She’s the One: Elim Chan Wins ’Em Over at Davies Symphony Hall
San Francisco Symphony Appoints Elim Chan as Music Director
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"title": "She’s the One: Elim Chan Wins ’Em Over at Davies Symphony Hall ",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/elim-chan\">Elim Chan\u003c/a> could have left the building Friday night after conducting just one piece, the gorgeous concert opener “Prelude and Liebestod” from Wagner’s \u003ci>Tristan und Isolde\u003c/i>, and earned a spot in the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> Hall of Fame.\u003c/p>\n\n\n\n\n\n\u003cp>Instead, in her first public program at Davies Symphony Hall since \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">being appointed as the Symphony’s next Music Director\u003c/a>, Chan rose to the night’s three-point challenge. One, to win the hearts of her new city’s audience. Two, to establish a continuum with the symphony’s past. And three, to plant herself artistically and make a statement of her own. \u003c/p>\n\n\n\n\u003cp>By the end of the program, the 39-year-old conductor not only achieved all of the above, but steered attention away from herself to the guest soloist, the orchestra and the audience. “As we start this new chapter, I don’t want any barriers between us,” she said. “We need the audience to give this music its meaning.”\u003c/p>\n\n\n\n\u003cp>A woman of her word, Chan finished the concert and then wandered out onto the street in front of Davies, among the people, and \u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mnmaexmmtc2x\">just started hanging out with everyone\u003c/a>.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504.jpg\" alt=\"\" class=\"wp-image-13990511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elim Chan mingles with fans after conducting the San Francisco Symphony on June 5, 2026. (Christopher M. Howard)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>But back to the music. After a sustained standing ovation that rendered Chan visibly emotional, she began with the Wagner, and its beautiful chords and phrasings that danced and swelled. The Prelude is fragile; in the wrong hands it can get mushy. Chan kept the orchestra restrained and united, controlling the dynamics with delicate skill until the piece’s huge, final rapturous climax.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was as if Chan had absorbed all the love from the past two weeks since her appointment, and sent it right back into the audience. It also constituted one of the most exhilarating experiences I’ve ever had inside a concert hall. Win the audience’s hearts: check.\u003c/p>\n\n\n\n\u003cp>For the Berlioz song cycle \u003ci>Les Nuits d’été\u003c/i>, Chan let the mezzo-soprano Sasha Cooke take the lead. Chan has generally downplayed the focus on her historic appointment as the \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">first woman to lead a “Big 7” orchestra\u003c/a>. But as she conducted the songs in her outgoing, flamboyant style, and as Cooke drew out the meaning of the words with perfect tone and emotive body language, the power of two overtly expressive women taking center stage at Davies was unmistakable.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716.jpg\" alt=\"\" class=\"wp-image-13990512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Sasha Cooke and Elim Chan perform Berlioz’s ‘Les Nuits d’été’ at Davies Symphony Hall on June 5, 2026. (Christopher M. Howard)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Then, for an encore, Cooke introduced Michael Tilson Thomas’ “Ich Lebe mein Leben,” from his \u003ci>Meditations on Rilke\u003c/i>. Thomas’ spirit has lingered at Davies since his death just six weeks ago (a tribute exhibit is currently being displayed in the lobby). As Chan and Cooke worked their magic, it was fully present.\u003c/p>\n\n\n\n\u003cp>As if to pass the torch, Cooke explained that Thomas had once kissed the hem of her skirt after a performance — and then promptly kissed Chan’s. Establish a continuum: check.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027.jpg\" alt=\"\" class=\"wp-image-13990514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elim Chan conducts at Davies Symphony Hall on June 5, 2026. (Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>That left the final goal of making a personal statement. Chan made two. One was artistic, evidenced by a sweeping performance of Debussy’s \u003ci>La Mer\u003c/i>. Chan has spoken of her affection for the “Sorcerer’s Apprentice” sequence in Disney’s \u003ci>Fantasia\u003c/i>; her magic trick is not to conjure waves and lightning, but to turn the orchestra into a single living, breathing organism. Despite its many moving parts, \u003ci>La Mer\u003c/i> in Chan’s hands felt as one whole, a swirling, subtidal journey.\u003c/p>\n\n\n\n\u003cp>The other statement she made may be more important: that the conductor is not the be-all, end-all star of the show, nor the single person upon which the success of an orchestra rests.\u003c/p>\n\n\n\n\u003cp>We’ve gotten to see plenty of Chan’s fun personality. The polar opposite of her stoic mentor Bernard Haitnik, she conducts with a physical exuberance, as if prodding and dancing around the notes. She speaks like a normal human, calling the orchestra “so cool,” and says she likes the classics along with the \u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mmfs4ax22k26\">“friggin’ new,” “wacky” contemporary pieces\u003c/a>. She \u003ca href=\"https://www.instagram.com/p/DZLFAinAVSb/\">loves La Taqueria burritos and Karl the Fog\u003c/a>. She even forgot to bring her baton onstage last night for the second half. (Conductors! They’re just like us!)\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241.jpg\" alt=\"\" class=\"wp-image-13990513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elim Chan makes a heart hand gesture to the audience at Davies Symphony Hall on June 5, 2026. (Christopher M. Howard)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Or, take the scene witnessed at concert’s end, when Chan hoisted her hands to form the \u003ca href=\"https://www.purewow.com/beauty/millennial-vs-gen-z-hand-heart-pose\">millennial-coded hand heart\u003c/a>. Amid the long standing ovation, in the 14th row stood an 80-something man, slowly but earnestly raising his own hands to return the same gesture. Or how about Chan, upon being presented with a large bouquet, removing its contents one by one to excitedly give the musicians their flowers?\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>This relatability will go a long way in San Francisco, where we’re a little suspicious of people who take themselves too seriously. Combine it with the breathtaking artistry she displayed at Davies Friday night, and you’ve got the beginnings of a conductor, a city, and a beautiful friendship.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/elim-chan\">Elim Chan\u003c/a> could have left the building Friday night after conducting just one piece, the gorgeous concert opener “Prelude and Liebestod” from Wagner’s \u003ci>Tristan und Isolde\u003c/i>, and earned a spot in the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> Hall of Fame.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Instead, in her first public program at Davies Symphony Hall since \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">being appointed as the Symphony’s next Music Director\u003c/a>, Chan rose to the night’s three-point challenge. One, to win the hearts of her new city’s audience. Two, to establish a continuum with the symphony’s past. And three, to plant herself artistically and make a statement of her own. \u003c/p>\n",
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"innerHTML": "\n\u003cp>By the end of the program, the 39-year-old conductor not only achieved all of the above, but steered attention away from herself to the guest soloist, the orchestra and the audience. “As we start this new chapter, I don’t want any barriers between us,” she said. “We need the audience to give this music its meaning.”\u003c/p>\n",
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"\n\u003cp>By the end of the program, the 39-year-old conductor not only achieved all of the above, but steered attention away from herself to the guest soloist, the orchestra and the audience. “As we start this new chapter, I don’t want any barriers between us,” she said. “We need the audience to give this music its meaning.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>A woman of her word, Chan finished the concert and then wandered out onto the street in front of Davies, among the people, and \u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mnmaexmmtc2x\">just started hanging out with everyone\u003c/a>.\u003c/p>\n",
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"innerHTML": "\n\u003cp>But back to the music. After a sustained standing ovation that rendered Chan visibly emotional, she began with the Wagner, and its beautiful chords and phrasings that danced and swelled. The Prelude is fragile; in the wrong hands it can get mushy. Chan kept the orchestra restrained and united, controlling the dynamics with delicate skill until the piece’s huge, final rapturous climax.\u003c/p>\n",
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"innerHTML": "\n\u003cp>It was as if Chan had absorbed all the love from the past two weeks since her appointment, and sent it right back into the audience. It also constituted one of the most exhilarating experiences I’ve ever had inside a concert hall. Win the audience’s hearts: check.\u003c/p>\n",
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"\n\u003cp>It was as if Chan had absorbed all the love from the past two weeks since her appointment, and sent it right back into the audience. It also constituted one of the most exhilarating experiences I’ve ever had inside a concert hall. Win the audience’s hearts: check.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For the Berlioz song cycle \u003ci>Les Nuits d’été\u003c/i>, Chan let the mezzo-soprano Sasha Cooke take the lead. Chan has generally downplayed the focus on her historic appointment as the \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">first woman to lead a “Big 7” orchestra\u003c/a>. But as she conducted the songs in her outgoing, flamboyant style, and as Cooke drew out the meaning of the words with perfect tone and emotive body language, the power of two overtly expressive women taking center stage at Davies was unmistakable.\u003c/p>\n",
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"\n\u003cp>For the Berlioz song cycle \u003ci>Les Nuits d’été\u003c/i>, Chan let the mezzo-soprano Sasha Cooke take the lead. Chan has generally downplayed the focus on her historic appointment as the \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">first woman to lead a “Big 7” orchestra\u003c/a>. But as she conducted the songs in her outgoing, flamboyant style, and as Cooke drew out the meaning of the words with perfect tone and emotive body language, the power of two overtly expressive women taking center stage at Davies was unmistakable.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Then, for an encore, Cooke introduced Michael Tilson Thomas’ “Ich Lebe mein Leben,” from his \u003ci>Meditations on Rilke\u003c/i>. Thomas’ spirit has lingered at Davies since his death just six weeks ago (a tribute exhibit is currently being displayed in the lobby). As Chan and Cooke worked their magic, it was fully present.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As if to pass the torch, Cooke explained that Thomas had once kissed the hem of her skirt after a performance — and then promptly kissed Chan’s. Establish a continuum: check.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027.jpg\" alt=\"\" class=\"wp-image-13990514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Elim Chan conducts at Davies Symphony Hall on June 5, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>That left the final goal of making a personal statement. Chan made two. One was artistic, evidenced by a sweeping performance of Debussy’s \u003ci>La Mer\u003c/i>. Chan has spoken of her affection for the “Sorcerer’s Apprentice” sequence in Disney’s \u003ci>Fantasia\u003c/i>; her magic trick is not to conjure waves and lightning, but to turn the orchestra into a single living, breathing organism. Despite its many moving parts, \u003ci>La Mer\u003c/i> in Chan’s hands felt as one whole, a swirling, subtidal journey.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The other statement she made may be more important: that the conductor is not the be-all, end-all star of the show, nor the single person upon which the success of an orchestra rests.\u003c/p>\n",
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"innerHTML": "\n\u003cp>We’ve gotten to see plenty of Chan’s fun personality. The polar opposite of her stoic mentor Bernard Haitnik, she conducts with a physical exuberance, as if prodding and dancing around the notes. She speaks like a normal human, calling the orchestra “so cool,” and says she likes the classics along with the \u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mmfs4ax22k26\">“friggin’ new,” “wacky” contemporary pieces\u003c/a>. She \u003ca href=\"https://www.instagram.com/p/DZLFAinAVSb/\">loves La Taqueria burritos and Karl the Fog\u003c/a>. She even forgot to bring her baton onstage last night for the second half. (Conductors! They’re just like us!)\u003c/p>\n",
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"innerHTML": "\n\u003cp>Or, take the scene witnessed at concert’s end, when Chan hoisted her hands to form the \u003ca href=\"https://www.purewow.com/beauty/millennial-vs-gen-z-hand-heart-pose\">millennial-coded hand heart\u003c/a>. Amid the long standing ovation, in the 14th row stood an 80-something man, slowly but earnestly raising his own hands to return the same gesture. Or how about Chan, upon being presented with a large bouquet, removing its contents one by one to excitedly give the musicians their flowers?\u003c/p>\n",
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"innerHTML": "\n\u003cp>This relatability will go a long way in San Francisco, where we’re a little suspicious of people who take themselves too seriously. Combine it with the breathtaking artistry she displayed at Davies Friday night, and you’ve got the beginnings of a conductor, a city, and a beautiful friendship.\u003c/p>\n",
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"\n\u003cp>This relatability will go a long way in San Francisco, where we’re a little suspicious of people who take themselves too seriously. Combine it with the breathtaking artistry she displayed at Davies Friday night, and you’ve got the beginnings of a conductor, a city, and a beautiful friendship.\u003c/p>\n"
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"excerpt": "The 39-year-old incoming Music Director received a rapturous welcome in a San Francisco Symphony program of Wagner, Berlioz and Debussy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/elim-chan\">Elim Chan\u003c/a> could have left the building Friday night after conducting just one piece, the gorgeous concert opener “Prelude and Liebestod” from Wagner’s \u003ci>Tristan und Isolde\u003c/i>, and earned a spot in the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> Hall of Fame.\u003c/p>\n\n\n\n\n\n\u003cp>Instead, in her first public program at Davies Symphony Hall since \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">being appointed as the Symphony’s next Music Director\u003c/a>, Chan rose to the night’s three-point challenge. One, to win the hearts of her new city’s audience. Two, to establish a continuum with the symphony’s past. And three, to plant herself artistically and make a statement of her own. \u003c/p>\n\n\n\n\u003cp>By the end of the program, the 39-year-old conductor not only achieved all of the above, but steered attention away from herself to the guest soloist, the orchestra and the audience. “As we start this new chapter, I don’t want any barriers between us,” she said. “We need the audience to give this music its meaning.”\u003c/p>\n\n\n\n\u003cp>A woman of her word, Chan finished the concert and then wandered out onto the street in front of Davies, among the people, and \u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mnmaexmmtc2x\">just started hanging out with everyone\u003c/a>.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504.jpg\" alt=\"\" class=\"wp-image-13990511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-3504-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elim Chan mingles with fans after conducting the San Francisco Symphony on June 5, 2026. (Christopher M. Howard)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>But back to the music. After a sustained standing ovation that rendered Chan visibly emotional, she began with the Wagner, and its beautiful chords and phrasings that danced and swelled. The Prelude is fragile; in the wrong hands it can get mushy. Chan kept the orchestra restrained and united, controlling the dynamics with delicate skill until the piece’s huge, final rapturous climax.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was as if Chan had absorbed all the love from the past two weeks since her appointment, and sent it right back into the audience. It also constituted one of the most exhilarating experiences I’ve ever had inside a concert hall. Win the audience’s hearts: check.\u003c/p>\n\n\n\n\u003cp>For the Berlioz song cycle \u003ci>Les Nuits d’été\u003c/i>, Chan let the mezzo-soprano Sasha Cooke take the lead. Chan has generally downplayed the focus on her historic appointment as the \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">first woman to lead a “Big 7” orchestra\u003c/a>. But as she conducted the songs in her outgoing, flamboyant style, and as Cooke drew out the meaning of the words with perfect tone and emotive body language, the power of two overtly expressive women taking center stage at Davies was unmistakable.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716.jpg\" alt=\"\" class=\"wp-image-13990512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-6716-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Sasha Cooke and Elim Chan perform Berlioz’s ‘Les Nuits d’été’ at Davies Symphony Hall on June 5, 2026. (Christopher M. Howard)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Then, for an encore, Cooke introduced Michael Tilson Thomas’ “Ich Lebe mein Leben,” from his \u003ci>Meditations on Rilke\u003c/i>. Thomas’ spirit has lingered at Davies since his death just six weeks ago (a tribute exhibit is currently being displayed in the lobby). As Chan and Cooke worked their magic, it was fully present.\u003c/p>\n\n\n\n\u003cp>As if to pass the torch, Cooke explained that Thomas had once kissed the hem of her skirt after a performance — and then promptly kissed Chan’s. Establish a continuum: check.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027.jpg\" alt=\"\" class=\"wp-image-13990514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_027-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elim Chan conducts at Davies Symphony Hall on June 5, 2026. (Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>That left the final goal of making a personal statement. Chan made two. One was artistic, evidenced by a sweeping performance of Debussy’s \u003ci>La Mer\u003c/i>. Chan has spoken of her affection for the “Sorcerer’s Apprentice” sequence in Disney’s \u003ci>Fantasia\u003c/i>; her magic trick is not to conjure waves and lightning, but to turn the orchestra into a single living, breathing organism. Despite its many moving parts, \u003ci>La Mer\u003c/i> in Chan’s hands felt as one whole, a swirling, subtidal journey.\u003c/p>\n\n\n\n\u003cp>The other statement she made may be more important: that the conductor is not the be-all, end-all star of the show, nor the single person upon which the success of an orchestra rests.\u003c/p>\n\n\n\n\u003cp>We’ve gotten to see plenty of Chan’s fun personality. The polar opposite of her stoic mentor Bernard Haitnik, she conducts with a physical exuberance, as if prodding and dancing around the notes. She speaks like a normal human, calling the orchestra “so cool,” and says she likes the classics along with the \u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mmfs4ax22k26\">“friggin’ new,” “wacky” contemporary pieces\u003c/a>. She \u003ca href=\"https://www.instagram.com/p/DZLFAinAVSb/\">loves La Taqueria burritos and Karl the Fog\u003c/a>. She even forgot to bring her baton onstage last night for the second half. (Conductors! They’re just like us!)\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241.jpg\" alt=\"\" class=\"wp-image-13990513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2026_SFS_Elim_Chan_Debut-9241-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elim Chan makes a heart hand gesture to the audience at Davies Symphony Hall on June 5, 2026. (Christopher M. Howard)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Or, take the scene witnessed at concert’s end, when Chan hoisted her hands to form the \u003ca href=\"https://www.purewow.com/beauty/millennial-vs-gen-z-hand-heart-pose\">millennial-coded hand heart\u003c/a>. Amid the long standing ovation, in the 14th row stood an 80-something man, slowly but earnestly raising his own hands to return the same gesture. Or how about Chan, upon being presented with a large bouquet, removing its contents one by one to excitedly give the musicians their flowers?\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>This relatability will go a long way in San Francisco, where we’re a little suspicious of people who take themselves too seriously. Combine it with the breathtaking artistry she displayed at Davies Friday night, and you’ve got the beginnings of a conductor, a city, and a beautiful friendship.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Symphony Appoints Elim Chan as Music Director",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> has appointed Elim Chan as its new music director. The 39-year-old conductor born in Hong Kong has signed a six-year contract, the Symphony announced on Thursday.\u003c/p>\n\n\n\n\u003cp>The appointment is a historic one. Chan will be the first woman to lead the San Francisco Symphony in its 115-year history. She is also the first woman to be hired as music director by one of the so-called “Big 7” symphony orchestras in the United States, encompassing New York, Boston, Cleveland, Los Angeles, Chicago, San Francisco and Philadelphia.\u003c/p>\n\n\n\n\u003cp>Chan, who recently served as principal conductor for the Antwerp Symphony Orchestra in Belgium, is lesser-known than her two predecessors in San Francisco: \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a>, who led the orchestra for 25 years and died earlier this month, and \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen\u003c/a>, who stepped down in 2024.\u003c/p>\n\n\n\n\n\n\u003cp>But Chan is a much-talked-about rising star in the classical world, serving as principal guest conductor of the Royal Scottish National Orchestra, and guest conducting the major orchestras in New York, Los Angeles, Chicago and Boston to effusive reviews. She made her debut at the San Francisco Symphony in 2023, and has since returned twice, drawing acclaim from audiences, musicians and critics.\u003c/p>\n\n\n\n\u003cp>In an interview with KQED Thursday at Davies Symphony Hall, Chan emphasized that one of her goals in San Francisco is to change the public’s perception of the symphony.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A big thing of mine is how to get people who have never listened to classical music, who think that they are not educated enough, or they feel they’re not comfortable enough,” Chan said. “All sorts of reasons, right? We are going to take all those reasons \u003cem>out\u003c/em>. Because coming to the symphony is so cool.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">She can ‘bring out the best’\u003c/h2>\n\n\n\n\u003cp>After her 2023 debut at Davies, the \u003cem>San Francisco Chronicle\u003c/em> hailed Chan as “a promising podium talent, one who combines lithe physical command with a wealth of artistic resources.” Last year, after an all-Tchaikovsky program, the \u003cem>San Francisco Classical Voice\u003c/em> enthused that “it’s clear by now that conductor \u003ca href=\"https://datebook.sfchronicle.com/classical/review-sf-symphony-elim-chan-holst-18436788\">Elim Chan\u003c/a> can bring out the best in a top-rank orchestra.”\u003c/p>\n\n\n\n\u003cp>The Symphony is betting that it can offer Chan a sizable enough platform to propel her further upward. Already, she is slated to conduct a program of Berlioz, Debussy and Wagner at Davies on June 5 and 6. Her first full season as music director begins in 2027.\u003c/p>\n\n\n\n\u003cp>The appointment also marks a victory for San Francisco in its sometime rivalry with Los Angeles. While the Symphony’s selection process for a music director is a highly guarded one, Chan had been one of the names whispered amongst pundits as a contender in San Francisco. Chan had also conducted regularly for the L.A. Philharmonic, and was viewed as a potential successor there to Gustavo Dudamel, whose namesake fellowship she was awarded in 2017.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/fvMRqU1EU_U?si=Pxqu07JY5octt3cu\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>As a conductor, Chan’s style may best be described as outsized. Praised for her energy and rhythm, and noted for bringing precision and verve to nominally calm, flowing musical passages, Chan transcends her diminutive height. Often, she arcs forward, as if charging after the music. (Along with conducting, Chan also trains on the side with a boxing coach.)\u003c/p>\n\n\n\n\u003cp>On Thursday, Chan told KQED that the first time she witnessed Michael Tilson Thomas on the podium, he was conducting his Maverick Series, focusing on new works. She lists off new composers she’s especially excited about: Gabriela Smith, Anthony Cheung, Elizabeth Ogonek, Noriko Koide. \u003cbr>\u003cbr>On Thursday night, during a reception at City Hall hosted by mayor Daniel Lurie, Chan told the crowd in her casual, charismatic way of speaking that “I love the old classics. But I also love the friggin’ new things! The wacky things!”\u003c/p>\n\n\n\n\u003cp>Chan has a track record of balancing the old and the new. She has also studied with traditionalists like Bernard Haitink, who, among other enduring lessons, instilled in Chan a respect for Anton Bruckner. (On Thursday, she said she trusts the San Francisco orchestra enough to finally tackle conducting Bruckner’s music.)\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Breaking a glass ceiling — and transcending labels\u003c/h2>\n\n\n\n\u003cp>For many years, an open question has persisted about when major symphony orchestras would embrace women as music directors or full-time principal conductors. Despite high-profile figures like Marin Alsop and Nathalie Stutzmann, no woman had been appointed at one of the top seven U.S. orchestras until now.\u003c/p>\n\n\n\n\u003cp>In 2014, still in her 20s, Chan became the first woman to win the esteemed Donatella Flick Conducting Competition in England, bringing her global attention. Two years later, writing for \u003cem>The Guardian\u003c/em>, she called for a de-emphasis on her gender.\u003c/p>\n\n\n\n\u003cp>“I have felt there to be at times an imbalance of focus on my gender over my whole identity as a musician. I do not want to be given any special treatment because I am a woman,” she wrote. “I am proud of being a woman conductor, but I want to take the next step and go beyond any tags and be seen and valued as the same as my male colleagues.”\u003c/p>\n\n\n\n\u003cp>On the morning of her announcement, however, Chan said she was able to take a moment to realize the historic importance of the occasion.\u003c/p>\n\n\n\n\u003cp>“Before I walked into the hall to meet the musicians, I told myself, actually, yeah … it \u003cem>is\u003c/em> a big deal,” Chan said. \u003c/p>\n\n\n\n\u003cp>Chan has also received attention as an Asian, making the Bay Area a natural fit; the region is home to one of the highest percentages of Asian Americans in the continental United States, and Eun Sun Kim, another Asian woman, leads the orchestra at San Francisco Opera. In the 2016 \u003cem>Guardian\u003c/em> piece, Chan expressed a regard for talent over ethnic identity.\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My core priorities have always been and will always be the music and the audience, and I think audiences over the past two years have come to see me simply as Elim, rather than under the labels ‘Asian’ or ‘female conductor.’”\u003cbr>\u003cbr>Chan’s first concerts with the Symphony since being hired — a program of Wagner, Berlioz and Debussy — take place June 5 and 6 at Davies Symphony Hall.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Chan, who recently served as principal conductor for the Antwerp Symphony Orchestra in Belgium, is lesser-known than her two predecessors in San Francisco: \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a>, who led the orchestra for 25 years and died earlier this month, and \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen\u003c/a>, who stepped down in 2024.\u003c/p>\n",
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"innerHTML": "\n\u003cp>But Chan is a much-talked-about rising star in the classical world, serving as principal guest conductor of the Royal Scottish National Orchestra, and guest conducting the major orchestras in New York, Los Angeles, Chicago and Boston to effusive reviews. She made her debut at the San Francisco Symphony in 2023, and has since returned twice, drawing acclaim from audiences, musicians and critics.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“A big thing of mine is how to get people who have never listened to classical music, who think that they are not educated enough, or they feel they’re not comfortable enough,” Chan said. “All sorts of reasons, right? We are going to take all those reasons \u003cem>out\u003c/em>. Because coming to the symphony is so cool.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>After her 2023 debut at Davies, the \u003cem>San Francisco Chronicle\u003c/em> hailed Chan as “a promising podium talent, one who combines lithe physical command with a wealth of artistic resources.” Last year, after an all-Tchaikovsky program, the \u003cem>San Francisco Classical Voice\u003c/em> enthused that “it’s clear by now that conductor \u003ca href=\"https://datebook.sfchronicle.com/classical/review-sf-symphony-elim-chan-holst-18436788\">Elim Chan\u003c/a> can bring out the best in a top-rank orchestra.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The Symphony is betting that it can offer Chan a sizable enough platform to propel her further upward. Already, she is slated to conduct a program of Berlioz, Debussy and Wagner at Davies on June 5 and 6. Her first full season as music director begins in 2027.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The appointment also marks a victory for San Francisco in its sometime rivalry with Los Angeles. While the Symphony’s selection process for a music director is a highly guarded one, Chan had been one of the names whispered amongst pundits as a contender in San Francisco. Chan had also conducted regularly for the L.A. Philharmonic, and was viewed as a potential successor there to Gustavo Dudamel, whose namesake fellowship she was awarded in 2017.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As a conductor, Chan’s style may best be described as outsized. Praised for her energy and rhythm, and noted for bringing precision and verve to nominally calm, flowing musical passages, Chan transcends her diminutive height. Often, she arcs forward, as if charging after the music. (Along with conducting, Chan also trains on the side with a boxing coach.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>On Thursday, Chan told KQED that the first time she witnessed Michael Tilson Thomas on the podium, he was conducting his Maverick Series, focusing on new works. She lists off new composers she’s especially excited about: Gabriela Smith, Anthony Cheung, Elizabeth Ogonek, Noriko Koide. \u003cbr>\u003cbr>On Thursday night, during a reception at City Hall hosted by mayor Daniel Lurie, Chan told the crowd in her casual, charismatic way of speaking that “I love the old classics. But I also love the friggin’ new things! The wacky things!”\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A big thing of mine is how to get people who have never listened to classical music, who think that they are not educated enough, or they feel they’re not comfortable enough,” Chan said. “All sorts of reasons, right? We are going to take all those reasons \u003cem>out\u003c/em>. Because coming to the symphony is so cool.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">She can ‘bring out the best’\u003c/h2>\n\n\n\n\u003cp>After her 2023 debut at Davies, the \u003cem>San Francisco Chronicle\u003c/em> hailed Chan as “a promising podium talent, one who combines lithe physical command with a wealth of artistic resources.” Last year, after an all-Tchaikovsky program, the \u003cem>San Francisco Classical Voice\u003c/em> enthused that “it’s clear by now that conductor \u003ca href=\"https://datebook.sfchronicle.com/classical/review-sf-symphony-elim-chan-holst-18436788\">Elim Chan\u003c/a> can bring out the best in a top-rank orchestra.”\u003c/p>\n\n\n\n\u003cp>The Symphony is betting that it can offer Chan a sizable enough platform to propel her further upward. Already, she is slated to conduct a program of Berlioz, Debussy and Wagner at Davies on June 5 and 6. Her first full season as music director begins in 2027.\u003c/p>\n\n\n\n\u003cp>The appointment also marks a victory for San Francisco in its sometime rivalry with Los Angeles. While the Symphony’s selection process for a music director is a highly guarded one, Chan had been one of the names whispered amongst pundits as a contender in San Francisco. Chan had also conducted regularly for the L.A. Philharmonic, and was viewed as a potential successor there to Gustavo Dudamel, whose namesake fellowship she was awarded in 2017.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/fvMRqU1EU_U'\n title='//www.youtube.com/embed/fvMRqU1EU_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>As a conductor, Chan’s style may best be described as outsized. Praised for her energy and rhythm, and noted for bringing precision and verve to nominally calm, flowing musical passages, Chan transcends her diminutive height. Often, she arcs forward, as if charging after the music. (Along with conducting, Chan also trains on the side with a boxing coach.)\u003c/p>\n\n\n\n\u003cp>On Thursday, Chan told KQED that the first time she witnessed Michael Tilson Thomas on the podium, he was conducting his Maverick Series, focusing on new works. She lists off new composers she’s especially excited about: Gabriela Smith, Anthony Cheung, Elizabeth Ogonek, Noriko Koide. \u003cbr>\u003cbr>On Thursday night, during a reception at City Hall hosted by mayor Daniel Lurie, Chan told the crowd in her casual, charismatic way of speaking that “I love the old classics. But I also love the friggin’ new things! The wacky things!”\u003c/p>\n\n\n\n\u003cp>Chan has a track record of balancing the old and the new. She has also studied with traditionalists like Bernard Haitink, who, among other enduring lessons, instilled in Chan a respect for Anton Bruckner. (On Thursday, she said she trusts the San Francisco orchestra enough to finally tackle conducting Bruckner’s music.)\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Breaking a glass ceiling — and transcending labels\u003c/h2>\n\n\n\n\u003cp>For many years, an open question has persisted about when major symphony orchestras would embrace women as music directors or full-time principal conductors. Despite high-profile figures like Marin Alsop and Nathalie Stutzmann, no woman had been appointed at one of the top seven U.S. orchestras until now.\u003c/p>\n\n\n\n\u003cp>In 2014, still in her 20s, Chan became the first woman to win the esteemed Donatella Flick Conducting Competition in England, bringing her global attention. Two years later, writing for \u003cem>The Guardian\u003c/em>, she called for a de-emphasis on her gender.\u003c/p>\n\n\n\n\u003cp>“I have felt there to be at times an imbalance of focus on my gender over my whole identity as a musician. I do not want to be given any special treatment because I am a woman,” she wrote. “I am proud of being a woman conductor, but I want to take the next step and go beyond any tags and be seen and valued as the same as my male colleagues.”\u003c/p>\n\n\n\n\u003cp>On the morning of her announcement, however, Chan said she was able to take a moment to realize the historic importance of the occasion.\u003c/p>\n\n\n\n\u003cp>“Before I walked into the hall to meet the musicians, I told myself, actually, yeah … it \u003cem>is\u003c/em> a big deal,” Chan said. \u003c/p>\n\n\n\n\u003cp>Chan has also received attention as an Asian, making the Bay Area a natural fit; the region is home to one of the highest percentages of Asian Americans in the continental United States, and Eun Sun Kim, another Asian woman, leads the orchestra at San Francisco Opera. In the 2016 \u003cem>Guardian\u003c/em> piece, Chan expressed a regard for talent over ethnic identity.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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