Thursday, February 27, 2014

A Ringing in My Ears

Sure, we all hate the cell phone that goes off right in the middle of a performance – except when it offers a perfect obbligato counterpoint to the music at hand.

Last night's duo recital by Yo-Yo Ma and Emanuel Ax, part of Ax's "Brahms and Beyond" project, included the best cell-phone ring evah. It came near the end of Brett Dean's new piano solo Hommage à Brahms, and it fit so beautifully among the delicate, high-pitched keyboard filigree of the last movement that I wasn't sure at first whether I was hearing a phone or part of the piece. That's how smooth the blend was.

And Ax, god love him, handled the situation perfectly: He came out afterward, assured the audience that it wasn't part of the piece but should've been, and even said a few reassuring words to the kid with the onstage seat whose phone it was — and who must have been dying of embarrassment.

A composer I know once had the premiere of an orchestral piece interrupted by a big squawk from a clarinetist who'd lost count of his rests; he liked the sound of it so much he added it to the score for later performances. I'd love to see Brett Dean do likewise.

Sunday, January 26, 2014

And the Grammy Goes To...

To the surprise of not too many people (among those paying attention), Osmo Vänskä and the Minnesota Orchestra just won a Grammy for their recording of Sibelius 1 and 4. Well, of course. Vänskä and the Minnesota have a terrific partnership going, especially in this repertoire.

Or, y'know, had. With every passing day, the magnitude of the loss occasioned by the past year's insane labor struggle — not just to the Twin Cities, but to the entire American orchestral community — becomes clearer and more heart-breaking. How could anyone think this was worth it?

Friday, November 01, 2013

Take a Bow

David Kadarauch, the San Francisco Opera Orchestra's principal cellist for the past 40 years, is getting the San Francisco Opera Medal, to be presented onstage at tomorrow night's Falstaff. This is the company's highest honor, and it puts Kadarauch in the company of people like Joan Sutherland, Plácido Domingo, Charles Mackerras and Kurt Herbert Adler. He deserves every bit of the glory.

I suppose it's possible to go to SF Opera performances pretty regularly and not notice what a fantastic artist Kadarauch is. That's the nature of the gig — opera musicians labor away down there in the pit, sight unseen, and they don't get anything like the solo opportunities that symphony players get. But then you hear Kadarauch play something like the big cello solo from Act 4 of Don Carlos, and you think, "That's why Verdi wrote the scene that way. It was so someone would come along and play the music as sublimely as David Kadarauch does."

Then you start to pay attention, and you notice that whenever you hear cello music in the War Memorial Opera House, you snap to attention. Kadarauch's robust and supple string tone, the elegance of his phrasing, the combination of emotional urgency and expressive immediacy that he brings to everything he plays — these are among the reliable delights of operatic life in San Francisco. And it's not just the big cello moments, in Pagliacci or Guillaume Tell or Act 1 of Walküre; Kadarauch illuminates the most ordinary passages with the same kind of artistry.

Opera companies tend to key their programming decisions to the available singers — they do Falstaff for Bryn Terfel, or Onegin for Anna Netrebko. I get it; singers are admittedly important. But I've always believed that the San Francisco Opera ought to program Don Carlos just because they have David Kadarauch.

Monday, October 21, 2013

The Departing Dutchman

The curtain goes up on The Flying Dutchman at San Francisco Opera tomorrow night, but without director and designer Petrika Ionesco on hand. It seems the lavishly mustachioed French-Romanian auteur, who made his company debut directing Franco Alfano's Cyrano de Bergerac, had the fabled "artistic differences" with David Gockley, who ushered him out of town last week. The remaining work on the set and staging was done by in-house staff, according to SFO spox Jon Finck.

Tuesday, September 24, 2013

Well, Lookie Here

Pianist, writer, blogger and musical thinker Jeremy Denk has won a MacArthur Fellowship, a/k/a "genius grant." The reason these things are so prestigious isn't just the money — though that helps — but because they so often go to the right people. Case in point.

Friday, August 30, 2013

Lotfi Mansouri (1929-2013)

Sad news: Lotfi Mansouri, the inventive and tireless former general director of the San Francisco Opera, has died at 84. Obituary is here.

Thursday, August 29, 2013

SFS Personnel

From the press department at the SF Symphony comes word of new developments on the orchestra roster:

Jacob Nissly, formerly of the Cleveland Orchestra, succeeds the retired Jack Van Geem as principal percussion.

Alex Orfaly steps in as acting principal timpani for one year while David Herbert cases the situation in Chicago. In addition to being a percussionist, Orfaly is apparently a composer of some ability. Interesting!

Jonathan Fischer, who's been on leave while serving as principal oboe with the Houston Symphony, will be acting principal oboe in the wake of Bill Bennett's death, although he'll be splitting his time between here and Texas.

Dan Nobuhiko Smiley, who's been principal second violin for several years, has evidently elected to move down to fourth chair, leaving Dan Carlson, Paul Brancato and John Chisholm to each move up a notch. I can't help remarking that Smiley's predecessor, Daniel Kobialka (in the SFS, all second violinists are named Dan), also self-demoted.