window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13983792": {
"type": "attachments",
"id": "arts_13983792",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13983792",
"found": true
},
"title": "_C0A0819",
"publishDate": 1763326814,
"status": "inherit",
"parent": 0,
"modified": 1763327405,
"caption": "Kang Wang as the Monkey King with members of the San Francisco Opera Chorus in Huang Ruo and David Henry Hwang's ‘The Monkey King.’",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": "A man in an ornate costume with a feathery headpiece sings in front of a chorus in masks and red-and-gold outfits",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A0819-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A0819-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A0819-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A0819-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A0819-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A0819-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A0819.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13983650": {
"type": "attachments",
"id": "arts_13983650",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13983650",
"found": true
},
"title": "_37A3626",
"publishDate": 1762908653,
"status": "inherit",
"parent": 13983649,
"modified": 1762908696,
"caption": "A scene from ‘Siegfried’ in Francesca Zambello’s production of ‘The Ring of the Nibelung.’",
"credit": "Cory Weaver/San Francisco Opera ",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/37A3626.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13983392": {
"type": "attachments",
"id": "arts_13983392",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13983392",
"found": true
},
"title": "_C0A2481",
"publishDate": 1762286399,
"status": "inherit",
"parent": 13983347,
"modified": 1762286888,
"caption": "Tanja Ariane Baumgartner as Kundry and Falk Struckmann as Klingsor in San Francisco Opera’s production of ‘Parsifal’ by Richard Wagner.",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2481.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13981520": {
"type": "attachments",
"id": "arts_13981520",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13981520",
"found": true
},
"title": "DMW.main",
"publishDate": 1758301109,
"status": "inherit",
"parent": 0,
"modified": 1758301192,
"caption": "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.’",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": "A man in denim shirt over a white t-shirt and in handcuffs sings while being led by two prison guards in uniform",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/DMW.main_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/DMW.main_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/DMW.main_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/DMW.main_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/DMW.main_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/DMW.main_.jpg",
"width": 2000,
"height": 1125
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13977306": {
"type": "attachments",
"id": "arts_13977306",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13977306",
"found": true
},
"title": "_74A0947",
"publishDate": 1749480812,
"status": "inherit",
"parent": 0,
"modified": 1749481113,
"caption": "Pene Pati as Rodolfo, Bogdan Talos as Colline, Samuel Kidd as Schaunard, and Lucas Meachem as Marcello in Puccini’s ‘La bohème.’",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": "Four men in 1800s clothes frolic and laugh at an old wooden table",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A0947.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13967232": {
"type": "attachments",
"id": "arts_13967232",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13967232",
"found": true
},
"title": "_74A5626",
"publishDate": 1729797217,
"status": "inherit",
"parent": 13967202,
"modified": 1729797401,
"caption": "Anja Kampe as Isolde and Simon O'Neill as Tristan in Wagner's ‘Tristan und Isolde.’",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/74A5626.jpg",
"width": 2000,
"height": 1125
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13959110": {
"type": "attachments",
"id": "arts_13959110",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959110",
"found": true
},
"title": "_74A1662",
"publishDate": 1717440079,
"status": "inherit",
"parent": 13959026,
"modified": 1717442217,
"caption": "Rowan Kievits as Student #4 (Anton), Beate Mordal as Student #2 (Lilly), Lucy Shelton as the Teacher, Marina Dumont as Student #6 (Alexia), Vilma Jää as Student #1 (Markéta), Camilo Delgado Díaz as Student #5 (Jerónimo), and Julie Hega as Student #3 (Iris) in 'Innocence' at SF Opera.",
"credit": "Cory Weaver/San Francisco Opera",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662-800x534.jpg",
"width": 800,
"height": 534,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662-1020x681.jpg",
"width": 1020,
"height": 681,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1662.jpg",
"width": 1920,
"height": 1281
}
},
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "gmeline",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13983779": {
"type": "posts",
"id": "arts_13983779",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983779",
"score": null,
"sort": [
1763323210000
]
},
"guestAuthors": [],
"slug": "monkey-king-review-san-francisco-opera-world-premiere",
"title": "In World Premiere, ‘The Monkey King’ Is a Dazzling Triumph at SF Opera",
"publishDate": 1763323210,
"format": "standard",
"headTitle": "In World Premiere, ‘The Monkey King’ Is a Dazzling Triumph at SF Opera | KQED",
"labelTerm": {},
"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",
"blocks": [],
"excerpt": "Destined to be a modern classic, Huang Ruo and David Henry Hwang's new opera is a thrilling, gorgeous work of art.",
"status": "publish",
"parent": 0,
"modified": 1763396637,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1022
},
"headData": {
"title": "Review: ‘The Monkey King’ Is a Dazzling Triumph at San Francisco Premiere | KQED",
"description": "Destined to be a modern classic, Huang Ruo and David Henry Hwang's new opera is a thrilling, gorgeous work of art.",
"ogTitle": "In World Premiere, ‘The Monkey King’ Is a Dazzling Triumph at SF Opera",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In World Premiere, ‘The Monkey King’ Is a Dazzling Triumph at SF Opera",
"twDescription": "",
"twImgId": "",
"socialTitle": "Review: ‘The Monkey King’ Is a Dazzling Triumph at San Francisco Premiere %%page%% %%sep%% KQED",
"socialDescription": "Destined to be a modern classic, Huang Ruo and David Henry Hwang's new opera is a thrilling, gorgeous work of art.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In World Premiere, ‘The Monkey King’ Is a Dazzling Triumph at SF Opera",
"datePublished": "2025-11-16T12:00:10-08:00",
"dateModified": "2025-11-17T08:23:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"WpOldSlug": "in-world-premiere-the-monkey-king-is-a-dazzling-triumph-at-sf-opera",
"nprStoryId": "kqed-13983779",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983779/monkey-king-review-san-francisco-opera-world-premiere",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983779/monkey-king-review-san-francisco-opera-world-premiere",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_22313"
],
"tags": [
"arts_5391",
"arts_10278",
"arts_4566",
"arts_1146",
"arts_1071",
"arts_3316",
"arts_22171"
],
"featImg": "arts_13983792",
"label": "source_arts_13983779"
},
"arts_13983649": {
"type": "posts",
"id": "arts_13983649",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983649",
"score": null,
"sort": [
1762910502000
]
},
"guestAuthors": [],
"slug": "the-ring-sf-opera-2028-casting-dates-wagner",
"title": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced",
"publishDate": 1762910502,
"format": "standard",
"headTitle": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s official — \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> is bringing back \u003cem>The Ring\u003c/em>.\u003c/p>\n\u003cp>Richard Wagner’s monumental four-part, 15-hour opera cycle will return to the War Memorial Opera House in June 2028. Directed by Francesca Zambello and conducted by Eun Sun Kim, the full \u003cem>Ring of the Nibelung\u003c/em> cycle will be performed three complete times — exactly 10 years after \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hoursof-opera\">the production was last staged at San Francisco Opera\u003c/a>, in 2018. \u003c/p>\n\u003cp>The principal cast includes Tamara Wilson making her company debut as Brünnhilde. Brian Mulligan, currently performing as Amfortas in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13983347/parsifal-sf-opera-review\">Parsifal\u003c/a>\u003c/em> at the War Memorial Opera House, is cast as Wotan. (Mulligan performed as both Donner and Gunther in SF Opera’s 2018 production of the \u003cem>Ring\u003c/em>.) Simon O’Neill, recently seen onstage in San Francisco as Tristan in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967202/review-tristan-and-isolde-sf-opera\">Tristan un Isolde\u003c/a>\u003c/em>, will perform the role of Seigfried. \u003c/p>\n\u003cfigure id=\"attachment_13983651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13983651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera’s 2028 cycles of Wagner’s ‘Ring’ will be conducted by Eun Sun Kim and directed by Francesca Zambello (L–R). \u003ccite>(Cody Pickens/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This will mark Eun Sun Kim’s first time conducting the full \u003cem>Ring\u003c/em> cycle. As a lead-in, she will conduct its four parts separately: \u003cem>Das Rheingold\u003c/em> in June 2027, \u003cem>Die Walküre\u003c/em> in the fall of 2027, and \u003cem>Siegfried\u003c/em> and \u003cem>Götterdämmerung\u003c/em> in the spring of 2028 before the rotation of full cycles. (Kim has undertaken an initiative to conduct Wagner in each season, \u003ca href=\"https://frontrow.sfopera.com/details/25132\">starting with \u003cem>Lohengrin\u003c/em> in 2023\u003c/a>.) The chorus director will be John Keene.\u003c/p>\n\u003cp>As in previous stagings of \u003cem>The Ring\u003c/em> in 2011 and 2018, San Francisco Opera plans a Ring Festival with ancillary programming around the performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dates of the three \u003cem>Ring\u003c/em> cycles in 2028 are June 13–18, June 20–26 and June 27–July 2. Tickets go on sale Oct. 13, 2026 to Ring Circle members, 2026–27 subscribers and higher-level donors; tickets to the general public go on sale in July 2027. \u003ca href=\"https://www.sfopera.com/operas/ring-cycle/\">Ticket information and more details here\u003c/a>. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Three full cycles of Francesca Zambello’s acclaimed production will be conducted by Eun Sun Kim in San Francisco.",
"status": "publish",
"parent": 0,
"modified": 1762911018,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 347
},
"headData": {
"title": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced | KQED",
"description": "Three full cycles of Francesca Zambello’s acclaimed production will be conducted by Eun Sun Kim in San Francisco.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wagner’s Ring Cycle to Return to SF Opera in 2028; Dates and Principal Casting Announced",
"datePublished": "2025-11-11T17:21:42-08:00",
"dateModified": "2025-11-11T17:30:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13983649",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983649/the-ring-sf-opera-2028-casting-dates-wagner",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s official — \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> is bringing back \u003cem>The Ring\u003c/em>.\u003c/p>\n\u003cp>Richard Wagner’s monumental four-part, 15-hour opera cycle will return to the War Memorial Opera House in June 2028. Directed by Francesca Zambello and conducted by Eun Sun Kim, the full \u003cem>Ring of the Nibelung\u003c/em> cycle will be performed three complete times — exactly 10 years after \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hoursof-opera\">the production was last staged at San Francisco Opera\u003c/a>, in 2018. \u003c/p>\n\u003cp>The principal cast includes Tamara Wilson making her company debut as Brünnhilde. Brian Mulligan, currently performing as Amfortas in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13983347/parsifal-sf-opera-review\">Parsifal\u003c/a>\u003c/em> at the War Memorial Opera House, is cast as Wotan. (Mulligan performed as both Donner and Gunther in SF Opera’s 2018 production of the \u003cem>Ring\u003c/em>.) Simon O’Neill, recently seen onstage in San Francisco as Tristan in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967202/review-tristan-and-isolde-sf-opera\">Tristan un Isolde\u003c/a>\u003c/em>, will perform the role of Seigfried. \u003c/p>\n\u003cfigure id=\"attachment_13983651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13983651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Eun_Sun_Kim_Francesca_Zambello_Ring_2028_photo_CodyPickens-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera’s 2028 cycles of Wagner’s ‘Ring’ will be conducted by Eun Sun Kim and directed by Francesca Zambello (L–R). \u003ccite>(Cody Pickens/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This will mark Eun Sun Kim’s first time conducting the full \u003cem>Ring\u003c/em> cycle. As a lead-in, she will conduct its four parts separately: \u003cem>Das Rheingold\u003c/em> in June 2027, \u003cem>Die Walküre\u003c/em> in the fall of 2027, and \u003cem>Siegfried\u003c/em> and \u003cem>Götterdämmerung\u003c/em> in the spring of 2028 before the rotation of full cycles. (Kim has undertaken an initiative to conduct Wagner in each season, \u003ca href=\"https://frontrow.sfopera.com/details/25132\">starting with \u003cem>Lohengrin\u003c/em> in 2023\u003c/a>.) The chorus director will be John Keene.\u003c/p>\n\u003cp>As in previous stagings of \u003cem>The Ring\u003c/em> in 2011 and 2018, San Francisco Opera plans a Ring Festival with ancillary programming around the performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dates of the three \u003cem>Ring\u003c/em> cycles in 2028 are June 13–18, June 20–26 and June 27–July 2. Tickets go on sale Oct. 13, 2026 to Ring Circle members, 2026–27 subscribers and higher-level donors; tickets to the general public go on sale in July 2027. \u003ca href=\"https://www.sfopera.com/operas/ring-cycle/\">Ticket information and more details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983649/the-ring-sf-opera-2028-casting-dates-wagner",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_967"
],
"tags": [
"arts_10278",
"arts_763",
"arts_1071",
"arts_3316",
"arts_22171"
],
"featImg": "arts_13983650",
"label": "arts"
},
"arts_13983347": {
"type": "posts",
"id": "arts_13983347",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983347",
"score": null,
"sort": [
1762289028000
]
},
"guestAuthors": [],
"slug": "parsifal-sf-opera-review",
"title": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks",
"publishDate": 1762289028,
"format": "standard",
"headTitle": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks | KQED",
"labelTerm": {},
"content": "\u003cp>It is a minor shame that the tremendous \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> staging of Richard Wagner’s \u003cem>Parsifal\u003c/em>, currently running at the \u003ca href=\"https://www.kqed.org/arts/tag/war-memorial-opera-house\">War Memorial Opera House\u003c/a>, had but one Sunday matinee performance. I can’t answer the long-running question about \u003cem>Parsifal\u003c/em> being a Christian opera or not, but seeing it this past Sunday returned me to those long hours of my religious upbringing, spent in pews and listening to sermons on compassion, suffering and redemption. \u003c/p>\n\u003cp>At church, as a child, I couldn’t have been more bored. At the opera house, watching this marvelous production unfold over the course of five hours, I couldn’t have been more transfixed. Under the direction of Matthew Ozawa, whether you’re a diehard Wagnerite or a casual operagoer, this production of \u003cem>Parsifal\u003c/em> is something special; an experience that’ll stop you dead in your tracks.\u003c/p>\n\u003cfigure id=\"attachment_13983393\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13983393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal in San Francisco Opera’s new production of ‘Parsifal’ by Richard Wagner.\u003c/figcaption>\u003c/figure>\n\u003cp>The storyline is simple enough. Parsifal, a wide-eyed fool (played expertly by Brandon Jovanovich), encounters the knights of the Holy Grail and finds King Amfortas (a perfectly anguished Brian Mulligan) suffering. Amfortas’ wound has refused to heal after the outlaw Klingsor (a booming Falk Struckmann) stabbed him with the Holy Spear, which he stole when the temptress Kundry (a beguiling Tanja Ariane Baumgartner) seduced Amfortas.\u003c/p>\n\u003cp>Creative use of fog makes Act II a feast for the eyes, along with a parade of nearly three dozen flowermaidens, all vying for Parsifal’s affections. When Kundry tempts Parsifal, he is transformed into a compassionate deep thinker who recovers the spear from Klingsor but is cursed by Kundry to wander, hopelessly, for years.\u003c/p>\n\u003cfigure id=\"attachment_13983389\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal, at right, in Act II of San Francisco Opera’s production of ‘Parsifal’ by Richard Wagner. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Parsifal\u003c/em> is often characterized as a marathon. But more than four hours in, I didn’t count any newly empty seats around me at the start of Act III, when the welcome return on stage of the knight Gurnemanz (an exceptional Kwangchul Youn) set off the riveting finale in the sanctuary of the Holy Grail.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No aspect of this opera comes up short. Start with the top-notch singing, which is wonderful from the starring roles to the chorus. The dual-turntable set, spinning in opposite directions, is creative and evocative. Under Eun Sun Kim’s baton, the orchestra soars. The casting and costumes are perfect. The lighting, even, subtly provides just the right feeling of the slow passage of time. The whole of it felt new and alive; I kept recalling the set, wardrobe and pacing of Kanye West’s \u003ca href=\"https://www.vibe.com/gallery/25-photos-kanye-wests-yeezus-tour-opener/kanye-west-yeezus-tour-0/\">ambitiously staged Yeezus tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13983390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Act III of San Francisco Opera’s new production of Wagner’s ‘Parsifal.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But just like a church service, the richness in \u003cem>Parsifal\u003c/em> is in what’s not there, and what falls to internal contemplation. Is compassion inherently selfish, since it reflects well on one exercising it? Can the poison causing our sorrow ever serve also as the antidote? Can one ever know the true source of salvation, or must it be unintentionally discovered?\u003c/p>\n\u003cp>Sitting with these thoughts, and with the sensory delights of this \u003cem>Parsifal\u003c/em> on stage, let me tell you: Five hours flies right by. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Parsifal’ runs for two more performances, on Friday, Nov. 7 and Thursday, Nov. 13, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/parsifal/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The five-hour experience flies right by with impeccable casting, sensory delights and solemn themes. ",
"status": "publish",
"parent": 0,
"modified": 1762298399,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 604
},
"headData": {
"title": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks | KQED",
"description": "The five-hour experience flies right by with impeccable casting, sensory delights and solemn themes. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At SF Opera, ‘Parsifal’ Will Stop You Dead in Your Tracks",
"datePublished": "2025-11-04T12:43:48-08:00",
"dateModified": "2025-11-04T15:19:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13983347",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983347/parsifal-sf-opera-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is a minor shame that the tremendous \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> staging of Richard Wagner’s \u003cem>Parsifal\u003c/em>, currently running at the \u003ca href=\"https://www.kqed.org/arts/tag/war-memorial-opera-house\">War Memorial Opera House\u003c/a>, had but one Sunday matinee performance. I can’t answer the long-running question about \u003cem>Parsifal\u003c/em> being a Christian opera or not, but seeing it this past Sunday returned me to those long hours of my religious upbringing, spent in pews and listening to sermons on compassion, suffering and redemption. \u003c/p>\n\u003cp>At church, as a child, I couldn’t have been more bored. At the opera house, watching this marvelous production unfold over the course of five hours, I couldn’t have been more transfixed. Under the direction of Matthew Ozawa, whether you’re a diehard Wagnerite or a casual operagoer, this production of \u003cem>Parsifal\u003c/em> is something special; an experience that’ll stop you dead in your tracks.\u003c/p>\n\u003cfigure id=\"attachment_13983393\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13983393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Early-rehearsal-photo-of-Brandon-Jovanovich-as-Parsifal-in-San-Francisco-Operas-new-production-of-Parsifal_photo-Cory-Weaver_San-Francisco-Opera-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal in San Francisco Opera’s new production of ‘Parsifal’ by Richard Wagner.\u003c/figcaption>\u003c/figure>\n\u003cp>The storyline is simple enough. Parsifal, a wide-eyed fool (played expertly by Brandon Jovanovich), encounters the knights of the Holy Grail and finds King Amfortas (a perfectly anguished Brian Mulligan) suffering. Amfortas’ wound has refused to heal after the outlaw Klingsor (a booming Falk Struckmann) stabbed him with the Holy Spear, which he stole when the temptress Kundry (a beguiling Tanja Ariane Baumgartner) seduced Amfortas.\u003c/p>\n\u003cp>Creative use of fog makes Act II a feast for the eyes, along with a parade of nearly three dozen flowermaidens, all vying for Parsifal’s affections. When Kundry tempts Parsifal, he is transformed into a compassionate deep thinker who recovers the spear from Klingsor but is cursed by Kundry to wander, hopelessly, for years.\u003c/p>\n\u003cfigure id=\"attachment_13983389\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/C0A2842-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Jovanovich as Parsifal, at right, in Act II of San Francisco Opera’s production of ‘Parsifal’ by Richard Wagner. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Parsifal\u003c/em> is often characterized as a marathon. But more than four hours in, I didn’t count any newly empty seats around me at the start of Act III, when the welcome return on stage of the knight Gurnemanz (an exceptional Kwangchul Youn) set off the riveting finale in the sanctuary of the Holy Grail.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No aspect of this opera comes up short. Start with the top-notch singing, which is wonderful from the starring roles to the chorus. The dual-turntable set, spinning in opposite directions, is creative and evocative. Under Eun Sun Kim’s baton, the orchestra soars. The casting and costumes are perfect. The lighting, even, subtly provides just the right feeling of the slow passage of time. The whole of it felt new and alive; I kept recalling the set, wardrobe and pacing of Kanye West’s \u003ca href=\"https://www.vibe.com/gallery/25-photos-kanye-wests-yeezus-tour-opener/kanye-west-yeezus-tour-0/\">ambitiously staged Yeezus tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13983390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13983390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/O2A2359-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Act III of San Francisco Opera’s new production of Wagner’s ‘Parsifal.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But just like a church service, the richness in \u003cem>Parsifal\u003c/em> is in what’s not there, and what falls to internal contemplation. Is compassion inherently selfish, since it reflects well on one exercising it? Can the poison causing our sorrow ever serve also as the antidote? Can one ever know the true source of salvation, or must it be unintentionally discovered?\u003c/p>\n\u003cp>Sitting with these thoughts, and with the sensory delights of this \u003cem>Parsifal\u003c/em> on stage, let me tell you: Five hours flies right by. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Parsifal’ runs for two more performances, on Friday, Nov. 7 and Thursday, Nov. 13, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/parsifal/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983347/parsifal-sf-opera-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313",
"arts_967"
],
"tags": [
"arts_10278",
"arts_763",
"arts_769",
"arts_22276",
"arts_585",
"arts_22171"
],
"featImg": "arts_13983392",
"label": "source_arts_13983347"
},
"arts_13981485": {
"type": "posts",
"id": "arts_13981485",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13981485",
"score": null,
"sort": [
1758308562000
]
},
"guestAuthors": [],
"slug": "dead-man-walking-san-francisco-opera-review",
"title": "‘Dead Man Walking’ Returns, Amid a New National Moment",
"publishDate": 1758308562,
"format": "aside",
"headTitle": "‘Dead Man Walking’ Returns, Amid a New National Moment | KQED",
"labelTerm": {},
"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",
"blocks": [],
"excerpt": "The central contradiction of ‘Dead Man Walking,’ at San Francisco Opera, seems utterly quaint by today's metrics.",
"status": "publish",
"parent": 0,
"modified": 1759171205,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 947
},
"headData": {
"title": "Review: ‘Dead Man Walking’ Returns During a New National Moment | KQED",
"description": "The central contradiction of ‘Dead Man Walking,’ at San Francisco Opera, seems utterly quaint by today's metrics.",
"ogTitle": "Review: ‘Dead Man Walking’ Returns, With No Chance of Meeting a New National Moment",
"ogDescription": "The central contradiction of ‘Dead Man Walking,’ at San Francisco Opera, seems utterly quaint by today's metrics.",
"ogImgId": "",
"twTitle": "‘Dead Man Walking’ Returns, With No Chance of Meeting a New National Moment",
"twDescription": "The central contradiction of ‘Dead Man Walking,’ at San Francisco Opera, seems utterly quaint by today's metrics.",
"twImgId": "",
"socialTitle": "Review: ‘Dead Man Walking’ Returns During a New National Moment %%page%% %%sep%% KQED",
"socialDescription": "The central contradiction of ‘Dead Man Walking,’ at San Francisco Opera, seems utterly quaint by today's metrics.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dead Man Walking’ Returns, Amid a New National Moment",
"datePublished": "2025-09-19T12:02:42-07:00",
"dateModified": "2025-09-29T11:40:05-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/c5bf2248-9060-4e08-9cc6-b36301564507/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13981485",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13981485/dead-man-walking-san-francisco-opera-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13981485/dead-man-walking-san-francisco-opera-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_3830",
"arts_1146",
"arts_3316",
"arts_585",
"arts_22171"
],
"featImg": "arts_13981520",
"label": "source_arts_13981485"
},
"arts_13977294": {
"type": "posts",
"id": "arts_13977294",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13977294",
"score": null,
"sort": [
1749491174000
]
},
"guestAuthors": [],
"slug": "review-la-boheme-san-francisco-opera",
"title": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"publishDate": 1749491174,
"format": "standard",
"headTitle": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’ | KQED",
"labelTerm": {},
"content": "\u003cp>It’s officially summer blockbuster season, and for the War Memorial Opera House, that means \u003cem>La bohème\u003c/em>. So popular is Puccini’s timeless tale of Parisian bohemian life that San Francisco Opera has staged it more frequently than than any other opera. (\u003cem>Madama Butterfly\u003c/em> and \u003cem>Tosca\u003c/em> run a close second and third; Giacomo, watch him go.)\u003c/p>\n\u003cp>Confession time: I have never truly loved \u003cem>La bohème\u003c/em>. Like nearly any major commercial work of art that purports to chronicle the broke-artist substratum, it feels written from a place of easy contentment. Tonally, it’s not desperate and insane enough to me, and to my own years of living in unheated attics, laundry rooms and garages. \u003c/p>\n\u003cfigure id=\"attachment_13977305\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13977305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Carroll as Musetta and Dale Travis as Alcindoro in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The challenge for a director, then, is to make its characters believably destitute, instead of Parisians playacting as starving artists before returning to the bourgeoisie. The current production at San Francisco Opera does not succeed in this, but no matter — that’s a me problem. Most audiences will assuredly find it enjoyable, and find it a faithful presentation of one of the most loved operas of all time. \u003c/p>\n\u003cp>San Francisco Opera leans into this populism with acrobats, jugglers and unicyclists performing in the opera house lobby, among set pieces evoking the Latin Quarter of the 1830s. John Caird’s staging draws inspiration from the absinthe-hued work of Toulouse-Lautrec; the set of the four main male characters’ apartment is full of haphazardly strewn canvases (\u003cem>they! are! artists!\u003c/em>). \u003c/p>\n\u003cfigure id=\"attachment_13977308\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13977308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Karen Chia-ling Ho as Mimì and Pene Pati as Rodolfo in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The run is double-cast; on Saturday, it was Pene Pati as Rodolfo and Karen Chia-ling Ho as Mimì, both remarkable, and who share a welcome, natural chemistry on the stage. (On the page, these are characters who fall in love only because Puccini says they did.) Pati, especially, comes into his own in the third act, when Rodolfo becomes wracked with guilt over his inability to help the woman he loves. As for Ho, her Mimì plays wonderfully with apprehension, coyness and ardor — and, eventually, capitulation to her failing health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The café scene of Act II comes alive with members of the San Francisco Boys and Girls Choruses, an onstage marching band and well-played humor. Conductor Ramón Tebar keeps the score lively for this scene, and for flirtatious teasing between Marcello (Lucas Meachem) and Musetta (Andrea Carroll), while noticeably milking it for all available emotion in others — one of few tinkerings in an otherwise standard-issue production. \u003c/p>\n\u003cfigure id=\"attachment_13977307\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg\" alt=\"\" width=\"2000\" height=\"1211\" class=\"size-full wp-image-13977307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-1536x930.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The set for the café scene in Act II of Puccini’s ‘La bohème‘ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an opera like this, sometimes “standard issue” is what’s called for. And what does it matter? School’s out, love is in the air, and to the extent that there are any starving artists left in San Francisco, \u003cem>La bohème\u003c/em> is still the star attraction. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. An abridged version of ‘La bohème,’ directed by Jose Maria Condemi and titled ‘\u003ca href=\"https://www.sfopera.com/seasons/opera-out-of-the-box/\">Bohème Out of the Box\u003c/a>,’ features San Francisco Opera Adler Fellows performing from a shipping container for two remaining performances, June 28 and 29, at Heritage Plaza in Hayward.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The timeless and popular tale of Mimì and Rodolfo is in good hands at San Francisco Opera.",
"status": "publish",
"parent": 0,
"modified": 1749495147,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 624
},
"headData": {
"title": "Review: SF Opera’s ‘La bohème’ Is Full of Popular Delights | KQED",
"description": "The timeless and popular tale of Mimì and Rodolfo is in good hands at San Francisco Opera.",
"ogTitle": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Review: SF Opera’s ‘La bohème’ Is Full of Popular Delights %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At the Opera House, Summer’s Here and the Time Is Right for ‘La bohème’",
"datePublished": "2025-06-09T10:46:14-07:00",
"dateModified": "2025-06-09T11:52:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13977294",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13977294/review-la-boheme-san-francisco-opera",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s officially summer blockbuster season, and for the War Memorial Opera House, that means \u003cem>La bohème\u003c/em>. So popular is Puccini’s timeless tale of Parisian bohemian life that San Francisco Opera has staged it more frequently than than any other opera. (\u003cem>Madama Butterfly\u003c/em> and \u003cem>Tosca\u003c/em> run a close second and third; Giacomo, watch him go.)\u003c/p>\n\u003cp>Confession time: I have never truly loved \u003cem>La bohème\u003c/em>. Like nearly any major commercial work of art that purports to chronicle the broke-artist substratum, it feels written from a place of easy contentment. Tonally, it’s not desperate and insane enough to me, and to my own years of living in unheated attics, laundry rooms and garages. \u003c/p>\n\u003cfigure id=\"attachment_13977305\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13977305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2776-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Carroll as Musetta and Dale Travis as Alcindoro in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The challenge for a director, then, is to make its characters believably destitute, instead of Parisians playacting as starving artists before returning to the bourgeoisie. The current production at San Francisco Opera does not succeed in this, but no matter — that’s a me problem. Most audiences will assuredly find it enjoyable, and find it a faithful presentation of one of the most loved operas of all time. \u003c/p>\n\u003cp>San Francisco Opera leans into this populism with acrobats, jugglers and unicyclists performing in the opera house lobby, among set pieces evoking the Latin Quarter of the 1830s. John Caird’s staging draws inspiration from the absinthe-hued work of Toulouse-Lautrec; the set of the four main male characters’ apartment is full of haphazardly strewn canvases (\u003cem>they! are! artists!\u003c/em>). \u003c/p>\n\u003cfigure id=\"attachment_13977308\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13977308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/75A2309-crop-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Karen Chia-ling Ho as Mimì and Pene Pati as Rodolfo in Puccini’s ‘La bohème.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The run is double-cast; on Saturday, it was Pene Pati as Rodolfo and Karen Chia-ling Ho as Mimì, both remarkable, and who share a welcome, natural chemistry on the stage. (On the page, these are characters who fall in love only because Puccini says they did.) Pati, especially, comes into his own in the third act, when Rodolfo becomes wracked with guilt over his inability to help the woman he loves. As for Ho, her Mimì plays wonderfully with apprehension, coyness and ardor — and, eventually, capitulation to her failing health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The café scene of Act II comes alive with members of the San Francisco Boys and Girls Choruses, an onstage marching band and well-played humor. Conductor Ramón Tebar keeps the score lively for this scene, and for flirtatious teasing between Marcello (Lucas Meachem) and Musetta (Andrea Carroll), while noticeably milking it for all available emotion in others — one of few tinkerings in an otherwise standard-issue production. \u003c/p>\n\u003cfigure id=\"attachment_13977307\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg\" alt=\"\" width=\"2000\" height=\"1211\" class=\"size-full wp-image-13977307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/74A4057_edit-1536x930.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The set for the café scene in Act II of Puccini’s ‘La bohème‘ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an opera like this, sometimes “standard issue” is what’s called for. And what does it matter? School’s out, love is in the air, and to the extent that there are any starving artists left in San Francisco, \u003cem>La bohème\u003c/em> is still the star attraction. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/la-boheme/\">La bohème\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. An abridged version of ‘La bohème,’ directed by Jose Maria Condemi and titled ‘\u003ca href=\"https://www.sfopera.com/seasons/opera-out-of-the-box/\">Bohème Out of the Box\u003c/a>,’ features San Francisco Opera Adler Fellows performing from a shipping container for two remaining performances, June 28 and 29, at Heritage Plaza in Hayward.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13977294/review-la-boheme-san-francisco-opera",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1312",
"arts_763",
"arts_769",
"arts_1146",
"arts_1071",
"arts_22171"
],
"featImg": "arts_13977306",
"label": "source_arts_13977294"
},
"arts_13967202": {
"type": "posts",
"id": "arts_13967202",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13967202",
"score": null,
"sort": [
1729800169000
]
},
"guestAuthors": [],
"slug": "review-tristan-and-isolde-sf-opera",
"title": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning",
"publishDate": 1729800169,
"format": "standard",
"headTitle": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "A bare-bones set focuses attention on Wagner’s endless ruminations of passion and yearning.",
"status": "publish",
"parent": 0,
"modified": 1730175327,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 601
},
"headData": {
"title": "SF Opera’s ‘Tristan and Isolde’: Love, Death and Yearning | KQED",
"description": "A bare-bones set focuses attention on Wagner’s endless ruminations of passion and yearning.",
"ogTitle": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning",
"twDescription": "",
"twImgId": "",
"socialTitle": "SF Opera’s ‘Tristan and Isolde’: Love, Death and Yearning %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning",
"datePublished": "2024-10-24T13:02:49-07:00",
"dateModified": "2024-10-28T21:15:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13967202",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13967202/review-tristan-and-isolde-sf-opera",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And 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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13967202/review-tristan-and-isolde-sf-opera",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_769",
"arts_1071",
"arts_3316",
"arts_585",
"arts_22171"
],
"featImg": "arts_13967232",
"label": "arts_140"
},
"arts_13959026": {
"type": "posts",
"id": "arts_13959026",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959026",
"score": null,
"sort": [
1717444131000
]
},
"guestAuthors": [],
"slug": "innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho",
"title": "‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting",
"publishDate": 1717444131,
"format": "standard",
"headTitle": "‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Probing the lasting agony caused by a school shooting, ‘Innocence’ is an unforgettable triumph.",
"status": "publish",
"parent": 0,
"modified": 1717539906,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1010
},
"headData": {
"title": "‘Innocence’ at SF Opera: A Masterwork About a School Shooting | KQED",
"description": "Probing the lasting agony caused by a school shooting, ‘Innocence’ is an unforgettable triumph.",
"ogTitle": "‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Innocence’ at SF Opera: A Masterwork About a School Shooting %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting",
"datePublished": "2024-06-03T12:48:51-07:00",
"dateModified": "2024-06-04T15:25:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13959026",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13959026/innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959026/innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_967"
],
"tags": [
"arts_1312",
"arts_10278",
"arts_3081",
"arts_1146",
"arts_22172",
"arts_3316",
"arts_585",
"arts_22171"
],
"featImg": "arts_13959110",
"label": "arts_140"
}
},
"programsReducer": {
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"1a": {
"id": "1a",
"title": "1A",
"info": "1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.",
"airtime": "MON-THU 11pm-12am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg",
"officialWebsiteLink": "https://the1a.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/1a",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/1A-p947376/",
"rss": "https://feeds.npr.org/510316/podcast.xml"
}
},
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "\"KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 4
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"inside-europe": {
"id": "inside-europe",
"title": "Inside Europe",
"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.",
"airtime": "SAT 3am-4am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg",
"meta": {
"site": "news",
"source": "Deutsche Welle"
},
"link": "/radio/program/inside-europe",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2",
"tuneIn": "https://tunein.com/radio/Inside-Europe-p731/",
"rss": "https://partner.dw.com/xml/podcast_inside-europe"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"live-from-here-highlights": {
"id": "live-from-here-highlights",
"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": {
"site": "arts",
"source": "american public media"
},
"link": "/radio/program/live-from-here-highlights",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1167173941",
"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"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": {
"site": "news",
"source": "kcrw"
},
"link": "/radio/program/our-body-politic",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
"spotify": "https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc",
"rss": "https://feeds.simplecast.com/_xaPhs1s",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 15
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 6
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"says-you": {
"id": "says-you",
"title": "Says You!",
"info": "Public radio's game show of bluff and bluster, words and whimsy. The warmest, wittiest cocktail party - it's spirited and civil, brainy and boisterous, peppered with musical interludes. Fast paced and playful, it's the most fun you can have with language without getting your mouth washed out with soap. Our motto: It's not important to know the answers, it's important to like the answers!",
"airtime": "SUN 4pm-5pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Says-You-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.saysyouradio.com/",
"meta": {
"site": "comedy",
"source": "Pipit and Finch"
},
"link": "/radio/program/says-you",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/says-you!/id1050199826",
"tuneIn": "https://tunein.com/radio/Says-You-p480/",
"rss": "https://saysyou.libsyn.com/rss"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"selected-shorts": {
"id": "selected-shorts",
"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
"airtime": "SAT 8pm-9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Selected-Shorts-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/selected-shorts",
"meta": {
"site": "arts",
"source": "pri"
},
"link": "/radio/program/selected-shorts",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=253191824&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Selected-Shorts-p31792/",
"rss": "https://feeds.megaphone.fm/selectedshorts"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 5
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 14
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 3
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "\"KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 2
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-takeaway": {
"id": "the-takeaway",
"title": "The Takeaway",
"info": "The Takeaway is produced in partnership with its national audience. It delivers perspective and analysis to help us better understand the day’s news. Be a part of the American conversation on-air and online.",
"airtime": "MON-THU 12pm-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Takeaway-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/takeaway",
"meta": {
"site": "news",
"source": "WNYC"
},
"link": "/radio/program/the-takeaway",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-takeaway/id363143310?mt=2",
"tuneIn": "http://tunein.com/radio/The-Takeaway-p150731/",
"rss": "https://feeds.feedburner.com/takeawaypodcast"
}
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"truthbetold": {
"id": "truthbetold",
"title": "Truth Be Told",
"tagline": "Advice by and for people of color",
"info": "We’re the friend you call after a long day, the one who gets it. Through wisdom from some of the greatest thinkers of our time, host Tonya Mosley explores what it means to grow and thrive as a Black person in America, while discovering new ways of being that serve as a portal to more love, more healing, and more joy.",
"airtime": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Truth-Be-Told-Podcast-Tile-360x360-1.jpg",
"imageAlt": "KQED Truth Be Told with Tonya Mosley",
"officialWebsiteLink": "https://www.kqed.ord/podcasts/truthbetold",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/podcasts/truthbetold",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/truth-be-told/id1462216572",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS90cnV0aC1iZS10b2xkLXBvZGNhc3QvZmVlZA",
"npr": "https://www.npr.org/podcasts/719210818/truth-be-told",
"stitcher": "https://www.stitcher.com/s?fid=398170&refid=stpr",
"spotify": "https://open.spotify.com/show/587DhwTBxke6uvfwDfaV5N"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"washington-week": {
"id": "washington-week",
"title": "Washington Week",
"info": "For 50 years, Washington Week has been the most intelligent and up to date conversation about the most important news stories of the week. Washington Week is the longest-running news and public affairs program on PBS and features journalists -- not pundits -- lending insight and perspective to the week's important news stories.",
"airtime": "SAT 1:30am-2am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/washington-week.jpg",
"officialWebsiteLink": "http://www.pbs.org/weta/washingtonweek/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/washington-week",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/washington-week-audio-pbs/id83324702?mt=2",
"tuneIn": "https://tunein.com/podcasts/Current-Affairs/Washington-Week-p693/",
"rss": "http://feeds.pbs.org/pbs/weta/washingtonweek-audio"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
},
"world-affairs": {
"id": "world-affairs",
"title": "World Affairs",
"info": "The world as we knew it is undergoing a rapid transformation…so what's next? Welcome to WorldAffairs, your guide to a changing world. We give you the context you need to navigate across borders and ideologies. Through sound-rich stories and in-depth interviews, we break down what it means to be a global citizen on a hot, crowded planet. Our hosts, Ray Suarez, Teresa Cotsirilos and Philip Yun help you make sense of an uncertain world, one story at a time.",
"airtime": "MON 10pm, TUE 1am, SAT 3am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/World-Affairs-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.worldaffairs.org/",
"meta": {
"site": "news",
"source": "World Affairs"
},
"link": "/radio/program/world-affairs",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/world-affairs/id101215657?mt=2",
"tuneIn": "https://tunein.com/radio/WorldAffairs-p1665/",
"rss": "https://worldaffairs.libsyn.com/rss"
}
},
"on-shifting-ground": {
"id": "on-shifting-ground",
"title": "On Shifting Ground with Ray Suarez",
"info": "Geopolitical turmoil. A warming planet. Authoritarians on the rise. We live in a chaotic world that’s rapidly shifting around us. “On Shifting Ground with Ray Suarez” explores international fault lines and how they impact us all. Each week, NPR veteran Ray Suarez hosts conversations with journalists, leaders and policy experts to help us read between the headlines – and give us hope for human resilience.",
"airtime": "MON 10pm, TUE 1am, SAT 3am",
"imageSrc": "https://ww2.kqed.org/app/uploads/2022/12/onshiftingground-600x600-1.png",
"officialWebsiteLink": "https://worldaffairs.org/radio-podcast/",
"meta": {
"site": "news",
"source": "On Shifting Ground"
},
"link": "/radio/program/on-shifting-ground",
"subscribe": {
"apple": "https://podcasts.apple.com/ie/podcast/on-shifting-ground/id101215657",
"rss": "https://feeds.libsyn.com/36668/rss"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"white-lies": {
"id": "white-lies",
"title": "White Lies",
"info": "In 1965, Rev. James Reeb was murdered in Selma, Alabama. Three men were tried and acquitted, but no one was ever held to account. Fifty years later, two journalists from Alabama return to the city where it happened, expose the lies that kept the murder from being solved and uncover a story about guilt and memory that says as much about America today as it does about the past.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/White-Lies-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/podcasts/510343/white-lies",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/white-lies",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/whitelies",
"apple": "https://podcasts.apple.com/podcast/id1462650519?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM0My9wb2RjYXN0LnhtbA",
"spotify": "https://open.spotify.com/show/12yZ2j8vxqhc0QZyRES3ft?si=LfWYEK6URA63hueKVxRLAw",
"rss": "https://feeds.npr.org/510343/podcast.xml"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=war-memorial-opera-house": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 7,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 7,
"relation": "eq"
},
"items": [
"arts_13983779",
"arts_13983649",
"arts_13983347",
"arts_13981485",
"arts_13977294",
"arts_13967202",
"arts_13959026"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_22171": {
"type": "terms",
"id": "arts_22171",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22171",
"found": true
},
"relationships": {},
"name": "war memorial opera house",
"slug": "war-memorial-opera-house",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "war memorial opera house Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 22183,
"isLoading": false,
"link": "/arts/tag/war-memorial-opera-house"
},
"source_arts_13983779": {
"type": "terms",
"id": "source_arts_13983779",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13983347": {
"type": "terms",
"id": "source_arts_13983347",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13981485": {
"type": "terms",
"id": "source_arts_13981485",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13977294": {
"type": "terms",
"id": "source_arts_13977294",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_5391": {
"type": "terms",
"id": "arts_5391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "china",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "china Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5403,
"slug": "china",
"isLoading": false,
"link": "/arts/tag/china"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_4566": {
"type": "terms",
"id": "arts_4566",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4566",
"found": true
},
"relationships": {},
"featImg": null,
"name": "literature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "literature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4578,
"slug": "literature",
"isLoading": false,
"link": "/arts/tag/literature"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_1071": {
"type": "terms",
"id": "arts_1071",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1071",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1088,
"slug": "san-francisco-opera",
"isLoading": false,
"link": "/arts/tag/san-francisco-opera"
},
"arts_3316": {
"type": "terms",
"id": "arts_3316",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3316",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SF Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SF Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3328,
"slug": "sf-opera",
"isLoading": false,
"link": "/arts/tag/sf-opera"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_763": {
"type": "terms",
"id": "arts_763",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "763",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 781,
"slug": "opera",
"isLoading": false,
"link": "/arts/tag/opera"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_22276": {
"type": "terms",
"id": "arts_22276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22276",
"found": true
},
"relationships": {},
"name": "sfopera",
"slug": "sfopera",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "sfopera | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22288,
"isLoading": false,
"link": "/arts/tag/sfopera"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_3830": {
"type": "terms",
"id": "arts_3830",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3830",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jake Heggie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jake Heggie Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3842,
"slug": "jake-heggie",
"isLoading": false,
"link": "/arts/tag/jake-heggie"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_3081": {
"type": "terms",
"id": "arts_3081",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3081",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gun violence",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gun violence Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3093,
"slug": "gun-violence",
"isLoading": false,
"link": "/arts/tag/gun-violence"
},
"arts_22172": {
"type": "terms",
"id": "arts_22172",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22172",
"found": true
},
"relationships": {},
"name": "school shootings",
"slug": "school-shootings",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "school shootings Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22184,
"isLoading": false,
"link": "/arts/tag/school-shootings"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/war-memorial-opera-house",
"previousPathname": "/"
}
}
