Conductor Updates Continued

Well, oops: I started this post back in March and never published it, probably because I didn't have a handy photo. What have I missed in the interim?

• James Gaffigan will leave his position at the Palau de les Arts Reina Sofia at the end of the 2024-25 season.
• Mark Elder succeeds Gaffigan.
• Kent Nagano named Chief Conductor and artistic director of the Orquesta y Coro Nacionales de España.
• Markus Poschner succeeds Marin Alsop at the Vienna Radio Orchestra.
• Alex Prior will be the next music director of the Eugene (Oregon) Symphony.
• Sarah Ioannides will leave Symphony Tacoma (Washington) in 2026.

Open positions:

• 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 Makela moves on in 2027
• Orchestre de Paris, when Klaus Makela 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
• English National Opera
• Bergen Philharmonic
• LA. Opera, at the end of 2025-26
• San Francisco Symphony, at the end of 2024-25
• 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, as of 2026-27, 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, at the end of 2022-23.
• 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:

• 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.
• Tokyo Symphony, with the appointment of Lorenzo Viotti.
• Oakland Symphony, where Kedrick Armstrong succeeds the late Michael Morgan.
• Minnesota Opera: closed with the appointment of Christopher Franklin.
• The Chicago Symphony Orchestra gets to share Klaus Mäkelä with the Concertgebouw.
• The Hallé Orchestra's next conductor will be Kahchun Wong.
• Marin Alsop becomes principal guest conductor of the Philadelphia Orchestra, I believe succeeding Nathalie Stutzmann.
• Simon Rattle becomes principal guest conductor of the Czech Philharmonic.
• John Storgards will becomes chief conductor of the Turku Philharmonic.
• Update and correction: San Francisco Chamber Orchestra was unable to hire Cosette Justo Valdés. Instead, Jory Fankuchen, a violinist in the orchestra, has been named Principal Conductor and will lead this season's programs.
• Cincinnati Symphony Orchestra: Cristian Mačelaru becomes music director in 2025.
• Indianapolis Symphony hires Jun Markel, effective September 1, 2024.
• Andris Nelsons renewed his contract with the Boston Symphony. He's now on an evergreen rolling contract, which will continue as long as he and the orchestra are happy with each other. MTT had one of these at SFS.
• Shanghai Symphony, with the appointment of Long Yu.
• Virginia Symphony, with the appointment of Eric Jacobsen.
• Warsaw Philharmonic, with the appointment of Krzysztof Urbański.
• Bern Symphony, with the appointment of Krzysztof Urbański.
• Berlin State Opera, with the appointment of Christian Thielemann.
• Dresden Philharmonic, with the appointment of Donald Runnicles.
• New York Philharmonic, with the appointment of Gustavo Dudamel. Note that Jaap van Zweden leaves in 2024 and there will be a two-season gap before Dudamel arrives.
• Helsinki Philharmonic: Jukka-Pekka Saraste to succeed Susanna Mälkki.
• Staatskapelle Dresden, with the appointment of Daniele Gatti.
• Seoul Philharmonic appoints Jaap van Zweden.
• Royal Opera appoints Jakub Hrůša to succeed Antonio Pappano.

Friday Photo

Artemis

Washington, DC

April, 2025

 

New Philadelphia Orchestra CEO

Ryan Fleur has been appointed president and CEO of the Philadelphia Orchestra, following the departure of Matias Tarnopolsky, who is now CEO of the NY Philharmonic. The press release says that the appointment comes after ¨an extensive international search,¨ and I gotta say, it was the fastest extensive international search in history. Tarnopolsky´s appointment was announced in December and Fleur was appointed interim president. Five months is....really fast.

Here´s the press release:

(Philadelphia, April 23, 2025)––The Philadelphia Orchestra and Ensemble Arts announces the appointment of  Ryan Fleur as president and CEO, effective immediately. Fleur, a visionary leader with over three decades of experience in the performing arts, steps into this role after serving as interim president and CEO since January 2025. Fleur has dedicated the last 13 years to serving the Philadelphia community and beyond in executive-level positions with both the world-renowned Philadelphia Orchestra and the recently merged institution, The Philadelphia Orchestra and Ensemble Arts, one of the largest performing arts complexes in the country. His appointment marks a pivotal moment as the Orchestra prepares to celebrate its 125th anniversary during the 2025–26 season and the Kimmel Center for the Performing Arts approaches its 25th anniversary in 2026.

 

“After an extensive international search, we are thrilled to appoint Ryan Fleur as president and CEO,” said Ralph Muller, chair of The Philadelphia Orchestra and Ensemble Arts Board of Trustees. “Ryan’s deep understanding of our mission, his innovative vision, and his unwavering commitment to artistic excellence across our varied genres make him uniquely qualified to lead us into an exciting future. My thanks to the Board of Trustees and the search committee for their pursuit of the best possible candidate.”

 

Music and Artistic Director Yannick Nézet-Séguin praised Fleur's leadership: “Ever since our mutual arrival at The Philadelphia Orchestra many years ago, Ryan has been a steadfast partner in fostering an environment where music thrives. His dedication to the musicians, his forward-thinking approach, and his ability to unite diverse communities around the transformative power of music ensure that our future is brighter than ever.”

 

“The Philadelphia Orchestra has been at the heart of my professional life since 2012, and it has been a privilege to help shape its evolution over the past 13 years,” said Fleur. “This is a defining moment of opportunity to build on our momentum and fully embrace our belief that the arts are essential to community. I am thrilled to lead an organization that is committed to creating cultural spaces where everyone feels welcome and inspired. Together with Yannick, the Board, musicians of the Orchestra, staff, and community partners, we will continue to innovate, elevate, and connect through the power of music and the performing arts. I am deeply grateful to the Board of Trustees and the search committee for their confidence and vision.”

 

Philadelphia Mayor Cherelle L. Parker commended Fleur’s dedication to the city: “Ryan embodies the spirit of Philadelphia. He is deeply committed to bringing our great city together around the arts, acting as a convener for civic dialogue, collaboration, and community values. Under his leadership, The Philadelphia Orchestra and Ensemble Arts will continue to shine as a beacon of creativity and unity for every Philadelphian in all our neighborhoods.”

 

Fleur has been an integral part of Philadelphia's cultural fabric for over 13 years, previously serving as executive director of The Philadelphia Orchestra and playing a key role in its historic merger with the Kimmel Center for the Performing Arts (now Ensemble Arts Philly). Fleur previously served as president and CEO of the Memphis Symphony Orchestra and held executive positions at Boston Ballet, the New York Philharmonic, and the Pro Arte Chamber Orchestra of Boston.

 

Throughout his tenure with The Philadelphia Orchestra, Fleur has demonstrated a deep commitment to artistic excellence and innovation, global initiatives, education and community partnerships, and digital media projects. He created partnerships that restarted the ensemble’s international recording projects and weekly radio broadcasts. In 2022 the Orchestra received its first GRAMMY^® Award for Best Orchestral Performance for its Deutsche Grammophon recording of Florence Price’s Symphonies Nos. 1 and 3. During the COVID-19 pandemic, he worked to innovatively bring music to people around the world when they needed it most through the creation of the Orchestra’s Digital Stage. His commitment to international partnerships has strengthened ties in Europe, the Middle East, and Asia—particularly China—through a robust program of tours and residencies that showcase and advance the Orchestra’s role as a global cultural ambassador. In 2023 Fleur led Orchestra musicians on a special visit to China, commemorating the 50th anniversary of the Orchestra’s historic 1973 tour to China, the first by an American orchestra. The visit was recognized by Presidents Joseph R. Biden and Xi Jinping, who noted the Orchestra’s ongoing commitment to cultural diplomacy. In 2024 Fleur played an integral role in the dedication of Marian Anderson Hall at the Kimmel Center for the Performing Arts, the first major concert venue in the world named in honor of the trailblazing Black singer, civil rights icon, and Philadelphian.

 

As leader of the Memphis Symphony from 2003–2012, Fleur helped the organization become a key artistic and civic asset, leading a comprehensive strategic planning process focused on artistic excellence, education, and community engagement. The transformation was featured in a League of American Orchestra’s case study titled “Fearless Journeys: Innovation in Five American Orchestras.” In 1998 Fleur was appointed executive director of the Pro Arte Chamber Orchestra of Boston, one of four professional cooperative orchestras in the United States. He led the Orchestra through an international conductor search, an extensive planning process, and a revitalization of the governing board, while establishing programs in education and community engagement. Fleur also served as program director and pianist for Boston Ballet before being selected to participate in the Orchestra Management Fellowship Program of the League of American Orchestras. As a fellow for the 1996–97 season, he worked with the CEOS of the San Francisco Symphony, the New Jersey Symphony, and the Indianapolis Symphony. He then served in the executive office of the New York Philharmonic.  

 

An accomplished pianist, Fleur received his bachelor’s degrees in economics and business from Boston University. He serves on the board of the Philadelphia Convention & Visitors Bureau and is deeply committed to the vital role of the arts in strengthening communities. He and his wife, Laura Banchero, a professional ballet instructor and former dancer, live in Bala Cynwyd and have two grown children.

 

The Philadelphia Orchestra and Ensemble Arts president and CEO search was facilitated by Isaacson, Miller.  

Bohème Out of the Box

San Francisco Opera´s traveling, condensed version of Puccini´s <i>La Bohème</i> will be on the move again starting next Saturday. The company still hasn´t managed to perform in Oakland. I would not be at all surprised if the dysfunctional city government is the reason.

If youŕe not able to get to one of these, remember, SFO is performing the full opera June 3-21 with two excellent casts.

BOHÈME OUT OF THE BOX

APRIL–JUNE 2025

 

BOHÈME OUT OF THE BOX runs approximately 60 minutes with no intermission and features piano accompaniment. Performed by San Francisco Opera Adler Fellows and guest artists in Italian. Live English supertitles will be available via personal mobile devices.

 

FIRST ACT WORKSHOPS:  Families with young children are invited to participate in free First Act Workshops 30 minutes before showtime at all Bohème Out of the Box performances.

 

REGISTRATION:  Bohème Out of the Box is a free event. Registration at sfopera.com/box is now available and encouraged but not required, except for Hidden Villa/Los Alto Hills (where advance registration is required if driving your own car to the Los Altos Hills venue).

 

ADMISSION/SEATING is on a first-come, first-served basis.

 

FOOD AND BEVERAGES will be available for purchase at many of the locations or nearby, and audiences are welcome to bring their own food and beverages to enjoy during the shows.

 

In the event of inclement weather, these outdoor performances may be cancelled or delayed. Register at sfopera.com/box to receive updates or follow @sfopera on Instagram and Facebook. Casting and schedule subject to change. For more information, visit sfopera.com/box.

 

SAUSALITO

Saturday, April 26 at 2 p.m.
Sunday, April 27 at 2 p.m.

 

Parking Lot #2, next to the Sausalito Center for the Arts
50 Humboldt Avenue
Sausalito, CA 94965

 

Steps from the picturesque waterfront, Bohème Out of the Box comes to Bridgeway in iconic downtown Sausalito. Presented in partnership with the Sausalito Parks & Recreation Department and the Sausalito Center for the Arts, performances will be held in the parking lot next to the Sausalito Center for the Arts, where guests can visit the gallery space showcasing the work of over 250 artists from the Marin Open Studios. The venue is a short walk from the Sausalito Ferry Terminal, with service to/from San Francisco offered by Blue & Gold Fleet and Golden Gate Ferry. Paid public parking lots border the venue, and a dedicated ride share/taxi drop off area is located on Anchor Street. Guests can pack a picnic or purchase food from nearby restaurants.

 

Chairs will be provided at the parking lot performance location (available on a first-come, first-served basis), and audiences are encouraged to bring their own seating.

 

SAN RAMON

Thursday, May 1 at 12:30 p.m.

Alexander Square at City Center, Bishop Ranch
6000 Bollinger Canyon Road
San Ramon, CA 94583

Experience the magic of Bohème Out of the Box at City Center Bishop Ranch, presented in partnership with the City of San Ramon. Set in the square of this modern shopping and dining destination, the lunchtime performance offers the perfect setting for families and professionals, surrounded by stylish shops, diverse dining and open-air seating. Ample parking is available, and audiences can purchase food and beverages from one of the numerous eateries onsite.

Bring a picnic blanket to enjoy the performance on the shaded artificial lawn area or use the provided folding chairs (camp chairs and other outside seating are not allowed).

 

LOS ALTOS HILLS

 

Saturday, May 3 at 2 p.m. (arrive by 1:30 p.m. if driving own car)
Sunday, May 4 at 2 p.m. (arrive by 1:30 p.m. if driving own car)

 

Due to parking logistics, registration, parking fee and early arrival are required (for this venue only) if driving own car. For more information and to register, visit sfopera.com/box.

 

Hidden Villa
26870 Moody Road
Los Altos Hills, CA 94022

 

Hidden Villa is a scenic working farm and wilderness preserve dedicated to environmental education, social justice and sustainability. Set against a backdrop of rolling hills, organic gardens and peaceful trails, the venue offers a unique opportunity to enjoy the performance in a beautiful, rustic setting. Guests are encouraged to arrive early to explore the property, attend the family workshop and enjoy a picnic.

 

Hidden Villa is most easily accessible by car and event parking is only available on the property itself. As parking capacity is limited, guests are required to register and pay a $10 parking fee in advance of arrival, unless arriving by bike, hike or rideshare. A limited number of nearby parking spots will be available on a first-come, first-served basis for those needing accommodations due to mobility issues. Please note cell phone service is limited or unavailable in various parts of the property.

 

The performance will take place on the field next to the Dana Center. Guests should bring their own picnic blankets or camp chairs; a few picnic tables are available on a first-come, first-served basis.

 

HAYWARD

Saturday, June 28 at 2 p.m.
Sunday, June 29 at 2 p.m.

Heritage Plaza 
835 C Street
Hayward, CA 94541

Presented in partnership with the Hayward Public Library, Bohème Out of the Box travels to Heritage Plaza, a vibrant community gathering space surrounded by greenery and downtown amenities in the heart of downtown Hayward. This outdoor performance offers an accessible and engaging cultural experience for all ages that can be combined with a visit to the Saturday Farmers Market, exploring the Hayward Public Library or enjoying a day out with family.

 

The venue is a short walk from the Hayward BART station and AC Transit routes stopping at Mission Blvd and C Street (10, 28, 60, 93, 95, 99 and 801).

Seating will be on a grassy lawn and guests should bring picnic blankets or their own seating.

Museum Monday

Sentinel

Simone Leigh, 2022

National Gallery of Art

Washington, DC

April, 2025

 

Friday Photo

Crucifix, with mourning Virgin Mary, John the Evangelist,

two angels and a kneeling donor

Master of Montelabate

Italian, c. 1285

Philadelphia Museum of Art

April, 2025

 

Museum Mondays

Reliquary bust of a Benedictine nun, c. 1500

Possibly St. Scholastica

Philadelphia Museum of Art

April, 2025

 

Death of Classical

Photo courtesy of Death of Classical

Death of Classical, the marvelous New York City organization presenting concerts in churches, cemeteries, and crypts, has announced its 2025 season. Many marvels await you if you're in the area. I wish I could see...all of these, because I love cemeteries, crypts, and churches.

May 7-9 2025
THE CRYPT SESSIONS @ CHURCH OF THE INTERCESSION
 

Schubert Final Sonatas + New Commissions

Jonathan Biss

• May 7: Schubert Piano Sonata in C minor, D.958 + Tyson Gholston Davis ...Expansions of Light (NY Premiere)
• May 8: Schubert Piano Sonata in A Major, D. 959 + Alvin Singleton Bed-Stuy Sonata (NY Premiere)
• May 9: Schubert Piano Sonata in B flat Major, D. 960 + Tyshawn Sorey For Anthony Braxton (NY Premiere)

May 23 2025 (Rain Date: May 24)
THE ANGEL'S SHARE @ GREEN-WOOD CEMETERY
 

Cocktails, Comestibles & Callas

Artists from The Metropolitan Opera's Lindemann Program and Laffont Competition  

May 29 2025
THE CRYPT SESSIONS @ CHURCH OF THE INTERCESSION
 

ad tendo

Simone Porter

May 29 2025
THE CRYPT SESSIONS @ CHURCH OF THE INTERCESSION
 

ad tendo

Simone Porter

July 23 2025
L'ALLIANCE (22 E 60th St)
 

Versailles in New York

The Versailles Royal Opera Orchestra 

September 4-6 2025
THE ANGEL'S SHARE @ GREEN-WOOD CEMETERY
 

Beethoven: String Quartet Op. 131

Ariel Quartet

October 1-3 2025
THE ANGEL'S SHARE @ GREEN-WOOD CEMETERY
 

Paola Prestini: Houses of Zodiac

Jeffrey Zeigler, Dai Matsuoka, Georgina Pazcoguin, Maria Popova

October 16 & 17 2025
THE ANGEL'S SHARE @ GREEN-WOOD CEMETERY
 

Nightfall

October 28 & 29 2025
THE CRYPT SESSIONS @ CHURCH OF THE INTERCESSION
 

Schubert Cello Quintet

The Parker Quartet with Jay Campbell

November 19-21 2025

The Crypt Under the Cathedral of St. John the Divine

December 2-4, 2025
THE CRYPT SESSIONS @ CHURCH OF THE INTERCESSION
 

The Little Match Girl Passion

Ekmeles

Friday Photo

Fish and octopus for sale

Pike Place Market, Seattle

January, 2025

 

Museum Mondays

Chinese Zodiac Animals, c. 1848

Museum of International Folk Art, Santa Fe, NM

August, 2024

 

Friday Photo

Berkeley Tesla Showroom Protest

March 29, 2025

 

Belated Museum Mondays

From La Cartonería Mexicana, an exhibit of Mexican paper and paste art

Museum of International Folk Art, Santa Fe, NM

August, 2024

 

Leif Ove Andsnes at Cal Performances

 

Leif Ove Andsnes

(photo credit: Helge Hansen, courtesy of Cal Performances)

I have a soft spot in my heart for offbeat repertory, the works you never hear or that are comparatively rare, works that I've never heard. And it's a plus when a famous musician who could play nothing but core repertory goes out of his way to play some rarities.

Leif Ove Andsnes's recital at Cal Performances last night, April 1, had two rarities on the first half, sonatas by Norwegian composers. These were Edvard Grieg (his early Op. 7, written in 1865 when he was 22) and Geirr Tveitt, whose Op. 129 was his twenty-ninth piano sonata. 

The Tveitt comes with a sad story: in 1970, the composer lost an estimated 70% of his work to a terrible fire. Let that sink in: 70% of his life's work gone. Somehow 70% of his work had never been published, and also there weren't copies anywhere else. 

The second half of the concert was Chopin's 24 Preludes, Op. 28, and, well, one major takeaway from the concert was the obvious fact that Chopin was a towering composer, and Grieg and Tveitt were not.

The Grieg is amiable enough, in four tuneful, pleasant movements, sometimes better than that, but not in a class with the truly first-class composers of the Romantic period. 

As for Tveitt: a friend was a big fan, to the extent that he kept a stack of Naxos recordings around to hand out to friends. I have one of those CDs, and while I haven't heard it in many years, what I remember is that the orchestral suites on it are amiable settings of folk songs. (Looking at the cover and contents, yes, that's exactly what it is.) They're competently composed enough but didn't make much of an impression on me. As I said to a different friend yesterday, hearing Tveitt for the first time is not like hearing Messiaen or Leifs or Janáček for the first time, where their artistic personalities make an immediate and unforgettable impression.

The Tveitt sonata has its moments, particularly in the last of the three movements, and Andsnes made the most of them, particularly the dramatic ending. The first movement has a lot of what I would call obsessive - but not very interesting - repetition in the right hand, with countermelodies in the left. 

Then came the Chopin, and here I have to say that Andsnes played well, but his style is not what I want to hear in this music*. He used an awful lot of pedal, which resulted in more blurriness in fast passages than I prefer. And his style of rubato is to vary the tempo but keep the hands aligned. I'm a big fan of the other, older, style, where the melody floats independently above the accompanying figures.

Andsnes was certainly accurate, and his voicing was often beautifully clear. But his overpedalling blurred the distinctions among the faster preludes. Too much of the excitement of the Chopin came from speed and loudness rather than from the phrasing, which I found too prosaic. I would have preferred, how can I put this, more schmalz, more heart. My favorite of the Preludes in no. 17 in A-flat major, perhaps the most nostalgic of the set, and it did not affect me as I would have liked it to.

Overall, the Chopin was good, but not great, not breathtaking, not as colorful or deeply emotional as these works can be. And Andsnes's encore, Debussy's "La cathédrale engloutie," (The drowned cathedral) from the composer's own set of Preludes, Book 1, was, again, good, but not as memorable as Cédric Tiberghien's encore last year at SFS following the Ravel G major piano concerto.

Elsewhere:

• Joshua Kosman, On a Pacific Aisle. "Tuesday night's potent recital...was the first time I'd hear
   him perform in a number of years, and it was both a thrill and a reproach."
• [SFCV review to come]

* Most of my favorite Chopin composers are long gone, people like Koczalski, Tiegerman, Friedman, Paderewski, etc. Shura Churkassky lived into the 1990s, though.

Israel Philharmonic in California

The Israel Philharmonic visited California last week. I saw them in 2022 on their previous swing through the U.S., and I was not thrilled with what I heard. I didn't much care for Lahav Shani's conducting and thought the orchestra too loud and undisciplined. There were a few protesters outside.

I was out of town when they played at Davies and wouldn't have gone anyway, but I pass on the reports of their performances here and in Orange County. The protests, unsurprisingly, were much, much bigger, in light of Israel's ongoing assaults on Gaza, which have results in 50,000 deaths and entire cities pulverized. I don't care if you call it genocide or war crimes; it shouldn't be happening. (Neither should Hamas's October 7, 2023 murders, of course. Israel's response has been disproportionate, same as the U.S.'s destruction of Iraq over the crime of 9/11.)

• Rebecca Wishnia, SFCV, reviews the concert and reports on the protests
• Joshua Kosman, On a Pacific Aisle, discusses the protests and why he protested instead of attending the concert
• Timothy Mangan, Culture OC, reviews the concert and reports on the protests

Friday Photo

View of the Calistoga Pioneer Cemetery

March, 2025

 

San Francisco Symphony 2025-26

Davies Symphony Hall

Photo by Lisa Hirsch

Well, SFS's 2025-26 season dropped last week. I started buying a more or less full subscription when Salonen arrived, despite my status as a member of the press, and today I called the SFS box office and told them I wouldn't be renewing.

I don't know what the hell they were thinking when they put this season together. 

To start with, I have to assume that a bunch of programs originally assigned to Esa-Pekka Salonen were redistributed to other conductors. We know, for example, that the SFS music director typically conducts the gala, the first several weeks of programs, and the last several weeks of programs. That concert in June with Stephane Deneve leading two French works with major organ parts, both played by Olivier Latry? I would bet $100 that it was originally a Salonen concert and that one work on it was his own organ concerto, because Latry has played it with Salonen conducting. That concert in late September with Donald Runnicles, consisting of Mahler 6 and Berg songs? I leave more of this game to you.

To continue, what the actual fuck with the "focus on Beethoven and Mozart"? Four Beethoven symphonies will appear this season, conducted by Jaap van Zweden, James Gaffigan, and John Storgårds. 

And for some reason, they decided that van Zweden will conduct a full cycle of the Beethoven symphonies over three seasons. He is leading a total of four concerts in 2025-26, and....I don't get it. I've seen him conducted live twice, once with the CSO and once with SFS, and thought he did not have any special insights into what he led. I also reviewed his recordings of Das Rheingold and Die Walküre (note that at that time he had never conducted a staged Wagner opera, only in concert) for the Wagner Society journal, and declined to continue with Siegfried and Götterdämmerung. 

It's worth noting that Gaffigan gets three concerts. I know that some of the undoubted scramble to find guest conductors, 23 of them, depended on who was available when. I hesitate to read too much into how this shook out, except maybe for the apparent commitment to van Zweden over three seasons.

It is so much a season of dead white men: do we really need the fourth performance in the last five years of Beethoven's 9th, previously performed by Xian Zhang, MTT, and Daniel Stewart, or the fourth performance of Dvořák's Symphony No. 9, From the New World, previously conducted by Xian Zhang, Joshua Weilerstein, and Dalia Stasevska?

No. We do not. And yet here it is.

Some statistics about the season (you bet I'm glad I hung onto that schedule for 2014-15):

• 49 composers whose works are performed, of whom....
• 37 are dead white men, 12 aren't
• 1 is a dead black man (Duke Ellington)
• 1 is a dead white women (Barbara Strozzi)
• 2 are living Black men
• 1 is a living Iranian-Canadian man
• 1 is a living Hispanic man
• 4 are living white men
• 2 are living white women
• In terms of number of works by a single composer:
• Mozart: 8 (this includes a big all-Mozart program conducted by Harry Bicket, featuring the wonderful soprano Golda Schultz)
• Beethoven: 5
• J.S. Bach: 4
• Dvořák: 4
• Tchaikovsky: 4
• Prokofiev: 3
• Saint-Saëns: 3
• Gershwin, Mahler, Ravel, Shostakovich: 2 each
• 26 weeks of orchestra series concerts, down from 28 last season and a staggering 39 in 2014-15. I have to note that 2014-15 included the big MTT Beethoven festival, which included several one-off programs, Fidelio, the staged Missa Solemnis, and other great stuff.
• Women conducting in the orchestral series next season: 4 (Canellakis, Young, Glover, Lu)
• 10 chamber music concerts, same as last year.
• 8 Great Performers concerts, down from 10 last year and 15 in 2014-15
• Two chamber orchestras are visiting, but no full-sized orchestras
• 8 special events, including the June program with Yo-Yo Ma, the opening gala and more.
• Prices are eye-watering for Ma, going up to $420, and gosh, $89 for a single ticket in the second tier to see a film with live orchestra.

Honestly, it feels as though MTT and Esa-Pekka Salonen never set foot in Davies.

Media round-up:

• Lisa Hirsch, S.F. Chronicle news report
• Joshua Kosman, S.F. Chronicle rant analysis. You'll be shocked, shocked, to hear that I agree with every word and punctuation mark.
• Janos Gereben, SFCV
• Gabe Meline, KQED. His headline says it all: "San Francisco Symphony Announces 2025–26 Season of ‘Just Play the Hits’"

I don't disagree with either Janos or Joshua that there are bright spots in the season, from Gabriella Smith's SoundBox to Mahler by Donald! Runnicles! and Herbert Blomsted to the new work by Outi Tarkiainen to the Ibert flute concerto with the fabulous Yubeen Kim. But still. Who planned this thing? And, you know, here's what Matt Spivey, CEO (and former artistic administrator) said about the music director hunt:

“Most importantly, we’re looking for someone with exceptional talent and a strong artistic vision who will inspire our musicians, audiences and community,” Symphony CEO Matt Spivey told KQED on Wednesday. “We can’t share more specifics while the search is underway, but we’re looking forward to sharing more when we’re ready to make an official announcement.” 

Seriously, folks: you had someone who met those criteria and you let him go.
 

21V present Promise & Peril

21V, a chorus of only adult treble voices, has a concert coming up. It's called Promise and Peril, and it will include several world premieres.

WHEN & WHERE: 

Friday, April 4, 2025 at 8:00 p.m.
Old First Presbyterian Church
1751 Sacramento St, San Francisco

Saturday, April 5, 2025 at 4:00 pm (panel discussion at 3:00 pm)
Berkeley Hillside Club
2286 Cedar St, Berkeley

TICKETS: $30 or Choose Your Own Price (in person); $20 Livestream (online, 4/4 only)

MORE INFO:Promise & Peril

The world premieres are:

• "I Speak of Blood" by Eric Tuan (commissioned by 21V): A poignant reflection on Silicon Valley's labor disparities, setting the powerful poetry of Foxconn worker Xu Lizhi, who died by suicide in 2014.
• "The Future of Intelligence" by Karen Siegel: an exploration of AI's ethical implications, with text co-created with ChatGPT.
• "Amor, Cuidado, Futuro" by Juan Stafforini: an evocative piece addressing global childhood inequalities in Native-American languages.

 

Belated Museum Monday

Picture frame detail

Titan, Portrait of a Man in Armor

Armand Hammer Museum, Los Angeles

December, 2024

 

Friday Photo

Greenhouse

Royal Botanical Gardens, Kew

July, 2024

 

Museum Mondays

Virgin and Child; the Child holds a goldfinch,

symbolizing Christ's Passion

Fitzwilliam Museum, Cambridge, UK

July, 2024