Big changes afoot at 3 great San Francisco classical music institutions

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As a long-time resident of the San Francisco Bay Area, I have been fortunate enough to witness firsthand the rich and diverse cultural landscape that this city has to offer. From the world-renowned symphony orchestra to the innovative opera company, the arts scene here is truly second to none.

Last weekend in San Francisco, the weather was a delight compared to the scorching heat experienced in much of the country. The city seemed heavenly, graced with gentle, sunny blue skies and cool, perfect nights.

The Civic Center area and nearby Hayes Valley district provided unique musical experiences during the month of June. The San Francisco Symphony, led by its music director, has the freedom to express his musical fervor during this time. In addition, the San Francisco Opera hosts a three-opera festival in June. Moreover, the renowned Kronos Quartet sets up their own music festival.

At Louise M. Davies Symphony Hall, Esa-Pekka Salonen led an awe-inspiring rendition of Bruckner’s Fourth Symphony, the brass section shining brilliantly, as radiant as a local iconic bridge. Simultaneously, at the War Memorial Opera House, an engrossing production introduced the US audience to Kaija Saariaho’s “Innocence,” a thought-provoking opera that tackled the sensitive issue of gun violence. A few blocks away at SF Jazz, Kronos Quartet commemorated their 50th anniversary, reaffirming their unique ability to revolutionize music as no other ensemble has done.

Every venue was completely packed with people. The crowds I interacted with were deeply engrossed and contagiously excited. It’s worth mentioning that all three establishments continued to distribute substantial program books boasting detailed annotations – a rarity nowadays in most other places.

Despite the beautiful weather and serene atmosphere, I couldn’t shake off a sense of impending doom everywhere I went. Summer may bring lovely days now, but it also foreshadows the threat of fires. Beneath the surface of apparent urban happiness in San Francisco lies hidden its persistent urban problems that seem impossible to solve.

On my way to Davies Hall for the weekend’s matinee performance, I ran into a familiar face among the orchestra members as I entered, distributing yellow flyers. With a sense of urgency, the bassist addressed the audience, “We, the musicians, want you to know that the board intends to downgrade us into a local orchestra.”

I’ve been part of this symphony for a while now, and I must admit, there’s a sense of deep unease that seems to permeate every note we play. Four years ago, Salonen took the reins as our music director with a mission to bring fresh ideas to the table, building upon his impressive 17-year tenure at the Los Angeles Philharmonic.

Sadly, both the city and its orchestra, the San Francisco Symphony, experienced significant setbacks due to the pandemic. Instead of providing Salonen with the resources to bring his ambitious plans to life, the symphony, which boasts a $345-million endowment (the second largest among American orchestras), imposed repeated budget cuts. The organization’s leadership maintains that these measures are necessary to prevent financial ruin. However, ominous financial forecasts have inadvertently fueled their own demise.

I was looking forward to another season of innovative music programming under Salonen’s leadership, with European tours, new commissions, collaborations with Peter Sellars and groundbreaking digital media initiatives. But unfortunately, the board has decided to scale back on these projects, including the popular SoundBox series and the “Concerts for Kids.” Moreover, plans for affordable experimental halls proposed by Frank Gehry have been met with resistance. With Salonen’s contract set to expire soon and a musicians strike looming in the fall, it seems that the future of this music organization may be uncertain.

Despite the challenges it has faced, the orchestra continues to prove its value with undying determination. During its performance on Sunday, which showcased Schumann’s Piano Concerto and soloist Yefim Bronfman delivering a breathtaking rendition, there was an unyielding sense of passion. The bold rhythmic patterns in Bruckner’s “Romantic” symphony resonated with powerful messages for transformation and resistance against the status quo. Through the orchestra’s grand, lyrical phrases, they expressed their collective emotions deeply, saying Feel our hearts.

A scene from the San Francisco Opera production of Kaija Saariaho’s “Innocence.”
(Corey Weaver / San Francisco Opera)

At San Francisco Opera, an unfamiliar observer may perceive a more welcoming ambiance than contentious. Nevertheless, this organization has implemented significant reductions. With escalating expenses in producing opera, they plan to perform six operas instead of eight next season, which is less than a third of their previous offerings. Despite these financial challenges, the company’s commitment to its mission remains strong, and innovative methods are being pursued to sustain it.

I had a meeting with Matthew Shilvock, who is both the head of our company and holds a musicology degree. According to him, the expenses are increasing at such a fast rate that an extra 2-3 million dollars is required annually just to maintain our relatively small production lineup.

As a devoted cinema enthusiast, I firmly believe in Shilvock’s approach of drawing upon the intense energy of the symphonies around him to fuel my own creations. Each production and performance I undertake holds immense significance, pushing me to continually explore new grounds and challenge myself with innovative work.

“The success of ‘Innocence’ boosts his certainty that he’s on the right track. This opera, premiered in Aix-en-Provence, France, in 2021, was Saariaho’s final work; she passed away a year ago. It represents a shift from her previous deeply philosophical and poetic compositions, all produced with Sellars.”

As a survivor of a tragic school shooting that took the lives of ten innocent students and their beloved teacher, I can’t help but feel a deep connection to the poignant and thought-provoking narrative “Innocence.” However, I must admit that this work is not filled with the intricacy of poetic language or profound depth that one might expect from such a heavy subject matter. Instead, it resonates more with the gripping plotlines of a popular Netflix drama.

The issue of gun violence was presented with complexity. The fashionable production by Simon Stone is cleverly devised on a revolving stage. The large cast of singing actors proved uniformly excellent Friday night, the last of the six performances. The enthusiastic conductor, Clément Mao-Takacs, could be overly flashy, but the real glory in the opera, its saving grace in many ways, was the exceptional beauty and expression of Saariaho’s orchestral writing, and this came through spectacularly well.

Beneath an undulating surface of sonic allure, the foundations of the destructive elements in “Innocence” can be traced back to Saariaho’s 1987 composition “Nymphéa” for string quartet and electronics. This piece is one of over a thousand string quartets that Kronos Quartet has commissioned during the past fifty years. Owing to Kronos, Steve Reich, Terry Riley, Philip Glass, and numerous other renowned composers from the 20th and 21st centuries – as well as those in rock, jazz, country, folk, raga, Chinese pipa music, and other musical traditions from every corner of the globe – have embraced this unconventional medium.

The Kronos Quartet performs with the San Francisco Girls Chorus at SF Jazz on Saturday night in San Francisco.
(Lenny Gonzalez / Kronos Quartet)

In the annals of music, no ensemble has matched the accomplishments of Kronos, and even a four-night festival falls short of showcasing their vast repertoire. Reflecting on the past, Kronos continues to push boundaries by introducing new sounds.

On Saturday night, I attended the debut of “The Space Between” by Mary Kouyoumdjian, the initial program I listened to. This spiritually captivating piece was filled with a movement from Riley’s latest, otherworldly composition titled “This Assortment of Atoms — One Time Only!”

At the concert, two lively compositions by young musicians Hannah Wolkowitz and Ilaria Hawley were performed in addition to pieces by artists such as Yoko Ono, Pete Seeger, and Hawa Kassé Mady Diabaté, with the San Francisco Girls Chorus collaborating with Kronos. The event concluded with a performance by Iranian singer Mahsa Vahdat.

As I sat in the movie theater on the last day of the festival, I couldn’t help but feel a sense of nostalgia as Sam Green’s live documentary “A Thousand Thoughts” featuring the Kronos Quartet graced the screen. This was the final showing of this magnificent piece, and it was a poignant reminder that two of its key members, John Sherba on violin and Hank Dutt, were retiring after more than four decades with the quartet. The live performances by the Kronos added an extra layer of depth and emotion to the film, making for a bittersweet yet deeply moving finale. It was a fitting end to their incredible musical journey.

As a seasoned classical music enthusiast with decades of experience attending concerts and following the careers of various ensembles, I can’t help but feel a pang of sadness upon hearing about the upcoming changes in the Kronos Quartet. The loss of their long-standing manager, Janet Cowperthwaite, is a significant blow to the group. Her behind-the-scenes work, including making commissions and orchestrating various logistics, was instrumental (pun intended) in bringing their unique vision to life.

A significant period has come to a close, but Harrington remains the most hopeful musician I’ve encountered. His impressive track record of achieving the seemingly impossible has solidified his status as a beacon of optimism and a lasting representation of progress in San Francisco.

As a passionate film enthusiast, I’d regret missing out on the opportunity to back Kronos. Harrington hasn’t just managed the extraordinary; he’s achieved it through relentless determination, never settling for less. His unwavering spirit has earned him recognition and support from around the world.

The San Francisco Symphony and San Francisco Opera could do the same by believing in the future, beginning with digging into the damn endowments. The city, too, could (and typically does) do worse than following Kronos’ extraordinary belief in the possible. We all could. The model exists.

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2024-07-18 21:03