At the present moment
Composer Sophia Gubaidulina first discussed her violin concerto, In tempus praesens, with Anne-Sophie Mutter, the violinist who commissioned the work and to whom it is dedicated, one hour before their first rehearsal for its...
Satin and sparkle
The dress said it all. Acres of iridescent midnight blue satin embellished with glittering, silvery rococo decorations, a bodice with no visual support above which lay fields of feminine pulchritude, and an ornament-bordered train that went on for some yards. Dazzling touches of light on that smooth skin: necklace and flashing ring.
When Cecilia Bartoli walked on the Zellerbach Auditorium stage in an outfit that could have been the physical manifestation...
Sailing into the Past
Out of 12 dancers in Japan’s Pappa Tarahumara dance-theater group, seven danced in Ship in a View when the work debuted in 1997 in Tokyo. Director Hiroshi Kioke has worked with one of his...
How do faith and science interact in the creative arts? In the octatonic, according to rumors at a two-day symposium of 21st-century music held at SF State Feb. 6 and 7. The high-powered gathering included a fascinating retrospective of works by SF State professor and composer Richard Festinger and a concert of pieces by seven winners of the Emerging Composers competition.
Saturday’s events also focused on Olivier Messiaen and Elliott Carter, honoring these two modern giants with papers, a...
The partially open curtain reveals a man naked from the waist up. He has clattered to the front of the stage, and he reveals in words what he disguises behind a waist-high screen inscribed with a white circle—that he is a centaur: a half-man, half-horse monster. After telling a series of histories about deformed children caused by an “excess” of sperm, he draws a parallel between himself and a manmade phenomenon of Baroque opera: the castrato.