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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>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>[aside postID='arts_13864717,arts_13865435,news_11771940' label='Related Coverage']\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://michaeltilsonthomas.com/\" target=\"_blank\" rel=\"noopener\">Michael Tilson Thomas\u003c/a> says one of the best things about being music director of the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> is the variety. [aside postid='arts_13864717']\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica drummer Lars Ulrich, a regular concertgoer at Davies Symphony Hall, says he loves watching Thomas in action on the podium.\u003c/p>\n\u003cp>“Every time, it’s an incredibly enriching experience,” Ulrich says.\u003c/p>\n\u003cp>Discussing his views on his role, Thomas says cultural institutions have a responsibility to enrich people’s lives beyond entertainment. [aside postid='arts_13861650']\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. \u003c/p>\u003c/div>",
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"title": "Linda Ronstadt, Michael Tilson Thomas Among Kennedy Center 2019 Honorees",
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"content": "\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Tilson Thomas, better known as MTT, has had a long, storied career with the San Francisco Symphony, imbuing its programming with his love of Mahler and innovative ideas, such as the experimental, youthful SoundBox series. After 22 years with the organization, Thomas announced his departure in 2017. In December 2018, the symphony welcomed his replacement, Finnish conductor and composer Esa-Pekka Salonen, who conducted several concerts with the symphony as the music director designate earlier this year. \u003cspan style=\"font-weight: 400\">[aside postID=\"arts_13813504\"]\u003c/span>\u003c/p>\n\u003cp>Today, the San Francisco Symphony announced MTT’s final season, which kicks off on Sept. 4, 2019. Among the highlights are world premieres of newly commissioned works by a number of risk-taking contemporary composers, including 2019 Grammy winner \u003ca href=\"https://www.kqed.org/arts/13849185/steve-jobs-opera-comes-home-as-sf-operas-2019-2020-season-announced\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, \u003ca href=\"https://www.kqed.org/forum/2010101862718/composer-john-adams-girls-of-the-golden-west-portrays-dark-underbelly-of-gold-rush-era\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a> composer John Adams, experimental vocalist and multimedia artist \u003ca href=\"https://ww2.kqed.org/spark/pamela-z/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and MTT himself.\u003c/p>\n\u003cp>The season also includes residencies with soprano Julia Bullock, mezzo-soprano Sasha Cooke and violinist Anne-Sophie Mutter; a new SoundBox season curated by MTT, Bullock and Missy Mazzoli; an 11-city European tour; and performances of masterworks, including a semi-staged production of Wagner’s \u003cem>Der fliegende Holländer (The Flying Dutchman)\u003c/em> and a series of concerts celebrating of Beethoven’s 250th birthday. \u003cspan style=\"font-weight: 400\">[aside postID=\"arts_13849044\"]\u003c/span>\u003c/p>\n\u003cp>“From my very first encounter with the San Francisco Symphony in 1974, I was aware of the daring spirit of this Orchestra and this city,” Thomas said in a statement. “That spirit has been very much at the center of our long and meaningful relationship. When you come into an orchestra, you sense the personal qualities in that orchestra. It takes a very special environment of people who have worked together and deeply trust one another to make music magical, and that is what has happened these last 25 years. This season is very much about celebrating the relationships we have built together.”\u003c/p>\n\u003cp>\u003cem>The 2019-2020 season’s full schedule of programming can be found on the San Francisco Symphony’s \u003ca href=\"https://www.sfsymphony.org/MTT25\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Today, the San Francisco Symphony announced MTT’s final season, which kicks off on Sept. 4, 2019. Among the highlights are world premieres of newly commissioned works by a number of risk-taking contemporary composers, including 2019 Grammy winner \u003ca href=\"https://www.kqed.org/arts/13849185/steve-jobs-opera-comes-home-as-sf-operas-2019-2020-season-announced\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, \u003ca href=\"https://www.kqed.org/forum/2010101862718/composer-john-adams-girls-of-the-golden-west-portrays-dark-underbelly-of-gold-rush-era\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a> composer John Adams, experimental vocalist and multimedia artist \u003ca href=\"https://ww2.kqed.org/spark/pamela-z/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and MTT himself.\u003c/p>\n\u003cp>The season also includes residencies with soprano Julia Bullock, mezzo-soprano Sasha Cooke and violinist Anne-Sophie Mutter; a new SoundBox season curated by MTT, Bullock and Missy Mazzoli; an 11-city European tour; and performances of masterworks, including a semi-staged production of Wagner’s \u003cem>Der fliegende Holländer (The Flying Dutchman)\u003c/em> and a series of concerts celebrating of Beethoven’s 250th birthday. \u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>“From my very first encounter with the San Francisco Symphony in 1974, I was aware of the daring spirit of this Orchestra and this city,” Thomas said in a statement. “That spirit has been very much at the center of our long and meaningful relationship. When you come into an orchestra, you sense the personal qualities in that orchestra. It takes a very special environment of people who have worked together and deeply trust one another to make music magical, and that is what has happened these last 25 years. This season is very much about celebrating the relationships we have built together.”\u003c/p>\n\u003cp>\u003cem>The 2019-2020 season’s full schedule of programming can be found on the San Francisco Symphony’s \u003ca href=\"https://www.sfsymphony.org/MTT25\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Esa-Pekka Salonen Appointed Music Director at SF Symphony",
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"content": "\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> announced the appointment of Esa-Pekka Salonen as its new music director on Wednesday.\u003c/p>\n\u003cp>The lauded, 60-year-old Finnish conductor and composer previously served as the music director of the Los Angeles Philharmonic. He quit in 2009 to focus on composing and a less demanding conducting position with the Philharmonia Orchestra in London, where he will conclude his tenure in 2021.\u003c/p>\n\u003cp>In an interview with KQED at Davies Symphony Hall an hour after signing his new five-year contract, Salonen said the timing of the offer couldn’t have been better.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I had got to a point in my life professionally where I felt that I could take on one more big thing,” Salonen said. “And I had in any case decided to step down in London in the near future. When the conversation with the San Francisco Symphony started last August, I thought the timing is perfect. The organization is perfect. The city is perfect. Everything makes sense.”\u003c/p>\n\u003cp>When he ceded the directorship of the Los Angeles Philharmonic to Venezuelan conductor Gustavo Dudamel, Salonen indicated he had no interest in another year-round music director job, so his appointment in San Francisco comes as a surprise to many.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is surprising in a very amazing and beautiful way,” said Jessica Bejarano, the director and conductor of the San Francisco Civic Symphony. “As far as I understood it, he retired from the L.A. Phil to focus on composition. I never thought he would return back to the podium as director. Great things are on the horizon for us.”\u003c/p>\n\u003cp>“Oh, really!” exclaimed Chris Lorway, executive director of Stanford Live, the arts presenter at Stanford. He then chuckled, “That’s exciting news.”\u003c/p>\n\u003cp>Lorway said Stanford Live, Cal Performances and the Salonen-led Philharmonia Orchestra collaborated on \u003ca href=\"https://live.stanford.edu/calendar/march-2019/philharmonia-orchestra-london\" target=\"_blank\" rel=\"noopener\">\u003cem>Dreamers\u003c/em>\u003c/a>, a project focused on young, undocumented immigrants. The piece debuts next March at UC Berkeley and Stanford.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> described Salonen as a tech-forward conductor, referring to him as a “disruptor.” Indeed, he worked with the London Philharmonia Orchestra on an app, virtual reality projects and immersive installations. The \u003cem>Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/12/05/arts/music/san-francisco-symphony-esa-pekka-salonen.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that one of the first meetings Salonen took in preparation for his new position was with roboticist Carol Reiley, whom he invited to serve as a collaborative partner for the symphony.\u003c/p>\n\u003cp>Yet Salonen’s appointment comes at a time when many corners of the arts community are chafing against the hiring of non-diverse leaders at major cultural institutions around the United States. A recent local example is the appointment of Thomas Campbell at the Fine Arts Museums of San Francisco. Campbell is an older, white man. So is Salonen.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Lorway said the issue of diversity in the classical music world is an age-old question and a major challenge. “It’s an issue which has to be grappled with it systemically,” Lorway said. “And I don’t know how you seed the pipeline in a way that results in changes the immediate future.”\u003c/p>\n\u003cp>“Who would the diverse choice be?” said Michael Morgan, the music director and conductor of the Oakland Symphony, and one of a small number of black conductors leading symphony orchestras in this country today.\u003c/p>\n\u003cp>Morgan applauded the San Francisco Symphony for its choice. “It’s kind of ideal for a major orchestra right now \u003cb>\u003c/b>to have someone who’s an actual adult but has a youthful energy and spirit,” Morgan said. “This is a big thing with me: hiring conductors that are not too young, because it just takes so long to get to be any good at this.”\u003c/p>\n\u003cp>Morgan sees maturity as a more important consideration than ethnic background when it comes to the hiring of music directors.\u003c/p>\n\u003cp>“You don’t necessarily have to have diversity in the music director if you program with a diversity of approaches and outlooks in mind,” Morgan said. “The real test will be to see who shows up as guest conductors and composers and soloists at the San Francisco Symphony in the coming years.”\u003c/p>\n\u003cp>Lorway said he sees young conductors of diverse backgrounds starting to take up positions in orchestras around the world. “But I think for some of the major orchestras, especially in this country, I can see where there might be an inclination to go with the safer choice in some of these situations\u003ci>.\u003c/i>”\u003c/p>\n\u003cp>Bejarano said it would have been amazing to see a woman such as Finnish conductor Susanna Malkki get the job. But she said Salonen is a “legend” and the right choice for San Francisco right now.\u003c/p>\n\u003cp>She takes the long view when it comes to diversifying orchestra leadership. “It doesn’t mean that this is going to be the standard for the rest of of history,” Bejarano said. “Minority conductors have to continue to push forward and never ever give up. Change in this situation is slow and gradual, and we just have to patient with the process. But it will change.”\u003c/p>\n\u003cp>Salonen himself acknowledges the challenges.\u003c/p>\n\u003cp>“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. “So I’m fully invested in trying to widen the horizon of this organization, 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\u003cp>Salonen and the San Francisco Symphony are bringing in eight collaborative partners from a variety of cultural disciplines to help address outreach and diversity in the organization’s programming. The group includes pianist, film producer, and composer Nicholas Britell; singer Julia Bullock, flutist and educator Claire Chase, composer and guitarist for the rock band The National Bryce Dessner, Finnish violinist Pekka Kuusisto, composer Nico Muhly, tech entrepreneur and scientist Carol Reiley, and bassist and vocalist Esperanza Spalding.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I have this team of young artists who will be helping me not only in shaping the programs and the content of the symphony, but also to help me in finding ways to connect with the community,” Salonen said.\u003c/p>\n\u003cp>Current music director Michael Tilson Thomas will hand over the baton to Salonen in September 2020, when he will begin an initial five-year contract. Starting immediately, Salonen steps in as music director designate, leading the orchestra in a January 2019 program that includes Icelandic composer Anna Thorvaldsdottir’s \u003cem>Metacosmos\u003c/em>, R. Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> and Sibelius’ \u003cem>Four Legends from the Kalevala\u003c/em>.\u003c/p>\n\u003cp>In 2020, Salonen will conduct the San Francisco Symphony for six subscription weeks and a tour of Asia. Starting in 2021, he will lead the orchestra for 12–14 weeks each season.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> announced the appointment of Esa-Pekka Salonen as its new music director on Wednesday.\u003c/p>\n\u003cp>The lauded, 60-year-old Finnish conductor and composer previously served as the music director of the Los Angeles Philharmonic. He quit in 2009 to focus on composing and a less demanding conducting position with the Philharmonia Orchestra in London, where he will conclude his tenure in 2021.\u003c/p>\n\u003cp>In an interview with KQED at Davies Symphony Hall an hour after signing his new five-year contract, Salonen said the timing of the offer couldn’t have been better.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I had got to a point in my life professionally where I felt that I could take on one more big thing,” Salonen said. “And I had in any case decided to step down in London in the near future. When the conversation with the San Francisco Symphony started last August, I thought the timing is perfect. The organization is perfect. The city is perfect. Everything makes sense.”\u003c/p>\n\u003cp>When he ceded the directorship of the Los Angeles Philharmonic to Venezuelan conductor Gustavo Dudamel, Salonen indicated he had no interest in another year-round music director job, so his appointment in San Francisco comes as a surprise to many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is surprising in a very amazing and beautiful way,” said Jessica Bejarano, the director and conductor of the San Francisco Civic Symphony. “As far as I understood it, he retired from the L.A. Phil to focus on composition. I never thought he would return back to the podium as director. Great things are on the horizon for us.”\u003c/p>\n\u003cp>“Oh, really!” exclaimed Chris Lorway, executive director of Stanford Live, the arts presenter at Stanford. He then chuckled, “That’s exciting news.”\u003c/p>\n\u003cp>Lorway said Stanford Live, Cal Performances and the Salonen-led Philharmonia Orchestra collaborated on \u003ca href=\"https://live.stanford.edu/calendar/march-2019/philharmonia-orchestra-london\" target=\"_blank\" rel=\"noopener\">\u003cem>Dreamers\u003c/em>\u003c/a>, a project focused on young, undocumented immigrants. The piece debuts next March at UC Berkeley and Stanford.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> described Salonen as a tech-forward conductor, referring to him as a “disruptor.” Indeed, he worked with the London Philharmonia Orchestra on an app, virtual reality projects and immersive installations. The \u003cem>Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/12/05/arts/music/san-francisco-symphony-esa-pekka-salonen.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that one of the first meetings Salonen took in preparation for his new position was with roboticist Carol Reiley, whom he invited to serve as a collaborative partner for the symphony.\u003c/p>\n\u003cp>Yet Salonen’s appointment comes at a time when many corners of the arts community are chafing against the hiring of non-diverse leaders at major cultural institutions around the United States. A recent local example is the appointment of Thomas Campbell at the Fine Arts Museums of San Francisco. Campbell is an older, white man. So is Salonen.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Lorway said the issue of diversity in the classical music world is an age-old question and a major challenge. “It’s an issue which has to be grappled with it systemically,” Lorway said. “And I don’t know how you seed the pipeline in a way that results in changes the immediate future.”\u003c/p>\n\u003cp>“Who would the diverse choice be?” said Michael Morgan, the music director and conductor of the Oakland Symphony, and one of a small number of black conductors leading symphony orchestras in this country today.\u003c/p>\n\u003cp>Morgan applauded the San Francisco Symphony for its choice. “It’s kind of ideal for a major orchestra right now \u003cb>\u003c/b>to have someone who’s an actual adult but has a youthful energy and spirit,” Morgan said. “This is a big thing with me: hiring conductors that are not too young, because it just takes so long to get to be any good at this.”\u003c/p>\n\u003cp>Morgan sees maturity as a more important consideration than ethnic background when it comes to the hiring of music directors.\u003c/p>\n\u003cp>“You don’t necessarily have to have diversity in the music director if you program with a diversity of approaches and outlooks in mind,” Morgan said. “The real test will be to see who shows up as guest conductors and composers and soloists at the San Francisco Symphony in the coming years.”\u003c/p>\n\u003cp>Lorway said he sees young conductors of diverse backgrounds starting to take up positions in orchestras around the world. “But I think for some of the major orchestras, especially in this country, I can see where there might be an inclination to go with the safer choice in some of these situations\u003ci>.\u003c/i>”\u003c/p>\n\u003cp>Bejarano said it would have been amazing to see a woman such as Finnish conductor Susanna Malkki get the job. But she said Salonen is a “legend” and the right choice for San Francisco right now.\u003c/p>\n\u003cp>She takes the long view when it comes to diversifying orchestra leadership. “It doesn’t mean that this is going to be the standard for the rest of of history,” Bejarano said. “Minority conductors have to continue to push forward and never ever give up. Change in this situation is slow and gradual, and we just have to patient with the process. But it will change.”\u003c/p>\n\u003cp>Salonen himself acknowledges the challenges.\u003c/p>\n\u003cp>“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. “So I’m fully invested in trying to widen the horizon of this organization, 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\u003cp>Salonen and the San Francisco Symphony are bringing in eight collaborative partners from a variety of cultural disciplines to help address outreach and diversity in the organization’s programming. The group includes pianist, film producer, and composer Nicholas Britell; singer Julia Bullock, flutist and educator Claire Chase, composer and guitarist for the rock band The National Bryce Dessner, Finnish violinist Pekka Kuusisto, composer Nico Muhly, tech entrepreneur and scientist Carol Reiley, and bassist and vocalist Esperanza Spalding.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I have this team of young artists who will be helping me not only in shaping the programs and the content of the symphony, but also to help me in finding ways to connect with the community,” Salonen said.\u003c/p>\n\u003cp>Current music director Michael Tilson Thomas will hand over the baton to Salonen in September 2020, when he will begin an initial five-year contract. Starting immediately, Salonen steps in as music director designate, leading the orchestra in a January 2019 program that includes Icelandic composer Anna Thorvaldsdottir’s \u003cem>Metacosmos\u003c/em>, R. Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> and Sibelius’ \u003cem>Four Legends from the Kalevala\u003c/em>.\u003c/p>\n\u003cp>In 2020, Salonen will conduct the San Francisco Symphony for six subscription weeks and a tour of Asia. Starting in 2021, he will lead the orchestra for 12–14 weeks each season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Michael Tilson Thomas: A Mahler Nut and So Much More",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This week, the \u003ca href=\"http://sfsymphony.org\">San Francisco Symphony\u003c/a> announced the retirement of Michael Tilson Thomas after 25 years as music director. \u003c/span>\u003c/p>\n\u003cp>Tilson Thomas is best known for his championing of the works of the Austrian composer Gustav Mahler, including a series of Grammy Award-winning recordings.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/MTTRetiringVeltman171102.mp3\" /]\u003c/p>\n\u003cp>But this is just one piece of the conductor’s contributions to classical music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His championing of new music and his adventurous programming have been models for me in my career,” says Marin Alsop, m\u003c/span>\u003cspan style=\"font-weight: 400\">usic director of the \u003ca href=\"https://www.bsomusic.org/\">Baltimore Symphony Orchestra\u003c/a> and \u003ca href=\"http://www.osesp.art.br/home.aspx?Cultura=en-GB\">Sao Paulo Symphony\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His advocacy for American music and American composers is unparalleled,” says \u003ca href=\"http://www.californiasymphony.org/\">California Symphony\u003c/a> and \u003ca href=\"http://www.lvphil.org/\">Las Vegas Philharmonic\u003c/a> music director Donato Cabrera. “He was a strong advocate for the iconoclasts of the American music scene like John Adams, Lou Harrison, and Charles Ives.”\u003c/p>\n\u003cfigure id=\"attachment_13813511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg\" alt=\"California Symphony and Las Vegas Philharmonic music director Donato Cabrera worked closely with Michael Tilson Thomas as resident conductor of the San Francisco Symphony for seven seasons.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1920x1081.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Symphony and Las Vegas Philharmonic music director Donato Cabrera. \u003ccite>(Photo: Aubrey Bergauer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabrera worked closely with Tilson Thomas as the Symphony’s resident conductor for seven seasons. He says his boss was a brilliant mentor who shared personal stories in his dressing room with his protege.\u003c/p>\n\u003cp>“He would share a little memory of when he was working with Stravinsky, or having an evening of word games with Leonard Bernstein,” Cabrera says.\u003c/p>\n\u003cp>Silicon Valley-based composer Mason Bates also benefited from Tilson Thomas’ mentorship. Bates worked with the conductor on several high-profile world premieres, including \u003cem>Mothership\u003c/em>, a cutting edge collaboration with YouTube in 2010.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mothership - Mason Bates\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/PFh7LAFel4w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“He has an incredible ability to communicate complicated artistic ideas in the most engaging way, while not sacrificing substance at any level,” Bates says.\u003c/p>\n\u003cp>Bates says Tilson Thomas made classical music matter to people at a time when its appeal is waning, like through his \u003cem>Keeping Score\u003c/em> and \u003cem>MTT Files\u003c/em> radio projects, and his mid-concert musings to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When \u003cspan style=\"font-weight: 400\">Michael speaks, what he says is interesting to everybody in the room whether it be a 30-year veteran of the San Francisco Symphony or a new audience member who’s never even walked into Davies Hall,” Bates says.\u003c/span>\u003c/p>\n\u003cp>Tilson Thomas will step down in 2020 at 75 years old. He will continue to conduct the orchestra a few weeks a year and undertake special projects for the organization.\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\u003cp>In addition to the above mini radio feature embedded above, listen to a conversation between KQED weekend news host Jeremy Siegel and culture commentator Chloe Veltman about Tilson Thomas’ retirement:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.kqed.org/.stream/anon/radio/RDnews/2017/11/MichaelTilsonThomasRetire.mp3\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This week, the \u003ca href=\"http://sfsymphony.org\">San Francisco Symphony\u003c/a> announced the retirement of Michael Tilson Thomas after 25 years as music director. \u003c/span>\u003c/p>\n\u003cp>Tilson Thomas is best known for his championing of the works of the Austrian composer Gustav Mahler, including a series of Grammy Award-winning recordings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this is just one piece of the conductor’s contributions to classical music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His championing of new music and his adventurous programming have been models for me in my career,” says Marin Alsop, m\u003c/span>\u003cspan style=\"font-weight: 400\">usic director of the \u003ca href=\"https://www.bsomusic.org/\">Baltimore Symphony Orchestra\u003c/a> and \u003ca href=\"http://www.osesp.art.br/home.aspx?Cultura=en-GB\">Sao Paulo Symphony\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His advocacy for American music and American composers is unparalleled,” says \u003ca href=\"http://www.californiasymphony.org/\">California Symphony\u003c/a> and \u003ca href=\"http://www.lvphil.org/\">Las Vegas Philharmonic\u003c/a> music director Donato Cabrera. “He was a strong advocate for the iconoclasts of the American music scene like John Adams, Lou Harrison, and Charles Ives.”\u003c/p>\n\u003cfigure id=\"attachment_13813511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg\" alt=\"California Symphony and Las Vegas Philharmonic music director Donato Cabrera worked closely with Michael Tilson Thomas as resident conductor of the San Francisco Symphony for seven seasons.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1920x1081.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Symphony and Las Vegas Philharmonic music director Donato Cabrera. \u003ccite>(Photo: Aubrey Bergauer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabrera worked closely with Tilson Thomas as the Symphony’s resident conductor for seven seasons. He says his boss was a brilliant mentor who shared personal stories in his dressing room with his protege.\u003c/p>\n\u003cp>“He would share a little memory of when he was working with Stravinsky, or having an evening of word games with Leonard Bernstein,” Cabrera says.\u003c/p>\n\u003cp>Silicon Valley-based composer Mason Bates also benefited from Tilson Thomas’ mentorship. Bates worked with the conductor on several high-profile world premieres, including \u003cem>Mothership\u003c/em>, a cutting edge collaboration with YouTube in 2010.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mothership - Mason Bates\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/PFh7LAFel4w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“He has an incredible ability to communicate complicated artistic ideas in the most engaging way, while not sacrificing substance at any level,” Bates says.\u003c/p>\n\u003cp>Bates says Tilson Thomas made classical music matter to people at a time when its appeal is waning, like through his \u003cem>Keeping Score\u003c/em> and \u003cem>MTT Files\u003c/em> radio projects, and his mid-concert musings to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When \u003cspan style=\"font-weight: 400\">Michael speaks, what he says is interesting to everybody in the room whether it be a 30-year veteran of the San Francisco Symphony or a new audience member who’s never even walked into Davies Hall,” Bates says.\u003c/span>\u003c/p>\n\u003cp>Tilson Thomas will step down in 2020 at 75 years old. He will continue to conduct the orchestra a few weeks a year and undertake special projects for the organization.\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\u003cp>In addition to the above mini radio feature embedded above, listen to a conversation between KQED weekend news host Jeremy Siegel and culture commentator Chloe Veltman about Tilson Thomas’ retirement:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Michael Tilson Thomas, the well-loved conductor of the San Francisco Symphony, will \u003ca href=\"https://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/MTT-Announcement.aspx\" rel=\"noopener\" target=\"_blank\">step down\u003c/a> from his role as Music Director in 2020, the Symphony announced Tuesday.\u003c/p>\n\u003cp>Tilson Thomas has been in the role since 1995, when he came to San Francisco as a respected figure in the classical music world with determination to present new works, fresh ideas for the concert experience, and an unwavering love of Mahler. All have helped define his tenure in San Francisco, which reads as a long list of awards, accolades, and achievements. \u003c/p>\n\u003cp>With over two dozen U.S. and international tours, and 44 releases on the symphony’s own record label, Tilson Thomas brought the music of the Symphony to a global audience. He also doggedly presented the music of 20th Century composers with the \u003cem>American Mavericks\u003c/em> series, and regularly worked alongside emerging composers in the Bay Area and beyond to perform new works.\u003c/p>\n\u003cfigure id=\"attachment_10217079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg\" alt=\"Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10217079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Looking back over these decades I am filled with gratitude for the extraordinary artistic partnership I have had with the members of the orchestra and for the warm and generous style of music making we have shared with all of our audiences,” Tilson Thomas said in a statement. “Having been a Music Director of an orchestra for most of my adult life and as I approach my 75th birthday, I feel this is an appropriate moment to set aside some of my administrative responsibilities and begin a new period of creative possibilities.”\u003c/p>\n\u003cp>In the past three years, Tilson Thomas celebrated his 70th birthday, as well as his 20th year at the Symphony. He also presided over the opening of SoundBox, the nightclub-esque series in a rehearsal room at Davies Symphony Hall that has proved a runaway success with younger audiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After 2020, Tilson Thomas will transition to Music Director Laureate of the Symphony, conducting the orchestra for at least four weeks each season. \u003c/p>\n\u003cp>“Michael Tilson Thomas embodies the personality and the spirit of San Francisco,” said Sakurako Fisher, President of the San Francisco Symphony, in a statement. “Striving for excellence in all that he does, creative and curious in nature, inclusive of all, and adventurous in his thinking.”\u003c/p>\n\u003cp>A new Music Director for the Symphony has not been announced, although guest conductors who appear during the upcoming seasons may be eyed as potential candidates — no doubt with large shoes to fill.\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>Michael Tilson Thomas, the well-loved conductor of the San Francisco Symphony, will \u003ca href=\"https://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/MTT-Announcement.aspx\" rel=\"noopener\" target=\"_blank\">step down\u003c/a> from his role as Music Director in 2020, the Symphony announced Tuesday.\u003c/p>\n\u003cp>Tilson Thomas has been in the role since 1995, when he came to San Francisco as a respected figure in the classical music world with determination to present new works, fresh ideas for the concert experience, and an unwavering love of Mahler. All have helped define his tenure in San Francisco, which reads as a long list of awards, accolades, and achievements. \u003c/p>\n\u003cp>With over two dozen U.S. and international tours, and 44 releases on the symphony’s own record label, Tilson Thomas brought the music of the Symphony to a global audience. He also doggedly presented the music of 20th Century composers with the \u003cem>American Mavericks\u003c/em> series, and regularly worked alongside emerging composers in the Bay Area and beyond to perform new works.\u003c/p>\n\u003cfigure id=\"attachment_10217079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg\" alt=\"Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10217079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Looking back over these decades I am filled with gratitude for the extraordinary artistic partnership I have had with the members of the orchestra and for the warm and generous style of music making we have shared with all of our audiences,” Tilson Thomas said in a statement. “Having been a Music Director of an orchestra for most of my adult life and as I approach my 75th birthday, I feel this is an appropriate moment to set aside some of my administrative responsibilities and begin a new period of creative possibilities.”\u003c/p>\n\u003cp>In the past three years, Tilson Thomas celebrated his 70th birthday, as well as his 20th year at the Symphony. He also presided over the opening of SoundBox, the nightclub-esque series in a rehearsal room at Davies Symphony Hall that has proved a runaway success with younger audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The Do List's picks this week include Billy Bragg, Myra Melford, some twins on the feminist barricades, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "A Song of Passion and Delirium at the SF Symphony",
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"content": "\u003cp>Hector Berlioz’s \u003cem>Symphonie Fantastique\u003c/em> is a kind of frenzied valentine to an Irish actress he’d fallen in love with. Brokenhearted at the way she ignored his letters, he took a hefty dose of opium, and the music displays the brilliance of his passion and his opiated delirium. It’s performed by the San Francisco Symphony on \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" rel=\"noopener\" target=\"_blank\">Sept. 28, 30, and Oct. 1 at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>As my co-host Matias Tarnopolsky notes, SF Symphony Music Director Michael Tilson Thomas has conducted this psychedelic love song since his days leading the London Symphony Orchestra, and he knows just how to make it hum (and he knows how to talk about it, as he often does from the podium, and in his PBS \u003cem>Keeping Score \u003c/em>TV\u003cem> \u003c/em>series below). And about that frenzied valentine? Six years after Berlioz composed \u003cem>Symphonie Fantastique\u003c/em>, he married the object of his desire, Irish actress Harriet Smithson. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M3uCkVIGa2U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hector Berlioz’s \u003cem>Symphonie Fantastique\u003c/em> is a kind of frenzied valentine to an Irish actress he’d fallen in love with. Brokenhearted at the way she ignored his letters, he took a hefty dose of opium, and the music displays the brilliance of his passion and his opiated delirium. It’s performed by the San Francisco Symphony on \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" rel=\"noopener\" target=\"_blank\">Sept. 28, 30, and Oct. 1 at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>As my co-host Matias Tarnopolsky notes, SF Symphony Music Director Michael Tilson Thomas has conducted this psychedelic love song since his days leading the London Symphony Orchestra, and he knows just how to make it hum (and he knows how to talk about it, as he often does from the podium, and in his PBS \u003cem>Keeping Score \u003c/em>TV\u003cem> \u003c/em>series below). And about that frenzied valentine? Six years after Berlioz composed \u003cem>Symphonie Fantastique\u003c/em>, he married the object of his desire, Irish actress Harriet Smithson. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M3uCkVIGa2U'\n title='//www.youtube.com/embed/M3uCkVIGa2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Being shot and paralyzed from the waist down couldn’t stop \u003ca href=\"http://www.weslawhitfield.com/pages/info/bio.html\" target=\"_blank\" rel=\"noopener\">Wesla Whitfield’s\u003c/a> singing career. But after almost 50 years, health problems of another sort have forced the veteran cabaret singer to step away from the microphone.\u003c/p>\n\u003cp>Whitfield’s husband and longtime musical collaborator Mike Greensill announced her decision to retire from the stage in an email sent Wednesday morning, explaining that her voice has been affected by medication that the 69-year-old singer takes to deal with a persistent infection.\u003c/p>\n\u003cp>“She’s just not happy with her ability to sing up to her standards, so she has decided, reluctantly, that it’s time to hang it all up, concentrate on getting better and not have to worry about the energy needed for performing,” Greensill wrote.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY10Ew7RjKE\u003c/p>\n\u003cp>Born in Santa Maria, Whitfield began her singing career after she graduated from San Francisco Stage College. For four years in the mid ’70s, she sang soprano for the San Francisco Opera’s chorus. But after spending too many nights in the city’s sleazy piano bars, she fell in love with the Great American Songbook and gave up on her opera career. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She always said opera was about the voice, while the songs from the Great American Songbook were about the story,” Greensill says. “She always liked telling the story more than showing off.”\u003c/p>\n\u003cp>Whitfield then landed a job as a singing cocktail waitress, and performed at different venues until 1977, when she was shot. In an interview with the \u003ca href=\"http://articles.latimes.com/1999/apr/18/news/mn-28533\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, she said she was leaving her San Francisco rehearsal space when she was accosted by two boys. She walked away from them, and one of them pulled out a gun and shot her in the back. \u003c/p>\n\u003cp>“I heard a little popping sound,” she told the \u003cem>Times\u003c/em>. “I turned and fell down.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dqBi84-30KI\u003c/p>\n\u003cp>The shooting left her paralyzed from the waist down, confining her to a wheelchair for the rest of her life. She was 29.\u003c/p>\n\u003cp>Thinking her singing days were over, she went back to school for computer programming. But she was depressed, and what helped was returning to the stage. As she worked to regain her mobility, she began singing at small clubs around town. \u003c/p>\n\u003cp>It was at one of those small clubs where Greensill saw her. After her set, he offered to arrange songs and accompany her on piano. They started working together, and before long they were married. Both Whitfield and Greensill had been married twice before, but Greensill notes that when he met Whitfield, they had matured. Their marriage has lasted 30 years.\u003c/p>\n\u003cp>“Also, being a diva’s accompanist is great training for marriage,” Greensill says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxKvOhCAmHM\u003c/p>\n\u003cp>The combination of Whitfield’s voice and Greensill’s arrangements led to better and better gigs. Shows at the White House and Carnegie Hall, symphonic performances with Michael Tilson Thomas conducting, and even appearances on TV shows such as \u003cem>Regis and Kelly\u003c/em> and \u003cem>CBS Sunday Morning.\u003c/em> Before her retirement, the duo recorded and released 22 albums.\u003c/p>\n\u003cp>Greensill says the announcement was sad for Whitfield, but also a relief. The couple live in the North Bay and own Silo’s, a music club in Napa where they perform often. Whitfield didn’t like singing in front of audiences when her voice wasn’t in shape, and now Greensill says she doesn’t have that pressure on her anymore.\u003c/p>\n\u003cp>But Greensill also admits that there’s a possibility that Whitfield could get better and return to the stage.\u003c/p>\n\u003cp>“We all know Sinatra retired three times before he actually stopped singing,” Greensill says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She always said opera was about the voice, while the songs from the Great American Songbook were about the story,” Greensill says. “She always liked telling the story more than showing off.”\u003c/p>\n\u003cp>Whitfield then landed a job as a singing cocktail waitress, and performed at different venues until 1977, when she was shot. In an interview with the \u003ca href=\"http://articles.latimes.com/1999/apr/18/news/mn-28533\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, she said she was leaving her San Francisco rehearsal space when she was accosted by two boys. She walked away from them, and one of them pulled out a gun and shot her in the back. \u003c/p>\n\u003cp>“I heard a little popping sound,” she told the \u003cem>Times\u003c/em>. “I turned and fell down.” \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/dqBi84-30KI'\n title='//www.youtube.com/embed/dqBi84-30KI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shooting left her paralyzed from the waist down, confining her to a wheelchair for the rest of her life. She was 29.\u003c/p>\n\u003cp>Thinking her singing days were over, she went back to school for computer programming. But she was depressed, and what helped was returning to the stage. As she worked to regain her mobility, she began singing at small clubs around town. \u003c/p>\n\u003cp>It was at one of those small clubs where Greensill saw her. After her set, he offered to arrange songs and accompany her on piano. They started working together, and before long they were married. Both Whitfield and Greensill had been married twice before, but Greensill notes that when he met Whitfield, they had matured. Their marriage has lasted 30 years.\u003c/p>\n\u003cp>“Also, being a diva’s accompanist is great training for marriage,” Greensill says.\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/pxKvOhCAmHM'\n title='//www.youtube.com/embed/pxKvOhCAmHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The combination of Whitfield’s voice and Greensill’s arrangements led to better and better gigs. Shows at the White House and Carnegie Hall, symphonic performances with Michael Tilson Thomas conducting, and even appearances on TV shows such as \u003cem>Regis and Kelly\u003c/em> and \u003cem>CBS Sunday Morning.\u003c/em> Before her retirement, the duo recorded and released 22 albums.\u003c/p>\n\u003cp>Greensill says the announcement was sad for Whitfield, but also a relief. The couple live in the North Bay and own Silo’s, a music club in Napa where they perform often. Whitfield didn’t like singing in front of audiences when her voice wasn’t in shape, and now Greensill says she doesn’t have that pressure on her anymore.\u003c/p>\n\u003cp>But Greensill also admits that there’s a possibility that Whitfield could get better and return to the stage.\u003c/p>\n\u003cp>“We all know Sinatra retired three times before he actually stopped singing,” Greensill says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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