Tag Archive: San Francisco Symphony

Jakub Hrůša and Piotr Anderszewski reach a high level with the San Francisco Symphony

Jakub Hrůša. Photo Andreas Herzau.

2017 certainly seems to be a season for auspicious debuts and returns at the San Francisco Symphony! No sooner do we calm down slightly from Krzysztof Urbański’s Polish Lancer charge upon the Shostakovich Tenth, than it’s gobsmack-time once again from Eastern Europe: Jakub Hrůša’s levitating debut in a mostly Czech program few will forget!

Krzysztof Urbański and Augustin Hadelich impress with the San Francisco Symphony

Krzysztof Urbański. Photo Maria Maślanka.

You never know when San Francisco will prove even weirder than you think, but Fleet Week is surely a good candidate for strangeness at the symphony. The US Navy’s Blue Angels air ballet is a reliable tourist magnet when it comes to town, drawing unaccustomed crowds far and wide, and some visitors, suitably strafed and deafened, wind up at the symphony. This explains Bermuda shorts and flip flops in Saturday’s audience and a tendency to applaud in the wrong places. I’m not sure it explains an ill-tempered dowager who shouted her disapproval of the music and had to be removed. Nor did anyone, official or otherwise, manage to decode bizarre noises repeatedly emanating from, well. somewhere….I get ahead of myself. It was an interesting evening!

Charles Dutoit conducts the San Francisco Symphony with Emanuel Ax, piano, in Sibelius, Mozart, de Falla, and Debussy

Gustave Courbet, The_Wave, oil on canvas, National Gallery of Scotland

If you ever wonder how Sibelius’ music seems to come in two styles, one bardic, noble, warmly patriotic and slightly thumpy; the other austere, cerebral, craggy and interplanetary, think Karelia. This is the eastern portion of Finland near the White Sea, where ancient forms of native song and poetry still obtained at the turn of the last century. As Vaughan Williams scoured England for folksong and Bartók transcribed them in Hungary, a similar romantic enthusiasm for Finnish roots swept young Finns of the day. Karelianism, it was called, and Sibelius’ suite derives from the music he wrote for the Karelia Pageant of 1893, which represented something of a culmination of the movement. The opening “Intermezzo”, otherwise a contradiction in terms, was in fact used to separate two tableaux within the festivities.

Juraj Valčuha conducts the San Francisco Symphony in Prokofiev, Richard Strauss, and Webern

Juraj Valčuha

There are all sorts of motivations for going to a concert. As a former conductors’ agent, I was curious to learn what Juraj Valčuha would be like in person. (I missed his SFS debut here a few seasons ago.) Valčuha is a forty-year-old Slovakian rapidly climbing the guest-conducting and music directorship career ladder. He is currently in charge of the RAI Orchestra in Torino, but has appeared by now with most of the major European and American ensembles. So what would he sound like?

Edwin Outwater Conducts the San Francisco Symphony in Weber, Saint-Saëns, Busoni and Hindemith

Edwin Outwater. Photo © edwinoutwater.com.

Davies Hall, San Francisco January 29, 2016 The San Francisco Symphony Edwin Outwater, Conductor Stephen Hough, Piano Weber — Oberon Overture (1826) Saint-Saëns — Piano Concerto No. 5 in F major, Opus 103, Egyptian, (1896) Busoni — Music from Turandot Suite, Opus 41 (1905)…
Read more

The San Francisco Symphony: Herbert Blomstedt, conductor; Maria João Pires, piano, in Beethoven and Bruckner

Pianist Maria João Pires

It was a surrealistic night. Every so often a trip to the symphony is like that. It had oddities—both nice and annoying.

First-off, I thought, ninety seems to be the new seventy. And seventy surely is the new fifty. As Herbert Blomstedt came onstage, he didn’t look eighty-nine, that’s for certain! Just slightly snowier than last time. Tall, eager, ambassadorial as ever—Blomstedt led the evening without baton and the symphony from memory—an incredible feat with this edition.

Yan Pascal Tortelier leads the San Francisco Symphony in a French Program: Bizet, Ravel, and Saint-Saëns, with Jean-Efflam Bavouzet, piano, and Jonathan Dimmock, organ

Yan Pascal Tortelier

Yan Pascal Tortelier was levitating with exuberance last Friday.

Every good conductor shows passion, of course, even those untempted by choreography. But audiences love the ones who take to the air and defy gravity—most famously Leonard Bernstein, who did so wildly and erotically—but also the occasional anomaly. I once witnessed long-gone Swedish conductor Sixten Ehrling, famously reserved, conduct Respighi’s Roman Festivals in his seventies, leaping about the Carnegie Hall stage like a red devil from Hades. Only the trident was missing.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.