As a vocal performance major, Jay became very acquainted with the advantages of staged concerts. He performed the role of Fabrizio Naccarelli in Adam Guettel's Light in the Piazza and the title role in the composer's Floyd Collins.
The Snowman is one of my all-time favorite pieces of animation. Directed by Dianne Jackson and produced by Jonathan Coates, this non-narrative film truly is filled with wonder. The haunting music by Howard Blake, "Walking in the Air," stays with me for days every time I watch this film.
Sheena Easton returns to San Francisco Symphony with conductor Edwin Outwater on Thursday, July 23 for the premiere presentation of The Spy Who Loved Me - an evening of songs and themes from the uber-popular James Bond films and other secret agent-related movies and TV programs.
It takes a special kind of cover band to call for the services of a symphony orchestra. But that's what you need if you're going to perform Beatles songs reflecting the range of their career, not just the "She Loves You" era.
It seems safe to say that Michael Tilson Thomas -- or MTT, as he's been known since street banners announcing his appointment as music director of the San Francisco Symphony, 20 years ago, went up all over town -- had a spectacular birthday weekend recently.
So how did Seth and Joel go about choosing the holiday songs that would be featured on this recording? Given that MacFarlane has an almost encyclopedic knowledge of the great American songbook, McNeeley opted to let Seth choose the line-up for this Christmas album.
At the time of its release in 1940, one critic called Fantasia, the animated Disney film, "an ambitious orgy of color, sound, and imagination." More than just a motion picture masterpiece, it is a groundbreaking cinematic tone poem.
Dmitri Hvorostovsky and pianist Ivari Ilja are in recital at Davies Hall on Sunday, May 25. The program begins with a collection of songs by a variety of Russian composers, set to the poetry of Alexander Pushkin.
People who are enthusiastic about classical music should express themselves and allow others to do so. Those of us who care about it as a repertoire to be performed rather than a tradition to be admired should encourage more, not less, applause -- even if it comes at the "wrong" time.
The established model of presenting new works to audiences is changing and the audiences are changing dramatically too. An entire generation of composers and performers are taking the presentation of their works into their own hands.