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"content": "\u003cp>The San Francisco Symphony kicked off its re-opening gala concert on Friday night with an unusual piece of music: \u003cem>Slonimsky’s Earbox\u003c/em>, composed in 1995 by Bay Area composer John Adams. In new music director and conductor Esa-Pekka Salonen’s capable hands, the whimsical work kept listeners on edge through each dynamic twist, with spiraling melodies that unfurled like fern fronds, blossoming percussive chimes and strings swaying like reeds.\u003c/p>\n\u003cp>The vertigo-inducing composition was off-kilter in the best way: it reflected the past year and a half of the world’s own dynamic twists, and set the tone for an evening, and a season, that expands the orchestra’s explorations of modern and contemporary work. [aside postid='arts_13899522']\u003c/p>\n\u003cp>The centerpiece of the program, which \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/SPALDING-LINES-BALLET\" target=\"_blank\" rel=\"noopener noreferrer\">the orchestra performs again at Davies Symphony Hall tonight, Oct. 2\u003c/a>, was jazz saxophonist and composer Wayne Shorter’s \u003cem>Gaia\u003c/em> (composed in 2013), starring powerhouse bassist and vocalist \u003ca href=\"https://twitter.com/EspeSpalding\" target=\"_blank\" rel=\"noopener noreferrer\">esperanza spalding\u003c/a>. Taking the stage in a casual, all-white ensemble, spalding was joined by Ravi Coltrane on saxophone, NEA Jazz Master Terri Lyne Carrington on drums and pianist Leo Genovese. Calling Wayne Shorter her “mystic,” spalding spoke about the earth mother reverence at the core of the piece. “It’s an invitation to travel with her through the veins and hair and passageways, and remember our infinite connection to Gaia,” she told the audience.\u003c/p>\n\u003cp>spalding intoned \u003cem>Gaia \u003c/em>with an explosive energy and vocal range radiating from the depths of her diaphragm. The jazz trio’s steady rhythm, and punches of drama from the orchestra, conveyed a visceral feeling of nature’s constant cycle of creation and destruction.\u003c/p>\n\u003cfigure id=\"attachment_13904129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/4419-Symphony-211001.jpg\" alt=\"A jazz quartet bows before an audience.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring spalding so prominently in the concert hinted at the role of the San Francisco Symphony’s eight collaborative partners, an interdisciplinary cohort of artists that Salonen appointed when he joined the Symphony in 2020, and the orchestra’s deepening relationship with genres and cultures that lie beyond the typical Western classical repertoire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of the program attested to that multicultural sensibility. Dancers from Alonzo King LINES Ballet, dressed in minimalist, silk outfits in earth tones, accented the performance of Argentinian composer Alberto Evaristo Ginastera’s 1941 \u003cem>Estancia\u003c/em> suite. The piece alternated between big, bombastic and quietly subtle sections, which the dancers’ athletic jumps and lithe, graceful movements brought to life.\u003c/p>\n\u003cfigure id=\"attachment_13904130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3575-Symphony-211001.jpg\" alt=\"Male and female ballet dancers gather in a symmetrical formation in front of an orchestra.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night ended with standing ovations for the orchestra’s performance of Mexican composer Silvestre Revuelta’s \u003cem>La noche de los Mayas\u003c/em>, a piece that’s almost all percussion, which pays homage to the Indigenous drumming traditions of the Americas. With strings, brass and woodwinds majestically embellishing the steady beat of bongos, a deep conga, tumkul, xylophone and numerous other percussion instruments, \u003cem>La noche\u003c/em> was brought to its climax by a player who stood up and let out a deep bellow from a conch shell. These pre-colonial instruments and beats invited the audience to consider an entirely new lens through which to look at what we consider canon.\u003c/p>\n\u003cp>After the concert, the intergenerational, diverse crowd buzzed with a palpable excitement from the adventurous musical ideas on stage. After Salonen’s debut 2020 season was derailed by COVID shutdowns, the evening was a hopeful new beginning for the San Francisco Symphony’s next chapter.\u003c/p>\n\u003cfigure id=\"attachment_13904128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3196-symphony-211001.jpg\" alt=\"An illuminated orchestra seen from the back of the concert hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Symphony Re-Opening Night Gala on October 1st 2021 at Louise M. Davies Symphony Hall in San Francisco, CA. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A broadcast of the SF Symphony’s Oct. 1 performance will air on KQED Channel 9 as part of PBS’ Great Performances series on Nov. 19, 2021. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of the program attested to that multicultural sensibility. Dancers from Alonzo King LINES Ballet, dressed in minimalist, silk outfits in earth tones, accented the performance of Argentinian composer Alberto Evaristo Ginastera’s 1941 \u003cem>Estancia\u003c/em> suite. The piece alternated between big, bombastic and quietly subtle sections, which the dancers’ athletic jumps and lithe, graceful movements brought to life.\u003c/p>\n\u003cfigure id=\"attachment_13904130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3575-Symphony-211001.jpg\" alt=\"Male and female ballet dancers gather in a symmetrical formation in front of an orchestra.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night ended with standing ovations for the orchestra’s performance of Mexican composer Silvestre Revuelta’s \u003cem>La noche de los Mayas\u003c/em>, a piece that’s almost all percussion, which pays homage to the Indigenous drumming traditions of the Americas. With strings, brass and woodwinds majestically embellishing the steady beat of bongos, a deep conga, tumkul, xylophone and numerous other percussion instruments, \u003cem>La noche\u003c/em> was brought to its climax by a player who stood up and let out a deep bellow from a conch shell. These pre-colonial instruments and beats invited the audience to consider an entirely new lens through which to look at what we consider canon.\u003c/p>\n\u003cp>After the concert, the intergenerational, diverse crowd buzzed with a palpable excitement from the adventurous musical ideas on stage. After Salonen’s debut 2020 season was derailed by COVID shutdowns, the evening was a hopeful new beginning for the San Francisco Symphony’s next chapter.\u003c/p>\n\u003cfigure id=\"attachment_13904128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3196-symphony-211001.jpg\" alt=\"An illuminated orchestra seen from the back of the concert hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Symphony Re-Opening Night Gala on October 1st 2021 at Louise M. Davies Symphony Hall in San Francisco, CA. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A broadcast of the SF Symphony’s Oct. 1 performance will air on KQED Channel 9 as part of PBS’ Great Performances series on Nov. 19, 2021. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Symphony’s Streaming Service Debuts with Multicultural Concerts, Videos",
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"content": "\u003cp>Shortly after Esa-Pekka Salonen stepped into his role as San Francisco Symphony music director, the pandemic upended months of scheduled concerts meant to expand the orchestra’s cultural horizons. Salonen and the musicians quickly pivoted, and the symphony moved online with projects like its genre-defying podcast and mini-doc series, \u003cem>\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">CURRENTS\u003c/a>\u003c/em>. (“No matter how we spin it, we are not an orchestra,” Salonen told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”)\u003c/p>\n\u003cp>In that spirit of making music accessible, the San Francisco Symphony announced today its new on-demand streaming platform, \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. The service is subscription-based, although it offers some free content, and will feature new \u003cem>CURRENTS\u003c/em> episodes that explore Indian classical, Native American, Zimbabwean, Persian and klezmer musical cultures.\u003c/p>\n\u003cp>SFSymphony+ also includes a slate of new SoundBox programs. SoundBox is the SF Symphony’s more intimate, \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\" rel=\"noopener noreferrer\" target=\"_blank\">less formal concert series\u003c/a>, where contemporary composers present programs that incorporate multimedia and experimental collaborations. SFSymphony+ will have new, virtual SoundBox concerts once a month. The first program, on Feb. 4, will be curated by Salonen. Titled \u003cem>Nostalgia\u003c/em>, the concert features three pieces created in the last 10 years: Freya Waley-Cohen’s \u003cem>Conjure\u003c/em>, Missy Mazzoli’s \u003cem>Vespers for Violin\u003c/em> and Caroline Shaw’s \u003cem>Entr’acte\u003c/em>.[aside postid='arts_13889101']\u003c/p>\n\u003cp>The following SoundBox, on March 11, is curated by Julia Bullock, a forward-thinking, young soprano whose program, \u003cem>Lineage\u003c/em>, illuminates unexpected connections between Johann Sebastian Bach, Nina Simone and contemporary artists such as bassist Esperanza Spalding and pianist Aruán Ortiz. Bullock has been widely praised for her profound ability to mine different time periods and musical traditions for universal, emotional themes—a skill that will be on full display here.\u003c/p>\n\u003cp>SoundBox continues through Aug. 26; other curators include harpist Destiny Muhammad, composer Nico Muhly and flutist (and MacArthur fellow) Claire Chase. SFSymphony+ will also feature a virtual \u003ca href=\"http://sfsymphony.org/cny\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year\u003c/a> celebration on Feb. 20 organized around the themes associated with the Year of the Ox: unity, prosperity and growth. The program will feature Asian folk music and contemporary works alike, including Chen Yi’s \u003cem>Romance of Hsiao and Ch’in\u003c/em> from \u003cem>Romance and Dance\u003c/em>, Zhou Long’s Chinese folk songs, Julian Yu’s \u003cem>Flower Riddle and Dry Boat Dance from Chinese Folk Song Suite\u003c/em>, Yao-Xing Chen’s \u003cem>Gallop of Warhorses\u003c/em>, Yuan-Kai Bao’s \u003cem>Little Cabbage\u003c/em> from \u003cem>Chinese Sights and Sounds\u003c/em>, and Wenying Wu’s arrangement of the traditional song \u003cem>Tajiks Festival\u003c/em>. The Chinese New Year program is free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The challenge with digital programming is to create something that has its own identity, an essential uniqueness that allows it to function as a self-contained piece of art,” Salonen wrote in a statement. “And to achieve that, it’s not enough just to capture a great performance by strong musicians, or even to have interesting programming. Instead, every member of the organization—on the performance level, on the production level, on the administrative level—needs to be working in harmony, drawing upon one another’s talents and strengths.”\u003c/p>\n\u003cp>“What we’ve created for SFSymphony+ could not have been realized in a traditional live setting,” he continued. “My hope, once live performances do resume, is that we can sustain the dialogue between digital and live performance to create something that audiences will find compelling and valuable—not only in the Bay Area, but across the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A full schedule of programming and more information on SFSymphony+ can be found \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shortly after Esa-Pekka Salonen stepped into his role as San Francisco Symphony music director, the pandemic upended months of scheduled concerts meant to expand the orchestra’s cultural horizons. Salonen and the musicians quickly pivoted, and the symphony moved online with projects like its genre-defying podcast and mini-doc series, \u003cem>\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">CURRENTS\u003c/a>\u003c/em>. (“No matter how we spin it, we are not an orchestra,” Salonen told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”)\u003c/p>\n\u003cp>In that spirit of making music accessible, the San Francisco Symphony announced today its new on-demand streaming platform, \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. The service is subscription-based, although it offers some free content, and will feature new \u003cem>CURRENTS\u003c/em> episodes that explore Indian classical, Native American, Zimbabwean, Persian and klezmer musical cultures.\u003c/p>\n\u003cp>SFSymphony+ also includes a slate of new SoundBox programs. SoundBox is the SF Symphony’s more intimate, \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\" rel=\"noopener noreferrer\" target=\"_blank\">less formal concert series\u003c/a>, where contemporary composers present programs that incorporate multimedia and experimental collaborations. SFSymphony+ will have new, virtual SoundBox concerts once a month. The first program, on Feb. 4, will be curated by Salonen. Titled \u003cem>Nostalgia\u003c/em>, the concert features three pieces created in the last 10 years: Freya Waley-Cohen’s \u003cem>Conjure\u003c/em>, Missy Mazzoli’s \u003cem>Vespers for Violin\u003c/em> and Caroline Shaw’s \u003cem>Entr’acte\u003c/em>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following SoundBox, on March 11, is curated by Julia Bullock, a forward-thinking, young soprano whose program, \u003cem>Lineage\u003c/em>, illuminates unexpected connections between Johann Sebastian Bach, Nina Simone and contemporary artists such as bassist Esperanza Spalding and pianist Aruán Ortiz. Bullock has been widely praised for her profound ability to mine different time periods and musical traditions for universal, emotional themes—a skill that will be on full display here.\u003c/p>\n\u003cp>SoundBox continues through Aug. 26; other curators include harpist Destiny Muhammad, composer Nico Muhly and flutist (and MacArthur fellow) Claire Chase. SFSymphony+ will also feature a virtual \u003ca href=\"http://sfsymphony.org/cny\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year\u003c/a> celebration on Feb. 20 organized around the themes associated with the Year of the Ox: unity, prosperity and growth. The program will feature Asian folk music and contemporary works alike, including Chen Yi’s \u003cem>Romance of Hsiao and Ch’in\u003c/em> from \u003cem>Romance and Dance\u003c/em>, Zhou Long’s Chinese folk songs, Julian Yu’s \u003cem>Flower Riddle and Dry Boat Dance from Chinese Folk Song Suite\u003c/em>, Yao-Xing Chen’s \u003cem>Gallop of Warhorses\u003c/em>, Yuan-Kai Bao’s \u003cem>Little Cabbage\u003c/em> from \u003cem>Chinese Sights and Sounds\u003c/em>, and Wenying Wu’s arrangement of the traditional song \u003cem>Tajiks Festival\u003c/em>. The Chinese New Year program is free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The challenge with digital programming is to create something that has its own identity, an essential uniqueness that allows it to function as a self-contained piece of art,” Salonen wrote in a statement. “And to achieve that, it’s not enough just to capture a great performance by strong musicians, or even to have interesting programming. Instead, every member of the organization—on the performance level, on the production level, on the administrative level—needs to be working in harmony, drawing upon one another’s talents and strengths.”\u003c/p>\n\u003cp>“What we’ve created for SFSymphony+ could not have been realized in a traditional live setting,” he continued. “My hope, once live performances do resume, is that we can sustain the dialogue between digital and live performance to create something that audiences will find compelling and valuable—not only in the Bay Area, but across the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A full schedule of programming and more information on SFSymphony+ can be found \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Julia Bullock’s Empathy is Her Superpower in the Classical Music World",
"headTitle": "Julia Bullock’s Empathy is Her Superpower in the Classical Music World | KQED",
"content": "\u003cp>[dropcap]I[/dropcap]n February, \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Bullock\u003c/a> stood on stage at Davies Symphony Hall in San Francisco, excavating the depths of her soul. To truly convey to the audience the euphoria and heartache of Benjamin Britten’s \u003cem>Les Illuminations\u003c/em>, based on Rimbaud’s poems about spiritual transcendence, drug addiction and homelessness, she had to tap into painful parts of her coming-of-age story.\u003c/p>\n\u003cp>“The act of going through all the imagery emotionally and then seeing where [it] takes me psychologically, that’s how I can hook into it and deliver it,” the star soprano explained to me backstage during rehearsal, just weeks before the COVID-19 shutdown hit. “Otherwise, it turns into some weird exercise of trying not to be a human being—and that I can’t tolerate.”\u003c/p>\n\u003cp>At 33 years old, Bullock has become a luminary in the classical music world for her unique ability to capture a piece’s gripping emotional qualities in a way that transcends time, space and cultural barriers. She is a master of connection, digging deep into material to convey universal human experiences and emotions that lay within, refracting them through her prismatic voice to illuminate their beauty.\u003c/p>\n\u003cp>This ability to connect pieces of music through their emotional cores is also her strength as a curator. While praised for her innovative juxtapositions of Western classical music and traditionally Black American genres such as jazz, Bullock resists the idea that she does so simply to be different. (“I don’t ever want anything I’m presenting to the public to come off as me trying to be clever, because I feel the relationships in an explicit way,” she says.)\u003c/p>\n\u003cp>[pullquote size=large citation='Julia Bullock']“You can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”[/pullquote]\u003c/p>\n\u003cp>Rather, Bullock’s genre-mixing, cross-cultural programming is the output of a passionate listener and student of history with omnivorous tastes. Discussing a program called \u003cem>Lineage\u003c/em> that she curated for San Francisco Symphony’s Soundbox—its series of intimate, experimental performances—she points easily to the links between Nina Simone and Johann Sebastian Bach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You can hear very explicitly in all of her improvisations that she’s referencing Bach, and she studied classical piano. The reason she started singing and playing jazz is because she needed a job,” she says of Simone, laughing in disbelief at this factoid. “Very practical!”\u003c/p>\n\u003cp>It’s this adventurous ear that’s earned Bullock prestigious opportunities. She’s worked extensively with contemporary composers such as \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a>, snagging prominent roles in his operas \u003cem>Girls of the Golden West\u003c/em> and \u003cem>Doctor Atomic\u003c/em>. More recently, she was an artist-in-residence at the San Francisco Symphony and the Metropolitan Museum of Art, where she spent the 2018–19 season exploring the legacies of Josephine Baker and Langston Hughes and resurrecting the songs of enslaved people. Calling her residency at the Met historic, \u003ca href=\"https://www.vanityfair.com/style/2018/12/julia-bullock-opera-singer-metropolitan-museum-of-art\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>’s Keziah Weir applauded Bullock’s unique ability to “inject each note she sings with a sense of grace and urgency.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he coronavirus pandemic has, for all practical purposes, thwarted what was due to be an exciting year for Bullock at the San Francisco Symphony. Bullock’s Soundbox program originally slated for April was canceled, along with all Symphony live events until at least July of 2021. (Audiences may see some of the \u003cem>Lineage\u003c/em> material in a future online program.)\u003c/p>\n\u003cp>This year, the Symphony’s new musical director Esa-Pekka Salonen stepped into his role, and he enlisted Bullock and seven other interdisciplinary creatives as his “brain trust” of creative partners poised to help take the organization in new directions of embracing technology and a diversity of genres and cultural perspectives. A major showcase with them was supposed to kick off the season.\u003c/p>\n\u003cp>Instead, the Symphony has forayed into\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\"> podcasts and digital video\u003c/a>. (“No matter how we spin it, we are not an orchestra,” Salonen recently told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”) Yet despite these limitations, Salonen continues to experiment. On Saturday, Nov. 14, he, Bullock and the other creative partners will star in a digital premiere of composer Nico Muhly’s new piece, \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Throughline\u003c/em>\u003c/a>, which functions more like a set of miniature concertos that bridge the digital divide. The performance will \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">stream online\u003c/a> and \u003ca href=\"https://www.kqed.org/tv/schedules/weekly\" target=\"_blank\" rel=\"noopener noreferrer\">broadcast\u003c/a> on KQED Channel 9.\u003c/p>\n\u003cfigure id=\"attachment_13889263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_2-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13889263\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock backstage at Davies Symphony Hall. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly nine months since our first interview, I catch up with Bullock via Zoom. Born in St. Louis and previously based in New York City, she now lives in Munich, Germany, where she’s been sheltering in place with her husband, conductor Christian Reif. Typically, the couple is apart for much of the year because of work travel. “Some days have been great and feeling relatively normal—or not normal, but just living my life,” she says. “And other days have felt incredibly disruptive. Feelings of frustration and irritation and discontent are equally as present as feeling grateful for being able to be with my husband.”\u003c/p>\n\u003cp>Bullock’s measured response is one of someone who’s visited her darkest places and spent years climbing back into the light, thanks to music and therapy. When we first met, in February, I asked Bullock why she’s so candid about her past struggles with addiction and mental health. In interviews, she’s discussed going to rehab at age 20, and how several years ago, her singing career was nearly derailed because of a psychosomatic ailment that caused her to gag uncontrollably, sometimes mid-song or mid-speech.\u003c/p>\n\u003cp>It turns out she went public with this information by accident. She opened up about it to \u003cem>New York Times\u003c/em> journalist Zachary Woolfe during a cab ride in between \u003ca href=\"https://www.nytimes.com/2019/10/25/arts/music/julia-bullock-zauberland-lincoln-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">interviews\u003c/a>, she recalls, not realizing her confession would get published. But once it did, she found herself feeling not embarrassed, but freed from her secret.\u003c/p>\n\u003cp>https://youtu.be/emeAjAK8fr4\u003c/p>\n\u003cp>“It was really moving, hearing from other young performers who are struggling with similar things and afraid to talk about it—even amongst the friends, the teachers,” she says. “The reason you become a musician is because you’re allowing yourself to open up and be vulnerable and relate to people. But you can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hat grounded perspective has helped Bullock stay relatively calm during the pandemic. While scientists say COVID’s \u003ca href=\"https://www.dw.com/en/coronavirus-germany-sees-signs-of-curve-flattening/a-55573917\" target=\"_blank\" rel=\"noopener noreferrer\">spread is slowing in Germany\u003c/a>, most of her friends and family and many of her collaborators live in the United States, which has some of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/10/13/923253681/americans-are-dying-in-the-pandemic-at-rates-far-higher-than-in-other-countries\" target=\"_blank\" rel=\"noopener noreferrer\">globe’s worst COVID-19 infection and death rates\u003c/a>. Bullock has made the tough decision to not return across the Atlantic for the foreseeable future.\u003c/p>\n\u003cp>“Part of this period I feel is about survival in the most literal sense, in a severe sense. I can’t be casual—and I don’t want anyone I love and care about to be casual about their lives right now,” she says. “There are certain decisions I’ve made about not traveling to the States because I didn’t want to put my life at risk and, honestly, I didn’t feel it was right putting any Black lives at risk to make some art. It seemed wildly irresponsible, and I’m glad I stood by that decision.”\u003c/p>\n\u003cfigure id=\"attachment_13889265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bullock has given only a small handful of live performances this year, mostly in front of camera crews without an audience, but she’s been booked and busy with \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> at places like the Dutch National Opera and UC Berkeley’s Cal Performances. She’s also found a new creative outlet in singing at home, with her husband on piano. The duo has sent videos of their songs to friends and family as a way to connect across distance, and it’s made Bullock think of ways she can continue to express herself until she eventually returns to the stage before a live audience.\u003c/p>\n\u003cp>“The idea of an album now, as a work of art as an independent piece, is something that’s certainly been on my mind in recent months,” she says. “Creating something that speaks to this moment, but also feels timeless in some way.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It anyone’s up to the task, it’s her. Bullock’s superpower lies in reaching across centuries and continents, and feeling into the love, yearning and loss at the core of the human experience. During a time of global tragedy, her empathetic, delicate and soulful approach is more necessary than ever to help us make sense of the chaotic year that is 2020.\u003c/p>\n\n",
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"excerpt": "Ahead of a virtual performance with the San Francisco Symphony, the singer and curator talks about a cross-cultural, genre-mixing approach that’s earned her global acclaim. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n February, \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Bullock\u003c/a> stood on stage at Davies Symphony Hall in San Francisco, excavating the depths of her soul. To truly convey to the audience the euphoria and heartache of Benjamin Britten’s \u003cem>Les Illuminations\u003c/em>, based on Rimbaud’s poems about spiritual transcendence, drug addiction and homelessness, she had to tap into painful parts of her coming-of-age story.\u003c/p>\n\u003cp>“The act of going through all the imagery emotionally and then seeing where [it] takes me psychologically, that’s how I can hook into it and deliver it,” the star soprano explained to me backstage during rehearsal, just weeks before the COVID-19 shutdown hit. “Otherwise, it turns into some weird exercise of trying not to be a human being—and that I can’t tolerate.”\u003c/p>\n\u003cp>At 33 years old, Bullock has become a luminary in the classical music world for her unique ability to capture a piece’s gripping emotional qualities in a way that transcends time, space and cultural barriers. She is a master of connection, digging deep into material to convey universal human experiences and emotions that lay within, refracting them through her prismatic voice to illuminate their beauty.\u003c/p>\n\u003cp>This ability to connect pieces of music through their emotional cores is also her strength as a curator. While praised for her innovative juxtapositions of Western classical music and traditionally Black American genres such as jazz, Bullock resists the idea that she does so simply to be different. (“I don’t ever want anything I’m presenting to the public to come off as me trying to be clever, because I feel the relationships in an explicit way,” she says.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rather, Bullock’s genre-mixing, cross-cultural programming is the output of a passionate listener and student of history with omnivorous tastes. Discussing a program called \u003cem>Lineage\u003c/em> that she curated for San Francisco Symphony’s Soundbox—its series of intimate, experimental performances—she points easily to the links between Nina Simone and Johann Sebastian Bach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You can hear very explicitly in all of her improvisations that she’s referencing Bach, and she studied classical piano. The reason she started singing and playing jazz is because she needed a job,” she says of Simone, laughing in disbelief at this factoid. “Very practical!”\u003c/p>\n\u003cp>It’s this adventurous ear that’s earned Bullock prestigious opportunities. She’s worked extensively with contemporary composers such as \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a>, snagging prominent roles in his operas \u003cem>Girls of the Golden West\u003c/em> and \u003cem>Doctor Atomic\u003c/em>. More recently, she was an artist-in-residence at the San Francisco Symphony and the Metropolitan Museum of Art, where she spent the 2018–19 season exploring the legacies of Josephine Baker and Langston Hughes and resurrecting the songs of enslaved people. Calling her residency at the Met historic, \u003ca href=\"https://www.vanityfair.com/style/2018/12/julia-bullock-opera-singer-metropolitan-museum-of-art\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>’s Keziah Weir applauded Bullock’s unique ability to “inject each note she sings with a sense of grace and urgency.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he coronavirus pandemic has, for all practical purposes, thwarted what was due to be an exciting year for Bullock at the San Francisco Symphony. Bullock’s Soundbox program originally slated for April was canceled, along with all Symphony live events until at least July of 2021. (Audiences may see some of the \u003cem>Lineage\u003c/em> material in a future online program.)\u003c/p>\n\u003cp>This year, the Symphony’s new musical director Esa-Pekka Salonen stepped into his role, and he enlisted Bullock and seven other interdisciplinary creatives as his “brain trust” of creative partners poised to help take the organization in new directions of embracing technology and a diversity of genres and cultural perspectives. A major showcase with them was supposed to kick off the season.\u003c/p>\n\u003cp>Instead, the Symphony has forayed into\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\"> podcasts and digital video\u003c/a>. (“No matter how we spin it, we are not an orchestra,” Salonen recently told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”) Yet despite these limitations, Salonen continues to experiment. On Saturday, Nov. 14, he, Bullock and the other creative partners will star in a digital premiere of composer Nico Muhly’s new piece, \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Throughline\u003c/em>\u003c/a>, which functions more like a set of miniature concertos that bridge the digital divide. The performance will \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">stream online\u003c/a> and \u003ca href=\"https://www.kqed.org/tv/schedules/weekly\" target=\"_blank\" rel=\"noopener noreferrer\">broadcast\u003c/a> on KQED Channel 9.\u003c/p>\n\u003cfigure id=\"attachment_13889263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_2-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13889263\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock backstage at Davies Symphony Hall. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly nine months since our first interview, I catch up with Bullock via Zoom. Born in St. Louis and previously based in New York City, she now lives in Munich, Germany, where she’s been sheltering in place with her husband, conductor Christian Reif. Typically, the couple is apart for much of the year because of work travel. “Some days have been great and feeling relatively normal—or not normal, but just living my life,” she says. “And other days have felt incredibly disruptive. Feelings of frustration and irritation and discontent are equally as present as feeling grateful for being able to be with my husband.”\u003c/p>\n\u003cp>Bullock’s measured response is one of someone who’s visited her darkest places and spent years climbing back into the light, thanks to music and therapy. When we first met, in February, I asked Bullock why she’s so candid about her past struggles with addiction and mental health. In interviews, she’s discussed going to rehab at age 20, and how several years ago, her singing career was nearly derailed because of a psychosomatic ailment that caused her to gag uncontrollably, sometimes mid-song or mid-speech.\u003c/p>\n\u003cp>It turns out she went public with this information by accident. She opened up about it to \u003cem>New York Times\u003c/em> journalist Zachary Woolfe during a cab ride in between \u003ca href=\"https://www.nytimes.com/2019/10/25/arts/music/julia-bullock-zauberland-lincoln-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">interviews\u003c/a>, she recalls, not realizing her confession would get published. But once it did, she found herself feeling not embarrassed, but freed from her secret.\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/emeAjAK8fr4'\n title='//www.youtube.com/embed/emeAjAK8fr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It was really moving, hearing from other young performers who are struggling with similar things and afraid to talk about it—even amongst the friends, the teachers,” she says. “The reason you become a musician is because you’re allowing yourself to open up and be vulnerable and relate to people. But you can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hat grounded perspective has helped Bullock stay relatively calm during the pandemic. While scientists say COVID’s \u003ca href=\"https://www.dw.com/en/coronavirus-germany-sees-signs-of-curve-flattening/a-55573917\" target=\"_blank\" rel=\"noopener noreferrer\">spread is slowing in Germany\u003c/a>, most of her friends and family and many of her collaborators live in the United States, which has some of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/10/13/923253681/americans-are-dying-in-the-pandemic-at-rates-far-higher-than-in-other-countries\" target=\"_blank\" rel=\"noopener noreferrer\">globe’s worst COVID-19 infection and death rates\u003c/a>. Bullock has made the tough decision to not return across the Atlantic for the foreseeable future.\u003c/p>\n\u003cp>“Part of this period I feel is about survival in the most literal sense, in a severe sense. I can’t be casual—and I don’t want anyone I love and care about to be casual about their lives right now,” she says. “There are certain decisions I’ve made about not traveling to the States because I didn’t want to put my life at risk and, honestly, I didn’t feel it was right putting any Black lives at risk to make some art. It seemed wildly irresponsible, and I’m glad I stood by that decision.”\u003c/p>\n\u003cfigure id=\"attachment_13889265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bullock has given only a small handful of live performances this year, mostly in front of camera crews without an audience, but she’s been booked and busy with \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> at places like the Dutch National Opera and UC Berkeley’s Cal Performances. She’s also found a new creative outlet in singing at home, with her husband on piano. The duo has sent videos of their songs to friends and family as a way to connect across distance, and it’s made Bullock think of ways she can continue to express herself until she eventually returns to the stage before a live audience.\u003c/p>\n\u003cp>“The idea of an album now, as a work of art as an independent piece, is something that’s certainly been on my mind in recent months,” she says. “Creating something that speaks to this moment, but also feels timeless in some way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It anyone’s up to the task, it’s her. Bullock’s superpower lies in reaching across centuries and continents, and feeling into the love, yearning and loss at the core of the human experience. During a time of global tragedy, her empathetic, delicate and soulful approach is more necessary than ever to help us make sense of the chaotic year that is 2020.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Symphony Foregrounds Social Issues in Esa-Pekka Salonen's Debut Season",
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"content": "\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”ekQu5Mcdt76Qwes7ptosdcH9bWh9LDYB”]\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's Esa-Pekka's City—Eventually",
"headTitle": "It’s Esa-Pekka’s City—Eventually | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>sa-Pekka Salonen has never had a Mission District burrito, he tells me. Nor has he ever been to a Giants game.\u003c/p>\n\u003cp>But Salonen, who signed his contract as the new Music Director of the San Francisco Symphony just an hour before we met, appears laying in wait to make San Francisco \u003cem>his\u003c/em> city.\u003c/p>\n\u003cp>He’ll keep residence here, he says. He wants to get to know the opera, the museums, the theater in the city.\u003c/p>\n\u003cp>“And I also want to start a dialogue with artists,” he says, “who work more within the sort of anti-establishment part of the arts life.”\u003c/p>\n\u003cp>Courting the anti-establishment is a goal I don’t think I’ve ever heard a conductor utter; many people view the symphony itself as the epitome of “establishment.” And on the surface, Salonen is an establishment choice: he’s an older white man, with a safe, proven track record.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there’s a quiet, almost mischievous vibe about Salonen, one that he chalks up to his Finnish blood, and one that feels ready to explode with radical ideas. He’s just got to get his bearings first.\u003c/p>\n\u003cfigure id=\"attachment_13846583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-800x566.jpg\" alt=\"(L–R) Christian Reif, Julia Bullock, Esa-Pekka Salonen and Mark Hansen at Salonen's welcome party, Dec. 5, 2018.\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-1200x849.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christian Reif, Julia Bullock, Esa-Pekka Salonen and Mark Hansen at Salonen’s welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>an Francisco is certainly ready to show him around. During his official welcome party last night at SoundBox, a video screened with personalized welcomes from luminaries like Mayor London Breed, Warriors coach Steve Kerr, composer John Adams and SFMOMA director Neal Benezra.\u003c/p>\n\u003cp>Also part of the welcomes was Jerome Guillen, from Tesla. Which brings up one of two big ancillary discussions around Salonen’s appointment, concerning the tech sector and the ways Salonen might engage with it. (No doubt the Symphony’s fundraising team is excited for a tech-leaning director; there’s more money than ever in the Bay Area, but with less of it, proportionally, going to the arts.) The \u003cem>New York Times\u003c/em> headline on his appointment called him a “disrupter,” and later noted that after his appointment he quickly met with Carol Reiley, an AI entrepreneur and roboticist.\u003c/p>\n\u003cp>[contextly_sidebar id=”Mju6mMj1kH2pdm6tqMQ2ResaTNO0P6Sv”]\u003c/p>\n\u003cp>I found Reiley at the welcome party, and asked what the two had up their sleeve. Would we one day walk into Davies Symphony Hall, be handed a virtual reality headset, and listen to robots playing AI-generated compositions while following along on an app?\u003c/p>\n\u003cp>Reiley laughed. “What I \u003cem>don’t\u003c/em> think we want is something that’s gimmicky,” she said. “Something that’s thoughtful, that helps us understand how humans communicate, especially nonverbally. We’re not interested in people’s experiences at the symphony becoming a sideshow.”\u003c/p>\n\u003cfigure id=\"attachment_13846582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CarolReiley-800x533.jpg\" alt=\"Carol Reiley at Esa-Pekka Salonen's welcome party to the San Francisco Symphony, Dec. 5, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Reiley at Esa-Pekka Salonen’s welcome party to the San Francisco Symphony, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiley and Salonen had never met until his appointment, when he asked for someone in the Bay Area with AI experience. The San Francisco Symphony would be a willing and able playground for experimentation—one look at their Soundbox series tells you as much. But what that means for performances remains to be seen; Reiley didn’t rule out tech augmenting the physical live performance of music, or being involved with “the data behind music and composing,” which sounds like a delicate balancing act.\u003c/p>\n\u003cp>Onstage last night, Salonen got a laugh when he emphasized his commitment to “live musicians, playing in front of a live audience… conducted by a live conductor, \u003cem>hopefully\u003c/em>.” Mentions of tech and disruption peppered welcome speeches by the Symphony’s executives seated around him.\u003c/p>\n\u003cp>“One interesting thing [Salonen] said when we met was that classical music hasn’t really changed since Beethoven’s day,” Reiley told me, “and then you have this other field of AI, which is disrupting itself every year or two. So how can AI really create the next art movement, or change something fundamental about classical music without changing what is pure?”\u003c/p>\n\u003cfigure id=\"attachment_13846584\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846584\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-800x533.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he other ancillary conversation around Salonen’s appointment is the fact that the San Francisco Symphony has chosen another older white man to lead the orchestra. This isn’t just uber-woke hysterics; it’s an issue regularly discussed by the country’s leading top classical critics, and by arts leaders in general. The San Francisco Symphony itself even has a diversity committee.\u003c/p>\n\u003cp>When we talked, Salonen openly addressed the issue. “I’m fully aware of the fact that I’m an old, white guy who deals with an art form that has deep European roots and is essentially something that was imported to this country 150 years ago,” said Salonen.\u003c/p>\n\u003cp>As KQED’s Chloe Veltman \u003ca href=\"https://www.kqed.org/arts/13846403/esa-pekka-salonen-appointed-music-director-at-sf-symphony\" target=\"_blank\" rel=\"noopener noreferrer\">reported yesterday\u003c/a>, both Michael Morgan of the Oakland Symphony and Jessica Bejarano of the San Francisco Civic Symphony hailed Salonen’s experience and vision, and expressed that the problem of diversity in the arts is bigger than one orchestra’s selection board or one orchestra’s music director. Morgan, an African American, asked bluntly, “Who would the diverse choice be?”\u003c/p>\n\u003cfigure id=\"attachment_13846585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-800x533.jpg\" alt=\"Kaitlyn Aurelia Smith performs at the San Francisco Symphony's welcome party for Esa-Pekka Salonen, Dec. 5, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Aurelia Smith performs at the San Francisco Symphony’s welcome party for Esa-Pekka Salonen, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, it’s a systemic pipeline issue in classical music. And one Salonen appears eager to help fix with an eight-member brain trust of collaborative partners he’s assembled—including soprano Julia Bullock and jazz bassist and composer Esperanza Spalding, both African-American women. (Reiley, of Asian descent, is part of the group as well.) When I chatted with newspaper critics, classical radio hosts and fans at the party last night, the consensus was that of the older white men the Symphony could have chosen, Salonen is the most willing to change the system from within.\u003c/p>\n\u003cp>“I’m fully invested in trying to widen the horizon of this organization,” he said in yesterday’s interview, “not only in terms of reaching out to segments of the audience that that haven’t been coming to the concerts frequently, but also trying to develop the actual artistic content of the orchestra and the institution in such a way that the community would feel that the orchestra is doing something more relevant in their lives.”\u003c/p>\n\u003cfigure id=\"attachment_13846594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/pekka-800x642.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"800\" height=\"642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-520x417.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen has an interesting nature about him, the kind that finds value in wonderment and strength in admitting blind spots. At the announcement party, he said on stage, of leading an orchestra, “I’ve been doing this for a long time, and I still don’t understand how it works, in a physical sense.”\u003c/p>\n\u003cp>That’s the sort of thing outgoing director Michael Tilson Thomas might say for effect, but you can tell Salonen means it. And, as he declared last night, just before raising a gin and tonic to his new position, “I want to have fun… I don’t mind hard work, but I want to have fun too.”\u003c/p>\n\u003cp>Someone, please: take this guy out for a burrito and a baseball game.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there’s a quiet, almost mischievous vibe about Salonen, one that he chalks up to his Finnish blood, and one that feels ready to explode with radical ideas. He’s just got to get his bearings first.\u003c/p>\n\u003cfigure id=\"attachment_13846583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-800x566.jpg\" alt=\"(L–R) Christian Reif, Julia Bullock, Esa-Pekka Salonen and Mark Hansen at Salonen's welcome party, Dec. 5, 2018.\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_-1200x849.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Group_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christian Reif, Julia Bullock, Esa-Pekka Salonen and Mark Hansen at Salonen’s welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>an Francisco is certainly ready to show him around. During his official welcome party last night at SoundBox, a video screened with personalized welcomes from luminaries like Mayor London Breed, Warriors coach Steve Kerr, composer John Adams and SFMOMA director Neal Benezra.\u003c/p>\n\u003cp>Also part of the welcomes was Jerome Guillen, from Tesla. Which brings up one of two big ancillary discussions around Salonen’s appointment, concerning the tech sector and the ways Salonen might engage with it. (No doubt the Symphony’s fundraising team is excited for a tech-leaning director; there’s more money than ever in the Bay Area, but with less of it, proportionally, going to the arts.) The \u003cem>New York Times\u003c/em> headline on his appointment called him a “disrupter,” and later noted that after his appointment he quickly met with Carol Reiley, an AI entrepreneur and roboticist.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I found Reiley at the welcome party, and asked what the two had up their sleeve. Would we one day walk into Davies Symphony Hall, be handed a virtual reality headset, and listen to robots playing AI-generated compositions while following along on an app?\u003c/p>\n\u003cp>Reiley laughed. “What I \u003cem>don’t\u003c/em> think we want is something that’s gimmicky,” she said. “Something that’s thoughtful, that helps us understand how humans communicate, especially nonverbally. We’re not interested in people’s experiences at the symphony becoming a sideshow.”\u003c/p>\n\u003cfigure id=\"attachment_13846582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CarolReiley-800x533.jpg\" alt=\"Carol Reiley at Esa-Pekka Salonen's welcome party to the San Francisco Symphony, Dec. 5, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CarolReiley.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Reiley at Esa-Pekka Salonen’s welcome party to the San Francisco Symphony, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiley and Salonen had never met until his appointment, when he asked for someone in the Bay Area with AI experience. The San Francisco Symphony would be a willing and able playground for experimentation—one look at their Soundbox series tells you as much. But what that means for performances remains to be seen; Reiley didn’t rule out tech augmenting the physical live performance of music, or being involved with “the data behind music and composing,” which sounds like a delicate balancing act.\u003c/p>\n\u003cp>Onstage last night, Salonen got a laugh when he emphasized his commitment to “live musicians, playing in front of a live audience… conducted by a live conductor, \u003cem>hopefully\u003c/em>.” Mentions of tech and disruption peppered welcome speeches by the Symphony’s executives seated around him.\u003c/p>\n\u003cp>“One interesting thing [Salonen] said when we met was that classical music hasn’t really changed since Beethoven’s day,” Reiley told me, “and then you have this other field of AI, which is disrupting itself every year or two. So how can AI really create the next art movement, or change something fundamental about classical music without changing what is pure?”\u003c/p>\n\u003cfigure id=\"attachment_13846584\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846584\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-800x533.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.Big_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he other ancillary conversation around Salonen’s appointment is the fact that the San Francisco Symphony has chosen another older white man to lead the orchestra. This isn’t just uber-woke hysterics; it’s an issue regularly discussed by the country’s leading top classical critics, and by arts leaders in general. The San Francisco Symphony itself even has a diversity committee.\u003c/p>\n\u003cp>When we talked, Salonen openly addressed the issue. “I’m fully aware of the fact that I’m an old, white guy who deals with an art form that has deep European roots and is essentially something that was imported to this country 150 years ago,” said Salonen.\u003c/p>\n\u003cp>As KQED’s Chloe Veltman \u003ca href=\"https://www.kqed.org/arts/13846403/esa-pekka-salonen-appointed-music-director-at-sf-symphony\" target=\"_blank\" rel=\"noopener noreferrer\">reported yesterday\u003c/a>, both Michael Morgan of the Oakland Symphony and Jessica Bejarano of the San Francisco Civic Symphony hailed Salonen’s experience and vision, and expressed that the problem of diversity in the arts is bigger than one orchestra’s selection board or one orchestra’s music director. Morgan, an African American, asked bluntly, “Who would the diverse choice be?”\u003c/p>\n\u003cfigure id=\"attachment_13846585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-800x533.jpg\" alt=\"Kaitlyn Aurelia Smith performs at the San Francisco Symphony's welcome party for Esa-Pekka Salonen, Dec. 5, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/KaitlynAureliaSmith.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlyn Aurelia Smith performs at the San Francisco Symphony’s welcome party for Esa-Pekka Salonen, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, it’s a systemic pipeline issue in classical music. And one Salonen appears eager to help fix with an eight-member brain trust of collaborative partners he’s assembled—including soprano Julia Bullock and jazz bassist and composer Esperanza Spalding, both African-American women. (Reiley, of Asian descent, is part of the group as well.) When I chatted with newspaper critics, classical radio hosts and fans at the party last night, the consensus was that of the older white men the Symphony could have chosen, Salonen is the most willing to change the system from within.\u003c/p>\n\u003cp>“I’m fully invested in trying to widen the horizon of this organization,” he said in yesterday’s interview, “not only in terms of reaching out to segments of the audience that that haven’t been coming to the concerts frequently, but also trying to develop the actual artistic content of the orchestra and the institution in such a way that the community would feel that the orchestra is doing something more relevant in their lives.”\u003c/p>\n\u003cfigure id=\"attachment_13846594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/pekka-800x642.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"800\" height=\"642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/pekka-520x417.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen has an interesting nature about him, the kind that finds value in wonderment and strength in admitting blind spots. At the announcement party, he said on stage, of leading an orchestra, “I’ve been doing this for a long time, and I still don’t understand how it works, in a physical sense.”\u003c/p>\n\u003cp>That’s the sort of thing outgoing director Michael Tilson Thomas might say for effect, but you can tell Salonen means it. And, as he declared last night, just before raising a gin and tonic to his new position, “I want to have fun… I don’t mind hard work, but I want to have fun too.”\u003c/p>\n\u003cp>Someone, please: take this guy out for a burrito and a baseball game.\u003c/p>\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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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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