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"content": "\u003cp>On Friday night, \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> got the world’s very first look at an opera destined to become a modern classic.\u003c/p>\n\u003cp>Huang Ruo and David Henry Hwang’s \u003cem>\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>\u003c/em> is a dazzling, gorgeous work of art that balances the joy of young mischievousness with the weight of old wisdom. Its costumes and set pieces are a feast for the eyes, augmented by a rich, meditative score and captivating performances. I cannot say enough good things about it. If you want just the three-word summary, it’s this: go, go, go.\u003c/p>\n\u003cp>Directed by Diane Paulus, and commissioned jointly by San Francisco Opera and the Chinese Heritage Foundation of Minnesota, this is an opera that’s both invigorating and accessible. Sung almost entirely in English, and based on a portion of the 16th Century Chinese novel \u003cem>Journey to the West\u003c/em>, Hwang’s quick-paced libretto for \u003cem>The Monkey King\u003c/em> is easy to follow. Huang’s music follows in the modern American tradition, cascading and fluid. The show’s run time is two hours and 23 minutes, the length of your average prestige Hollywood film. \u003c/p>\n\u003cfigure id=\"attachment_13983803\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Mei Gui Zhang as Guanyin in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’\u003cbr> \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is all selling short \u003cem>The Monkey King\u003c/em>’s depth. Take the opening: a chorus of low bass tones and higher voices create a tense interval of portent. The angelic figure of Guanyin (beautifully sung by Mei Gui Zhang) slowly appears in the air, ensconced in a teardrop-shaped figure, and sings: \u003cem>All forms are illusions\u003c/em>. \u003c/p>\n\u003cp>Indeed, in the ensuing hours, tall vertical land formations curdle and collapse into a cave. A giant golden column shrinks to become a heavy handheld staff. A green umbrella soars out of view and returns 20 times its normal size. Warring swords and shields, unmanned, fight in mid-air. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alternately navigating and causing these transformations is Monkey (a thrilling Kang Wang), a young rebel with no formal upbringing. He tries to follow the Buddhist teachings of Master Subhuti (Jusung Gabriel Park), who intones in one of the opera’s repeating melodic motifs that power alone is not enough. He soon meets his match in the Jade Emperor (Konu Kim) and his court, who resent the ego-driven Monkey’s ability to get ahead.\u003c/p>\n\u003cfigure id=\"attachment_13983799\" 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/O2A1511.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hongni Wu as Venus Star, Joo Won Kang as Dragon King Ao Guang, Konu Kim as Jade Emperor, and Peixin Chen as Supreme Sage Laojun in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is an opera you won’t need to bring binoculars to, if only to preserve the magic of the set and puppetry design by Basil Twist (with associate set designer Sara C. Walsh). The silks and fabrics alone are stunning. Hovering jellyfish bubble around an underwater seascape. Six white horses prance through the air. An enormous snake slithers into battle. \u003c/p>\n\u003cp>The costumes, designed by Anita Yavich, explode with color and texture — especially those of the Jade Emperor’s court, whose self-importance and overconfidence are underscored by a wardrobe befitting a cocaine-addled 1980s New Wave band. Ornate headpieces animate the movements of the Monkey King, along with those of his dancing body double (Huiwang Zhang, with dynamic choreography by Ann Yee; Twist employs a puppet double as well). \u003c/p>\n\u003cfigure id=\"attachment_13983801\" 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/O2A1963.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kang Wang as the title role in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the visuals will understandably get much of the attention, Huang Ruo’s wonderful, singular score (conducted by Carolyn Kuan, and with the occasional use of Chinese gongs and cymbals) is \u003cem>The Monkey King\u003c/em>’s understated highlight. It simply would not be as strong a work without it.\u003c/p>\n\u003cp>Early in Act I, the Monkey King and Guanyin sing a duet — not in harmony or counterpoint, but interwoven nonetheless, while the orchestra tends to a melodic journey of its own. Later, Mei Gui Zhang’s aria “\u003ca href=\"https://www.youtube.com/watch?v=UuLAGDO7RIs&list=RDUuLAGDO7RIs&start_radio=1\">All Dharmas Are Equal\u003c/a>” makes time stand still, and Kang Wang’s breathtaking “Land of Bliss” recalls the show-stopping Act II numbers so common to Broadway musicals. \u003c/p>\n\u003cp>Or take an early scene when, with no other action on stage, a boulder slowly advances for two long minutes. Ordinarily, this would constitute dead air and boredom. Instead, thanks to Huang’s accompanying music, it’s riveting — an extended moment of tension and suspense. \u003c/p>\n\u003cfigure id=\"attachment_13983800\" 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/O2A1683.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Konu Kim as Jade Emperor (center) with members of the San Francisco Opera Chorus in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any show about power and ego in the Trump era runs the risk of overplaying its relevance; it’s to Paulus’ credit as a director that \u003cem>The Monkey King\u003c/em> doesn’t. While the immortality-seeking Monkey King can’t take criticism, rewards only his inner circle and tells people to go back where they came from, he isn’t portrayed heavy-handedly as our current authoritarian-in-chief. (The Jade Emperor, after all, shares many of the same traits.)\u003c/p>\n\u003cp>This allows \u003cem>The Monkey King\u003c/em>‘s message to reside in the eye of the beholder, along with its delights. At its first-ever public performance, few flaws were evident. Could Kim play the Jade Emperor slightly more diabolically? Sure. Does the ending drag just a little too long? Maybe. \u003c/p>\n\u003cp>But ultimately, \u003cem>The Monkey King\u003c/em> is a triumph, and a hugely enjoyable one. Make plans now, camp out for standing-room tickets, leave work early — do whatever you can to see this current run, or any future production. It will surely last and last.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Monkey King’ runs through Nov. 30 at the War Memorial Opera House in San Francisco. A series of community events, workshops and exhibits accompany the world premiere run. \u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">Details and ticket information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Review: ‘The Monkey King’ Is a Dazzling Triumph at San Francisco Premiere | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> got the world’s very first look at an opera destined to become a modern classic.\u003c/p>\n\u003cp>Huang Ruo and David Henry Hwang’s \u003cem>\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>\u003c/em> is a dazzling, gorgeous work of art that balances the joy of young mischievousness with the weight of old wisdom. Its costumes and set pieces are a feast for the eyes, augmented by a rich, meditative score and captivating performances. I cannot say enough good things about it. If you want just the three-word summary, it’s this: go, go, go.\u003c/p>\n\u003cp>Directed by Diane Paulus, and commissioned jointly by San Francisco Opera and the Chinese Heritage Foundation of Minnesota, this is an opera that’s both invigorating and accessible. Sung almost entirely in English, and based on a portion of the 16th Century Chinese novel \u003cem>Journey to the West\u003c/em>, Hwang’s quick-paced libretto for \u003cem>The Monkey King\u003c/em> is easy to follow. Huang’s music follows in the modern American tradition, cascading and fluid. The show’s run time is two hours and 23 minutes, the length of your average prestige Hollywood film. \u003c/p>\n\u003cfigure id=\"attachment_13983803\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Mei Gui Zhang as Guanyin in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’\u003cbr> \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is all selling short \u003cem>The Monkey King\u003c/em>’s depth. Take the opening: a chorus of low bass tones and higher voices create a tense interval of portent. The angelic figure of Guanyin (beautifully sung by Mei Gui Zhang) slowly appears in the air, ensconced in a teardrop-shaped figure, and sings: \u003cem>All forms are illusions\u003c/em>. \u003c/p>\n\u003cp>Indeed, in the ensuing hours, tall vertical land formations curdle and collapse into a cave. A giant golden column shrinks to become a heavy handheld staff. A green umbrella soars out of view and returns 20 times its normal size. Warring swords and shields, unmanned, fight in mid-air. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alternately navigating and causing these transformations is Monkey (a thrilling Kang Wang), a young rebel with no formal upbringing. He tries to follow the Buddhist teachings of Master Subhuti (Jusung Gabriel Park), who intones in one of the opera’s repeating melodic motifs that power alone is not enough. He soon meets his match in the Jade Emperor (Konu Kim) and his court, who resent the ego-driven Monkey’s ability to get ahead.\u003c/p>\n\u003cfigure id=\"attachment_13983799\" 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/O2A1511.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hongni Wu as Venus Star, Joo Won Kang as Dragon King Ao Guang, Konu Kim as Jade Emperor, and Peixin Chen as Supreme Sage Laojun in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is an opera you won’t need to bring binoculars to, if only to preserve the magic of the set and puppetry design by Basil Twist (with associate set designer Sara C. Walsh). The silks and fabrics alone are stunning. Hovering jellyfish bubble around an underwater seascape. Six white horses prance through the air. An enormous snake slithers into battle. \u003c/p>\n\u003cp>The costumes, designed by Anita Yavich, explode with color and texture — especially those of the Jade Emperor’s court, whose self-importance and overconfidence are underscored by a wardrobe befitting a cocaine-addled 1980s New Wave band. Ornate headpieces animate the movements of the Monkey King, along with those of his dancing body double (Huiwang Zhang, with dynamic choreography by Ann Yee; Twist employs a puppet double as well). \u003c/p>\n\u003cfigure id=\"attachment_13983801\" 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/O2A1963.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kang Wang as the title role in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the visuals will understandably get much of the attention, Huang Ruo’s wonderful, singular score (conducted by Carolyn Kuan, and with the occasional use of Chinese gongs and cymbals) is \u003cem>The Monkey King\u003c/em>’s understated highlight. It simply would not be as strong a work without it.\u003c/p>\n\u003cp>Early in Act I, the Monkey King and Guanyin sing a duet — not in harmony or counterpoint, but interwoven nonetheless, while the orchestra tends to a melodic journey of its own. Later, Mei Gui Zhang’s aria “\u003ca href=\"https://www.youtube.com/watch?v=UuLAGDO7RIs&list=RDUuLAGDO7RIs&start_radio=1\">All Dharmas Are Equal\u003c/a>” makes time stand still, and Kang Wang’s breathtaking “Land of Bliss” recalls the show-stopping Act II numbers so common to Broadway musicals. \u003c/p>\n\u003cp>Or take an early scene when, with no other action on stage, a boulder slowly advances for two long minutes. Ordinarily, this would constitute dead air and boredom. Instead, thanks to Huang’s accompanying music, it’s riveting — an extended moment of tension and suspense. \u003c/p>\n\u003cfigure id=\"attachment_13983800\" 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/O2A1683.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Konu Kim as Jade Emperor (center) with members of the San Francisco Opera Chorus in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any show about power and ego in the Trump era runs the risk of overplaying its relevance; it’s to Paulus’ credit as a director that \u003cem>The Monkey King\u003c/em> doesn’t. While the immortality-seeking Monkey King can’t take criticism, rewards only his inner circle and tells people to go back where they came from, he isn’t portrayed heavy-handedly as our current authoritarian-in-chief. (The Jade Emperor, after all, shares many of the same traits.)\u003c/p>\n\u003cp>This allows \u003cem>The Monkey King\u003c/em>‘s message to reside in the eye of the beholder, along with its delights. At its first-ever public performance, few flaws were evident. Could Kim play the Jade Emperor slightly more diabolically? Sure. Does the ending drag just a little too long? Maybe. \u003c/p>\n\u003cp>But ultimately, \u003cem>The Monkey King\u003c/em> is a triumph, and a hugely enjoyable one. Make plans now, camp out for standing-room tickets, leave work early — do whatever you can to see this current run, or any future production. It will surely last and last.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Monkey King’ runs through Nov. 30 at the War Memorial Opera House in San Francisco. A series of community events, workshops and exhibits accompany the world premiere run. \u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">Details and ticket information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced",
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"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",
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"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>",
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"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>",
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"slug": "jazz-classical-concerts-san-francisco-oakland-bay-area-2025",
"title": "8 Great Jazz and Classical Concerts in the Bay Area This Fall",
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"headTitle": "8 Great Jazz and Classical Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-la-boheme-san-francisco-opera",
"title": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
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"headTitle": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’ | KQED",
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"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",
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"title": "Review: SF Opera’s ‘La bohème’ Is Full of Popular Delights | KQED",
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"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>",
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"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>",
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"slug": "best-classical-music-concerts-opera-bay-area-summer-2025",
"title": "8 Great Classical Music Experiences in the Bay Area This Summer",
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"headTitle": "8 Great Classical Music Experiences in the Bay Area This Summer | KQED",
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"content": "\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n",
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"title": "Your Guide to Classical Music in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When it comes to \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a>, for most of the year, I tend to be a champion of new works and rarely performed obscurities. But in the summertime, something about the season invites popular chestnuts of the repertoire — and helps my ear hear them in new ways. Luckily, this summer in the Bay Area, there’s a healthy mix of both. \u003c/p>\n\u003cfigure id=\"attachment_13976640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-full wp-image-13976640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/HarveyMilkReimagined-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Kelly is Harvey Milk in ‘Harvey Milk Reimagined.’ \u003ccite>(Matt Simpkins Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ybca.org/event/harvey-milk-reimagined/\">Harvey Milk Reimagined\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31–June 7, 2025\u003c/em>\u003cbr>\n\u003cem>YBCA Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Thirty years after its debut, the opera \u003cem>Harvey Milk\u003c/em> has been “reimagined” by Stewart Wallace and Michael Korie, its original composer and librettist. In this anticipated production by Opera Parallèle, it’s now two acts instead of three, but the emotional core of Milk’s inspiring life and tragic assassination remains. In St. Louis, this reworked, two-hour version was \u003ca href=\"https://www.riverfronttimes.com/arts/review-harvey-milk-at-opera-theatre-of-saint-louis-is-a-triumph-37902678\">hailed\u003c/a> as “nothing short of a triumph.”\u003c/p>\n\u003cfigure id=\"attachment_13976641\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MarcOlivierLeBlanc-3606-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Moss Erickson. \u003ccite>(Marc Olivier LeBlanc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.livermoreamadorsymphony.org/nextconcert.html\">Celestial Sounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Bankhead Theater, Livermore\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We all have that friend who’s trepidatious about classical music, or even downright positive that they hate it. The cure? This outer space–themed program at the Livermore-Amador Symphony, with works they’ll recognize (Debussy’s \u003cem>Clair de Lune\u003c/em>; Richard Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> opening, used in the film \u003cem>2001\u003c/em>) alongside pieces featuring soprano (and \u003ca href=\"https://www.heidimosserickson.com/scientist\">scientist\u003c/a>) Heidi Moss Erickson. Holst’s \u003cem>The Planets\u003c/em> and John Williams’ rugged \u003cem>Star Wars\u003c/em> Suite, perfect for kids, round out the evening. \u003c/p>\n\u003cfigure id=\"attachment_13976642\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg\" alt=\"A man in a scarf and ragged clothing holds the hand of a woman, similarly dressed, both kneeling on the ground\" width=\"2000\" height=\"1395\" class=\"size-full wp-image-13976642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/37A1674-1920x1339.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘La bohème’ comes to San Francisco Opera in June. \u003ccite>(Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 3–21, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>I’ll grant you this: Once upon a time, this tale of starving artists in 19th-century Paris might have felt more relevant in San Francisco, now wealthy with tech money. But as the city’s few remaining artists get \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">defunded\u003c/a> by forces of fascism, it’s time to watch Puccini’s masterpiece in a new light. If you want just a taste, SF Opera’s “\u003ca href=\"https://www.sfopera.com/press/press-releases/Boheme-Out-of-the-Box-2025/\">Bohème Out of the Box\u003c/a>” mini-tour concludes in Hayward on June 28 and 29.\u003c/p>\n\u003cfigure id=\"attachment_13976644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg\" alt=\"\" width=\"2000\" height=\"1112\" class=\"size-full wp-image-13976644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/hannahkendall-1920x1068.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Kendall. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.leftcoastensemble.org/spring-contrasts\">Spring Contrasts\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 7, 2025, Piedmont Center for the Arts, Piedmont\u003c/em>\u003cbr>\n\u003cem>June 9, 2025, Noe Valley Ministry, San Francisco\u003c/em>\u003c/p>\n\u003cp>In this inspired program for piano, clarinet and violin, the sturdy Left Coast Chamber Ensemble performs newer works by two Black composers: Kevin Day’s thrilling \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=xVSGnN3Gf_8\">Unquiet Waters\u003c/a>\u003c/em> and Hannah Kendall’s magnificent \u003cem>Processional\u003c/em>. Pieces by Puerto Rico’s Roberto Sierra and 19th-century Parisian Mel Bonis provide contrasts, thematically threaded by Bartók’s \u003ca href=\"https://www.youtube.com/watch?v=lg_Ss2tmhFw\">1938 composition\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 1994px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"1994\" height=\"1398\" class=\"size-full wp-image-13918983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w\" sizes=\"auto, (max-width: 1994px) 100vw, 1994px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2\">Salonen conducts Mahler’s second\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 12–14, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em> \u003c/p>\n\u003cp>And so Esa-Pekka Salonen’s time in San Francisco comes to an end. (Did he ever \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\">go to a Giants game or get a Mission burrito\u003c/a>?) The maestro’s final concerts as the San Francisco Symphony’s Music Director seem pretty dang final — he didn’t appear at \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">Michael Tilson Thomas’ 80th birthday concert\u003c/a>, nor is he part of the symphony’s \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">upcoming season\u003c/a>. Catch him conducting Mahler’s second — with Heidi Stober, Sasha Cooke and the symphony chorus — before he shoves off. \u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-available/\">Kedrick Armstrong conducts Beethoven’s ninth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13, 2025\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>Beethoven’s warhorse, complete with the Oakland Symphony Chorus and vocalists Hope Briggs, Zoie Reams, Ashley Faatoalia and Adam Lau, will be the main draw here. But \u003cem>Mighty River\u003c/em>, by Belize-born composer Errollyn Wallen, is sure to be a highlight of not only this program but the entire summer season. Interweaving musical themes from spirituals and gospel, the piece meditates on the British slave trade, delivering a deeply poignant listening experience. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://festivalnapavalley.org/\">Festival Napa Valley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5–20, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Napa County\u003c/em>\u003c/p>\n\u003cp>You could try to pigeonhole this wine country festival as a hotbed of wealth — opening night at Charles Krug Winery features songs by Gordon Getty and a tribute to the late venture capitalist Richard Kramlich. But you’d be overlooking its many free and choose-your-own-price events accessible to locals, including the U.S. debut of the Versailles Royal Opera performing Donizetti’s \u003cem>La fille du régiment\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13976646\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg\" alt=\"\" width=\"2000\" height=\"1239\" class=\"size-full wp-image-13976646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1536x952.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RafaelAguirre-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Aguirre. \u003ccite>(Liz Isles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/espana/\">España\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 7 and 8, 2025\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Latin American-tinged \u003cem>Escaramuza\u003c/em> by Berkeley-born composer Gabriela Lena Frank kicks off this program, which includes pieces by Ravel and Rimsky-Korsakov that explore the rhythms and influence of Spain. But the centerpiece here, with guitarist Rafael Aguirre, is Rodrigo’s \u003cem>Concierto de Aranjuez\u003c/em>, the very definition of an oft-performed classic that deserves the renewed ear of summertime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-opera-103rd-season-2025-2026-monkey-king-dead-man-walking",
"title": "SF Opera’s New Season: ‘Dead Man Walking,’ ‘The Monkey King’ and More",
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"headTitle": "SF Opera’s New Season: ‘Dead Man Walking,’ ‘The Monkey King’ and More | KQED",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sf-opera\">San Francisco Opera\u003c/a> on Tuesday announced a dynamic 2025–26 season, the centerpiece of which is a highly anticipated new commission: \u003ci>The Monkey King\u003c/i>, an action-adventure opera by composer Huang Ruo and librettist Henry David Hwang.\u003c/p>\n\u003cp>Premiering Nov. 14, \u003ci>The Monkey King\u003c/i> is based on \u003ci>Journey to the West\u003c/i>, a 1592 Chinese literary classic that’s inspired countless films, animations and even a massively popular video game, \u003ci>Black Myth: Wukong\u003c/i>. The new work, which runs through Nov. 30, promises to push SF Opera to new technical heights, utilizing dance and puppetry to tell the story of the ruler of the monkey kingdom who faces off against gods, demons and his own ego in his quest for immortality.\u003c/p>\n\u003cfigure id=\"attachment_13971300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg\" alt=\"A digital sketch of colorful costumes inspired by traditional Chinese clothing. \" width=\"2000\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1920x1242.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Costume designs by Anita Yavich for Erlang and the gods in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Anita Yavich/Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another season highlight is the return of \u003ci>Dead Man Walking\u003c/i>, which premiered at SF Opera 25 years ago and has since become one of the most popular modern operas of this century. Coming to the War Memorial Opera House stage Sept. 14–28, the libretto by Terrence McNally tells the real-life story of Sister Helen Prejean as she undergoes a spiritual journey while ministering to a man facing the death penalty.\u003c/p>\n\u003cp>The season kicks off with Verdi’s \u003cem>Rigoletto\u003c/em>, running Sept. 5–27, with a cast that includes Mongolian baritone Amartuvshin Enkhbat in the title role alongside Adela Zaharia, Giovanni Sala, J’Nai Bridges, Peixin Chen and Aleksey Bogdanov.\u003c/p>\n\u003cp>From Oct. 25–Nov. 13, SF Opera will present a new production of Richard Wagner’s final work, \u003ci>Parsifal\u003c/i>, the story of a knight’s spiritual quest, which — like \u003ci>The Monkey King\u003c/i> — is heavily influenced by Buddhism. The opera is part of SF Opera Music Director Eun Sun Kim’s ongoing exploration of the 19th century German composer’s work, and will be directed by Matthew Ozawa. (Kim and SF Opera General Director Matthew Shilvock will appear live at KQED’s Mission District venue, The Commons, on Feb. 4 for a \u003ca href=\"https://www.kqed.org/event/4930\">conversation with \u003cem>Forum\u003c/em> host Mina Kim\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13971302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg\" alt=\"An opera set with fences and barbed wire that look like a prison. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Andrew Cioffi/Lyric Opera of Chicago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other season highlights include a June 2026 staging of Gioachino Rossini’s iconic 19th-century comedy \u003ci>The Barber of Seville\u003c/i> and Richard Strauss’ Greek mythology-fueled \u003ci>Elektra\u003c/i>. A special concert for Pride month is also slated for June.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This season, SF Opera will offer new Saturday matinee concerts; some of the season’s productions will also be livestreamed on select dates. SF Opera will also present its annual Opera in the Park, a free concert in Golden Gate Park’s Robin Williams Meadow, on Sept. 7, featuring the SF Opera Orchestra and soloists with Kim at the podium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Opera’s 103rd season kicks off Sept. 5. \u003ca href=\"https://www.sfopera.com/\">A full schedule of events can be found here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The season includes an anticipated premiere, the return of a modern masterpiece and reimagined classics.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sf-opera\">San Francisco Opera\u003c/a> on Tuesday announced a dynamic 2025–26 season, the centerpiece of which is a highly anticipated new commission: \u003ci>The Monkey King\u003c/i>, an action-adventure opera by composer Huang Ruo and librettist Henry David Hwang.\u003c/p>\n\u003cp>Premiering Nov. 14, \u003ci>The Monkey King\u003c/i> is based on \u003ci>Journey to the West\u003c/i>, a 1592 Chinese literary classic that’s inspired countless films, animations and even a massively popular video game, \u003ci>Black Myth: Wukong\u003c/i>. The new work, which runs through Nov. 30, promises to push SF Opera to new technical heights, utilizing dance and puppetry to tell the story of the ruler of the monkey kingdom who faces off against gods, demons and his own ego in his quest for immortality.\u003c/p>\n\u003cfigure id=\"attachment_13971300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg\" alt=\"A digital sketch of colorful costumes inspired by traditional Chinese clothing. \" width=\"2000\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1920x1242.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Costume designs by Anita Yavich for Erlang and the gods in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Anita Yavich/Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another season highlight is the return of \u003ci>Dead Man Walking\u003c/i>, which premiered at SF Opera 25 years ago and has since become one of the most popular modern operas of this century. Coming to the War Memorial Opera House stage Sept. 14–28, the libretto by Terrence McNally tells the real-life story of Sister Helen Prejean as she undergoes a spiritual journey while ministering to a man facing the death penalty.\u003c/p>\n\u003cp>The season kicks off with Verdi’s \u003cem>Rigoletto\u003c/em>, running Sept. 5–27, with a cast that includes Mongolian baritone Amartuvshin Enkhbat in the title role alongside Adela Zaharia, Giovanni Sala, J’Nai Bridges, Peixin Chen and Aleksey Bogdanov.\u003c/p>\n\u003cp>From Oct. 25–Nov. 13, SF Opera will present a new production of Richard Wagner’s final work, \u003ci>Parsifal\u003c/i>, the story of a knight’s spiritual quest, which — like \u003ci>The Monkey King\u003c/i> — is heavily influenced by Buddhism. The opera is part of SF Opera Music Director Eun Sun Kim’s ongoing exploration of the 19th century German composer’s work, and will be directed by Matthew Ozawa. (Kim and SF Opera General Director Matthew Shilvock will appear live at KQED’s Mission District venue, The Commons, on Feb. 4 for a \u003ca href=\"https://www.kqed.org/event/4930\">conversation with \u003cem>Forum\u003c/em> host Mina Kim\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13971302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg\" alt=\"An opera set with fences and barbed wire that look like a prison. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Andrew Cioffi/Lyric Opera of Chicago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other season highlights include a June 2026 staging of Gioachino Rossini’s iconic 19th-century comedy \u003ci>The Barber of Seville\u003c/i> and Richard Strauss’ Greek mythology-fueled \u003ci>Elektra\u003c/i>. A special concert for Pride month is also slated for June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This season, SF Opera will offer new Saturday matinee concerts; some of the season’s productions will also be livestreamed on select dates. SF Opera will also present its annual Opera in the Park, a free concert in Golden Gate Park’s Robin Williams Meadow, on Sept. 7, featuring the SF Opera Orchestra and soloists with Kim at the podium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Opera’s 103rd season kicks off Sept. 5. \u003ca href=\"https://www.sfopera.com/\">A full schedule of events can be found here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning",
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"content": "\u003cp>If you’ve never spent five hours at the opera for a story that would ordinarily take three minutes to tell, are you even living? Enter \u003cem>Tristan and Isolde\u003c/em>, Richard Wagner’s epic, tragic romance, with emphasis on epic — especially if you’re the couple who left the opera house last night at the three-hour mark, the wife muttering, “It’s just so \u003cem>long\u003c/em>.”\u003c/p>\n\u003cp>At San Francisco Opera through Nov. 5, \u003cem>Tristan and Isolde\u003c/em> is long, yes. (\u003ca href=\"https://slippedisc.com/2022/07/four-maestros-die-in-the-same-podium/\">Two conductors have died while conducting it\u003c/a>.) But like Wagner’s other great works, its effect is to warp time itself, stretching one’s mind and prying into the gaps. In \u003cem>Tristan\u003c/em>, what it shovels into those chasms is reams of love, death, and drama. Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. Kudos, then, to the orchestra. And can we take a moment to appreciate the gift San Francisco has in Eun Sun Kim at the podium? All the dynamism of the score comes alive under her baton, making it welcome news that she’s \u003ca href=\"https://www.sfopera.com/press/press-releases/ESK-contract-extension\">just signed a five-year extension\u003c/a>. (Fittingly, she’s also committed to doing a Wagner opera each season, including an upcoming \u003cem>Ring\u003c/em> cycle.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And perhaps it’s fine that some people skipped out early last night, like that tired couple I saw after Act II, leaving the diehards to their ritual. At \u003cem>Tristan and Isolde\u003c/em>’s end, as Kampe stood alone, illuminated on a dark stage, singing reverently of sweet breaths and swelling hearts, her crumpled lover at her feet, you could hear a pin drop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tristan and Isolde’ runs through Tuesday, Nov. 5, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/tristan-and-isolde/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve never spent five hours at the opera for a story that would ordinarily take three minutes to tell, are you even living? Enter \u003cem>Tristan and Isolde\u003c/em>, Richard Wagner’s epic, tragic romance, with emphasis on epic — especially if you’re the couple who left the opera house last night at the three-hour mark, the wife muttering, “It’s just so \u003cem>long\u003c/em>.”\u003c/p>\n\u003cp>At San Francisco Opera through Nov. 5, \u003cem>Tristan and Isolde\u003c/em> is long, yes. (\u003ca href=\"https://slippedisc.com/2022/07/four-maestros-die-in-the-same-podium/\">Two conductors have died while conducting it\u003c/a>.) But like Wagner’s other great works, its effect is to warp time itself, stretching one’s mind and prying into the gaps. In \u003cem>Tristan\u003c/em>, what it shovels into those chasms is reams of love, death, and drama. Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. Kudos, then, to the orchestra. And can we take a moment to appreciate the gift San Francisco has in Eun Sun Kim at the podium? All the dynamism of the score comes alive under her baton, making it welcome news that she’s \u003ca href=\"https://www.sfopera.com/press/press-releases/ESK-contract-extension\">just signed a five-year extension\u003c/a>. (Fittingly, she’s also committed to doing a Wagner opera each season, including an upcoming \u003cem>Ring\u003c/em> cycle.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And perhaps it’s fine that some people skipped out early last night, like that tired couple I saw after Act II, leaving the diehards to their ritual. At \u003cem>Tristan and Isolde\u003c/em>’s end, as Kampe stood alone, illuminated on a dark stage, singing reverently of sweet breaths and swelling hearts, her crumpled lover at her feet, you could hear a pin drop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tristan and Isolde’ runs through Tuesday, Nov. 5, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/tristan-and-isolde/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco",
"headTitle": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco | KQED",
"content": "\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work",
"title": "Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work",
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"content": "\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>[aside postid='news_11848986']The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.",
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"title": "Review: SF Opera’s ‘El último sueño de Frida y Diego’ | KQED",
"description": "Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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",
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"order": 19
},
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"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.",
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},
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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},
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"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",
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"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 />",
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},
"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",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"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",
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"source": "kqed",
"order": 9
},
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},
"freakonomics-radio": {
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"meta": {
"site": "radio",
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},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
"title": "Fresh Air",
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"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.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"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. ",
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},
"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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