Thursday, December 14, 2017

Enlightened Nepotism at SoundBox

The SF Symphony's wondrous nightclub experiment, SoundBox, was chiefly financed by an anonymous donor for three years to build new audiences, and it was uncertain whether the monthly winter and spring series would continue for a fourth year. Last weekend it returned, with a bang. The Bad News: The ticket price for general admission has gone up $10 to $45 and donation sponsorship opportunities for $200 to $1,000 will get you in the door before anyone else. The Good News: After a hiccup in its final show last season, SoundBox is back and brilliant as ever. This month's curator was the soon to retire Music Director Michael Tilson Thomas and the theme of the wildly eclectic program was "Connections," which in this context meant family connections. At the start of the evening, SF Symphony Principal flute player Timothy Day's 28-year-old pianist son, Britton, joined MTT for a fun, high-spirited performance of Poulenc's 1918 Sonata for Piano Four Hands.

Britton was then joined by his father for Faure's 1898 Morceau de concours and Ibert's Spanish-inflected Entr’acte in a pair of charming performances.

Finishing the first, French section of the evening was the cellist Oliver Herbert, son of longtime principal timpanist David Herbert who decamped to the Chicago Symphony Orchestra in 2013. Oliver played a solo excerpt from Dutilleux's 1976 Trios Strophes sur le nom de SACHER, which was interesting enough it would have been good to hear the entire piece. This was followed by Debussy's marvelous, bouncy 1917 Cello Sonata in D Minor. Herbert was wonderful, though MTT sounded a little rusty accompanying him on the keyboard.

The second section of the concert was devoted to a five-movement suite of music by Kazakhstan doubra virtuoso and composer Karshyga Akhmedyarova (1946-2006). His daughter, Raushan Akhmedyarova (above), has been playing violin for the SF Symphony since 1991 and recently commmissioned a string quartet based on her father's music.

This weekend was the world premiere of an expanded chamber orchestra version of the suite, led by conductor Christian Reif who is a delightful presence at SoundBox, conducting one moment, accompanying on piano the next, and occasionally playing genial emcee. The doubra is a two-stringed variation on a zither that should be extremely limited, but in the hands of Karshyga Akhmedyarova, it's an extraordinarily versatile instrument. Click here for an example on YouTube and another example in a bizarre Kazakhstan auditorium can be found here.

The composer responsible for Sketches from Kazakhstan, Sam Post of Washington, D.C. (above), did a nice job expanding and coloring the music for orchestra.

The third part of the concert continued with familial powerhouses, starting with SF Symphony violinist Chunming Mo playing a pair of duets with her daughter Alina Kobialka. They started with Shostakovich's 1955 Präeludium from Five Pieces for 2 Violins and Piano with Christian Reif on piano. The performance was so good that once again I wished they were playing the whole piece.

Instead, they continued with an exciting, passionate traversal of Ligeti's 1950 Ballad and Dance. "That's going to be a hard act to follow," cellist Peter Wyrick (below, center) commented as he introduced the Wyrick Family Chamber Quintet.

Wyrick turned out to be a funny, charming speaker as he introduced his wife, SF Symphony violinist Amy Hiraga, his daughter Mayumi (with her back to the camera) on violin, "honorary family member" Nancy Ellis on viola, and "Herbert Oliver is stepping in on cello for our other daughter, who is, well, somewhere, who knows where?" he related in a "Father Knows Best" impression. The makeshift quintet then gave an exquisite performance of the Scherzo from Schubert's hour-long String Quintet in C major.

SF Symphony Principal Bassoon stepped to a small stage in the middle of the audience and gave a solo performance of a transcription of J.S. Bach's Prelude from Cello Suite No. 2 in D Minor, and everyone stopped breathing while waiting for the bassonist to take a breath himself.

For the finale, Stephen was joined by his son Greg who studied violin in his youth but veered into an electric guitar during his teens. Subsequently, he helped form the heavy death metal band Arkaik which has produced four albums (click here for a sample). The duo with Greg on guitar and Stephen on amplified bassoon with a track behind them didn't quite work because it was too quiet compared to the original. I wish they had managed to round up the whole band for a live number with Stephen Paulson improvising away on amplified bassoon. In any case, heavy death metal felt like a perfect way to end the opening of this fourth year of experimentation. As usual, the projections by Adam Larsen and lighting by Luke Kritzeck were an integral part of the evening's success. Looking forward to seeing what they come up with next.

Sunday, December 10, 2017

SantaCon on Polk Street 2017

Many San Franciscans hate the annual Bacchanal that is SantaCon...

...where young people from the Bay Area roam the sidewalks of the city...

...in silly Christmas outfits...

...while pub hopping and trying to get laid.

We stumbled onto the event this year while on our way to lunch on Polk Street at the Bell Tower, and my spouse was quickly surrounded by revelers. "Beards, boobs, it's all good," said the two women as they posed for a picture.

There is very much a white frat bro vibe to the event...

...not to mention the women who love them...

...but there was plenty of color represented too...

...not to mention zombies...

...and general goofballs.

Any event that bursts into spontaneous dancing in the streets...

...is fine by me.

Thursday, December 07, 2017

Girls of the Golden West

The new John Adams opera, Girls of the Golden West, is just finishing up its world premiere run at the San Francisco Opera and the reviews have been mostly "mixed/deeply disappointed" with a few outliers, from the savage (Kosman in the SF Chronicle with "tofurkey") to adulatory (Mark Swed in the L.A. Times). Oddly enough, I don't really disagree with any of the reviews, and can see why they loved/were disappointed/hated the opera, but put me in the love column. This is an extraordinary score by Adams, simpler to absorb and more direct than his recent large-scale pieces Doctor Atomic, The Gospel According to the Other Mary, and Scheherezade 2.0. It also deromanticizes the usual California Gold Rush story and brings wider exposure to the real history, which is Yankees arriving en masse for treasure, murdering the non-white natives, pillaging the earth, and creating a racist structure that we are all still living in. (All production photos are by Stefan Cohen or Cory Weaver, courtesy of SF Opera.)

The spine of the libretto that Peter Sellars compiled from original sources and poems is taken from the Dame Shirley letters, 23 missives sent by Louise Clappe describing the Feather River Gold Rush adventures she was witnessing with her young doctor husband, Fayette. Julia Bullock above played Clappe and Davóne Tines played Ned Peters, the mulatto Renaissance man: stagecoach driver, violinist, chef, entrepreneur. The staging hinted at an extramarital affair between the two of them while a supernumerary playing Fayette wandered around in a top hat looking clueless. The impression I had reading the letters was that Ned was probably gay – he worships Louise like a queen, makes her gourmet meals out of scraps, and helps her decorate her meager housing. It did not matter, though, because Bullock and Tines worked together so well and were so obviously delighted with each other that you hoped they were secretly carrying on. And their miming of a rough stagecoach ride together while singing is one of the first highlights of the opera.

Many audience members had a hard time with the first act which has a collage quality, one character and situation after the next presented in a meandering fashion. A lot of people also complained about the slowness, which probably comes from the early scene above where Louise sings a striking section direct from one of the early letters about coming across a group of female Indians. It is equal parts 19th century racist and poetically poignant and the music which accompanies it is very beautiful, but the scene stops the heady momentum of the minimalist pickaxe opening with Paul Appleby and Ryan McKinney, followed by the Louise/Ned stagecoach scene.

The Empire saloon in Rich Bar on the Feather River, where most of the miners lost whatever gold they had to professional gamblers, is the setting for the first big male chorus. As Sellars explained before the performance, the texts are all taken from settings of actual miners' songs, "which are sort of sad-sack tales set to Pop! Goes The Weasel." A friend wrote on my Facebook feed, "the insipid choral songs are not even Broadway worthy." Now there I disagree. The choruses are extraordinary, the text short, plainspoken, a bit brutal and the music seemingly simple but insanely difficult and complex to perform, with meters changing every other measure. The upsurge in musical quality between the first and fifth performances was huge, not only for the chorus but for all the performers who are still settling into this simple-on-the-outside, complex-on-the-inside music.

Hye Jung Lee and Paul Appleby play the Chinese prostitute Ah Sing and miner from Missouri Joe Cannon. Lee slayed everyone as Madame Mao in Nixon in China a few years ago, and followed it up with a great Olympia in Tales of Hoffman. As Ah Sing, she negotiates the practical, hard-minded character of someone who was sold into sex slavery at age 10 with the hopeful adult who wants to marry the handsome young miner, Joe Cannon, and have her own farm. Appleby does wonders to make a racist, drunken jerk a sweetly sexy guy you can see Ah Sing might fall in love with, and gives a great vocal performance with the text of more actual miners' songs.

Act Two unfolds over one night on the Fourth of July and much of the action takes place on a large redwood stump. The sinister, exciting opening features Louise and the wonderful Ryan McKinney as Clarence performing a scene for the miners from Shakespeare's Macbeth, and it sets up the darkness to come. Later, Ah Sing performs another musical highlight, where she ethereally spins out one sweet high note after another while singing of the new land. Meanwhile, the chorus of miners sits on folding chairs at the foot of the stage singing in counterpoint about this rich land ready for plunder. This sequence is as good as anything John Adams has ever composed.

Joe Cannon begins his string of bad behavior while singing about how he's "trapped in a tiger cage," presumably referring to the Chinese golddigger he has been squiring. After fleeing, the miners stop Ah Sing from following him, and form a mob to drive out all non-white miners from the camp.

Two other characters, J'Nai Bridges as Josefa Segovia and Elliot Madore as Ramon (both excellent), who work at the gaming tables of The Empire hotel, are onstage most of the second act as their household becomes a haven for fellow refugees from the violence, some of whom have been whipped or had their ears cut off.

The next musical highlight is Davóne Tines singing a solo aria taken from Frederick Douglass' speech, "What to a slave is the Fourth of July?" Both the music and Tines' performance were so electrifying that the moment became an instant classic. Black Lives Matter might want to adopt it as an anthem, especially if they can have Tines perform.

Mayhem, whipping and the lynching of Josefa after she has stabbed Joe Cannon to death finish up the evening's festivities, and the opera ends with Julia Bullock as Louise Clappe singing an exquisite passage from the letters about the unfathomable majesty of the Sierra Nevada surroundings.

I went to a symposium in Herbst Theater on an evening after the cast had just finished their first piano dress rehearsal. They looked thrilled and exhausted in equal measure. The most interesting moment was when the non-white singers talked about the strange, new thrill accompanying their first rehearsal. "I am almost always the only person of color in any opera production cast, but I arrived for this and we were everywhere."

The director and librettist Peter Sellars (above right, with J'Nai Bridges and Elliot Madore) rubs a lot of people the wrong way (I've read "cis Harvard white man") but he really does walk the walk when it comes to racial issues and casting. When he presented his grand L.A. Festival in the 1990s, he didn't open it at the downtown Music Center but at a cliffside park in San Pedro, with the artists and audience joining in a walk and performance down on the beach. My late, Los Angeles beach woman mother was there, and she thought it was easily the coolest thing she had ever witnessed culturally in L.A. I'm not convinced by Sellars' work as a stage director, but as an inspirational figure helping to birth works of art, rather like Diaghelev and his Ballets Russe, he is unparalleled in our time. There were complaints about his cut-and-paste libretto for Girls of the Golden West, but it was the same technique he's been using since El Niño, so it should not have been a surprise to anyone, and I think the Girls libretto is one of his better ones.

The last performance will be this Sunday at 2PM at the SF Opera House and you will probably find me in balcony standing room because I want to hear the full stereophonic sound of the spectacularly great orchestra under conductor Grant Gershon up there. Join me. This opera will eventually be a classic and you can say you were there.

Thursday, November 30, 2017

Robolights in Palm Springs

In the upscale Movie Colony neighborhood of Palm Springs, around the corner from the old Frank Sinatra estate, there is a Christmas themed display called Robolights, which is one of the most outrageous, ambitious, and downright crazy works of Outsider Art in the world.

The reindeers that greet you from the street, for instance, are on closer inspection made of found objects including computer keyboards, discarded plastic tubing, and skulls, among other odd objects.

They are the work of Kenny Irwin, Jr., who grew up and continues to live in the family home.

The mixture of alien imagery, death masks, and cheery Christmas iconography makes for one of the strangest holiday season experiences imaginable.

Kenny was the son of a remarkably tolerant dad, Ken Irwin Senior, who allowed him to use the family's four-acre yard as an outdoor sculpture garden, and then to turn it into a festival of lights every December since 1986.

In a 2015 article by Paloma Esquivel in the LA Times, she writes: "Irwin's mind has teemed with visions of aliens and distant planets since he can remember. Even as a child, he felt compelled to transform objects and places around him into the stuff of those visions. When he was a toddler, his father recalled, he drew rudimentary figures on the four walls of his nursery."

She continues: "At 9, he built his first outdoor robot — a 10-foot tall wooden creature with a 1940s phone protruding from its chest. At 15, he filled his dorm room at a boarding school near Ojai with so many twinkling Christmas lights and flood lamps and so much electronic equipment that fire officials believed it caused the dormitory to burn down."

Last year, Ken Irwin Senior, who had moved from St. Louis to California in 1942 and eventually became a hotelier with the swank La Mancha Villas in Palm Springs, died at the age of 86. Since then, the Robolights project has gone steroidal, overwhelming in detail and impact, with objects that include old carnival rides in motion.

Those rides are usually populated with strange looking aliens...

...maniacal bunnies...

...robots bordered by skull hedges...

...and spooky elves.

If you are anywhere near the area, the installation is open daily from 4:00 to 9:30 from now until January 8th. There is literally nothing in the world quite like it, and the $5 donation is worth every penny.

I had the good fortune to go with a group of eight friends this week, including Steven Wibben above, on a cool Monday evening when we were almost the only gawkers. Steven had seen Robolights a few years ago and thought it was sort of weird and schlocky, but was bowled over by its present incarnation. He said, "When guests arrive during the holidays, I usually tell them they are on their own as far as entertainment, and now I have something to take them to with total pleasure."

Saturday, November 25, 2017

Jonathan Vinocour and Girls

Jonathan Vinocour, the principal violist for the San Francisco Symphony, joined the faculty of the San Francisco Conservatory of Music a few years ago, and last Sunday he offered a free, superb recital as part of the Faculty Artist Series.

Starting with four Fairy Tale Pictures by Schumann, accompanied by the overemphatic pianist Julio Elizalde, Vinocour continued with J.S. Bach's unaccompanied Partita #2 for Violin transcribed for viola. It was one of the best live Bach performances of anything I have heard in my life.

After intermission, Vinocour introduced a wild piece by György Kurtág, the Hommage a R. Sch. for Clarinet, Viola and Piano accompanied by pianist Elizalde and Carey Bell, the principal clarinetist for the SF Symphony who also finished the piece with a gentle bang on the bass drum. I couldn't stay for the final Schumann set of Fairy Tales, but am sure it was great. Vinocour is one of the happiest additions to the musical life of the Bay Area of the last decade.

Two days later I attended the world premiere of the John Adams Gold Rush opera, Girls of the Golden West, at the San Francisco Opera. Both the music by Adams and libretto by Peter Sellars were savaged by critics, but I loved the piece, and will be writing why after I see it again this Saturday. In the meantime, there is another performance this Sunday afternoon at 2PM and another this Wednesday at 7:30 PM. Do yourself a favor and check it out, if only to hear baritone Davóne Tines (above left with tenor Paul Appleby) sing an operatic version of the Frederick Douglass "What to the Slave Is the Fourth of July?" speech. It's an instant classic.