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"content": "\u003cp>On Friday night, \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> got the world’s very first look at an opera destined to become a modern classic.\u003c/p>\n\u003cp>Huang Ruo and David Henry Hwang’s \u003cem>\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>\u003c/em> is a dazzling, gorgeous work of art that balances the joy of young mischievousness with the weight of old wisdom. Its costumes and set pieces are a feast for the eyes, augmented by a rich, meditative score and captivating performances. I cannot say enough good things about it. If you want just the three-word summary, it’s this: go, go, go.\u003c/p>\n\u003cp>Directed by Diane Paulus, and commissioned jointly by San Francisco Opera and the Chinese Heritage Foundation of Minnesota, this is an opera that’s both invigorating and accessible. Sung almost entirely in English, and based on a portion of the 16th Century Chinese novel \u003cem>Journey to the West\u003c/em>, Hwang’s quick-paced libretto for \u003cem>The Monkey King\u003c/em> is easy to follow. Huang’s music follows in the modern American tradition, cascading and fluid. The show’s run time is two hours and 23 minutes, the length of your average prestige Hollywood film. \u003c/p>\n\u003cfigure id=\"attachment_13983803\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Mei Gui Zhang as Guanyin in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’\u003cbr> \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is all selling short \u003cem>The Monkey King\u003c/em>’s depth. Take the opening: a chorus of low bass tones and higher voices create a tense interval of portent. The angelic figure of Guanyin (beautifully sung by Mei Gui Zhang) slowly appears in the air, ensconced in a teardrop-shaped figure, and sings: \u003cem>All forms are illusions\u003c/em>. \u003c/p>\n\u003cp>Indeed, in the ensuing hours, tall vertical land formations curdle and collapse into a cave. A giant golden column shrinks to become a heavy handheld staff. A green umbrella soars out of view and returns 20 times its normal size. Warring swords and shields, unmanned, fight in mid-air. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alternately navigating and causing these transformations is Monkey (a thrilling Kang Wang), a young rebel with no formal upbringing. He tries to follow the Buddhist teachings of Master Subhuti (Jusung Gabriel Park), who intones in one of the opera’s repeating melodic motifs that power alone is not enough. He soon meets his match in the Jade Emperor (Konu Kim) and his court, who resent the ego-driven Monkey’s ability to get ahead.\u003c/p>\n\u003cfigure id=\"attachment_13983799\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hongni Wu as Venus Star, Joo Won Kang as Dragon King Ao Guang, Konu Kim as Jade Emperor, and Peixin Chen as Supreme Sage Laojun in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is an opera you won’t need to bring binoculars to, if only to preserve the magic of the set and puppetry design by Basil Twist (with associate set designer Sara C. Walsh). The silks and fabrics alone are stunning. Hovering jellyfish bubble around an underwater seascape. Six white horses prance through the air. An enormous snake slithers into battle. \u003c/p>\n\u003cp>The costumes, designed by Anita Yavich, explode with color and texture — especially those of the Jade Emperor’s court, whose self-importance and overconfidence are underscored by a wardrobe befitting a cocaine-addled 1980s New Wave band. Ornate headpieces animate the movements of the Monkey King, along with those of his dancing body double (Huiwang Zhang, with dynamic choreography by Ann Yee; Twist employs a puppet double as well). \u003c/p>\n\u003cfigure id=\"attachment_13983801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kang Wang as the title role in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the visuals will understandably get much of the attention, Huang Ruo’s wonderful, singular score (conducted by Carolyn Kuan, and with the occasional use of Chinese gongs and cymbals) is \u003cem>The Monkey King\u003c/em>’s understated highlight. It simply would not be as strong a work without it.\u003c/p>\n\u003cp>Early in Act I, the Monkey King and Guanyin sing a duet — not in harmony or counterpoint, but interwoven nonetheless, while the orchestra tends to a melodic journey of its own. Later, Mei Gui Zhang’s aria “\u003ca href=\"https://www.youtube.com/watch?v=UuLAGDO7RIs&list=RDUuLAGDO7RIs&start_radio=1\">All Dharmas Are Equal\u003c/a>” makes time stand still, and Kang Wang’s breathtaking “Land of Bliss” recalls the show-stopping Act II numbers so common to Broadway musicals. \u003c/p>\n\u003cp>Or take an early scene when, with no other action on stage, a boulder slowly advances for two long minutes. Ordinarily, this would constitute dead air and boredom. Instead, thanks to Huang’s accompanying music, it’s riveting — an extended moment of tension and suspense. \u003c/p>\n\u003cfigure id=\"attachment_13983800\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Konu Kim as Jade Emperor (center) with members of the San Francisco Opera Chorus in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any show about power and ego in the Trump era runs the risk of overplaying its relevance; it’s to Paulus’ credit as a director that \u003cem>The Monkey King\u003c/em> doesn’t. While the immortality-seeking Monkey King can’t take criticism, rewards only his inner circle and tells people to go back where they came from, he isn’t portrayed heavy-handedly as our current authoritarian-in-chief. (The Jade Emperor, after all, shares many of the same traits.)\u003c/p>\n\u003cp>This allows \u003cem>The Monkey King\u003c/em>‘s message to reside in the eye of the beholder, along with its delights. At its first-ever public performance, few flaws were evident. Could Kim play the Jade Emperor slightly more diabolically? Sure. Does the ending drag just a little too long? Maybe. \u003c/p>\n\u003cp>But ultimately, \u003cem>The Monkey King\u003c/em> is a triumph, and a hugely enjoyable one. Make plans now, camp out for standing-room tickets, leave work early — do whatever you can to see this current run, or any future production. It will surely last and last.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Monkey King’ runs through Nov. 30 at the War Memorial Opera House in San Francisco. A series of community events, workshops and exhibits accompany the world premiere run. \u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">Details and ticket information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"socialDescription": "Destined to be a modern classic, Huang Ruo and David Henry Hwang's new opera is a thrilling, gorgeous work of art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> got the world’s very first look at an opera destined to become a modern classic.\u003c/p>\n\u003cp>Huang Ruo and David Henry Hwang’s \u003cem>\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>\u003c/em> is a dazzling, gorgeous work of art that balances the joy of young mischievousness with the weight of old wisdom. Its costumes and set pieces are a feast for the eyes, augmented by a rich, meditative score and captivating performances. I cannot say enough good things about it. If you want just the three-word summary, it’s this: go, go, go.\u003c/p>\n\u003cp>Directed by Diane Paulus, and commissioned jointly by San Francisco Opera and the Chinese Heritage Foundation of Minnesota, this is an opera that’s both invigorating and accessible. Sung almost entirely in English, and based on a portion of the 16th Century Chinese novel \u003cem>Journey to the West\u003c/em>, Hwang’s quick-paced libretto for \u003cem>The Monkey King\u003c/em> is easy to follow. Huang’s music follows in the modern American tradition, cascading and fluid. The show’s run time is two hours and 23 minutes, the length of your average prestige Hollywood film. \u003c/p>\n\u003cfigure id=\"attachment_13983803\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A0371-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Mei Gui Zhang as Guanyin in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’\u003cbr> \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is all selling short \u003cem>The Monkey King\u003c/em>’s depth. Take the opening: a chorus of low bass tones and higher voices create a tense interval of portent. The angelic figure of Guanyin (beautifully sung by Mei Gui Zhang) slowly appears in the air, ensconced in a teardrop-shaped figure, and sings: \u003cem>All forms are illusions\u003c/em>. \u003c/p>\n\u003cp>Indeed, in the ensuing hours, tall vertical land formations curdle and collapse into a cave. A giant golden column shrinks to become a heavy handheld staff. A green umbrella soars out of view and returns 20 times its normal size. Warring swords and shields, unmanned, fight in mid-air. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alternately navigating and causing these transformations is Monkey (a thrilling Kang Wang), a young rebel with no formal upbringing. He tries to follow the Buddhist teachings of Master Subhuti (Jusung Gabriel Park), who intones in one of the opera’s repeating melodic motifs that power alone is not enough. He soon meets his match in the Jade Emperor (Konu Kim) and his court, who resent the ego-driven Monkey’s ability to get ahead.\u003c/p>\n\u003cfigure id=\"attachment_13983799\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1511-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hongni Wu as Venus Star, Joo Won Kang as Dragon King Ao Guang, Konu Kim as Jade Emperor, and Peixin Chen as Supreme Sage Laojun in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is an opera you won’t need to bring binoculars to, if only to preserve the magic of the set and puppetry design by Basil Twist (with associate set designer Sara C. Walsh). The silks and fabrics alone are stunning. Hovering jellyfish bubble around an underwater seascape. Six white horses prance through the air. An enormous snake slithers into battle. \u003c/p>\n\u003cp>The costumes, designed by Anita Yavich, explode with color and texture — especially those of the Jade Emperor’s court, whose self-importance and overconfidence are underscored by a wardrobe befitting a cocaine-addled 1980s New Wave band. Ornate headpieces animate the movements of the Monkey King, along with those of his dancing body double (Huiwang Zhang, with dynamic choreography by Ann Yee; Twist employs a puppet double as well). \u003c/p>\n\u003cfigure id=\"attachment_13983801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1963-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kang Wang as the title role in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the visuals will understandably get much of the attention, Huang Ruo’s wonderful, singular score (conducted by Carolyn Kuan, and with the occasional use of Chinese gongs and cymbals) is \u003cem>The Monkey King\u003c/em>’s understated highlight. It simply would not be as strong a work without it.\u003c/p>\n\u003cp>Early in Act I, the Monkey King and Guanyin sing a duet — not in harmony or counterpoint, but interwoven nonetheless, while the orchestra tends to a melodic journey of its own. Later, Mei Gui Zhang’s aria “\u003ca href=\"https://www.youtube.com/watch?v=UuLAGDO7RIs&list=RDUuLAGDO7RIs&start_radio=1\">All Dharmas Are Equal\u003c/a>” makes time stand still, and Kang Wang’s breathtaking “Land of Bliss” recalls the show-stopping Act II numbers so common to Broadway musicals. \u003c/p>\n\u003cp>Or take an early scene when, with no other action on stage, a boulder slowly advances for two long minutes. Ordinarily, this would constitute dead air and boredom. Instead, thanks to Huang’s accompanying music, it’s riveting — an extended moment of tension and suspense. \u003c/p>\n\u003cfigure id=\"attachment_13983800\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A1683-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Konu Kim as Jade Emperor (center) with members of the San Francisco Opera Chorus in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any show about power and ego in the Trump era runs the risk of overplaying its relevance; it’s to Paulus’ credit as a director that \u003cem>The Monkey King\u003c/em> doesn’t. While the immortality-seeking Monkey King can’t take criticism, rewards only his inner circle and tells people to go back where they came from, he isn’t portrayed heavy-handedly as our current authoritarian-in-chief. (The Jade Emperor, after all, shares many of the same traits.)\u003c/p>\n\u003cp>This allows \u003cem>The Monkey King\u003c/em>‘s message to reside in the eye of the beholder, along with its delights. At its first-ever public performance, few flaws were evident. Could Kim play the Jade Emperor slightly more diabolically? Sure. Does the ending drag just a little too long? Maybe. \u003c/p>\n\u003cp>But ultimately, \u003cem>The Monkey King\u003c/em> is a triumph, and a hugely enjoyable one. Make plans now, camp out for standing-room tickets, leave work early — do whatever you can to see this current run, or any future production. It will surely last and last.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Monkey King’ runs through Nov. 30 at the War Memorial Opera House in San Francisco. A series of community events, workshops and exhibits accompany the world premiere run. \u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">Details and ticket information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced",
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"content": "\u003cp>It’s official — \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> is bringing back \u003cem>The Ring\u003c/em>.\u003c/p>\n\u003cp>Richard Wagner’s monumental four-part, 15-hour opera cycle will return to the War Memorial Opera House in June 2028. Directed by Francesca Zambello and conducted by Eun Sun Kim, the full \u003cem>Ring of the Nibelung\u003c/em> cycle will be performed three complete times — exactly 10 years after \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hoursof-opera\">the production was last staged at San Francisco Opera\u003c/a>, in 2018. \u003c/p>\n\u003cp>The principal cast includes Tamara Wilson making her company debut as Brünnhilde. Brian Mulligan, currently performing as Amfortas in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13983347/parsifal-sf-opera-review\">Parsifal\u003c/a>\u003c/em> at the War Memorial Opera House, is cast as Wotan. (Mulligan performed as both Donner and Gunther in SF Opera’s 2018 production of the \u003cem>Ring\u003c/em>.) Simon O’Neill, recently seen onstage in San Francisco as Tristan in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967202/review-tristan-and-isolde-sf-opera\">Tristan un Isolde\u003c/a>\u003c/em>, will perform the role of Seigfried. \u003c/p>\n\u003cfigure id=\"attachment_13983651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13983651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera’s 2028 cycles of Wagner’s ‘Ring’ will be conducted by Eun Sun Kim and directed by Francesca Zambello (L–R). \u003ccite>(Cody Pickens/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This will mark Eun Sun Kim’s first time conducting the full \u003cem>Ring\u003c/em> cycle. As a lead-in, she will conduct its four parts separately: \u003cem>Das Rheingold\u003c/em> in June 2027, \u003cem>Die Walküre\u003c/em> in the fall of 2027, and \u003cem>Siegfried\u003c/em> and \u003cem>Götterdämmerung\u003c/em> in the spring of 2028 before the rotation of full cycles. (Kim has undertaken an initiative to conduct Wagner in each season, \u003ca href=\"https://frontrow.sfopera.com/details/25132\">starting with \u003cem>Lohengrin\u003c/em> in 2023\u003c/a>.) The chorus director will be John Keene.\u003c/p>\n\u003cp>As in previous stagings of \u003cem>The Ring\u003c/em> in 2011 and 2018, San Francisco Opera plans a Ring Festival with ancillary programming around the performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dates of the three \u003cem>Ring\u003c/em> cycles in 2028 are June 13–18, June 20–26 and June 27–July 2. Tickets go on sale Oct. 13, 2026 to Ring Circle members, 2026–27 subscribers and higher-level donors; tickets to the general public go on sale in July 2027. \u003ca href=\"https://www.sfopera.com/operas/ring-cycle/\">Ticket information and more details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s official — \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> is bringing back \u003cem>The Ring\u003c/em>.\u003c/p>\n\u003cp>Richard Wagner’s monumental four-part, 15-hour opera cycle will return to the War Memorial Opera House in June 2028. Directed by Francesca Zambello and conducted by Eun Sun Kim, the full \u003cem>Ring of the Nibelung\u003c/em> cycle will be performed three complete times — exactly 10 years after \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hoursof-opera\">the production was last staged at San Francisco Opera\u003c/a>, in 2018. \u003c/p>\n\u003cp>The principal cast includes Tamara Wilson making her company debut as Brünnhilde. Brian Mulligan, currently performing as Amfortas in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13983347/parsifal-sf-opera-review\">Parsifal\u003c/a>\u003c/em> at the War Memorial Opera House, is cast as Wotan. (Mulligan performed as both Donner and Gunther in SF Opera’s 2018 production of the \u003cem>Ring\u003c/em>.) Simon O’Neill, recently seen onstage in San Francisco as Tristan in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967202/review-tristan-and-isolde-sf-opera\">Tristan un Isolde\u003c/a>\u003c/em>, will perform the role of Seigfried. \u003c/p>\n\u003cfigure id=\"attachment_13983651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13983651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera’s 2028 cycles of Wagner’s ‘Ring’ will be conducted by Eun Sun Kim and directed by Francesca Zambello (L–R). \u003ccite>(Cody Pickens/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This will mark Eun Sun Kim’s first time conducting the full \u003cem>Ring\u003c/em> cycle. As a lead-in, she will conduct its four parts separately: \u003cem>Das Rheingold\u003c/em> in June 2027, \u003cem>Die Walküre\u003c/em> in the fall of 2027, and \u003cem>Siegfried\u003c/em> and \u003cem>Götterdämmerung\u003c/em> in the spring of 2028 before the rotation of full cycles. (Kim has undertaken an initiative to conduct Wagner in each season, \u003ca href=\"https://frontrow.sfopera.com/details/25132\">starting with \u003cem>Lohengrin\u003c/em> in 2023\u003c/a>.) The chorus director will be John Keene.\u003c/p>\n\u003cp>As in previous stagings of \u003cem>The Ring\u003c/em> in 2011 and 2018, San Francisco Opera plans a Ring Festival with ancillary programming around the performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dates of the three \u003cem>Ring\u003c/em> cycles in 2028 are June 13–18, June 20–26 and June 27–July 2. Tickets go on sale Oct. 13, 2026 to Ring Circle members, 2026–27 subscribers and higher-level donors; tickets to the general public go on sale in July 2027. \u003ca href=\"https://www.sfopera.com/operas/ring-cycle/\">Ticket information and more details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13981517\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past week, the U.S. government has demanded that Americans support a blatant contradiction: to honor the memory of \u003ca href=\"https://www.kqed.org/news/12056113/charlie-kirks-assassination-and-the-rise-of-political-violence\">a free-speech promoting provocateur\u003c/a> by \u003ca href=\"https://www.npr.org/2025/09/18/nx-s1-5545671/kimmel-suspension-charlie-kirk-death-free-speech-censorship\">attacking and firing those who exercise their right to free speech\u003c/a>. \u003c/p>\n\u003cp>That’s the TLDR of it, anyway — I’m glossing over all the parts about \u003ca href=\"https://www.nytimes.com/2025/09/16/us/politics/charlie-kirk-shooting-bullets-messages.html\">bullets etched with furry lingo\u003c/a>, comparisons between \u003ca href=\"https://economictimes.indiatimes.com/news/international/global-trends/us-news-abortion-worse-than-holocaust-charlie-kirks-controversial-views-re-surface-daughter-rape-baby-delivered-after-trump-ally-assassinated/articleshow/123831808.cms?from=mdr\">abortion and the holocaust\u003c/a>, a future assassin \u003ca href=\"https://bsky.app/profile/iwriteok.bsky.social/post/3lynfxustfc2e\">cosplaying in a slav squat\u003c/a>, the \u003ca href=\"https://www.them.us/story/nancy-mace-trans-people-institutionalized-internet-charlie-kirk\">ongoing demonization of trans people\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2025/sep/11/charlie-kirk-quotes-beliefs\">qualified Black women\u003c/a>, and an \u003ca href=\"https://www.pbs.org/newshour/politics/trumps-moves-against-media-outlets-mirror-authoritarian-approaches-to-silencing-dissent\">encroaching takeover of American news media by a thin-skinned authoritarian president\u003c/a>. \u003c/p>\n\u003cp>The central contradiction of the opera \u003cem>Dead Man Walking\u003c/em>, which opened this week at San Francisco Opera, seems quaint by comparison. Is there a moral argument for a government to kill its own people as punishment for killing? As the author of the book \u003cem>Dead Man Walking\u003c/em>, Sister Helen Prejean never could have realized how uncomplicated this question would seem to an audience wrestling with the terrifying notion of American fascism.\u003c/p>\n\u003cfigure id=\"attachment_13981514\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13981514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Joseph De Rocher with Samuel Kidd and Philip Skinner as Prison Guards in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday night, during a return to the War Memorial Opera House 25 years after its seismic world premiere here in 2000, Jake Heggie and Terrence McNally’s widely acclaimed, oft-performed work felt not like one of the most successful operas of the modern age, but one already out of date. The death penalty? We’ve got bigger problems now. \u003c/p>\n\u003cp>Such is the cruel retroactive shadow of the current regime; one that’s unfair to this moving and still quite contemporary production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dead Man Walking\u003c/em> opens with nude actors on stage and a horrific crime scene that’s shocking even by today’s standards. The multilevel set design by Michael McGarty and lighting by Brian Nason cohere to create a distinct, new world on stage of eerie woodland and oppressive barbed-wire fencing. McNally’s libretto is rich as ever, and under the baton of Patrick Summers, who also conducted the 2000 premiere, Heggie’s expressive, complex score soars beautifully.\u003c/p>\n\u003cfigure id=\"attachment_13981516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Angola State Prison set for San Francisco Opera’s production of ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it’s not as if capital punishment has receded into the past. Since \u003cem>Dead Man Walking\u003c/em>’s premiere, California voters have rejected two state propositions to repeal the death penalty, and Governor Gavin Newsom placed a moratorium on executions just six years ago, in 2019. \u003c/p>\n\u003cp>Which brings us to Ryan McKinny as death row inmate Joseph De Rocher, who wrestles with his conscience, worries for his mother and fears his ultimate fate. Rod Gilfry as Owen Hart, the father of a murdered girl, is a surprise standout, and both he and McKinny bring the required pathos and frustration to their roles.\u003c/p>\n\u003cp>Susan Graham, who performed the role of Prejean in 2000, returns in a full-force performance of emotion as De Rocher’s mother, grasping to understand the actions of her son and state government alike. Graham’s stellar performance made me wish I’d seen her in the original, 25 years ago. \u003c/p>\n\u003cfigure id=\"attachment_13981515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Graham as Mrs. Patrick De Rocher in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mezzo-soprano Jamie Barton, as Sister Helen Prejean, now has the task of bringing \u003cem>Dead Man Walking\u003c/em>’s moral quandary to life. Though Barton was raised in the south — the story takes place in Louisiana — she plays the conflicted nun a little too meekly, combined with the occasional smirk or chortle. The role of Prejean calls for something in the middle, a steadier balance of pious trepidation and down-to-earth humanity.\u003c/p>\n\u003cp>As for sheer musicality, though, when Barton and Brittany Renee, as Sister Rose, sing in duet, something special enters the air. In multiple moments of the cast and chorus singing together, and the orchestra at \u003cem>forte\u003c/em>, it creates opera at its best and most transcendent. \u003c/p>\n\u003cfigure id=\"attachment_13981518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean and Brittany Renee as Sister Rose in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prejean’s goal is an impossible one. Her God tells her she must have empathy for all, including racists and violent criminals, plus the families of the victims of racists and violent criminals, and it eats her up. With apologies for making a comparison to the 1995 film, that’s what Susan Sarandon conveyed so wonderfully on screen, and what I found myself missing most on the opera house stage – especially since all the other elements in this production are radiantly present. \u003c/p>\n\u003cp>Some of us may be feeling like Sister Helen Prejean this week, asked, as we are, to have sympathy for those with views and actions we find abhorrent. The thing is, most of us are not nuns. And none of us are saints. Nobody’s heart is large enough to let in all the evil in the world, and certainly not this week. Twenty-five years later, the challenge that \u003cem>Dead Man Walking\u003c/em> hands us is more untenable than ever. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man Walking’ runs through Sunday, Sept. 28, at the War Memorial Opera House (301 Van Ness Ave., San Francisco). \u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981517\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past week, the U.S. government has demanded that Americans support a blatant contradiction: to honor the memory of \u003ca href=\"https://www.kqed.org/news/12056113/charlie-kirks-assassination-and-the-rise-of-political-violence\">a free-speech promoting provocateur\u003c/a> by \u003ca href=\"https://www.npr.org/2025/09/18/nx-s1-5545671/kimmel-suspension-charlie-kirk-death-free-speech-censorship\">attacking and firing those who exercise their right to free speech\u003c/a>. \u003c/p>\n\u003cp>That’s the TLDR of it, anyway — I’m glossing over all the parts about \u003ca href=\"https://www.nytimes.com/2025/09/16/us/politics/charlie-kirk-shooting-bullets-messages.html\">bullets etched with furry lingo\u003c/a>, comparisons between \u003ca href=\"https://economictimes.indiatimes.com/news/international/global-trends/us-news-abortion-worse-than-holocaust-charlie-kirks-controversial-views-re-surface-daughter-rape-baby-delivered-after-trump-ally-assassinated/articleshow/123831808.cms?from=mdr\">abortion and the holocaust\u003c/a>, a future assassin \u003ca href=\"https://bsky.app/profile/iwriteok.bsky.social/post/3lynfxustfc2e\">cosplaying in a slav squat\u003c/a>, the \u003ca href=\"https://www.them.us/story/nancy-mace-trans-people-institutionalized-internet-charlie-kirk\">ongoing demonization of trans people\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2025/sep/11/charlie-kirk-quotes-beliefs\">qualified Black women\u003c/a>, and an \u003ca href=\"https://www.pbs.org/newshour/politics/trumps-moves-against-media-outlets-mirror-authoritarian-approaches-to-silencing-dissent\">encroaching takeover of American news media by a thin-skinned authoritarian president\u003c/a>. \u003c/p>\n\u003cp>The central contradiction of the opera \u003cem>Dead Man Walking\u003c/em>, which opened this week at San Francisco Opera, seems quaint by comparison. Is there a moral argument for a government to kill its own people as punishment for killing? As the author of the book \u003cem>Dead Man Walking\u003c/em>, Sister Helen Prejean never could have realized how uncomplicated this question would seem to an audience wrestling with the terrifying notion of American fascism.\u003c/p>\n\u003cfigure id=\"attachment_13981514\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13981514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Joseph De Rocher with Samuel Kidd and Philip Skinner as Prison Guards in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday night, during a return to the War Memorial Opera House 25 years after its seismic world premiere here in 2000, Jake Heggie and Terrence McNally’s widely acclaimed, oft-performed work felt not like one of the most successful operas of the modern age, but one already out of date. The death penalty? We’ve got bigger problems now. \u003c/p>\n\u003cp>Such is the cruel retroactive shadow of the current regime; one that’s unfair to this moving and still quite contemporary production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Man Walking\u003c/em> opens with nude actors on stage and a horrific crime scene that’s shocking even by today’s standards. The multilevel set design by Michael McGarty and lighting by Brian Nason cohere to create a distinct, new world on stage of eerie woodland and oppressive barbed-wire fencing. McNally’s libretto is rich as ever, and under the baton of Patrick Summers, who also conducted the 2000 premiere, Heggie’s expressive, complex score soars beautifully.\u003c/p>\n\u003cfigure id=\"attachment_13981516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Angola State Prison set for San Francisco Opera’s production of ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it’s not as if capital punishment has receded into the past. Since \u003cem>Dead Man Walking\u003c/em>’s premiere, California voters have rejected two state propositions to repeal the death penalty, and Governor Gavin Newsom placed a moratorium on executions just six years ago, in 2019. \u003c/p>\n\u003cp>Which brings us to Ryan McKinny as death row inmate Joseph De Rocher, who wrestles with his conscience, worries for his mother and fears his ultimate fate. Rod Gilfry as Owen Hart, the father of a murdered girl, is a surprise standout, and both he and McKinny bring the required pathos and frustration to their roles.\u003c/p>\n\u003cp>Susan Graham, who performed the role of Prejean in 2000, returns in a full-force performance of emotion as De Rocher’s mother, grasping to understand the actions of her son and state government alike. Graham’s stellar performance made me wish I’d seen her in the original, 25 years ago. \u003c/p>\n\u003cfigure id=\"attachment_13981515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Graham as Mrs. Patrick De Rocher in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mezzo-soprano Jamie Barton, as Sister Helen Prejean, now has the task of bringing \u003cem>Dead Man Walking\u003c/em>’s moral quandary to life. Though Barton was raised in the south — the story takes place in Louisiana — she plays the conflicted nun a little too meekly, combined with the occasional smirk or chortle. The role of Prejean calls for something in the middle, a steadier balance of pious trepidation and down-to-earth humanity.\u003c/p>\n\u003cp>As for sheer musicality, though, when Barton and Brittany Renee, as Sister Rose, sing in duet, something special enters the air. In multiple moments of the cast and chorus singing together, and the orchestra at \u003cem>forte\u003c/em>, it creates opera at its best and most transcendent. \u003c/p>\n\u003cfigure id=\"attachment_13981518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean and Brittany Renee as Sister Rose in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prejean’s goal is an impossible one. Her God tells her she must have empathy for all, including racists and violent criminals, plus the families of the victims of racists and violent criminals, and it eats her up. With apologies for making a comparison to the 1995 film, that’s what Susan Sarandon conveyed so wonderfully on screen, and what I found myself missing most on the opera house stage – especially since all the other elements in this production are radiantly present. \u003c/p>\n\u003cp>Some of us may be feeling like Sister Helen Prejean this week, asked, as we are, to have sympathy for those with views and actions we find abhorrent. The thing is, most of us are not nuns. And none of us are saints. Nobody’s heart is large enough to let in all the evil in the world, and certainly not this week. Twenty-five years later, the challenge that \u003cem>Dead Man Walking\u003c/em> hands us is more untenable than ever. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man Walking’ runs through Sunday, Sept. 28, at the War Memorial Opera House (301 Van Ness Ave., San Francisco). \u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera’s New Season: ‘Dead Man Walking,’ ‘The Monkey King’ and More",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sf-opera\">San Francisco Opera\u003c/a> on Tuesday announced a dynamic 2025–26 season, the centerpiece of which is a highly anticipated new commission: \u003ci>The Monkey King\u003c/i>, an action-adventure opera by composer Huang Ruo and librettist Henry David Hwang.\u003c/p>\n\u003cp>Premiering Nov. 14, \u003ci>The Monkey King\u003c/i> is based on \u003ci>Journey to the West\u003c/i>, a 1592 Chinese literary classic that’s inspired countless films, animations and even a massively popular video game, \u003ci>Black Myth: Wukong\u003c/i>. The new work, which runs through Nov. 30, promises to push SF Opera to new technical heights, utilizing dance and puppetry to tell the story of the ruler of the monkey kingdom who faces off against gods, demons and his own ego in his quest for immortality.\u003c/p>\n\u003cfigure id=\"attachment_13971300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg\" alt=\"A digital sketch of colorful costumes inspired by traditional Chinese clothing. \" width=\"2000\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1920x1242.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Costume designs by Anita Yavich for Erlang and the gods in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Anita Yavich/Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another season highlight is the return of \u003ci>Dead Man Walking\u003c/i>, which premiered at SF Opera 25 years ago and has since become one of the most popular modern operas of this century. Coming to the War Memorial Opera House stage Sept. 14–28, the libretto by Terrence McNally tells the real-life story of Sister Helen Prejean as she undergoes a spiritual journey while ministering to a man facing the death penalty.\u003c/p>\n\u003cp>The season kicks off with Verdi’s \u003cem>Rigoletto\u003c/em>, running Sept. 5–27, with a cast that includes Mongolian baritone Amartuvshin Enkhbat in the title role alongside Adela Zaharia, Giovanni Sala, J’Nai Bridges, Peixin Chen and Aleksey Bogdanov.\u003c/p>\n\u003cp>From Oct. 25–Nov. 13, SF Opera will present a new production of Richard Wagner’s final work, \u003ci>Parsifal\u003c/i>, the story of a knight’s spiritual quest, which — like \u003ci>The Monkey King\u003c/i> — is heavily influenced by Buddhism. The opera is part of SF Opera Music Director Eun Sun Kim’s ongoing exploration of the 19th century German composer’s work, and will be directed by Matthew Ozawa. (Kim and SF Opera General Director Matthew Shilvock will appear live at KQED’s Mission District venue, The Commons, on Feb. 4 for a \u003ca href=\"https://www.kqed.org/event/4930\">conversation with \u003cem>Forum\u003c/em> host Mina Kim\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13971302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg\" alt=\"An opera set with fences and barbed wire that look like a prison. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Andrew Cioffi/Lyric Opera of Chicago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other season highlights include a June 2026 staging of Gioachino Rossini’s iconic 19th-century comedy \u003ci>The Barber of Seville\u003c/i> and Richard Strauss’ Greek mythology-fueled \u003ci>Elektra\u003c/i>. A special concert for Pride month is also slated for June.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This season, SF Opera will offer new Saturday matinee concerts; some of the season’s productions will also be livestreamed on select dates. SF Opera will also present its annual Opera in the Park, a free concert in Golden Gate Park’s Robin Williams Meadow, on Sept. 7, featuring the SF Opera Orchestra and soloists with Kim at the podium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Opera’s 103rd season kicks off Sept. 5. \u003ca href=\"https://www.sfopera.com/\">A full schedule of events can be found here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sf-opera\">San Francisco Opera\u003c/a> on Tuesday announced a dynamic 2025–26 season, the centerpiece of which is a highly anticipated new commission: \u003ci>The Monkey King\u003c/i>, an action-adventure opera by composer Huang Ruo and librettist Henry David Hwang.\u003c/p>\n\u003cp>Premiering Nov. 14, \u003ci>The Monkey King\u003c/i> is based on \u003ci>Journey to the West\u003c/i>, a 1592 Chinese literary classic that’s inspired countless films, animations and even a massively popular video game, \u003ci>Black Myth: Wukong\u003c/i>. The new work, which runs through Nov. 30, promises to push SF Opera to new technical heights, utilizing dance and puppetry to tell the story of the ruler of the monkey kingdom who faces off against gods, demons and his own ego in his quest for immortality.\u003c/p>\n\u003cfigure id=\"attachment_13971300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg\" alt=\"A digital sketch of colorful costumes inspired by traditional Chinese clothing. \" width=\"2000\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1920x1242.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Costume designs by Anita Yavich for Erlang and the gods in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Anita Yavich/Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another season highlight is the return of \u003ci>Dead Man Walking\u003c/i>, which premiered at SF Opera 25 years ago and has since become one of the most popular modern operas of this century. Coming to the War Memorial Opera House stage Sept. 14–28, the libretto by Terrence McNally tells the real-life story of Sister Helen Prejean as she undergoes a spiritual journey while ministering to a man facing the death penalty.\u003c/p>\n\u003cp>The season kicks off with Verdi’s \u003cem>Rigoletto\u003c/em>, running Sept. 5–27, with a cast that includes Mongolian baritone Amartuvshin Enkhbat in the title role alongside Adela Zaharia, Giovanni Sala, J’Nai Bridges, Peixin Chen and Aleksey Bogdanov.\u003c/p>\n\u003cp>From Oct. 25–Nov. 13, SF Opera will present a new production of Richard Wagner’s final work, \u003ci>Parsifal\u003c/i>, the story of a knight’s spiritual quest, which — like \u003ci>The Monkey King\u003c/i> — is heavily influenced by Buddhism. The opera is part of SF Opera Music Director Eun Sun Kim’s ongoing exploration of the 19th century German composer’s work, and will be directed by Matthew Ozawa. (Kim and SF Opera General Director Matthew Shilvock will appear live at KQED’s Mission District venue, The Commons, on Feb. 4 for a \u003ca href=\"https://www.kqed.org/event/4930\">conversation with \u003cem>Forum\u003c/em> host Mina Kim\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13971302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg\" alt=\"An opera set with fences and barbed wire that look like a prison. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Andrew Cioffi/Lyric Opera of Chicago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other season highlights include a June 2026 staging of Gioachino Rossini’s iconic 19th-century comedy \u003ci>The Barber of Seville\u003c/i> and Richard Strauss’ Greek mythology-fueled \u003ci>Elektra\u003c/i>. A special concert for Pride month is also slated for June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This season, SF Opera will offer new Saturday matinee concerts; some of the season’s productions will also be livestreamed on select dates. SF Opera will also present its annual Opera in the Park, a free concert in Golden Gate Park’s Robin Williams Meadow, on Sept. 7, featuring the SF Opera Orchestra and soloists with Kim at the podium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Opera’s 103rd season kicks off Sept. 5. \u003ca href=\"https://www.sfopera.com/\">A full schedule of events can be found here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning",
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"content": "\u003cp>If you’ve never spent five hours at the opera for a story that would ordinarily take three minutes to tell, are you even living? Enter \u003cem>Tristan and Isolde\u003c/em>, Richard Wagner’s epic, tragic romance, with emphasis on epic — especially if you’re the couple who left the opera house last night at the three-hour mark, the wife muttering, “It’s just so \u003cem>long\u003c/em>.”\u003c/p>\n\u003cp>At San Francisco Opera through Nov. 5, \u003cem>Tristan and Isolde\u003c/em> is long, yes. (\u003ca href=\"https://slippedisc.com/2022/07/four-maestros-die-in-the-same-podium/\">Two conductors have died while conducting it\u003c/a>.) But like Wagner’s other great works, its effect is to warp time itself, stretching one’s mind and prying into the gaps. In \u003cem>Tristan\u003c/em>, what it shovels into those chasms is reams of love, death, and drama. Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. Kudos, then, to the orchestra. And can we take a moment to appreciate the gift San Francisco has in Eun Sun Kim at the podium? All the dynamism of the score comes alive under her baton, making it welcome news that she’s \u003ca href=\"https://www.sfopera.com/press/press-releases/ESK-contract-extension\">just signed a five-year extension\u003c/a>. (Fittingly, she’s also committed to doing a Wagner opera each season, including an upcoming \u003cem>Ring\u003c/em> cycle.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And perhaps it’s fine that some people skipped out early last night, like that tired couple I saw after Act II, leaving the diehards to their ritual. At \u003cem>Tristan and Isolde\u003c/em>’s end, as Kampe stood alone, illuminated on a dark stage, singing reverently of sweet breaths and swelling hearts, her crumpled lover at her feet, you could hear a pin drop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tristan and Isolde’ runs through Tuesday, Nov. 5, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/tristan-and-isolde/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "SF Opera’s ‘Tristan and Isolde’: Love, Death and Yearning | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve never spent five hours at the opera for a story that would ordinarily take three minutes to tell, are you even living? Enter \u003cem>Tristan and Isolde\u003c/em>, Richard Wagner’s epic, tragic romance, with emphasis on epic — especially if you’re the couple who left the opera house last night at the three-hour mark, the wife muttering, “It’s just so \u003cem>long\u003c/em>.”\u003c/p>\n\u003cp>At San Francisco Opera through Nov. 5, \u003cem>Tristan and Isolde\u003c/em> is long, yes. (\u003ca href=\"https://slippedisc.com/2022/07/four-maestros-die-in-the-same-podium/\">Two conductors have died while conducting it\u003c/a>.) But like Wagner’s other great works, its effect is to warp time itself, stretching one’s mind and prying into the gaps. In \u003cem>Tristan\u003c/em>, what it shovels into those chasms is reams of love, death, and drama. Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. Kudos, then, to the orchestra. And can we take a moment to appreciate the gift San Francisco has in Eun Sun Kim at the podium? All the dynamism of the score comes alive under her baton, making it welcome news that she’s \u003ca href=\"https://www.sfopera.com/press/press-releases/ESK-contract-extension\">just signed a five-year extension\u003c/a>. (Fittingly, she’s also committed to doing a Wagner opera each season, including an upcoming \u003cem>Ring\u003c/em> cycle.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And perhaps it’s fine that some people skipped out early last night, like that tired couple I saw after Act II, leaving the diehards to their ritual. At \u003cem>Tristan and Isolde\u003c/em>’s end, as Kampe stood alone, illuminated on a dark stage, singing reverently of sweet breaths and swelling hearts, her crumpled lover at her feet, you could hear a pin drop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tristan and Isolde’ runs through Tuesday, Nov. 5, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/tristan-and-isolde/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-handmaids-tale-opera-margaret-atwood-san-francisco",
"title": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia",
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"content": "\u003cp>The lights have just gone up for intermission at the opening night of San Francisco Opera’s long-awaited production of \u003cem>The Handmaid’s Tale\u003c/em>. As people begin to rise and excitedly chatter about what we’ve just witnessed, the woman next to me turns to her companion and sighs.\u003c/p>\n\u003cp>“Well,” she says, “this is unrelentingly bleak.”\u003c/p>\n\u003cp>[aside postid='arts_13963021']Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>[aside postID='arts_13962857']Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Irene Roberts is astonishing as Offred in this powerful production at San Francisco Opera.",
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"title": "‘The Handmaid’s Tale’ San Francisco Opera Review | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lights have just gone up for intermission at the opening night of San Francisco Opera’s long-awaited production of \u003cem>The Handmaid’s Tale\u003c/em>. As people begin to rise and excitedly chatter about what we’ve just witnessed, the woman next to me turns to her companion and sighs.\u003c/p>\n\u003cp>“Well,” she says, “this is unrelentingly bleak.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho",
"title": "‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting",
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"content": "\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n",
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"title": "‘Innocence’ at SF Opera: A Masterwork About a School Shooting | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "10 Great Jazz and Classical Shows in the Bay Area This Summer",
"headTitle": "10 Great Jazz and Classical Shows in the Bay Area This Summer | KQED",
"content": "\u003cp>I know, I know — summertime is for staying out ’til 2 a.m., losing your mind to ear-splitting bass and dancing for hours. Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco can’t have a \u003cem>complete\u003c/em> lock on Mahler, now, can it? In this cheekily titled program, Symphony San Jose performs Mahler’s First — the “Titan” symphony — a tone poem–esque work that marked the beginning of a legendary run. In another shade of the harmonic spectrum is Mozart’s Piano Concerto No. 21, used to great effect in the film \u003cem>Elvira Madigan\u003c/em>. Rounding out the program is \u003cem>Danzon No. 2\u003c/em>, by the living Mexican composer Arturo Márquez, which captures the lively rhythms and flavors of mariachi.\u003c/p>\n\n",
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"title": "10 Great Jazz and Classical Shows in the Bay Area This Summer | KQED",
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"headline": "10 Great Jazz and Classical Shows in the Bay Area This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I know, I know — summertime is for staying out ’til 2 a.m., losing your mind to ear-splitting bass and dancing for hours. Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco",
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"content": "\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n",
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"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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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"order": 10
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
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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",
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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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},
"live-from-here-highlights": {
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
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"link": "/radio/program/live-from-here-highlights",
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
"id": "marketplace",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"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/",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 13
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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.",
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"order": 12
},
"link": "/podcasts/onourwatch",
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"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"link": "/radio/program/on-the-media",
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},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://our-body-politic.simplecast.com/",
"meta": {
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
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"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"order": 15
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
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"order": 6
},
"link": "/podcasts/politicalbreakdown",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
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