Friday Photo

Cactus

City of Rocks State Park, New Mexico

July, 2025

 

So Do They All

Nicole Koh (Despina, as the Doctor), Ricardo José Rivera (Guglielmo), Jonghyun Park (Ferrando)

Opera San José Cosi fan tutte

Photo: David Allen

I had a fun time covering Opera San José's hilarious production of Così fan tutte, directed by Alek Shrader and conducted by Joseph Marcheso. The twist of this production is that the audience gets to vote on how the opera ends. It's a gimmick, but a fun one; I kept my eyes open during Act 1 for the setups for the various endings. I can report that the opening-performance audience went for the straight ending, where everyone winds up with their original lover. Personally, I'd favor everybody heading off on their own, preferably after heaping abuse on Don Alfonso, sadder but wiser.

• Lisa Hirsch, S.F. Chronicle (feature)
• Lisa Hirsch, SFCV (review)

I'm hoping to have further reviews to post later this week, but we'll see.

It's Official.

Screenshot from the Chicago Symphony Orchestra website

My SFCV article updating SF* orchestra personnel for 2025-26 noted that Timothy Higgins was "on leave" from San Francisco Symphony, because no announcement had been made by the CSO about his appointment.

Now there's a press release and, as you can see from the above, he's on their website. With Christopher Bassett on leave and back in the St. Louis Symphony Orchestra, and Nick Platoff's resignation (he's now the principal at Houston), the SFS trombone section is currently down to Paul Welcomer.

Higgins might return to SFS at the end of the season. The labor settlement undoubtedly make SFS more attractive than it was, say a week ago, and the weather is better here. But the cost of living is higher than in Chicago and they've got a new music director coming in, one who has a reputation for working very respectfully with musicians, while who knows who will get the appointment in SF.

 

Museum Mondays

Yayoi Kusama

Aspiring to Pumpkin's Love, the Love in My Heart

SF MOMA

August, 2025

 

Breaking News

Louise M. Davies Symphony Hall

Photo by Lisa Hirsch

It's not often that a music review also contains breaking news, but my review of last night's SFS gala concert concludes with more good news for the orchestra: the orchestra has a new artistic administrator, a position that has been open since last fall, when Phillippa Cole left. Michael Gandlmayr joins the orchestra next, from the same position at the Cleveland Orchestra. Before Cleveland, he was artistic administrator of the Seattle Symphony. (Seattle experienced the departure of a number of good people during the tenure of Krishna Thiagarajan, who left the orchestra earlier this year.)

Amusingly, the news came from SFS in the form of a correction: I had the wrong time frame for Cole's departure, and, oh, there's a new artistic admin starting next week! 

Oh, right, the gala was fun! It wasn't a deep program and it seemed to exemplify this year's...uh...weak programming, but Jaap van Zweden led a zippy and fun program; the orchestra sounded great; Yuja Wang is always fun.

• Lisa Hirsch, S.F. Chronicle (review)
• Tony Bravo, S.F. Chronicle (reporting)
• Steven Winn, SFCV (review)
• Joshua Kosman, On a Pacific Aisle 

 

Contract!

Davies Symphony Hall

Photo by Lisa Hirsch

Well, now. Yesterday afternoon, I heard that SFS and its musicians had reached a contract agreement. A couple of hours later, a press release arrived. It's good news, even thought the tentative contract still needs formal ratification by the parties. The musicians' salaries will rise by a remarkable amount, 15% over the three-year term of the contract, which is retroactive to last November and runs through November, 2027. (I nearly fell off my chair when I saw the numbers.)

I'm very pleased with this news. While I think that such a good orchestra has never really been in much danger of failing to attract top musicians, because there is so much talent out there, it's certainly a concern that some openings went unfilled for so long and that several musicians have left or are in the process of leaving for other orchestras.

Some questions remain, at least in my mind: why did the orchestra seem so intransigent for so long? And where did the money come from, given the confusing statements of problem finances by the orchestra? What finally allowed this settlement to happen?

Anyway, here's the press release:

San Francisco Symphony and American Federation of Musicians (AFM) Local 6 members of the Orchestra reach tentative three-year contract agreement The three-year agreement provides a wage increase beginning September 1, 2025, with biannual increases rising by 15% over the contract; an increase to the defined benefit pension plan, making it the second-highest in the industry; exceptional health benefits and 10 weeks of paid vacation annually

San Francisco, CA—The San Francisco Symphony Board of Governors and the American Federation of Musicians (AFM) Local 6 members of the San Francisco Symphony Orchestra have reached a tentative three-year collective bargaining agreement subject to ratification by both parties. The new contract will be applied retroactively to November 24, 2024, continues through November 20, 2027, and keeps the Orchestra in the top five highest-paid orchestras in the country. The new agreement guarantees regular increases to minimum weekly scale, maintaining the starting weekly base salary of $3,450 from November 24 through August 31, 2025, followed by biannual increases, rising over time by 15% to $3,960 (a starting minimum annualized salary of $205,920) in the last six months of the contract.  The musicians will also receive a one-time additional payment of $3,450 upon ratification of the contract, in addition to an increase to the defined benefit pension, bringing the maximum annual benefit to $89,000—the industry’s second-highest pension benefit among orchestras in the U.S. The tentative agreement continues to provide generous medical plans with low cost to musicians and 10 weeks of paid vacation.  Joint statement from the Board, Musicians, and Administration: “The Board of Governors, Musicians of the Orchestra, and Administrative Staff of the San Francisco Symphony share a united vision for the artistic greatness and endless creativity of this organization and will endeavor to work together to sustain and build upon that vision. We collectively recognize that the artistic impact of this organization is fueled both by the artistry of our Musicians and by the support of our community. We are all committed to working together to support and grow our connections with patrons, audiences, and our city.”  Statement from San Francisco Symphony Chief Executive Officer Matthew Spivey: “We are pleased that we were able to work together with our Orchestra and the AFM to reach an agreement that provides highly competitive compensation while also acknowledging the importance of our organization’s long-term financial stability. This tentative agreement is a demonstration of the Administration’s faith in the future of the Symphony and the organization’s deep commitment to its musicians and the Bay Area community. It also requires the Symphony to stretch financially with the support and generosity of our community to meet the new contract terms in the years to come. Our artists are the lifeblood of our work and mission, and, without them, our organization would not be what it is today. We are grateful that we can all continue to deliver exceptional classical music performances to our Bay Area community. I also want to thank both the staff and musicians who have been involved in the negotiations, as well as the board, staff, and entire Orchestra for their commitment to a bright future for this organization.”  Statement from David Gaudry, Chair of the Musicians’ Negotiating Committee: “The Musicians of the San Francisco Symphony are grateful for the renewed commitment and support for the Orchestra and the artistic future of this great institution demonstrated by our coming together on the terms of a new Collective Bargaining Agreement. We continue to acknowledge the economic challenges facing the organization, the importance of long-term fiscal health, and the commitment demonstrated by the Board. We are confident that working together to support this organization will allow us to continue to be able to present the type of innovative programming and world-class symphonic music for which we have become known.”

• Aidin Vazini and Tony Bravo, Chronicle
• Janos Gereben, SFCV (link to follow)
• Janos Gereben, SFCV (strike authorization)

 

Friday Photo

Spider Man Costume

Oakland, CA

September, 2025

 

Political Violence

I'm generally opposed to political violence, with some exceptions, like the overthrow of an oppressive government by the people (the American Revolution). Last year I wrote a blog post shaking my head at the number of people saying that political violence "isn't who [Americans] are." Gosh, political violence has been with us for centuries, practiced by individuals and the government. Right now, we've basically got secret police rounding people up based on skin color and their ability to speak Spanish. That's government-sponsored political violence and the Supreme Court is letting the government get away with it.

Today, Charlie Kirk, a right-wing political figure, was assassinated during an appearance in Utah. I wanted to take note of a few things he said in the last few years.

In October, 2022, Rolling Stone quoted him as follows:

Republicans usually tout a “tough on crime” stance, but right-wing commentator Charlie Kirk thinks a man who is set to be charged with attempted homicide should be allowed out on bail.

“Why has he not been bailed out?” Kirk said Monday on his podcast of the man who allegedly beat House Speaker Nancy Pelosi‘s husband Paul with a hammer last Friday. “By the way, if some amazing patriot out there in San Francisco or the Bay Area wants to really be a midterm hero, someone should go and bail this guy out, I bet his bail’s like thirty or forty thousand bucks.” With a smirk, he added: “Bail him out and then go ask him some questions.”

It sounds like he was okay with violence against Paul Pelosi. 

This past June, when Melissa Hortman, a Democratic politician, was assassinated in her home, along with her husband and their dog, the BBC noted the following:

In the wake of the attacks, several of Trump's top supporters and allies - including Utah Senator Mike Lee, Elon Musk, conspiracy theorist Laura Loomer and activist Charlie Kirk - attempted without evidence to link Walz and Democratic lawmakers to the killings.

Lastly, Kirk believed that some gun deaths were inevitable and the price you pay for having the Second Amendment:

"You will never live in a society when you have an armed citizenry and you won't have a single gun death," Kirk said at a Turning Point USA Faith event on Wednesday, as reported by Media Matters for America. "That is nonsense. It's drivel. But I am—I think it's worth it.

"I think it's worth to have a cost of, unfortunately, some gun deaths every single year so that we can have the Second Amendment to protect our other God-given rights. That is a prudent deal. It is rational. Nobody talks like this. They live in a complete alternate universe."

We have the First Amendment, giving people basically the right to say whatever drivel they want. Kirk certainly took advantage of it, and now he's a victim of political violence himself.

Democrats almost uniformly condemn political violence, regardless of the political beliefs of the target. Charlie Kirk did not.

Ojai Festival Appoints Teddy Abrams

Teddy Abrams

Photo: Lauren Desberg, courtesy of 21C Media Group

Teddy Abrams, composer and music director of the Louisville Orchestra, will succeed Ara Guzelimian as artistic and executive director of the Ojai Music Festival, effective September 1, 2026. The first festival for which he'll appoint the music director is the 2027 festival. Esa-Pekka Salonen is the music director for the 2026 festival.

Ojai's press release is after the jump.

Belated Museum Monday

Ruth Asawa

From the magnificent retrospective of her work at SF MOMA

August, 2025

This show is traveling to NY MOMA and you can see it there if you missed it here.

 

Belated Friday Photo

Purple Carrots

Berkeley Bowl West, Berkeley, CA

September, 2025

 

Meanwhile, at San Francisco Opera

War Memorial Opera House

Photo by Lisa Hirsch

San Francisco Opera has a new, two-year agreement with its AGMA members, which include the chorus, principal artists, dancers, and production staff. The press release is brief, the news good:

The American Guild of Musical Artists (AGMA) and San Francisco Opera (SFO) announce a new two-year collective bargaining agreement, ratified by AGMA’s Board of Governors on August 25, 2025.

Following over nine months of negotiations, the new contract, retroactively effective from March 1, 2025 and in effect through February 28, 2027, brings pay increases including equitable pay adjustments, enhanced work-life protections, and new benefits, as well as enhancements to scheduling and audition processes, while also recognizing the challenges being faced across the arts at the moment. San Francisco Opera’s AGMA members include the Chorus, Principal Artists, Dancers, and Production Staff.

"This agreement reflects the dedication of every AGMA member at San Francisco Opera; we really came together. Solidarity works,” said Sally Mouzon, AGMA's Western Region Vice President, SFO Chorister, and member of the Negotiating Committee. “It’s about respect for the job we do, a healthy balance between life and work, and ensuring that artists have a real seat at the table as our beloved San Francisco Opera plans for the future.”

“I am deeply grateful to all those on both negotiating committees who gave so deeply of their time and wisdom to craft a new agreement. The new contract will ensure that San Francisco Opera continues to produce opera at the highest levels of excellence, while reflecting the need for long-term sustainability in the arts,” said Matthew Shilvock, General Director of San Francisco Opera. “Our AGMA Artists are extraordinary professionals and partners in the creative vitality of the company and I’m very excited for the thrilling artistry that this contract will make possible in the years ahead.”

This agreement underscores the shared commitment of San Francisco Opera and AGMA to honor the artistry and contributions of the AGMA Artists of SFO, fostering a workplace culture that supports excellence and creativity, and building a long-term pathway to a sustainable future for opera in San Francisco.

 

Salary Negotiations at San Francisco Symphony

Davies Symphony Hall

Photo by Lisa Hirsch

If you're reading this, you're probably aware that the musicians and administration of San Francisco Symphony have been at loggerheads over the contract for, well, roughly a year. There were protests over Esa-Pekka Salonen's departure (sigh) and the most recent contract expired in November, 2024. There have been formal extensions of that contract, though I think the last one expired in the spring.

I dug up some historical information about SFS musician pay. The first two items are from Janos Gereben's reporting in San Francisco Classical Voice. The last is from email sent by SFS last week about their last, best, and final offer. 

2018 Contract

 

"The new agreement runs through Nov. 26, 2022. It provides for a new weekly base minimum salary of $3,263, increasing to $3,570 in the final six months of the contract. The current amount is $3,200."

 

[LRH: 2018 is the contract that got cancelled during the pandemic, with musician salaries rolled back substantially to save money, with the possibility of SFS invoking force majeure to force even more extreme cuts.]

 

 2023 Contract

 

“The new agreement will be applied retroactively from Nov. 27, 2022 [when the previous agreement expired] and runs through Nov. 18, 2024. The agreement provides for a new weekly base minimum salary of $3,313 upon ratification and increasing to $3,450 in the 2023–24 contract year, in addition to a retroactive lump sum payment to full-time musicians.”

[LRH: When the musician says their pay hasn't yet been restored to pre-pandemic levels, I believe they mean that the contract that expired last year didn't get to the planned $3,570 of the 2018 contract.]

 

 

2025 Offer from SFS ("Last, Best, and Final Offer")

 

A starting minimum annual salary of $189,332, rising to $196,976 by the end of the contract.

The three-year proposal starts at $3,641 minimum weekly scale (MWS) in the first year (retroactive to November 24, 2024)—representing a 5.5% increase above the current MWS. Each subsequent year provides 2% increases: $3,714 in contract year 2025–26 and $3,788 in 2026–27.

• Aidin Vaziri covered this story in the Chronicle.
• SFS musicians website

 

Christoph von Dohnányi

Die Frau ohne Schatten

Final scene, San Francisco Opera, 1989

Ron Scherl/San Francisco Opera

 Christoph von Dohnányi died yesterday in. Munich, two days before his 96th birthday. He was the music director of the Cleveland Orchestra from 1984 to 2002 and a revered conductor all over.

I heard him conduct only twice, both time in operas of Richard Strauss: Die Frau ohne Schatten at San Francisco Opera in 1989 and Arabella at the Royal Opera. Frau was utterly overwhelming; I had never heard a note of the score before that performance, and, well. (Also Gwyneth Jones was very, very loud.) {Looking at the page in the archive, I can't believe they started such a long opera at 7:30 p.m. in those days. Also, I stood through it, in Dress Circle standing room. This was before the renovations that removed Dress Circle standing room to add accessible seating.) 

That Arabella was the only time I've liked the opera out of the three productions (three casts, three productions, three conductors). The combination of a superb cast, a slightly fantastical production, and Dohnányi's marvelous conducting worked absolute magic. This production, from the Theatre du Chatelet, used be available on DVD; watch for used copies for sale.

Dohnányi came from a distinguished family. The composer Ernst von Dohnányi was his grandfather; Dietrich Bonhoeffer was his uncle. His father, Hans von Dohnányi, was executed in 1945 for his role in the July 20 plot to assassinate Hitler.

Ave atque vale, Christoph von Dohnányi.

Elsewhere:

• Tim Page, Washington Post
• Margalit Fox, NY Times

Brandeis Was Ahead of Its Time

Slosberg Music Center

Courtesy of Brandeis University

As a Brandeis undergrad, I spent countless hours attending classes, practicing, and rehearsing at Slosberg.

Two years ago, Brandeis announced that it was suspending admissions to its graduate music programs, in music history, music theory, and composition. For a while, it looked as if it might reverse this decision, since the music graduate programs cost about $300,000/year, a rounding error in its $100 million annual budget. But then they went ahead, ending Brandeis's long history of excellence in training music scholars and composers.

Since then, we've seen many other schools suspend various programs in the humanities, including unique programs in certain Eastern European languages, graduates of which have served in the U.S. Foreign Service and at U.S. intelligence agencies. The University of Wisconsin is eliminating such programs. Indiana University is discontinuing up to 100 different programs. 

Brandeis is overhauling its liberal arts programs to make them more career-oriented. (They're calling this a bold initiative, well....) I'm so glad that I went to college when there was respect for the arts and humanities.

The University of Chicago is the latest to join in this ongoing attack on the humanities.

• UChicago Reducing, Freezing Ph.D. Admissions for Multiple Humanities Programs
  
• More UChicago Ph.D. Programs Pause Admissions in Humanities, Social Sciences
  

Chicago's musicology program has a legendary history. When I mentioned this to my colleague Michael Zwiebach at SFCV –– himself a holder of a UC Berkeley doctorate in musicology –– he cited a wide range of scholarship that's come out of Chicago in the last fifty years. 

These changes are truly tragic, inflicting major damage on the intellectual life of the United States. Once you eliminate these programs and possibly lay off scholars in those areas, it's at best extremely difficult to reconstruct them. Institutional memory is lost along with teachers and students. What happens to specialized libraries and archives in those areas? Are they dispersed to less shortsighted institutions?

What's happening here is not so different from the Trump regime's ongoing attacks on science, with their attempts to eliminate important medical and scientific research and institutions, for no discernible reason other than to be destructive. The country is being set back decades with the destruction of ongoing and anticipated research. The elimination of funding for mRNA research means abandoning productive research into things like cancer cures. The attack on vaccines means people will die. The elimination of smallpox and the near-elimination of infectious diseases like polio and measles is one of the great triumphs of medical science and public health, and a few crackpots are being allowed to throw all of this away.

Making the San Francisco Symphony Look Even Smaller

Photo: Minna Hatinen

Esa-Pekka Salonen writes on his Facebook page:

I am happy to announce that I will begin three new positions in coming seasons: Creative Director of the Los Angeles Philharmonic, Creativity and Innovation Chair of the Philharmonie de Paris, and Principal Conductor of the Orchestre de Paris. 

Over the course of my career, I am lucky to have found myself in many situations where the right parts have been in the right place to create genuine magic. More often than not, that place happened to be Los Angeles or Paris. 

We aspire to invent the musical worlds in which we want to live, and the LA Phil and Orchestre de Paris have done just that with Walt Disney Concert Hall and the Philharmonie de Paris. These are top-notch orchestras and the coolest halls, embedded within cities with the most curious and adventurous audiences. Most important, they are institutions who understand that the behind-the-scenes creative work is just as important as waving the stick.

I cannot wait to start creating together.

Chief/principal conductor of the Orchestre de Paris make him the successor to Klaus Mäkelä. Lucky Paris! Lucky L.A.!

• Press release, L.A. Phil
• Joshua Kosman, SF Chronicle, fulminating
• Michael Zwiebach, SFCV
• Joshua Barone, NY Times (gift link)
• Mark Swed, LA Times
• Aidin Vaziri, SF Chronicle (gift link)

 

Museum Mondays

Watermelons

Ruth Asawa Retrospective

San Francisco Museum of Modern Art

August, 2025