Reviews

L'elisir d'amore (The elixir of love) is not only one of most melodious and rhythmically exciting works in all opera, it also testifies to its composer's defiant humanity.

One word best sums up Friday's collaborative performance of Chanticleer and the Shanghai Quartet at Berkeley's First Congregational Church: work.

It took a while — until after intermission, in fact — but the San Francisco Lyric Opera's new production of La Bohème, unveiled on Friday night at the Cowell Theater at Fort Mason, finally gelled into a strong performance.

I had to pinch myself. Nearly 200 schoolchildren at a string quartet concert listening to Bartók, and they're quieter than an equal number of old fogies like myself? Am I dreaming? Or did the Cypress String Quartet do mass hypnosis at the 19 schools it visited in the last three weeks before coming here to the Yerba Buena Center for the Arts?

Four composers were seated onstage Thursday at the outset of the Other Minds Festival in Kanbar Hall of the Jewish Community Center of San Francisco. German cellist, composer, and inventor Michael Bach was dressed in simple concert black.

Charles Amirkhanian, artistic director, Other Minds Festival: "How important is it for you to write something that’s never been heard before?" Keeril Makan, assistant professor of music, MIT: "Nothing’s been heard before."

To this reviewer, however, everything at the third and final concert of the 13th Other Minds Festival at the

The primary strength of some string quartets lies in transparency, in making what they play sound as though it could only go this way. Others insist on making you aware that theirs is a point of view, that there is a medium as well as a message.

Two masterpieces graced Thursday's program of the San Francisco Symphony under Michael Tilson Thomas, aided and abetted by violinist Gil Shaham. Only two works were on offer, but that was enough to provoke the audience to standing ovations.

Parler à son plaisir, veiller et dormir, Crouer à plaisir, ou autrement va-t-en mourir.

(Speaking of pleasure, waking and sleeping, Feast on pleasure, or otherwise we shall die.)

These words end Clément Janequin's Song of the Lark, which was performed by the all-male vocal group Clerestory on Sunday.

In his poem "The Soup," U.S. Poet Laureate Charles Simic concocted a mordant, macabre "soup of the world." Cockroaches, dirty feet, Stalin's moustache, Hiroshima, and bloody sausages number among the incendiary images in the poem. Can you even dare imagine musical analogs for them? The Bay Area composer Alden Jenks attempted to do precisely that.