of the 2011 film “The Rum Diary” and were married for 15 months before the divorce petition was filed. Heard wrote that May 21, the day of the alleged assault, was the first time she had seen Depp in a month.\u003c/p>\n\u003cp>Depp is traveling overseas on tour with his band, Hollywood Vampires. His latest film, \u003cem>Alice Through the Looking Glass\u003c/em> bombed at the box office, earning just over $28.1 million in its opening weekend, according to figures released Sunday.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Writer Sandy Cohen contributed to this report. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Johnny Depp’s estranged wife has given Los Angeles police a statement to support her account of an alleged domestic violence incident involving the actor, her lawyers said Tuesday.\u003c/p>\n\u003cp>Attorneys Samantha Spector and Joseph P. Koenig wrote in a statement that model-actress Amber Heard had spoken to Los Angeles police. The statement did not indicate when Heard gave the statement, and the Los Angeles Police Department says it has no information about Heard speaking with officers.\u003c/p>\n\u003cp>“With her statement Amber hopes to give the LAPD the opportunity to conduct an accurate and complete investigation into the events of that evening and before,” Heard’s lawyers wrote. “If that occurs, and the truth is revealed, there is no doubt that Amber’s claims will be substantiated beyond any doubt, and hopefully Johnny will get the help that he so desperately needs.”\u003c/p>\n\u003cp>Heard obtained a temporary restraining order against Depp on Friday, alleging the actor threw her cell phone at her face, striking her below the right eye during a fight on May 21.\u003c/p>\n\u003cp>Los Angeles police have said they responded to the incident but found no evidence of a crime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spector and Koenig wrote that Heard did not initially give a statement to police because she was trying to protect Depp’s reputation and career.\u003c/p>\n\u003cp>An email message sent to Depp’s publicist was not immediately returned Tuesday.\u003c/p>\n\u003cp>Heard submitted a photo of her bruised face when she applied for the restraining order. She also wrote that the actor pulled her hair, screamed at her and repeatedly hit her and violently grabbed her face.\u003c/p>\n\u003cp>She appeared at a Los Angeles court on Friday and had a bruise on her right cheek below the eye.\u003c/p>\n\u003cp>Heard filed for divorce on May 23, two days after the alleged abuse, citing irreconcilable differences. Depp’s lawyer has accused Heard of using the abuse allegations to try to gain an advantage on the actor in divorce proceedings. She is seeking spousal support, but Depp is asking a judge to deny that request.\u003c/p>\n\u003cp>“Amber is simply a victim of domestic violence, and none of her actions are motivated by money,” Heard’s lawyers wrote. “Amber is a brave and financially independent woman who is showing the courage of her convictions by doing the right thing against Johnny’s relentless army of lawyers and surrogates.”\u003c/p>\n\u003cp>Heard and Depp met on the set of the 2011 film “The Rum Diary” and were married for 15 months before the divorce petition was filed. Heard wrote that May 21, the day of the alleged assault, was the first time she had seen Depp in a month.\u003c/p>\n\u003cp>Depp is traveling overseas on tour with his band, Hollywood Vampires. His latest film, \u003cem>Alice Through the Looking Glass\u003c/em> bombed at the box office, earning just over $28.1 million in its opening weekend, according to figures released Sunday.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Writer Sandy Cohen contributed to this report. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Billy Hart, Honored in Healdsburg, Picks His Five Most Important Recordings",
"headTitle": "Billy Hart, Honored in Healdsburg, Picks His Five Most Important Recordings | KQED",
"content": "\u003cp>When \u003ca href=\"http://dothemath.typepad.com\">Ethan Iverson\u003c/a> talks about \u003ca href=\"http://www.billyhartdrums.com\">Billy Hart\u003c/a>, it’s easy to understand why so many younger jazz musicians avidly seek out the 75-year-old drum maestro. “He’s part of the anointed community who started playing straight-ahead jazz at the highest level when it was folk music,” says the Bad Plus pianist. “Some people think ‘folk’ means less advanced than classical, but I mean more advanced. As a master folk musician anointed by the community, you have something that can reach anyone.”\u003c/p>\n\u003cp>Hart has deep and abiding ties to the Bay Area, and he returns on June 4–5 as the subject and driving force of a weekend extravaganza at the \u003ca href=\"http://www.healdsburgjazzfestival.org\">Healdsburg Jazz Festival\u003c/a>, which runs from June 3–12 at venues around the town. He’s performed at Healdsburg more than any other artist in the festival’s 18-year history, and the series’ theme of ‘Honoring Billy Hart’ is designed to highlight some of his most important recordings and relationships. \u003ca href=\"http://www.healdsburgjazzfestival.org/billy-hart-lineup-june-4/\">Saturday’s double bill\u003c/a> features an all-star ensemble based on Hart’s classic 1977 album \u003ca href=\"https://en.wikipedia.org/wiki/Enchance\">\u003cem>Enchance\u003c/em>\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Quest_(band)\">collective quartet Quest\u003c/a>, which toured and recorded widely in the 1980s. (The group also performs Monday, June 6 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/quest6-6-16/\">Kuumbwa Jazz Center\u003c/a>).\u003c/p>\n\u003cp>\u003ca href=\"http://www.healdsburgjazzfestival.org/billy-hart-lineup-june-5/\">Sunday’s program\u003c/a> reassembles players from another epic Hart recording, 1996’s \u003ca href=\"https://www.youtube.com/watch?v=YT6Thgir7QQ\">\u003cem>Oceans of Time\u003c/em>\u003c/a>, a multi-generational cast that includes saxophone stars \u003ca href=\"http://www.chrispotter.net\">Chris Potter\u003c/a> and Berkeley High alum Craig Handy; bass legend\u003ca href=\"https://en.wikipedia.org/wiki/Cecil_McBee\"> Cecil McBee\u003c/a>; and San Francisco jazz drummer \u003ca href=\"http://www.lorcahart.com\">Lorca Hart\u003c/a>, who joins his father on trap set duties. The evening’s other ensemble is the celebrated Billy Hart Quartet with Ethan Iverson, bassist Ben Street, and tenor saxophonist Mark Turner. (The group also plays the \u003ca href=\"https://stanfordjazz.org/more-info/billy-hart-quartet/\">Stanford Jazz Festival\u003c/a> on July 31, SFJAZZ’s Joe Henderson Lab on Sept. 15-16, and the \u003ca href=\"http://www.montereyjazzfestival.org/content/billy-hart-quartet\">Monterey Jazz Festival\u003c/a> on Sept. 17.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11612748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-800x556.jpg\" alt=\"2335_Hart_PF2\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-960x667.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Iverson talks about Hart’s anointment, he’s referring to the drummer’s formative years accompanying seminal acts like soul greats Otis Redding and Sam and Dave, Hammond B-3 organ star Jimmy Smith, and guitar genius Wes Montgomery. Hart had all those gigs under his belt and more by the time he played on Pharoah Sanders’s classic 1969 album \u003cem>Karma\u003c/em>, which consisted almost entirely of the spiritually charged free jazz hit “\u003ca href=\"https://www.youtube.com/watch?v=QZ6lB7FKxi8\">The Creator Has a Master Plan\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a series of phone conversations, Hart recently shared his thoughts on five particularly significant recordings from the hundreds of albums he’s played on in his long career since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2t88stnbP0g\u003c/p>\n\u003ch2>1. Pharoah Sanders, ‘Karma’ (Impulse!, 1969)\u003c/h2>\n\u003cp>“It was a popular record for Pharoah, and it started a concept we’re still dealing with. You listen to Kamasi Washington, and he’s definitely coming out of ‘Karma.’ It built on something that I was curious about from Coltrane’s last period, something that John referred to as multi-directional music. John had actually asked me to play with him, but he died before I got a chance, so I didn’t get to work on that concept until Pharoah called me. And I brought that concept to Herbie Hancock. It still part of my musical direction today, and you’ll hear that concept with all four bands at Healdsburg.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YyUvKfacrX0\u003c/p>\n\u003ch2>2) Herbie Hancock’s Mwandishi ‘Crossings’ (Warner Bros., 1972)\u003c/h2>\n\u003cp>“Mwandishi was the first time I played in a band where everybody was the same age. Up until that time I was always playing with people older, which doesn’t happen in today’s world so much. Politically, we had similar interests, which made the direction compatible. All of those musicians were challenging in a great way, but Herbie was still the leader because he was such a brilliant musician. Everybody brought something to the table, and for me it was the influence from Pharoah.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Ms5690gpVQ\u003c/p>\n\u003ch2>3) McCoy Tyner ‘Sama Layuca’ (Milestone, 1974)\u003c/h2>\n\u003cp>“Of all the albums I made up until this time, this one was the most significant because I was in McCoy’s ensemble at the time. He brought in other players too, and I got a chance to meet one of my heroes, Bobby Hutcherson, and John Stubblefield, who later played in my first traveling band. In every situation you learn something, and that band was predicated on playing high energy. That’s McCoy’s style. I really had to build up to it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rAciV2mMAk4\u003c/p>\n\u003ch2>4) Billy Hart ‘Enchance’ (A&M/Horizon, 1977)\u003c/h2>\n\u003cp>“Eddie Henderson and Buster Williams came out of my situation with Mwandishi and Herbie Hancock. Dewey Redman had come on the scene performing with Ornette and was in that unique Keith Jarrett Quartet that’s still a big influence today. Dave Holland was with Anthony Braxton and Sam Rivers, and Don Pullen had come out of Mingus with George Adams, but for me he was more in the direction of Cecil Taylor. It was a really diverse group of very contemporary musicians. They hadn’t performed that much together. That made it really exciting for me, and really exciting for them too. I was still a member of the Stan Getz ensemble, and they all looked at me like, we knew you were a fan, but we didn’t know you were prepared to embark on a situation like this.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t6iGk8_CVHY\u003c/p>\n\u003ch2>5) Billy Hart Quartet ‘One Is the Other’ (ECM, 2014)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Those guys are quite a bit younger than I am and they had a common style that was more youthful. I guess they thought they were going to try to come up with something more related to my style. But of course, I was more interested in theirs. I don’t know a group of younger musicians that knows more about the history than these three guys. Ethan Iverson just gave a seminar on James P. Johnson and Willie ‘The Lion’ Smith. You can talk to Ben Street about James Jamerson of Motown, and also Walter Page and the Blue Devils, to say nothing of Oscar Pettiford or Jimmy Blanton. And Mark Turner is amazing to the point of magnificence. He’s got a certain lyricism, along with this contemporary facility. There’s all this depth to whatever we do.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"http://dothemath.typepad.com\">Ethan Iverson\u003c/a> talks about \u003ca href=\"http://www.billyhartdrums.com\">Billy Hart\u003c/a>, it’s easy to understand why so many younger jazz musicians avidly seek out the 75-year-old drum maestro. “He’s part of the anointed community who started playing straight-ahead jazz at the highest level when it was folk music,” says the Bad Plus pianist. “Some people think ‘folk’ means less advanced than classical, but I mean more advanced. As a master folk musician anointed by the community, you have something that can reach anyone.”\u003c/p>\n\u003cp>Hart has deep and abiding ties to the Bay Area, and he returns on June 4–5 as the subject and driving force of a weekend extravaganza at the \u003ca href=\"http://www.healdsburgjazzfestival.org\">Healdsburg Jazz Festival\u003c/a>, which runs from June 3–12 at venues around the town. He’s performed at Healdsburg more than any other artist in the festival’s 18-year history, and the series’ theme of ‘Honoring Billy Hart’ is designed to highlight some of his most important recordings and relationships. \u003ca href=\"http://www.healdsburgjazzfestival.org/billy-hart-lineup-june-4/\">Saturday’s double bill\u003c/a> features an all-star ensemble based on Hart’s classic 1977 album \u003ca href=\"https://en.wikipedia.org/wiki/Enchance\">\u003cem>Enchance\u003c/em>\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Quest_(band)\">collective quartet Quest\u003c/a>, which toured and recorded widely in the 1980s. (The group also performs Monday, June 6 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/quest6-6-16/\">Kuumbwa Jazz Center\u003c/a>).\u003c/p>\n\u003cp>\u003ca href=\"http://www.healdsburgjazzfestival.org/billy-hart-lineup-june-5/\">Sunday’s program\u003c/a> reassembles players from another epic Hart recording, 1996’s \u003ca href=\"https://www.youtube.com/watch?v=YT6Thgir7QQ\">\u003cem>Oceans of Time\u003c/em>\u003c/a>, a multi-generational cast that includes saxophone stars \u003ca href=\"http://www.chrispotter.net\">Chris Potter\u003c/a> and Berkeley High alum Craig Handy; bass legend\u003ca href=\"https://en.wikipedia.org/wiki/Cecil_McBee\"> Cecil McBee\u003c/a>; and San Francisco jazz drummer \u003ca href=\"http://www.lorcahart.com\">Lorca Hart\u003c/a>, who joins his father on trap set duties. The evening’s other ensemble is the celebrated Billy Hart Quartet with Ethan Iverson, bassist Ben Street, and tenor saxophonist Mark Turner. (The group also plays the \u003ca href=\"https://stanfordjazz.org/more-info/billy-hart-quartet/\">Stanford Jazz Festival\u003c/a> on July 31, SFJAZZ’s Joe Henderson Lab on Sept. 15-16, and the \u003ca href=\"http://www.montereyjazzfestival.org/content/billy-hart-quartet\">Monterey Jazz Festival\u003c/a> on Sept. 17.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11612748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-800x556.jpg\" alt=\"2335_Hart_PF2\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2335_Hart_PF2-960x667.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Iverson talks about Hart’s anointment, he’s referring to the drummer’s formative years accompanying seminal acts like soul greats Otis Redding and Sam and Dave, Hammond B-3 organ star Jimmy Smith, and guitar genius Wes Montgomery. Hart had all those gigs under his belt and more by the time he played on Pharoah Sanders’s classic 1969 album \u003cem>Karma\u003c/em>, which consisted almost entirely of the spiritually charged free jazz hit “\u003ca href=\"https://www.youtube.com/watch?v=QZ6lB7FKxi8\">The Creator Has a Master Plan\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a series of phone conversations, Hart recently shared his thoughts on five particularly significant recordings from the hundreds of albums he’s played on in his long career since.\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/2t88stnbP0g'\n title='//www.youtube.com/embed/2t88stnbP0g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>1. Pharoah Sanders, ‘Karma’ (Impulse!, 1969)\u003c/h2>\n\u003cp>“It was a popular record for Pharoah, and it started a concept we’re still dealing with. You listen to Kamasi Washington, and he’s definitely coming out of ‘Karma.’ It built on something that I was curious about from Coltrane’s last period, something that John referred to as multi-directional music. John had actually asked me to play with him, but he died before I got a chance, so I didn’t get to work on that concept until Pharoah called me. And I brought that concept to Herbie Hancock. It still part of my musical direction today, and you’ll hear that concept with all four bands at Healdsburg.”\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/YyUvKfacrX0'\n title='//www.youtube.com/embed/YyUvKfacrX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>2) Herbie Hancock’s Mwandishi ‘Crossings’ (Warner Bros., 1972)\u003c/h2>\n\u003cp>“Mwandishi was the first time I played in a band where everybody was the same age. Up until that time I was always playing with people older, which doesn’t happen in today’s world so much. Politically, we had similar interests, which made the direction compatible. All of those musicians were challenging in a great way, but Herbie was still the leader because he was such a brilliant musician. Everybody brought something to the table, and for me it was the influence from Pharoah.”\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/2Ms5690gpVQ'\n title='//www.youtube.com/embed/2Ms5690gpVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3) McCoy Tyner ‘Sama Layuca’ (Milestone, 1974)\u003c/h2>\n\u003cp>“Of all the albums I made up until this time, this one was the most significant because I was in McCoy’s ensemble at the time. He brought in other players too, and I got a chance to meet one of my heroes, Bobby Hutcherson, and John Stubblefield, who later played in my first traveling band. In every situation you learn something, and that band was predicated on playing high energy. That’s McCoy’s style. I really had to build up to it.”\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/rAciV2mMAk4'\n title='//www.youtube.com/embed/rAciV2mMAk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>4) Billy Hart ‘Enchance’ (A&M/Horizon, 1977)\u003c/h2>\n\u003cp>“Eddie Henderson and Buster Williams came out of my situation with Mwandishi and Herbie Hancock. Dewey Redman had come on the scene performing with Ornette and was in that unique Keith Jarrett Quartet that’s still a big influence today. Dave Holland was with Anthony Braxton and Sam Rivers, and Don Pullen had come out of Mingus with George Adams, but for me he was more in the direction of Cecil Taylor. It was a really diverse group of very contemporary musicians. They hadn’t performed that much together. That made it really exciting for me, and really exciting for them too. I was still a member of the Stan Getz ensemble, and they all looked at me like, we knew you were a fan, but we didn’t know you were prepared to embark on a situation like this.”\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/t6iGk8_CVHY'\n title='//www.youtube.com/embed/t6iGk8_CVHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>5) Billy Hart Quartet ‘One Is the Other’ (ECM, 2014)\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Those guys are quite a bit younger than I am and they had a common style that was more youthful. I guess they thought they were going to try to come up with something more related to my style. But of course, I was more interested in theirs. I don’t know a group of younger musicians that knows more about the history than these three guys. Ethan Iverson just gave a seminar on James P. Johnson and Willie ‘The Lion’ Smith. You can talk to Ben Street about James Jamerson of Motown, and also Walter Page and the Blue Devils, to say nothing of Oscar Pettiford or Jimmy Blanton. And Mark Turner is amazing to the point of magnificence. He’s got a certain lyricism, along with this contemporary facility. There’s all this depth to whatever we do.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year’s Bottlerock music festival in Napa featured an eclectic mix of artists, ranging from electronic, pop, glam rock and Mexican band music, as well as a mix of attendees. The three-day festival offered something for everyone, including children, seasoned concertgoers and those in between.\u003c/p>\n\u003cp>With three days of amazing music, food and wine, these top five things stood out among the rest.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11632287,11632288,11632307,11632295,11632292,11632294,11632289,11632276\"]\u003c/p>\n\u003ch2>Girl Power\u003c/h2>\n\u003cp>In a festival full of male artists, strong women were a welcome highlight at BottleRock, from popular bands like Florence & the Machine and Grouplove to lesser-known acts like White Sea and Deap Vally.\u003c/p>\n\u003cp>MisterWives frontwoman Mandy Lee especially stood out; an energetic quirky singer, with a style reminiscent of a young Gwen Stefani. Her band had great energy, made jokes, and delivered fun songs like “Best I Can Do” and “No Need for Dreaming.” Before singing “Queens,” Lee said she was “sick and tired of the industry standard between men and women,” and encouraged everyone to fight for equality. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11632272,11632284,11632281,11632273,11632279,11632293,11632275,11632298\"]\u003c/p>\n\u003ch2>Andrew McMahon’s Positivity\u003c/h2>\n\u003cp>Andrew McMahon brings unique piano phrasing, high-energy performances and beautifully written songs with each project he takes on. His newest band, Andrew McMahon in the Wilderness, is no exception. While the singer treated fans to Jack’s Mannequin’s “Dark Blue” and Something Corporate’s “I Woke Up in a Car” on the Midway stage, his newest material had the crowd just as excited as they were for his past bands. \u003c/p>\n\u003cp>At times performing songs on top of the speakers in the photo pit, getting as close to his fans as he could, McMahon’s highlight came during the last five minutes. He invited the audience to relive their childhood by throwing parachutes into the air as he told them, “What happens under the parachute, stays under the parachute.”\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11632299,11632277,11632278,11632291,11632285,11632282,11632300,11632306\"]\u003c/p>\n\u003ch2>Latin Representation\u003c/h2>\n\u003cp>Acts like La Misa Negra, Chicano Batman and Ozomatli represented a Latin portion of the line-up, but Rodrigo y Gabriela proved head-banging isn’t just for metal guitarists. The Mexican duo gave a Latin twist to heavy, bold guitar riffs filtered through jazz, metal and salsa music, moving their fingers across the neck of the guitar so fast it was hard to keep up.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11632305,11632302,11632283,11632303,11632304,11632308\"]\u003c/p>\n\u003ch2>The Struts’ Busy Schedule\u003c/h2>\n\u003cp>The Struts made the most appearances at this year’s Bottlerock. The band not only played the main, culinary and JaM Pad stages, and also played an aftershow. As members stepped onto the main stage Saturday afternoon, the name seemed fitting with the swagger they brought to their performance. Singer Luke Spiller blew kisses at the crowd and shook his hips in a manner that would challenge Elvis Presley; a glam-rock vibe mixed with catchy hooks caused the audience to break into dance moves during “Kiss This” and “Could Have Been Me.” \u003c/p>\n\u003cp>Though the band played Jam Cellars during the hottest part of the day — so hot that people used blankets to guard themselves from the heat — the band members still dressed in clothes that screamed “hair metal,” like fringe vests, ’70s shades and gold sequins.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11632274,11632297\"]\u003c/p>\n\u003ch2>The Chili Peppers’ Closing Set\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Nearly every other stage was empty when the Red Hot Chili Peppers started their set on Sunday night. The band played classics like “Californication,” “By The Way,” and more. Far from the stage — if you hadn’t staked out your spot early, there wasn’t any way to get close — a couple was grinding in time to the beat of “Under The Bridge,” while nearby, a big burly biker had a tear forming from the corner of his eye. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Latin Representation\u003c/h2>\n\u003cp>Acts like La Misa Negra, Chicano Batman and Ozomatli represented a Latin portion of the line-up, but Rodrigo y Gabriela proved head-banging isn’t just for metal guitarists. The Mexican duo gave a Latin twist to heavy, bold guitar riffs filtered through jazz, metal and salsa music, moving their fingers across the neck of the guitar so fast it was hard to keep up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>“I was taking a break from everything. A lot of different things had happened over the past handful of years in my life, a lot of personal loss — people passing, people leaving, people getting sick. It was nice to take those six months to heal myself and sort of reflect on things.”\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/266636068″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>In the six years that former Hüsker Dü frontman Bob Mould has lived in San Francisco, he’s been a \u003ca href=\"http://bobmould.com/2014/02/20/punk-rock-fancy-dj-night-debuts-at-noise-pop-opening-party-225/\" target=\"_blank\" rel=\"noopener\">club DJ\u003c/a>, an \u003ca href=\"http://www.bookforum.com/review/8322\" target=\"_blank\" rel=\"noopener\">author\u003c/a>, and an \u003ca href=\"http://www.sfweekly.com/shookdown/2014/11/26/bob-mould-is-busking-for-the-homeless-with-margaret-cho-in-the-tl-right-now\" target=\"_blank\" rel=\"noopener\">advocate for the homeless\u003c/a>. But it’s Mould as songwriter that we’ve known and loved the longest, and nowhere is his talent more present than on his latest album, \u003cem>Patch the Sky\u003c/em>.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Mould stops by KQED’s studios to discuss the themes and details of album opener “Voices in My Head” — a song, he explains, that came after a long period of personal loss and reckoning, and one of 50 songs that emerged from a hailstorm of songwriting.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Other songs heard in this episode:\u003c/strong>\u003c/p>\n\u003cp>The Beatles, “Sgt. Pepper’s Lonely Hearts Club Band”\u003cbr>\nHenry Gross, “Shannon”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\n\u003cstrong>Subscribe\u003c/strong> to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“I was taking a break from everything. A lot of different things had happened over the past handful of years in my life, a lot of personal loss — people passing, people leaving, people getting sick. It was nice to take those six months to heal myself and sort of reflect on things.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/266636068″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/266636068″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the six years that former Hüsker Dü frontman Bob Mould has lived in San Francisco, he’s been a \u003ca href=\"http://bobmould.com/2014/02/20/punk-rock-fancy-dj-night-debuts-at-noise-pop-opening-party-225/\" target=\"_blank\" rel=\"noopener\">club DJ\u003c/a>, an \u003ca href=\"http://www.bookforum.com/review/8322\" target=\"_blank\" rel=\"noopener\">author\u003c/a>, and an \u003ca href=\"http://www.sfweekly.com/shookdown/2014/11/26/bob-mould-is-busking-for-the-homeless-with-margaret-cho-in-the-tl-right-now\" target=\"_blank\" rel=\"noopener\">advocate for the homeless\u003c/a>. But it’s Mould as songwriter that we’ve known and loved the longest, and nowhere is his talent more present than on his latest album, \u003cem>Patch the Sky\u003c/em>.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Mould stops by KQED’s studios to discuss the themes and details of album opener “Voices in My Head” — a song, he explains, that came after a long period of personal loss and reckoning, and one of 50 songs that emerged from a hailstorm of songwriting.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Other songs heard in this episode:\u003c/strong>\u003c/p>\n\u003cp>The Beatles, “Sgt. Pepper’s Lonely Hearts Club Band”\u003cbr>\nHenry Gross, “Shannon”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\n\u003cstrong>Subscribe\u003c/strong> to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a> crew hosted a fifth installment of their ongoing \u003ca href=\"http://wineandbowties.com/feels5/\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a> party at American Steel Studios in West Oakland on Saturday night, and it’s safe to say that it included its \u003ca href=\"http://wineandbowties.com/feels5/\" target=\"_blank\" rel=\"noopener\">strongest lineup yet\u003c/a>. Lil’ B, Georgia Anne Muldrow, DJDS, Chaz Budnick, Moses Sumney and more lit up the stages, while a veritable who’s-who of local artists exhibited work on the warehouse’s walls.\u003c/p>\n\u003cp>We’ve \u003ca href=\"http://ww2.kqed.org/arts/2015/11/25/elfman-electronics-and-easy-leaves-this-weeks-top-live-music-picks/\" target=\"_blank\" rel=\"noopener\">said it before\u003c/a>, but Feels is the party that, well, \u003cem>feels\u003c/em> the most like Oakland, connecting fluidly with West Oakland’s long tradition of semi-sanctioned warehouse parties. While the Warriors game played on a giant screen, fans atop a painted van went crazy when the Dubs pulled it out of the bag for an \u003ca href=\"http://www.sbnation.com/2016/5/28/11806932/thunder-warriors-2016-results-nba-playoffs-scores\" target=\"_blank\" rel=\"noopener\">exhilarating comeback win\u003c/a>; naturally, Lil’ B opened his headlining set with his \u003ca href=\"https://www.youtube.com/watch?v=HBQ2mjkvYY8\" target=\"_blank\" rel=\"noopener\">now-legendary dis to Kevin Durant\u003c/a> of the Oklahoma City Thunder. Throughout the night, the place was packed and the vibe was celebratory, consolidating and championing Oakland’s soul, continuously said to be slipping away.\u003c/p>\n\u003cp>As long as Feels is around, Oakland’s soul will continue to thrive. \u003cstrong>Photos below\u003c/strong>.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11629036,11629034,11629027,11629031,11629016,11629017,11629169,11629019,11629024,11629020,11629037,11629029,11629022,11629025,11629015,11629026,11629028,11629168,11629018,11629038,11629033,11629035,11629030,11629032,11629167,11629021\"]\u003c/p>\n\u003cp>\u003cem>All photos by Gabe Meline.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a> crew hosted a fifth installment of their ongoing \u003ca href=\"http://wineandbowties.com/feels5/\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a> party at American Steel Studios in West Oakland on Saturday night, and it’s safe to say that it included its \u003ca href=\"http://wineandbowties.com/feels5/\" target=\"_blank\" rel=\"noopener\">strongest lineup yet\u003c/a>. Lil’ B, Georgia Anne Muldrow, DJDS, Chaz Budnick, Moses Sumney and more lit up the stages, while a veritable who’s-who of local artists exhibited work on the warehouse’s walls.\u003c/p>\n\u003cp>We’ve \u003ca href=\"http://ww2.kqed.org/arts/2015/11/25/elfman-electronics-and-easy-leaves-this-weeks-top-live-music-picks/\" target=\"_blank\" rel=\"noopener\">said it before\u003c/a>, but Feels is the party that, well, \u003cem>feels\u003c/em> the most like Oakland, connecting fluidly with West Oakland’s long tradition of semi-sanctioned warehouse parties. While the Warriors game played on a giant screen, fans atop a painted van went crazy when the Dubs pulled it out of the bag for an \u003ca href=\"http://www.sbnation.com/2016/5/28/11806932/thunder-warriors-2016-results-nba-playoffs-scores\" target=\"_blank\" rel=\"noopener\">exhilarating comeback win\u003c/a>; naturally, Lil’ B opened his headlining set with his \u003ca href=\"https://www.youtube.com/watch?v=HBQ2mjkvYY8\" target=\"_blank\" rel=\"noopener\">now-legendary dis to Kevin Durant\u003c/a> of the Oklahoma City Thunder. Throughout the night, the place was packed and the vibe was celebratory, consolidating and championing Oakland’s soul, continuously said to be slipping away.\u003c/p>\n\u003cp>As long as Feels is around, Oakland’s soul will continue to thrive. \u003cstrong>Photos below\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last year, I wrote that BottleRock was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">a festival in search of an identity\u003c/a>. Its ship had been righted after a financially ruinous first year and subsequent transfer, but being at the festival was like living one big unanswered existential question. Its music bookings felt haphazard, its culinary aspect forced. Why, I kept thinking, did BottleRock need to exist?\u003c/p>\n\u003cfigure id=\"attachment_11626057\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg\" alt=\"Morgan Kibby of White Sea at BottleRock 2016.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11626057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Kibby of White Sea at BottleRock 2016. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, in its fourth year, BottleRock’s identity has become clearer. On its opening day, the culinary stage was bigger than ever. A new raised VIP “Skydeck” viewing area and updated “Platinum Lounge” (tickets: $3,100) coddled the well-heeled. The music skewed toward radio-friendly, accessible pop-rock acts with an adult-contemporary feel. Wine was everywhere.\u003c/p>\n\u003cp>Essentially, BottleRock has completed its transformation from a scrappy, \u003ca href=\"http://www.pressdemocrat.com/news/1855676-181/new-organizers-promise-better-bottlerock?ref=related\" target=\"_blank\" rel=\"noopener\">too-ambitious\u003c/a> startup festival to a deluxe Wine Country Experience™: expensive, comfortable, and — in the landscape of music festivals — necessary, at least for audiences who require more middle-of-the-road music with an upscale atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_11626056\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg\" alt=\"Lenny Kravitz at BottleRock 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11626056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lenny Kravitz at BottleRock 2016. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence was hard to miss. When Lenny Kravitz launched into “American Woman,” a cover of the Guess Who’s soft-rock staple of 1970s radio, the forty-something bank teller in front of me grabbed her friend, shrieked “I love this song!” and began the wine-country two-step of soft gyration, careful not to spill her Cabernet.\u003c/p>\n\u003cp>Friday’s musical lineup did include a number of highlights. Fantastic Negrito, from Oakland, invited the entire crowd to “quit your jobs, and come on tour with me” while whipping through a powerful, sometimes haunting set of fiery songs. White Sea, a lesser-known outfit, brought a Coldplay-meets-Fleetwood-Mac sound and charming, convivial banter. Buddy Guy, criminally relegated to the third stage, covered B.B. King and John Lee Hooker alongside his own hits while spinning stories from his upbringing in the south: “I didn’t know what running water was until I was 17,” he said, while mostly white fans cheered his authenticity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, on the main stage, Michael Franti — who once \u003ca href=\"https://www.youtube.com/watch?v=D9jcQ6_-oZA\" target=\"_blank\" rel=\"noopener\">decried the evils of media and government\u003c/a> in his radical 1980s industrial band the Beatnigs — sang “Summertime is always on my mind / Even in the winter I want the sunshine” while the crowd grooved along to the easy beat.\u003c/p>\n\u003cfigure id=\"attachment_11626058\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png\" alt=\"Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11626058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1180x1180.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1920x1920.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-960x960.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085.png 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headliner Stevie Wonder opened his set with a monologue about the importance of voting, subtweeting Donald Trump by declaring “Division is unacceptable. Prejudice and hatred are unacceptable.” His set included the expected hits — “Higher Ground,” “Sir Duke,” “Living for the City,” “Signed Sealed Delivered” — along with \u003ca href=\"http://www.sfgate.com/music/article/Stevie-Wonder-opens-BottleRock-festival-with-7950863.php\" target=\"_blank\" rel=\"noopener\">a strange section\u003c/a> wherein he pressed play on a batch of songs by artists who’d recently passed away, such as Prince, David Bowie and Glenn Frey. (The only thing more awkward than Stevie Wonder DJing other people’s songs was when “Hotel California” started skipping in front of the 40,000-capacity crowd.)\u003c/p>\n\u003cp>But all in all, Wonder made it clear why he’s an American treasure, and his set briefly brought a spiritual transcendence from the commercial realities of its Napa surroundings.\u003c/p>\n\u003cp>It didn’t last. While getting into my car, a woman walking by approached me. “Excuse me,” she asked, “do you have an unopened bottle of water?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An unopened bottle of water\u003c/em>. Somehow, the request seemed to embody all the entitlement and condescension that wine country is known for, and I had to wonder if the woman was among the people cheering earlier for Buddy Guy, who grew up drinking water out of the creek. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, I wrote that BottleRock was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">a festival in search of an identity\u003c/a>. Its ship had been righted after a financially ruinous first year and subsequent transfer, but being at the festival was like living one big unanswered existential question. Its music bookings felt haphazard, its culinary aspect forced. Why, I kept thinking, did BottleRock need to exist?\u003c/p>\n\u003cfigure id=\"attachment_11626057\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg\" alt=\"Morgan Kibby of White Sea at BottleRock 2016.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11626057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Kibby of White Sea at BottleRock 2016. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, in its fourth year, BottleRock’s identity has become clearer. On its opening day, the culinary stage was bigger than ever. A new raised VIP “Skydeck” viewing area and updated “Platinum Lounge” (tickets: $3,100) coddled the well-heeled. The music skewed toward radio-friendly, accessible pop-rock acts with an adult-contemporary feel. Wine was everywhere.\u003c/p>\n\u003cp>Essentially, BottleRock has completed its transformation from a scrappy, \u003ca href=\"http://www.pressdemocrat.com/news/1855676-181/new-organizers-promise-better-bottlerock?ref=related\" target=\"_blank\" rel=\"noopener\">too-ambitious\u003c/a> startup festival to a deluxe Wine Country Experience™: expensive, comfortable, and — in the landscape of music festivals — necessary, at least for audiences who require more middle-of-the-road music with an upscale atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_11626056\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg\" alt=\"Lenny Kravitz at BottleRock 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11626056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lenny Kravitz at BottleRock 2016. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence was hard to miss. When Lenny Kravitz launched into “American Woman,” a cover of the Guess Who’s soft-rock staple of 1970s radio, the forty-something bank teller in front of me grabbed her friend, shrieked “I love this song!” and began the wine-country two-step of soft gyration, careful not to spill her Cabernet.\u003c/p>\n\u003cp>Friday’s musical lineup did include a number of highlights. Fantastic Negrito, from Oakland, invited the entire crowd to “quit your jobs, and come on tour with me” while whipping through a powerful, sometimes haunting set of fiery songs. White Sea, a lesser-known outfit, brought a Coldplay-meets-Fleetwood-Mac sound and charming, convivial banter. Buddy Guy, criminally relegated to the third stage, covered B.B. King and John Lee Hooker alongside his own hits while spinning stories from his upbringing in the south: “I didn’t know what running water was until I was 17,” he said, while mostly white fans cheered his authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, on the main stage, Michael Franti — who once \u003ca href=\"https://www.youtube.com/watch?v=D9jcQ6_-oZA\" target=\"_blank\" rel=\"noopener\">decried the evils of media and government\u003c/a> in his radical 1980s industrial band the Beatnigs — sang “Summertime is always on my mind / Even in the winter I want the sunshine” while the crowd grooved along to the easy beat.\u003c/p>\n\u003cfigure id=\"attachment_11626058\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png\" alt=\"Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11626058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1180x1180.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1920x1920.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-960x960.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085.png 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headliner Stevie Wonder opened his set with a monologue about the importance of voting, subtweeting Donald Trump by declaring “Division is unacceptable. Prejudice and hatred are unacceptable.” His set included the expected hits — “Higher Ground,” “Sir Duke,” “Living for the City,” “Signed Sealed Delivered” — along with \u003ca href=\"http://www.sfgate.com/music/article/Stevie-Wonder-opens-BottleRock-festival-with-7950863.php\" target=\"_blank\" rel=\"noopener\">a strange section\u003c/a> wherein he pressed play on a batch of songs by artists who’d recently passed away, such as Prince, David Bowie and Glenn Frey. (The only thing more awkward than Stevie Wonder DJing other people’s songs was when “Hotel California” started skipping in front of the 40,000-capacity crowd.)\u003c/p>\n\u003cp>But all in all, Wonder made it clear why he’s an American treasure, and his set briefly brought a spiritual transcendence from the commercial realities of its Napa surroundings.\u003c/p>\n\u003cp>It didn’t last. While getting into my car, a woman walking by approached me. “Excuse me,” she asked, “do you have an unopened bottle of water?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An unopened bottle of water\u003c/em>. Somehow, the request seemed to embody all the entitlement and condescension that wine country is known for, and I had to wonder if the woman was among the people cheering earlier for Buddy Guy, who grew up drinking water out of the creek. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rapper-troy-ave-facing-charges-in-t-i-shooting",
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"content": "\u003cp>Fists were flying and then bullets inside a crowded New York City concert venue where four people were shot, one fatally, and now a rapper who police say was seen on surveillance footage firing a gun is facing attempted murder and weapons charges.\u003c/p>\n\u003cp>Roland Collins, who goes by the stage name Troy Ave, was arrested Thursday, a day after the deadly shooting at Irving Plaza, where hip-hop artist T.I. was set to perform. Police said a fistfight had broken out in a performers’ lounge at the venue.\u003c/p>\n\u003cp>The man who died, 33-year-old Ronald McPhatter, was a member of Collins’ entourage and had been there to provide security, according to his family. Collins, 30, suffered a gunshot wound to the leg, police said.\u003c/p>\n\u003cp>An 8-second video clip released by police shows the gunman bursting through the door of a VIP room in apparent pursuit of another man, who flees off-screen.\u003c/p>\n\u003cp>As concertgoers huddle under a counter and clutch each other, the gunman, who appears to be limping, stops and scans the room for a moment with his eyes. Then, he spots something, raises his gun and fires.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Witnesses described a chaotic scene.\u003c/p>\n\u003cp>“Everyone was hysterical, I was having a panic attack during the shooting, and the woman next to me was covering my mouth with her hand to try to get me to stop screaming,” said Liv Hoffman, 19.\u003c/p>\n\u003cp>There were nearly 1,000 people in the venue when the shooting began. One of the victims, Christopher Vinson, 34, was shot in the chest on the venue’s ground level after a bullet traveled through the floor, Chief of Detectives Robert Boyce said. Another bystander, Maggie Heckstall, 26, was shot in the leg, authorities said.\u003c/p>\n\u003cp>The exact circumstances of what prompted the fight were still under investigation.\u003c/p>\n\u003cp>In an interview with WCBS radio, Police Commissioner William Bratton blamed the shootings on “the crazy world of the so-called rap artists who are basically thugs that basically celebrate the violence that they live all their lives.”\u003c/p>\n\u003cp>That prompted an angry response from McPhatter’s relatives and a city lawmaker, who derided the comments as insensitive and divisive.\u003c/p>\n\u003cp>“When white people are doing this violence, I don’t hear the same language being used,” said City Councilman Jumaane Williams, a Brooklyn Democrat who said he had worked on anti-violence initiatives with McPhatter and his older brother, Shanduke McPhatter, a former gang member.\u003c/p>\n\u003cp>Mayor Bill de Blasio said afterward he believed Bratton was “talking out of frustration.”\u003c/p>\n\u003cp>Collins was in custody and couldn’t be reached for comment Thursday. It was unclear if he had an attorney. A message left at a phone number listed for him wasn’t immediately returned.\u003c/p>\n\u003cp>Shanduke McPhatter said his brother “got too much into” the glamour of the hip-hop scene, and it landed him Wednesday night in an environment where alcohol flowed freely and trouble broke out.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Kiley Armstrong, Tom McElroy, Mesfin Fekadu, Jennifer Peltz and Michael Balsamo contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fists were flying and then bullets inside a crowded New York City concert venue where four people were shot, one fatally, and now a rapper who police say was seen on surveillance footage firing a gun is facing attempted murder and weapons charges.\u003c/p>\n\u003cp>Roland Collins, who goes by the stage name Troy Ave, was arrested Thursday, a day after the deadly shooting at Irving Plaza, where hip-hop artist T.I. was set to perform. Police said a fistfight had broken out in a performers’ lounge at the venue.\u003c/p>\n\u003cp>The man who died, 33-year-old Ronald McPhatter, was a member of Collins’ entourage and had been there to provide security, according to his family. Collins, 30, suffered a gunshot wound to the leg, police said.\u003c/p>\n\u003cp>An 8-second video clip released by police shows the gunman bursting through the door of a VIP room in apparent pursuit of another man, who flees off-screen.\u003c/p>\n\u003cp>As concertgoers huddle under a counter and clutch each other, the gunman, who appears to be limping, stops and scans the room for a moment with his eyes. Then, he spots something, raises his gun and fires.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Witnesses described a chaotic scene.\u003c/p>\n\u003cp>“Everyone was hysterical, I was having a panic attack during the shooting, and the woman next to me was covering my mouth with her hand to try to get me to stop screaming,” said Liv Hoffman, 19.\u003c/p>\n\u003cp>There were nearly 1,000 people in the venue when the shooting began. One of the victims, Christopher Vinson, 34, was shot in the chest on the venue’s ground level after a bullet traveled through the floor, Chief of Detectives Robert Boyce said. Another bystander, Maggie Heckstall, 26, was shot in the leg, authorities said.\u003c/p>\n\u003cp>The exact circumstances of what prompted the fight were still under investigation.\u003c/p>\n\u003cp>In an interview with WCBS radio, Police Commissioner William Bratton blamed the shootings on “the crazy world of the so-called rap artists who are basically thugs that basically celebrate the violence that they live all their lives.”\u003c/p>\n\u003cp>That prompted an angry response from McPhatter’s relatives and a city lawmaker, who derided the comments as insensitive and divisive.\u003c/p>\n\u003cp>“When white people are doing this violence, I don’t hear the same language being used,” said City Councilman Jumaane Williams, a Brooklyn Democrat who said he had worked on anti-violence initiatives with McPhatter and his older brother, Shanduke McPhatter, a former gang member.\u003c/p>\n\u003cp>Mayor Bill de Blasio said afterward he believed Bratton was “talking out of frustration.”\u003c/p>\n\u003cp>Collins was in custody and couldn’t be reached for comment Thursday. It was unclear if he had an attorney. A message left at a phone number listed for him wasn’t immediately returned.\u003c/p>\n\u003cp>Shanduke McPhatter said his brother “got too much into” the glamour of the hip-hop scene, and it landed him Wednesday night in an environment where alcohol flowed freely and trouble broke out.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Kiley Armstrong, Tom McElroy, Mesfin Fekadu, Jennifer Peltz and Michael Balsamo contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/05/TDL20160527.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11619760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg\" alt=\"Karita Matilla in Jenufa at the Metropolitan Opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karita Matilla in Jenufa at the Metropolitan Opera \u003ccite>(Photo: Beatriz Schiller/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 27-July 2:\u003c/strong> San Francisco’s brief summer opera season opens with what one critic called “theatrical dynamite,” Calixto Bieito’s staging of Bizet’s \u003cem>Carmen\u003c/em> as a tale of masculine oppression set in post-Franco Spain. Then Verdi takes us back to 16th century Spain in his\u003ci> Don Carlo\u003c/i>, set during the inquisition, in which a king and his son vie for the same woman. Then Janáček’s Jenůfa returns, after too many seasons of neglect. The great Karita Mattila plays the step-mother with Malin Byström in the title role. Details for \u003cem>Carmen\u003c/em> are\u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>; for \u003cem>Don Carlo \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/don-carlo/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and for \u003cem>Jenůfa \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And if you’re daunted by opera prices, register for the July 2 \u003cem>San Francisco Opera at AT&T Park\u003c/em>, where you can watch a free live simulcast with about 20 thousand fellow music lovers. Details \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxqcD2phP2g\u003c/p>\n\u003cp>\u003cstrong>June 2-16:\u003c/strong> The film festival that provides “a manageable amount of the truth” is back. The 15th annual SF Documentary Festival showcases 52 films. Opening night is \u003cem>It Ain’t Pretty, \u003c/em>about Northern California’s female big wave surfers. There’s also a pair of films on the politics of abortion; \u003cem>Ear Buds: The Podcasting Documentary \u003c/em>(self-explanatory); \u003cem>Between the Beats\u003c/em>, about the rave scene in San Francisco; and \u003cem>Tear the Roof Off: the Untold Story of Parliament Funkadelic\u003c/em>, and more. Details on showings at the Vogue, Roxie, and Great Star theaters are \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/100624271\u003c/p>\n\u003cp>\u003cstrong>June 2:\u003c/strong> The Stanford Laptop Orchestra (SLORK) neatly blends Stanford’s push for the arts with its reputation as a place for tech wizards. Founded by Assistant Professor Ge Wang, the ensemble plays original and wonderfully weird music that seem designed to induce ecstatic trance states. Stanford is now the oldest of 70 laptop orchestras around the country. Check out the \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/behind-the-scenes-at-the-stanford-laptop-orchestra\" target=\"_blank\" rel=\"noopener\">KQED story by reporter April Dembosky \u003c/a>from last year. And details for SLORK’s season ending concert are \u003ca href=\"http://slork.stanford.edu/events/2016/spring/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11619886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg\" alt=\"James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater's production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater’s production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay. \u003ccite>(Photo: Alessandra Mello/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Shakespeare Theater’s new leader is in town. \u003ca href=\"http://www.calshakes.org/v4/aboutus/whoweare.html#jm\" target=\"_blank\" rel=\"noopener\">Artistic Director Eric Ting\u003c/a> takes over the company known for both its fresh productions of the classics and its world premieres. And Ting, a new play specialist who’s come to the East Bay from \u003ca href=\"http://www.longwharf.org/\" target=\"_blank\" rel=\"noopener\">The Longwharf Theater\u003c/a> in New Haven, Connecticut, says he plans to keep up the innovation begun by his predecessor Jon Moscone. “This idea of looking at these old stories as though they were new again. Looking at these old plays as if they were new plays was just a kind of remarkable opportunity.” Later this season Ting will direct a version of Shakespeare’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Othello\u003c/em>\u003c/a> steeped in the politics of Islamophobia. The season has just opened with Shakespeare’s \u003cem>Much Ado About Nothing\u003c/em> as adapted by playwright Kenneth Lin and director Jackson Gay, and some gender reversals with Bay Area actors James Carpenter playing Beatrix and Stacy Ross playing Benedick. Details \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MGs1-bfiYFQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 2-3:\u003c/strong> Comedian Tim Heidecker of \u003ca href=\"http://www.timanderic.com/\" target=\"_blank\" rel=\"noopener\">Tim and Eric\u003c/a> seems to be going all sincere on us here, with an album of throwback folk-rock about nice things, pleasant things — stuff like how cool it is to live in Glendale. Heidecker says he always liked to sing, and played in indie bands while living in Philadelphia. But take heart, the songs have a surreal or satiric edge as well, with titles like “Good Looking Babies” and “I Saw Nicolas Cage,” And check out the hilarious video above for “Work from Home.” Details for his show at \u003ca href=\"http://www.theindependentsf.com/event/1080749-tim-heidecker-his-ten-piece-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Independent are here\u003c/a>. And he’s at Harlow’s in Sacramento June 3 , details \u003ca href=\"http://www.harlows.com/event/1089357-tim-heidecker-his-ten-piece-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11619760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg\" alt=\"Karita Matilla in Jenufa at the Metropolitan Opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karita Matilla in Jenufa at the Metropolitan Opera \u003ccite>(Photo: Beatriz Schiller/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 27-July 2:\u003c/strong> San Francisco’s brief summer opera season opens with what one critic called “theatrical dynamite,” Calixto Bieito’s staging of Bizet’s \u003cem>Carmen\u003c/em> as a tale of masculine oppression set in post-Franco Spain. Then Verdi takes us back to 16th century Spain in his\u003ci> Don Carlo\u003c/i>, set during the inquisition, in which a king and his son vie for the same woman. Then Janáček’s Jenůfa returns, after too many seasons of neglect. The great Karita Mattila plays the step-mother with Malin Byström in the title role. Details for \u003cem>Carmen\u003c/em> are\u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>; for \u003cem>Don Carlo \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/don-carlo/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and for \u003cem>Jenůfa \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And if you’re daunted by opera prices, register for the July 2 \u003cem>San Francisco Opera at AT&T Park\u003c/em>, where you can watch a free live simulcast with about 20 thousand fellow music lovers. Details \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" 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/pxqcD2phP2g'\n title='//www.youtube.com/embed/pxqcD2phP2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 2-16:\u003c/strong> The film festival that provides “a manageable amount of the truth” is back. The 15th annual SF Documentary Festival showcases 52 films. Opening night is \u003cem>It Ain’t Pretty, \u003c/em>about Northern California’s female big wave surfers. There’s also a pair of films on the politics of abortion; \u003cem>Ear Buds: The Podcasting Documentary \u003c/em>(self-explanatory); \u003cem>Between the Beats\u003c/em>, about the rave scene in San Francisco; and \u003cem>Tear the Roof Off: the Untold Story of Parliament Funkadelic\u003c/em>, and more. Details on showings at the Vogue, Roxie, and Great Star theaters are \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>June 2:\u003c/strong> The Stanford Laptop Orchestra (SLORK) neatly blends Stanford’s push for the arts with its reputation as a place for tech wizards. Founded by Assistant Professor Ge Wang, the ensemble plays original and wonderfully weird music that seem designed to induce ecstatic trance states. Stanford is now the oldest of 70 laptop orchestras around the country. Check out the \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/behind-the-scenes-at-the-stanford-laptop-orchestra\" target=\"_blank\" rel=\"noopener\">KQED story by reporter April Dembosky \u003c/a>from last year. And details for SLORK’s season ending concert are \u003ca href=\"http://slork.stanford.edu/events/2016/spring/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11619886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg\" alt=\"James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater's production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater’s production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay. \u003ccite>(Photo: Alessandra Mello/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Shakespeare Theater’s new leader is in town. \u003ca href=\"http://www.calshakes.org/v4/aboutus/whoweare.html#jm\" target=\"_blank\" rel=\"noopener\">Artistic Director Eric Ting\u003c/a> takes over the company known for both its fresh productions of the classics and its world premieres. And Ting, a new play specialist who’s come to the East Bay from \u003ca href=\"http://www.longwharf.org/\" target=\"_blank\" rel=\"noopener\">The Longwharf Theater\u003c/a> in New Haven, Connecticut, says he plans to keep up the innovation begun by his predecessor Jon Moscone. “This idea of looking at these old stories as though they were new again. Looking at these old plays as if they were new plays was just a kind of remarkable opportunity.” Later this season Ting will direct a version of Shakespeare’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Othello\u003c/em>\u003c/a> steeped in the politics of Islamophobia. The season has just opened with Shakespeare’s \u003cem>Much Ado About Nothing\u003c/em> as adapted by playwright Kenneth Lin and director Jackson Gay, and some gender reversals with Bay Area actors James Carpenter playing Beatrix and Stacy Ross playing Benedick. Details \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" 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/MGs1-bfiYFQ'\n title='//www.youtube.com/embed/MGs1-bfiYFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 2-3:\u003c/strong> Comedian Tim Heidecker of \u003ca href=\"http://www.timanderic.com/\" target=\"_blank\" rel=\"noopener\">Tim and Eric\u003c/a> seems to be going all sincere on us here, with an album of throwback folk-rock about nice things, pleasant things — stuff like how cool it is to live in Glendale. Heidecker says he always liked to sing, and played in indie bands while living in Philadelphia. But take heart, the songs have a surreal or satiric edge as well, with titles like “Good Looking Babies” and “I Saw Nicolas Cage,” And check out the hilarious video above for “Work from Home.” Details for his show at \u003ca href=\"http://www.theindependentsf.com/event/1080749-tim-heidecker-his-ten-piece-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Independent are here\u003c/a>. And he’s at Harlow’s in Sacramento June 3 , details \u003ca href=\"http://www.harlows.com/event/1089357-tim-heidecker-his-ten-piece-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\n\u003c/div>\u003c/p>",
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"slug": "why-travel-experience-new-worlds-this-summer-through-these-classical-voices",
"title": "Why Travel? Experience New Worlds This Summer Through These Classical Voices",
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"content": "\u003cp>While summer evokes images of relaxing at the beach or reading by the pool, its also a great time to try something new or go on an adventure, whether it is a romantic fling or a backpacking trip.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For those of us wanting to escape the June gloom of the Bay Area without the hassle of long TSA lines, the classical vocal music scene is heating things up with bold takes on timeless stories. Here are five sultry and provocative productions you won’t want to miss.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1464286494544-400x400.jpg\" alt=\"SF Opera's Carmen\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607625\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Opera’s \u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Carmen\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>War Memorial Opera House\u003cbr>\nMay 27 – July 3\u003c/h5>\n\u003cp>Bizet’s scandalous tale of seduction, obsession, and murder gets a contemporary re-staging from Calixto Bieito that comes with an advisory for “parental discretion.” Inspired by the area of Ceuta — an exclave of Spain in Africa that borders Morocco — the production features two young casts that should bring the intensity to a fever pitch and be cinematically convincing. English National Opera production is Bieito’s American premiere, so it is no surprise the July 2 performance is being simulcast live to AT&T Park; but it should also be interesting to see how Americans react, as Bieito is known for his liberal use of violence and nudity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607627\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg\" alt=\"Soprano Julia Bullock\" width=\"400\" height=\"488\" class=\"size-thumbnail wp-image-11607627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-492x600.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-768x937.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-968x1180.jpg 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1920x2341.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1180x1439.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-960x1171.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Julia Bullock performs at Ojai at Berkeley. \u003ccite>(Photo: Cal Performances/Christian Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Performances’ \u003ca href=\"https://calperformances.org/performances/2015-16/ojai/ojai-at-berkeley.php\" target=\"_blank\" rel=\"noopener\">\u003cem>La Passion de Simone\u003c/em> and \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>UC Berkeley’s Zellerbach Playhouse\u003cbr>\nJune 16 and 18\u003c/h5>\n\u003cp>Soprano \u003ca href=\"http://www.juliabullock.com/\" target=\"_blank\" rel=\"noopener\">Julia Bullock\u003c/a> portrays radical philosopher Simone Weil and alluring performer Josephine Baker, both strong ladies in their own right, in two chamber vocal pieces accompanied by the International Contemporary Ensemble. Part of Ojai at Berkeley, this year’s curator is opera director \u003ca href=\"http://www.wacd.ucla.edu/people/28-people/faculty/133-peter-sellars\" target=\"_blank\" rel=\"noopener\">Peter Sellars\u003c/a>, who has chosen the theme of powerful women for 2016’s programming. The female vision of the festival extends farther than simply subject matter: \u003cem>La Passion de Simone\u003c/em> was composed by the most prominent woman opera composer of our day, \u003ca href=\"http://saariaho.org/\" target=\"_blank\" rel=\"noopener\">Kaija Saariaho\u003c/a>, and the text of \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em> is from poet \u003ca href=\"http://claudiarankine.com/\" target=\"_blank\" rel=\"noopener\">Claudia Rankine\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607629\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg\" alt=\"Merola Opera's Transformations\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snow White (Ani Maldjian) in the Merola Opera Program’s 2006 production of Conrad Susa’s Transformations. \u003ccite>(Photo: Merola Opera Program/Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Merola Opera Program’s \u003ca href=\"http://merola.org/calendar\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>San Francisco Conservatory of Music\u003cbr>\nJuly 21 and 23\u003c/h5>\n\u003cp>Merola, the summer opera training program associated with San Francisco Opera, is presenting Conrad Susa’s \u003cem>Transformations\u003c/em> as one of two fully-staged works this year. Based on Anne Sexton’s collection of confessional poetry of the same name, the piece is set in a mental hospital. The poems are dark re-tellings of Grimm’s fairy tales that deal with madness, desire, cannibalism and incest.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607631\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11607631\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg\" alt=\"Oakland 16th Street Station\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland’s 16th Street Station, abandoned in 1994, will host West Edge Opera’s 2016 Festival. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>West Edge Opera’s \u003ca href=\"http://www.westedgeopera.org/powder-her-face/\" target=\"_blank\" rel=\"noopener\">\u003cem>Powder Her Face\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>16th Street Station, Oakland\u003cbr>\nJuly 31 to Aug. 13\u003c/h5>\n\u003cp>Following the resounding success of last year’s festival, West Edge Opera presents the whole 2016 season at the abandoned train station in West Oakland. The most daring offering of the three operas is certainly British composer Thomas Adès’ \u003cem>Powder Her Face\u003c/em>, which follows the sexual exploits of Margaret Campbell, the so-called \u003ca href=\"https://de.wikipedia.org/wiki/Margaret_Campbell,_Duchess_of_Argyll\" target=\"_blank\" rel=\"noopener\">“Dirty” Duchess of Argyll\u003c/a>, whose divorce proceedings in 1963 caused a huge scandal. The opera is best known for a wordless depiction of fellatio, the scene based on salacious photographs the Duke of Argyll produced as evidence of infidelity in the divorce case.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607632\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg\" alt=\"Festival Opera Abduction from the Seraglio 2016\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857.jpg 680w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Brian Cheney plays a character resembling Captain Kirk from “Star Trek” in Mozart’s Abduction from the Seraglio. \u003ccite>(Photo: Pacific Opera Project/Martha Benedict)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Festival Opera’s \u003ca href=\"http://www.festivalopera.org/abduction16.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Abduction from the Seraglio\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>Valley Center for the Performing Arts, Oakland\u003cbr>\nAug. 5 to 9\u003c/h5>\n\u003cp>Nerds rejoice! Walnut Creek-based Festival Opera is performing Mozart’s \u003cem>Abduction from the Seraglio\u003c/em> with a twist, setting it in space instead of a harem. This collaboration with Oakland Symphony is a re-imagining of the Mozart Singspiel as a parody of the original \u003cem>Star Trek\u003c/em> and should prove quite fun. The libretto has been translated into English, the main characters corresponding to Captain Kirk and Mister Spock, and so forth. The possibilities as far as the sexy alien ladies of \u003cem>Star Trek\u003c/em> should work well, given the orientalist slant of the Mozart plot.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Why Travel? Experience New Worlds This Summer Through These Classical Voices | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While summer evokes images of relaxing at the beach or reading by the pool, its also a great time to try something new or go on an adventure, whether it is a romantic fling or a backpacking trip.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For those of us wanting to escape the June gloom of the Bay Area without the hassle of long TSA lines, the classical vocal music scene is heating things up with bold takes on timeless stories. Here are five sultry and provocative productions you won’t want to miss.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1464286494544-400x400.jpg\" alt=\"SF Opera's Carmen\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607625\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Opera’s \u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Carmen\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>War Memorial Opera House\u003cbr>\nMay 27 – July 3\u003c/h5>\n\u003cp>Bizet’s scandalous tale of seduction, obsession, and murder gets a contemporary re-staging from Calixto Bieito that comes with an advisory for “parental discretion.” Inspired by the area of Ceuta — an exclave of Spain in Africa that borders Morocco — the production features two young casts that should bring the intensity to a fever pitch and be cinematically convincing. English National Opera production is Bieito’s American premiere, so it is no surprise the July 2 performance is being simulcast live to AT&T Park; but it should also be interesting to see how Americans react, as Bieito is known for his liberal use of violence and nudity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607627\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg\" alt=\"Soprano Julia Bullock\" width=\"400\" height=\"488\" class=\"size-thumbnail wp-image-11607627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-492x600.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-768x937.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-968x1180.jpg 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1920x2341.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1180x1439.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-960x1171.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Julia Bullock performs at Ojai at Berkeley. \u003ccite>(Photo: Cal Performances/Christian Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Performances’ \u003ca href=\"https://calperformances.org/performances/2015-16/ojai/ojai-at-berkeley.php\" target=\"_blank\" rel=\"noopener\">\u003cem>La Passion de Simone\u003c/em> and \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>UC Berkeley’s Zellerbach Playhouse\u003cbr>\nJune 16 and 18\u003c/h5>\n\u003cp>Soprano \u003ca href=\"http://www.juliabullock.com/\" target=\"_blank\" rel=\"noopener\">Julia Bullock\u003c/a> portrays radical philosopher Simone Weil and alluring performer Josephine Baker, both strong ladies in their own right, in two chamber vocal pieces accompanied by the International Contemporary Ensemble. Part of Ojai at Berkeley, this year’s curator is opera director \u003ca href=\"http://www.wacd.ucla.edu/people/28-people/faculty/133-peter-sellars\" target=\"_blank\" rel=\"noopener\">Peter Sellars\u003c/a>, who has chosen the theme of powerful women for 2016’s programming. The female vision of the festival extends farther than simply subject matter: \u003cem>La Passion de Simone\u003c/em> was composed by the most prominent woman opera composer of our day, \u003ca href=\"http://saariaho.org/\" target=\"_blank\" rel=\"noopener\">Kaija Saariaho\u003c/a>, and the text of \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em> is from poet \u003ca href=\"http://claudiarankine.com/\" target=\"_blank\" rel=\"noopener\">Claudia Rankine\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607629\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg\" alt=\"Merola Opera's Transformations\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snow White (Ani Maldjian) in the Merola Opera Program’s 2006 production of Conrad Susa’s Transformations. \u003ccite>(Photo: Merola Opera Program/Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Merola Opera Program’s \u003ca href=\"http://merola.org/calendar\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>San Francisco Conservatory of Music\u003cbr>\nJuly 21 and 23\u003c/h5>\n\u003cp>Merola, the summer opera training program associated with San Francisco Opera, is presenting Conrad Susa’s \u003cem>Transformations\u003c/em> as one of two fully-staged works this year. Based on Anne Sexton’s collection of confessional poetry of the same name, the piece is set in a mental hospital. The poems are dark re-tellings of Grimm’s fairy tales that deal with madness, desire, cannibalism and incest.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607631\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11607631\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg\" alt=\"Oakland 16th Street Station\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland’s 16th Street Station, abandoned in 1994, will host West Edge Opera’s 2016 Festival. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>West Edge Opera’s \u003ca href=\"http://www.westedgeopera.org/powder-her-face/\" target=\"_blank\" rel=\"noopener\">\u003cem>Powder Her Face\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>16th Street Station, Oakland\u003cbr>\nJuly 31 to Aug. 13\u003c/h5>\n\u003cp>Following the resounding success of last year’s festival, West Edge Opera presents the whole 2016 season at the abandoned train station in West Oakland. The most daring offering of the three operas is certainly British composer Thomas Adès’ \u003cem>Powder Her Face\u003c/em>, which follows the sexual exploits of Margaret Campbell, the so-called \u003ca href=\"https://de.wikipedia.org/wiki/Margaret_Campbell,_Duchess_of_Argyll\" target=\"_blank\" rel=\"noopener\">“Dirty” Duchess of Argyll\u003c/a>, whose divorce proceedings in 1963 caused a huge scandal. The opera is best known for a wordless depiction of fellatio, the scene based on salacious photographs the Duke of Argyll produced as evidence of infidelity in the divorce case.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607632\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg\" alt=\"Festival Opera Abduction from the Seraglio 2016\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857.jpg 680w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Brian Cheney plays a character resembling Captain Kirk from “Star Trek” in Mozart’s Abduction from the Seraglio. \u003ccite>(Photo: Pacific Opera Project/Martha Benedict)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Festival Opera’s \u003ca href=\"http://www.festivalopera.org/abduction16.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Abduction from the Seraglio\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>Valley Center for the Performing Arts, Oakland\u003cbr>\nAug. 5 to 9\u003c/h5>\n\u003cp>Nerds rejoice! Walnut Creek-based Festival Opera is performing Mozart’s \u003cem>Abduction from the Seraglio\u003c/em> with a twist, setting it in space instead of a harem. This collaboration with Oakland Symphony is a re-imagining of the Mozart Singspiel as a parody of the original \u003cem>Star Trek\u003c/em> and should prove quite fun. The libretto has been translated into English, the main characters corresponding to Captain Kirk and Mister Spock, and so forth. The possibilities as far as the sexy alien ladies of \u003cem>Star Trek\u003c/em> should work well, given the orientalist slant of the Mozart plot.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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