Good News

San Francisco Opera and the Opera Orchestra have signed a contract...eleven months after the last one expired:

San Francisco, CA (June 30, 2025) – San Francisco Opera and the San Francisco Opera Orchestra, represented by the American Federation of Musicians (AFM) Local 6, jointly announce that they have reached agreement on a new two-year contract. The collective bargaining agreement, spanning August 1, 2024 through July 31, 2026, was ratified by the musicians of the San Francisco Opera Orchestra on June 26, 2025. The contract includes wage increases in each of the years and enhanced retirement packages. The new agreement also includes a collaboration between the orchestra and the company to realize a major change to its healthcare plans, resulting in transformational financial savings without reductions in benefits or increases in costs to participants. Additionally, the agreement includes a commitment between the orchestra and the company to negotiate a multi-year contract in the next round of negotiations.

“I am very grateful to both the musicians and the staff who worked with great commitment, care, and thoughtfulness to reach this new agreement,” said San Francisco Opera General Director Matthew Shilvock. “We deeply value the extraordinary talents of the San Francisco Opera Orchestra and the transcendent music making they realize in both our theater and in the community. We look forward to a wonderful season ahead that will showcase music making at the highest level.”  

“We’re happy to have reached this Agreement and are especially proud that our musicians, along with our healthcare consultant, identified and delivered major cost savings that will benefit the entire Company,” said Gabe Young, Chair of the San Francisco Opera Orchestra Negotiating Committee. “This outcome reflects our deep commitment to the long-term success of San Francisco Opera. With negotiations behind us for now, we’re all eager to return our full focus to the music—to reaching new audiences, exploring new forums for performances, and continuing to create unforgettable artistic experiences. We look forward to negotiating a longer-term contract in the coming years in collaboration with Opera leadership.”

 I'm extremely curious about the major changes to the health care plans, an area where it's notoriously difficult to get costs down. Congrats to everyone at the orchestra and the company.

 

A Good Month for Queerness at SFCV

I have no idea whether it was deliberate, but SFCV has had the following articles recently:

• Brian Mulligan artist spotlight, by Victoria Looseleaf, in which the baritone, who has appeared many times at San Francisco Opera, talks frankly about growing up gay and being a gay singer.
• Elza van den Heever feature, by Annelies Zijderveld, about the soprano's baking and spectacular baked goods, which mentions van den Heever's wife.
• Ellen Seeling feature, by Andrew Gilbert, about the pioneering lesbian trumpeter.
• San Francisco Opera Pride Concert review, by Lisa Hirsch.

San Francisco Opera Cast Change: Rigoletto

Yongzhao Yu. Photo: Jeffrey Larson

Courtesy of San Francisco Opera

Tenor Giovanni Sala has withdrawn from the fall performances of Rigoletto, in which he would have sung the Duke of Mantua. Yongzhao Yu, pictured above, replaces him. 

Press release:

SAN FRANCISCO, CA (June 30, 2025) — San Francisco Opera announced a casting update for the opening opera of its 2025–26 Season, which opens Friday, September 5 with seven additional performances through September 27. The role of The Duke of Mantua in Giuseppe Verdi’s Rigoletto will be performed by Chinese tenor Yongzhao Yu, who makes his Company debut. Yu replaces Giovanni Sala who has withdrawn from the production for personal reasons. 

Praised by Opera News for his “gleaming, powerful voice” and “thrilling top notes,” Yongzhao Yu made an acclaimed debut as the Duke of Mantua in Rigoletto with English National Opera earlier this season. His 2024–25 Season also featured a return to the Metropolitan Opera where he appeared as Rodolfo in Puccini’s La Bohème and the Messenger in Verdi’s Aida, the latter witnessed globally as part of The Met: Live in HD simulcast series. He has performed the Duke with Seattle Opera and, immediately after San Francisco Opera, will perform the role for his Canadian debut with Vancouver Opera. This summer he is scheduled to portray Cavaradossi in a new production of Puccini’s Tosca at the Glimmerglass Festival with soprano Michelle Bradley and bass-baritone Greer Grimsley and reprise the role with Pacific Opera Victoria.
 
San Francisco Opera’s 2025–26 Season kicks off on Friday, September 5 with the annual Opera Ball, co-presented with San Francisco Opera Guild, and Verdi’s Rigoletto under the baton of Eun Sun Kim and starring Amartuvshin Enkhbat in the title role, Adela Zaharia as Gilda and Yongzhao Yu as the Duke of Mantua. Keystones of the Company’s 103rd season are the world premiere of The Monkey King (November 14–30) by composer Huang Ruo and librettist David Henry Hwang, and Maestro Kim conducting a new production of Richard Wagner’s Parsifal (October 25–November 13). This fall San Francisco Opera also commemorates its legacy of commissioning and presenting new operas with a 25th-anniversary presentation of Jake Heggie and Terrence McNally’s Dead Man Walking (September 14–28), the most widely performed new opera of the last 25 years which was introduced in 2000 at the War Memorial Opera House.

Museum Mondays

 

King Philip II of Spain

Pompeo Leoni

Metropolitan Museum of Art, New York City

April, 2025

Learned at the Pride Concert

Last fall, I sat in the orchestra section of the War Memorial Opera House for the concert in which Eun Sun Kim conducted the San Francisco Opera Orchestra, Opera Chorus, and soloists in Beethoven's 9th Symphony. The orchestra was up on stage in the Jerome and Thao Dodson Shell, and the effect was pretty odd. There was the gulf of the orchestra pit between the audience and the stage, which isn't usually a problem, but made the orchestra feel very far away. And the orchestra sound wasn't great, not blended and gorgeous as it generally is when the orchestra is in the pit.

At Friday's Pride Concert (my review will be in SFCV!), I was in a box, with another member of the press and our respective companions, and wow, the orchestra, on stage in the shell, sounded fantastic. I'd heard from friends years ago that when the orchestra is on stage, you want to be upstairs somewhere, but this was the first time I'd experienced it. So, come the November Beethoven / de Falla concert, look for me in the Dress Circle somewhere.

Updated

I've updated my June 5 post about the SFO La Bohème, with links to Thomas May's review and Joshua Kosman's comments on the alternate cast, as well as my own remarks on that cast. 

Friday Photo

One Eleven Sutter Street, San Francisco

June, 2025

 

Yet More Music Director Updates

New updates (major thanks to reader Geo. for most of these!):

• Philharmonia Baroque Orchestra appoints conductor, harpsichordist, solo bassoonist, and Olivier Award winner Peter Whelan, as of the 2026-27 season
• English National Opera: Andre de Ridder becomes music director in 2027
• Antwerp Symphony: Marc Albrecht becomes chief conductor in 2026
• Teatro Regio Turin: Andrea Battistoni became music director this past January
• Residentie Orchestra, The Hague: Jun Markl is now chief conductor, after Anja Bihlmaier finished her 4 years there
• Freiburg Philharmonic Orchestra: Andre de Ridder will leave in 2027 to go to ENO
• Teatro alla Scala: Riccardo Chailly leaves at the end of 2026. Myung-Whun Chung begins at the start of 2027
• Norwegian Radio Orchestra: Holly Hyun Choe becomes principal conductor in January 2026
• Staatsorchester Rheinische Philharmonie: Marzena Diakun becomes chief conductor in 2026
• Delaware Symphony Orchestra: Michelle Di Russo becomes music director this fall
• Korean National Symphony Orchestra: Roberto Abbado becomes music director in January 2026
• Domingo Hindoyan will be the next music director of L.A. Opera
• Iván López Reynoso is the new music director of the Atlanta Opera

Open positions:

• San Francisco Symphony, with the departure of Esa-Pekka Salonen
• Orchestre Philharmonique of Monte-Carlo, in August, 2026 , when Kazuki Yamada leaves
• National Arts Centre Orchestra of Canada, in 2026 when Alexander Shelley leaves.
• Czech Philharmonic, when Semyon Bychkov leaves in 2028
• Symphony Tacoma when Sara Ionnides leaves in 2026
• Boston Baroque, when Martin Pearlman leaves.
• Berkeley Symphony, when Joseph Young leaves.
• Milwaukee Symphony, when Ken-David Masur leaves.
• New Jersey Symphony, when Xian Zhang leaves at the end of the 2027-28 season.
• Ulster Orchestra, when Daniele Rustioni leaves
• Swedish Radio Symphony Orchestra, when Daniel Harding leaves
• Oslo Philharmonic, when Klaus Mäkelä moves on in 2027
• Orchestre de Paris, when Klaus Mäkelä moves on in 2027
• Gothenburg Symphony Orchestra, when Santu-Matias Rouvali leaves in 2025
• Netherlands Philharmonic Orchestra because of the departure of Lorenzo Viotti in 2025
• Netherlands Chamber Orchestra, because of the departure of Lorenzo Viotti in 2025
• Dutch National Opera, because of the departure of Lorenzo Viotti in 2025
• Bergen Philharmonic
• Phoenix Symphony
• Cleveland Orchestra, as of June, 2027
• Lahti Symphony, when Dalia Stasevka leaves.
• Antwerp Symphony, with the departure of Elim Chan.
• Paris Opera is currently without a music director.
• Nashville Symphony, when Giancarlo Guerrero leaves.
• Deutsche Oper Berlin, when Donald Runnicles leaves.
• Rottedam Philharmonic, when Lahav Shani leaves.
• Los Angeles Philharmonic, at the start` of the 2026-27 season, when Gustavo Dudamel leaves for NY.
• Teatro Regio Turin: Open now with departure of Gianandrea Noseda. The Teatro Regio has not named a new music director.
• Marin Symphony
• Vienna Staatsoper, when Philippe Jordan leaves at the end of 2025.

Conductors looking for jobs (that is, as of the near future, or now, they do not have a posting). The big mystery, to me, is why an orchestra hasn't snapped up Susanna Mälkki. Slightly lesser mystery: Henrik Nanasi, whose superb Cosi fan tutte is still lingering in my ears.

• Ken-David Masur
• Joseph Young
• Kirill Karabits
• Marc Albrecht
• Markus Stenz
• Esa-Pekka Salonen, if he wants such a position again
• James Conlon, if he wants such a position again.
• Dalia Stasevska (though her contract at Lahti has been extended by a year)
• Elim Chan
• Kirill Karabits
• Tito Muñoz 
• Andrey Boreyko
• Osmo Vänskä
• Susanna Mälkki, who left the Helsinki Philharmonic at the end of 2022-23.
• MGT (apparently does not want a full-time job, as of early 2022)
• Miguel Harth-Bedoya (seems settled in at Baylor)
• Sian Edwards
• Ingo Metzmacher
• Jac van Steen
• Ilan Volkov
• Aleksandr Markovic
• Lothar Koenigs
• Henrik Nanasi
• Philippe Jordan, eventually
• Franz Welser-Möst, if he wants such a job

And closed:

• Vienna Radio Symphony Orchestra, with the appointment of Markus Poschner
• Orquesta y Coro Nacionales de España, with the appointment of Kent Nagano
• Eugene (OR), with the appointment of Alex Prior
• Utah Symphony, with the appointment of Markus Poschner.
• Bournemouth Symphony appoints Mark Wigglesworth as Chief Conductor (some time ago).
• Colorado Symphony appoints Peter Oundjian, effective with the 2025-26 season.
• Pacific Symphony appoints Alexander Shelley to succeed Carl St. Clair, starting with the 2026-27 season.
• Milwaukee Symphony, when Ken-David Masur leaves at the end of 2025-26.
• Seattle Symphony, with the appointment of Xian Zhang as of the 2025-26 season.
• Edward Gardner starts as music director of Norwegian National Opera this season,
• Sarasota Orchestra: Giancarlo Guerrero has been named music director, as of 2025.
• Hong Kong Philharmonic: Tarmo Peltokoski becomes music director in 2026.

Older closed appointments

Tartuffe at Pocket Opera

 

Baritone Eugene Brancoveanu, standing, as Tartuffe and mezzo-soprano Courtney Miller as Elmire in Pocket Opera’s production of Kirke Mechem’s Tartuffe | Courtesy of Pocket Opera

I reviewed Pocket Opera's production of Kirke Mechem's Tartuffe the other day. The review is a rave, because the performers and direction are terrific, and it is quite simply one of the funniest and best-constructed recent operas that I've ever seen. 

Consequently, I found myself wondering why on earth it's not a repertory staple at U.S. opera companies large and small.  I mean, it has gotten some 400 performances or so worldwide, nothing to sneeze at, but still!

All I can come up with is that you need eight strong soloists who can also act, putting it on the expensive side. On the other hand, it can be performed with a big orchestra or a small orchestra; none of the roles are extreme for their voice type, and it seems perfect for a conservatory or program like Merola Opera, where you want opportunities for as many singers as possible.

I've seen two other recent operas that were this funny; they are also not exactly staples and they also should be. They are Kevin Puts and Mark Campbell's Elizabeth Cree and Mark Adamo's Lysistrata. 

Bring on the comedies! We all need a good laugh.

Elsewhere:

• Joshua Kosman, On a Pacific Aisle
• Cordell Reports
• DB at Kalimac's Corner

Finckel and Wu Han to Retire from Music@Menlo

 

Uncredited photo from Music@Menlo email

Twenty-five years after cellist David Finckel and pianist Wu Han founded the annual summer festival Music@Menlo, they've announced their intention to step down from leadership of the festival following the 2026 festival. The full press release is here.

I went to a few concerts at the festival back in 2005 and maybe 2006, seeing, among other things, a blazing performance of the Brahms piano quintet, the St. Lawrence String Quartet plus Finckel in the Schubert Quintet, and Jeffrey Kahane giving a talk, playing the Goldberg Variations, taking a lunch break, playing the Diabelli Variations, and answering questions ("I never have to do that again," he said at the Q&A).

Besides work and distance (I live in Oakland), what has mostly kept me away since then is the comparatively staid programming. Yes, great performers, yes, high-quality music, but an almost complete neglect of living composers and minoritized composers of the past. I will never forget Javier Hernandez, of the NY Times, asking Finckel about diversity in programming at the Chamber Music Society of Lincoln Center, and receiving the answer "I mean, there is more variety and diversity in a single string quartet of Haydn than you can find in about a hundred works of other composers."  It will be very interesting to see who the next artistic director or directors of Music@Menlo will be and what their programming philosophy is.

Museum Mondays

Christ on the cross, between the Virgin and Saints Mary Magdalene and John the Evangelist; The Agony in the Garden and Saints Peter and Paul; Saints Catherine of Alexandria and Margaret of Antioch, Saints James Major and Benedict

Bernardo Dadi, 1334

Fogg Museum, Cambridge, MA

April, 2025

 

Friday Photo

Seen in Oakland

June, 2025

 

Music at Kohl Mansion

I'm sorry to say that I've never been to a concert at Kohl Mansion, which for many years has had an excellent chamber music program. Next season is quite extraordinary and I will be making a special effort to get there. 

Sunday, October 19, 2025,  7 p.m.
BENNEWITZ QUARTET* (Prague, Czech Republic)

Jakub Fiser & Stepan Jezek, violins; Jiri Pinkas, viola; Stepan Dolezal, cello

Joseph Haydn: String Quartet in F Major, Op. 77, No. 2

Leoš Janáček: String Quartet No. 2, "Intimate Letters"

Antonín Dvořák: String Quartet in A-flat Major, Op. 105

 

Sunday, November 16, 2025, 7 p.m.
TRIO BOHÉMO* (Prague, Czech Republic - founded in Budapest, Hungary)
Jan Vojtek, piano; Matouš Pěruška, violin; Kristina Vocetková, cello
Joseph Haydn: Piano Trio in A Major, Hob.XV:35
Bohuslav Martinů: Piano Trio No. 2 in D minor, H.327
Jan Vičar: Cycle of folk songs, “From Moravia”
Bedřich Smetana: Piano Trio in G minor, Op. 15

 

Sunday, December 14, 2025 - Baroque Holiday Program,   7 p.m.
MUSICA PACIFICA (San Francisco)
Judy Linsenberg, recorder; Ingrid Matthews, violin; Alexa Haynes-Pilon, viola da gamba; Charles Sherman, harpsichord
Hijinks of the High Baroque: Composers Behaving Badly
Festive music of Handel, Telemann, Veracini, Rameau, Purcell punctuated with hilarious stories of the composers' misdeeds and shenanigans.

 

Sunday, January 18, 2026,  7 p.m.

BALOURDET QUARTET* (Bloomington, IN)
Angela Bae & Justin DeFilippis, violins; Benjamin Zannoni, viola; Russell Houston, cello
Béla Bartók: String Quartet No. 3
Amy Beach: String Quartet in One Movement, Op. 89
Eleanor Alberga: String Quartet No. 2
Johannes Brahms: String Quartet No. 3 in B-flat Major, Op. 67

Sunday, February 22, 2026,  7 p.m.
LYSANDER PIANO TRIO (Athens, GA – founded at Juilliard School, NY))
Itamar Zorman, Violin; James Kim, Cello; Liza Stepanova, Piano
W. A. Mozart: Piano Trio in E Major, K. 542 

Rebecca Clarke: Piano Trio
Shulamit Ran: Soliloquy
Antonín Dvořák: Piano Trio in F minor, Op. 65

 

Sunday, March 22, 2026,  7 p.m.
WINDSYNC* (Houston, TX)
Garrett Hudson, flute; Noah Kay, oboe; Graeme Steele Johnson, clarinet; Kara LaMoure, bassoon; Anni Hochhalter, horn
Nadia Boulanger/arr. LaMoure: Prelude in F
Nadia Boulanger/arr. LaMoure: Three Pieces
Elliott Carter: Woodwind Quintet
Philip Glass/arr. LaMoure: Etude No. 17
Dieterich Buxtehude: Passacaglia in D minor, BuxWV 161
W. A. Mozart/arr. Rechtman: Serenade in C minor, K. 388

Sunday, April 19, 2026,  7 p.m.
BEO STRING QUARTET* (Pittsburgh, PA) with guest artist Michel Taddei*, double bass
Jason Neukom & Andrew “Gio” Giordano, violins; Sean Neukom, viola; Ryan Ash, cello
J.S. Bach: Selections from The Art of Fugue, BWV 1080

Philip Glass: String Quartet No. 3, Mishima
Sean Neukom: El Balcón

Gabriela Ortiz: Mictlán (Place of the Dead), from Altar de Muertos                

Antonín Dvořák: Double Bass Quintet in G Major, Op. 77

Sunday, May 3, 2026,  7 p.m.
CALIDORE STRING QUARTET (New York, N.Y.)
Jeffrey Myers & Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, cello
W. A. Mozart: Divertimento in F Major, K. 138
Erich Wolfgang Korngold: String Quartet No. 3 in D Major, Op. 34
Ludwig van Beethoven: String Quartet No. 9 in C Major, Op. 59, No. 3, “Razumovsky"  

SFS: Mahler 2nd Brass

Well, you know, they were great, but there's no space for listing them all in a review, so here they are:

Horns

1. Diego Incertis Sanchez
2. Jessica Valeri
3. Jesse Clevenger
4. Alicia Waite
5. Amy Sanchez
6. Bruce Roberts
7. Caitlyn Smith Franklin (playing Assistant)
8. Chris Cooper (offstage)
9. Alicia Mastromonaco (offstage)
10. Jack Bryant (offstage)
11. Dan Wions (offstage)

 

Trumpets

1. Mark Inouye
2. Guy Piddington
3. Aaron Schuman (also offstage)
4. Jeff Biancalana (also offstage)
5. Jack Farnham
6. Dave Burkhart
7. Ari Micich (offstage)
8. Owen Myoshi (offstage)

 

Trombones

1. Tim Higgins
2. Paul Welcomer
3. Chase Waterbury
4. Christopher Bassett

             Tuba

                   1. Jeffrey Anderson

The clarinet section had an extra player whose name I didn't get. I saw Associate Principal Matthew Griffith in the orchestra for the third performance and Steven Sanchez for the first and second, both on E-flat clarinet, I believe.

Esa-Pekka Salonen at SFS

Esa-Pekka Salonen and members of the San Francisco Symphony

June 12, 2025

Photo by Lisa Hirsch

The last few weeks have felt like all Salonen, all the time, because they have been. I attended his last four concerts as music director of SFS, reviewed two of them, and wrote a scene piece about the last. He conducted splendidly across a wide range of music, introduced a new work by Gabriella Smith, and closed with three transcendent performances of Mahler's Symphony No. 2, "Resurrection."

You don't have to be a Christian to be deeply moved by Mahler's vision of renewal, and I regret that I missed the chance to sneak a riff on "You don't have to be Jewish to love Levy's [rye bread]" into my review. On the other hand, I'm not sure how many current readers are familiar with that classic advertising campaign from the 1960s and 70s.

I will note that I cried at different points in the different Mahler performances - I attended all of them and the open rehearsal, so, yes, four Mahler 2 performances in three days. At the rehearsal, the tears came in Sasha Cooke's first lines in the "Urlicht" movement; in the first performance, somewhere in the staggering last movement. I have never heard Cooke sing with greater beauty or feeling and I think I've heard most of her Bay Area performances.

Fun trivia about the performances: I wrote down the start and end times of the four movements, and over the three performances, the movement timings.....did not vary from each other by as much as a minute. 

This round-up will cover all of Salonen's last four programs as music director, in reverse chronological order, but not all at once. 

June 12-14: Mahler, Symphony No. 2 in C Minor, "Resurrection"

Gift links for the Chronicle and WSJ.

• Joshua Kosman, Chronicle
• Joshua Kosman, On a Pacific Aisle (remarks, okay, righteous fulminations on Salonen's departure)
• Lisa Hirsch, SFCV (review)
• Lisa Hirsch, Chronicle (reporting on the last concert)
• David Mermelstein, Wall Street Journal
• Mark Swed, L.A. Times 
• Richard Ginell, Classical Voice North America
• Thomas May, Memeteria (post contains a link to Musical America review)
• Harvey Steiman, Seen & Heard International
• Patrick Vaz, The Reverberate Hills
• Michael Strickland, SF Civic Center
• Stephen Smoliar, The Rehearsal Studio
• DB, Kalimac's Corner

June 6-8: Strauss, Smith, Sibelius

• Joshua Kosman, On a Pacific Aisle
• Lisa Hirsch, Chronicle & SFCV
• Patrick Vaz, The Reverberate Hills
• Stephen Smoliar, The Rehearsal Studio
• DB, Kalimac's Corner

Belated Museum Monday

Jan Provost, early 1500s

The Annunciate Virgin; Saint Andrew with a Donor and His Sons; Saint Catherine of Alexandria with a Donor and Her Daughters; and the Annunciate Angel

Philadelphia Museum of Art

April, 2025

(Click to enlarge)

 

SF Opera: La Bohème Casting Update

Lucas Meachem as Marcello

Photo: Cory Weaver, courtesy of San Francisco Opera

Lucas Meachem will be singing Marcello in all performances of La Bohème, joining the alternate cast in place of Will Liverman, who was to make his SFO debut. Liverman has withdrawn for "personal reasons." I was looking forward to hearing Liverman, whom I've liked elsewhere. Meachem is a wonderful Marcello, though!

Here's the press release:

SAN FRANCISCO, CA (June 12, 2025) — San Francisco Opera announced today a casting update for its 2025 Summer Season production of Giacomo Puccini’s La Bohème. Baritone Lucas Meachem, who is currently performing Marcello in La Bohème, will now sing the role in all remaining performances, replacing Will Liverman who was scheduled to perform Marcello on June 13, 18 and 21. Mr. Liverman has withdrawn from the production for personal reasons.

 

Meachem made his San Francisco Opera debut in 2004 and has performed a wide repertoire in his 13 seasons with the Company. His gallery of portrayals on the War Memorial Opera House stage includes the title roles in Tchaikovsky’s Eugene Onegin, Mozart’s Don Giovanni and Rossini’s Il Barbiere di Siviglia (The Barber of Seville), Frank/Fritz in Korngold’s Die tote Stadt, Count Almaviva in Mozart’s Le Nozze di Figaro, Dr. Malatesta in Donizetti’s Don Pasquale, Mercutio in Gounod’s Roméo et Juliette, Sharpless in Puccini’s Madama Butterfly and Marcello in La Bohème. The American baritone and former San Francisco Opera Adler Fellow was also a featured soloist in Opera Ball: The Centennial Celebration and The 100th Anniversary Concert during San Francisco Opera’s 2022–23 Centennial Season and has appeared in the Company’s annual Opera in the Park concerts on five occasions.

 

The performances of La Bohéme on June 13, 18 and 21 introduce three new cast members in leading roles with Evan LeRoy Johnson as Rodolfo, Nicole Car as Mimì and Brittany Renee as Musetta.

 

San Francisco Opera’s 2025 Summer Season opened June 3 and continues through June 27. The season features La Bohéme (June 3–21), Mozart’s early masterpiece Idomeneo (June 14–25) in a new-to-San Francisco Opera production by Lindy Hume conducted by Caroline H. Hume Music Director Eun Sun Kim, and a special Pride Concert and dance party which closes the mainstage season on Friday, June 27.

Friday Photo

Pelicans in flight

Pillar Point, CA

May, 2025