On Sunday afternoon, as part of the Noe Valley Chamber Music series, a small gathering in San Francisco was treated to "Traveling Polyhymnia," a program of chamber music assembled by the Adorno Ensemble.
When the Rachmaninov Third Piano Concerto in D Minor appears on a piano recital, and it is performed by a local 16-year-old high schooler, it is truly a cause of interest and celebration.
Chloe Pang, a supertalented student at the San Francisco Conservatory of Music, ended her Saturday recital at the Conservatory with a powerful performance (with faculty Miles Graber on second piano) of the Rachmaninov, whose technical and dramatic challenges can evoke fear and trepidation even in the most seasoned of pianists.
A wide burst of music from three centuries in Slovenian pianist Dubravka Tomsic’s recital in Herbst Theatre engendered wide bursts of approval from her audience. With one exception, Saturday night’s full program, under the auspices of San Francisco Performances, stood as a model of sincerity and technical proficiency.
It's not every day that you get an Israeli pianist, a Palestinian oud player, and an Egyptian conductor together on the same stage.
But this is exactly what the Sacramento Philharmonic did during its "Songs of Hope" concert at Sacramento's Community Center Theater on Saturday evening.
Peyote rituals, Chinese lullabies, Indian ragas, children’s toys, sacred bonds, and secular madness all dance and swirl in ritualistic fashion in Terry Riley’s extraordinary The Cusp of Magic.
A full and appreciative audience greeted the local farewell program of the Beaux Arts Trio Sunday evening in Herbst Theatre, presented by Chamber Music San Francisco, as the ensemble is about to bring down the curtain on its glory-filled concert career.
To mark the occasion, Mayor Gavin Newsom even issued a keys-to-the-city proclamation that declared April 20 to be "Beaux Arts Trio Day in San Fran
The Crowden Music Center's Sundays@Four concert series is by now a popular feature of the North Berkeley classical music scene, to judge by the eager audiences I see whenever I attend.
“The 51% Majority” was the title of the Empyrean Ensemble’s program of compositions by female composers last Friday at Old First Church in San Francisco. Of the featured music, 52.4 percent (three and two-thirds of the seven pieces) was unexceptional — no surprise considering that contemporary classical music hasn’t been time-filtered enough.
Adam blamed Eve for yielding to temptation, and Elizabethan poets sighed over the inconstancy of women. In Mozart's opera Così fan tutte, men go to extraordinary lengths to test women's constancy.
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