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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">2025–26 season\u003c/a> Thursday, with a lineup of programs heavy on well-known, well-loved classics.\u003c/p>\n\u003cp>Among the pieces in the season: Beethoven’s Fifth. Vivaldi’s \u003cem>Four Seasons\u003c/em>. Holst’s \u003cem>The Planets\u003c/em>. Mozart’s Requiem. Berlioz’s \u003cem>Symphonie Fantastique\u003c/em>. Dvořák’s \u003cem>New World\u003c/em> symphony. Tchaikovsky’s Piano Concerto No. 1. Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>. Respighi’s \u003cem>Pines of Rome\u003c/em>.\u003c/p>\n\u003cp>The season comes during a \u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">precarious time financially\u003c/a> for the Symphony, which is looking to turn things around as it announces a season of tried-and-true favorites seemingly curated from a Reader’s Digest box set of \u003cem>Classical Music’s Greatest Hits\u003c/em>. It also marks the first season since \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the departure of Music Director Esa-Pekka Salonen\u003c/a>, known for his advocacy for more modern works and cross-disciplinary collaborations.\u003c/p>\n\u003cp>[aside postID='arts_13972538']To be clear, the season includes world premieres (by the Symphony’s Principal Trombone Timothy Higgins, and Tyler Taylor, winner of the Emerging Black Composers Project), and lesser-performed composers like Jimmy López, Outi Tarkiainen and Olli Mustonen. The Symphony’s adventurous Soundbox programming — scaled back in 2024 — will be curated by Alexi Kenney and Gabriella Smith.\u003c/p>\n\u003cp>But the overall tone of the season appears to be: \u003cem>play the hits and sell tickets\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Salonen’s absence, 23 guest conductors will take the podium, including Jaap van Zweden, who conducts a total of four programs, including the Symphony’s opening gala with Yuja Wang on Sept. 12. He also kicks off a three-season cycle of Beethoven’s nine symphonies. Other guest conductors include James Gaffigan, Donald Runnicles and Simone Young.\u003c/p>\n\u003cp>As for a new Music Director, whose programming vision shapes a season’s themes and musical arc, the Symphony formed a search committee last summer. The process of hiring a Music Director for a major symphony orchestra can take years, and occurs in private; the eventual successor is often the subject of much speculation and rumor.\u003c/p>\n\u003cp>[aside postID='arts_13970454']“Most importantly, we’re looking for someone with exceptional talent and a strong artistic vision who will inspire our musicians, audiences and community,” Symphony CEO Matt Spivey told KQED on Wednesday. “We can’t share more specifics while the search is underway, but we’re looking forward to sharing more when we’re ready to make an official announcement.”\u003c/p>\n\u003cp>Among the season’s roster of guest artists are Yo-Yo Ma, Itzhak Perlman, Nicola Benedetti, Joshua Bell, Hélène Grimaud and Emmanuel Ax. Five programs will feature principal musicians with the Symphony, including Timothy Higgins (trombone), Mark Inouye (trumpet) and Yubeen Kim (flute).\u003c/p>\n\u003cp>Annual standbys like Handel’s \u003cem>Messiah\u003c/em>, Prokofiev’s \u003cem>Peter and the Wolf\u003c/em> and a film series all make their return as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full 2025–26 San Francisco Symphony season here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Most importantly, we’re looking for someone with exceptional talent and a strong artistic vision who will inspire our musicians, audiences and community,” Symphony CEO Matt Spivey told KQED on Wednesday. “We can’t share more specifics while the search is underway, but we’re looking forward to sharing more when we’re ready to make an official announcement.”\u003c/p>\n\u003cp>Among the season’s roster of guest artists are Yo-Yo Ma, Itzhak Perlman, Nicola Benedetti, Joshua Bell, Hélène Grimaud and Emmanuel Ax. Five programs will feature principal musicians with the Symphony, including Timothy Higgins (trombone), Mark Inouye (trumpet) and Yubeen Kim (flute).\u003c/p>\n\u003cp>Annual standbys like Handel’s \u003cem>Messiah\u003c/em>, Prokofiev’s \u003cem>Peter and the Wolf\u003c/em> and a film series all make their return as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full 2025–26 San Francisco Symphony season here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The wildfires that ravaged Los Angeles burned for four weeks, but Angelenos will spend far longer rebuilding their livelihoods and homes. Clearing toxic ash, assessing damage and dealing with insurance all take an immense amount of time and energy, as does maintaining access to necessities like clean water, shelter and clothing.\u003c/p>\n\u003cp>For musicians, getting back to work comes with the additional costly challenge of replacing instruments, cases, mouthpieces, reeds and bows, among other music-related essentials. \u003c/p>\n\u003cp>To raise funds for musicians affected by the wildfires, a benefit concert will being held on Saturday, March 8, at Davies Symphony Hall. Presented by the San Francisco Symphony, Musicians of the San Francisco Symphony and the San Francisco Conservatory of Music, the benefit’s proceeds will be split evenly between two vital organizations: Habitat for Humanity of Greater Los Angeles’ ReBUILD LA campaign and the Entertainment Community Fund.\u003c/p>\n\u003cp>[aside postID='arts_13972538']Both organizations offer critical services to wildfire survivors; the ReBUILD LA campaign helps wildfire survivors relocate and provides essential goods, while the Entertainment Community Fund’s emergency financial assistance funds go toward providing health care and covering other basic living expenses. \u003c/p>\n\u003cp>The concert, featuring pianist Garrick Ohlsson and conducted by Edwin Outwater, will feature Aaron Copland’s “The Promise of Living” (from \u003cem>The Tender Land\u003c/em>), Rachmaninoff’s Piano Concerto No. 2 and Dvořák’s “New World” Symphony. Special guest soloists include mezzo-soprano Nikola Printz and tenor Christopher Oglesby. Ticket prices for the event range between $50 and $200; donations of all amounts will be accepted. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘SF Musicians for LA: A Benefit for Fire Relief’ takes place Saturday, March 8, at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/SF-for-LA-Fire-Benefit\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The wildfires that ravaged Los Angeles burned for four weeks, but Angelenos will spend far longer rebuilding their livelihoods and homes. Clearing toxic ash, assessing damage and dealing with insurance all take an immense amount of time and energy, as does maintaining access to necessities like clean water, shelter and clothing.\u003c/p>\n\u003cp>For musicians, getting back to work comes with the additional costly challenge of replacing instruments, cases, mouthpieces, reeds and bows, among other music-related essentials. \u003c/p>\n\u003cp>To raise funds for musicians affected by the wildfires, a benefit concert will being held on Saturday, March 8, at Davies Symphony Hall. Presented by the San Francisco Symphony, Musicians of the San Francisco Symphony and the San Francisco Conservatory of Music, the benefit’s proceeds will be split evenly between two vital organizations: Habitat for Humanity of Greater Los Angeles’ ReBUILD LA campaign and the Entertainment Community Fund.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Mutterings filled Davies Symphony Hall. Some people gasped. Still others, at least 11 that I counted, rose from their seats and left.\u003c/p>\n\u003cp>And all before a note was played. \u003c/p>\n\u003cp>Such was the reaction to the stage announcement before Sunday’s concert that Yuja Wang had come down with an affliction, and canceled her appearance with Víkingur Ólafsson of a highly anticipated program for two pianos. The man on stage with the night’s most unenviable job reported that instead, Ólafsson had prepared, on just two hours’ notice, to perform Bach’s complete \u003cem>Goldberg Variations\u003c/em>. \u003c/p>\n\u003cp>Wang has a large, diehard fanbase here in the Bay Area, where an appetite coexists for modern composers like Luciano Berio, John Cage and Conlon Nancarrow, all who had works in the jettisoned program. Stylistically, Bach was a 180-degree turn. And no Wang? In the moment, the disappointment was obvious. \u003c/p>\n\u003cp>Ólafsson, then, entering quickly thereafter, had the night’s hardest job: turning that disappointment around. At least from my perspective, and against the odds, he did.\u003c/p>\n\u003cfigure id=\"attachment_13972553\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg\" alt=\"A man in blue slacks and patterned jacket plays the grand piano on a sparsely lit stage\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Víkingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the 30 variations, Ólafsson upended the reputation of Bach as mathematical. Through tempo, dynamics and a precise command of touch, he made what on paper appears as a musical crossword puzzle into something porous, elastic and alive. At multiple points, he raised his right hand to “conduct” the playing of his left, as if it were a separate organism from the rest of his body. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Icelandic pianist knows this material well. He released a \u003ca href=\"https://www.deutschegrammophon.com/en/artists/vikingur-olafsson/news/vkingur-olafsson-wins-his-first-grammy-275053\">Grammy-winning\u003c/a> recording of the \u003cem>Goldberg Variations\u003c/em> on Deutsche Grammophon in 2023, and in the following year toured it across six continents, including a performance at Zellerbach Hall in Berkeley. On Sunday, across its 75-minute run time, he used no sheet music. \u003c/p>\n\u003cp>[aside postID='arts_13970454']That familiarity has bred a facility in Ólafsson that was alternately sublime and thrilling to witness. In variation No. 5, his hands performed like electrocuted spiders, jumping over each other with twittering fingers as legs. On challenging variations like No. 14, those fingers competed for real estate on the piano keys with the cutthroat determination of someone trying to rent a place in North Beach. \u003c/p>\n\u003cp>By about 45 minutes in, my furrowed brow had turned into a ridiculous grin. \u003cem>Can humans really do this?\u003c/em> \u003c/p>\n\u003cp>But this was more than pyrotechnics. These rapid-fire passages could easily be played rote, and flat. If you want to hear a computer play them, \u003ca href=\"https://www.youtube.com/watch?v=n-_SNlOHMEQ\">go ahead\u003c/a>. Then check in on Ólafsson’s renditions and get back to me. \u003c/p>\n\u003cfigure id=\"attachment_13972554\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Víkingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall. \u003ccite>(Kristen Loken/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some additional audience members did leave at periodic times throughout the performance — a half hour in, an hour in, or near the end. The \u003cem>Goldberg Variations\u003c/em> are, to be fair, stylistically similar, and mostly in the same key. \u003c/p>\n\u003cp>Perhaps Ólafsson had those people on his mind when he addressed the audience after his standing ovation, remarking that “one should never apologize for the \u003cem>Goldberg Variations\u003c/em>, or Johann Sebastian Bach.”\u003c/p>\n\u003cp>Ólafsson also explained that Wang had to bow out due to a “crazy infection to her finger,” and that the sudden change in program caused him no small amount of anxiety. He specifically thanked the backstage staff at the San Francisco Symphony for “calming me down.”\u003c/p>\n\u003cp>Ideally, he calmed the audience, as well, who were expecting something completely different, and who didn’t receive emails regarding the change; this was due to the last-minute timing of the cancellation, according to the symphony. (A symphony representative confirmed that refunds were given to those who requested them.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco date would have been the two star pianists’ final tour date together after a string of acclaimed performances. Wang’s next scheduled dates are next week, with Gustavo Dudamel conducting the New York Philharmonic. Ólafsson, meanwhile, heads to his home country this week for performances in Reykjavik.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mutterings filled Davies Symphony Hall. Some people gasped. Still others, at least 11 that I counted, rose from their seats and left.\u003c/p>\n\u003cp>And all before a note was played. \u003c/p>\n\u003cp>Such was the reaction to the stage announcement before Sunday’s concert that Yuja Wang had come down with an affliction, and canceled her appearance with Víkingur Ólafsson of a highly anticipated program for two pianos. The man on stage with the night’s most unenviable job reported that instead, Ólafsson had prepared, on just two hours’ notice, to perform Bach’s complete \u003cem>Goldberg Variations\u003c/em>. \u003c/p>\n\u003cp>Wang has a large, diehard fanbase here in the Bay Area, where an appetite coexists for modern composers like Luciano Berio, John Cage and Conlon Nancarrow, all who had works in the jettisoned program. Stylistically, Bach was a 180-degree turn. And no Wang? In the moment, the disappointment was obvious. \u003c/p>\n\u003cp>Ólafsson, then, entering quickly thereafter, had the night’s hardest job: turning that disappointment around. At least from my perspective, and against the odds, he did.\u003c/p>\n\u003cfigure id=\"attachment_13972553\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg\" alt=\"A man in blue slacks and patterned jacket plays the grand piano on a sparsely lit stage\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Víkingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the 30 variations, Ólafsson upended the reputation of Bach as mathematical. Through tempo, dynamics and a precise command of touch, he made what on paper appears as a musical crossword puzzle into something porous, elastic and alive. At multiple points, he raised his right hand to “conduct” the playing of his left, as if it were a separate organism from the rest of his body. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Icelandic pianist knows this material well. He released a \u003ca href=\"https://www.deutschegrammophon.com/en/artists/vikingur-olafsson/news/vkingur-olafsson-wins-his-first-grammy-275053\">Grammy-winning\u003c/a> recording of the \u003cem>Goldberg Variations\u003c/em> on Deutsche Grammophon in 2023, and in the following year toured it across six continents, including a performance at Zellerbach Hall in Berkeley. On Sunday, across its 75-minute run time, he used no sheet music. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That familiarity has bred a facility in Ólafsson that was alternately sublime and thrilling to witness. In variation No. 5, his hands performed like electrocuted spiders, jumping over each other with twittering fingers as legs. On challenging variations like No. 14, those fingers competed for real estate on the piano keys with the cutthroat determination of someone trying to rent a place in North Beach. \u003c/p>\n\u003cp>By about 45 minutes in, my furrowed brow had turned into a ridiculous grin. \u003cem>Can humans really do this?\u003c/em> \u003c/p>\n\u003cp>But this was more than pyrotechnics. These rapid-fire passages could easily be played rote, and flat. If you want to hear a computer play them, \u003ca href=\"https://www.youtube.com/watch?v=n-_SNlOHMEQ\">go ahead\u003c/a>. Then check in on Ólafsson’s renditions and get back to me. \u003c/p>\n\u003cfigure id=\"attachment_13972554\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Víkingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall. \u003ccite>(Kristen Loken/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some additional audience members did leave at periodic times throughout the performance — a half hour in, an hour in, or near the end. The \u003cem>Goldberg Variations\u003c/em> are, to be fair, stylistically similar, and mostly in the same key. \u003c/p>\n\u003cp>Perhaps Ólafsson had those people on his mind when he addressed the audience after his standing ovation, remarking that “one should never apologize for the \u003cem>Goldberg Variations\u003c/em>, or Johann Sebastian Bach.”\u003c/p>\n\u003cp>Ólafsson also explained that Wang had to bow out due to a “crazy infection to her finger,” and that the sudden change in program caused him no small amount of anxiety. He specifically thanked the backstage staff at the San Francisco Symphony for “calming me down.”\u003c/p>\n\u003cp>Ideally, he calmed the audience, as well, who were expecting something completely different, and who didn’t receive emails regarding the change; this was due to the last-minute timing of the cancellation, according to the symphony. (A symphony representative confirmed that refunds were given to those who requested them.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco date would have been the two star pianists’ final tour date together after a string of acclaimed performances. Wang’s next scheduled dates are next week, with Gustavo Dudamel conducting the New York Philharmonic. Ólafsson, meanwhile, heads to his home country this week for performances in Reykjavik.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 67th Grammy Awards on Sunday night delivered heartfelt tributes to Los Angeles as it recovers from wildfires, plus \u003ca href=\"https://www.kqed.org/arts/13971169/grammys-awards-2025-highlights-analysis-surprises-chappell-roan\">many memorable moments\u003c/a> — including Beyoncé finally winning Album of the Year and a powerful speech about music industry’s inequities from Best New Artist \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Chappell Roan\u003c/a>. [aside postid='arts_13971169']\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.grammy.com/news/2025-grammys-nominations-full-winners-nominees-list\">the winners\u003c/a> were several from the Bay Area, including San Francisco mastering engineer Nicolas de Porcel, founder of the studio Million Dollar Snare. de Porcel shared in Kendrick Lamar’s Record of the Year win for “Not Like Us,” which \u003ca href=\"https://www.kqed.org/arts/13969210/kendrick-lamar-west-coast-hip-hop-culture\">united the West Coast\u003c/a> while decimating Drake in their rap beef.\u003c/p>\n\u003cp>Berkeley singer and guitarist Taj Mahal won Best Traditional Blues Album for \u003cem>Swingin’ Live at The Church in Tulsa\u003c/em> — and also \u003ca href=\"https://www.grammy.com/news/2025-grammys-special-merit-awards-recipients\">received a Lifetime Achievement Award\u003c/a>. In a statement, the Recording Academy praised his impact on blues music over the past six decades by pulling in global influences and collaborating with artists like the Rolling Stones, Eric Clapton and San Francisco’s own Etta James.\u003c/p>\n\u003cp>Late R&B legend \u003ca href=\"https://www.kqed.org/arts/13964072/frankie-beverly-maze-dead-at-77\">Frankie Beverly\u003c/a>, who was originally from Philadelphia but resettled in Oakland, also received a Lifetime Achievement Award for genre-defining hits like “Before I Let Go.”\u003c/p>\n\u003cp>https://youtu.be/VkOu6mE07-8?si=92yy2yTxDLz_8T48\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sheila E., the Bay Area-raised pop hitmaker, percussionist and Prince collaborator, won Best Global Music Performance with “Bemba Colorá.” The conga-heavy, groove-laden salsa song features Gloria Estefan and Mimy Succar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>, San Francisco Symphony Chorus and music director Esa-Pekka Salonen took home the trophy for Best Opera Recording for \u003cem>Adriana Mater\u003c/em>, a meditation on war from a woman’s perspective from Finnish composer Kaija Saariaho.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 67th Grammy Awards on Sunday night delivered heartfelt tributes to Los Angeles as it recovers from wildfires, plus \u003ca href=\"https://www.kqed.org/arts/13971169/grammys-awards-2025-highlights-analysis-surprises-chappell-roan\">many memorable moments\u003c/a> — including Beyoncé finally winning Album of the Year and a powerful speech about music industry’s inequities from Best New Artist \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Chappell Roan\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.grammy.com/news/2025-grammys-nominations-full-winners-nominees-list\">the winners\u003c/a> were several from the Bay Area, including San Francisco mastering engineer Nicolas de Porcel, founder of the studio Million Dollar Snare. de Porcel shared in Kendrick Lamar’s Record of the Year win for “Not Like Us,” which \u003ca href=\"https://www.kqed.org/arts/13969210/kendrick-lamar-west-coast-hip-hop-culture\">united the West Coast\u003c/a> while decimating Drake in their rap beef.\u003c/p>\n\u003cp>Berkeley singer and guitarist Taj Mahal won Best Traditional Blues Album for \u003cem>Swingin’ Live at The Church in Tulsa\u003c/em> — and also \u003ca href=\"https://www.grammy.com/news/2025-grammys-special-merit-awards-recipients\">received a Lifetime Achievement Award\u003c/a>. In a statement, the Recording Academy praised his impact on blues music over the past six decades by pulling in global influences and collaborating with artists like the Rolling Stones, Eric Clapton and San Francisco’s own Etta James.\u003c/p>\n\u003cp>Late R&B legend \u003ca href=\"https://www.kqed.org/arts/13964072/frankie-beverly-maze-dead-at-77\">Frankie Beverly\u003c/a>, who was originally from Philadelphia but resettled in Oakland, also received a Lifetime Achievement Award for genre-defining hits like “Before I Let Go.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VkOu6mE07-8'\n title='//www.youtube.com/embed/VkOu6mE07-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sheila E., the Bay Area-raised pop hitmaker, percussionist and Prince collaborator, won Best Global Music Performance with “Bemba Colorá.” The conga-heavy, groove-laden salsa song features Gloria Estefan and Mimy Succar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>, San Francisco Symphony Chorus and music director Esa-Pekka Salonen took home the trophy for Best Opera Recording for \u003cem>Adriana Mater\u003c/em>, a meditation on war from a woman’s perspective from Finnish composer Kaija Saariaho.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13919101']But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a widely publicized strike, the American Guild of Musical Artists (AGMA) members of the San Francisco Symphony Chorus have reached a tentative two-year agreement with the board of the San Francisco Symphony.\u003c/p>\n\u003cp>The collective bargaining agreement, applied retroactively to August, would maintain current pay rates for the 32 paid AGMA choristers for the next two years. It would also maintain the total number of professional choristers, as well as a minimum number of rehearsals and performances and funds for meals, parking and other expenses.\u003c/p>\n\u003cp>The negotiations were hasted by a $4 million gift from an anonymous donor. At the donor’s request, the $4 million will be split evenly between operations over the next two years and a special dedicated endowment for the San Francisco Symphony Chorus, from which the Chorus may draw approximately $100,000 each season.\u003c/p>\n\u003cp>[aside postID='arts_13954083']“All of us at the San Francisco Symphony are deeply grateful to the donor for their remarkable generosity and belief in our mission to bring powerful musical experiences to our community,” said Matthew Spivey, the Symphony’s Chief Executive Officer, in a statement.\u003c/p>\n\u003cp>Only 32 of the San Francisco Symphony Chorus’ 152 singers currently receive compensation. The agreement would set a minimum compensation of $22,053 for up to 26 choral performances and 53 rehearsals each season.\u003c/p>\n\u003cfigure id=\"attachment_13965268\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965268\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg\" alt=\"\" width=\"2000\" height=\"1392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1920x1336.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the San Francisco Symphony chorus and orchestra picket outside Davis Symphony Hall on Sept. 19, 2024. The Symphony canceled three performances of Verdi’s ‘Requiem’ on just two hours’ notice Thursday after the Chorus went on strike. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The agreement comes at the end of a tumultuous year for the Symphony. In March, shortly after Music Director \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen announced his departure\u003c/a> from the organization, the Symphony outlined its troubling financial outlook in a \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">four-page document\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chorus singers’ union contract expired on July 31. At one point in negotiations, San Francisco Symphony management had proposed to cut their compensation by 65%, and to reduce choral programs by nearly half, from 8-11 per year to just five per year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In September, the Symphony canceled its season opener of Giuseppe Verdi’s \u003cem>Requiem\u003c/em> just two hours before opening night after union members of the Symphony Chorus announced a last-minute strike. At the time, union representatives they were still dissatisfied with management’s proposal of a 10% pay cut for the 2025-26 season, and chorus members marched outside Davies Symphony Hall. Choristers and supporters also handed out flyers outside concerts for weeks afterward to raise awareness of their position.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a widely publicized strike, the American Guild of Musical Artists (AGMA) members of the San Francisco Symphony Chorus have reached a tentative two-year agreement with the board of the San Francisco Symphony.\u003c/p>\n\u003cp>The collective bargaining agreement, applied retroactively to August, would maintain current pay rates for the 32 paid AGMA choristers for the next two years. It would also maintain the total number of professional choristers, as well as a minimum number of rehearsals and performances and funds for meals, parking and other expenses.\u003c/p>\n\u003cp>The negotiations were hasted by a $4 million gift from an anonymous donor. At the donor’s request, the $4 million will be split evenly between operations over the next two years and a special dedicated endowment for the San Francisco Symphony Chorus, from which the Chorus may draw approximately $100,000 each season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All of us at the San Francisco Symphony are deeply grateful to the donor for their remarkable generosity and belief in our mission to bring powerful musical experiences to our community,” said Matthew Spivey, the Symphony’s Chief Executive Officer, in a statement.\u003c/p>\n\u003cp>Only 32 of the San Francisco Symphony Chorus’ 152 singers currently receive compensation. The agreement would set a minimum compensation of $22,053 for up to 26 choral performances and 53 rehearsals each season.\u003c/p>\n\u003cfigure id=\"attachment_13965268\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965268\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg\" alt=\"\" width=\"2000\" height=\"1392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1920x1336.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the San Francisco Symphony chorus and orchestra picket outside Davis Symphony Hall on Sept. 19, 2024. The Symphony canceled three performances of Verdi’s ‘Requiem’ on just two hours’ notice Thursday after the Chorus went on strike. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The agreement comes at the end of a tumultuous year for the Symphony. In March, shortly after Music Director \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen announced his departure\u003c/a> from the organization, the Symphony outlined its troubling financial outlook in a \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">four-page document\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chorus singers’ union contract expired on July 31. At one point in negotiations, San Francisco Symphony management had proposed to cut their compensation by 65%, and to reduce choral programs by nearly half, from 8-11 per year to just five per year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In September, the Symphony canceled its season opener of Giuseppe Verdi’s \u003cem>Requiem\u003c/em> just two hours before opening night after union members of the Symphony Chorus announced a last-minute strike. At the time, union representatives they were still dissatisfied with management’s proposal of a 10% pay cut for the 2025-26 season, and chorus members marched outside Davies Symphony Hall. Choristers and supporters also handed out flyers outside concerts for weeks afterward to raise awareness of their position.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
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"headTitle": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More | KQED",
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"content": "\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Symphony canceled its season opener of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-verdi-requiem\">Giuseppe Verdi’s \u003cem>Requiem\u003c/em>\u003c/a> just two hours before opening night on Thursday after union members of the San Francisco Symphony Chorus announced a strike.\u003c/p>\n\u003cp>SF Symphony representatives said the three Sept. 19-21 concerts will not be rescheduled, and that ticket holders have the option to either exchange their tickets for tickets to another 2024-25 performance or a gift certificate; convert tickets into a tax-deductible donation; or receive a full refund.\u003c/p>\n\u003cp>[aside postID='arts_13964392']A picket line had formed outside of Davies Symphony hall at 6 p.m. Thursday.\u003c/p>\n\u003cp>The chorus’ 32 paid singers are represented by the American Guild of Musical Artists (AGMA), and have been in contract negotiations with Symphony leadership since May. The labor dispute hinges on proposed budget cuts to the chorus, which union representatives say is already the lowest-paid segment of the Symphony.\u003c/p>\n\u003cp>While Symphony leadership offered to maintain current chorus wages for the 2024-25 season, union representatives said they were dissatisfied with management’s proposal of a 10% pay cut for 2025-26.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13954083']“I cannot recall the last time AGMA went on strike, but management has repeatedly failed to show how targeting the Symphony’s internationally acclaimed Choristers will solve their alleged financial issues,” said AGMA President Ned Hanlon. “We urge management to immediately return to the bargaining table and work toward a real solution that honors the work of these dedicated artists and gets everyone back to creating beautiful music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Symphony leadership said they were negotiating in good faith with the chorus. “We are eager to continue working with AGMA, and we are committed to reaching an agreement as soon as possible.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I cannot recall the last time AGMA went on strike, but management has repeatedly failed to show how targeting the Symphony’s internationally acclaimed Choristers will solve their alleged financial issues,” said AGMA President Ned Hanlon. “We urge management to immediately return to the bargaining table and work toward a real solution that honors the work of these dedicated artists and gets everyone back to creating beautiful music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Symphony leadership said they were negotiating in good faith with the chorus. “We are eager to continue working with AGMA, and we are committed to reaching an agreement as soon as possible.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Symphony Chorus has voted to authorize a strike amid contentious negotiations with San Francisco Symphony management, according to the American Guild of Musical Artists (AGMA), the union representing the choristers.\u003c/p>\n\u003cp>The announcement comes just days ahead of the 2024–25 season opener on Sept. 19, when outgoing Music Director \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> is set to conduct the orchestra in a performance of Giuseppe Verdi’s \u003cem>Requiem\u003c/em>, which prominently features the chorus.\u003c/p>\n\u003cp>Although a strike has not officially begun, the AGMA board of governors has granted Interim National Executive Director Allison Beck and the negotiation committee the authority to call a strike as a “last resort,” according to a union statement.\u003c/p>\n\u003cp>The chorus singers’ union contract expired on July 31. In negotiations, San Francisco Symphony management has proposed to cut their compensation by 65%, and to reduce choral programs by nearly half, from 8-11 per year to just five per year.\u003c/p>\n\u003cp>[aside postID='arts_13962857']Only 32 of the San Francisco Symphony Chorus’ 152 singers currently receive compensation. Choristers voted unanimously to authorize the strike, with 98% of eligible members participating in the vote. Of the unpaid singers scheduled to perform Verdi’s \u003cem>Requiem\u003c/em>, 81% said they would not cross the picket line, putting the concert in jeopardy if an agreement is not reached.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To target the Chorus with these dubious cuts suggests an unconscionable lack of respect, and frankly understanding of the treasure this ensemble is or how to steward it responsibly,” said Elliott Encarnación, an AGMA Governor on the Executive Council and SFSC negotiating committee member, in a statement.\u003c/p>\n\u003cp>San Francisco Symphony leadership told KQED in a statement that they’ve engaged in good-faith negotiations with the Chorus, and will continue to do so.\u003c/p>\n\u003cp>“During those meetings, and prior, we’ve been transparent about the challenging financial pressures we face — like many other arts organizations since the pandemic,” reads the statement. “We’re working with union representatives to collectively address those realities. Above all, we’re very optimistic about our future. Out of respect for the negotiating process, we won’t be providing specifics about the details of talks at this time.”\u003c/p>\n\u003cp>[aside postID='forum_2010101907072']The strike authorization is not the first dispute the San Francisco Symphony has had with musicians this year. This season will be Salonen’s last as music director; \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">Salonen said\u003c/a> that he and the board “do not share the same goals for the future of the institution” after the board had decided on budget cuts would significantly affect the organization’s “artistic profile.”\u003c/p>\n\u003cp>Orchestra musicians protested as a result, handing out flyers after performances that asked patrons to email the board and urge them to do what it takes to keep the maestro, restore musician salaries to “competitive levels” and avoid cuts to overseas touring, children’s programming, the SoundBox concert series and other initiatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">four-page, public statement\u003c/a> issued in May, Symphony leadership described the organization’s financial troubles. It said it had incurred a cumulative $116 million operating deficit over the past decade, and that donor restrictions and California law prevent it from covering the shortfall with its endowment. The San Francisco Symphony’s $324.5 million endowment is one of the largest of any orchestra in the nation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Symphony Chorus has voted to authorize a strike amid contentious negotiations with San Francisco Symphony management, according to the American Guild of Musical Artists (AGMA), the union representing the choristers.\u003c/p>\n\u003cp>The announcement comes just days ahead of the 2024–25 season opener on Sept. 19, when outgoing Music Director \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> is set to conduct the orchestra in a performance of Giuseppe Verdi’s \u003cem>Requiem\u003c/em>, which prominently features the chorus.\u003c/p>\n\u003cp>Although a strike has not officially begun, the AGMA board of governors has granted Interim National Executive Director Allison Beck and the negotiation committee the authority to call a strike as a “last resort,” according to a union statement.\u003c/p>\n\u003cp>The chorus singers’ union contract expired on July 31. In negotiations, San Francisco Symphony management has proposed to cut their compensation by 65%, and to reduce choral programs by nearly half, from 8-11 per year to just five per year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Only 32 of the San Francisco Symphony Chorus’ 152 singers currently receive compensation. Choristers voted unanimously to authorize the strike, with 98% of eligible members participating in the vote. Of the unpaid singers scheduled to perform Verdi’s \u003cem>Requiem\u003c/em>, 81% said they would not cross the picket line, putting the concert in jeopardy if an agreement is not reached.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To target the Chorus with these dubious cuts suggests an unconscionable lack of respect, and frankly understanding of the treasure this ensemble is or how to steward it responsibly,” said Elliott Encarnación, an AGMA Governor on the Executive Council and SFSC negotiating committee member, in a statement.\u003c/p>\n\u003cp>San Francisco Symphony leadership told KQED in a statement that they’ve engaged in good-faith negotiations with the Chorus, and will continue to do so.\u003c/p>\n\u003cp>“During those meetings, and prior, we’ve been transparent about the challenging financial pressures we face — like many other arts organizations since the pandemic,” reads the statement. “We’re working with union representatives to collectively address those realities. Above all, we’re very optimistic about our future. Out of respect for the negotiating process, we won’t be providing specifics about the details of talks at this time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The strike authorization is not the first dispute the San Francisco Symphony has had with musicians this year. This season will be Salonen’s last as music director; \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">Salonen said\u003c/a> that he and the board “do not share the same goals for the future of the institution” after the board had decided on budget cuts would significantly affect the organization’s “artistic profile.”\u003c/p>\n\u003cp>Orchestra musicians protested as a result, handing out flyers after performances that asked patrons to email the board and urge them to do what it takes to keep the maestro, restore musician salaries to “competitive levels” and avoid cuts to overseas touring, children’s programming, the SoundBox concert series and other initiatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">four-page, public statement\u003c/a> issued in May, Symphony leadership described the organization’s financial troubles. It said it had incurred a cumulative $116 million operating deficit over the past decade, and that donor restrictions and California law prevent it from covering the shortfall with its endowment. The San Francisco Symphony’s $324.5 million endowment is one of the largest of any orchestra in the nation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>[aside postID='arts_13934544']Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>[aside postID='arts_13955606']On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-classical-music-concerts-bay-area-fall-2024",
"title": "The Best Classical Music Concerts in the Bay Area This Fall",
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"headTitle": "The Best Classical Music Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\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\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\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=\"(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/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n",
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"excerpt": "From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.",
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"title": "The Best Classical Music Concerts in the Bay Area This Fall | KQED",
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"headline": "The Best Classical Music Concerts in the Bay Area This Fall",
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"source": "Fall Guide 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\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\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, 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>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\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=\"(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/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, 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>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "john-legend-kamala-harris-campaign",
"title": "John Legend on Kamala Harris’ Campaign: ‘I Feel So Optimistic’",
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"headTitle": "John Legend on Kamala Harris’ Campaign: ‘I Feel So Optimistic’ | KQED",
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"content": "\u003cp>John Legend, who \u003ca href=\"https://www.instagram.com/p/C9stRRLy44E/\">swiftly endorsed Vice President Kamala Harris\u003c/a> on Monday after President Biden \u003ca href=\"https://www.kqed.org/news/11996616/biden-ends-reelection-campaign-leaving-democrats-next-steps-unclear\">ended his campaign\u003c/a>, had just arrived in San Francisco when my phone rang.\u003c/p>\n\u003cp>Here for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">two concerts tonight and tomorrow with the San Francisco Symphony\u003c/a>, Legend and I were scheduled to talk about his current tour. But it was soon clear that he had one thing on his mind: the defeat of Donald Trump, and Harris’ ability to make it happen.\u003c/p>\n\u003cp>After some chit-chat about music and the Bay Area, Legend lit up when the topic swung to Harris and her candidacy. Read his thoughts below.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13961485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Vice President Kamala Harris speaks from the South Lawn of the White House in Washington, DC, on Monday, July 22, 2024, in her first public appearance since President Joe Biden endorsed her to be the next presidential nominee of the Democratic Party. \u003ccite>(Susan Walsh/AP Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: One of the Bay Area’s own, born in Oakland, is suddenly now the Democratic frontrunner: Kamala Harris.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>John Legend:\u003c/strong> Absolutely! Absolutely. I’m very excited.\u003c/p>\n\u003cp>\u003cstrong>I saw you publicly endorsed her. How are you feeling about her campaign, about her chances?\u003c/strong>\u003c/p>\n\u003cp>I feel so optimistic. I feel like she’s ready for this moment. Even in the past few weeks, when there were a lot of rumblings about whether or not President Biden would bow out, you could just see her rising to the occasion. I believe she’s truly ready.\u003c/p>\n\u003cp>\u003cstrong>Have you spent time with her? What are your impressions of her as a person, face-to-face?\u003c/strong>\u003c/p>\n\u003cp>I’ve met her many times. I helped raise money for her Senate campaign, and I think I helped raise money for her Attorney General campaign, too. And we were recently with her at the White House, where my wife hosted an event with her, speaking about reproductive rights and the fight to restore reproductive rights around the country.\u003c/p>\n\u003cp>She’s extremely smart. She’s extremely personable, fun to talk to and engaging. She really listens, and is really empathetic. And I think she’s really well prepared for this moment, prepared to campaign — but also prepared to be president.\u003c/p>\n\u003cfigure id=\"attachment_13961481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Legend performs before a speech by Kamala Harris at a drive-in election eve rally on Nov. 2, 2020 in Philadelphia. \u003ccite>(Mark Makela)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In your own words, why do you think it’s important that she beats Trump?\u003c/strong>\u003c/p>\n\u003cp>Trump represents a very unique danger to the country. We’ve seen his contempt for democracy. We’ve seen it through the insurrection he encouraged on January 6th. We’ve seen it in his attempts to demonize and defame election workers. We’ve seen it in his lying and whining about losing the 2020 election. He cannot be trusted with our democracy.\u003c/p>\n\u003cp>And, as we saw through his handling of the COVID pandemic, he can’t be trusted with our public health. He can’t be trusted with our climate, because he doesn’t even believe climate change is real. There’s so many reasons why he shouldn’t lead our country. If you do any reading about Project 2025 and you see what he and his henchmen are planning for our country, they’re planning to destroy our democracy in multiple ways. And we’ve got to do everything we can to prevent that from happening.\u003c/p>\n\u003cp>\u003cstrong>What do you think Kamala’s strong points are as a candidate, to beat him?\u003c/strong>\u003c/p>\n\u003cp>She clearly can make the case. She knows how to \u003cem>joyfully\u003c/em> campaign, but also prosecute the case at the same time. And I think she has that right combination of charisma, intelligence and the ability to very clearly draw the distinction between her vision for the country and Donald Trump’s.\u003c/p>\n\u003cp>[aside postID='arts_13955679']\u003cstrong>Is there any one particular issue in this election year you’re especially concerned about – climate, immigration, the economy, abortion?\u003c/strong>\u003c/p>\n\u003cp>Well, all of it matters. And all of it points to voting for Kamala Harris! As you think about the climate, the Biden-Harris administration just made the biggest investment in fighting climate change that the United States has ever made with the Inflation Reduction Act. So much of that investment is going into new technologies that will help us fight climate change. The Republican Party wants to roll all that back and claim that climate change isn’t even happening.\u003c/p>\n\u003cp>And then, when it comes to reproductive rights, it’s something that’s very close to my family’s heart. They want the government to tell women what to do with their bodies. They’re willing to risk women’s lives in order to force them to carry pregnancies to term. It’s just so clear, the difference. I can’t imagine putting them back in power and allowing them to wreak havoc on so many freedoms that we hold dear.\u003c/p>\n\u003cp>\u003cstrong>Lastly, for all the for all the disillusioned voters out there: Why should they have hope? \u003c/strong>\u003c/p>\n\u003cp>Well, first of all, I get the sense that a lot of that disillusionment is evaporating. A lot of people are getting motivated and energized by this change. I think it was the right change to make, at the right time. I’m seeing the energy from so many components of the Democratic base: young people, Black people, Asian people, women.\u003c/p>\n\u003cp>The motivation and the momentum are definitely going in the right direction now. So I’m excited. I think people are getting fired up. And for all the reasons I said before, I think there are plenty of reasons that this election is going to matter in people’s lives. And they need to make sure they are engaged not only in voting, but organizing and encouraging their friends and family to vote as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>John Legend performs with the San Francisco Symphony on Tuesday and Wednesday, July 23 and 24, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Legend, who \u003ca href=\"https://www.instagram.com/p/C9stRRLy44E/\">swiftly endorsed Vice President Kamala Harris\u003c/a> on Monday after President Biden \u003ca href=\"https://www.kqed.org/news/11996616/biden-ends-reelection-campaign-leaving-democrats-next-steps-unclear\">ended his campaign\u003c/a>, had just arrived in San Francisco when my phone rang.\u003c/p>\n\u003cp>Here for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">two concerts tonight and tomorrow with the San Francisco Symphony\u003c/a>, Legend and I were scheduled to talk about his current tour. But it was soon clear that he had one thing on his mind: the defeat of Donald Trump, and Harris’ ability to make it happen.\u003c/p>\n\u003cp>After some chit-chat about music and the Bay Area, Legend lit up when the topic swung to Harris and her candidacy. Read his thoughts below.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13961485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Vice President Kamala Harris speaks from the South Lawn of the White House in Washington, DC, on Monday, July 22, 2024, in her first public appearance since President Joe Biden endorsed her to be the next presidential nominee of the Democratic Party. \u003ccite>(Susan Walsh/AP Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: One of the Bay Area’s own, born in Oakland, is suddenly now the Democratic frontrunner: Kamala Harris.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Legend:\u003c/strong> Absolutely! Absolutely. I’m very excited.\u003c/p>\n\u003cp>\u003cstrong>I saw you publicly endorsed her. How are you feeling about her campaign, about her chances?\u003c/strong>\u003c/p>\n\u003cp>I feel so optimistic. I feel like she’s ready for this moment. Even in the past few weeks, when there were a lot of rumblings about whether or not President Biden would bow out, you could just see her rising to the occasion. I believe she’s truly ready.\u003c/p>\n\u003cp>\u003cstrong>Have you spent time with her? What are your impressions of her as a person, face-to-face?\u003c/strong>\u003c/p>\n\u003cp>I’ve met her many times. I helped raise money for her Senate campaign, and I think I helped raise money for her Attorney General campaign, too. And we were recently with her at the White House, where my wife hosted an event with her, speaking about reproductive rights and the fight to restore reproductive rights around the country.\u003c/p>\n\u003cp>She’s extremely smart. She’s extremely personable, fun to talk to and engaging. She really listens, and is really empathetic. And I think she’s really well prepared for this moment, prepared to campaign — but also prepared to be president.\u003c/p>\n\u003cfigure id=\"attachment_13961481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Legend performs before a speech by Kamala Harris at a drive-in election eve rally on Nov. 2, 2020 in Philadelphia. \u003ccite>(Mark Makela)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In your own words, why do you think it’s important that she beats Trump?\u003c/strong>\u003c/p>\n\u003cp>Trump represents a very unique danger to the country. We’ve seen his contempt for democracy. We’ve seen it through the insurrection he encouraged on January 6th. We’ve seen it in his attempts to demonize and defame election workers. We’ve seen it in his lying and whining about losing the 2020 election. He cannot be trusted with our democracy.\u003c/p>\n\u003cp>And, as we saw through his handling of the COVID pandemic, he can’t be trusted with our public health. He can’t be trusted with our climate, because he doesn’t even believe climate change is real. There’s so many reasons why he shouldn’t lead our country. If you do any reading about Project 2025 and you see what he and his henchmen are planning for our country, they’re planning to destroy our democracy in multiple ways. And we’ve got to do everything we can to prevent that from happening.\u003c/p>\n\u003cp>\u003cstrong>What do you think Kamala’s strong points are as a candidate, to beat him?\u003c/strong>\u003c/p>\n\u003cp>She clearly can make the case. She knows how to \u003cem>joyfully\u003c/em> campaign, but also prosecute the case at the same time. And I think she has that right combination of charisma, intelligence and the ability to very clearly draw the distinction between her vision for the country and Donald Trump’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Is there any one particular issue in this election year you’re especially concerned about – climate, immigration, the economy, abortion?\u003c/strong>\u003c/p>\n\u003cp>Well, all of it matters. And all of it points to voting for Kamala Harris! As you think about the climate, the Biden-Harris administration just made the biggest investment in fighting climate change that the United States has ever made with the Inflation Reduction Act. So much of that investment is going into new technologies that will help us fight climate change. The Republican Party wants to roll all that back and claim that climate change isn’t even happening.\u003c/p>\n\u003cp>And then, when it comes to reproductive rights, it’s something that’s very close to my family’s heart. They want the government to tell women what to do with their bodies. They’re willing to risk women’s lives in order to force them to carry pregnancies to term. It’s just so clear, the difference. I can’t imagine putting them back in power and allowing them to wreak havoc on so many freedoms that we hold dear.\u003c/p>\n\u003cp>\u003cstrong>Lastly, for all the for all the disillusioned voters out there: Why should they have hope? \u003c/strong>\u003c/p>\n\u003cp>Well, first of all, I get the sense that a lot of that disillusionment is evaporating. A lot of people are getting motivated and energized by this change. I think it was the right change to make, at the right time. I’m seeing the energy from so many components of the Democratic base: young people, Black people, Asian people, women.\u003c/p>\n\u003cp>The motivation and the momentum are definitely going in the right direction now. So I’m excited. I think people are getting fired up. And for all the reasons I said before, I think there are plenty of reasons that this election is going to matter in people’s lives. And they need to make sure they are engaged not only in voting, but organizing and encouraging their friends and family to vote as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>John Legend performs with the San Francisco Symphony on Tuesday and Wednesday, July 23 and 24, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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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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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"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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"meta": {
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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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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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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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},
"hidden-brain": {
"id": "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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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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"
}
},
"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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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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