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Month: April 2022

FIRE AND ICE: DUDAMEL CONDUCTS MAHLER

FIRE AND ICE: DUDAMEL CONDUCTS MAHLER

Guest conductor Gustavo Dudamel was back with gusto, leading “this foaming, roaring, raging sea of sound,” as Mahler once described his own raging Symphony No. 5. The Venezuelan led with fire—and no printed score—through this 71-minute masterpiece that Mahler’s compatriots in Vienna would call “gefühlsmȁssig”—surfeited with emotion. The crowd at Davies Hall stayed hushed in awe, without fidget or distraction, in hearing a master at work with the virtuoso San Francisco Symphony. Until the patrons’ jubilant ovations at the end….

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NEW DANCES: WIGGLE, TWIDDLE AND FIDDLE

NEW DANCES: WIGGLE, TWIDDLE AND FIDDLE

Diversity of movement comes with modern ballet, far more than in classical counterparts. Such was the lesson from the San Francisco Ballet’s most recent program of moderns, invigorating works peppered with world premieres. It featured as choreographers the veteran Helgi Tomasson and two of the hot younger innovators he had snagged, Dwight Rhoden and the Englishman Christopher Wheeldon—-as different as night and day. Wheeldon stashed all the toe shoes in his jolly-up piece “Finale Finale,” a true joy joy (sic)…

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FROM SANITY TO NUTTINESS IN MINUTES

FROM SANITY TO NUTTINESS IN MINUTES

Going from total sanity to insanity, all in a matter of minutes? The San Francisco Ballet achieved just that in Program 5. Sanity was provided by the reliable Helgi Tomasson, retiring as artistic director after 37 years, in his creative works. Followed by the enigmas and insanities of the painter Magritte from a century ago, transferred to the ballet stage by the zany idea man, choreographer Yuri Possokhov. Which of the two you prefer depends a lot on which side…

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