Tuesday, July 30
American Bach Soloists Festival and Academy
Public Forum I: “Am I in Tune? Practical Tuning & Temperaments” with Steven Lehning
5 PM
San Francisco Conservatory of Music
50 Oak St., San Francisco
Free and open to the public
Email: [email protected]
Wednesday, July 31
American Bach Soloists Festival and Academy
Public Forum II: “Seeing Ourselves: 500 Years of Musical Iconography (Inspiration from the Visual Arts through Images of Musicians from 1300–1800)” with Corey Jamason
5 PM
San Francisco Conservatory of Music
50 Oak St., San Francisco
Free and open to the public
Email: [email protected]
Friday, August 2
American Bach Soloists Festival and Academy
“Treasures from Lyon” One of the most popular musical works during the baroque era was Pergolesi’s plaintive Stabat Mater. It was so much in vogue during the middle of the 18th century that composers and their publishers would try to claim Pergolesi’s authorship of other spurious works. Performances of the Stabat Mater could be heard throughout Europe, even in France which maintained a superciliousness against Italian music. ABS will present the premiere of an edition found within the library of the Concert de Lyon, one of two trend-making concert organizations in France at that time. Also found within that library is Handel’s Utrecht Te Deum and Jubilate, triumphant music to celebrate the signing of the Treaty of Utrecht in 1713, eventually ending the War of the Spanish Succession. With Mary Wilson, soprano; William Sharp, baritone; American Bach Soloists and American Bach Choir, Jeffrey Thomas, conductor
8 PM
San Francisco Conservatory of Music
50 Oak St., San Francisco
$38–$125
Tickets online or 800-595-4849
Email: [email protected]
Saturday, August 3
American Bach Soloists Festival and Academy
Public Colloquium. No further details
2 PM
San Francisco Conservatory of Music Concert Hall
50 Oak St., San Francisco
Free and open to the public
Email: [email protected]
American Bach Soloists Festival and Academy
“Les Goûts Réunis” In the 18th century, both Italy and France had their own unique ways of composing and performing music. It became a widely held opinion that the unification of these two styles would amount to no less than the perfection of music. François Couperin’s two musical apotheoses—intended to deify the leading exponents of each of these opposing styles—frame a program that draws attention to this “perfection” through the music of composers from both sides of what was a passionate discourse. Program features François Couperin, Apotheosis of Corelli and Apotheosis of Lully; Pietro Locatelli, Sonata for Flute and Basso continuo; Joseph Bodin de Boismortier, Sonata for Two Viols and Concerto for Flute, Oboe, Violin, Bassoon, and Basso continuo; and Giovanni Buonaventura Viviani, Sonata for Trumpet. With Elizabeth Blumenstock and Robert Mealy, violins; William Skeen and Kenneth Slowik, violoncellos; Steven Lehning, viola da gamba & violone; Sandra Miller, flute; Debra Nagy, oboe; Dominic Teresi, bassoon; John Thiessen, trumpet; and Corey Jamason, harpsichord
7 PM
San Francisco Conservatory of Music Concert Hall
50 Oak St., San Francisco
$38–$98
Tickets online or 800-595-4849
Email: [email protected]
Sunday, August 4
American Bach Soloists Festival and Academy
J.S. Bach, Mass in B Minor With the ABS Academy Festival Orchestra & Soloists and American Bach Choir, Jeffrey Thomas conductor
The 2019 Festival & Academy brings the 10th annual collaboration of the Academy Orchestra & Soloists with the American Bach Choir in Johann Sebastian Bach’s consummate masterwork, the Mass in B Minor. Under the meticulous and insightful direction of Jeffrey Thomas, these performances bring eye-opening revelations of Bach’s score that draws upon 35 years of his compositions.
4 PM
San Francisco Conservatory of Music Concert Hall
50 Oak St., San Francisco
$38–$125
Tickets online or 800-595-4849
Email: [email protected]
West Edge Opera
Cristoph Gluck, Orfeo ed Euridice, featuring an all-female cast and a creative team consisting entirely of women and non-binary artists. The Orfeo myth is one of the most ubiquitous stories in western culture and we are proud to tell it with voices that have been excluded for far too long. KJ Dahlaw directs and choreographs with Christine Brandes conducting Gluck’s score. The role Orfeo will be performed by mezzo-soprano Nikola Printz; her lover Euridice will be sung by Soprano Maria Valdes, and Soprano Shawnette Sulker sings the role of Amore. The will be performed in Italian with English surtitles.
3 PM
The Bridge Yard
210 Burma Rd, Oakland
$19–$125
https://www.westedgeopera.org/2019/orfeo
