Bay Area-based writer and painter. Reviews performances of classical music and audience behavior at The Opera Tattler.
By Charlise Tiee
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"content": "\u003cp>As a busy mom, I am constantly amazed how many clothes, books, and toys accumulate in our house. And of course, my picky toddler is ridiculously discerning, with his favorites that he’s completely devoted to — his red cardigan, Richard Scarry’s \u003ca href=\"https://www.penguinrandomhouse.com/books/248265/richard-scarrys-what-do-people-do-all-day-by-written-and-illustrated-by-richard-scarry/9780553520590/\" target=\"_blank\" rel=\"noopener\">\u003cem>What Do People Do All Day\u003c/em>\u003c/a>, and stuffed penguin. So I’m often donating or (thoughtfully) re-gifting the excess.\u003c/p>\n\u003cp>Not into a cluttered house and a floor full of toys? Here are some gift ideas for families that place experiences over objects, and which might even help to relieve stress.\u003c/p>\n\u003cfigure id=\"attachment_13817162\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg\" alt=\"SF Botanical Garden\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Botanical Garden is a 55-acre oasis in Golden Gate Park showcasing over 8,500 plants from around the world. \u003ccite>(Photo: San Francisco Botanical Garden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Botanical Gardens Membership\u003c/h2>\n\u003cp>Science has shown that \u003ca href=\"https://www.npr.org/sections/health-shots/2017/07/17/536676954/forest-bathing-a-retreat-to-nature-can-boost-immunity-and-mood\" target=\"_blank\" rel=\"noopener\">being in nature\u003c/a>, even in an \u003ca href=\"https://www.sciencealert.com/urban-tree-coverage-can-significantly-reduce-stress-study-finds\" target=\"_blank\" rel=\"noopener\">urban environment\u003c/a>, reduces stress. A membership to a nearby botanical garden is an easy way for families to escape the bustle of daily life without making a huge time commitment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Garden \u003c/a>in Golden Gate Park is a family-friendly choice, with a children’s garden and oodles of family programming, including crafts, story time, walks, and a summer reading club. The 55 acres and extensive collection of 8,000 plants create an oasis of calm. The daily 7:30am opening time is ideal for early birds — you can take in a few hours of greenery and still make it home for lunch and nap time without having to rush.\u003c/p>\n\u003cp>Admission to SF Botanical Garden is free for residents of the city, but a \u003ca href=\"https://www.sfbotanicalgarden.org/support/membership.html\" target=\"_blank\" rel=\"noopener\">family membership\u003c/a> includes children’s book borrowing privileges and invitations to members parties that include live music and refreshments. My three-year-old son absolutely loves the summer \u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a> event, in which pianos are placed throughout the garden for anyone to play, with scheduled performances as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the East Bay there’s the \u003ca href=\"http://botanicalgarden.berkeley.edu/\" target=\"_blank\" rel=\"noopener\">UC Botanical Garden\u003c/a> in Berkeley, which has a large and diverse collection of plants that includes endangered species. The \u003ca href=\"http://botanicalgarden.berkeley.edu/japanese-pool\" target=\"_blank\" rel=\"noopener\">Japanese Pool\u003c/a> with its waterfalls and waterlilies is especially serene, though oddly enough, in the early spring there are a lot of \u003ca href=\"http://botanicalgarden.berkeley.edu/newts\" target=\"_blank\" rel=\"noopener\">newts\u003c/a> getting busy at this spot. I’m also a big fan of the \u003ca href=\"http://botanicalgarden.berkeley.edu/tropical-house\" target=\"_blank\" rel=\"noopener\">Tropical House\u003c/a>, home of the \u003ca href=\"http://botanicalgarden.berkeley.edu/titan-arums\" target=\"_blank\" rel=\"noopener\">Corpse Flower\u003c/a> and a \u003ca href=\"http://botanicalgarden.berkeley.edu/bees\" target=\"_blank\" rel=\"noopener\">bee colony\u003c/a>.\u003c/p>\n\u003cp>For those in the North Bay, there’s \u003ca href=\"http://www.quarryhillbg.org/\" target=\"_blank\" rel=\"noopener\">Quarryhill Botanical Garden\u003c/a> in the Sonoma Valley, which just barely escaped the recent fires in October. In the South Bay sits \u003ca href=\"https://filoli.org/\" target=\"_blank\" rel=\"noopener\">Filioli\u003c/a>, a country estate dating from 1915 with a formal garden in Woodside. On Sundays the road between Filioli’s entrance and north to Highway 92 is closed to cars so that you can peacefully bicycle, hike, or roller-skate. Further south is \u003ca href=\"http://www.hakone.com/main.html\" target=\"_blank\" rel=\"noopener\">Hakone\u003c/a>, another estate of the same period, but in the Japanese style where those as young as five can take part in \u003ca href=\"http://www.hakone.com/visit-us/tours-tea-ceremony.html\" target=\"_blank\" rel=\"noopener\">zen meditation\u003c/a>. There’s also origami and storytelling for the little ones.\u003c/p>\n\u003cfigure id=\"attachment_13817163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg\" alt=\"Children's Discovery Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mission of Children’s Discovery Museum of San Jose is to inspire creativity, curiosity, and lifelong learning. \u003ccite>(Photo: Children's Discovery Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Children’s Museum Membership\u003c/h2>\n\u003cp>While a membership to a museum filled with little kids might not seem the most tranquil gift, inspiring curiosity in children is definitely a wonderful thing. Aunts, uncles, or grandparents could also use the memberships to take the kiddies themselves, giving parents a break. It’s an opportunity to bond and learn through play.\u003c/p>\n\u003cp>One of the best children’s museums in the world is certainly the \u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener\">Children’s Discovery Museum of San Jose.\u003c/a> Housed in a very purple 52,000-sq.-ft. building designed by Ricardo Legorreta (known for his bright cubist architecture), the museum has over 100 exhibits and a new outdoor play space, giving kids a chance to explore outdoors and learn about nature.\u003c/p>\n\u003cp>San Francisco has the \u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener\">Children’s Creativity Museum\u003c/a> in Yerba Buena Gardens. The hands-on museum has both animation and music studios and emphasizes media creation over consumption. The museum also has the gorgeous \u003ca href=\"https://creativity.org/visit/childrens-creativity-carousel/\" target=\"_blank\" rel=\"noopener\">LeRoy King carousel\u003c/a> from 1906 that was once part of \u003ca href=\"https://sfpl.org/?pg=2000141401\" target=\"_blank\" rel=\"noopener\">Playland-at-the-Beach\u003c/a>.\u003c/p>\n\u003cp>In the East Bay is \u003ca href=\"http://www.habitot.org/\" target=\"_blank\" rel=\"noopener\">Habitot\u003c/a> in downtown Berkeley, which is great for very little children. Waterworks, the ongoing water exhibit, gives kids a chance to explore and splash, and the infant and toddler garden, a mural of plants next to foam structures for climbing, gives those under 20 months a place to safely explore.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cmosc.org/\" target=\"_blank\" rel=\"noopener\">Children’s Museum of Sonoma County\u003c/a> in Santa Rosa opened recently in 2014, but is quite the attraction for the 10 and under set. The museum has an outdoor playground and a crawler and toddler-only space (and for \u003cem>Peanuts\u003c/em> fans, the Schulz Museum is next door). Sunday mornings are reserved for members only.\u003c/p>\n\u003cfigure id=\"attachment_13817164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg\" alt=\"Zazen San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zazen in Cow Hollow offers yoga, bodywork, acupuncture, floats, and meditation. \u003ccite>(Photo: Zazen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yoga for Children\u003c/h2>\n\u003cp>Yoga is a great way for anyone to relax and de-stress, as I’ve learned from my 94 year-old grandma, who has done yoga everyday for over 40 years — and from my six-month-old daughter, who loves our regular mom and baby classes at \u003ca href=\"http://www.yogaalameda.com/index.php/classes-descriptions/item/12-mom-and-baby-yoga-pre-walkers\" target=\"_blank\" rel=\"noopener\">Yoga Alameda\u003c/a> and \u003ca href=\"https://www.leelayogaalameda.com/classes.html\" target=\"_blank\" rel=\"noopener\">Leela Yoga Studio\u003c/a>.\u003c/p>\n\u003cp>I have a \u003ca href=\"http://www.zazensf.com/mysore/schedule\" target=\"_blank\" rel=\"noopener\">regular routine\u003c/a> a couple mornings a week over at \u003ca href=\"http://www.zazensf.com/\" target=\"_blank\" rel=\"noopener\">Zazen\u003c/a> in Cow Hollow, which also offers \u003ca href=\"http://www.zazensf.com/floating-1/\" target=\"_blank\" rel=\"noopener\">flotation\u003c/a>, \u003ca href=\"http://www.zazensf.com/meditation-contemplative-practice/\" target=\"_blank\" rel=\"noopener\">meditation\u003c/a>, and \u003ca href=\"http://zazensfretreat.com/\" target=\"_blank\" rel=\"noopener\">retreats\u003c/a>. You can always book a class or treatment for your loved one \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_appts.asp?studioid=19428&tg=&vt=&lvl=&stype=-9&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=0&loc=2\" target=\"_blank\" rel=\"noopener\">online\u003c/a> or simply opt for a \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_shop.asp?studioid=19428&tg=&vt=&lvl=&stype=42&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=2&loc=2\" target=\"_blank\" rel=\"noopener\">gift card\u003c/a>. They have a cozy fire in the studio.\u003c/p>\n\u003cp>For those who would like to introduce yoga to their little ones, there’s \u003ca href=\"http://www.itsyogakids.com/\" target=\"_blank\" rel=\"noopener\">It’s Yoga, Kids\u003c/a> over in the Presidio. Unlike many yoga classes aimed at the young that are for moms with their pre-walkers in tow, this studio has classes for newborns to teens and can include fathers and other caregivers. There are drop-in classes, class packages, and memberships.\u003c/p>\n\u003cp>Established in 1975, \u003ca href=\"http://www.yogalayam.org/\" target=\"_blank\" rel=\"noopener\">Yogalayam\u003c/a> in Berkeley is well known for having postnatal and toddler yoga with childcare. They also offer classes for children up to 12.\u003c/p>\n\u003cp>Up north, \u003ca href=\"http://vibeyogastudios.com/class-schedule\" target=\"_blank\" rel=\"noopener\">Vibe Yoga Studios\u003c/a> in Santa Rosa has two children’s classes, one for tweens (9-14 year olds) and another for kids as young as 4 years old. To the south is \u003ca href=\"http://www.mindfulways.org/mindfulness-wellness-center\" target=\"_blank\" rel=\"noopener\">Mindful Ways\u003c/a> in San Jose, which has parent and child yoga classes in addition to classes for those 4 to 7 years old and 8 to 12 years old.\u003c/p>\n\u003cfigure id=\"attachment_13817165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-800x533.jpg\" alt=\"Crissy Field\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Once an army airfield, Crissy Field offers urban hiking with views of the Golden Gate Bridge and the Marin Headlands. \u003ccite>(Photo: Golden Gate National Parks Conservancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Family Hiking\u003c/h2>\n\u003cp>A surefire way to improve your mood is to \u003ca href=\"https://www.psychologytoday.com/blog/minding-the-body/201608/walking-can-lift-your-mood-even-when-you-dont-expect-it\" target=\"_blank\" rel=\"noopener\">take a walk\u003c/a> — even a short stroll around the block can give you a boost. Planning a hike with friends or family in the new year gives you a jump start on your resolutions too. There are plenty of \u003ca href=\"https://bahiker.com/kids.html\" target=\"_blank\" rel=\"noopener\">family-friendly Bay Area hikes\u003c/a> you can do with a stroller or baby carrier; I’m always taking my baby out to between \u003ca href=\"http://www.ebparks.org/parks/crown_beach\" target=\"_blank\" rel=\"noopener\">Crown Memorial State Beach\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/science/2013/11/22/celebrating-the-legacy-of-local-conservationist-elsie-roemer/\" target=\"_blank\" rel=\"noopener\">Elsie Roemer Bird Sanctuary\u003c/a>. In the East Bay we love to go to \u003ca href=\"http://www.ebparks.org/parks/tilden\" target=\"_blank\" rel=\"noopener\">Tilden Regional Park\u003c/a>, which also has a small farm, pony rides, steam trains, and a carousel. \u003ca href=\"https://fremont.gov/317/Central-Park\" target=\"_blank\" rel=\"noopener\">Lake Elizabeth \u003c/a>in Fremont is also a popular destination for us.\u003c/p>\n\u003cp>In San Francisco, there are flat trails and sidewalks at \u003ca href=\"http://www.parksconservancy.org/programs/crissy-field-center/\" target=\"_blank\" rel=\"noopener\">Crissy Field\u003c/a>, plus beautiful views. Further north, Phoenix Lake in the \u003ca href=\"http://www.marinwater.org/188/Visiting-Watershed-Lands\" target=\"_blank\" rel=\"noopener\">Mount Tamalpais Watershed\u003c/a> is easy to get to and has lots to look at, including ducks and turtles. To the south, \u003ca href=\"https://www.openspace.org/preserves/rancho-san-antonio\" target=\"_blank\" rel=\"noopener\">Rancho San Antonio\u003c/a>, a nature preserve in Cupertino, offers easy access trails for those with strollers or wheelchairs. There’s also a small working farm and an educational nature center.\u003c/p>\n\u003cp>So where’s the gift in hiking? Besides making a donation to a local park in someone’s honor, you could go with the very practical, like getting the right permits for a particular hike, or printing out a map and figuring out a route beforehand. You could also get kids sun protection like a \u003ca href=\"https://www.sundayafternoons.com/p/kids-play-hat/\" target=\"_blank\" rel=\"noopener\">Sunday Afternoons Play Hat\u003c/a>, which protects the back of the neck and has a sturdy brim, or \u003ca href=\"https://babiators.com/collections/sunglasses\" target=\"_blank\" rel=\"noopener\">Babiators\u003c/a>, super cute sunglasses for infants, toddlers, and young kids.\u003c/p>\n\u003cfigure id=\"attachment_13817167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg\" alt=\"Elephants at the Oakland Zoo\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Oakland Zoo emphasizes education and conservation. \u003ccite>(Photo: Charlise Tiee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Attractions for Train and Animal Lovers\u003c/h2>\n\u003cp>For those who enjoy fauna more than flora, \u003ca href=\"https://tickets.oaklandzoo.org/Webstore/shop/viewitems.aspx?CG=TKTS&C=Daily\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> to the zoo or a \u003ca href=\"http://www.oaklandzoo.org/membership\" target=\"_blank\" rel=\"noopener\">membership\u003c/a> can be a good way of getting out. Contemplating the elephants or giraffes at the Oakland Zoo is a favorite pastime of many toddlers I know, as is riding the train in Adventure Landing, the amusement park portion of the zoo. Both being around animals and taking a quiet ride on a tiny train can be soothing. The \u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Zoo\u003c/a> has no elephants, but it does have giraffes and rhinos. There’s also a miniature steam train that you can buy \u003ca href=\"http://www.sfzoo.org/visit/rides.html\" target=\"_blank\" rel=\"noopener\">tickets for online\u003c/a>.\u003c/p>\n\u003cp>Many other places with trains for kids seem also to have petting zoos or farms. My son is enamored of \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a> over by Lake Merritt (though honestly, I find the attractions, based on children’s stories, a little creepy). The colorful Jolly Trolly from 1954 is always popular, as is the Beatrix Potter display that includes enormous rabbits.\u003c/p>\n\u003cp>Another East Bay spot with animals and a real train is \u003ca href=\"http://www.ebparks.org/parks/ardenwood\" target=\"_blank\" rel=\"noopener\">Ardenwood Historic Farm\u003c/a> in Fremont. The train runs on Thursdays, Fridays, and Sundays from April 1 to the weekend before Thanksgiving, and uses open-air picnic cars.\u003c/p>\n\u003cp>There are excellent things to be said about \u003ca href=\"https://www.traintown.com/\" target=\"_blank\" rel=\"noopener\">Sonoma TrainTown Railroad\u003c/a>, which was not damaged by the recent fires. On 10 acres, this minutely detailed miniature steam train from the 1950s takes 20 minutes to ride. They also have a petting zoo, a carousel, a roller coaster and a ferris wheel.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a busy mom, I am constantly amazed how many clothes, books, and toys accumulate in our house. And of course, my picky toddler is ridiculously discerning, with his favorites that he’s completely devoted to — his red cardigan, Richard Scarry’s \u003ca href=\"https://www.penguinrandomhouse.com/books/248265/richard-scarrys-what-do-people-do-all-day-by-written-and-illustrated-by-richard-scarry/9780553520590/\" target=\"_blank\" rel=\"noopener\">\u003cem>What Do People Do All Day\u003c/em>\u003c/a>, and stuffed penguin. So I’m often donating or (thoughtfully) re-gifting the excess.\u003c/p>\n\u003cp>Not into a cluttered house and a floor full of toys? Here are some gift ideas for families that place experiences over objects, and which might even help to relieve stress.\u003c/p>\n\u003cfigure id=\"attachment_13817162\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg\" alt=\"SF Botanical Garden\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Botanical Garden is a 55-acre oasis in Golden Gate Park showcasing over 8,500 plants from around the world. \u003ccite>(Photo: San Francisco Botanical Garden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Botanical Gardens Membership\u003c/h2>\n\u003cp>Science has shown that \u003ca href=\"https://www.npr.org/sections/health-shots/2017/07/17/536676954/forest-bathing-a-retreat-to-nature-can-boost-immunity-and-mood\" target=\"_blank\" rel=\"noopener\">being in nature\u003c/a>, even in an \u003ca href=\"https://www.sciencealert.com/urban-tree-coverage-can-significantly-reduce-stress-study-finds\" target=\"_blank\" rel=\"noopener\">urban environment\u003c/a>, reduces stress. A membership to a nearby botanical garden is an easy way for families to escape the bustle of daily life without making a huge time commitment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Garden \u003c/a>in Golden Gate Park is a family-friendly choice, with a children’s garden and oodles of family programming, including crafts, story time, walks, and a summer reading club. The 55 acres and extensive collection of 8,000 plants create an oasis of calm. The daily 7:30am opening time is ideal for early birds — you can take in a few hours of greenery and still make it home for lunch and nap time without having to rush.\u003c/p>\n\u003cp>Admission to SF Botanical Garden is free for residents of the city, but a \u003ca href=\"https://www.sfbotanicalgarden.org/support/membership.html\" target=\"_blank\" rel=\"noopener\">family membership\u003c/a> includes children’s book borrowing privileges and invitations to members parties that include live music and refreshments. My three-year-old son absolutely loves the summer \u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a> event, in which pianos are placed throughout the garden for anyone to play, with scheduled performances as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the East Bay there’s the \u003ca href=\"http://botanicalgarden.berkeley.edu/\" target=\"_blank\" rel=\"noopener\">UC Botanical Garden\u003c/a> in Berkeley, which has a large and diverse collection of plants that includes endangered species. The \u003ca href=\"http://botanicalgarden.berkeley.edu/japanese-pool\" target=\"_blank\" rel=\"noopener\">Japanese Pool\u003c/a> with its waterfalls and waterlilies is especially serene, though oddly enough, in the early spring there are a lot of \u003ca href=\"http://botanicalgarden.berkeley.edu/newts\" target=\"_blank\" rel=\"noopener\">newts\u003c/a> getting busy at this spot. I’m also a big fan of the \u003ca href=\"http://botanicalgarden.berkeley.edu/tropical-house\" target=\"_blank\" rel=\"noopener\">Tropical House\u003c/a>, home of the \u003ca href=\"http://botanicalgarden.berkeley.edu/titan-arums\" target=\"_blank\" rel=\"noopener\">Corpse Flower\u003c/a> and a \u003ca href=\"http://botanicalgarden.berkeley.edu/bees\" target=\"_blank\" rel=\"noopener\">bee colony\u003c/a>.\u003c/p>\n\u003cp>For those in the North Bay, there’s \u003ca href=\"http://www.quarryhillbg.org/\" target=\"_blank\" rel=\"noopener\">Quarryhill Botanical Garden\u003c/a> in the Sonoma Valley, which just barely escaped the recent fires in October. In the South Bay sits \u003ca href=\"https://filoli.org/\" target=\"_blank\" rel=\"noopener\">Filioli\u003c/a>, a country estate dating from 1915 with a formal garden in Woodside. On Sundays the road between Filioli’s entrance and north to Highway 92 is closed to cars so that you can peacefully bicycle, hike, or roller-skate. Further south is \u003ca href=\"http://www.hakone.com/main.html\" target=\"_blank\" rel=\"noopener\">Hakone\u003c/a>, another estate of the same period, but in the Japanese style where those as young as five can take part in \u003ca href=\"http://www.hakone.com/visit-us/tours-tea-ceremony.html\" target=\"_blank\" rel=\"noopener\">zen meditation\u003c/a>. There’s also origami and storytelling for the little ones.\u003c/p>\n\u003cfigure id=\"attachment_13817163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg\" alt=\"Children's Discovery Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mission of Children’s Discovery Museum of San Jose is to inspire creativity, curiosity, and lifelong learning. \u003ccite>(Photo: Children's Discovery Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Children’s Museum Membership\u003c/h2>\n\u003cp>While a membership to a museum filled with little kids might not seem the most tranquil gift, inspiring curiosity in children is definitely a wonderful thing. Aunts, uncles, or grandparents could also use the memberships to take the kiddies themselves, giving parents a break. It’s an opportunity to bond and learn through play.\u003c/p>\n\u003cp>One of the best children’s museums in the world is certainly the \u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener\">Children’s Discovery Museum of San Jose.\u003c/a> Housed in a very purple 52,000-sq.-ft. building designed by Ricardo Legorreta (known for his bright cubist architecture), the museum has over 100 exhibits and a new outdoor play space, giving kids a chance to explore outdoors and learn about nature.\u003c/p>\n\u003cp>San Francisco has the \u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener\">Children’s Creativity Museum\u003c/a> in Yerba Buena Gardens. The hands-on museum has both animation and music studios and emphasizes media creation over consumption. The museum also has the gorgeous \u003ca href=\"https://creativity.org/visit/childrens-creativity-carousel/\" target=\"_blank\" rel=\"noopener\">LeRoy King carousel\u003c/a> from 1906 that was once part of \u003ca href=\"https://sfpl.org/?pg=2000141401\" target=\"_blank\" rel=\"noopener\">Playland-at-the-Beach\u003c/a>.\u003c/p>\n\u003cp>In the East Bay is \u003ca href=\"http://www.habitot.org/\" target=\"_blank\" rel=\"noopener\">Habitot\u003c/a> in downtown Berkeley, which is great for very little children. Waterworks, the ongoing water exhibit, gives kids a chance to explore and splash, and the infant and toddler garden, a mural of plants next to foam structures for climbing, gives those under 20 months a place to safely explore.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cmosc.org/\" target=\"_blank\" rel=\"noopener\">Children’s Museum of Sonoma County\u003c/a> in Santa Rosa opened recently in 2014, but is quite the attraction for the 10 and under set. The museum has an outdoor playground and a crawler and toddler-only space (and for \u003cem>Peanuts\u003c/em> fans, the Schulz Museum is next door). Sunday mornings are reserved for members only.\u003c/p>\n\u003cfigure id=\"attachment_13817164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg\" alt=\"Zazen San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zazen in Cow Hollow offers yoga, bodywork, acupuncture, floats, and meditation. \u003ccite>(Photo: Zazen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yoga for Children\u003c/h2>\n\u003cp>Yoga is a great way for anyone to relax and de-stress, as I’ve learned from my 94 year-old grandma, who has done yoga everyday for over 40 years — and from my six-month-old daughter, who loves our regular mom and baby classes at \u003ca href=\"http://www.yogaalameda.com/index.php/classes-descriptions/item/12-mom-and-baby-yoga-pre-walkers\" target=\"_blank\" rel=\"noopener\">Yoga Alameda\u003c/a> and \u003ca href=\"https://www.leelayogaalameda.com/classes.html\" target=\"_blank\" rel=\"noopener\">Leela Yoga Studio\u003c/a>.\u003c/p>\n\u003cp>I have a \u003ca href=\"http://www.zazensf.com/mysore/schedule\" target=\"_blank\" rel=\"noopener\">regular routine\u003c/a> a couple mornings a week over at \u003ca href=\"http://www.zazensf.com/\" target=\"_blank\" rel=\"noopener\">Zazen\u003c/a> in Cow Hollow, which also offers \u003ca href=\"http://www.zazensf.com/floating-1/\" target=\"_blank\" rel=\"noopener\">flotation\u003c/a>, \u003ca href=\"http://www.zazensf.com/meditation-contemplative-practice/\" target=\"_blank\" rel=\"noopener\">meditation\u003c/a>, and \u003ca href=\"http://zazensfretreat.com/\" target=\"_blank\" rel=\"noopener\">retreats\u003c/a>. You can always book a class or treatment for your loved one \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_appts.asp?studioid=19428&tg=&vt=&lvl=&stype=-9&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=0&loc=2\" target=\"_blank\" rel=\"noopener\">online\u003c/a> or simply opt for a \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_shop.asp?studioid=19428&tg=&vt=&lvl=&stype=42&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=2&loc=2\" target=\"_blank\" rel=\"noopener\">gift card\u003c/a>. They have a cozy fire in the studio.\u003c/p>\n\u003cp>For those who would like to introduce yoga to their little ones, there’s \u003ca href=\"http://www.itsyogakids.com/\" target=\"_blank\" rel=\"noopener\">It’s Yoga, Kids\u003c/a> over in the Presidio. Unlike many yoga classes aimed at the young that are for moms with their pre-walkers in tow, this studio has classes for newborns to teens and can include fathers and other caregivers. There are drop-in classes, class packages, and memberships.\u003c/p>\n\u003cp>Established in 1975, \u003ca href=\"http://www.yogalayam.org/\" target=\"_blank\" rel=\"noopener\">Yogalayam\u003c/a> in Berkeley is well known for having postnatal and toddler yoga with childcare. They also offer classes for children up to 12.\u003c/p>\n\u003cp>Up north, \u003ca href=\"http://vibeyogastudios.com/class-schedule\" target=\"_blank\" rel=\"noopener\">Vibe Yoga Studios\u003c/a> in Santa Rosa has two children’s classes, one for tweens (9-14 year olds) and another for kids as young as 4 years old. To the south is \u003ca href=\"http://www.mindfulways.org/mindfulness-wellness-center\" target=\"_blank\" rel=\"noopener\">Mindful Ways\u003c/a> in San Jose, which has parent and child yoga classes in addition to classes for those 4 to 7 years old and 8 to 12 years old.\u003c/p>\n\u003cfigure id=\"attachment_13817165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-800x533.jpg\" alt=\"Crissy Field\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Once an army airfield, Crissy Field offers urban hiking with views of the Golden Gate Bridge and the Marin Headlands. \u003ccite>(Photo: Golden Gate National Parks Conservancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Family Hiking\u003c/h2>\n\u003cp>A surefire way to improve your mood is to \u003ca href=\"https://www.psychologytoday.com/blog/minding-the-body/201608/walking-can-lift-your-mood-even-when-you-dont-expect-it\" target=\"_blank\" rel=\"noopener\">take a walk\u003c/a> — even a short stroll around the block can give you a boost. Planning a hike with friends or family in the new year gives you a jump start on your resolutions too. There are plenty of \u003ca href=\"https://bahiker.com/kids.html\" target=\"_blank\" rel=\"noopener\">family-friendly Bay Area hikes\u003c/a> you can do with a stroller or baby carrier; I’m always taking my baby out to between \u003ca href=\"http://www.ebparks.org/parks/crown_beach\" target=\"_blank\" rel=\"noopener\">Crown Memorial State Beach\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/science/2013/11/22/celebrating-the-legacy-of-local-conservationist-elsie-roemer/\" target=\"_blank\" rel=\"noopener\">Elsie Roemer Bird Sanctuary\u003c/a>. In the East Bay we love to go to \u003ca href=\"http://www.ebparks.org/parks/tilden\" target=\"_blank\" rel=\"noopener\">Tilden Regional Park\u003c/a>, which also has a small farm, pony rides, steam trains, and a carousel. \u003ca href=\"https://fremont.gov/317/Central-Park\" target=\"_blank\" rel=\"noopener\">Lake Elizabeth \u003c/a>in Fremont is also a popular destination for us.\u003c/p>\n\u003cp>In San Francisco, there are flat trails and sidewalks at \u003ca href=\"http://www.parksconservancy.org/programs/crissy-field-center/\" target=\"_blank\" rel=\"noopener\">Crissy Field\u003c/a>, plus beautiful views. Further north, Phoenix Lake in the \u003ca href=\"http://www.marinwater.org/188/Visiting-Watershed-Lands\" target=\"_blank\" rel=\"noopener\">Mount Tamalpais Watershed\u003c/a> is easy to get to and has lots to look at, including ducks and turtles. To the south, \u003ca href=\"https://www.openspace.org/preserves/rancho-san-antonio\" target=\"_blank\" rel=\"noopener\">Rancho San Antonio\u003c/a>, a nature preserve in Cupertino, offers easy access trails for those with strollers or wheelchairs. There’s also a small working farm and an educational nature center.\u003c/p>\n\u003cp>So where’s the gift in hiking? Besides making a donation to a local park in someone’s honor, you could go with the very practical, like getting the right permits for a particular hike, or printing out a map and figuring out a route beforehand. You could also get kids sun protection like a \u003ca href=\"https://www.sundayafternoons.com/p/kids-play-hat/\" target=\"_blank\" rel=\"noopener\">Sunday Afternoons Play Hat\u003c/a>, which protects the back of the neck and has a sturdy brim, or \u003ca href=\"https://babiators.com/collections/sunglasses\" target=\"_blank\" rel=\"noopener\">Babiators\u003c/a>, super cute sunglasses for infants, toddlers, and young kids.\u003c/p>\n\u003cfigure id=\"attachment_13817167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg\" alt=\"Elephants at the Oakland Zoo\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Oakland Zoo emphasizes education and conservation. \u003ccite>(Photo: Charlise Tiee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Attractions for Train and Animal Lovers\u003c/h2>\n\u003cp>For those who enjoy fauna more than flora, \u003ca href=\"https://tickets.oaklandzoo.org/Webstore/shop/viewitems.aspx?CG=TKTS&C=Daily\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> to the zoo or a \u003ca href=\"http://www.oaklandzoo.org/membership\" target=\"_blank\" rel=\"noopener\">membership\u003c/a> can be a good way of getting out. Contemplating the elephants or giraffes at the Oakland Zoo is a favorite pastime of many toddlers I know, as is riding the train in Adventure Landing, the amusement park portion of the zoo. Both being around animals and taking a quiet ride on a tiny train can be soothing. The \u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Zoo\u003c/a> has no elephants, but it does have giraffes and rhinos. There’s also a miniature steam train that you can buy \u003ca href=\"http://www.sfzoo.org/visit/rides.html\" target=\"_blank\" rel=\"noopener\">tickets for online\u003c/a>.\u003c/p>\n\u003cp>Many other places with trains for kids seem also to have petting zoos or farms. My son is enamored of \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a> over by Lake Merritt (though honestly, I find the attractions, based on children’s stories, a little creepy). The colorful Jolly Trolly from 1954 is always popular, as is the Beatrix Potter display that includes enormous rabbits.\u003c/p>\n\u003cp>Another East Bay spot with animals and a real train is \u003ca href=\"http://www.ebparks.org/parks/ardenwood\" target=\"_blank\" rel=\"noopener\">Ardenwood Historic Farm\u003c/a> in Fremont. The train runs on Thursdays, Fridays, and Sundays from April 1 to the weekend before Thanksgiving, and uses open-air picnic cars.\u003c/p>\n\u003cp>There are excellent things to be said about \u003ca href=\"https://www.traintown.com/\" target=\"_blank\" rel=\"noopener\">Sonoma TrainTown Railroad\u003c/a>, which was not damaged by the recent fires. On 10 acres, this minutely detailed miniature steam train from the 1950s takes 20 minutes to ride. They also have a petting zoo, a carousel, a roller coaster and a ferris wheel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Obscure French Opera Calls Trump's Leadership Skills into Question",
"headTitle": "Obscure French Opera Calls Trump’s Leadership Skills into Question | KQED",
"content": "\u003cp>Opera has always been a means for voicing political dissent. Mozart’s \u003cem>The Marriage of Figaro\u003c/em> criticized the aristocracy. Verdi’s operas reflected on Italy’s struggle for independence. John Adams wrote a whole opera about Nixon’s 1972 visit to China.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Even a frilly Baroque opera-ballet like 18th century composer Jean-Philippe Rameau’s \u003cem>The Temple of Glory\u003c/em> (\u003cem>Le Temple de la Gloire\u003c/em>) uses history to weigh in on current events.\u003c/p>\n\u003cp>Nicholas McGegan is conducting the Bay Area’s \u003ca href=\"https://philharmonia.org/1617-season/rameau/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra and Chorale\u003c/a> in a rare production of the obscure French work in collaboration with \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> at the end of the month. “It’s really about what makes a good leader, which is topical,” McGegan says of the allegorical work’s particular relevance to U.S. audiences today.\u003c/p>\n\u003cfigure id=\"attachment_13088821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13088821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg\" alt=\"Nicholas McGegan and Soloists\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Nicholas McGegan with soloists for ‘The Temple of Glory.’ \u003ccite>(Photo: Philharmonia Baroque Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The satirical libretto, by Voltaire, follows what happens when a variety of different kings try to enter Apollo’s “Temple of Glory” — a bower for heroes guarded by the Muses. Two of the monarchs are barred for brutality and drunkenness. The third, Trajan, is allowed in for his generosity — he lets five conquered kings go — and insists on making the temple a bastion of inclusivity, “each rank, each sex, each age.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Supposedly, when Voltaire asked Louis XV “Is Trajan happy?” after the 1745 premiere, he was answered only with a chilling silence. “The opera was meant as a lesson in kingship,” McGegan says. “It is not enough to win battles; real heroes act a certain way. Unsurprisingly, the king did not enjoy being lectured on how to rule.”\u003c/p>\n\u003cp>The opera clearly cut too close for Louis XV. Though the monarch is known as “the well-loved,” his reign was riddled with financial crises, lost wars, fights with judges, and clashes between religions. Described as weak and adolescent, Louis XV was not much of a leader, spending much of his time chasing women and hunting. The French Revolution came only 15 years after his death.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rameau - Le Temple De La Gloire, Opéra-Ballet 1745\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/we6vxXQ9hwo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The opera was not a success and Rameau insisted on a rewrite of \u003cem>The Temple of Glory\u003c/em> less critical of leadership styles and more focused on love. Voltaire was ejected from the court and went on to write \u003cem>Candide\u003c/em>, perhaps his most politically incendiary work.\u003c/p>\n\u003cp>The Cal Performances production represents the first time modern audiences will get to experience the work in its original, unbowdlerized form. Those that attend the performances at Zellerbach Hall may see a parallel between the opera’s sly attempt to school the reigning monarch in the art of sensible leadership and John Oliver’s hilarious “Catheter Cowboy” ads aimed at educating President Donald Trump about everything from healthcare to sexual harassment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XigGuGQkObo\u003c/p>\n\u003cp>The opera may also help put things into perspective when you consider the fact that Louis XV, with a temperament unsuited for leadership, reigned for more than 50 years. That certainly makes the next four to eight here feel a little more bearable, and belies the myth that everything was better in the past.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Temple of Glory’ runs Friday, Apr. 28–Sunday, Apr. 30 at Zellerbach Hall on the UC Berkeley campus. For tickets and information, click \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Jean-Philippe Rameau and Voltaire's allegorical work uses mythology to weigh in on current events—and the opera's original version is getting its first full production since 1745, in Berkeley.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera has always been a means for voicing political dissent. Mozart’s \u003cem>The Marriage of Figaro\u003c/em> criticized the aristocracy. Verdi’s operas reflected on Italy’s struggle for independence. John Adams wrote a whole opera about Nixon’s 1972 visit to China.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Even a frilly Baroque opera-ballet like 18th century composer Jean-Philippe Rameau’s \u003cem>The Temple of Glory\u003c/em> (\u003cem>Le Temple de la Gloire\u003c/em>) uses history to weigh in on current events.\u003c/p>\n\u003cp>Nicholas McGegan is conducting the Bay Area’s \u003ca href=\"https://philharmonia.org/1617-season/rameau/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra and Chorale\u003c/a> in a rare production of the obscure French work in collaboration with \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> at the end of the month. “It’s really about what makes a good leader, which is topical,” McGegan says of the allegorical work’s particular relevance to U.S. audiences today.\u003c/p>\n\u003cfigure id=\"attachment_13088821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13088821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg\" alt=\"Nicholas McGegan and Soloists\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Nicholas McGegan with soloists for ‘The Temple of Glory.’ \u003ccite>(Photo: Philharmonia Baroque Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The satirical libretto, by Voltaire, follows what happens when a variety of different kings try to enter Apollo’s “Temple of Glory” — a bower for heroes guarded by the Muses. Two of the monarchs are barred for brutality and drunkenness. The third, Trajan, is allowed in for his generosity — he lets five conquered kings go — and insists on making the temple a bastion of inclusivity, “each rank, each sex, each age.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Supposedly, when Voltaire asked Louis XV “Is Trajan happy?” after the 1745 premiere, he was answered only with a chilling silence. “The opera was meant as a lesson in kingship,” McGegan says. “It is not enough to win battles; real heroes act a certain way. Unsurprisingly, the king did not enjoy being lectured on how to rule.”\u003c/p>\n\u003cp>The opera clearly cut too close for Louis XV. Though the monarch is known as “the well-loved,” his reign was riddled with financial crises, lost wars, fights with judges, and clashes between religions. Described as weak and adolescent, Louis XV was not much of a leader, spending much of his time chasing women and hunting. The French Revolution came only 15 years after his death.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rameau - Le Temple De La Gloire, Opéra-Ballet 1745\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/we6vxXQ9hwo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The opera was not a success and Rameau insisted on a rewrite of \u003cem>The Temple of Glory\u003c/em> less critical of leadership styles and more focused on love. Voltaire was ejected from the court and went on to write \u003cem>Candide\u003c/em>, perhaps his most politically incendiary work.\u003c/p>\n\u003cp>The Cal Performances production represents the first time modern audiences will get to experience the work in its original, unbowdlerized form. Those that attend the performances at Zellerbach Hall may see a parallel between the opera’s sly attempt to school the reigning monarch in the art of sensible leadership and John Oliver’s hilarious “Catheter Cowboy” ads aimed at educating President Donald Trump about everything from healthcare to sexual harassment.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XigGuGQkObo'\n title='//www.youtube.com/embed/XigGuGQkObo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The opera may also help put things into perspective when you consider the fact that Louis XV, with a temperament unsuited for leadership, reigned for more than 50 years. That certainly makes the next four to eight here feel a little more bearable, and belies the myth that everything was better in the past.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Temple of Glory’ runs Friday, Apr. 28–Sunday, Apr. 30 at Zellerbach Hall on the UC Berkeley campus. For tickets and information, click \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hey Bay Area! What's with all the Contemporary Opera in February?",
"headTitle": "Hey Bay Area! What’s with all the Contemporary Opera in February? | KQED",
"content": "\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n",
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"excerpt": "From West Edge Opera in Berkeley to Opera San José to San Francisco performances from Opera Parallèle, the Bay Area is aflame with vocal pyrotechnics this month.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Take It Easy: Holiday Gifts for the Stressed",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Let’s face it, 2016 has been a tough year. If your friends and family are anything like mine, they’ve been stressed out by the untimely deaths of David Bowie and Prince, the contentious election season, police brutality, a rise in hate crimes and ongoing social injustice. It can be totally overwhelming, and coming up with holiday gifts seems especially challenging this year.\u003c/p>\n\u003cp>Self-care is important of course, and those who are most vulnerable may need a gentle nudge to remember to take care of themselves. This holiday season perhaps the kindest thing to do is to not give our loved ones more stuff but to help them to take time out and relax.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448282\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg\" alt=\"Bellocq Tea Atelier\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg 1383w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bellocq Tea Atelier, based in Brooklyn, makes many appealing herbal blends. \u003ccite>(Photo: Bellocq Tea Atelier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tea\u003c/h3>\n\u003cp>For several years running, I’ve been gifting my close friends and family tea blends from \u003ca href=\"http://www.bellocq.com/collections/tea-collections\" target=\"_blank\" rel=\"noopener\">Bellocq Tea Atelier\u003c/a>. The Brooklyn-based company has seasonal offerings such as \u003ca href=\"http://www.bellocq.com/collections/black-blends/products/no-44-bellocq-christmas\" target=\"_blank\" rel=\"noopener\">Bellocq Christmas\u003c/a> (a black tea with cinnamon and rose petals) and \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-42-little-dickens\" target=\"_blank\" rel=\"noopener\">Little Dickens\u003c/a> (a rooibos blend with mint and chocolate.)\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bellocq.com/collections/herbal-blends\" target=\"_blank\" rel=\"noopener\">herbal blends\u003c/a> are a calming option, especially \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-12-le-hammeau\" target=\"_blank\" rel=\"noopener\">Le Hammeau\u003c/a>, which includes soothing lemongrass, chamomile, and lavender. The packaging is very pretty — even the simple brown atelier bag with blue lettering and handwritten label is charming.\u003c/p>\n\u003cp>Another idea in this vein is taking your loved one to afternoon tea in San Francisco. \u003ca href=\"http://www.fairmont.com/san-francisco/dining/afternoon-tea-at-the-fairmont/\" target=\"_blank\" rel=\"noopener\">The Fairmont\u003c/a>, \u003ca href=\"http://www.sfpalace.com/signature-tea-san-francisco/\" target=\"_blank\" rel=\"noopener\">Palace\u003c/a>, and \u003ca href=\"http://www.ritzcarlton.com/en/hotels/california/san-francisco/dining/afternoon-tea-in-the-lounge\" target=\"_blank\" rel=\"noopener\">Ritz-Carlton\u003c/a> are the fancy options, while \u003ca href=\"http://www.lovejoystearoom.com\" target=\"_blank\" rel=\"noopener\">Lovejoy’s\u003c/a> is a cozier and more offbeat choice.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448281\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg\" alt=\"San Francisco Ballet's Nutcracker\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Nutcracker is a perennial favorite for the holiday season. \u003ccite>(Photo: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Performances\u003c/h3>\n\u003cp>The performing arts are a source of solace for many, myself included. There’s something transcendental about sitting in a huge hall and experiencing live music, dance, or theater. Why not take the family to \u003ca href=\"https://www.sfballet.org/season/nutcracker/nutcracker\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet’s \u003cem>Nutcracker\u003c/em>\u003c/a> (Dec. 10 – 29) or head to San Francisco Symphony for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2014-2015/Christmas-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">\u003cem>A Charlie Brown Christmas\u003c/em>\u003c/a> (Dec. 21-24)? For those who want a less Christmasy time, there’s \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=thelionking&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">The Lion King\u003c/a>, \u003c/em> which goes until New Year’s Eve, or \u003ca href=\"https://shotgunplayers.org/Online/2016discounts\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ Rep Fest\u003c/a>, in which the audacious Berkeley-based theater company performs all five plays of its present season on consecutive nights, through Jan. 22.\u003c/p>\n\u003cp>You can also gift tickets to the people you love for shows happening months in the future. One of my standard gifts for a close friend is tickets for \u003ca href=\"https://calperformances.org/performances/2016-17/dance/alvin-ailey-american-dance-theater.php\" target=\"_blank\" rel=\"noopener\">Alvin Ailey Dance Theater\u003c/a>, as the company always comes to Cal Performances in the spring while on tour. Another idea is to try and \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/ticket-alert-hamilton-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">score tickets\u003c/a> to \u003ca href=\"https://www.hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a>, which comes to San Francisco in March. Though you’ll need quite a bit of luck, not to mention spare cash to make that happen.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448280\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448280\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg\" alt=\"Hero Yellow Fish\" width=\"800\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1020x515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1180x596.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-960x485.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-240x121.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-375x189.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-520x263.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Steinhart Aquarium, part of the California Academy of Sciences, can be a very calming spot. \u003ccite>(Photo: Kathryn Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Aquarium Membership\u003c/h3>\n\u003cp>One of the calmest places in all of San Francisco must be \u003ca href=\"http://www.calacademy.org/become-a-member\" target=\"_blank\" rel=\"noopener\">Cal Academy\u003c/a>‘s \u003ca href=\"http://www.calacademy.org/exhibits/steinhart-aquarium\" target=\"_blank\" rel=\"noopener\">Steinhart Aquarium\u003c/a> during members-only hours on Sunday and Tuesday mornings. The Philippine Coral Reef is completely serene — you can just watch the jewel-like fish flit back and forth. I also love to space out in the tranquil Amazon Flooded Forest. The installation has a soothing effect on my toddler, who can sit surrounded by the “fish tunnel” as he calls it for a full hour.\u003c/p>\n\u003cp>A membership to the \u003ca href=\"http://www.montereybayaquarium.org/support-us/membership\" target=\"_blank\" rel=\"noopener\">Monterey Bay Aquarium\u003c/a> is also a fine option, especially if you live in the South Bay. Watching the\u003ca href=\"https://www.montereybayaquarium.org/animal-guide/invertebrates/jellies\" target=\"_blank\" rel=\"noopener\"> undulating jellies\u003c/a> is a good way to take a break and be in the moment. If you are further north, you can use the membership as an excuse for a weekend away.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448277\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448277\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg\" alt=\"Jordan's Kitchen\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1920x1165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1180x716.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jordan’s Kitchen holds popular cooking classes, including those for children, in San Francisco. \u003ccite>(Photo: Jordan's Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cooking Classes\u003c/h3>\n\u003cp>Cooking can be daunting for the uninitiated, and I would have never guessed in my single days, when my fridge only had beer and ketchup in it, that making your own meals can be quite meditative. Taking a cooking class can give those with less confidence in the kitchen that extra encouragement to create their own menus. What could be more in line with self-care than figuring out what goes into your own body?\u003c/p>\n\u003cp>It’s easy enough to give that special person a \u003ca href=\"http://jordanskitchensf.com/san-francisco-cooking-class-gift-certificates/\" target=\"_blank\" rel=\"noopener\">gift certificate\u003c/a> for \u003ca href=\"http://jordanskitchensf.com/cooking-classes-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Jordan’s Kitchen\u003c/a> in SOMA, which covers everything from knife skills to Thai cooking. The school also offers Valentine’s Day classes to share with a significant other or close friend.\u003c/p>\n\u003cp>Another option is \u003ca href=\"https://www.cozymeal.com/gift-cards\" target=\"_blank\" rel=\"noopener\">Cozymeal\u003c/a>, which features classes from both local and traveling chefs. This can also make a great activity for a group of friends, adding a social component to the gift. Sometimes spending time together is a gift unto itself.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448278\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg\" alt=\"EarthBody Day Spa\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">EarthBody is an organic day spa in Hayes Valley with an ayurvedic bent. \u003ccite>(Photo: EarthBody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Spa Treatments\u003c/h3>\n\u003cp>A trip to the spa is the perfect way to reduce stress, and a gift certificate provides an easy step towards taking care of one’s self. I like \u003ca href=\"https://www.secure-booker.com/earthbody/ShopOnline/GiftCertificate.aspx\" target=\"_blank\" rel=\"noopener\">EarthBody Day Spa\u003c/a>, which is an oasis of stillness in bustling Hayes Valley. Treatments include massages and facials using handcrafted organic products with a nod to ayurvedic traditions. Others swear by Korean style spas like \u003ca href=\"http://imperialdayspa.com\" target=\"_blank\" rel=\"noopener\">Imperial Day Spa\u003c/a> in Japantown, which is known for its scrubs and acupressure massages.\u003c/p>\n\u003cp>Another option is making this gift an escape to nearby Napa for a day at one of the region’s fancy hotel spas. I’ve taken family members to \u003ca href=\"https://www.indianspringscalistoga.com/spa/\" target=\"_blank\" rel=\"noopener\">Indian Springs\u003c/a> in Calistoga, which has mud and mineral baths and some seriously intense deep tissue massages on offer. You can spend the rest of your time in their Olympic-sized mineral pool, which is a toasty 82–102 degrees.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Let’s face it, 2016 has been a tough year. If your friends and family are anything like mine, they’ve been stressed out by the untimely deaths of David Bowie and Prince, the contentious election season, police brutality, a rise in hate crimes and ongoing social injustice. It can be totally overwhelming, and coming up with holiday gifts seems especially challenging this year.\u003c/p>\n\u003cp>Self-care is important of course, and those who are most vulnerable may need a gentle nudge to remember to take care of themselves. This holiday season perhaps the kindest thing to do is to not give our loved ones more stuff but to help them to take time out and relax.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448282\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg\" alt=\"Bellocq Tea Atelier\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg 1383w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bellocq Tea Atelier, based in Brooklyn, makes many appealing herbal blends. \u003ccite>(Photo: Bellocq Tea Atelier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tea\u003c/h3>\n\u003cp>For several years running, I’ve been gifting my close friends and family tea blends from \u003ca href=\"http://www.bellocq.com/collections/tea-collections\" target=\"_blank\" rel=\"noopener\">Bellocq Tea Atelier\u003c/a>. The Brooklyn-based company has seasonal offerings such as \u003ca href=\"http://www.bellocq.com/collections/black-blends/products/no-44-bellocq-christmas\" target=\"_blank\" rel=\"noopener\">Bellocq Christmas\u003c/a> (a black tea with cinnamon and rose petals) and \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-42-little-dickens\" target=\"_blank\" rel=\"noopener\">Little Dickens\u003c/a> (a rooibos blend with mint and chocolate.)\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bellocq.com/collections/herbal-blends\" target=\"_blank\" rel=\"noopener\">herbal blends\u003c/a> are a calming option, especially \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-12-le-hammeau\" target=\"_blank\" rel=\"noopener\">Le Hammeau\u003c/a>, which includes soothing lemongrass, chamomile, and lavender. The packaging is very pretty — even the simple brown atelier bag with blue lettering and handwritten label is charming.\u003c/p>\n\u003cp>Another idea in this vein is taking your loved one to afternoon tea in San Francisco. \u003ca href=\"http://www.fairmont.com/san-francisco/dining/afternoon-tea-at-the-fairmont/\" target=\"_blank\" rel=\"noopener\">The Fairmont\u003c/a>, \u003ca href=\"http://www.sfpalace.com/signature-tea-san-francisco/\" target=\"_blank\" rel=\"noopener\">Palace\u003c/a>, and \u003ca href=\"http://www.ritzcarlton.com/en/hotels/california/san-francisco/dining/afternoon-tea-in-the-lounge\" target=\"_blank\" rel=\"noopener\">Ritz-Carlton\u003c/a> are the fancy options, while \u003ca href=\"http://www.lovejoystearoom.com\" target=\"_blank\" rel=\"noopener\">Lovejoy’s\u003c/a> is a cozier and more offbeat choice.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448281\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg\" alt=\"San Francisco Ballet's Nutcracker\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Nutcracker is a perennial favorite for the holiday season. \u003ccite>(Photo: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Performances\u003c/h3>\n\u003cp>The performing arts are a source of solace for many, myself included. There’s something transcendental about sitting in a huge hall and experiencing live music, dance, or theater. Why not take the family to \u003ca href=\"https://www.sfballet.org/season/nutcracker/nutcracker\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet’s \u003cem>Nutcracker\u003c/em>\u003c/a> (Dec. 10 – 29) or head to San Francisco Symphony for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2014-2015/Christmas-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">\u003cem>A Charlie Brown Christmas\u003c/em>\u003c/a> (Dec. 21-24)? For those who want a less Christmasy time, there’s \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=thelionking&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">The Lion King\u003c/a>, \u003c/em> which goes until New Year’s Eve, or \u003ca href=\"https://shotgunplayers.org/Online/2016discounts\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ Rep Fest\u003c/a>, in which the audacious Berkeley-based theater company performs all five plays of its present season on consecutive nights, through Jan. 22.\u003c/p>\n\u003cp>You can also gift tickets to the people you love for shows happening months in the future. One of my standard gifts for a close friend is tickets for \u003ca href=\"https://calperformances.org/performances/2016-17/dance/alvin-ailey-american-dance-theater.php\" target=\"_blank\" rel=\"noopener\">Alvin Ailey Dance Theater\u003c/a>, as the company always comes to Cal Performances in the spring while on tour. Another idea is to try and \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/ticket-alert-hamilton-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">score tickets\u003c/a> to \u003ca href=\"https://www.hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a>, which comes to San Francisco in March. Though you’ll need quite a bit of luck, not to mention spare cash to make that happen.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448280\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448280\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg\" alt=\"Hero Yellow Fish\" width=\"800\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1020x515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1180x596.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-960x485.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-240x121.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-375x189.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-520x263.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Steinhart Aquarium, part of the California Academy of Sciences, can be a very calming spot. \u003ccite>(Photo: Kathryn Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Aquarium Membership\u003c/h3>\n\u003cp>One of the calmest places in all of San Francisco must be \u003ca href=\"http://www.calacademy.org/become-a-member\" target=\"_blank\" rel=\"noopener\">Cal Academy\u003c/a>‘s \u003ca href=\"http://www.calacademy.org/exhibits/steinhart-aquarium\" target=\"_blank\" rel=\"noopener\">Steinhart Aquarium\u003c/a> during members-only hours on Sunday and Tuesday mornings. The Philippine Coral Reef is completely serene — you can just watch the jewel-like fish flit back and forth. I also love to space out in the tranquil Amazon Flooded Forest. The installation has a soothing effect on my toddler, who can sit surrounded by the “fish tunnel” as he calls it for a full hour.\u003c/p>\n\u003cp>A membership to the \u003ca href=\"http://www.montereybayaquarium.org/support-us/membership\" target=\"_blank\" rel=\"noopener\">Monterey Bay Aquarium\u003c/a> is also a fine option, especially if you live in the South Bay. Watching the\u003ca href=\"https://www.montereybayaquarium.org/animal-guide/invertebrates/jellies\" target=\"_blank\" rel=\"noopener\"> undulating jellies\u003c/a> is a good way to take a break and be in the moment. If you are further north, you can use the membership as an excuse for a weekend away.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448277\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448277\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg\" alt=\"Jordan's Kitchen\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1920x1165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1180x716.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jordan’s Kitchen holds popular cooking classes, including those for children, in San Francisco. \u003ccite>(Photo: Jordan's Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cooking Classes\u003c/h3>\n\u003cp>Cooking can be daunting for the uninitiated, and I would have never guessed in my single days, when my fridge only had beer and ketchup in it, that making your own meals can be quite meditative. Taking a cooking class can give those with less confidence in the kitchen that extra encouragement to create their own menus. What could be more in line with self-care than figuring out what goes into your own body?\u003c/p>\n\u003cp>It’s easy enough to give that special person a \u003ca href=\"http://jordanskitchensf.com/san-francisco-cooking-class-gift-certificates/\" target=\"_blank\" rel=\"noopener\">gift certificate\u003c/a> for \u003ca href=\"http://jordanskitchensf.com/cooking-classes-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Jordan’s Kitchen\u003c/a> in SOMA, which covers everything from knife skills to Thai cooking. The school also offers Valentine’s Day classes to share with a significant other or close friend.\u003c/p>\n\u003cp>Another option is \u003ca href=\"https://www.cozymeal.com/gift-cards\" target=\"_blank\" rel=\"noopener\">Cozymeal\u003c/a>, which features classes from both local and traveling chefs. This can also make a great activity for a group of friends, adding a social component to the gift. Sometimes spending time together is a gift unto itself.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448278\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg\" alt=\"EarthBody Day Spa\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">EarthBody is an organic day spa in Hayes Valley with an ayurvedic bent. \u003ccite>(Photo: EarthBody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Spa Treatments\u003c/h3>\n\u003cp>A trip to the spa is the perfect way to reduce stress, and a gift certificate provides an easy step towards taking care of one’s self. I like \u003ca href=\"https://www.secure-booker.com/earthbody/ShopOnline/GiftCertificate.aspx\" target=\"_blank\" rel=\"noopener\">EarthBody Day Spa\u003c/a>, which is an oasis of stillness in bustling Hayes Valley. Treatments include massages and facials using handcrafted organic products with a nod to ayurvedic traditions. Others swear by Korean style spas like \u003ca href=\"http://imperialdayspa.com\" target=\"_blank\" rel=\"noopener\">Imperial Day Spa\u003c/a> in Japantown, which is known for its scrubs and acupressure massages.\u003c/p>\n\u003cp>Another option is making this gift an escape to nearby Napa for a day at one of the region’s fancy hotel spas. I’ve taken family members to \u003ca href=\"https://www.indianspringscalistoga.com/spa/\" target=\"_blank\" rel=\"noopener\">Indian Springs\u003c/a> in Calistoga, which has mud and mineral baths and some seriously intense deep tissue massages on offer. You can spend the rest of your time in their Olympic-sized mineral pool, which is a toasty 82–102 degrees.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Drag Queen Heklina Pops Her Opera Cherry at Oasis",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A spectacularly-adorned creature — all glitter, lashes, hair, and curves — commands the stage with her bearing alone. Watching \u003ca href=\"https://en.wikipedia.org/wiki/Trannyshack\" target=\"_blank\" rel=\"noopener\">Trannyshack\u003c/a> founder Heklina open her mouth and unleash a booming sound that can’t be ignored as she belts out an anthem she wrote about self-expression entitled “Live My Life,” one can’t help but notice how the famed San Francisco drag queen so effortlessly captures the essence of many an opera diva.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-d2f2vfPYTo\u003c/p>\n\u003cp>So it seems fitting that Heklina is hosting \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">\u003ci>Drag Queen of the Opera\u003c/i>\u003c/a> at her club, \u003ca href=\"http://sfoasis.com\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, in collaboration with singers from \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> (SF Opera). Appealing to the “opera-curious,” the Sunday, Oct. 30 offering from the company’s hip new audience outreach arm \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> promises to be popular among fans of both drag and opera, as well as newbies. Heklina is encouraging audience members to come in costume, drink cocktails, and enjoy arias performed by young singers. And there’s a DJ dance party afterwards.\u003c/p>\n\u003cp>The lineup includes \u003ca href=\"http://imgartists.com/artist/julie_adams\" target=\"_blank\" rel=\"noopener\">Julie Adams\u003c/a> (who aced the U.S. opera world’s biggest competition in 2014, the Metropolitan Opera National Council Auditions) and \u003ca href=\"http://brentonryan.com\" target=\"_blank\" rel=\"noopener\">Brenton Ryan\u003c/a>, hot off his acclaimed SF Opera debut in \u003ci>The Makropulos Case\u003c/i>, as well as additional vocalists and a pianist. There’ll be ample gender-role bending. And in keeping with the onrush of Halloween, looming large will be witches, devils, and coming back from the dead. The ringmistress of all of this operatic mayhem, of course, is Heklina, setting up the scenes and keeping the audience focused with the sharp and bawdy humor for which she’s known.\u003c/p>\n\u003cfigure id=\"attachment_12242565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg\" alt=\"SF Opera Lab Pop-Up\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994.jpg 1129w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera has hosted two previous pop-ups at Public Works and The Chapel. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Popping her opera cherry\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heklina herself is no opera insider. She’s never actually experienced an opera performed live on stage, though she’s going to get a chance to pop her opera cherry when she goes to see SF Opera’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Madame Butterfly\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> next month. “I’m not sure why I’ve never been, maybe I thought it would not resonate,” Heklina says. “Like most people who aren’t familiar with opera, the word conjures images of a heavyset man belting out songs in Italian or Bugs Bunny dressed up like a valkyrie.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Heklina has been enjoying her nascent relationship with the young, classically-trained singers she’s collaborating with at Oasis. “After working with these guys for the past few weeks, I am very intrigued,” she says. “For the uninitiated, the pop-up will be a great intro to the opera world.”\u003c/p>\n\u003ch3>Opera and the queer community\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opera has a huge fan base among the Bay Area’s queer community. SF Opera even has a subscription program dubbed the “Rainbow Series” for LGBT patrons, complete with rainbow colored lights and exclusive receptions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, a part of the intersection of queerness and opera definitely came out of a feeling of ‘otherness’ I had growing up,” says soprano \u003ca href=\"http://www.emmamcnairy.com\" target=\"_blank\" rel=\"noopener\">Emma McNairy\u003c/a>, who identifies as a lesbian. “This related to me feeling queer in some way, as well as me being so obsessed with opera as a child and teenager. My peers did not really understand this about me, but opera gave me such an amazing world and outlet for intellectual endeavors, languages, and then just plain emotion.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the mass popularity of TV shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and the once-niche but now prime-time \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">RuPaul’s Drag Race\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, gender fluidity is much more out in the open in our culture at large. This makes it a good time for the traditionalist, institutional art form of opera and the free-flowing, underground world of drag to finally get a joint coming-out party.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab Pop-Ups: Innovative, Intimate, Eclectic Opera\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ir-hWK8J_1I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For its part, SF Opera hopes the show at Oasis will engage a younger, more diverse crowd — just like the two other more experimental events the Lab has put on since being founded last season. “Drag shows and opera are similar in melodrama, grandness, and the pomp and circumstance,” says Sean Waugh, the artistic planning manager at SF Opera and the producer of all of the company’s pop-up events thus far. “I like pushing us more and more out of our comfort zone, especially the performers. We are hoping to find a connection to the drag and LGBT community, especially the younger people.”\u003c/span>\u003c/p>\n\u003ch3>Cross-dressing not new to opera\u003c/h3>\n\u003cp>Cross-dressing in opera is as old as the art form itself. Women’s roles were originally sung by castrati — male singers whose testicles were removed before puberty — as seen in the 1994 movie \u003ci>\u003cspan style=\"font-weight: 400\">Farinelli\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. These days castrated singers are hard to come by, so the parts in 17th and 18th century operas are sometimes taken by male countertenors who sing in falsetto — or just as often, if not more often, by pants-wearing female performers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Opera’s gender fluidity isn’t just part of ancient history. You can trace a clear line from Mozart’s casting of a woman in the role of the boy Cherubino in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Marriage of Figaro, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">through Richard Strauss’ making Octavian a female part in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Der Rosenkavalier\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and on to Thomas Adès using a soprano for the gender-neutral spirit Ariel in his 2004 version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tempest\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12264824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12264824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg\" alt=\"Fans get their opera on at a recent SF Opera Lab event in San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261.jpg 1985w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans get their opera on at a recent SF Opera Lab event in San Francisco. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While less common, men occasionally take on female roles in opera, most notably \u003c/span>\u003cspan style=\"font-weight: 400\">the Gingerbread Witch in 19th century composer Engelbert Humperdinck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hansel and Gretel.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Though the role was originally written for a mezzo-soprano, the witch is also routinely sung by a tenor, as in the Metropolitan Opera’s high-def film production in 2008.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“Queer culture and opera have been inextricably intertwined since the days of Monteverdi,” says Michael Strickland, a gay opera fan and \u003ca href=\"http://sfciviccenter.blogspot.com\" target=\"_blank\" rel=\"noopener\">cultural blogger\u003c/a> who lives in San Francisco. “Why are so many queers into musical theater? I really don’t have a clue, other than they have an inclination towards escape, art, and fabulousness.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Drag Queen of the Opera’ gets underway on Sunday, Oct. 30, at Oasis in San Francisco. Tickets and information \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A new collaboration at Club Oasis between one of San Francisco’s most revered drag performers and young singers from SF Opera highlights the enduring relationship between opera and cross-dressing.",
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"title": "Drag Queen Heklina Pops Her Opera Cherry at Oasis | KQED",
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"headline": "Drag Queen Heklina Pops Her Opera Cherry at Oasis",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A spectacularly-adorned creature — all glitter, lashes, hair, and curves — commands the stage with her bearing alone. Watching \u003ca href=\"https://en.wikipedia.org/wiki/Trannyshack\" target=\"_blank\" rel=\"noopener\">Trannyshack\u003c/a> founder Heklina open her mouth and unleash a booming sound that can’t be ignored as she belts out an anthem she wrote about self-expression entitled “Live My Life,” one can’t help but notice how the famed San Francisco drag queen so effortlessly captures the essence of many an opera diva.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-d2f2vfPYTo'\n title='//www.youtube.com/embed/-d2f2vfPYTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So it seems fitting that Heklina is hosting \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">\u003ci>Drag Queen of the Opera\u003c/i>\u003c/a> at her club, \u003ca href=\"http://sfoasis.com\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, in collaboration with singers from \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> (SF Opera). Appealing to the “opera-curious,” the Sunday, Oct. 30 offering from the company’s hip new audience outreach arm \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> promises to be popular among fans of both drag and opera, as well as newbies. Heklina is encouraging audience members to come in costume, drink cocktails, and enjoy arias performed by young singers. And there’s a DJ dance party afterwards.\u003c/p>\n\u003cp>The lineup includes \u003ca href=\"http://imgartists.com/artist/julie_adams\" target=\"_blank\" rel=\"noopener\">Julie Adams\u003c/a> (who aced the U.S. opera world’s biggest competition in 2014, the Metropolitan Opera National Council Auditions) and \u003ca href=\"http://brentonryan.com\" target=\"_blank\" rel=\"noopener\">Brenton Ryan\u003c/a>, hot off his acclaimed SF Opera debut in \u003ci>The Makropulos Case\u003c/i>, as well as additional vocalists and a pianist. There’ll be ample gender-role bending. And in keeping with the onrush of Halloween, looming large will be witches, devils, and coming back from the dead. The ringmistress of all of this operatic mayhem, of course, is Heklina, setting up the scenes and keeping the audience focused with the sharp and bawdy humor for which she’s known.\u003c/p>\n\u003cfigure id=\"attachment_12242565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg\" alt=\"SF Opera Lab Pop-Up\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994.jpg 1129w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera has hosted two previous pop-ups at Public Works and The Chapel. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Popping her opera cherry\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heklina herself is no opera insider. She’s never actually experienced an opera performed live on stage, though she’s going to get a chance to pop her opera cherry when she goes to see SF Opera’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Madame Butterfly\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> next month. “I’m not sure why I’ve never been, maybe I thought it would not resonate,” Heklina says. “Like most people who aren’t familiar with opera, the word conjures images of a heavyset man belting out songs in Italian or Bugs Bunny dressed up like a valkyrie.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Heklina has been enjoying her nascent relationship with the young, classically-trained singers she’s collaborating with at Oasis. “After working with these guys for the past few weeks, I am very intrigued,” she says. “For the uninitiated, the pop-up will be a great intro to the opera world.”\u003c/p>\n\u003ch3>Opera and the queer community\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opera has a huge fan base among the Bay Area’s queer community. SF Opera even has a subscription program dubbed the “Rainbow Series” for LGBT patrons, complete with rainbow colored lights and exclusive receptions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, a part of the intersection of queerness and opera definitely came out of a feeling of ‘otherness’ I had growing up,” says soprano \u003ca href=\"http://www.emmamcnairy.com\" target=\"_blank\" rel=\"noopener\">Emma McNairy\u003c/a>, who identifies as a lesbian. “This related to me feeling queer in some way, as well as me being so obsessed with opera as a child and teenager. My peers did not really understand this about me, but opera gave me such an amazing world and outlet for intellectual endeavors, languages, and then just plain emotion.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the mass popularity of TV shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and the once-niche but now prime-time \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">RuPaul’s Drag Race\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, gender fluidity is much more out in the open in our culture at large. This makes it a good time for the traditionalist, institutional art form of opera and the free-flowing, underground world of drag to finally get a joint coming-out party.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab Pop-Ups: Innovative, Intimate, Eclectic Opera\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ir-hWK8J_1I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For its part, SF Opera hopes the show at Oasis will engage a younger, more diverse crowd — just like the two other more experimental events the Lab has put on since being founded last season. “Drag shows and opera are similar in melodrama, grandness, and the pomp and circumstance,” says Sean Waugh, the artistic planning manager at SF Opera and the producer of all of the company’s pop-up events thus far. “I like pushing us more and more out of our comfort zone, especially the performers. We are hoping to find a connection to the drag and LGBT community, especially the younger people.”\u003c/span>\u003c/p>\n\u003ch3>Cross-dressing not new to opera\u003c/h3>\n\u003cp>Cross-dressing in opera is as old as the art form itself. Women’s roles were originally sung by castrati — male singers whose testicles were removed before puberty — as seen in the 1994 movie \u003ci>\u003cspan style=\"font-weight: 400\">Farinelli\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. These days castrated singers are hard to come by, so the parts in 17th and 18th century operas are sometimes taken by male countertenors who sing in falsetto — or just as often, if not more often, by pants-wearing female performers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Opera’s gender fluidity isn’t just part of ancient history. You can trace a clear line from Mozart’s casting of a woman in the role of the boy Cherubino in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Marriage of Figaro, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">through Richard Strauss’ making Octavian a female part in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Der Rosenkavalier\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and on to Thomas Adès using a soprano for the gender-neutral spirit Ariel in his 2004 version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tempest\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12264824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12264824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg\" alt=\"Fans get their opera on at a recent SF Opera Lab event in San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261.jpg 1985w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans get their opera on at a recent SF Opera Lab event in San Francisco. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While less common, men occasionally take on female roles in opera, most notably \u003c/span>\u003cspan style=\"font-weight: 400\">the Gingerbread Witch in 19th century composer Engelbert Humperdinck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hansel and Gretel.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Though the role was originally written for a mezzo-soprano, the witch is also routinely sung by a tenor, as in the Metropolitan Opera’s high-def film production in 2008.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“Queer culture and opera have been inextricably intertwined since the days of Monteverdi,” says Michael Strickland, a gay opera fan and \u003ca href=\"http://sfciviccenter.blogspot.com\" target=\"_blank\" rel=\"noopener\">cultural blogger\u003c/a> who lives in San Francisco. “Why are so many queers into musical theater? I really don’t have a clue, other than they have an inclination towards escape, art, and fabulousness.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Drag Queen of the Opera’ gets underway on Sunday, Oct. 30, at Oasis in San Francisco. Tickets and information \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Curtain Call for Screens: 7 Kid-Friendly Performances",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Need to take away the screens from your children and get them out of the house? We have a few options for you.",
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"title": "Curtain Call for Screens: 7 Kid-Friendly Performances | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What's behind SF Opera's Chinese Opera Kick?",
"headTitle": "What’s behind SF Opera’s Chinese Opera Kick? | KQED",
"content": "\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>San Francisco Opera’s \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">Dream\u003c/a>\u003cem>\u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\"> of the Red Chamber\u003c/a>\u003c/em> plays Saturday, Sep.10 – Thursday, Sep. 29 at the War Memorial Opera House in San Francisco.\u003c/strong>\u003c/p>\n\n",
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"excerpt": "With its latest world premiere 'Dream of the Red Chamber,' SF Opera hopes to build on a growing trend for new, Chinese-themed works.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Opera’s \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">Dream\u003c/a>\u003cem>\u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\"> of the Red Chamber\u003c/a>\u003c/em> plays Saturday, Sep.10 – Thursday, Sep. 29 at the War Memorial Opera House in San Francisco.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Opera Theater Reemerges with Musical if Gimmicky 'Uksus'",
"headTitle": "Oakland Opera Theater Reemerges with Musical if Gimmicky ‘Uksus’ | KQED",
"content": "\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "an-opera-for-the-netflix-generation-filmed-on-alcatraz",
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"content": "\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Inspired by the hit TV show ‘Arrested Development,’ Bay Area-based composer Lisa Bielawa breaks new ground with an opera produced in episodes specially for the small screen. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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