8 Great Classical Music Experiences in the Bay Area This Summer
Review: Festival Napa Valley Opens With a Recital Among the Vineyards
Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87
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"slug": "best-classical-music-concerts-opera-bay-area-summer-2025",
"title": "8 Great Classical Music Experiences in the Bay Area This Summer",
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"content": "\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n",
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"title": "Your Guide to Classical Music in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-festival-napa-valley-pretty-yende-jonathan-tetelman-yang-bao-charles-krug",
"title": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards",
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"headTitle": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards | KQED",
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"content": "\u003cp>On Friday evening, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. And, if you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics is matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened Friday’s set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amorosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Soprano Pretty Yende, tenor Jonathan Tetelman and composer Yang Bao opened the festival in a remarkably casual, accessible setting. ",
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"title": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards | KQED",
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"headline": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday evening, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. And, if you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics is matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened Friday’s set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amorosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87 | KQED",
"content": "\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>[aside postID='forum_201208101000']Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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