Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera
Lil Buck Brings Memphis Jookin’ From the Street to the Theater
An All-Star Jazz Lineup Explores the Great Migration in Berkeley
esperanza spalding Brings Wayne Shorter’s Opera to Life in Berkeley
Vân-Ánh Võ’s ‘Songs of Strength’ Opens a Multilingual, Multi-Genre Musical Conversation
Jazz and Classical Concerts to See in the Bay Area This Fall
The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation
Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall
Carnegie Hall's Jeremy N. Geffen Named Cal Performances Director
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Harriday, the latest production makes its Bay Area premiere \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">May 5 and 6 at UC Berkeley’s Zellerbach Hall\u003c/a>, presented by Cal Performances.\u003c/p>\n\u003cp>https://youtu.be/Ds1rNB2jJB8\u003c/p>\n\u003cp>Toshi Reagon, a life-long science fiction fan who read \u003cem>Parable\u003c/em> when it was first published, saw Butler’s story as a creative challenge. “I thought \u003cem>Parable\u003c/em> would be innovative for us to witness,” she says, noting that the unspecified apocalypse that sets the scene for the novel seemed a long way off in 1993. “I thought, ‘That’s terrible, but that can’t happen.’”\u003c/p>\n\u003cp>In recent years, however, events have made her feel “a desperation to get it out. I didn’t want to go into 2024 without something in my hand,” she says, particularly as the news increasingly came to echo Butler’s tale. “There is no way we can all be okay with the way governments are leading the planet. Octavia makes the options so clear. You take these steps or you’re on the highway.”\u003c/p>\n\u003cp>Part of what sets \u003cem>Parable\u003c/em> apart from other classic dystopian tales like George Orwell’s \u003cem>1984\u003c/em>, Aldous Huxley’s \u003cem>Brave New World\u003c/em> and Cormac McCarthy’s \u003cem>The Road\u003c/em> is that Butler offers far more than a vision of Hobbesian humanity at its worst. She also details a path forward, via Lauren’s epigraphic philosophy about change as the universe’s governing force. Teased out and applied to envisioning a new society, her creed resonates deeply with African American music’s deepest roots, spirituals and blues, which defined, healed and sustained embattled communities through extreme depredations.\u003c/p>\n\u003cfigure id=\"attachment_13928145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg\" alt=\"Toshi Reagon plays her acoustic guitar on a dimly lit theater stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toshi Reagon in Octavia E. Butler’s ‘Parable of the Sower,’ which premieres in the Bay Area May 5 and 6 at UC Berkeley’s Zellerbach Hall. \u003ccite>(Reed Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s anything Toshi wants people to understand about \u003cem>Parable\u003c/em> it’s that “it really is an opera,” she says. “It is not a musical. No one is going to stop and talk to you. We sing for a few hours, and we definitely follow the arc of the book. The first half of the story is in a community where the trouble is coming. The second half is in the unknown, trying to get somewhere else and survive. There’s a lot of narrative, so even if you didn’t read the books the story is recognizable.”\u003c/p>\n\u003cp>\u003cem>Parable’s\u003c/em> birth was midwifed by Toni Morrison. In the late 1990s, she invited Bernice Johnson Reagon to teach an Atelier course at Princeton University. Given all her responsibilities \u003cspan style=\"font-weight: 400\">— \u003c/span>Sweet Honey in the Rock was touring internationally \u003cspan style=\"font-weight: 400\">— \u003c/span>Toshi took over from her mom to teach half the semester. After noticing Princeton’s numerous student a cappella ensembles, she realized the time was ripe to start writing music for \u003cem>Parable\u003c/em>. [aside postid='arts_13928016']\u003c/p>\n\u003cp>The Reagons ended up composing dozens of songs, though it wasn’t until about five years later that they started to shape the material into a narrative. A workshop in 2008 set it on course for a premiere at the New York City Opera, but the company ended up folding in 2013 (it returned from bankruptcy three years later). The public first got a glimpse at some of the material in 2014 when Toshi Reagon closed her annual birthday concert at Joe’s Pub with a set of \u003cem>Parable\u003c/em> songs.\u003c/p>\n\u003cp>“She presented three acts of music, and one was of this show no one had heard,” says Eric Ting, who recently stepped down after a brilliant seven-year run as artistic director at Cal Shakes. His wife Meiyin Wang was director of New York’s Under the Radar Festival at the time, and quickly booked the Reagons to present a concert version of \u003cem>Parable\u003c/em> at the Public Theatre in 2015.\u003c/p>\n\u003cp>Ting came on as director, “someone who could shepherd a narrative out of this huge collection of songs,” he says. “We started with four hours of content and that was only a fraction of what they’d written! There’s still music that I’ve never heard, and Toshi has brought plenty of new music to the project.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the challenge was threading the needle in adapting beloved literary works with ardent followings while creating an opera accessible to people who’ve never read Butler. During Ting’s tenure at Cal Shakes, he brought Toshi in to do a developmental workshop, but the production she envisioned was too ambitious for the company to tackle.\u003c/p>\n\u003cp>“It’s a big show, 15 performers, a five-piece rock band, and they all travel from out of town, so there are flights and rooms,” Ting says. “That was one of the challenges.”\u003c/p>\n\u003cp>https://youtu.be/Wie63mAbm8s\u003c/p>\n\u003cp>\u003cem>Parable\u003c/em>’s extended development speaks both to Reagon’s dogged commitment and the opera’s organic evolution. In the past few years, Cal Performances has presented several disappointing \u003ca href=\"https://datebook.sfchronicle.com/theater/review-marquee-name-grand-venue-host-amateur-hour-in-angelique-kidjos-yemandja\">high-profile shows\u003c/a> that were rushed into Zellerbach without the necessary time and resources. Reagon formed her own production company and steadily pushed the boulder up the mountain with her team, honing the work year after year. \u003c/p>\n\u003cp>Reagon often creates ancillary programming around the production, community building that she calls \u003ca href=\"https://www.bowdoin.edu/parable-path-maine/\">the Parable Path\u003c/a>. Whenever possible she sets up a residency at a theater, and often holds song sessions, teaching people \u003cem>Parable\u003c/em> pieces so they can join in the production. There wasn’t time to develop many Parable Path activities for the Cal Performances engagement, but she’s got her eye on coming back to the Bay Area. Ultimately, \u003cem>Parable of the Sower\u003c/em> reflects the novels upon which its based, drawing strength from sacred and vernacular Black culture to offer a path away from societal collapse.\u003c/p>\n\u003cp>“I think the innovation in terms of contemporary performance is that we don’t see the work itself as a whole,” Toshi says. “So much is about urging or challenging our communities to confront the fragility of the world we live in. How we survive is so tied up in how we relate to each other.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Parable of the Sower \u003cem>makes its Bay Area debut at Zellerbach Hall at UC Berkeley on May 5 and 6. \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Toshi and Bernice Johnson Reagon's adaptation of the sci-fi classic makes its Bay Area debut May 5-6.","status":"publish","parent":0,"modified":1705005590,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1348},"headData":{"title":"Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera | KQED","description":"Toshi and Bernice Johnson Reagon's adaptation of the sci-fi classic makes its Bay Area debut May 5-6.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera","datePublished":"2023-04-25T16:00:36.000Z","dateModified":"2024-01-11T20:39:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>All that you touch\u003c/em>\u003c/p>\n\u003cp>\u003cem>You Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>All that you Change\u003c/em>\u003c/p>\n\u003cp>\u003cem>Changes you.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The only lasting truth\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>God\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Earthseed: The Books of the Living\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Saturday, July 20, 2024\u003c/em>\u003c/p>\n\u003cp>One thing that’s changed since Octavia E. Butler first published her 1993 dystopian masterpiece \u003cem>Parable of the Sower\u003c/em> is that her prescience has come more clearly and disturbingly into focus. Hailed as a landmark of Afrofuturism, the novel and its sequel, 1998’s \u003cem>Parable of the Talents\u003c/em>, read increasingly like tomorrow’s headlines.\u003c/p>\n\u003cp>Unfolding in the journal of teenaged Lauren Olamina, a character with all the revelatory power of Huck Finn, the Joads and other American castoffs forced to hit the road for survival, \u003cem>Parable of the Sower \u003c/em>describes California as a chaotic landscape where water is privatized and the weather is more unstable and extreme due to global warming.\u003c/p>\n\u003cp>Law and order has broken down as new illegal drugs drive people to commit wanton acts of destruction. Anyone without protections afforded by wealth is subject to looting and violence at the hands of the dispossessed. Did I mention that the novel opens on July 20, 2024?\u003c/p>\n\u003cp>For vocalist, guitarist and composer Toshi Reagon and her legendary mother, civil rights activist, scholar and Sweet Honey in the Rock founder Bernice Johnson Reagon, that impending date served as a beacon. They’ve been developing the music for decades, and ended up bringing \u003cem>Parable of the Sower\u003c/em> to the stage as a “congregational opera.” Co-directed by Eric Ting and Signe V. Harriday, the latest production makes its Bay Area premiere \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">May 5 and 6 at UC Berkeley’s Zellerbach Hall\u003c/a>, presented by Cal Performances.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ds1rNB2jJB8'\n title='//www.youtube.com/embed/Ds1rNB2jJB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Toshi Reagon, a life-long science fiction fan who read \u003cem>Parable\u003c/em> when it was first published, saw Butler’s story as a creative challenge. “I thought \u003cem>Parable\u003c/em> would be innovative for us to witness,” she says, noting that the unspecified apocalypse that sets the scene for the novel seemed a long way off in 1993. “I thought, ‘That’s terrible, but that can’t happen.’”\u003c/p>\n\u003cp>In recent years, however, events have made her feel “a desperation to get it out. I didn’t want to go into 2024 without something in my hand,” she says, particularly as the news increasingly came to echo Butler’s tale. “There is no way we can all be okay with the way governments are leading the planet. Octavia makes the options so clear. You take these steps or you’re on the highway.”\u003c/p>\n\u003cp>Part of what sets \u003cem>Parable\u003c/em> apart from other classic dystopian tales like George Orwell’s \u003cem>1984\u003c/em>, Aldous Huxley’s \u003cem>Brave New World\u003c/em> and Cormac McCarthy’s \u003cem>The Road\u003c/em> is that Butler offers far more than a vision of Hobbesian humanity at its worst. She also details a path forward, via Lauren’s epigraphic philosophy about change as the universe’s governing force. Teased out and applied to envisioning a new society, her creed resonates deeply with African American music’s deepest roots, spirituals and blues, which defined, healed and sustained embattled communities through extreme depredations.\u003c/p>\n\u003cfigure id=\"attachment_13928145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg\" alt=\"Toshi Reagon plays her acoustic guitar on a dimly lit theater stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toshi Reagon in Octavia E. Butler’s ‘Parable of the Sower,’ which premieres in the Bay Area May 5 and 6 at UC Berkeley’s Zellerbach Hall. \u003ccite>(Reed Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s anything Toshi wants people to understand about \u003cem>Parable\u003c/em> it’s that “it really is an opera,” she says. “It is not a musical. No one is going to stop and talk to you. We sing for a few hours, and we definitely follow the arc of the book. The first half of the story is in a community where the trouble is coming. The second half is in the unknown, trying to get somewhere else and survive. There’s a lot of narrative, so even if you didn’t read the books the story is recognizable.”\u003c/p>\n\u003cp>\u003cem>Parable’s\u003c/em> birth was midwifed by Toni Morrison. In the late 1990s, she invited Bernice Johnson Reagon to teach an Atelier course at Princeton University. Given all her responsibilities \u003cspan style=\"font-weight: 400\">— \u003c/span>Sweet Honey in the Rock was touring internationally \u003cspan style=\"font-weight: 400\">— \u003c/span>Toshi took over from her mom to teach half the semester. After noticing Princeton’s numerous student a cappella ensembles, she realized the time was ripe to start writing music for \u003cem>Parable\u003c/em>. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928016","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Reagons ended up composing dozens of songs, though it wasn’t until about five years later that they started to shape the material into a narrative. A workshop in 2008 set it on course for a premiere at the New York City Opera, but the company ended up folding in 2013 (it returned from bankruptcy three years later). The public first got a glimpse at some of the material in 2014 when Toshi Reagon closed her annual birthday concert at Joe’s Pub with a set of \u003cem>Parable\u003c/em> songs.\u003c/p>\n\u003cp>“She presented three acts of music, and one was of this show no one had heard,” says Eric Ting, who recently stepped down after a brilliant seven-year run as artistic director at Cal Shakes. His wife Meiyin Wang was director of New York’s Under the Radar Festival at the time, and quickly booked the Reagons to present a concert version of \u003cem>Parable\u003c/em> at the Public Theatre in 2015.\u003c/p>\n\u003cp>Ting came on as director, “someone who could shepherd a narrative out of this huge collection of songs,” he says. “We started with four hours of content and that was only a fraction of what they’d written! There’s still music that I’ve never heard, and Toshi has brought plenty of new music to the project.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of the challenge was threading the needle in adapting beloved literary works with ardent followings while creating an opera accessible to people who’ve never read Butler. During Ting’s tenure at Cal Shakes, he brought Toshi in to do a developmental workshop, but the production she envisioned was too ambitious for the company to tackle.\u003c/p>\n\u003cp>“It’s a big show, 15 performers, a five-piece rock band, and they all travel from out of town, so there are flights and rooms,” Ting says. “That was one of the challenges.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Wie63mAbm8s'\n title='//www.youtube.com/embed/Wie63mAbm8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Parable\u003c/em>’s extended development speaks both to Reagon’s dogged commitment and the opera’s organic evolution. In the past few years, Cal Performances has presented several disappointing \u003ca href=\"https://datebook.sfchronicle.com/theater/review-marquee-name-grand-venue-host-amateur-hour-in-angelique-kidjos-yemandja\">high-profile shows\u003c/a> that were rushed into Zellerbach without the necessary time and resources. Reagon formed her own production company and steadily pushed the boulder up the mountain with her team, honing the work year after year. \u003c/p>\n\u003cp>Reagon often creates ancillary programming around the production, community building that she calls \u003ca href=\"https://www.bowdoin.edu/parable-path-maine/\">the Parable Path\u003c/a>. Whenever possible she sets up a residency at a theater, and often holds song sessions, teaching people \u003cem>Parable\u003c/em> pieces so they can join in the production. There wasn’t time to develop many Parable Path activities for the Cal Performances engagement, but she’s got her eye on coming back to the Bay Area. Ultimately, \u003cem>Parable of the Sower\u003c/em> reflects the novels upon which its based, drawing strength from sacred and vernacular Black culture to offer a path away from societal collapse.\u003c/p>\n\u003cp>“I think the innovation in terms of contemporary performance is that we don’t see the work itself as a whole,” Toshi says. “So much is about urging or challenging our communities to confront the fragility of the world we live in. How we survive is so tied up in how we relate to each other.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Parable of the Sower \u003cem>makes its Bay Area debut at Zellerbach Hall at UC Berkeley on May 5 and 6. \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_928","arts_2435","arts_10278","arts_1884","arts_585","arts_2880"],"featImg":"arts_13928143","label":"arts_140"},"arts_13909641":{"type":"posts","id":"arts_13909641","meta":{"index":"posts_1591205157","site":"arts","id":"13909641","score":null,"sort":[1645652088000]},"guestAuthors":[],"slug":"lil-buck-brings-memphis-jookin-from-the-street-to-the-theater","title":"Lil Buck Brings Memphis Jookin’ From the Street to the Theater","publishDate":1645652088,"format":"standard","headTitle":"Lil Buck Brings Memphis Jookin’ From the Street to the Theater | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Maybe it’s the sweltering summer heat or the deeply rooted history of the shuffle, the raw, elegant beat that defined Stax Records’ hits. Tennessee’s environment and culture are inextricably intertwined, and Memphis jookin’ seems to emanate from Bluff City’s self-possessed vibe. Rather than focusing on athleticism or vertical leaps, it’s a Black dance form defined by poised slides, expressive glides and an aesthetic of taut restraint.\u003c/p>\n\u003cp>With \u003ca href=\"https://calperformances.org/events/2021-22/dance/lil-buck-2122/\">\u003cem>Memphis Jookin’: The Show\u003c/em> featuring Lil Buck\u003c/a>, Cal Performances and Stanford Live present the West Coast premiere of a new production exploring the origins of the street dance idiom that’s once again projecting Memphis onto the world stage. Running \u003ca href=\"https://calperformances.org/events/2021-22/dance/lil-buck-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Feb. 25-26 at Zellerbach Hall\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/february-2022/memphis-jookin-show-featuring-lil-buck\">Feb. 28 at Bing Concert Hall\u003c/a>, the show brings together some of the style’s leading innovators. [aside postid='arts_13856811']\u003c/p>\n\u003cp>The show’s narrative arc was lifted lightly from recent history, vividly illustrating how Memphis jookin’ emerged out of various moves, practices and neighborhood meetups in one of America’s \u003ca href=\"https://mlk50.com/2021/08/06/do-you-live-in-one-of-memphis-blackest-whitest-or-most-segregated-neighborhoods-read-this-story-to-find-out/\" target=\"_blank\" rel=\"noopener noreferrer\">most segregated cities\u003c/a>. With limited resources and a surfeit of creativity, dancers gathered to share their tightly controlled, expertly calibrated moves “built to be able to express ourselves genuinely,” says Charles “Lil Buck” Riley on a recent video call with \u003cem>Memphis Jookin’ \u003c/em>choreographer Marico “Dr. Rico” Flake and director Amy Campion.\u003c/p>\n\u003cp>Also known as gangsta walking, buckin’ and choppin’, the style took shape in the late 1990s amidst sinewy hip-hop beats by influential underground artists like DJ Spanish Fly, Lil Noid, G-Nerd and G-Style. The impromptu freestyle performances meant “you could be yourself, no matter where you came from,” Lil Buck says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r3dFnLxxIv0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve experienced releasing my trauma through dance with different styles,” he says. “In ballet, when you learn a choreography you’re learning someone else’s movement. There’s a right way and a wrong way. With Memphis jookin’ you have that freedom and can use that as a platform for your trauma or joy, and that’s a very powerful thing.”\u003c/p>\n\u003cp>Lil Buck has covered a lot of ground in his career. He spent two years studying ballet via a scholarship at Memphis’s New Ballet Ensemble, co-choreographed Janelle Monáe’s music video for “\u003ca href=\"https://www.youtube.com/watch?v=pwnefUaKCbc\" target=\"_blank\" rel=\"noopener noreferrer\">Tightrope\u003c/a>,” toured with Madonna and starred in the Cirque du Soleil show \u003cem>Michael Jackson: One\u003c/em>. His breakthrough moment came in 2011 via the ballet connection, when an informal video shot by director Spike Jonze captured cellist Yo-Yo Ma playing Saint-Saëns’s “Le Cygne” as Lil Buck freestyled “The Dying Swan,” a dance inspired by Mikhail Fokin’s solo for legendary Russian ballerina Anna Pavlova.\u003c/p>\n\u003cp>https://youtu.be/yzT_-kkCjOk\u003c/p>\n\u003cp>Posted to YouTube, the video went viral, accruing millions of views, and suddenly Lil Buck and Memphis jookin’ became part of the larger street dance lexicon alongside \u003ca href=\"https://www.kqed.org/arts/13856335/if-cities-could-dance-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s turfing\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13854195/if-cities-could-dance-chicago\" target=\"_blank\" rel=\"noopener noreferrer\">Chicago footwork\u003c/a> and other idioms explored by KQED’s award-winning \u003ca href=\"https://www.kqed.org/if-cities-could-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> video series. Dr. Rico and co-choreographer Terran Noir Gary had been thinking about creating a Memphis jookin’ showcase for years, and when the pieces started falling into place with the Orpheum Theatre Group as co-producers, they didn’t let the pandemic kill their momentum.\u003c/p>\n\u003cp>While it’s a Broadway-style dance show, \u003cem>Memphis Jookin’\u003c/em> came together with far less development time than a Great White Way production. Due to the pandemic, the creative team wasn’t working together in the same space throughout much of the initial planning. For the auditions, they weren’t looking only for spectacular dancers who could execute a time-defying slide.\u003c/p>\n\u003cp>“Not every street dancer can learn and perform dances created by someone else,” Campion says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8eMLV0VNiPU\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Beyond choreographing the show, Dr. Rico has concentrated on melding the dancers into a crew. Given the distilled nature of the style, which strips movement down to an emotional essence, it’s not surprising to find out that he starts every rehearsal with group meditation. He believes that before dancers can communicate effectively with each other (and audiences), they need to connect with themselves.\u003c/p>\n\u003cp>“The idea of meditation was teaching them to be present in the moment,” Dr. Rico says. “None of the moves matter more than the intention, the ‘why?’ As a collective, we figured out a way to balance it all, and not exclude tough moments. Aesthetically, the grooves are really based on musical notes related to music’s time signature and how you feel the staccato or legato motion. The choreography is needed, but to keep innovation you have to tap into right now. When we get there, we know it. Let them ride that! We know when we get in that zone.”\u003c/p>\n\u003cp>Memphis jookin’ is culturally adjacent to a plethora of street dance idioms that have emerged in Black communities across the country. Beyond the deep ties to hip-hop, the styles similarly celebrate freestyle improvisation. The street dance scene seems to thrive on camaraderie. Lil Buck was quick to praise dancers he’s encountered in Oakland over the years. [aside postid='arts_13856335']\u003c/p>\n\u003cp>“We all have appreciation for each other’s style,” he says. “We might have little competition here and there. We all have respect, and we inspire each other. We know how hard it is to get what we hold so dear out to the world. I love seeing the turf dancers get down. Krumping is one of my favorite styles.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, no matter where he goes, Lil Buck is proud to represent his hometown. Part of the genius of Memphis jookin’ is that the name made the claim. Some older dancers still call it gangsta walking, but Dr. Rico notes that several other cities have street dance styles called jookin’, “but I can’t tell you where they started. With us, you know this definitely came from Memphis.”\u003c/p>\n\n","blocks":[],"excerpt":"His touring production tells the story of how the expressive dance emerged from one of America's most segregated cities.","status":"publish","parent":0,"modified":1705007163,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1063},"headData":{"title":"Lil Buck Brings Memphis Jookin’ From the Street to the Theater | KQED","description":"His touring production tells the story of how the expressive dance emerged from one of America's most segregated cities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Lil Buck Brings Memphis Jookin’ From the Street to the Theater","datePublished":"2022-02-23T21:34:48.000Z","dateModified":"2024-01-11T21:06:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909641/lil-buck-brings-memphis-jookin-from-the-street-to-the-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it’s the sweltering summer heat or the deeply rooted history of the shuffle, the raw, elegant beat that defined Stax Records’ hits. Tennessee’s environment and culture are inextricably intertwined, and Memphis jookin’ seems to emanate from Bluff City’s self-possessed vibe. Rather than focusing on athleticism or vertical leaps, it’s a Black dance form defined by poised slides, expressive glides and an aesthetic of taut restraint.\u003c/p>\n\u003cp>With \u003ca href=\"https://calperformances.org/events/2021-22/dance/lil-buck-2122/\">\u003cem>Memphis Jookin’: The Show\u003c/em> featuring Lil Buck\u003c/a>, Cal Performances and Stanford Live present the West Coast premiere of a new production exploring the origins of the street dance idiom that’s once again projecting Memphis onto the world stage. Running \u003ca href=\"https://calperformances.org/events/2021-22/dance/lil-buck-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Feb. 25-26 at Zellerbach Hall\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/february-2022/memphis-jookin-show-featuring-lil-buck\">Feb. 28 at Bing Concert Hall\u003c/a>, the show brings together some of the style’s leading innovators. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13856811","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s narrative arc was lifted lightly from recent history, vividly illustrating how Memphis jookin’ emerged out of various moves, practices and neighborhood meetups in one of America’s \u003ca href=\"https://mlk50.com/2021/08/06/do-you-live-in-one-of-memphis-blackest-whitest-or-most-segregated-neighborhoods-read-this-story-to-find-out/\" target=\"_blank\" rel=\"noopener noreferrer\">most segregated cities\u003c/a>. With limited resources and a surfeit of creativity, dancers gathered to share their tightly controlled, expertly calibrated moves “built to be able to express ourselves genuinely,” says Charles “Lil Buck” Riley on a recent video call with \u003cem>Memphis Jookin’ \u003c/em>choreographer Marico “Dr. Rico” Flake and director Amy Campion.\u003c/p>\n\u003cp>Also known as gangsta walking, buckin’ and choppin’, the style took shape in the late 1990s amidst sinewy hip-hop beats by influential underground artists like DJ Spanish Fly, Lil Noid, G-Nerd and G-Style. The impromptu freestyle performances meant “you could be yourself, no matter where you came from,” Lil Buck says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r3dFnLxxIv0'\n title='//www.youtube.com/embed/r3dFnLxxIv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve experienced releasing my trauma through dance with different styles,” he says. “In ballet, when you learn a choreography you’re learning someone else’s movement. There’s a right way and a wrong way. With Memphis jookin’ you have that freedom and can use that as a platform for your trauma or joy, and that’s a very powerful thing.”\u003c/p>\n\u003cp>Lil Buck has covered a lot of ground in his career. He spent two years studying ballet via a scholarship at Memphis’s New Ballet Ensemble, co-choreographed Janelle Monáe’s music video for “\u003ca href=\"https://www.youtube.com/watch?v=pwnefUaKCbc\" target=\"_blank\" rel=\"noopener noreferrer\">Tightrope\u003c/a>,” toured with Madonna and starred in the Cirque du Soleil show \u003cem>Michael Jackson: One\u003c/em>. His breakthrough moment came in 2011 via the ballet connection, when an informal video shot by director Spike Jonze captured cellist Yo-Yo Ma playing Saint-Saëns’s “Le Cygne” as Lil Buck freestyled “The Dying Swan,” a dance inspired by Mikhail Fokin’s solo for legendary Russian ballerina Anna Pavlova.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yzT_-kkCjOk'\n title='//www.youtube.com/embed/yzT_-kkCjOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Posted to YouTube, the video went viral, accruing millions of views, and suddenly Lil Buck and Memphis jookin’ became part of the larger street dance lexicon alongside \u003ca href=\"https://www.kqed.org/arts/13856335/if-cities-could-dance-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s turfing\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13854195/if-cities-could-dance-chicago\" target=\"_blank\" rel=\"noopener noreferrer\">Chicago footwork\u003c/a> and other idioms explored by KQED’s award-winning \u003ca href=\"https://www.kqed.org/if-cities-could-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> video series. Dr. Rico and co-choreographer Terran Noir Gary had been thinking about creating a Memphis jookin’ showcase for years, and when the pieces started falling into place with the Orpheum Theatre Group as co-producers, they didn’t let the pandemic kill their momentum.\u003c/p>\n\u003cp>While it’s a Broadway-style dance show, \u003cem>Memphis Jookin’\u003c/em> came together with far less development time than a Great White Way production. Due to the pandemic, the creative team wasn’t working together in the same space throughout much of the initial planning. For the auditions, they weren’t looking only for spectacular dancers who could execute a time-defying slide.\u003c/p>\n\u003cp>“Not every street dancer can learn and perform dances created by someone else,” Campion says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8eMLV0VNiPU'\n title='//www.youtube.com/embed/8eMLV0VNiPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Beyond choreographing the show, Dr. Rico has concentrated on melding the dancers into a crew. Given the distilled nature of the style, which strips movement down to an emotional essence, it’s not surprising to find out that he starts every rehearsal with group meditation. He believes that before dancers can communicate effectively with each other (and audiences), they need to connect with themselves.\u003c/p>\n\u003cp>“The idea of meditation was teaching them to be present in the moment,” Dr. Rico says. “None of the moves matter more than the intention, the ‘why?’ As a collective, we figured out a way to balance it all, and not exclude tough moments. Aesthetically, the grooves are really based on musical notes related to music’s time signature and how you feel the staccato or legato motion. The choreography is needed, but to keep innovation you have to tap into right now. When we get there, we know it. Let them ride that! We know when we get in that zone.”\u003c/p>\n\u003cp>Memphis jookin’ is culturally adjacent to a plethora of street dance idioms that have emerged in Black communities across the country. Beyond the deep ties to hip-hop, the styles similarly celebrate freestyle improvisation. The street dance scene seems to thrive on camaraderie. Lil Buck was quick to praise dancers he’s encountered in Oakland over the years. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13856335","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We all have appreciation for each other’s style,” he says. “We might have little competition here and there. We all have respect, and we inspire each other. We know how hard it is to get what we hold so dear out to the world. I love seeing the turf dancers get down. Krumping is one of my favorite styles.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, no matter where he goes, Lil Buck is proud to represent his hometown. Part of the genius of Memphis jookin’ is that the name made the claim. Some older dancers still call it gangsta walking, but Dr. Rico notes that several other cities have street dance styles called jookin’, “but I can’t tell you where they started. With us, you know this definitely came from Memphis.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909641/lil-buck-brings-memphis-jookin-from-the-street-to-the-theater","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_966"],"tags":["arts_2435","arts_879","arts_10278","arts_585"],"featImg":"arts_13909698","label":"arts_140"},"arts_13909444":{"type":"posts","id":"arts_13909444","meta":{"index":"posts_1591205157","site":"arts","id":"13909444","score":null,"sort":[1645042822000]},"guestAuthors":[],"slug":"jason-moran-two-wings-jazz-great-migration","title":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley","publishDate":1645042822,"format":"standard","headTitle":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Pq_u3F7xdo\u003c/p>\n\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jason and Alicia Hall Moran discuss the upcoming concert with Ambrose Akinsmure, Howard Wiley, the Church of John Coltrane and more. ","status":"publish","parent":0,"modified":1705007184,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":816},"headData":{"title":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley | KQED","description":"Jason and Alicia Hall Moran discuss the upcoming concert with Ambrose Akinsmure, Howard Wiley, the Church of John Coltrane and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley","datePublished":"2022-02-16T20:20:22.000Z","dateModified":"2024-01-11T21:06:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909444/jason-moran-two-wings-jazz-great-migration","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3Pq_u3F7xdo'\n title='//www.youtube.com/embed/3Pq_u3F7xdo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909444/jason-moran-two-wings-jazz-great-migration","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_2435","arts_15393","arts_13952","arts_2683","arts_1420","arts_585","arts_2880"],"featImg":"arts_13909508","label":"arts_140"},"arts_13909186":{"type":"posts","id":"arts_13909186","meta":{"index":"posts_1591205157","site":"arts","id":"13909186","score":null,"sort":[1644508828000]},"guestAuthors":[],"slug":"esperanza-spalding-brings-wayne-shorters-opera-to-life-in-berkeley","title":"esperanza spalding Brings Wayne Shorter’s Opera to Life in Berkeley","publishDate":1644508828,"format":"standard","headTitle":"esperanza spalding Brings Wayne Shorter’s Opera to Life in Berkeley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At the San Francisco Symphony’s season opener last fall, esperanza spalding mesmerized the audience with \u003ca href=\"https://www.kqed.org/arts/13904122/the-san-francisco-symphony-returns-in-grand-adventurous-style\" target=\"_blank\" rel=\"noopener noreferrer\">her performance of \u003cem>Gaia\u003c/em>\u003c/a>, her collaboration with Wayne Shorter. The 88-year-old saxophonist and jazz luminary composed a cinematic piece that spoke to humanity’s connection to the earth. And spalding, 37 years old and a musical force in her own right, sang her original lyrics with a captivating intensity and improbable range. She was on double duty, playing bass backed by the orchestra, saxophonist Ravi Coltrane, NEA Jazz Master and drummer Terri Lynne Carrington and pianist Leo Genovese. The synergy of musical greatness on stage was nothing short of magic.\u003c/p>\n\u003cp>The San Francisco Symphony performance showcased the fascinating, \u003ca href=\"https://datebook.sfchronicle.com/music/esperanza-spalding-helps-jazz-legend-wayne-shorter-fulfill-his-operatic-dream-with-iphigenia\" target=\"_blank\" rel=\"noopener noreferrer\">intergenerational musical conversations\u003c/a> Shorter and spalding have been having since they wrote \u003cem>Gaia \u003c/em>in 2013. And now, their collaboration has culminated in Shorter’s first opera \u003cem>…(Iphigenia)\u003c/em>, which gets its West Coast premiere at Cal Performances at UC Berkeley’s Zellerbach Hall this Saturday, Feb. 12.\u003c/p>\n\u003cfigure id=\"attachment_13909194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1020x596.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-768x449.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1536x897.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic.png 1897w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">esperanza spalding and Wayne Shorter in rehearsal. \u003ccite>(Real Magic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story reimagines an Ancient Greek play, Euripides’ \u003cem>Iphigenia in Aulis\u003c/em>. In the original story, King Agamemnon offers his daughter, Iphigenia, as a sacrifice to the goddess Artemis on the eve of battle. But in Shorter and spalding’s take, Iphigenia gets to tell the story and question its misogynistic and militaristic impulses. spalding wrote the libretto and plays the title character, who is fractured into six personas.\u003c/p>\n\u003cp>A host of stellar collaborators worked on \u003cem>…(Iphigenia)\u003c/em>, including a 28-piece chamber ensemble, the rhythm section of Shorter’s quartet, nine vocalists, a chorus of 10 singers, set designer Frank Gehry (yes, the \u003ca href=\"https://www.architecturaldigest.com/gallery/best-of-frank-gehry-slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">world-renowned architect\u003c/a>) and Obie-winning director Lileana Blain-Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/iphigenia-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details for \u003cem>…(Iphigenia)\u003c/em> can be found here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'...(Iphigenia),' the jazz luminary's first opera, gets its West Coast premiere on Feb. 12 at Cal Performances.","status":"publish","parent":0,"modified":1705007213,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":305},"headData":{"title":"esperanza spalding Brings Wayne Shorter’s Opera to Life in Berkeley | KQED","description":"'...(Iphigenia),' the jazz luminary's first opera, gets its West Coast premiere on Feb. 12 at Cal Performances.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"esperanza spalding Brings Wayne Shorter’s Opera to Life in Berkeley","datePublished":"2022-02-10T16:00:28.000Z","dateModified":"2024-01-11T21:06:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909186/esperanza-spalding-brings-wayne-shorters-opera-to-life-in-berkeley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the San Francisco Symphony’s season opener last fall, esperanza spalding mesmerized the audience with \u003ca href=\"https://www.kqed.org/arts/13904122/the-san-francisco-symphony-returns-in-grand-adventurous-style\" target=\"_blank\" rel=\"noopener noreferrer\">her performance of \u003cem>Gaia\u003c/em>\u003c/a>, her collaboration with Wayne Shorter. The 88-year-old saxophonist and jazz luminary composed a cinematic piece that spoke to humanity’s connection to the earth. And spalding, 37 years old and a musical force in her own right, sang her original lyrics with a captivating intensity and improbable range. She was on double duty, playing bass backed by the orchestra, saxophonist Ravi Coltrane, NEA Jazz Master and drummer Terri Lynne Carrington and pianist Leo Genovese. The synergy of musical greatness on stage was nothing short of magic.\u003c/p>\n\u003cp>The San Francisco Symphony performance showcased the fascinating, \u003ca href=\"https://datebook.sfchronicle.com/music/esperanza-spalding-helps-jazz-legend-wayne-shorter-fulfill-his-operatic-dream-with-iphigenia\" target=\"_blank\" rel=\"noopener noreferrer\">intergenerational musical conversations\u003c/a> Shorter and spalding have been having since they wrote \u003cem>Gaia \u003c/em>in 2013. And now, their collaboration has culminated in Shorter’s first opera \u003cem>…(Iphigenia)\u003c/em>, which gets its West Coast premiere at Cal Performances at UC Berkeley’s Zellerbach Hall this Saturday, Feb. 12.\u003c/p>\n\u003cfigure id=\"attachment_13909194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1020x596.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-768x449.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1536x897.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic.png 1897w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">esperanza spalding and Wayne Shorter in rehearsal. \u003ccite>(Real Magic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story reimagines an Ancient Greek play, Euripides’ \u003cem>Iphigenia in Aulis\u003c/em>. In the original story, King Agamemnon offers his daughter, Iphigenia, as a sacrifice to the goddess Artemis on the eve of battle. But in Shorter and spalding’s take, Iphigenia gets to tell the story and question its misogynistic and militaristic impulses. spalding wrote the libretto and plays the title character, who is fractured into six personas.\u003c/p>\n\u003cp>A host of stellar collaborators worked on \u003cem>…(Iphigenia)\u003c/em>, including a 28-piece chamber ensemble, the rhythm section of Shorter’s quartet, nine vocalists, a chorus of 10 singers, set designer Frank Gehry (yes, the \u003ca href=\"https://www.architecturaldigest.com/gallery/best-of-frank-gehry-slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">world-renowned architect\u003c/a>) and Obie-winning director Lileana Blain-Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/iphigenia-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details for \u003cem>…(Iphigenia)\u003c/em> can be found here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909186/esperanza-spalding-brings-wayne-shorters-opera-to-life-in-berkeley","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_2435","arts_10278","arts_1420","arts_585","arts_5096"],"featImg":"arts_13909193","label":"arts_140"},"arts_13906618":{"type":"posts","id":"arts_13906618","meta":{"index":"posts_1591205157","site":"arts","id":"13906618","score":null,"sort":[1638399641000]},"guestAuthors":[],"slug":"van-anh-vos-songs-of-strength-opens-a-multilingual-multi-genre-musical-conversation","title":"Vân-Ánh Võ’s ‘Songs of Strength’ Opens a Multilingual, Multi-Genre Musical Conversation","publishDate":1638399641,"format":"standard","headTitle":"Vân-Ánh Võ’s ‘Songs of Strength’ Opens a Multilingual, Multi-Genre Musical Conversation | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>As one of the nation’s leading university-based arts presenters, Cal Performances boasts a century-long track record of bringing the world’s greatest performers to UC Berkeley. Perusing a Cal Perfs catalog can feel like planning a journey to Oz, with its tantalizing succession of shows that parachute audiences into scenes teeming with Technicolor creativity.\u003c/p>\n\u003cp>But after covering Cal Performances for a quarter century, it’s still hard to account for its lack of initiative when it comes to programming local artists. With apologies to the Sunflower State, the Bay Area ain’t Kansas. The international array of world-class choreographers, musicians, composers and multi-disciplinary performers residing here tends to fly under the organization’s radar, which is why Saturday’s world premiere \u003ca href=\"https://calperformances.org/events/2021-22/new-music/van-anh-vo-blood-moon-orchestra-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Songs of Strength\u003c/em>\u003c/a> at Zellerbach Hall feels like Cal Perfs suddenly woke from a fever dream eyes wide with wonder to declare earnestly, “There’s no place like home!”\u003c/p>\n\u003cp>Created by Hanoi-born composer and \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese traditional music master Vân-Ánh Võ\u003c/a>, \u003cem>Songs of Strength\u003c/em> is a three-part suite championing women’s resilience and independence with texts in English, Farsi and Vietnamese. More than polyglot, the production is kaleidoscopic, seeking to elucidate universal themes about the struggle for liberation by spinning the artists into unfamiliar terrain. Võ is the overarching conceptualist, but she’s spotlighting several leading Bay Area musicians, including Iranian singer/songwriter Mahsa Vahdat, breakdancer Babatunji “Tunjie” Johnson (who’s also a member of Alonzo King LINES Ballet) and \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a>, a rapper and jazz-steeped pianist with a long track record as a creative catalyst.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=8y02Rv8sQzw&feature=emb_logo\u003c/p>\n\u003cp>“Musically, it’s definitely outside the normal scope of what I’d rap over as a hip-hop artist,” says Choice, who contributes to four pieces throughout \u003cem>Songs of Strength\u003c/em>. “I wanted to contribute as a lyricist, but not force hip-hop into it. The topics are very socially conscious, focusing on liberation and freedom. One piece is inspired by a Maya Angelou poem, where Vân is singing in Vietnamese and I’m rapping in English. And as an MC there’s some space for me to improvise, using freestyle technique.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Võ often performs for Vietnamese communities around California, but she’s also eagerly sought out collaborators who know little of her homeland. Her commitment to incorporating other traditions, languages and musical practices into her music flows from her sense of herself as a work in progress, “a traditional artist still taking classes with my masters,” Võ says during a video call from her home in the El Cerrito hills.\u003c/p>\n\u003cp>“I never think I can finish learning,” she says. “They provide a time machine to go back to the past, and I have to create music that reflects my thinking and future generations.”\u003c/p>\n\u003cp>At their best, the encounters are win-win, an exchange that breaks down barriers between people and deepens one’s art. “I can get influences and give influences, which can help us get closer,” she says. “A lot of people are afraid of sharing. They think whatever they have will be stolen away. I’m not afraid of that. I never use any technique or school of thought to replace what I am, only to make my technique and instrument better.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5cZgkQsfqhE\u003c/p>\n\u003cp>Saturday’s concert is part of Cal Performances’ \u003cem>Illuminations:\u003c/em> “Place and Displacement” series, which features performances, public programs and academic events designed to investigate the ripples of migration and demographic change. No stranger to Cal Performances audiences, Võ has performed at Zellerbach Hall several times in collaboration with Kronos Quartet, most recently in 2018 in the fully staged opera \u003cem>My Lai\u003c/em> by composer Jonathan Berger and librettist Harriet Scott Chessman.\u003c/p>\n\u003cp>A rare exception to Cal Performances’ inattention to Bay Area-based artists, Kronos has been a primary conduit bringing local luminaries into the organization’s orbit (including Mahsa Vahdat, who also performs with the illustrious new music ensemble \u003ca href=\"https://calperformances.org/events/2021-22/new-music/kronos-quartet-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Thursday at Zellerbach\u003c/a>). With \u003cem>Songs of Strength\u003c/em>, Võ is holding the door opened by Kronos and ushering in a bevy of artists who’ve never played a Cal Performances engagement.\u003c/p>\n\u003cp>\u003cem>Songs of Strength\u003c/em> features Võ’s Blood Moon Orchestra, which may sound like a grand designation for a quartet. But her wildly disparate cast of East Bay artists can create sumptuously dynamic musical settings, building on the singular rhythm section tandem of Oakland taiko drummer Jimi Nakagawa and Berkeley electric bassist Kai Eckhardt. Eckhardt is a co-founder of the jam band Garaj Mahal, and has toured and recorded with heavyweights like guitarist John McLaughlin, tabla maestro Zakir Hussain and drummer Billy Cobham.\u003c/p>\n\u003cp>Blood Moon’s Joel Davel pivots between the rhythm section and melodic lead, providing orchestral accompaniment on marimba lumina, an electronic instrument with a limitless range of sonic possibilities. Võ spent several years scouting for the right percussionist or marimba player before she caught Davel performing with guitarist and composer Paul Dresher.\u003c/p>\n\u003cp>“I loved what he did,” she recalls. “He’s another person who wants to make his own instrument new, just like me. We find a lot in common. Let’s work together to create even more new sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She plays a number of traditional instruments but her primary musical vehicle, besides her voice, is a custom-designed, zither-like dan tranh with four additional strings (for a total of 20). Võ has honed extensive techniques: she uses a violin bow, a guitar effects box and various implements to strike the strings. Since many of the songs are in different keys, she brings several instruments on stage “so I do not have to torture the audience with retuning,” she says. The different instruments also allow her to assume various roles “to tell different stories and use different voices,” she says.\u003c/p>\n\u003cp>In many cases Võ collected her castmates along her wending trail of collaborations. She connected with Vahdat via Kronos Quartet and with Tunjie when LINES commissioned her to compose the score for the 2019 spring season. She quickly recognized that he possessed moves that didn’t hail from contemporary ballet. But even with King’s long history of setting dance to music from around the world, Tunjie had to dig deeply to embody the narratives sung in Vietnamese and Farsi.\u003c/p>\n\u003cp>“At first I was well out of my comfort zone,” Tunjie says. “Vân was asking that I approach it with some contemporary ballet, but more from a breakdancer or a popper’s viewpoint, challenging me to find out how I can express myself and the ideas in a different way. I so think I’m in a better position because of all the different music I’ve danced with LINES.” [aside postid='arts_13906176']\u003c/p>\n\u003cp>A few weeks before showtime, Võ sounded both anxious and elated about the impending performance, which is now sold out. Regularly meeting to rehearse, the artists were still nailing down details and honing the production. She’s hoping that \u003cem>Songs of Strength\u003c/em> takes on a life of its own beyond Saturday’s show, and that some of her collaborators get the chance to bring their own projects to Zellerbach.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have such incredible artists here,” Võ says. “Sometimes what we do can easily be overlooked. You think of hip-hop and East Oakland, it’s almost like in a different world. Taiko is so powerful compared to my delicate instrument. I’m proud to have them all on the same stage.”\u003c/p>\n\n","blocks":[],"excerpt":"The Vietnamese music master collaborated with rapper Kev Choice, Persian singer Mahsa Vahdat and dancer Tunjie on a kaleidoscopic performance at Zellerbach Hall. ","status":"publish","parent":0,"modified":1705007434,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1351},"headData":{"title":"Vân-Ánh Võ’s ‘Songs of Strength’ Opens a Multilingual, Multi-Genre Musical Conversation | KQED","description":"The Vietnamese music master collaborated with rapper Kev Choice, Persian singer Mahsa Vahdat and dancer Tunjie on a kaleidoscopic performance at Zellerbach Hall. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Vân-Ánh Võ’s ‘Songs of Strength’ Opens a Multilingual, Multi-Genre Musical Conversation","datePublished":"2021-12-01T23:00:41.000Z","dateModified":"2024-01-11T21:10:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13906618/van-anh-vos-songs-of-strength-opens-a-multilingual-multi-genre-musical-conversation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As one of the nation’s leading university-based arts presenters, Cal Performances boasts a century-long track record of bringing the world’s greatest performers to UC Berkeley. Perusing a Cal Perfs catalog can feel like planning a journey to Oz, with its tantalizing succession of shows that parachute audiences into scenes teeming with Technicolor creativity.\u003c/p>\n\u003cp>But after covering Cal Performances for a quarter century, it’s still hard to account for its lack of initiative when it comes to programming local artists. With apologies to the Sunflower State, the Bay Area ain’t Kansas. The international array of world-class choreographers, musicians, composers and multi-disciplinary performers residing here tends to fly under the organization’s radar, which is why Saturday’s world premiere \u003ca href=\"https://calperformances.org/events/2021-22/new-music/van-anh-vo-blood-moon-orchestra-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Songs of Strength\u003c/em>\u003c/a> at Zellerbach Hall feels like Cal Perfs suddenly woke from a fever dream eyes wide with wonder to declare earnestly, “There’s no place like home!”\u003c/p>\n\u003cp>Created by Hanoi-born composer and \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese traditional music master Vân-Ánh Võ\u003c/a>, \u003cem>Songs of Strength\u003c/em> is a three-part suite championing women’s resilience and independence with texts in English, Farsi and Vietnamese. More than polyglot, the production is kaleidoscopic, seeking to elucidate universal themes about the struggle for liberation by spinning the artists into unfamiliar terrain. Võ is the overarching conceptualist, but she’s spotlighting several leading Bay Area musicians, including Iranian singer/songwriter Mahsa Vahdat, breakdancer Babatunji “Tunjie” Johnson (who’s also a member of Alonzo King LINES Ballet) and \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a>, a rapper and jazz-steeped pianist with a long track record as a creative catalyst.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8y02Rv8sQzw'\n title='//www.youtube.com/embed/8y02Rv8sQzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Musically, it’s definitely outside the normal scope of what I’d rap over as a hip-hop artist,” says Choice, who contributes to four pieces throughout \u003cem>Songs of Strength\u003c/em>. “I wanted to contribute as a lyricist, but not force hip-hop into it. The topics are very socially conscious, focusing on liberation and freedom. One piece is inspired by a Maya Angelou poem, where Vân is singing in Vietnamese and I’m rapping in English. And as an MC there’s some space for me to improvise, using freestyle technique.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Võ often performs for Vietnamese communities around California, but she’s also eagerly sought out collaborators who know little of her homeland. Her commitment to incorporating other traditions, languages and musical practices into her music flows from her sense of herself as a work in progress, “a traditional artist still taking classes with my masters,” Võ says during a video call from her home in the El Cerrito hills.\u003c/p>\n\u003cp>“I never think I can finish learning,” she says. “They provide a time machine to go back to the past, and I have to create music that reflects my thinking and future generations.”\u003c/p>\n\u003cp>At their best, the encounters are win-win, an exchange that breaks down barriers between people and deepens one’s art. “I can get influences and give influences, which can help us get closer,” she says. “A lot of people are afraid of sharing. They think whatever they have will be stolen away. I’m not afraid of that. I never use any technique or school of thought to replace what I am, only to make my technique and instrument better.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5cZgkQsfqhE'\n title='//www.youtube.com/embed/5cZgkQsfqhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Saturday’s concert is part of Cal Performances’ \u003cem>Illuminations:\u003c/em> “Place and Displacement” series, which features performances, public programs and academic events designed to investigate the ripples of migration and demographic change. No stranger to Cal Performances audiences, Võ has performed at Zellerbach Hall several times in collaboration with Kronos Quartet, most recently in 2018 in the fully staged opera \u003cem>My Lai\u003c/em> by composer Jonathan Berger and librettist Harriet Scott Chessman.\u003c/p>\n\u003cp>A rare exception to Cal Performances’ inattention to Bay Area-based artists, Kronos has been a primary conduit bringing local luminaries into the organization’s orbit (including Mahsa Vahdat, who also performs with the illustrious new music ensemble \u003ca href=\"https://calperformances.org/events/2021-22/new-music/kronos-quartet-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Thursday at Zellerbach\u003c/a>). With \u003cem>Songs of Strength\u003c/em>, Võ is holding the door opened by Kronos and ushering in a bevy of artists who’ve never played a Cal Performances engagement.\u003c/p>\n\u003cp>\u003cem>Songs of Strength\u003c/em> features Võ’s Blood Moon Orchestra, which may sound like a grand designation for a quartet. But her wildly disparate cast of East Bay artists can create sumptuously dynamic musical settings, building on the singular rhythm section tandem of Oakland taiko drummer Jimi Nakagawa and Berkeley electric bassist Kai Eckhardt. Eckhardt is a co-founder of the jam band Garaj Mahal, and has toured and recorded with heavyweights like guitarist John McLaughlin, tabla maestro Zakir Hussain and drummer Billy Cobham.\u003c/p>\n\u003cp>Blood Moon’s Joel Davel pivots between the rhythm section and melodic lead, providing orchestral accompaniment on marimba lumina, an electronic instrument with a limitless range of sonic possibilities. Võ spent several years scouting for the right percussionist or marimba player before she caught Davel performing with guitarist and composer Paul Dresher.\u003c/p>\n\u003cp>“I loved what he did,” she recalls. “He’s another person who wants to make his own instrument new, just like me. We find a lot in common. Let’s work together to create even more new sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She plays a number of traditional instruments but her primary musical vehicle, besides her voice, is a custom-designed, zither-like dan tranh with four additional strings (for a total of 20). Võ has honed extensive techniques: she uses a violin bow, a guitar effects box and various implements to strike the strings. Since many of the songs are in different keys, she brings several instruments on stage “so I do not have to torture the audience with retuning,” she says. The different instruments also allow her to assume various roles “to tell different stories and use different voices,” she says.\u003c/p>\n\u003cp>In many cases Võ collected her castmates along her wending trail of collaborations. She connected with Vahdat via Kronos Quartet and with Tunjie when LINES commissioned her to compose the score for the 2019 spring season. She quickly recognized that he possessed moves that didn’t hail from contemporary ballet. But even with King’s long history of setting dance to music from around the world, Tunjie had to dig deeply to embody the narratives sung in Vietnamese and Farsi.\u003c/p>\n\u003cp>“At first I was well out of my comfort zone,” Tunjie says. “Vân was asking that I approach it with some contemporary ballet, but more from a breakdancer or a popper’s viewpoint, challenging me to find out how I can express myself and the ideas in a different way. I so think I’m in a better position because of all the different music I’ve danced with LINES.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906176","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few weeks before showtime, Võ sounded both anxious and elated about the impending performance, which is now sold out. Regularly meeting to rehearse, the artists were still nailing down details and honing the production. She’s hoping that \u003cem>Songs of Strength\u003c/em> takes on a life of its own beyond Saturday’s show, and that some of her collaborators get the chance to bring their own projects to Zellerbach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have such incredible artists here,” Võ says. “Sometimes what we do can easily be overlooked. You think of hip-hop and East Oakland, it’s almost like in a different world. Taiko is so powerful compared to my delicate instrument. I’m proud to have them all on the same stage.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906618/van-anh-vos-songs-of-strength-opens-a-multilingual-multi-genre-musical-conversation","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_2435","arts_10278","arts_5371","arts_585","arts_7695"],"featImg":"arts_11260225","label":"arts_140"},"arts_13902315":{"type":"posts","id":"arts_13902315","meta":{"index":"posts_1591205157","site":"arts","id":"13902315","score":null,"sort":[1630618940000]},"guestAuthors":[],"slug":"jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","title":"Jazz and Classical Concerts to See in the Bay Area This Fall","publishDate":1630618940,"format":"aside","headTitle":"Jazz and Classical Concerts to See in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n","blocks":[],"excerpt":"Innovation and diversity are the drivers of this season's jazz and classical performances.","status":"publish","parent":0,"modified":1705007800,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1350},"headData":{"title":"Jazz and Classical Concerts to See in the Bay Area This Fall | KQED","description":"Innovation and diversity are the drivers of this season's jazz and classical performances.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jazz and Classical Concerts to See in the Bay Area This Fall","datePublished":"2021-09-02T21:42:20.000Z","dateModified":"2024-01-11T21:16:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Preview 2021","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13902315/jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902315/jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_2435","arts_15393","arts_15307","arts_10278","arts_1420","arts_1275","arts_1367","arts_2960","arts_3316","arts_2048","arts_585","arts_4107"],"featImg":"arts_13902406","label":"source_arts_13902315"},"arts_13889729":{"type":"posts","id":"arts_13889729","meta":{"index":"posts_1591205157","site":"arts","id":"13889729","score":null,"sort":[1606943462000]},"guestAuthors":[],"slug":"the-12-plays-of-christmas-or-how-to-spend-your-winter-vacation","title":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation","publishDate":1606943462,"format":"standard","headTitle":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Holiday traditions like 'Nutcracker' and 'A Christmas Carol' meet new, dynamic productions in our livestreamed theater roundup. ","status":"publish","parent":0,"modified":1705019786,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":1204},"headData":{"title":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation | KQED","description":"Holiday traditions like 'Nutcracker' and 'A Christmas Carol' meet new, dynamic productions in our livestreamed theater roundup. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation","datePublished":"2020-12-02T21:11:02.000Z","dateModified":"2024-01-12T00:36:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13889729/the-12-plays-of-christmas-or-how-to-spend-your-winter-vacation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889729/the-12-plays-of-christmas-or-how-to-spend-your-winter-vacation","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_967"],"tags":["arts_1175","arts_4925","arts_2435","arts_3388","arts_879","arts_10278","arts_3247","arts_1815","arts_585"],"featImg":"arts_13889790","label":"arts_140"},"arts_13848850":{"type":"posts","id":"arts_13848850","meta":{"index":"posts_1591205157","site":"arts","id":"13848850","score":null,"sort":[1547668992000]},"guestAuthors":[],"slug":"kronos-quartet-performs-new-fifty-for-the-future-works-at-zellerbach-hall","title":"Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall","publishDate":1547668992,"format":"standard","headTitle":"Kronos Quartet Performs New ‘Fifty for the Future’ Works at Zellerbach Hall | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Jan. 25 is the world premiere of new pieces by Misato Mochizuki and Mario Galeano Toro. ","status":"publish","parent":0,"modified":1705026744,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":221},"headData":{"title":"Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall | KQED","description":"Jan. 25 is the world premiere of new pieces by Misato Mochizuki and Mario Galeano Toro. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall","datePublished":"2019-01-16T20:03:12.000Z","dateModified":"2024-01-12T02:32:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13848850/kronos-quartet-performs-new-fifty-for-the-future-works-at-zellerbach-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848850/kronos-quartet-performs-new-fifty-for-the-future-works-at-zellerbach-hall","authors":["11387"],"categories":["arts_69"],"tags":["arts_2435","arts_1312","arts_2244","arts_2880"],"featImg":"arts_13848854","label":"arts"},"arts_13848822":{"type":"posts","id":"arts_13848822","meta":{"index":"posts_1591205157","site":"arts","id":"13848822","score":null,"sort":[1547595190000]},"guestAuthors":[],"slug":"cargenie-halls-jeremy-n-geffen-named-cal-performances-director","title":"Carnegie Hall's Jeremy N. Geffen Named Cal Performances Director","publishDate":1547595190,"format":"standard","headTitle":"Carnegie Hall’s Jeremy N. Geffen Named Cal Performances Director | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. [contextly_sidebar id=”lMkGTvdrj8ts7af1cj7TrD1mfaEpWMvL”]\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geffen isn’t the only recent New York transplant to head a major Bay Area arts organization. Thomas Campbell, who led the Metropolitan Museum of Art in New York, was \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" rel=\"noopener\" target=\"_blank\">appointed director and CEO of the Fine Arts Museums of San Francisco\u003c/a> last October.\u003c/p>\n\n","blocks":[],"excerpt":"Geffen takes the helm of UC Berkeley's performing arts organization on Apr. 1. ","status":"publish","parent":0,"modified":1705026746,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":325},"headData":{"title":"Carnegie Hall's Jeremy N. Geffen Named Cal Performances Director | KQED","description":"Geffen takes the helm of UC Berkeley's performing arts organization on Apr. 1. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Carnegie Hall's Jeremy N. Geffen Named Cal Performances Director","datePublished":"2019-01-15T23:33:10.000Z","dateModified":"2024-01-12T02:32:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13848822/cargenie-halls-jeremy-n-geffen-named-cal-performances-director","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geffen isn’t the only recent New York transplant to head a major Bay Area arts organization. Thomas Campbell, who led the Metropolitan Museum of Art in New York, was \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" rel=\"noopener\" target=\"_blank\">appointed director and CEO of the Fine Arts Museums of San Francisco\u003c/a> last October.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848822/cargenie-halls-jeremy-n-geffen-named-cal-performances-director","authors":["11387"],"programs":["arts_1272"],"categories":["arts_966","arts_69","arts_235","arts_1003","arts_967"],"tags":["arts_1270","arts_2435","arts_15393","arts_1312","arts_3371"],"featImg":"arts_13848824","label":"arts_1272"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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