Reviews

In a program note written for San Francisco Opera some years ago and republished in his book The Ultimate Art, David Littlejohn called Don Giovanni "The Impossible Opera." He went into some detail about the reasons the work is so difficult to stage effectively.

Ah, it's that time again. Spring is in the air, school's almost out, and summer music festivals beckon legions of young musicians.

From a listener's perspective, one of the joys of pedagogically oriented programs like the Yehudi Menuhin Chamber Music Seminar and Festival is the opportunity it affords to hear both the faculty and the seminar participants in two roles — the former teaching as well as playing, the latter learning as well as performing.

One of the most individual aspects of music in the Bay Area is the incredible number of choral organizations and the variety of repertoire they offer. As of Saturday evening in San Francisco's Trinity Episcopal Church, that pleasure was increased as Richard Sparks directed the premiere concert of Choralis.

Sometimes it's better not to know too much of what goes on behind the scenes in the making of a performance. History is replete with examples of acrimonious, not to say borderline murderous, artistic partnerships resulting in splendid performances (and, for that matter, of unfailingly genial partnerships that never managed to spark).

You don't have to be a critical genius to figure out that Talise Trevigne, the star of San Francisco Lyric Opera's new production of Lucia di Lammermoor has a major-league voice and star quality to match. She lit a fire under Saturday's satisfying, if basic, performance at the Florence Gould Theater at the Legion of Honor.

Seeing and hearing is believing, though evidence from these senses is sometimes hard to balance against a third kind of sense: the common kind. A pertinent example of this occurred Sunday afternoon in Davies Symphony Hall, when the San Francisco Symphony Youth Orchestra mounted the stage to perform two major repertory pieces, against considerable odds.

The pastiche choral work has a less-than-illustrious history.

Last Friday marked the final concert of Oakland East Bay Symphony’s 2006-2007 season, but it also marked the beginning of its newest initiative, the "American Masterworks Series," which will continue in upcoming seasons.

On Sunday afternoon at Old First Church, composer Elinor Armer faced the risks inherent in any recital dedicated to a single composer's work. She must have come away from it with an enhanced sense of achievement, because the program's seven compositions were well-performed, enthusiastically received, and richly indicative of her talent and accomplishments.