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Author: Paul Hertelendy

THIRD SET OF PREMIERES: MORE BALLET DIVERSITY

THIRD SET OF PREMIERES: MORE BALLET DIVERSITY

The third segment  of the S.F. Ballet’s remarkable rapid-order clutch of a dozen world premieres this spring offered surprise and adventure. It showed in Program C that a traditional abstract ballet  can indeed radiate affection; that the SFB has an amazing roster of (unsung) males; and that an American troupe can hatch a first-rate Spanish ballet. The Spanish ballet created by Annabelle Lopez Ochoa rang with atmosphere and authenticity, displaying somber glimpses of the bullfight culture, with pas de deux…

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S.F. BALLET: NEW WORKS WITH STORY LINES, AND A TRUE BALLERINA

S.F. BALLET: NEW WORKS WITH STORY LINES, AND A TRUE BALLERINA

The stunning “Unbound” festival of the S.F. Ballet got added traction with its second program of premieres featuring inventive choreography, intriguing plot lines  and some brilliant dancing. We had barely voiced our complaints this week about sterile, plotless ballets than this fresh-baked cornucopia “Unbound B” arrived from the SFB, as if tailor-made to silence snarky critics. This is a program to see and see again before its May 4 bow-out, showing some of the best new dance creations and interpretations  of recent…

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BOUND TO OUR SMARTPHONES, SAYS WHEELDON IN DANCE

BOUND TO OUR SMARTPHONES, SAYS WHEELDON IN DANCE

Choreographer Christopher Wheeldon took on our smartphone mesmerization in his new social-critique ballet, “Bound to…” It was a memorable shot across the bow leading off the S.F. Ballet’s supremely ambitious “Unbound” festival of 12 premieres by  choreographers still under 50,  all unveiled in about a week. Ballet pointe shoes were put aside in favor of sporty flats. “Bound to…” To what? Bound to our cell phones of course, as we wander about staring at our hand-helds, oblivious to all the life around…

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SMUIN’S PICKETT, CANIPAROLI STELLAR

SMUIN’S PICKETT, CANIPAROLI STELLAR

The most arresting moment in the Smuin Ballet’s spring program came in the pas de deux of “Oasis,” choreographed by Helen Pickett, until recently head of the Atlanta Ballet. Here the couple (Erica Felsch and Robert Kretz) played out a dream-fantasy, almost as if swaying underwater, vicariously inviting us all  to put ourselves in that ethereal spotlight to the restless mystery music of Jeff Beal, adroit in its tasteful percussion. Pickett gives us fleeting figures flitting by in the dark, and…

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Circadian Quartet: From Another Galaxy?

Circadian Quartet: From Another Galaxy?

The four musicians arrived from some unfamiliar far-off planet, I think, perhaps grads of some galactic conservatory, and the results could not have been more refreshing. The secret of the Circadian Quartet is breaking with routine and pushing the envelope. The players will set aside their strings in favor of drumming, hitting a tamtam or tambourine, and singing some Russian folk song. A narrator will intersperse some poetry about love, even translated lines from the 14th-century Persian legend Hafez. If…

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LERA’S IRON-MAN FEAT WITH “LABYRINTH” ON PIANO

LERA’S IRON-MAN FEAT WITH “LABYRINTH” ON PIANO

Like a whirlwind out of the East, Lera Auerbach blew into San Francisco and took away many a breath with her piano recital. This was one of the most forceful, demonic outpourings of sheer energy since the millennium. The 44-year-old  pianist-composer from the Russian-Siberian border area is a mystic, a poet, a formidable powerhouse-pianist and a composer. She introduced her own absolutely unique world premiere piece, “Labyrinth,” and preceded it with Mussorgsky’ “Pictures at an Exhibition.” If “Pictures” is a…

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A ‘FROM THE TOP’ FAREWELL

A ‘FROM THE TOP’ FAREWELL

In his gala farewell, credit conductor Steven Schick with both audacity and high performance standards. Schick was a good 30 seconds into Caroline Chen’s ultra-soft, ethereal piece “Cold Mountains, One Belt, Heartbreak Green” when he stopped the music, as the players were a bit out of sync with each other. He apologized to his public and started all over again, citing the need for a good recording for the composer’s collection. How many dare to stop rather than plow ahead,…

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A CONDUCTOR CARRIED AWAY

A CONDUCTOR CARRIED AWAY

There he was in a full-body resonant thrill, something never witnessed in some 10,000 concerts I’ve attended. His whole body trembled ecstatically as he raised his vehemently shaking fists on high during the ocean-swell ovations for the Mahler Fifth just concluded. No, not a seizure. Just an energized attack of great classical music. With his departure a bit more than two years away, Music Director Michael Tilson Thomas, 73, realizes that each time may be his last leading that composition…

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COOL COPLAND, HOT UZBEK PIANIST

COOL COPLAND, HOT UZBEK PIANIST

Tastes change; once vying with Hanson’s “Romantic” as the most popular American symphony of all, Aaron Copland’s Third showed  off its longterm merit and great appeal in the S.F. Symphony’s recording performance this week at Davies Hall. The Copland is neoclassicism at its best, with recurrent themes, a wide range of sonic colors, and contrasts of deft soft spots with stirring power that was arguably reflecting America, its growth and its optimism. I also detect the hustle and bustle of…

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YOUNG VIOLINIST TEACHING PRICELESS LESSONS

YOUNG VIOLINIST TEACHING PRICELESS LESSONS

Many a violin recital with the usual touring-artist repertoire has all the excitement of hopping the 5:33 commute train to Burlingame. Then there’s the one by Simone Porter, 21, a gentle, delicate woman from Seattle with a bow arm as powerful as on a cricket bowler. And with a great love for works of conflagrations and narrations. Her program at the Conservatory was bristling with power and passion as she focused on music of narrative, flamboyance and dissent. Oh, my—I…

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