Jeff Kaliss

There seemed something prescient in one of the 17th-century motets presented by Magnificat on Monday night at Yoshi’s Jazz Club in San Francisco.

We’re blessed here in the Bay Area with a bounty of good, small companies that get us up close and personal with opera in good, small venues. How much better the blessing is, then, when the operatic material is as powerfully and finely wrought as Tobias Picker’s Emmeline, now enjoying a three-week West Coast premiere run at Petaluma’s intimate Cinnabar Theater.

It’s a story of unknowing maternal incest in mid-19th-century Maine, but composer Tobias Picker thinks it will be right at home in Petaluma’s Cinnabar Performing Arts Theater, and he’ll be there next week during dress rehearsals to help parent the West Coast premiere of his creation.

Ever-curious and adventurous, violinist Rachel Barton Pine reunites with Michael Morgan, her former mentor, and the Sacramento Philharmonic to showcase a suite by African-American classical composer William Grant Still and a concerto by Sergei Prokofiev.

When considering this well-performed recording, don’t place too much significance in its title. Geographically, historically, and stylistically, the five compositions are stretched so far that they defy any programmatic theme, though the Germans may have bought into the cutesy, New World concept more quickly than those of us who actually live here.

Andrew McKenna Lee has always been drawn to the sort of "rolling polyphony" of the classical guitar. For his Old First Concerts recital here on May 21, Lee will span the guitar repertoire, from Scarlatti to Milhaud, and he’ll showcase his own physically demanding and aurally dynamic Five Refractions of a Prelude by Bach. 

In the late '50s, musician and scholar Gunther Schuller attempted to formally integrate jazz and classical music under a concept he dubbed Third Stream. It was a turbulent but persistent confluence, which will be in evidence in an upcoming San José Chamber Orchestra concert.

Take a closer listen, and you’ll realize that the Crowden School in Berkeley isn’t the limited classical academy that you might imagine it to be.