Happy Epiphany/Twelfth Night/Feast of the Three Kings/Orthodox Christmas! A new year starts off, but we all know it’s really the halfway point in the theater year. . .
Helene Grimaud plays the Schumann Piano Concerto at the San Francisco Symphony today through Sunday; the program also includes Silvestrov’s Elegie and Rachmaninoff’s Symphonic Dances, Kirill Karabits conducting.
On Sunday, January 9, San Francisco Performances presents its annual concert of the Naumburg Competition winner, this time featuring pianist Soyeon Lee, with a fantastic program featuring Bach, Chin, Ligeti, Shostakovich, Ravel, and Schumann.
Cutting Ball Theater revives Eugenie Chan's Bone to Pick, with a new companion piece, Diadem, January 14 through February 13, with an interruption on Sunday afternoon, January 30, for their Hidden Classics Reading Series presentation of Plautus's The Braggart Soldier.
Philharmonia Baroque presents David Daniels in arias from Giulio Cesare, as well as Vivaldi’s Stabat Mater. There’s Telemann as well! January 15, 16, 18, and 21, in various locations, as is their wont.
The Berkeley Symphony has two concerts this month: on Thursday January 20, Joana Carneiro conducts the world premiere of Du Yun’s Mantichora, along with Messiaen’s Oiseaux exotiques (with pianist Natasha Paremski) and the ever-popular Pastoral Symphony by Beethoven and on Sunday January 16 they have a new music concert in their Under Construction series (details here).
Cal Performances presents An Evening with [the irresistible] Wallace Shawn: Real World, Fake World, Dream World on Sunday the 23rd. Jazz saxophonist Joshua Redman appears the night before. They are also having a winter sale through January 20th; details here.
Old First Concerts has several interesting offerings, including the Navitas Ensemble on Friday January 21, playing works by Bartok, Schulhoff, Schnittke, and Dohnanyi; and on Friday, January 28, CMASH, a “new-music repertory group” featuring soprano Ann Moss and pianist Steven Bailey, who will perform contemporary songs and song cycles by Matthew O’Malley, Liam Wade, Kurt Erickson, Miriam Miller, and Jake Heggie.
And on January 29, the San Francisco Ballet begins its season with Giselle.
2 comments:
Why does "Giselle" seem so incongruous in that long catalogue? And why aren't you excited by the All-Beethoven, All-Brahms programs the symphony is doing for the rest of the month?
She does seem rather forlorn, traipsing in last of all, dancing to her doom in the mists, off in her own little paragraph.
I kept wanting to work in that the original scenario was by Theophile Gautier, since there's a new edition of his poems coming out this month from Yale, and I keep meaning to read the copy of Mlle de Maupin I bought a couple of years ago, but it just ended up being too tangential even for me.
As for the Symphony -- excitement is a lot to ask from me. No disrespect was intended to Beethoven or Brahms, both of whom I love, or at least am extremely fond of. Would I go hear these concerts, and most likely end up enjoying myself? No doubt. Will I actually rouse myself to go hear them, knowing that they'll be back and time and money are limited? Probably not. But now I feel slightly guilty about it. Thanks!
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