There was a movement in the past decade to declare 1 April Whan That Aprille Day, kicking off national poetry month (the cruelest month, of course!) with a day celebrating "ancient, archaic, & 'dead' languages": I don't know if it's still happening, though of course all it takes to make it happen is to celebrate, if only by reading silently to yourself, some work that fits the aforementioned language categories. I didn't get it together either this year or last, but here are my previous entries. & 23 April is, of course, the traditional birth- & death-date of Shakespeare; though for reasons not clear to me the day is not yet a holiday in all English-speaking countries, you can always celebrate by picking a play to see or read: it's not easy to single out a bright particular star in the Shakespearean heavens, but you could always get a jump on the San Francisco Opera's centennial season by reading Antony & Cleopatra.
Operatic
Artistic Director Richard Egarr leads Philharmonia Baroque & an outstanding cast (including countertenor Iestyn Davies) in Handel's Radamisto, directed by Christophe Gayral on 20 & 22 - 24 April; in my opinion, this is as sure a thing as you can get with live performance, if you get to see it, as I will not, as it is only being performed at Bing Concert Hall at Stanford. For a non-driver in the East Bay like me, that's pretty much out of bounds. PBO also limited Matthew Aucoin's The No One's Rose to Bing performances; otherwise that would have been my first post-lockdown performance. I considered not listing Radamisto, as one of my guidelines here is usually "Is this something I can get to?", but my love of Handel won out. Also, I'm going to complain, something I love nearly as much as Handel – well, not complain exactly; I understand why a company could perform a regular concert in four separate venues in one week but couldn't do the same for a staged opera. I guess this is more in the nature of lamenting my cruel destiny? – which is more in line with baroque opera anyway. I do have generous friends who offer to drive me places, but I always feel it needs to be a place that, in case of emergency, I can get to & from myself. & though I realize I can seem a bit . . . shall we just say disengaged from daily life? yes, let's go with disengaged!, it always surprises me how many people assume I have never heard of such innovations as Uber or Lyft or even taxis. Bing Concert Hall itself was the occasion of an insane conversation with a friend who had fond memories of some concerts there & insisted I could get there with a bit of effort. When he went to Bing he was living in what he described as the "cultural wasteland of San Jose" & he also had a car. After I pointed out reasonable objections to all his suggestions, he finally started telling me I could take BART to some unspecified station near the Dumbarton Bridge & I guess Uber to Bing from there – & then repeat the whole process in reverse, possibly late at night. (This is enough of a detour without my swerving off into the current state of BART, but that's just one of several reasons the conversation was, as I said, insane.) I kept pointing out various difficulties – again, do people not think I think these things through? – & finally he said, "Well, that's a choice you're making!" Exactly, I responded: That is a choice I'm making. I know there's a way. Of course there's a way! There's always a way! I could probably walk to Palo Alto if I started early enough. The question is always: is this worth the cost in time, money, & effort? There is always, after all, something else to do. & though I have no doubt Radamisto will be fabulous & well worth a reasonable amount of effort, I'm afraid the magic will have to happen without me.
West Edge Opera's Snapshot Festival, featuring scenes from operas-in-progress, returns to the Taube Atrium Theater on 9 - 10 April, with selections from Remembrance (Jean Ahn, composer & librettist), Cristina Doesn’t Need Saving (Gabrielle Rosse, composer & librettist), The Dark Horse (Cesar Cancino, composer, & Scott DeTurk, librettist), Lilith (Michael Kaulkin, composer & librettist), & The School for Girls who Lost Everything in the Fire (Ryan Suleiman, composer, & Cristina Friès, librettist).
The San Francisco Conservatory of Music presents Handel's Giulio Cesare on 9 and 10 April.
The San Francisco Conservatory of Music presents The Enchanted Pig, with music by Johnathan Dove and book by Alasdair Middleton, on 28 and 29 April.
Theatrical
It's always good news when you can see something by Annie Baker, & San Francisco's Custom Made Theater is offering Circle Mirror Transformation from 25 March through 16 April.
The New Conservatory Theater Center presents a rolling world premiere of Yilong Liu's PrEP Play; or, Blue Parachute, directed by Adin Walker, about a contemporary young man who time-travels back to the height of the AIDS epidemic with the help of some sentient medication; that's 1 April to 8 May.
At the Oakland Theater Project from 8 April to 1 May, you can see the west coast premiere of Celine Song's Endlings, directed by May Liang, about a trio of elderly Korean women who are the last to practice their traditional way of sea-harvesting.
Starting 15 April, Aurora Theater presents The Incrementalist by Cleavon Smith, directed by Dawn Monique Williams; it's an examination of the different approaches to working for social justice.
The African-American Shakespeare Company presents Naomi Iizuki's modern verse adaptation of Richard II, directed by Peter Callender, at the Marine's Memorial Theater from 16 April to 1 May.
Octet, a Chamber Choir Musical by Dave Malloy (who also did Natasha, Pierre & The Great Comet of 1812), directed by Annie Tippe, arrives at Berkeley Rep on 20 April & plays through 29 May – it's a little difficult to tell from the write-up, but it sounds like A Chorus Line for choirs.
42nd Street Moon presents Fun Home (music by Jeanine Tesori, lyrics & book by Lisa Kron, based on Alison Bechdel's graphic novel memoir), directed by Tracy Ward with Music Director Dave Dobrusky & choreographer Natalie Greene, at the Gateway Theater from 21 April to 8 May.
Cal Performances presents the Bay Area premiere of a work they commissioned, Angélique Kidjo’s Yemandja (named for a Yoruba deity associated with water, the moon, and women's lives); Kidjo wrote the music & stars in the show, & the libretto is by her daughter, Naïma Hebrail Kidjo, and you can experience it 23 April at Zellerbach Hall.
Talking
Celebrate National Poetry Month on 20 April by going to City Arts & Lectures to hear Billy Collins, reading from & discussing his latest book, Whale Day, as well as his earlier works.
Vocalists
Dianne Reeves sings at the SF Jazz Center from 1 to 3 April.
The San Francisco Opera's Schwabacher Recital series has two concerts this month, both at the Taube Atrium Theater in the War Memorial Complex: on 6 April, mezzo-soprano Ashley Dixon & pianist Kseniia Polstiankina Barrad will perform pieces mostly from the Spanish & French repertoire, including Debussy, Hahn, de Falla, & Carlos Guastavino; on 27 April, soprano Esther Tonea, baritone Timothy Murray, bass Stefan Egerstrom, & pianist Andrew King will perform works by Sibelius, Rachmaninoff, Korngold, & Tom Cipullo.
Cal Performances presents mezzo-soprano Jamie Barton with composer Jake Heggie on piano at Hertz Hall on 3 April, when they will perform songs by Purcell, Schubert, Florence Price, Brahms, & Heggie himself, including the west coast premiere of What I Miss the Most. . . ., a new song cycle setting texts by Joyce DiDonato, Patti LuPone, Sister Helen Prejean, Ruth Bader Ginsburg, and Kathleen Kelly.
Baritone Matthias Goerne and pianist Seong-Jin Cho come to San Francisco Performances & Herbst Theater on 9 April, when they will perform music by Pfitzner, Wagner, and Richard Strauss.
Old First Concerts presents mezzo-soprano Laure de Marcellus & pianist Alberto Urroz on 8 April, performing works inspired & composed by Pauline Viardot.
The American Bach Soloists Artist Showcase Series features mezzo-soprano Sarah Coit with pianist Steven Bailey on 10 April at the Green Room of the San Francisco War Memorial complex, where they will perform works ranging from Handel, Monteverdi, & Vivaldi to Dominick Argento's song cycle From the Diary of Virginia Woolf.
I'm putting this under Vocalists rather than Instrumental as he is so famed as an accompanist: Martin Katz will be giving a Master Class at the San Francisco Conservatory of Music on 13 April. This is as good a place as any to mention that the Conservatory has a full schedule of student recitals, ranging from instrumentalists to singers to composers, often for free or at minimal cost, & if the Conservatory is easy for you to get to & you like hearing the future, it's worth keeping an eye on their performance calendar.
Choral
Lynne Morrow leads the Oakland Symphony Chorus in the Spring Chorus Concert: Passover Eastertide & Liberation featuring music by Handel & Bach, spirituals, & other reviving & seasonally appropriate numbers, including the debut of choral excerpts from Paul Moravec’s Sanctuary Road, & you can hear it all at Oakland's Cathedral of Christ the Light on 9 April.
Robert Geary & the San Francisco Choral Society will perform Handel's Dixit Dominus & a world premiere by Chiayu Hsu on 29 - 30 April (venue listed as TBA).
Orchestral
The San Francisco Conservatory of Music presents Jaco Wong's conducting recital, Inkling / Pictures at an Exhibition: Multimedia Orchestra Experience, on 3 April; incorporating abstract animation & electroencephalography (EEG) technology & positioning the performers around the space, Inkling (a new piece by Wong, with the collaboration of animator Evan Tedlock & neuroscientist Enrique Vargas) is "an immersive representation of the neural processes during an artist’s creative state"; that will be accompanied by Ravel's orchestration of Mussorgsky's Pictures at an Exhibition, along with projections of the Viktor Hartmann paintings that inspired the original. Unfortunately the event is not at the Conservatory itself but at Fort Mason, which is much more difficult to get to, but of course YMMV.
Here are the orchestral offerings at the San Francisco Symphony, this month: on 7 - 9 April, Giancarlo Guerrero leads the band in the SFS premiere of Adolphus Hailstork's An American Port of Call, the world premiere of SFS commission Triathlon, Concerto for Saxophonist and Orchestra (with Timothy McAllister on saxophone) by John Corigliano, and the SFS premieres of Mediodía en el Llano by Antonio Estévez and Sinfonía Buenos Aires by Astor Piazzolla (Daniel Binelli on bandoneon); on 21 - 24 April, Gustavo Dudamel conducts the Mozart 38, the Prague, & the Mahler 5; and on 28 - 30 April, Klaus Mäkelä conducts the SFS premiere of Perú Negro by Jimmy López Bellido, the Berg Violin Concerto (with soloist Vilde Frang), & the Shostakovich 10.
Cal Performances presents John Eliot Gardiner and the English Baroque Soloists performing the Haydn 103, the Drumroll, the Mozart 39, and Mozart's Sinfonia Concertante for Violin, Viola, and Orchestra in E-flat major, K 36 (featuring Kati Debretzeni on violin and Fanny Paccoud on viola) on 10 April in Zellerbach Hall.
On 22 April at the Paramount, Nicholas McGegan leads the Oakland Symphony in Libby Larsen's Evening in the Palace of Reason, Mozart's Violin Concerto 5, the Turkish (with soloist Natasha Makhijani), & Mendelssohn's A Midsummer Night’s Dream Suite (with narrator Ellen Geer).
Ben Simon & the San Francisco Chamber Orchestra close their season with Vaughan Williams's The Lark Ascending (with concertmaster Robin Sharp as the violin soloist), the Beethoven 7, & the world premiere of Michael Gilbertson's Denial, featuring Volti & the Piedmont East Bay Children's Choir, along with Diana Woolner's The Fire Cycle & Frank Ticheli's Earth Song (both featuring Volti); & you can hear it all on 22 April at Herbst Theater in San Francisco, 23 April at First United Methodist in Palo Alto, & 24 April at First Congregational in Berkeley.
On 23 April at the San Francisco Conservatory of Music, Edwin Outwater leads the SFCM Orchestra, along with the San Francisco Girls Chorus, the San Francisco Boys Chorus, & members of the SFCM Conservatory Chorus, in the Mahler 3.
Chamber Music
The San Francisco Symphony offers a couple of chamber music concerts this month: on 3 April at the Legion of Honor's Gunn Theater, Alexander Barantschik (violin), Peter Wyrick (cello), and Anton Nel (piano) will perform works by Bach & Beethoven; also on 3 April, but this time at Davies Hall, members of the Symphony will perform works by Gabriela Lena Frank, Undine Smith Moore, Joan Tower, and Astor Piazzolla (arranged by Clint Edwards).
San Francisco Performances presents the Ébène Quartet at Herbst Theater on 5 April, playing works by Haydn & Janáček, as well as what they describe as "arrangements of jazz standards".
The Catalyst Quartet continues its series featuring underplayed music for San Francisco Performances; joined by pianist Michelle Cann, they perform an all-Florence Price concert at Herbst Theater on 7 April.
Cal Performances presents the Vienna Piano Trio playing Schubert's two piano trios on 9 April at First Congregational in Berkeley.
The San Francisco Symphony presents violinist Randall Goosby & pianist Zhu Wang on 13 April in Davies Hall; they will be playing pieces by Dvořák, Grieg, & William Grant Still.
The San Francisco Symphony presents violinist Noa Wildschut and pianist Elizabeth Brauß at Davies Hall on 20 April, when they will play works by Mozart, Ravel, Joey Roukens, and Paul Schoenfield.
Old First Concerts presents the Graber/Artmann/Stenberg Trio (pianist Miles Graber, cellist Mary Artmann, violinist Kate Stenberg) on 22 April, when they will play piano trios by Ravel, Rebecca Clarke, & Shostakovich.
On 23 April Cal Performances presents the Tetzlaff Quartet at Hertz Hall, where they will play music by Haydn, Berg, and Brahms.
The San Francisco Symphony presents siblings Sheku Kanneh-Mason (cello) & Isata Kanneh-Mason (piano) at Davies on 24 April, when they will play pieces by Shostakovich, Britten, Frank Bridge, and Karen Khachaturian.
The Danish String Quartet returns to Cal Performances and Zellerbach Hall on 29 April to play Schubert's Death & the Maiden quartet, along with a new piece (a Bay Area premiere & Cal Performances co-commission) by Lotta Wennäkoski.
On 30 April San Francisco Performances completes its Saturday morning lecture series at Herbst Theater with musicologist Robert Greenberg and the Alexander String Quartet exploring the chamber music of Dvořák with the discussion & performance of the String Quartet in G Major, Opus 106 and the String Quartet in A-flat Major, Opus 105.
Instrumentalists
Several classical guitarists visit San Francisco Performances & Herbst Theater this month: on 2 April, David Russell performs works by Sor, Domenico Scarlatti, Albéniz, Kuhnau, Lackenbacher, & Morel; on 8 April, the Romeros perform works by Lorente, Granados, Barrios, Albéniz, Tarrega, Boccherini, de Falla, Bizet, Sor/Montell, Iradier, Celedonio Romero, Gimenez, and Pepe Romero.
The San Francisco Symphony presents pianist Yuja Wang in a solo recital in Davies on 3 April; the program has not yet been announced.
Chamber Music San Francisco presents pianist Tiffany Poon at Herbst Theater on 3 April, when she will play pieces by Scarlatti, Beethoven, Chopin, & both Schumanns.
On 12 April, Chamber Music San Francisco presents pianist Alexander Gavrylyuk at Herbst Theater, where he will play works by Beethoven, Chopin, Liszt, Debussy, & Rachmaninoff.
The San Francisco Symphony presents An Evening with Itzhak Perlman at Davies on 18 April; accompanied by pianist Rohan De Silva, Perlman will tell stories & play as-yet unannounced repertory on his violin in a multi-media presentation.
Pianist Emanuel Ax brings an all-Chopin program to Herbst Theater on 24 April, presented by Chamber Music San Francisco.
Cal Performances presents pianist Daniil Trifonov in Zellerbach Hall on 28 April, where he will perform pieces by Prokofiev, Szymanowski, Debussy, and Brahms.
Early / Baroque Music
The San Francisco Early Music Society presents Tabea Debus (on recorder) & Paul Holmes Morton (lutenist) in Ode to an Earworm, exploring several centuries of the phenomena as found in Handel, Corelli, Purcell, Dowland, Monteverdi, & more; & you can catch them on 8 April at First Presbyterian in Palo Alto, 9 April at Saint Mark's Episcopal in Berkeley, & 10 April at Saint Mark's Lutheran in San Francisco.
San Francisco Renaissance Voices presents an evening (23 April) of Renaissance Song at Lakeside Presbyterian in San Francisco, where soloists Christine Brandes (soprano), Liesl McPherrin (soprano), Kyle Tingzon (countertenor), & Steven Lehning (viola da gamba), Paul Holmes Morton (lute), & Don Scott Carpenter (piano) will perform music by John Dowland, Luca Marenzio, David Ashley White, & others.
Jeffrey Thomas & American Bach Soloists explore the Pious & Profane through the music of Gabrieli, Monteverdi, Biagio Marini, Giovanni Legrenzi, & Isabella Leonarda, & you can hear the results 29 April at Saint Stephen's in Belvedere, 30 April at First Church in Berkeley, 1 May at Saint Mark's in San Francisco, & 2 May at Davis Community Church in Davis.
Modern / Contemporary Music
The San Francisco Contemporary Music Players have a couple of offerings this month: on 2 - 3 April at the ODC Theater in San Francisco, they present How Music Is Made, exemplified through works by Gubaidulina, Amadeus Regucera (his work inspired by Filipino writer José García Villa), Du Yun, & David Chisholm; then on 21 April at The Lab in San Francisco, a venue which allows SFCMP to perform in conjunction with modern visual arts, they will perform works by Gubaidulina, August Read Thomas, Gabriela Lena Frank, Libby Larsen, Julia Adolphe, & Erwin Schulhoff.
On 3 April, the Center for New Music hosts guitarist Aaron Larget-Caplan in a solo turn titled Inward Expanse, using electronics as well as the guitar to explore "one’s position in daily life from mystical, scientific, and cerebral perspectives", including music by Tom Flaherty, Lainie Fefferman, & Lou Bunk, as well as selections from Larget-Caplan's New Lullaby Project by Antonio Celso Ribeiro, Brian Schrober, Laurie Spiegel, Anthony Green, Štěpán Rak, & Ken Ueno, as well as some of Larget-Caplan's John Cage arrangements.
A new ensemble, Stolen Time, makes its first-ever anywhere appearance at the Center for New Music on 8 April, performing works by Missy Mazzoli & Christopher Cerrone, as well as the world premiere of a work from Coral Douglas commissioned specifically for the ensemble, & finishing with "a special reimagining of Miles Davis’ seminal recording In a Silent Way by Stolen Time founder Bryan Lin".
The Kronos Quartet brings its annual festival back from 7 to 9 April at the SF Jazz Center; Program 1, on 7 April, opens with Janety, a world premiere work from Malian griot singer Hawa Kassé Mady Diabaté, written in honor of Kronos Manager Janet Cowperthwaite; then Artist-in-Residence Jacob Garchik joins Kronos on trombone and tuba for Upon a Star, a suite he arranged based on music from Spielberg films; and the concert ends with Cadenza on the Night Plain, written for Kronos by Terry Riley. Program 2, on 8 April, includes Peni Candra Rini’s Maduswara & Angélique Kidjo’s YanYanKliYanSenamido, as well as Oasis by Franghiz Ali-Zadeh, & Flow by Laurie Anderson, & concludes with the world premiere of My Lai Suite, adapted from composer Jonathan Berger & librettist Harriet Scott Chessman’s opera about Hugh Thompson & featuring vocalist Rinde Eckert and Vân-Ánh Võ, who performs on the đàn tranh (zither) & other traditional Vietnamese instruments. Program 3, on 9 April, opens with a separate afternoon concert, featuring Jacob Garchik's The Heavens: The Atheist Gospel Trombone Choir, a nine-part suite for trombones, tuba, and drums; the evening concert includes three world premieres – inti figgis-vizueta’s music by yourself, Aftab Darvishi's Where Is Your Voice (performed by singer Mahsa Vahdat), & Soo Yeon Lyuh's Tattoo (Extended Version), her response to an incident when someone fired a gun at her car – as well as Glass's Orion: China, featuring Wu Man on pipa, Gubaidulina’s Quartet 4, & Garchik’s Storyteller, featuring archival recordings of Pete Seeger.
yMusic comes to Cal Performances & Hertz Hall on 8 April, when they will perform works by Gabriella Smith, Missy Mazzoli, Judd Greenstein, the yMusic ensemble, and the west coast premiere of Andrew Norman's Difference (a Cal Performances co-commission). The group named itself yMusic because they are members of "Generation Y" & I have no idea what that means, other than that they're younger than I am.
Ensemble for These Times, in collaboration with the SF Conservatory of Music's Technology & Applied Composition Department, present Dark Universe / Mysterious Spaces, which will include six world premieres – by Vivian Fung, David Garner, Stephanie Neumann, Seo Yoon Soyoona Kim, Andrew Harlan, & Nicholas Denton Protsack – as well as works by inti figgis-vizueta, Milad Yousufi, & Eric Moe, along with a multimedia student composition competition, & that's at the Conservatory of Music on 9 April.
Old First Concerts presents Motoko Honda's program The Emergent Piano on 10 April, when she will perform her own music, with "stylistic influences ranging from jazz to Indonesian music and contemporary prepared & electrified piano".
The Left Coast Chamber Ensemble hosts a Clarinet Party, for which Left Coast's Jerome Simas will be joined by fellow clarinet players Jeff Anderle (founding member of Sqwonk & Splinter Reeds) & Carey Bell (principal clarinet for the SF Symphony) to perform Mozart’s Divertimento for 3 Basset Horns as well as an arrangement by Anderle of the song Zoetrope, the world premiere of a new clarinet work by David Garner, & music by Olly Wilson, Jesse Montgomery & Sebastián Tozzola, & that's 10 April at the Berkeley Hillside Club & 11 April at the San Francisco Conservatory of Music.
Other Minds presents Karen Power, who works with soundscapes, music with & versus "sound", & natural noises, at the Dresher Ensemble Studio in Oakland on 12 April.
Jazz & Traditional Music
San Francisco Performances presents trumpeter Sean Jones in Dizzy Spellz, an examination of the African diaspora through the lens of the life & music of Dizzy Gillespie; along with guest artists Brinae Ali (tap dancer/vocalist/flute), Zaccai Curtis (piano), Boris Kozlov (bass), Wendel Patrick (turntablist), and Obed Calvaire (drums), Jones will appear at Herbst Theater on 15 April.
The SF Jazz Center has a Joe Henderson Festival this month: on 21 April, Matt Renzi, a former student of Henderson's, plays his teacher's State of the Tenor; on 22 April, another former student, Kristen Strom, will play Henderson's & her own music; on 23 April, saxophonist Hitomi Oba revisits & reinterprets Henderson classics; & on 24 April, members of the SFJazz Collective join with faculty & students of the San Francisco Conservatory of Music's Roots, Jazz & American Music (RJAM) program to close out the festival.
Dakhabrakha brings new & old music of the Ukraine to the SF Jazz Center on 26 - 27 April (if you click through to the event page, you will find another link you could use to donate to the Kyiv-based group).
Saxophonist Ravi Coltrane explores the music of his parents, John & Alice Coltrane, at the SF Jazz Center from 28 April to 1 May.
Sam Reider & the Human Hands bring the acoustic love to the SF Jazz Center on 30 April.
Dance
ODC / Dance presents Dance Downtown, celebrating ODC's 50+ Anniversary with Investigating Grace & Speaking Volumes by ODC founder & Artistic Director Brenda Way, along with world premieres by guest choreographers Amy Seiwert & Dexandro Montalvo; & you can see it 31 March to 10 April at the Yerba Buena Center for the Arts.
Here's what's going on at the San Francisco Ballet this month: Program 5, made up of The Fifth Season (music by Karl Jenkins, choreography by Helgi Tomasson), Harmony (a world premiere with music by Rameau & choreography by Tomasson), and Magrittomania (music by Yuri Krasavin after Beethoven, choreography by Yuri Possokhov) runs 2 - 16 April; Program 6, made up of Prism (music by Beethoven, choreography by Tomasson), Finale Finale (a world premiere with music by Milhaud & choreography by Christopher Wheeldon), The Promised Land (a world premiere with music by Philip Glass, Rodrigo Sigal, Luke Howard, Kirill Richter, & Hans Zimmer & choreography by Dwight Roden) runs 6 - 15 April; a farewell evening for Sarah Van Patten, who has danced with SF Ballet for 20 years, will be held on 16 April, with a program featuring the Pas de Deux from Diamonds (music by Tchaikovsky, choreography by Balanchine), the Pas de Deux from Gabrielle Chanel (a North American premiere, with music by Ilya Demutsky & choreography by Possokhov), an excerpt from Wooden Dimes (music by James M. Stephenson, choreography by Danielle Rowe), the Balcony Pas de Deux from Romeo & Juliet (music by Prokofiev, choreography by Tomasson), & a special video commemorating her career; & the season closes out with Program 7, the always beloved Swan Lake (music by Tchaikovsky, choreography by Tomasson).
Smuin Ballet brings Dance Series 2 – PS Forever Smuin to the Yerba Buena Center Center for the Arts on 29 April - 1 May & 5 - 7 May (there are also dates in Mountain View & Carmel, which you can see if you click through); the program is Confessions (originally titled If I Were a Sushi Roll, with music by Nico Muhly & Teitur, choreography by Val Caniparoli), Renaissance (music by Kitka Women's Vocal Ensemble, choreography by Amy Seiwert), & a showcase of Smuin works featuring Tessa Barbour and Brennan Wall.
Visual Arts
Guo Pei: Couture Fantasy opens at the Legion of Honor on 16 April & runs through 5 September.
The Cartoon Art Museum hosts Gorey's Children, as shown in original art works & prints by Edward Gorey, through 5 June.
