This East Bay Artist Proves ‘Opera Can Be Performed Anywhere’
Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced
At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks
A New Dolores Huerta Opera Brings a Labor Struggle to the Stage
At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’
An Opera Connects Immigrant Experiences from the 1940s to the Present
Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut
Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’
‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia
Sponsored
Player sponsored by
window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13983895": {
"type": "attachments",
"id": "arts_13983895",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13983895",
"found": true
},
"title": "Khaysie.crop",
"publishDate": 1763503430,
"status": "inherit",
"parent": 13983878,
"modified": 1763506656,
"caption": "Richmond tenor Khaysie wants to make opera more accessible — starting with where it's performed.",
"credit": "Cassandra Sanidad",
"altTag": "A man in sunglasses, a white vest and black shirt stands with his hands in front of him as he poses for a photo.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Khaysie.crop_-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Khaysie.crop_-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Khaysie.crop_-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Khaysie.crop_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Khaysie.crop_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Khaysie.crop_-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Khaysie.crop_.jpg",
"width": 1920,
"height": 1280
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13983650": {
"type": "attachments",
"id": "arts_13983650",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13983650",
"found": true
},
"title": "_37A3626",
"publishDate": 1762908653,
"status": "inherit",
"parent": 13983649,
"modified": 1762908696,
"caption": "A scene from ‘Siegfried’ in Francesca Zambello’s production of ‘The Ring of the Nibelung.’",
"credit": "Cory Weaver/San Francisco Opera ",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13983392": {
"type": "attachments",
"id": "arts_13983392",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13983392",
"found": true
},
"title": "_C0A2481",
"publishDate": 1762286399,
"status": "inherit",
"parent": 13983347,
"modified": 1762286888,
"caption": "Tanja Ariane Baumgartner as Kundry and Falk Struckmann as Klingsor in San Francisco Opera’s production of ‘Parsifal’ by Richard Wagner.",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13979212": {
"type": "attachments",
"id": "arts_13979212",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979212",
"found": true
},
"title": "_74A5434a (Priime Cobalt)",
"publishDate": 1753723056,
"status": "inherit",
"parent": 13979142,
"modified": 1753723152,
"caption": "Kelly Guerra stars as labor activist Dolores Huerta in ‘Dolores,’ which premieres at West Edge Opera on Aug. 2. ",
"credit": "Cory Weaver",
"altTag": "A Latina woman speaks into a bullhorn while wearing a cowboy hat.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-2000x1334.jpg",
"width": 2000,
"height": 1334,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-2000x1334.jpg",
"width": 2000,
"height": 1334,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-2048x1366.jpg",
"width": 2048,
"height": 1366,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-2000x1334.jpg",
"width": 2000,
"height": 1334,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/74A5434a-Priime-Cobalt-scaled.jpg",
"width": 2560,
"height": 1708
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13977306": {
"type": "attachments",
"id": "arts_13977306",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13977306",
"found": true
},
"title": "_74A0947",
"publishDate": 1749480812,
"status": "inherit",
"parent": 0,
"modified": 1749481113,
"caption": "Pene Pati as Rodolfo, Bogdan Talos as Colline, Samuel Kidd as Schaunard, and Lucas Meachem as Marcello in Puccini’s ‘La bohème.’",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": "Four men in 1800s clothes frolic and laugh at an old wooden table",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13971811": {
"type": "attachments",
"id": "arts_13971811",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13971811",
"found": true
},
"title": "293856322_10160078794117114_8950989765050861662_n",
"publishDate": 1739399714,
"status": "inherit",
"parent": 13971719,
"modified": 1739400016,
"caption": "A scene from ‘Both Eyes Open' at the Presidio Theatre in San Francisco in 2022.",
"credit": "Terry Lorant Photography",
"altTag": "woman and man shake hands on stage under large ID images projected behind them",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-800x533.jpeg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-1020x680.jpeg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-160x107.jpeg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-768x512.jpeg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-1536x1024.jpeg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n-1920x1280.jpeg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/293856322_10160078794117114_8950989765050861662_n.jpeg",
"width": 2048,
"height": 1365
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13971373": {
"type": "attachments",
"id": "arts_13971373",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13971373",
"found": true
},
"title": "lise.davidsen.main",
"publishDate": 1738784730,
"status": "inherit",
"parent": 13971370,
"modified": 1738784851,
"caption": "Pianist Malcolm Martineau and soprano Lise Davidsen perform at Zellerbach Hall in Berkeley on Feb. 4, 2025.",
"credit": "Katie Ravas for Drew Alitzer Photography",
"altTag": "A woman in a charcoal floor length dress sings while a man in silhouette plays a grand piano",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.main_.jpg",
"width": 2000,
"height": 1125
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13968741": {
"type": "attachments",
"id": "arts_13968741",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13968741",
"found": true
},
"title": "maria",
"publishDate": 1732727076,
"status": "inherit",
"parent": 13968738,
"modified": 1732727164,
"caption": "Angelina Jolie as Maria Callas in a scene from ‘Maria.’",
"credit": "Pablo Larrain/Netflix via AP",
"altTag": "A slender woman viewed from behind, stands on a stage wearing a sheer cape in front of a spotlight.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-800x512.png",
"width": 800,
"height": 512,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-1020x653.png",
"width": 1020,
"height": 653,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-160x102.png",
"width": 160,
"height": 102,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-768x492.png",
"width": 768,
"height": 492,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-1536x983.png",
"width": 1536,
"height": 983,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria-1920x1229.png",
"width": 1920,
"height": 1229,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maria.png",
"width": 2000,
"height": 1280
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13964284": {
"type": "attachments",
"id": "arts_13964284",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13964284",
"found": true
},
"title": "_75A4799",
"publishDate": 1726504908,
"status": "inherit",
"parent": 13963879,
"modified": 1726504997,
"caption": "Irene Roberts as Offred in Poul Ruders and Paul Bentley's 'The Handmaid's Tale.'",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A4799.jpg",
"width": 1920,
"height": 1080
}
},
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"byline_arts_13968738": {
"type": "authors",
"id": "byline_arts_13968738",
"meta": {
"override": true
},
"slug": "byline_arts_13968738",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "gmeline",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> will be published by City Lights in Spring 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"sfaulise": {
"type": "authors",
"id": "11919",
"meta": {
"index": "authors_1716337520",
"id": "11919",
"found": true
},
"name": "Shannon Faulise",
"firstName": "Shannon",
"lastName": "Faulise",
"slug": "sfaulise",
"email": "sfaulise@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Editorial Intern",
"bio": "Shannon Faulise is an Arts & Culture Intern at KQED. She is a graduate of the UC Berkeley Graduate School of Journalism, where she concentrated on photojournalism and feature writing. Shannon's photos, audio pieces and written stories have appeared in The Oaklandside, The Redwood City Pulse and KALX. Outside of reporting, Shannon loves kpop, women's sports and concerts.",
"avatar": "https://secure.gravatar.com/avatar/febc963f05f7504cabb0e9d0c9b8aa4e?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": []
}
],
"headData": {
"title": "Shannon Faulise | KQED",
"description": "Editorial Intern",
"ogImgSrc": "https://secure.gravatar.com/avatar/febc963f05f7504cabb0e9d0c9b8aa4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/febc963f05f7504cabb0e9d0c9b8aa4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sfaulise"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13983878": {
"type": "posts",
"id": "arts_13983878",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983878",
"score": null,
"sort": [
1763511637000
]
},
"guestAuthors": [],
"slug": "khaysie-opera-singer-hip-hop-richmond",
"title": "This East Bay Artist Proves ‘Opera Can Be Performed Anywhere’",
"publishDate": 1763511637,
"format": "aside",
"headTitle": "This East Bay Artist Proves ‘Opera Can Be Performed Anywhere’ | KQED",
"labelTerm": {},
"content": "\u003cfigure id=\"attachment_13983887\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777.jpeg\" alt=\"A man in sunglasses, a white vest and black shirt stands with his hands in front of him as he poses for a photo.\" width=\"1920\" height=\"1930\" class=\"size-full wp-image-13983887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777-160x161.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777-768x772.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777-1528x1536.jpeg 1528w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Richmond tenor Khaysie wants to make opera more accessible — starting with where it’s performed. \u003ccite>(Cassandra Sanidad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As famed streamer and influencer \u003ca href=\"https://www.youtube.com/watch?v=gVkTeXBuweY\">IShowSpeed\u003c/a> stood atop the roof of \u003ca href=\"https://www.kqed.org/arts/13979306/hyphy-burger-grand-opening-west-oakland-guapdad\">Hyphy Burger\u003c/a> in September, millions of fans from around the world tuned in. Hundreds more stood on the streets of West Oakland below. \u003c/p>\n\u003cp>And in the midst of people screaming, cars swinging and tires screeching, someone started singing opera. A tenor, to be exact. \u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/p/DPDWuMBDkcK/\">I tried to get his attention\u003c/a>,” says Richmond vocalist and musician \u003ca href=\"https://www.instagram.com/thekhaysie/\">Khaysie\u003c/a>, who was hoping to grab some of IShowSpeed’s limelight. “But there were just a lot of people present.” \u003c/p>\n\u003cp>[aside postID='arts_13979306']He momentarily gave up, driving home to Richmond before tuning back into IShowSpeed’s live stream and realizing the influencer had made another stop, at the Guitar Center in Emeryville.\u003c/p>\n\u003cp>Again Khaysie pulled up, attempting to showcase his talents. Again he was overlooked. But this time, now after midnight, he joined the fleet of 50-plus cars following IShowSpeed’s tour bus to the South Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the wee hours of the morning, outside of a robotics company in Palo Alto, Khaysie saw a window of opportunity when IShowSpeed exited his tour bus — and the cameras were pointed in his direction.\u003c/p>\n\u003cfigure id=\"attachment_13983888\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-scaled.jpeg\" alt=\"A man on one knee, holding a microphone while singing on stage. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-1365x2048.jpeg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Khaysie says he was attracted to opera once he realized how could tap into his emotions while performing. \u003ccite>(Ramon - Duality Visualz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s when I sang the classic ‘Ave Maria,’” he says, understating how he dominated the airwaves by belting notes from the opera staple. “And that’s why (IShowSpeed) reacted. He was like, \u003ca href=\"https://www.instagram.com/p/DPEdRk8EXMu/\">‘What the hell\u003c/a>?!’”\u003c/p>\n\u003cp>Because IShowSpeed’s following is so massive, that brief glimpse of attention opened doors for the 32-year-old artist, who’s pursued music since he was 10. \u003c/p>\n\u003cp>In the weeks since, Khaysie has been interviewed on\u003cem> \u003ca href=\"https://www.instagram.com/p/DPk3eKjgOr1/\">99.7 NOW FM\u003c/a>\u003c/em> and\u003ca href=\"https://www.instagram.com/p/DPkPWziEgUi/?img_index=1\">\u003cem> La Kaliente 1370 AM\u003c/em>,\u003c/a> and \u003ca href=\"https://www.tiktok.com/@sanfranciscolives/video/7555300748553211167\">hosted the dumpling eating contest\u003c/a> at this year’s San Francisco Moon Festival.\u003c/p>\n\u003cp>[aside postID='arts_13983779']This coming weekend, Khaysie will perform in San Francisco at the \u003ca href=\"https://fridapeople.com/\">Frida People collective’s\u003c/a> fall \u003ca href=\"https://www.eventbrite.com/e/gathering-light-tending-the-inner-flame-hosted-by-frida-people-collective-tickets-1874341880019?aff=oddtdtcreator&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnD2mYdcG-jYMR83AMpcNKO3ElQHwNkkXZjS69g2c-UVGrfVHqmNFZYdum9ng_aem_5s96l-qSqkx5sSbsJ26yBg\">“Gathering Light” event\u003c/a>, an in-person and livestreamed performance with a focus on the healing power of art.\u003c/p>\n\u003cp>Frida People founder \u003ca href=\"https://www.instagram.com/missanaqu/\">Ana Quiñonez \u003c/a>and Oakland journalist \u003ca href=\"https://www.kalw.org/people/kristal-raheem?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnDtGKBo-Vwtht1DJw2crrpWzkr6Xr1_TGoSfXLEsQjNXGs73z-tp4j6IByGM_aem_A5GftaEd-QqdfMD5yQR0gw\">Kristal Raheem\u003c/a> will co-host the event and lead a discussion about tending to one’s “inner flame.” The evening also features performances by San Francisco rapper and singer \u003ca href=\"https://www.instagram.com/kaly_incognegreaux/\">Kaly Jay\u003c/a>, East Oakland R&B artist \u003ca href=\"https://www.instagram.com/kenyatta2saucey/\">Kenyatta \u003c/a>and more.\u003c/p>\n\u003cp>Khaysie is approaching Friday’s show the same way he approaches other gigs; opting for street clothes instead of the expected black suit and tie of an opera singer.\u003c/p>\n\u003cp>“I want people to think that opera can be performed anywhere,” he says. “You don’t have to look a certain way… When people hear my voice they’re gonna be like, ‘What the heck?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2t0FVrJCNXM\u003c/p>\n\u003cp>Khaysie also plans to give audience members a sample of a hip-hopera he’s been working on. Without going too deep into detail, Khaysie says his work differs from MTV’s 2001 \u003cem>Carmen: A Hip Hopera \u003c/em>(with Beyoncé and Mos Def), as well as theatrical treatments of hip-hop like R. Kelly’s \u003cem>Trapped In The Closet\u003c/em> saga and the award-winning musical \u003cem>Hamilton\u003c/em>. \u003c/p>\n\u003cp>Instead of a corny remix of \u003cem>The Marriage of Figaro\u003c/em> sped up to sound contemporary, Khaysie says he’s creating something that’s “authentically hip-hop” with sincere storytelling and entertaining instrumentation; a piece that conveys the range of emotions he’s seen other opera singers display.\u003c/p>\n\u003cp>At age 16, Khaysie, who came up with through the \u003ca href=\"https://www.youngmusiciansco.org/\">Young Musicians Coral Orchestra\u003c/a>, got a taste of opera’s power when famed tenor \u003ca href=\"https://www.kennedy-center.org/artists/d/da-dn/rodrick-dixon/\">Rodrick Dixon\u003c/a> visited UC Berkeley.\u003c/p>\n\u003cp>In front of the audience, Dixon asked Khaysie to present a piece. \u003c/p>\n\u003cp>“And when I finished my operatic song,” he recalls, “he asked me, why do I want to sing opera?'” Khaysie replied that the art form allows him to fully express himself and tap into his emotions. \u003c/p>\n\u003cp>Dixon countered, “So why didn’t you do that?”\u003c/p>\n\u003cp>Caught off guard, Khaysie stepped back as Dixon took to the stage and gave a short performance of his own. “When I looked into his eyes,” recalls Khaysie, “I could see the raw emotion that he sang in each and every note. His voice was so powerful that it shook my body.”\u003c/p>\n\u003cp>Khaysie’s tears flowed as Dixon asked if he truly wanted to commit to the craft. “At that point I was sold,” says Khaysie, who went on to obtain a vocal performance degree with a focus on opera from the \u003ca href=\"https://www.michigandaily.com/uncategorized/chris-sanchez/\">University of Michigan\u003c/a>.\u003c/p>\n\u003cp>Since graduating nearly 10 years ago, he’s experienced the roller coaster that comes with being an artist of any sort: periodic lulls, followed by reminders of the fire inside. “Each time that I try to run away from music,” he says, “music always found me.” \u003c/p>\n\u003cp>He’s explored different types of music, composing R&B, soul, reggaeton and dembow songs. He’s also performed on traditional concert stages with \u003ca href=\"https://www.westedgeopera.org/\">West Edge Opera\u003c/a>, the \u003ca href=\"https://music.berkeley.edu/performance-ensembles/uc-berkeley-chamber-chorus\">UC Berkeley Chamber Chorus\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=rLSpiwMub2k\">Golden Gate Symphony Orchestra & Chorus \u003c/a>at the Palace of Fine Arts.\u003c/p>\n\u003cp>Working as an a elementary school teacher in Richmond, Khaysie practices mindfulness with his students throughout the day, and attributes his recent success to healing his own inner child and getting reacquainted with his faith in God.\u003c/p>\n\u003cp>A churchgoer as a kid in the East Bay, he strayed after college but recently found his way back. With that came renewed confidence. \u003c/p>\n\u003cp>Now, he affirms, “I’m going to use music to serve a bigger purpose, to inspire people and to use my voice for positive impact.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Khaysie performs as part of Frida People collective’s \u003ca href=\"https://www.eventbrite.com/e/gathering-light-tending-the-inner-flame-hosted-by-frida-people-collective-tickets-1874341880019\">‘Gathering Light’ event\u003c/a> on Friday, Nov. 22, at KALW (220 Montgomery St., San Francisco). \u003ca href=\"https://www.eventbrite.com/e/gathering-light-tending-the-inner-flame-hosted-by-frida-people-collective-tickets-1874341880019\">Check here for tickets and more information\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "For Khaysie, opera shouldn't be confined to the concert stage. The drive-thru? The hardware store? Why not?",
"status": "publish",
"parent": 0,
"modified": 1763511637,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 1061
},
"headData": {
"title": "This East Bay Artist Proves ‘Opera Can Be Performed Anywhere’ | KQED",
"description": "For Khaysie, opera shouldn't be confined to the concert stage. The drive-thru? The hardware store? Why not?",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This East Bay Artist Proves ‘Opera Can Be Performed Anywhere’",
"datePublished": "2025-11-18T16:20:37-08:00",
"dateModified": "2025-11-18T16:20:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13983878",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "Richmond opera singer Khaysie is hellbent on making the genre more accessible. ",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983878/khaysie-opera-singer-hip-hop-richmond",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13983887\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777.jpeg\" alt=\"A man in sunglasses, a white vest and black shirt stands with his hands in front of him as he poses for a photo.\" width=\"1920\" height=\"1930\" class=\"size-full wp-image-13983887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777-160x161.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777-768x772.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_1554-scaled-e1763498850777-1528x1536.jpeg 1528w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Richmond tenor Khaysie wants to make opera more accessible — starting with where it’s performed. \u003ccite>(Cassandra Sanidad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As famed streamer and influencer \u003ca href=\"https://www.youtube.com/watch?v=gVkTeXBuweY\">IShowSpeed\u003c/a> stood atop the roof of \u003ca href=\"https://www.kqed.org/arts/13979306/hyphy-burger-grand-opening-west-oakland-guapdad\">Hyphy Burger\u003c/a> in September, millions of fans from around the world tuned in. Hundreds more stood on the streets of West Oakland below. \u003c/p>\n\u003cp>And in the midst of people screaming, cars swinging and tires screeching, someone started singing opera. A tenor, to be exact. \u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/p/DPDWuMBDkcK/\">I tried to get his attention\u003c/a>,” says Richmond vocalist and musician \u003ca href=\"https://www.instagram.com/thekhaysie/\">Khaysie\u003c/a>, who was hoping to grab some of IShowSpeed’s limelight. “But there were just a lot of people present.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13979306",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>He momentarily gave up, driving home to Richmond before tuning back into IShowSpeed’s live stream and realizing the influencer had made another stop, at the Guitar Center in Emeryville.\u003c/p>\n\u003cp>Again Khaysie pulled up, attempting to showcase his talents. Again he was overlooked. But this time, now after midnight, he joined the fleet of 50-plus cars following IShowSpeed’s tour bus to the South Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the wee hours of the morning, outside of a robotics company in Palo Alto, Khaysie saw a window of opportunity when IShowSpeed exited his tour bus — and the cameras were pointed in his direction.\u003c/p>\n\u003cfigure id=\"attachment_13983888\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-scaled.jpeg\" alt=\"A man on one knee, holding a microphone while singing on stage. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0342-1365x2048.jpeg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Khaysie says he was attracted to opera once he realized how could tap into his emotions while performing. \u003ccite>(Ramon - Duality Visualz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s when I sang the classic ‘Ave Maria,’” he says, understating how he dominated the airwaves by belting notes from the opera staple. “And that’s why (IShowSpeed) reacted. He was like, \u003ca href=\"https://www.instagram.com/p/DPEdRk8EXMu/\">‘What the hell\u003c/a>?!’”\u003c/p>\n\u003cp>Because IShowSpeed’s following is so massive, that brief glimpse of attention opened doors for the 32-year-old artist, who’s pursued music since he was 10. \u003c/p>\n\u003cp>In the weeks since, Khaysie has been interviewed on\u003cem> \u003ca href=\"https://www.instagram.com/p/DPk3eKjgOr1/\">99.7 NOW FM\u003c/a>\u003c/em> and\u003ca href=\"https://www.instagram.com/p/DPkPWziEgUi/?img_index=1\">\u003cem> La Kaliente 1370 AM\u003c/em>,\u003c/a> and \u003ca href=\"https://www.tiktok.com/@sanfranciscolives/video/7555300748553211167\">hosted the dumpling eating contest\u003c/a> at this year’s San Francisco Moon Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13983779",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This coming weekend, Khaysie will perform in San Francisco at the \u003ca href=\"https://fridapeople.com/\">Frida People collective’s\u003c/a> fall \u003ca href=\"https://www.eventbrite.com/e/gathering-light-tending-the-inner-flame-hosted-by-frida-people-collective-tickets-1874341880019?aff=oddtdtcreator&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnD2mYdcG-jYMR83AMpcNKO3ElQHwNkkXZjS69g2c-UVGrfVHqmNFZYdum9ng_aem_5s96l-qSqkx5sSbsJ26yBg\">“Gathering Light” event\u003c/a>, an in-person and livestreamed performance with a focus on the healing power of art.\u003c/p>\n\u003cp>Frida People founder \u003ca href=\"https://www.instagram.com/missanaqu/\">Ana Quiñonez \u003c/a>and Oakland journalist \u003ca href=\"https://www.kalw.org/people/kristal-raheem?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnDtGKBo-Vwtht1DJw2crrpWzkr6Xr1_TGoSfXLEsQjNXGs73z-tp4j6IByGM_aem_A5GftaEd-QqdfMD5yQR0gw\">Kristal Raheem\u003c/a> will co-host the event and lead a discussion about tending to one’s “inner flame.” The evening also features performances by San Francisco rapper and singer \u003ca href=\"https://www.instagram.com/kaly_incognegreaux/\">Kaly Jay\u003c/a>, East Oakland R&B artist \u003ca href=\"https://www.instagram.com/kenyatta2saucey/\">Kenyatta \u003c/a>and more.\u003c/p>\n\u003cp>Khaysie is approaching Friday’s show the same way he approaches other gigs; opting for street clothes instead of the expected black suit and tie of an opera singer.\u003c/p>\n\u003cp>“I want people to think that opera can be performed anywhere,” he says. “You don’t have to look a certain way… When people hear my voice they’re gonna be like, ‘What the heck?'”\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/2t0FVrJCNXM'\n title='//www.youtube.com/embed/2t0FVrJCNXM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Khaysie also plans to give audience members a sample of a hip-hopera he’s been working on. Without going too deep into detail, Khaysie says his work differs from MTV’s 2001 \u003cem>Carmen: A Hip Hopera \u003c/em>(with Beyoncé and Mos Def), as well as theatrical treatments of hip-hop like R. Kelly’s \u003cem>Trapped In The Closet\u003c/em> saga and the award-winning musical \u003cem>Hamilton\u003c/em>. \u003c/p>\n\u003cp>Instead of a corny remix of \u003cem>The Marriage of Figaro\u003c/em> sped up to sound contemporary, Khaysie says he’s creating something that’s “authentically hip-hop” with sincere storytelling and entertaining instrumentation; a piece that conveys the range of emotions he’s seen other opera singers display.\u003c/p>\n\u003cp>At age 16, Khaysie, who came up with through the \u003ca href=\"https://www.youngmusiciansco.org/\">Young Musicians Coral Orchestra\u003c/a>, got a taste of opera’s power when famed tenor \u003ca href=\"https://www.kennedy-center.org/artists/d/da-dn/rodrick-dixon/\">Rodrick Dixon\u003c/a> visited UC Berkeley.\u003c/p>\n\u003cp>In front of the audience, Dixon asked Khaysie to present a piece. \u003c/p>\n\u003cp>“And when I finished my operatic song,” he recalls, “he asked me, why do I want to sing opera?'” Khaysie replied that the art form allows him to fully express himself and tap into his emotions. \u003c/p>\n\u003cp>Dixon countered, “So why didn’t you do that?”\u003c/p>\n\u003cp>Caught off guard, Khaysie stepped back as Dixon took to the stage and gave a short performance of his own. “When I looked into his eyes,” recalls Khaysie, “I could see the raw emotion that he sang in each and every note. His voice was so powerful that it shook my body.”\u003c/p>\n\u003cp>Khaysie’s tears flowed as Dixon asked if he truly wanted to commit to the craft. “At that point I was sold,” says Khaysie, who went on to obtain a vocal performance degree with a focus on opera from the \u003ca href=\"https://www.michigandaily.com/uncategorized/chris-sanchez/\">University of Michigan\u003c/a>.\u003c/p>\n\u003cp>Since graduating nearly 10 years ago, he’s experienced the roller coaster that comes with being an artist of any sort: periodic lulls, followed by reminders of the fire inside. “Each time that I try to run away from music,” he says, “music always found me.” \u003c/p>\n\u003cp>He’s explored different types of music, composing R&B, soul, reggaeton and dembow songs. He’s also performed on traditional concert stages with \u003ca href=\"https://www.westedgeopera.org/\">West Edge Opera\u003c/a>, the \u003ca href=\"https://music.berkeley.edu/performance-ensembles/uc-berkeley-chamber-chorus\">UC Berkeley Chamber Chorus\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=rLSpiwMub2k\">Golden Gate Symphony Orchestra & Chorus \u003c/a>at the Palace of Fine Arts.\u003c/p>\n\u003cp>Working as an a elementary school teacher in Richmond, Khaysie practices mindfulness with his students throughout the day, and attributes his recent success to healing his own inner child and getting reacquainted with his faith in God.\u003c/p>\n\u003cp>A churchgoer as a kid in the East Bay, he strayed after college but recently found his way back. With that came renewed confidence. \u003c/p>\n\u003cp>Now, he affirms, “I’m going to use music to serve a bigger purpose, to inspire people and to use my voice for positive impact.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Khaysie performs as part of Frida People collective’s \u003ca href=\"https://www.eventbrite.com/e/gathering-light-tending-the-inner-flame-hosted-by-frida-people-collective-tickets-1874341880019\">‘Gathering Light’ event\u003c/a> on Friday, Nov. 22, at KALW (220 Montgomery St., San Francisco). \u003ca href=\"https://www.eventbrite.com/e/gathering-light-tending-the-inner-flame-hosted-by-frida-people-collective-tickets-1874341880019\">Check here for tickets and more information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983878/khaysie-opera-singer-hip-hop-richmond",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_22596",
"arts_763",
"arts_2479",
"arts_585"
],
"featImg": "arts_13983895",
"label": "source_arts_13983878"
},
"arts_13983649": {
"type": "posts",
"id": "arts_13983649",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983649",
"score": null,
"sort": [
1762910502000
]
},
"guestAuthors": [],
"slug": "the-ring-sf-opera-2028-casting-dates-wagner",
"title": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced",
"publishDate": 1762910502,
"format": "standard",
"headTitle": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s official — \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> is bringing back \u003cem>The Ring\u003c/em>.\u003c/p>\n\u003cp>Richard Wagner’s monumental four-part, 15-hour opera cycle will return to the War Memorial Opera House in June 2028. Directed by Francesca Zambello and conducted by Eun Sun Kim, the full \u003cem>Ring of the Nibelung\u003c/em> cycle will be performed three complete times — exactly 10 years after \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hoursof-opera\">the production was last staged at San Francisco Opera\u003c/a>, in 2018. \u003c/p>\n\u003cp>The principal cast includes Tamara Wilson making her company debut as Brünnhilde. Brian Mulligan, currently performing as Amfortas in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13983347/parsifal-sf-opera-review\">Parsifal\u003c/a>\u003c/em> at the War Memorial Opera House, is cast as Wotan. (Mulligan performed as both Donner and Gunther in SF Opera’s 2018 production of the \u003cem>Ring\u003c/em>.) Simon O’Neill, recently seen onstage in San Francisco as Tristan in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967202/review-tristan-and-isolde-sf-opera\">Tristan un Isolde\u003c/a>\u003c/em>, will perform the role of Seigfried. \u003c/p>\n\u003cfigure id=\"attachment_13983651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13983651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera’s 2028 cycles of Wagner’s ‘Ring’ will be conducted by Eun Sun Kim and directed by Francesca Zambello (L–R). \u003ccite>(Cody Pickens/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This will mark Eun Sun Kim’s first time conducting the full \u003cem>Ring\u003c/em> cycle. As a lead-in, she will conduct its four parts separately: \u003cem>Das Rheingold\u003c/em> in June 2027, \u003cem>Die Walküre\u003c/em> in the fall of 2027, and \u003cem>Siegfried\u003c/em> and \u003cem>Götterdämmerung\u003c/em> in the spring of 2028 before the rotation of full cycles. (Kim has undertaken an initiative to conduct Wagner in each season, \u003ca href=\"https://frontrow.sfopera.com/details/25132\">starting with \u003cem>Lohengrin\u003c/em> in 2023\u003c/a>.) The chorus director will be John Keene.\u003c/p>\n\u003cp>As in previous stagings of \u003cem>The Ring\u003c/em> in 2011 and 2018, San Francisco Opera plans a Ring Festival with ancillary programming around the performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dates of the three \u003cem>Ring\u003c/em> cycles in 2028 are June 13–18, June 20–26 and June 27–July 2. Tickets go on sale Oct. 13, 2026 to Ring Circle members, 2026–27 subscribers and higher-level donors; tickets to the general public go on sale in July 2027. \u003ca href=\"https://www.sfopera.com/operas/ring-cycle/\">Ticket information and more details here\u003c/a>. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Three full cycles of Francesca Zambello’s acclaimed production will be conducted by Eun Sun Kim in San Francisco.",
"status": "publish",
"parent": 0,
"modified": 1762911018,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 347
},
"headData": {
"title": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced | KQED",
"description": "Three full cycles of Francesca Zambello’s acclaimed production will be conducted by Eun Sun Kim in San Francisco.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced",
"datePublished": "2025-11-11T17:21:42-08:00",
"dateModified": "2025-11-11T17:30:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13983649",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983649/the-ring-sf-opera-2028-casting-dates-wagner",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s official — \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> is bringing back \u003cem>The Ring\u003c/em>.\u003c/p>\n\u003cp>Richard Wagner’s monumental four-part, 15-hour opera cycle will return to the War Memorial Opera House in June 2028. Directed by Francesca Zambello and conducted by Eun Sun Kim, the full \u003cem>Ring of the Nibelung\u003c/em> cycle will be performed three complete times — exactly 10 years after \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hoursof-opera\">the production was last staged at San Francisco Opera\u003c/a>, in 2018. \u003c/p>\n\u003cp>The principal cast includes Tamara Wilson making her company debut as Brünnhilde. Brian Mulligan, currently performing as Amfortas in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13983347/parsifal-sf-opera-review\">Parsifal\u003c/a>\u003c/em> at the War Memorial Opera House, is cast as Wotan. (Mulligan performed as both Donner and Gunther in SF Opera’s 2018 production of the \u003cem>Ring\u003c/em>.) Simon O’Neill, recently seen onstage in San Francisco as Tristan in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967202/review-tristan-and-isolde-sf-opera\">Tristan un Isolde\u003c/a>\u003c/em>, will perform the role of Seigfried. \u003c/p>\n\u003cfigure id=\"attachment_13983651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13983651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera’s 2028 cycles of Wagner’s ‘Ring’ will be conducted by Eun Sun Kim and directed by Francesca Zambello (L–R). \u003ccite>(Cody Pickens/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This will mark Eun Sun Kim’s first time conducting the full \u003cem>Ring\u003c/em> cycle. As a lead-in, she will conduct its four parts separately: \u003cem>Das Rheingold\u003c/em> in June 2027, \u003cem>Die Walküre\u003c/em> in the fall of 2027, and \u003cem>Siegfried\u003c/em> and \u003cem>Götterdämmerung\u003c/em> in the spring of 2028 before the rotation of full cycles. (Kim has undertaken an initiative to conduct Wagner in each season, \u003ca href=\"https://frontrow.sfopera.com/details/25132\">starting with \u003cem>Lohengrin\u003c/em> in 2023\u003c/a>.) The chorus director will be John Keene.\u003c/p>\n\u003cp>As in previous stagings of \u003cem>The Ring\u003c/em> in 2011 and 2018, San Francisco Opera plans a Ring Festival with ancillary programming around the performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dates of the three \u003cem>Ring\u003c/em> cycles in 2028 are June 13–18, June 20–26 and June 27–July 2. Tickets go on sale Oct. 13, 2026 to Ring Circle members, 2026–27 subscribers and higher-level donors; tickets to the general public go on sale in July 2027. \u003ca href=\"https://www.sfopera.com/operas/ring-cycle/\">Ticket information and more details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983649/the-ring-sf-opera-2028-casting-dates-wagner",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_967"
],
"tags": [
"arts_10278",
"arts_763",
"arts_1071",
"arts_3316",
"arts_22171"
],
"featImg": "arts_13983650",
"label": "arts"
},
"arts_13983347": {
"type": "posts",
"id": "arts_13983347",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983347",
"score": null,
"sort": [
1762289028000
]
},
"guestAuthors": [],
"slug": "parsifal-sf-opera-review",
"title": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks",
"publishDate": 1762289028,
"format": "standard",
"headTitle": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks | KQED",
"labelTerm": {},
"content": "\u003cp>It is a minor shame that the tremendous \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> staging of Richard Wagner’s \u003cem>Parsifal\u003c/em>, currently running at the \u003ca href=\"https://www.kqed.org/arts/tag/war-memorial-opera-house\">War Memorial Opera House\u003c/a>, had but one Sunday matinee performance. I can’t answer the long-running question about \u003cem>Parsifal\u003c/em> being a Christian opera or not, but seeing it this past Sunday returned me to those long hours of my religious upbringing, spent in pews and listening to sermons on compassion, suffering and redemption. \u003c/p>\n\u003cp>At church, as a child, I couldn’t have been more bored. At the opera house, watching this marvelous production unfold over the course of five hours, I couldn’t have been more transfixed. Under the direction of Matthew Ozawa, whether you’re a diehard Wagnerite or a casual operagoer, this production of \u003cem>Parsifal\u003c/em> is something special; an experience that’ll stop you dead in your tracks.\u003c/p>\n\u003cfigure id=\"attachment_13983393\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13983393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal in San Francisco Opera’s new production of ‘Parsifal’ by Richard Wagner.\u003c/figcaption>\u003c/figure>\n\u003cp>The storyline is simple enough. Parsifal, a wide-eyed fool (played expertly by Brandon Jovanovich), encounters the knights of the Holy Grail and finds King Amfortas (a perfectly anguished Brian Mulligan) suffering. Amfortas’ wound has refused to heal after the outlaw Klingsor (a booming Falk Struckmann) stabbed him with the Holy Spear, which he stole when the temptress Kundry (a beguiling Tanja Ariane Baumgartner) seduced Amfortas.\u003c/p>\n\u003cp>Creative use of fog makes Act II a feast for the eyes, along with a parade of nearly three dozen flowermaidens, all vying for Parsifal’s affections. When Kundry tempts Parsifal, he is transformed into a compassionate deep thinker who recovers the spear from Klingsor but is cursed by Kundry to wander, hopelessly, for years.\u003c/p>\n\u003cfigure id=\"attachment_13983389\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal, at right, in Act II of San Francisco Opera’s production of ‘Parsifal’ by Richard Wagner. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Parsifal\u003c/em> is often characterized as a marathon. But more than four hours in, I didn’t count any newly empty seats around me at the start of Act III, when the welcome return on stage of the knight Gurnemanz (an exceptional Kwangchul Youn) set off the riveting finale in the sanctuary of the Holy Grail.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No aspect of this opera comes up short. Start with the top-notch singing, which is wonderful from the starring roles to the chorus. The dual-turntable set, spinning in opposite directions, is creative and evocative. Under Eun Sun Kim’s baton, the orchestra soars. The casting and costumes are perfect. The lighting, even, subtly provides just the right feeling of the slow passage of time. The whole of it felt new and alive; I kept recalling the set, wardrobe and pacing of Kanye West’s \u003ca href=\"https://www.vibe.com/gallery/25-photos-kanye-wests-yeezus-tour-opener/kanye-west-yeezus-tour-0/\">ambitiously staged Yeezus tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13983390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Act III of San Francisco Opera’s new production of Wagner’s ‘Parsifal.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But just like a church service, the richness in \u003cem>Parsifal\u003c/em> is in what’s not there, and what falls to internal contemplation. Is compassion inherently selfish, since it reflects well on one exercising it? Can the poison causing our sorrow ever serve also as the antidote? Can one ever know the true source of salvation, or must it be unintentionally discovered?\u003c/p>\n\u003cp>Sitting with these thoughts, and with the sensory delights of this \u003cem>Parsifal\u003c/em> on stage, let me tell you: Five hours flies right by. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Parsifal’ runs for two more performances, on Friday, Nov. 7 and Thursday, Nov. 13, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/parsifal/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The five-hour experience flies right by with impeccable casting, sensory delights and solemn themes. ",
"status": "publish",
"parent": 0,
"modified": 1762298399,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 604
},
"headData": {
"title": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks | KQED",
"description": "The five-hour experience flies right by with impeccable casting, sensory delights and solemn themes. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks",
"datePublished": "2025-11-04T12:43:48-08:00",
"dateModified": "2025-11-04T15:19:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13983347",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983347/parsifal-sf-opera-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is a minor shame that the tremendous \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> staging of Richard Wagner’s \u003cem>Parsifal\u003c/em>, currently running at the \u003ca href=\"https://www.kqed.org/arts/tag/war-memorial-opera-house\">War Memorial Opera House\u003c/a>, had but one Sunday matinee performance. I can’t answer the long-running question about \u003cem>Parsifal\u003c/em> being a Christian opera or not, but seeing it this past Sunday returned me to those long hours of my religious upbringing, spent in pews and listening to sermons on compassion, suffering and redemption. \u003c/p>\n\u003cp>At church, as a child, I couldn’t have been more bored. At the opera house, watching this marvelous production unfold over the course of five hours, I couldn’t have been more transfixed. Under the direction of Matthew Ozawa, whether you’re a diehard Wagnerite or a casual operagoer, this production of \u003cem>Parsifal\u003c/em> is something special; an experience that’ll stop you dead in your tracks.\u003c/p>\n\u003cfigure id=\"attachment_13983393\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13983393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal in San Francisco Opera’s new production of ‘Parsifal’ by Richard Wagner.\u003c/figcaption>\u003c/figure>\n\u003cp>The storyline is simple enough. Parsifal, a wide-eyed fool (played expertly by Brandon Jovanovich), encounters the knights of the Holy Grail and finds King Amfortas (a perfectly anguished Brian Mulligan) suffering. Amfortas’ wound has refused to heal after the outlaw Klingsor (a booming Falk Struckmann) stabbed him with the Holy Spear, which he stole when the temptress Kundry (a beguiling Tanja Ariane Baumgartner) seduced Amfortas.\u003c/p>\n\u003cp>Creative use of fog makes Act II a feast for the eyes, along with a parade of nearly three dozen flowermaidens, all vying for Parsifal’s affections. When Kundry tempts Parsifal, he is transformed into a compassionate deep thinker who recovers the spear from Klingsor but is cursed by Kundry to wander, hopelessly, for years.\u003c/p>\n\u003cfigure id=\"attachment_13983389\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal, at right, in Act II of San Francisco Opera’s production of ‘Parsifal’ by Richard Wagner. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Parsifal\u003c/em> is often characterized as a marathon. But more than four hours in, I didn’t count any newly empty seats around me at the start of Act III, when the welcome return on stage of the knight Gurnemanz (an exceptional Kwangchul Youn) set off the riveting finale in the sanctuary of the Holy Grail.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No aspect of this opera comes up short. Start with the top-notch singing, which is wonderful from the starring roles to the chorus. The dual-turntable set, spinning in opposite directions, is creative and evocative. Under Eun Sun Kim’s baton, the orchestra soars. The casting and costumes are perfect. The lighting, even, subtly provides just the right feeling of the slow passage of time. The whole of it felt new and alive; I kept recalling the set, wardrobe and pacing of Kanye West’s \u003ca href=\"https://www.vibe.com/gallery/25-photos-kanye-wests-yeezus-tour-opener/kanye-west-yeezus-tour-0/\">ambitiously staged Yeezus tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13983390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Act III of San Francisco Opera’s new production of Wagner’s ‘Parsifal.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But just like a church service, the richness in \u003cem>Parsifal\u003c/em> is in what’s not there, and what falls to internal contemplation. Is compassion inherently selfish, since it reflects well on one exercising it? Can the poison causing our sorrow ever serve also as the antidote? Can one ever know the true source of salvation, or must it be unintentionally discovered?\u003c/p>\n\u003cp>Sitting with these thoughts, and with the sensory delights of this \u003cem>Parsifal\u003c/em> on stage, let me tell you: Five hours flies right by. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Parsifal’ runs for two more performances, on Friday, Nov. 7 and Thursday, Nov. 13, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/parsifal/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983347/parsifal-sf-opera-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313",
"arts_967"
],
"tags": [
"arts_10278",
"arts_763",
"arts_769",
"arts_22276",
"arts_585",
"arts_22171"
],
"featImg": "arts_13983392",
"label": "source_arts_13983347"
},
"arts_13979142": {
"type": "posts",
"id": "arts_13979142",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13979142",
"score": null,
"sort": [
1753724882000
]
},
"guestAuthors": [],
"slug": "dolores-huerta-cesar-chavez-larry-itliong-opera-oakland",
"title": "A New Dolores Huerta Opera Brings a Labor Struggle to the Stage",
"publishDate": 1753724882,
"format": "standard",
"headTitle": "A New Dolores Huerta Opera Brings a Labor Struggle to the Stage | KQED",
"labelTerm": {},
"content": "\u003cp>A landmark labor struggle might seem like difficult terrain to explore in an opera, but Long Beach-based composer \u003ca href=\"https://nicolasbenavides.com/\">Nicolás Lell Benavides\u003c/a> knew that he had a riveting tale to tell in \u003cem>Dolores\u003c/em>.\u003c/p>\n\u003cp>Working with librettist \u003ca href=\"https://www.marellamartinkoch.com/about\">Marella Martin Koch\u003c/a>, he decided to focus on the roiling events of 1968, a year of dread and calamity from Prague and Paris to Mexico City and Memphis. It was also the third year of the grinding United Farm Workers strike led by Dolores Huerta, César Chavez and Larry Itliong, which gave birth to an international boycott of California-grown grapes.\u003c/p>\n\u003cp>\u003cem>Dolores\u003c/em> covers the months between Senator Robert F. Kennedy’s embrace of the farmworker cause in his campaign for the Democratic presidential nomination and the devastating aftermath of his assassination at the Ambassador Hotel. Huerta, who had helped turned out Latino and Asian American voters for him, stood by Kennedy’s side during his victory speech.\u003c/p>\n\u003cp>“I think there are a dozen operas about Dolores’ life that one could do, but I wanted people to focus and invest in one event and what it feels like to overcome what has to be to be one of the highest and lowest moments,” said Benavides in a recent conversation at Oakland’s Scottish Rite Center, where West Edge Opera \u003ca href=\"https://www.westedgeopera.org/dolores25\">presents the world premiere of \u003cem>Dolores\u003c/em>\u003c/a> on Aug. 2, 10 and 16.\u003c/p>\n\u003cfigure id=\"attachment_13979213\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2000x1368.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-1536x1050.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2048x1400.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta and César Chavez. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joining the conversation via video call, Huerta talked about the painstaking parallels between creating an opera from the ground up and building a movement. “When you think about that, you have to put people together not one by one, but one by four or five or six or seven,” said the 95-year-old activist. “You have to get small groupings of people so that you can inject into them the understanding they have the power to change things. Because people don’t believe that they do. Especially when you have conditions so entrenched like with the farm workers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Starring Peruvian American mezzo-soprano Kelly Guerra as Huerta, bass-baritone Phillip Lopez as Chavez, Filipino American baritone Rolfe Dauz as Itliong and tenor Alex Boyer as Kennedy, \u003cem>Dolores\u003c/em> is already booked for the San Diego Opera, the Broad Stage in Santa Monica and Albuquerque’s Southwest Opera. Benavides isn’t surprised at the unusual interest in the new work.\u003c/p>\n\u003cfigure id=\"attachment_13979214\" class=\"wp-caption aligncenter\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg\" alt=\"\" width=\"1774\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-2000x2885.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-160x231.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-768x1108.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1065x1536.jpeg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1420x2048.jpeg 1420w\" sizes=\"auto, (max-width: 1774px) 100vw, 1774px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong and Dolores Huerta. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was obsessed with this moment even before I became a composer,” he said, noting that he’s related to Huerta through his father, and that he spent a fair amount of time around her at family reunions in El Paso and Albuquerque while growing up. “She’s super family oriented and was always interested in talking with kids. Later, as I learned about Chicano history and civil rights and read about this moment, I thought anyone would have PTSD after that. Yet here she was so charming, smiling and telling stories.”\u003c/p>\n\u003cp>A Guggenheim Fellow whose previous operas with Koch include 2019’s acclaimed Washington National Opera production \u003cem>Pepito\u003c/em> and the NEA-supported \u003cem>Tres minutos\u003c/em>, which premiered at the Presidio Theatre in 2022, Benavides has long thought about writing an opera focused on Huerta.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.aperture.westedgeopera.org/\">West Edge Opera’s Aperture\u003c/a> program tapped him for its first full-length commission, the pieces began falling into place. The creative team includes Tulare County-raised conductor and music director Mary Chun, who also leads the San Francisco new-music \u003ca href=\"https://www.earplay.org/\">chamber ensemble EarPlay\u003c/a>; director Octavio Cardenas; and all the vocalists he most wanted cast.\u003c/p>\n\u003cp>“It’s very unusual for a composer to have that level of involvement,” Benavides said. “Everything fell into place at once, so it happened very slowly and then very quickly.”\u003c/p>\n\u003cfigure id=\"attachment_13979216\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kelly Guerra stars as Dolores Huerta in ‘Dolores’ at West Edge Opera. Right: Dolores Huerta during the Delano grape strike of 1965. \u003ccite>(Left: Cory Weaver/Right: Harvey Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huerta, a life-long music lover, vividly recalls a banner weekend commuting from Washington D.C. to New York City to catch four productions at the Metropolitan Opera in between lobbying for the \u003ca href=\"https://www.npr.org/2010/07/04/128303672/a-reagan-legacy-amnesty-for-illegal-immigrants\">1986 immigration reform act\u003c/a>. In her view, \u003cem>Dolores\u003c/em> arrives at a particularly propitious moment.\u003c/p>\n\u003cp>With masked ICE agents rounding up undocumented farm laborers, “I think we’re in such a desperate situation, with one set of bad news after another,” she reflected. “I think people are kind of in shock right now, saying what do we do next? The opera will be a source of inspiration.” [aside postid='arts_13979104']\u003c/p>\n\u003cp>Benavides’ stylistically polyglot score draws on his full spectrum of influences, with electric guitar and saxophone included in the chamber ensemble “to give it some edge,” he said. “This piece runs the gamut, pulling out every stop. Sometimes the singing is operatic and sometimes more music theater. I grew up playing rancheras and corridos, so you hear that too. But also Gregorian plainchant, Viennese waltz and minimalism, a pulse that drives and organizes the music. Everything I’ve ever touched has entered this opera.”\u003c/p>\n\u003cp>The score amplifies the uncertainty and debate that took place among the three labor leaders as they navigated the rapidly shifting political landscape. Huerta notes that while she and Chavez were steeped in Gandhian organizing principles, Itliong was a labor contractor whose embrace of the union meant giving up power. While opera by nature creates larger-than-life characters Benavides leans into their disagreements and clashes, seeking to take them off their pedestals.\u003c/p>\n\u003cp>“A lot of historical figures, Dolores included, become deified in a bad way,” he said. “We think they’re here to save us, to do all the work for us. But really, I want people to realize we’re here to do the work ourselves. Those disagreements are good drama, but the more we read and researched we wanted to show that people could disagree and then make a plan and move forward and execute it. We thought that was a really powerful way for people to see themselves in Dolores and Cesar and Larry.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dolores’ premieres at West Edge Opera at the Oakland Scottish Rite Center on Aug. 2, 16 and 22. \u003ca href=\"https://www.westedgeopera.org/dolores25\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "At Oakland's West Edge Opera, ‘Dolores’ dives into a strike, an assassination and clashes among activists. ",
"status": "publish",
"parent": 0,
"modified": 1753729253,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1085
},
"headData": {
"title": "New Opera ‘Dolores’ Brings the Labor Struggle to the Stage | KQED",
"description": "At Oakland's West Edge Opera, ‘Dolores’ dives into a strike, an assassination and clashes among activists. ",
"ogTitle": "A New Dolores Huerta Opera Brings a Labor Struggle to the Stage",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A New Dolores Huerta Opera Brings a Labor Struggle to the Stage",
"twDescription": "",
"twImgId": "",
"socialTitle": "New Opera ‘Dolores’ Brings the Labor Struggle to the Stage %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Dolores Huerta Opera Brings a Labor Struggle to the Stage",
"datePublished": "2025-07-28T10:48:02-07:00",
"dateModified": "2025-07-28T12:00:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13979142",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13979142/dolores-huerta-cesar-chavez-larry-itliong-opera-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A landmark labor struggle might seem like difficult terrain to explore in an opera, but Long Beach-based composer \u003ca href=\"https://nicolasbenavides.com/\">Nicolás Lell Benavides\u003c/a> knew that he had a riveting tale to tell in \u003cem>Dolores\u003c/em>.\u003c/p>\n\u003cp>Working with librettist \u003ca href=\"https://www.marellamartinkoch.com/about\">Marella Martin Koch\u003c/a>, he decided to focus on the roiling events of 1968, a year of dread and calamity from Prague and Paris to Mexico City and Memphis. It was also the third year of the grinding United Farm Workers strike led by Dolores Huerta, César Chavez and Larry Itliong, which gave birth to an international boycott of California-grown grapes.\u003c/p>\n\u003cp>\u003cem>Dolores\u003c/em> covers the months between Senator Robert F. Kennedy’s embrace of the farmworker cause in his campaign for the Democratic presidential nomination and the devastating aftermath of his assassination at the Ambassador Hotel. Huerta, who had helped turned out Latino and Asian American voters for him, stood by Kennedy’s side during his victory speech.\u003c/p>\n\u003cp>“I think there are a dozen operas about Dolores’ life that one could do, but I wanted people to focus and invest in one event and what it feels like to overcome what has to be to be one of the highest and lowest moments,” said Benavides in a recent conversation at Oakland’s Scottish Rite Center, where West Edge Opera \u003ca href=\"https://www.westedgeopera.org/dolores25\">presents the world premiere of \u003cem>Dolores\u003c/em>\u003c/a> on Aug. 2, 10 and 16.\u003c/p>\n\u003cfigure id=\"attachment_13979213\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2000x1368.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-1536x1050.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2048x1400.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta and César Chavez. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joining the conversation via video call, Huerta talked about the painstaking parallels between creating an opera from the ground up and building a movement. “When you think about that, you have to put people together not one by one, but one by four or five or six or seven,” said the 95-year-old activist. “You have to get small groupings of people so that you can inject into them the understanding they have the power to change things. Because people don’t believe that they do. Especially when you have conditions so entrenched like with the farm workers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starring Peruvian American mezzo-soprano Kelly Guerra as Huerta, bass-baritone Phillip Lopez as Chavez, Filipino American baritone Rolfe Dauz as Itliong and tenor Alex Boyer as Kennedy, \u003cem>Dolores\u003c/em> is already booked for the San Diego Opera, the Broad Stage in Santa Monica and Albuquerque’s Southwest Opera. Benavides isn’t surprised at the unusual interest in the new work.\u003c/p>\n\u003cfigure id=\"attachment_13979214\" class=\"wp-caption aligncenter\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg\" alt=\"\" width=\"1774\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-2000x2885.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-160x231.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-768x1108.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1065x1536.jpeg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1420x2048.jpeg 1420w\" sizes=\"auto, (max-width: 1774px) 100vw, 1774px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong and Dolores Huerta. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was obsessed with this moment even before I became a composer,” he said, noting that he’s related to Huerta through his father, and that he spent a fair amount of time around her at family reunions in El Paso and Albuquerque while growing up. “She’s super family oriented and was always interested in talking with kids. Later, as I learned about Chicano history and civil rights and read about this moment, I thought anyone would have PTSD after that. Yet here she was so charming, smiling and telling stories.”\u003c/p>\n\u003cp>A Guggenheim Fellow whose previous operas with Koch include 2019’s acclaimed Washington National Opera production \u003cem>Pepito\u003c/em> and the NEA-supported \u003cem>Tres minutos\u003c/em>, which premiered at the Presidio Theatre in 2022, Benavides has long thought about writing an opera focused on Huerta.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.aperture.westedgeopera.org/\">West Edge Opera’s Aperture\u003c/a> program tapped him for its first full-length commission, the pieces began falling into place. The creative team includes Tulare County-raised conductor and music director Mary Chun, who also leads the San Francisco new-music \u003ca href=\"https://www.earplay.org/\">chamber ensemble EarPlay\u003c/a>; director Octavio Cardenas; and all the vocalists he most wanted cast.\u003c/p>\n\u003cp>“It’s very unusual for a composer to have that level of involvement,” Benavides said. “Everything fell into place at once, so it happened very slowly and then very quickly.”\u003c/p>\n\u003cfigure id=\"attachment_13979216\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kelly Guerra stars as Dolores Huerta in ‘Dolores’ at West Edge Opera. Right: Dolores Huerta during the Delano grape strike of 1965. \u003ccite>(Left: Cory Weaver/Right: Harvey Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huerta, a life-long music lover, vividly recalls a banner weekend commuting from Washington D.C. to New York City to catch four productions at the Metropolitan Opera in between lobbying for the \u003ca href=\"https://www.npr.org/2010/07/04/128303672/a-reagan-legacy-amnesty-for-illegal-immigrants\">1986 immigration reform act\u003c/a>. In her view, \u003cem>Dolores\u003c/em> arrives at a particularly propitious moment.\u003c/p>\n\u003cp>With masked ICE agents rounding up undocumented farm laborers, “I think we’re in such a desperate situation, with one set of bad news after another,” she reflected. “I think people are kind of in shock right now, saying what do we do next? The opera will be a source of inspiration.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13979104",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Benavides’ stylistically polyglot score draws on his full spectrum of influences, with electric guitar and saxophone included in the chamber ensemble “to give it some edge,” he said. “This piece runs the gamut, pulling out every stop. Sometimes the singing is operatic and sometimes more music theater. I grew up playing rancheras and corridos, so you hear that too. But also Gregorian plainchant, Viennese waltz and minimalism, a pulse that drives and organizes the music. Everything I’ve ever touched has entered this opera.”\u003c/p>\n\u003cp>The score amplifies the uncertainty and debate that took place among the three labor leaders as they navigated the rapidly shifting political landscape. Huerta notes that while she and Chavez were steeped in Gandhian organizing principles, Itliong was a labor contractor whose embrace of the union meant giving up power. While opera by nature creates larger-than-life characters Benavides leans into their disagreements and clashes, seeking to take them off their pedestals.\u003c/p>\n\u003cp>“A lot of historical figures, Dolores included, become deified in a bad way,” he said. “We think they’re here to save us, to do all the work for us. But really, I want people to realize we’re here to do the work ourselves. Those disagreements are good drama, but the more we read and researched we wanted to show that people could disagree and then make a plan and move forward and execute it. We thought that was a really powerful way for people to see themselves in Dolores and Cesar and Larry.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dolores’ premieres at West Edge Opera at the Oakland Scottish Rite Center on Aug. 2, 16 and 22. \u003ca href=\"https://www.westedgeopera.org/dolores25\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13979142/dolores-huerta-cesar-chavez-larry-itliong-opera-oakland",
"authors": [
"86"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_235",
"arts_22313",
"arts_967"
],
"tags": [
"arts_3419",
"arts_9111",
"arts_10278",
"arts_2639",
"arts_763"
],
"featImg": "arts_13979212",
"label": "source_arts_13979142"
},
"arts_13977294": {
"type": "posts",
"id": "arts_13977294",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13977294",
"score": null,
"sort": [
1749491174000
]
},
"guestAuthors": [],
"slug": "review-la-boheme-san-francisco-opera",
"title": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"publishDate": 1749491174,
"format": "standard",
"headTitle": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’ | KQED",
"labelTerm": {},
"content": "\u003cp>It’s officially summer blockbuster season, and for the War Memorial Opera House, that means \u003cem>La bohème\u003c/em>. So popular is Puccini’s timeless tale of Parisian bohemian life that San Francisco Opera has staged it more frequently than than any other opera. (\u003cem>Madama Butterfly\u003c/em> and \u003cem>Tosca\u003c/em> run a close second and third; Giacomo, watch him go.)\u003c/p>\n\u003cp>Confession time: I have never truly loved \u003cem>La bohème\u003c/em>. Like nearly any major commercial work of art that purports to chronicle the broke-artist substratum, it feels written from a place of easy contentment. Tonally, it’s not desperate and insane enough to me, and to my own years of living in unheated attics, laundry rooms and garages. \u003c/p>\n\u003cfigure id=\"attachment_13977305\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13977305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Carroll as Musetta and Dale Travis as Alcindoro in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The challenge for a director, then, is to make its characters believably destitute, instead of Parisians playacting as starving artists before returning to the bourgeoisie. The current production at San Francisco Opera does not succeed in this, but no matter — that’s a me problem. Most audiences will assuredly find it enjoyable, and find it a faithful presentation of one of the most loved operas of all time. \u003c/p>\n\u003cp>San Francisco Opera leans into this populism with acrobats, jugglers and unicyclists performing in the opera house lobby, among set pieces evoking the Latin Quarter of the 1830s. John Caird’s staging draws inspiration from the absinthe-hued work of Toulouse-Lautrec; the set of the four main male characters’ apartment is full of haphazardly strewn canvases (\u003cem>they! are! artists!\u003c/em>). \u003c/p>\n\u003cfigure id=\"attachment_13977308\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13977308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Karen Chia-ling Ho as Mimì and Pene Pati as Rodolfo in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The run is double-cast; on Saturday, it was Pene Pati as Rodolfo and Karen Chia-ling Ho as Mimì, both remarkable, and who share a welcome, natural chemistry on the stage. (On the page, these are characters who fall in love only because Puccini says they did.) Pati, especially, comes into his own in the third act, when Rodolfo becomes wracked with guilt over his inability to help the woman he loves. As for Ho, her Mimì plays wonderfully with apprehension, coyness and ardor — and, eventually, capitulation to her failing health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The café scene of Act II comes alive with members of the San Francisco Boys and Girls Choruses, an onstage marching band and well-played humor. Conductor Ramón Tebar keeps the score lively for this scene, and for flirtatious teasing between Marcello (Lucas Meachem) and Musetta (Andrea Carroll), while noticeably milking it for all available emotion in others — one of few tinkerings in an otherwise standard-issue production. \u003c/p>\n\u003cfigure id=\"attachment_13977307\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg\" alt=\"\" width=\"2000\" height=\"1211\" class=\"size-full wp-image-13977307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-1536x930.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The set for the café scene in Act II of Puccini’s ‘La bohème‘ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an opera like this, sometimes “standard issue” is what’s called for. And what does it matter? School’s out, love is in the air, and to the extent that there are any starving artists left in San Francisco, \u003cem>La bohème\u003c/em> is still the star attraction. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. An abridged version of ‘La bohème,’ directed by Jose Maria Condemi and titled ‘\u003ca href=\"https://www.sfopera.com/seasons/opera-out-of-the-box/\">Bohème Out of the Box\u003c/a>,’ features San Francisco Opera Adler Fellows performing from a shipping container for two remaining performances, June 28 and 29, at Heritage Plaza in Hayward.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The timeless and popular tale of Mimì and Rodolfo is in good hands at San Francisco Opera.",
"status": "publish",
"parent": 0,
"modified": 1749495147,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 624
},
"headData": {
"title": "Review: SF Opera’s ‘La bohème’ Is Full of Popular Delights | KQED",
"description": "The timeless and popular tale of Mimì and Rodolfo is in good hands at San Francisco Opera.",
"ogTitle": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Review: SF Opera’s ‘La bohème’ Is Full of Popular Delights %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"datePublished": "2025-06-09T10:46:14-07:00",
"dateModified": "2025-06-09T11:52:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13977294",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13977294/review-la-boheme-san-francisco-opera",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s officially summer blockbuster season, and for the War Memorial Opera House, that means \u003cem>La bohème\u003c/em>. So popular is Puccini’s timeless tale of Parisian bohemian life that San Francisco Opera has staged it more frequently than than any other opera. (\u003cem>Madama Butterfly\u003c/em> and \u003cem>Tosca\u003c/em> run a close second and third; Giacomo, watch him go.)\u003c/p>\n\u003cp>Confession time: I have never truly loved \u003cem>La bohème\u003c/em>. Like nearly any major commercial work of art that purports to chronicle the broke-artist substratum, it feels written from a place of easy contentment. Tonally, it’s not desperate and insane enough to me, and to my own years of living in unheated attics, laundry rooms and garages. \u003c/p>\n\u003cfigure id=\"attachment_13977305\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13977305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Carroll as Musetta and Dale Travis as Alcindoro in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The challenge for a director, then, is to make its characters believably destitute, instead of Parisians playacting as starving artists before returning to the bourgeoisie. The current production at San Francisco Opera does not succeed in this, but no matter — that’s a me problem. Most audiences will assuredly find it enjoyable, and find it a faithful presentation of one of the most loved operas of all time. \u003c/p>\n\u003cp>San Francisco Opera leans into this populism with acrobats, jugglers and unicyclists performing in the opera house lobby, among set pieces evoking the Latin Quarter of the 1830s. John Caird’s staging draws inspiration from the absinthe-hued work of Toulouse-Lautrec; the set of the four main male characters’ apartment is full of haphazardly strewn canvases (\u003cem>they! are! artists!\u003c/em>). \u003c/p>\n\u003cfigure id=\"attachment_13977308\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13977308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Karen Chia-ling Ho as Mimì and Pene Pati as Rodolfo in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The run is double-cast; on Saturday, it was Pene Pati as Rodolfo and Karen Chia-ling Ho as Mimì, both remarkable, and who share a welcome, natural chemistry on the stage. (On the page, these are characters who fall in love only because Puccini says they did.) Pati, especially, comes into his own in the third act, when Rodolfo becomes wracked with guilt over his inability to help the woman he loves. As for Ho, her Mimì plays wonderfully with apprehension, coyness and ardor — and, eventually, capitulation to her failing health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The café scene of Act II comes alive with members of the San Francisco Boys and Girls Choruses, an onstage marching band and well-played humor. Conductor Ramón Tebar keeps the score lively for this scene, and for flirtatious teasing between Marcello (Lucas Meachem) and Musetta (Andrea Carroll), while noticeably milking it for all available emotion in others — one of few tinkerings in an otherwise standard-issue production. \u003c/p>\n\u003cfigure id=\"attachment_13977307\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg\" alt=\"\" width=\"2000\" height=\"1211\" class=\"size-full wp-image-13977307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-1536x930.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The set for the café scene in Act II of Puccini’s ‘La bohème‘ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an opera like this, sometimes “standard issue” is what’s called for. And what does it matter? School’s out, love is in the air, and to the extent that there are any starving artists left in San Francisco, \u003cem>La bohème\u003c/em> is still the star attraction. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. An abridged version of ‘La bohème,’ directed by Jose Maria Condemi and titled ‘\u003ca href=\"https://www.sfopera.com/seasons/opera-out-of-the-box/\">Bohème Out of the Box\u003c/a>,’ features San Francisco Opera Adler Fellows performing from a shipping container for two remaining performances, June 28 and 29, at Heritage Plaza in Hayward.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13977294/review-la-boheme-san-francisco-opera",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1312",
"arts_763",
"arts_769",
"arts_1146",
"arts_1071",
"arts_22171"
],
"featImg": "arts_13977306",
"label": "source_arts_13977294"
},
"arts_13971719": {
"type": "posts",
"id": "arts_13971719",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13971719",
"score": null,
"sort": [
1739400283000
]
},
"guestAuthors": [],
"slug": "both-eyes-open-opera-japanese-american-incarceration-wwii",
"title": "An Opera Connects Immigrant Experiences from the 1940s to the Present",
"publishDate": 1739400283,
"format": "standard",
"headTitle": "An Opera Connects Immigrant Experiences from the 1940s to the Present | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Philip Kan Gotanda spent more than four decades as a filmmaker and playwright before he decided to try storytelling in a new format: opera. Gotanda, whose work focuses primarily on the Japanese American experience and World War II, was feeling creatively blocked; he was looking for a new approach to his work. With the help of a composer (Max Giteck Duykers) and a director (Melissa Weaver), Gotanda took on the role of librettist for his first experimental opera, \u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">\u003cem>Both Eyes Open\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>[aside postID='news_12025052']The opera follows the stories of Jinzo Matsumoto, a fictional Japanese American farmer from Stockton, and his wife, Catherine, as they endure incarceration and the loss of their farmland. An impressionistic, experimental production, \u003cem>Both Eyes Open\u003c/em> uses projections, interactive video elements and a unique instrument called the Marimba Lumina to set its scenes. \u003c/p>\n\u003cp>Creating the work was a collaborative effort of herculean scale: it took Gotanda and his colleagues a full decade to complete \u003ci>Both Eyes Open\u003c/i>. It debuted in 2022 at the Presidio Theatre in San Francisco and plays for two days only this weekend at UC Berkeley’s Zellerbach Playhouse. \u003c/p>\n\u003cfigure id=\"attachment_13971812\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg\" alt=\"woman and man in old fashioned clothes hold hands on stage\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The characters of Catherine and Jinzo Matsumoto in ‘Both Eyes Open.’ \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The idea was that the story would … be relevant to the times,” says Gotanda. “It creates a through line, showing the reasons behind the original incarceration are very much related to all the anti-immigrant, anti-Asian hatred that’s going on now.” \u003c/p>\n\u003cp>Hatred, says Gotanda, is part of the soil in \u003cem>Both Eyes Open\u003c/em>, just like it was back in the early 1900s for other immigrants. He points to \u003ca href=\"https://en.wikipedia.org/wiki/George_Shima\">George Shima\u003c/a> as an example, the real-life Japanese American immigrant businessman whose success growing potatoes in the drained swampland of the San Joaquin Delta was cut short by government-sanctioned racism. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The through line of racist lawmaking is clear. For Shima, it was the California Alien Land Law of 1913 that prevented him from owning land, and the Immigration Act of 1924, which excluded immigration from Asia and cut off his supply of workers. For the opera’s Jinzo and Catherine Matsumoto, it’s President Roosevelt’s Executive Order 9066, which resulted in Japanese American incarceration and the loss of their land.\u003c/p>\n\u003cfigure id=\"attachment_13971813\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg\" alt=\"view of stage with musicians at left, man and woman center and man dressed as monk on right, american flag-colored fan image behind\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Both Eyes Open’ at the Presidio Theatre in 2022. \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For immigrants today, it’s President Trump’s \u003ca href=\"https://www.kqed.org/news/12025052/we-really-need-to-fight-japanese-americans-who-remember-internment-vow-to-resist-trump\">vow\u003c/a> to invoke the Alien Enemies Act of 1798, his \u003ca href=\"https://www.kqed.org/news/12024776/laken-riley-act-raises-alarms-from-bay-area-civil-rights-attorneys\">signing\u003c/a> of the Laken Riley Act, and his outspoken \u003ca href=\"https://www.kqed.org/news/12026443/trumps-shock-and-awe-immigration-orders-are-creating-fear-experts-say-thats-the-point\">desire to end birthright citizenship\u003c/a>. \u003c/p>\n\u003cp>Before getting back to rehearsal, Gotanda tells me he credits \u003cem>Both Eyes Open\u003c/em> for keeping him alive artistically. “It has been [an experience] which is very much representative of art that emerges from the Bay Area,” he says. “[The opera] has a kind of political world that surrounds the artistic piece.”\u003c/p>\n\u003cp>That shared culture behind the scenes feeds straight into the production: “I want audiences to come away thinking, ‘This is a story about right now.’”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">Both Eyes Open\u003c/a>’ will be performed at UC Berkeley’s Zellerbach Playhouse on Feb. 15 and 16, 2025.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘Both Eyes Open,’ playing Feb. 15 and 16, tells a story of Japanese Americans incarcerated during WWII.",
"status": "publish",
"parent": 0,
"modified": 1739400283,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 543
},
"headData": {
"title": "‘Both Eyes Open’: Timely Opera of Immigrant Experience | KQED",
"description": "‘Both Eyes Open,’ playing Feb. 15 and 16, tells a story of Japanese Americans incarcerated during WWII.",
"ogTitle": "An Opera Connects Immigrant Experiences from the 1940s to the Present",
"ogDescription": "",
"ogImgId": "",
"twTitle": "An Opera Connects Immigrant Experiences from the 1940s to the Present",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Both Eyes Open’: Timely Opera of Immigrant Experience %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An Opera Connects Immigrant Experiences from the 1940s to the Present",
"datePublished": "2025-02-12T14:44:43-08:00",
"dateModified": "2025-02-12T14:44:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13971719",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13971719/both-eyes-open-opera-japanese-american-incarceration-wwii",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Philip Kan Gotanda spent more than four decades as a filmmaker and playwright before he decided to try storytelling in a new format: opera. Gotanda, whose work focuses primarily on the Japanese American experience and World War II, was feeling creatively blocked; he was looking for a new approach to his work. With the help of a composer (Max Giteck Duykers) and a director (Melissa Weaver), Gotanda took on the role of librettist for his first experimental opera, \u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">\u003cem>Both Eyes Open\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_12025052",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The opera follows the stories of Jinzo Matsumoto, a fictional Japanese American farmer from Stockton, and his wife, Catherine, as they endure incarceration and the loss of their farmland. An impressionistic, experimental production, \u003cem>Both Eyes Open\u003c/em> uses projections, interactive video elements and a unique instrument called the Marimba Lumina to set its scenes. \u003c/p>\n\u003cp>Creating the work was a collaborative effort of herculean scale: it took Gotanda and his colleagues a full decade to complete \u003ci>Both Eyes Open\u003c/i>. It debuted in 2022 at the Presidio Theatre in San Francisco and plays for two days only this weekend at UC Berkeley’s Zellerbach Playhouse. \u003c/p>\n\u003cfigure id=\"attachment_13971812\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg\" alt=\"woman and man in old fashioned clothes hold hands on stage\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The characters of Catherine and Jinzo Matsumoto in ‘Both Eyes Open.’ \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The idea was that the story would … be relevant to the times,” says Gotanda. “It creates a through line, showing the reasons behind the original incarceration are very much related to all the anti-immigrant, anti-Asian hatred that’s going on now.” \u003c/p>\n\u003cp>Hatred, says Gotanda, is part of the soil in \u003cem>Both Eyes Open\u003c/em>, just like it was back in the early 1900s for other immigrants. He points to \u003ca href=\"https://en.wikipedia.org/wiki/George_Shima\">George Shima\u003c/a> as an example, the real-life Japanese American immigrant businessman whose success growing potatoes in the drained swampland of the San Joaquin Delta was cut short by government-sanctioned racism. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The through line of racist lawmaking is clear. For Shima, it was the California Alien Land Law of 1913 that prevented him from owning land, and the Immigration Act of 1924, which excluded immigration from Asia and cut off his supply of workers. For the opera’s Jinzo and Catherine Matsumoto, it’s President Roosevelt’s Executive Order 9066, which resulted in Japanese American incarceration and the loss of their land.\u003c/p>\n\u003cfigure id=\"attachment_13971813\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg\" alt=\"view of stage with musicians at left, man and woman center and man dressed as monk on right, american flag-colored fan image behind\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Both Eyes Open’ at the Presidio Theatre in 2022. \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For immigrants today, it’s President Trump’s \u003ca href=\"https://www.kqed.org/news/12025052/we-really-need-to-fight-japanese-americans-who-remember-internment-vow-to-resist-trump\">vow\u003c/a> to invoke the Alien Enemies Act of 1798, his \u003ca href=\"https://www.kqed.org/news/12024776/laken-riley-act-raises-alarms-from-bay-area-civil-rights-attorneys\">signing\u003c/a> of the Laken Riley Act, and his outspoken \u003ca href=\"https://www.kqed.org/news/12026443/trumps-shock-and-awe-immigration-orders-are-creating-fear-experts-say-thats-the-point\">desire to end birthright citizenship\u003c/a>. \u003c/p>\n\u003cp>Before getting back to rehearsal, Gotanda tells me he credits \u003cem>Both Eyes Open\u003c/em> for keeping him alive artistically. “It has been [an experience] which is very much representative of art that emerges from the Bay Area,” he says. “[The opera] has a kind of political world that surrounds the artistic piece.”\u003c/p>\n\u003cp>That shared culture behind the scenes feeds straight into the production: “I want audiences to come away thinking, ‘This is a story about right now.’”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">Both Eyes Open\u003c/a>’ will be performed at UC Berkeley’s Zellerbach Playhouse on Feb. 15 and 16, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13971719/both-eyes-open-opera-japanese-american-incarceration-wwii",
"authors": [
"11919"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_22352",
"arts_22313",
"arts_967"
],
"tags": [
"arts_10278",
"arts_763",
"arts_585"
],
"featImg": "arts_13971811",
"label": "arts_140"
},
"arts_13971370": {
"type": "posts",
"id": "arts_13971370",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13971370",
"score": null,
"sort": [
1738787189000
]
},
"guestAuthors": [],
"slug": "review-lise-davidsen-berkeley-zellerbach-hall",
"title": "Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut",
"publishDate": 1738787189,
"format": "standard",
"headTitle": "Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em>\u003c/p>\n\u003cp>It was a day that, during a takeover of federal spending by the richest man in the world, the president motioned to relocate Palestinians and develop Gaza into a resort. I read about this latest assault on human sanity just before Lise Davidsen’s recital at Zellerbach Hall on Tuesday night, weary of the way that we as a country are being \u003ca href=\"https://en.wikipedia.org/wiki/Denial-of-service_attack\">DDoS\u003c/a>’ed, and facing the familiar dilemma: to scream, or to unplug? \u003c/p>\n\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em> These were the first lines sung by Davidsen in her Bay Area debut on Tuesday night, from Grieg’s \u003ca href=\"https://www.youtube.com/watch?v=R0A9yug8sNo\">Dereinst, Gedanke mein\u003c/a>, setting the tone for the next two hours. “Transportative” is the word I’m looking for, in this week of all weeks.\u003c/p>\n\u003cfigure id=\"attachment_13971375\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say that Davidsen, 37, is a phenomenon in the opera world. The daughter of an electrician and a caretaker, she’s risen to be lauded as “the greatest soprano in the world right now” (\u003cem>The Telegraph\u003c/em>) and to receive a rare solo recital invitation from the Met in 2023 for a performance that \u003ca href=\"https://www.nytimes.com/2023/09/15/arts/music/lise-davidsen-recital-metropolitan-opera.html\">dazzled critics and fans alike\u003c/a>. She’s filmed \u003ca href=\"https://www.youtube.com/watch?v=TR2hG7ke2YQ\">a Tiny Desk Concert\u003c/a>. I know at least one person scrambling to see her next month in New York before she \u003ca href=\"https://apnews.com/article/lise-davidsen-pregnant-cancellations-opera-c02535bca7eaca739ef728668538d3e5\">takes a break to give birth to twins\u003c/a>. \u003c/p>\n\u003cp>“It’s always a bit nerve-racking to come to a place for the first time,” Davidsen said onstage Tuesday, joking that she’d worried no one would show up. (The hall was nearly sold out.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then, that range, that timbre, that \u003cem>voice\u003c/em>. In a floral print dress, singing Dido’s Lament by Purcell, Davidsen seemed to invent new vowels out of thin air. In the solo measures of Verdi’s “Tu che le vanità,” which brought several fans to their feet, I heard sounds I’ve never heard from a human throat. \u003c/p>\n\u003cfigure id=\"attachment_13971374\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davidsen has for years been in conversation with Richard Strauss’ work, which followed Verdi and showcased Davidsen’s full theatrical nature. After an intermission, and a wardrobe change to a floor-length charcoal dress, she sang a set of Schubert, including a crowd-pleasing “Ave Maria.” \u003c/p>\n\u003cp>Accompanied throughout the evening by pianist Malcolm Martineau, Davidsen closed the program with Wagner, including “Allmächtige Jungfrau” from \u003cem>Tannhäuser\u003c/em> and two songs from \u003cem>Wesendonck Lieder\u003c/em>. Then came one she’d never performed publicly before: “Liebestod,” from \u003cem>Tristan und Isolde\u003c/em>. Following Davidsen’s assured “Träume,” which Wagner wrote as a study for \u003cem>Tristan\u003c/em>, what it perhaps lacked in confidence it made up for in enunciation, tone and emotion, building to the piece’s transcendent climax.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We talk about transcendence in music a little too liberally, I think. But true transcendence, like that from Davidsen — when the concert hall’s ceiling seems to open wide and something divine whisks a transfixed audience to another place — I tell you, when it happens, it feels like it’s the only thing that’s gonna get us through.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Norwegian soprano dazzled the Zellerbach Hall audience with Verdi, Grieg, Schubert and more.",
"status": "publish",
"parent": 0,
"modified": 1738943574,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 592
},
"headData": {
"title": "Lise Davidsen Delivers Transcendence in Bay Area Debut | KQED",
"description": "The Norwegian soprano dazzled the Zellerbach Hall audience with Verdi, Grieg, Schubert and more.",
"ogTitle": "Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut",
"twDescription": "",
"twImgId": "",
"socialTitle": "Lise Davidsen Delivers Transcendence in Bay Area Debut %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Soprano Lise Davidsen Delivers Transcendence in Her Bay Area Debut",
"datePublished": "2025-02-05T12:26:29-08:00",
"dateModified": "2025-02-07T07:52:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13971370",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13971370/review-lise-davidsen-berkeley-zellerbach-hall",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em>\u003c/p>\n\u003cp>It was a day that, during a takeover of federal spending by the richest man in the world, the president motioned to relocate Palestinians and develop Gaza into a resort. I read about this latest assault on human sanity just before Lise Davidsen’s recital at Zellerbach Hall on Tuesday night, weary of the way that we as a country are being \u003ca href=\"https://en.wikipedia.org/wiki/Denial-of-service_attack\">DDoS\u003c/a>’ed, and facing the familiar dilemma: to scream, or to unplug? \u003c/p>\n\u003cp>\u003cem>One day, my thoughts, you shall be at peace.\u003c/em> These were the first lines sung by Davidsen in her Bay Area debut on Tuesday night, from Grieg’s \u003ca href=\"https://www.youtube.com/watch?v=R0A9yug8sNo\">Dereinst, Gedanke mein\u003c/a>, setting the tone for the next two hours. “Transportative” is the word I’m looking for, in this week of all weeks.\u003c/p>\n\u003cfigure id=\"attachment_13971375\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.floral-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say that Davidsen, 37, is a phenomenon in the opera world. The daughter of an electrician and a caretaker, she’s risen to be lauded as “the greatest soprano in the world right now” (\u003cem>The Telegraph\u003c/em>) and to receive a rare solo recital invitation from the Met in 2023 for a performance that \u003ca href=\"https://www.nytimes.com/2023/09/15/arts/music/lise-davidsen-recital-metropolitan-opera.html\">dazzled critics and fans alike\u003c/a>. She’s filmed \u003ca href=\"https://www.youtube.com/watch?v=TR2hG7ke2YQ\">a Tiny Desk Concert\u003c/a>. I know at least one person scrambling to see her next month in New York before she \u003ca href=\"https://apnews.com/article/lise-davidsen-pregnant-cancellations-opera-c02535bca7eaca739ef728668538d3e5\">takes a break to give birth to twins\u003c/a>. \u003c/p>\n\u003cp>“It’s always a bit nerve-racking to come to a place for the first time,” Davidsen said onstage Tuesday, joking that she’d worried no one would show up. (The hall was nearly sold out.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then, that range, that timbre, that \u003cem>voice\u003c/em>. In a floral print dress, singing Dido’s Lament by Purcell, Davidsen seemed to invent new vowels out of thin air. In the solo measures of Verdi’s “Tu che le vanità,” which brought several fans to their feet, I heard sounds I’ve never heard from a human throat. \u003c/p>\n\u003cfigure id=\"attachment_13971374\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/lise.davidsen.call_-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lise Davidsen with pianist Malcolm Martineau at Zellerbach Hall in Berkeley on Feb. 4, 2025. \u003ccite>(Katie Ravas for Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davidsen has for years been in conversation with Richard Strauss’ work, which followed Verdi and showcased Davidsen’s full theatrical nature. After an intermission, and a wardrobe change to a floor-length charcoal dress, she sang a set of Schubert, including a crowd-pleasing “Ave Maria.” \u003c/p>\n\u003cp>Accompanied throughout the evening by pianist Malcolm Martineau, Davidsen closed the program with Wagner, including “Allmächtige Jungfrau” from \u003cem>Tannhäuser\u003c/em> and two songs from \u003cem>Wesendonck Lieder\u003c/em>. Then came one she’d never performed publicly before: “Liebestod,” from \u003cem>Tristan und Isolde\u003c/em>. Following Davidsen’s assured “Träume,” which Wagner wrote as a study for \u003cem>Tristan\u003c/em>, what it perhaps lacked in confidence it made up for in enunciation, tone and emotion, building to the piece’s transcendent climax.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We talk about transcendence in music a little too liberally, I think. But true transcendence, like that from Davidsen — when the concert hall’s ceiling seems to open wide and something divine whisks a transfixed audience to another place — I tell you, when it happens, it feels like it’s the only thing that’s gonna get us through.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13971370/review-lise-davidsen-berkeley-zellerbach-hall",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1270",
"arts_2435",
"arts_10278",
"arts_763",
"arts_769",
"arts_2880"
],
"featImg": "arts_13971373",
"label": "arts"
},
"arts_13968738": {
"type": "posts",
"id": "arts_13968738",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13968738",
"score": null,
"sort": [
1732727500000
]
},
"guestAuthors": [],
"slug": "maria-callas-biopic-movie-review-netflix-streaming-angelina-jolie",
"title": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’",
"publishDate": 1732727500,
"format": "standard",
"headTitle": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>[aside postid='arts_13968359']“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_7_ze9palm0\u003c/p>\n\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>[aside postid='arts_13968437']In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Pablo Larraín follows ‘Jackie’ and ‘Spencer’ with this meditative and melancholy biopic.",
"status": "publish",
"parent": 0,
"modified": 1732727500,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 833
},
"headData": {
"title": "Movie Review: Angelina Jolie Stars in Netflix’s ‘Maria’ | KQED",
"description": "Pablo Larraín follows ‘Jackie’ and ‘Spencer’ with this meditative and melancholy biopic.",
"ogTitle": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: Angelina Jolie Stars in Netflix’s ‘Maria’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’",
"datePublished": "2024-11-27T09:11:40-08:00",
"dateModified": "2024-11-27T09:11:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13968738",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13968738/maria-callas-biopic-movie-review-netflix-streaming-angelina-jolie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968359",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\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/_7_ze9palm0'\n title='//www.youtube.com/embed/_7_ze9palm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968437",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13968738/maria-callas-biopic-movie-review-netflix-streaming-angelina-jolie",
"authors": [
"byline_arts_13968738"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_21748",
"arts_763",
"arts_769",
"arts_585"
],
"featImg": "arts_13968741",
"label": "arts_140"
},
"arts_13963879": {
"type": "posts",
"id": "arts_13963879",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13963879",
"score": null,
"sort": [
1726506304000
]
},
"guestAuthors": [],
"slug": "review-handmaids-tale-opera-margaret-atwood-san-francisco",
"title": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia",
"publishDate": 1726506304,
"format": "standard",
"headTitle": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The lights have just gone up for intermission at the opening night of San Francisco Opera’s long-awaited production of \u003cem>The Handmaid’s Tale\u003c/em>. As people begin to rise and excitedly chatter about what we’ve just witnessed, the woman next to me turns to her companion and sighs.\u003c/p>\n\u003cp>“Well,” she says, “this is unrelentingly bleak.”\u003c/p>\n\u003cp>[aside postid='arts_13963021']Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>[aside postID='arts_13962857']Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Irene Roberts is astonishing as Offred in this powerful production at San Francisco Opera.",
"status": "publish",
"parent": 0,
"modified": 1726507693,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 956
},
"headData": {
"title": "‘The Handmaid’s Tale’ San Francisco Opera Review | KQED",
"description": "Irene Roberts is astonishing as Offred in this powerful production at San Francisco Opera.",
"ogTitle": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘The Handmaid’s Tale’ San Francisco Opera Review %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia",
"datePublished": "2024-09-16T10:05:04-07:00",
"dateModified": "2024-09-16T10:28:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13963879",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13963879/review-handmaids-tale-opera-margaret-atwood-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lights have just gone up for intermission at the opening night of San Francisco Opera’s long-awaited production of \u003cem>The Handmaid’s Tale\u003c/em>. As people begin to rise and excitedly chatter about what we’ve just witnessed, the woman next to me turns to her companion and sighs.\u003c/p>\n\u003cp>“Well,” she says, “this is unrelentingly bleak.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963021",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962857",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13963879/review-handmaids-tale-opera-margaret-atwood-san-francisco",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_75",
"arts_967"
],
"tags": [
"arts_10278",
"arts_1962",
"arts_1180",
"arts_763",
"arts_769",
"arts_3316",
"arts_585"
],
"featImg": "arts_13964284",
"label": "arts_140"
}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "\"KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "\"KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=opera": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 9,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 63,
"relation": "eq"
},
"items": [
"arts_13983878",
"arts_13983649",
"arts_13983347",
"arts_13979142",
"arts_13977294",
"arts_13971719",
"arts_13971370",
"arts_13968738",
"arts_13963879"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_763": {
"type": "terms",
"id": "arts_763",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "763",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Opera Archives | KQED Arts",
"ogDescription": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 781,
"slug": "opera",
"isLoading": false,
"link": "/arts/tag/opera"
},
"source_arts_13983878": {
"type": "terms",
"id": "source_arts_13983878",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13983347": {
"type": "terms",
"id": "source_arts_13983347",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13979142": {
"type": "terms",
"id": "source_arts_13979142",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13977294": {
"type": "terms",
"id": "source_arts_13977294",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_22596": {
"type": "terms",
"id": "arts_22596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22596",
"found": true
},
"relationships": {},
"name": "influencers",
"slug": "influencers",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "influencers | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22608,
"isLoading": false,
"link": "/arts/tag/influencers"
},
"arts_2479": {
"type": "terms",
"id": "arts_2479",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2479",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Richmond",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Richmond Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2491,
"slug": "richmond",
"isLoading": false,
"link": "/arts/tag/richmond"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1071": {
"type": "terms",
"id": "arts_1071",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1071",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1088,
"slug": "san-francisco-opera",
"isLoading": false,
"link": "/arts/tag/san-francisco-opera"
},
"arts_3316": {
"type": "terms",
"id": "arts_3316",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3316",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SF Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SF Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3328,
"slug": "sf-opera",
"isLoading": false,
"link": "/arts/tag/sf-opera"
},
"arts_22171": {
"type": "terms",
"id": "arts_22171",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22171",
"found": true
},
"relationships": {},
"name": "war memorial opera house",
"slug": "war-memorial-opera-house",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "war memorial opera house Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22183,
"isLoading": false,
"link": "/arts/tag/war-memorial-opera-house"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_22276": {
"type": "terms",
"id": "arts_22276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22276",
"found": true
},
"relationships": {},
"name": "sfopera",
"slug": "sfopera",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "sfopera | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22288,
"isLoading": false,
"link": "/arts/tag/sfopera"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_3419": {
"type": "terms",
"id": "arts_3419",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3419",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chicano",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chicano Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3431,
"slug": "chicano",
"isLoading": false,
"link": "/arts/tag/chicano"
},
"arts_9111": {
"type": "terms",
"id": "arts_9111",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9111",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chicano art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chicano art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9123,
"slug": "chicano-art",
"isLoading": false,
"link": "/arts/tag/chicano-art"
},
"arts_2639": {
"type": "terms",
"id": "arts_2639",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2639",
"found": true
},
"relationships": {},
"featImg": null,
"name": "labor",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "labor Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2651,
"slug": "labor",
"isLoading": false,
"link": "/arts/tag/labor"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_22352": {
"type": "terms",
"id": "arts_22352",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22352",
"found": true
},
"relationships": {},
"name": "Immigration",
"slug": "immigration",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Immigration | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22364,
"isLoading": false,
"link": "/arts/category/immigration"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_21878": {
"type": "terms",
"id": "arts_21878",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21878",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Immigration",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21890,
"slug": "immigration",
"isLoading": false,
"link": "/arts/interest/immigration"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_2435": {
"type": "terms",
"id": "arts_2435",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2435",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cal Performances",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cal Performances Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2447,
"slug": "cal-performances",
"isLoading": false,
"link": "/arts/tag/cal-performances"
},
"arts_2880": {
"type": "terms",
"id": "arts_2880",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2880",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Zellerbach Hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Zellerbach Hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2892,
"slug": "zellerbach-hall",
"isLoading": false,
"link": "/arts/tag/zellerbach-hall"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_21748": {
"type": "terms",
"id": "arts_21748",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21748",
"found": true
},
"relationships": {},
"featImg": null,
"name": "biopic",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "biopic Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21760,
"slug": "biopic",
"isLoading": false,
"link": "/arts/tag/biopic"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_1180": {
"type": "terms",
"id": "arts_1180",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1180",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Margaret Atwood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Margaret Atwood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1192,
"slug": "margaret-atwood",
"isLoading": false,
"link": "/arts/tag/margaret-atwood"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/opera",
"previousPathname": "/"
}
}
