Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco
There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco
‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights
H.E.R. Leads Bay Area Grammy Nominations With 8 Nods
The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities)
Her Side of the Story: Tales of California Pioneer Women
New Steps for a Classic Ballet Featuring Aaron Copland's Music
Giant Tree Stump Journeys From Sierra to S.F. Opera Stage
Mining Songs Get a Sinister Twist in 'Girls of the Golden West'
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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff 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FM","link":"/"}},"arts_13954039":{"type":"posts","id":"arts_13954039","meta":{"index":"posts_1591205157","site":"arts","id":"13954039","score":null,"sort":[1710435600000]},"guestAuthors":[],"slug":"studio-ghibli-music-joe-hisaishi-san-francisco-symphony","title":"Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco","publishDate":1710435600,"format":"standard","headTitle":"Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Vikingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/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>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The composer for films such as 'Spirited Away' and 'My Neighbor Totoro' will conduct four performances with the San Francisco Symphony.","status":"publish","parent":0,"modified":1710448270,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":617},"headData":{"title":"Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco | KQED","description":"The composer for films such as 'Spirited Away' and 'My Neighbor Totoro' will conduct four performances with the San Francisco Symphony.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco","datePublished":"2024-03-14T17:00:00.000Z","dateModified":"2024-03-14T20:31:10.000Z","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/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954083","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\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>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Vikingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/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>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_22013","arts_1677","arts_1146","arts_1367","arts_22014"],"featImg":"arts_13954060","label":"arts_140"},"arts_13953059":{"type":"posts","id":"arts_13953059","meta":{"index":"posts_1591205157","site":"arts","id":"13953059","score":null,"sort":[1709062897000]},"guestAuthors":[],"slug":"handmaids-tale-opera-san-francisco","title":"There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco","publishDate":1709062897,"format":"aside","headTitle":"There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Margaret Atwood's dystopian tale of totalitarian patriarchy arrives at SF Opera in September.","status":"publish","parent":0,"modified":1709086593,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":403},"headData":{"title":"There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco | KQED","description":"Margaret Atwood's dystopian tale of totalitarian patriarchy arrives at SF Opera in September.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco","datePublished":"2024-02-27T19:41:37.000Z","dateModified":"2024-02-28T02:16:33.000Z","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/13953059/handmaids-tale-opera-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\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>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953059/handmaids-tale-opera-san-francisco","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_235"],"tags":["arts_1677","arts_1071","arts_3316","arts_585"],"featImg":"arts_13953074","label":"arts_140"},"arts_13919101":{"type":"posts","id":"arts_13919101","meta":{"index":"posts_1591205157","site":"arts","id":"13919101","score":null,"sort":[1663608367000]},"guestAuthors":[],"slug":"antony-and-cleopatra-john-adams-review","title":"‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights","publishDate":1663608367,"format":"audio","headTitle":"‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>[aside postID='arts_12731274']But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n","blocks":[],"excerpt":"In a world premiere at SF Opera, Adams' new opera emphasizes the story's political overtones. ","status":"publish","parent":0,"modified":1705006368,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":326},"headData":{"title":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera | KQED","description":"In a world premiere at SF Opera, Adams' new opera emphasizes the story's political overtones. ","ogTitle":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera","ogDescription":"","ogImgId":"","twTitle":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera","twDescription":"","twImgId":"","socialTitle":"REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights","datePublished":"2022-09-19T17:26:07.000Z","dateModified":"2024-01-11T20:52:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/79aefa07-a701-4199-a1e8-af1101651dd6/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13919101/antony-and-cleopatra-john-adams-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12731274","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919101/antony-and-cleopatra-john-adams-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_10278","arts_1677","arts_763","arts_3316","arts_585"],"featImg":"arts_13919277","label":"arts_140"},"arts_13906436":{"type":"posts","id":"arts_13906436","meta":{"index":"posts_1591205157","site":"arts","id":"13906436","score":null,"sort":[1637708714000]},"guestAuthors":[],"slug":"her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys","title":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods","publishDate":1637708714,"format":"standard","headTitle":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAFAfhod9TU\u003c/p>\n\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CHqrh1Dl4oA\u003c/p>\n\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n","blocks":[],"excerpt":"Saweetie and the San Francisco Symphony also received nods.","status":"publish","parent":0,"modified":1705007458,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":382},"headData":{"title":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED","description":"Saweetie and the San Francisco Symphony also received nods.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods","datePublished":"2021-11-23T23:05:14.000Z","dateModified":"2024-01-11T21:10:58.000Z","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/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\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/PAFAfhod9TU'\n title='//www.youtube.com/embed/PAFAfhod9TU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\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>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\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/CHqrh1Dl4oA'\n title='//www.youtube.com/embed/CHqrh1Dl4oA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys","authors":["11242"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_6187","arts_1677","arts_1366","arts_1367","arts_8682"],"featImg":"arts_13906441","label":"arts"},"arts_13882779":{"type":"posts","id":"arts_13882779","meta":{"index":"posts_1591205157","site":"arts","id":"13882779","score":null,"sort":[1593733341000]},"guestAuthors":[],"slug":"the-3-presidents-who-died-on-the-fourth-of-july-and-other-strange-fatalities","title":"The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities)","publishDate":1593733341,"format":"standard","headTitle":"The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities) | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Independence Day: America’s birthday, the most terrifying 24 hours of the year for dogs, and the day that American presidents are most likely to kick the bucket.\u003c/p>\n\u003cp>That’s right. The Fourth of July has the strange distinction of being the day that three presidents died. Two of them—John Adams and Thomas Jefferson—passed just five hours apart in 1826. The third, James Monroe, died exactly five years later. The fact that the men were all founding fathers, and served as the second, third and fifth U.S. presidents makes the coincidence even more odd. (The fourth president, James Madison, died on June 28, 1836. Imagine if he’d held on for six days!)\u003c/p>\n\u003cp>[aside postid='pop_22432']While Harry S. Truman and Gerald Ford both died on December 26 (in 1972 and 2006, respectively), and Millard Fillmore and William Howard Taft both died on March 8 (the former in 1874; the latter in 1930), the close cluster of July 4 deaths is definitely stranger. Especially given the historic importance of the day.\u003c/p>\n\u003cp>The first to go, Thomas Jefferson, was 83 at the time of his death and had been bedridden for a month with a variety of physical ailments. He caught a fever on July 3 and succumbed the next day, at 12:50pm at home in Monticello, Virginia. Meanwhile, 569 miles away in Quincy, Massachusetts, 90-year-old John Adams was also on his death bed. He died soon after his friend, entirely unaware of Jefferson’s passing. Adams’ oblivious last words were reportedly: “Thomas Jefferson still survives.” It was the 50th anniversary of the signing of the Declaration of Independence.\u003c/p>\n\u003cp>President John Quincy Adams, struck by his father and Thomas Jefferson dying not just on the same day, but on such a historic occasion, called the timing “visible and palpable remarks of divine favor.” Senator \u003ca href=\"https://www.history.com/news/july-4-two-presidents-died-same-day-coincidence\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Webster agreed\u003c/a>, remarking in a eulogy a month after Adams’ and Jefferson’s deaths that they were “proofs that our country and its benefactors are objects of His [God’s] care.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Precisely five years after Jefferson and Adams passed away, James Monroe died of tuberculosis, aged 73, at his daughter’s home in New York City. Four days later, the \u003ca href=\"https://enewspaper.latimes.com/infinity/article_popover_share.aspx?guid=77802cc8-f7b9-49a1-8be5-17ca0bb47178\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boston Traveler\u003c/em> noted\u003c/a>: “Again our national anniversary has been marked by one of those events, which it may be scarcely permitted to ascribe the chance.”\u003c/p>\n\u003cp>[aside postid='pop_20516']Though the timing of the three deaths remains surprising even today, creepy coincidences are something of a tradition when it comes to American presidents. One such example is that of Theodore Roosevelt’s \u003ca href=\"https://twitter.com/HistoryInPics/status/698937389348163585\" target=\"_blank\" rel=\"noopener noreferrer\">wife and mother\u003c/a> dying on the same day in 1884—on Valentine’s Day, no less.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=FO-WJrCH-mg\" target=\"_blank\" rel=\"noopener noreferrer\">most infamous\u003c/a> set of eerie parallels, however, can be drawn between the lives of Abraham Lincoln and John F. Kennedy. They include the following:\u003c/p>\n\u003cul>\n\u003cli>Both were elected to Congress in ’46 (granted, in different centuries).\u003c/li>\n\u003cli>Both became President in ’60.\u003c/li>\n\u003cli>Both lost sons while living in the White House. (Lincoln’s 11-year-old son William died of typhoid; Kennedy lost 2-day-old Patrick to infant respiratory distress syndrome.)\u003c/li>\n\u003cli>Both are remembered primarily for their work to advance civil rights.\u003c/li>\n\u003cli>Both were shot in the head on a Friday, while their wives were present.\u003c/li>\n\u003cli>Both were succeeded by Presidents named Johnson (Andrew and Lyndon B. respectively) who were born in ’08.\u003c/li>\n\u003cli>Both of their assassins were known by three names—John Wilkes Booth and Lee Harvey Oswald—comprised of 15 letters total.\u003c/li>\n\u003cli>Both murders involved theaters. (Booth shot Lincoln at Ford’s Theatre, Washington, D.C.; Lee Harvey Oswald was arrested at the Texas Theatre in Dallas directly following Kennedy’s murder.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Happy Independence Day, everyone! (And happy birthday to both Malia Obama and Calvin Coolidge—the only president to ever be \u003cem>born\u003c/em> on the Fourth of July.)\u003c/p>\n\n","blocks":[],"excerpt":"Thomas Jefferson, John Adams and James Monroe all died on July 4—and the first two went within five hours of each other. ","status":"publish","parent":0,"modified":1705020483,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":670},"headData":{"title":"The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities) | KQED","description":"Thomas Jefferson, John Adams and James Monroe all died on July 4—and the first two went within five hours of each other. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities)","datePublished":"2020-07-02T23:42:21.000Z","dateModified":"2024-01-12T00:48:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13882779/the-3-presidents-who-died-on-the-fourth-of-july-and-other-strange-fatalities","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Independence Day: America’s birthday, the most terrifying 24 hours of the year for dogs, and the day that American presidents are most likely to kick the bucket.\u003c/p>\n\u003cp>That’s right. The Fourth of July has the strange distinction of being the day that three presidents died. Two of them—John Adams and Thomas Jefferson—passed just five hours apart in 1826. The third, James Monroe, died exactly five years later. The fact that the men were all founding fathers, and served as the second, third and fifth U.S. presidents makes the coincidence even more odd. (The fourth president, James Madison, died on June 28, 1836. Imagine if he’d held on for six days!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_22432","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While Harry S. Truman and Gerald Ford both died on December 26 (in 1972 and 2006, respectively), and Millard Fillmore and William Howard Taft both died on March 8 (the former in 1874; the latter in 1930), the close cluster of July 4 deaths is definitely stranger. Especially given the historic importance of the day.\u003c/p>\n\u003cp>The first to go, Thomas Jefferson, was 83 at the time of his death and had been bedridden for a month with a variety of physical ailments. He caught a fever on July 3 and succumbed the next day, at 12:50pm at home in Monticello, Virginia. Meanwhile, 569 miles away in Quincy, Massachusetts, 90-year-old John Adams was also on his death bed. He died soon after his friend, entirely unaware of Jefferson’s passing. Adams’ oblivious last words were reportedly: “Thomas Jefferson still survives.” It was the 50th anniversary of the signing of the Declaration of Independence.\u003c/p>\n\u003cp>President John Quincy Adams, struck by his father and Thomas Jefferson dying not just on the same day, but on such a historic occasion, called the timing “visible and palpable remarks of divine favor.” Senator \u003ca href=\"https://www.history.com/news/july-4-two-presidents-died-same-day-coincidence\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Webster agreed\u003c/a>, remarking in a eulogy a month after Adams’ and Jefferson’s deaths that they were “proofs that our country and its benefactors are objects of His [God’s] care.”\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>Precisely five years after Jefferson and Adams passed away, James Monroe died of tuberculosis, aged 73, at his daughter’s home in New York City. Four days later, the \u003ca href=\"https://enewspaper.latimes.com/infinity/article_popover_share.aspx?guid=77802cc8-f7b9-49a1-8be5-17ca0bb47178\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boston Traveler\u003c/em> noted\u003c/a>: “Again our national anniversary has been marked by one of those events, which it may be scarcely permitted to ascribe the chance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_20516","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Though the timing of the three deaths remains surprising even today, creepy coincidences are something of a tradition when it comes to American presidents. One such example is that of Theodore Roosevelt’s \u003ca href=\"https://twitter.com/HistoryInPics/status/698937389348163585\" target=\"_blank\" rel=\"noopener noreferrer\">wife and mother\u003c/a> dying on the same day in 1884—on Valentine’s Day, no less.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=FO-WJrCH-mg\" target=\"_blank\" rel=\"noopener noreferrer\">most infamous\u003c/a> set of eerie parallels, however, can be drawn between the lives of Abraham Lincoln and John F. Kennedy. They include the following:\u003c/p>\n\u003cul>\n\u003cli>Both were elected to Congress in ’46 (granted, in different centuries).\u003c/li>\n\u003cli>Both became President in ’60.\u003c/li>\n\u003cli>Both lost sons while living in the White House. (Lincoln’s 11-year-old son William died of typhoid; Kennedy lost 2-day-old Patrick to infant respiratory distress syndrome.)\u003c/li>\n\u003cli>Both are remembered primarily for their work to advance civil rights.\u003c/li>\n\u003cli>Both were shot in the head on a Friday, while their wives were present.\u003c/li>\n\u003cli>Both were succeeded by Presidents named Johnson (Andrew and Lyndon B. respectively) who were born in ’08.\u003c/li>\n\u003cli>Both of their assassins were known by three names—John Wilkes Booth and Lee Harvey Oswald—comprised of 15 letters total.\u003c/li>\n\u003cli>Both murders involved theaters. (Booth shot Lincoln at Ford’s Theatre, Washington, D.C.; Lee Harvey Oswald was arrested at the Texas Theatre in Dallas directly following Kennedy’s murder.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Happy Independence Day, everyone! (And happy birthday to both Malia Obama and Calvin Coolidge—the only president to ever be \u003cem>born\u003c/em> on the Fourth of July.)\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13882779/the-3-presidents-who-died-on-the-fourth-of-july-and-other-strange-fatalities","authors":["11242"],"categories":["arts_1","arts_7862"],"tags":["arts_10278","arts_2640","arts_1677","arts_9858","arts_5826"],"featImg":"arts_13882830","label":"arts"},"arts_13876066":{"type":"posts","id":"arts_13876066","meta":{"index":"posts_1591205157","site":"arts","id":"13876066","score":null,"sort":[1583590527000]},"guestAuthors":[],"slug":"her-side-of-the-story-tales-of-california-pioneer-women","title":"Her Side of the Story: Tales of California Pioneer Women","publishDate":1583590527,"format":"audio","headTitle":"Her Side of the Story: Tales of California Pioneer Women | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\n","blocks":[],"excerpt":"A new exhibit at History San Jose explores first-hand accounts of the California Gold Rush from women.","status":"publish","parent":0,"modified":1705021142,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":859},"headData":{"title":"Her Side of the Story: Tales of California Pioneer Women | KQED","description":"A new exhibit at History San Jose explores first-hand accounts of the California Gold Rush from women.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Her Side of the Story: Tales of California Pioneer Women","datePublished":"2020-03-07T14:15:27.000Z","dateModified":"2024-01-12T00:59:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2020/03/MyrowGoldRushWomen.mp3","sticky":false,"path":"/arts/13876066/her-side-of-the-story-tales-of-california-pioneer-women","audioDuration":95000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\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>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13876066/her-side-of-the-story-tales-of-california-pioneer-women","authors":["251"],"categories":["arts_1","arts_7862","arts_235"],"tags":["arts_3649","arts_2272","arts_2640","arts_1677","arts_4642"],"featImg":"arts_13876068","label":"arts"},"arts_13823868":{"type":"posts","id":"arts_13823868","meta":{"index":"posts_1591205157","site":"arts","id":"13823868","score":null,"sort":[1518043815000]},"guestAuthors":[],"slug":"new-steps-for-a-classic-ballet-featuring-aaron-coplands-music","title":"New Steps for a Classic Ballet Featuring Aaron Copland's Music","publishDate":1518043815,"format":"standard","headTitle":"New Steps for a Classic Ballet Featuring Aaron Copland’s Music | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=tLna7S-iF7U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"SF Ballet's Program 2 celebrates the work of three American dancemakers","status":"publish","parent":0,"modified":1705028577,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":260},"headData":{"title":"New Steps for a Classic Ballet Featuring Aaron Copland's Music | KQED","description":"SF Ballet's Program 2 celebrates the work of three American dancemakers","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Steps for a Classic Ballet Featuring Aaron Copland's Music","datePublished":"2018-02-07T22:50:15.000Z","dateModified":"2024-01-12T03:02:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13823868/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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/tLna7S-iF7U'\n title='//www.youtube.com/embed/tLna7S-iF7U'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823868/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music","authors":["32"],"programs":["arts_140"],"categories":["arts_966"],"tags":["arts_879","arts_1006","arts_1677","arts_6387","arts_596","arts_1643"],"featImg":"arts_13823883","label":"arts_140"},"arts_13816300":{"type":"posts","id":"arts_13816300","meta":{"index":"posts_1591205157","site":"arts","id":"13816300","score":null,"sort":[1512144059000]},"guestAuthors":[],"slug":"giant-tree-stump-journeys-from-sierras-to-sf-opera-stage","title":"Giant Tree Stump Journeys From Sierra to S.F. Opera Stage","publishDate":1512144059,"format":"audio","headTitle":"Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'","status":"publish","parent":0,"modified":1705028997,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1011},"headData":{"title":"Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED","description":"Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Giant Tree Stump Journeys From Sierra to S.F. Opera Stage","datePublished":"2017-12-01T16:00:59.000Z","dateModified":"2024-01-12T03:09:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/12/VeltmanGoldenGirlsWest.mp3","sticky":false,"path":"/arts/13816300/giant-tree-stump-journeys-from-sierras-to-sf-opera-stage","audioDuration":344000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\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 image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13816300/giant-tree-stump-journeys-from-sierras-to-sf-opera-stage","authors":["8608"],"categories":["arts_69","arts_235","arts_967"],"tags":["arts_1037","arts_1119","arts_1118","arts_977","arts_2254","arts_1677","arts_596","arts_1071"],"featImg":"arts_13816403","label":"arts"},"arts_13815837":{"type":"posts","id":"arts_13815837","meta":{"index":"posts_1591205157","site":"arts","id":"13815837","score":null,"sort":[1511884850000]},"guestAuthors":[],"slug":"mining-songs-get-a-sinister-twist-in-girls-of-the-golden-west","title":"Mining Songs Get a Sinister Twist in 'Girls of the Golden West'","publishDate":1511884850,"format":"audio","headTitle":"Mining Songs Get a Sinister Twist in ‘Girls of the Golden West’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In his new opera, John Adams radically transforms melodies from the Gold Rush to show a darker side of California history.","status":"publish","parent":0,"modified":1705029033,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":557},"headData":{"title":"Mining Songs Get a Sinister Twist in 'Girls of the Golden West' | KQED","description":"In his new opera, John Adams radically transforms melodies from the Gold Rush to show a darker side of California history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mining Songs Get a Sinister Twist in 'Girls of the Golden West'","datePublished":"2017-11-28T16:00:50.000Z","dateModified":"2024-01-12T03:10:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2017/11/VeltmanMiningSongs.mp3","sticky":false,"path":"/arts/13815837/mining-songs-get-a-sinister-twist-in-girls-of-the-golden-west","audioDuration":175000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\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>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13815837/mining-songs-get-a-sinister-twist-in-girls-of-the-golden-west","authors":["8608"],"categories":["arts_69","arts_235"],"tags":["arts_1037","arts_1119","arts_1118","arts_2254","arts_2272","arts_1677","arts_1071","arts_2792"],"featImg":"arts_13815846","label":"arts"}},"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. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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