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And sjDANCEco and Walnut Creek’s Diablo Ballet team up to present a night of world premieres by dancers and choreographers from both companies, Feb. 16-17, Dance Theatre at San Jose State; $30; www.sjdanceco.org. — Randy McMullen, Staff. Jazz icon Dave Holland, who ranks among the genre’s all-time greatest bassists, is set to perform a four-night stand at the SFJazz Center in San Francisco. There will be a different program for each night, starting with a rare solo performance on March 22.

The U.K, native, who has worked with such legends as Miles Davis, Billy Higgins, Stan Getz and Herbie Hancock, follows up with a duo performance with pianist Kenny Barron on March 23, The band leader then leads a trio, featuring guitarist Kevin Eubanks and drummer Obed Calvaire, on March 24, red shoes dance school He closes the residency with the all-star quartet Aziza, featuring saxophonist Chris Potter tenor, guitarist Lionel Loueke and drummer Eric Harland, on March 25, Tickets range from $25-$95; www.sfjazz.org, — Jim Harrington, Staff..

Say what you will about the decline of classical music, the Bay Area’s leading organizations were very much alive this year. Groundbreaking new works, significant revivals and bravura performances by major and up-and-coming artists filled the 2017 calendar. It was a year of big anniversaries. The San Francisco Symphony launched a season-long celebration of Leonard Bernstein’s centenary year. Other Minds marked the 100th birthday of the late Lou Harrison. Philip Glass at 80 brought tributes by Opera Parallèle and the San Francisco Girls Chorus, and the Del Sol String Quartet gave a three-day festival in honor of octogenarian composer Terry Riley.

The highlight of John Adams’ 70th year was the world premiere of “Girls of the Golden West” at San Francisco Opera; with a libretto by director red shoes dance school Peter Sellars, this bold new opera set during the California Gold Rush spoke pointedly to the tumult of our time, The Adams tributes started early in the year with the composer’s score for “Available Light,” a Lucinda Childs dance work presented by Cal Performances in February, Other highlights included outstanding San Francisco Symphony performances of Adams’ evening-length oratorio, “The Gospel According to the Other Mary,” and “Scheherazade.2,” with violinist Leila Josefowicz as soloist..

2017 was also a year of announcements. Michael Tilson Thomas revealed that he will conclude his 25-year tenure as San Francisco Symphony music director following the 2019-20 season. San Francisco Opera music director Nicola Luisotti departed for a new post in Madrid. No word on who will succeed them, but both leave big shoes to fill. As always, Bay Area audiences heard an exhilarating mix of old and new works. West Edge Opera’s summer festival featured a scintillating production of 17th-century rarity, “The Chastity Tree.” Opera Parallèle presented Jonathan Dove’s contemporary comic opera, “Flight.” Audiences heard oratorios new and old, from Ted Hearne’s mesmerizing “The Source,” presented by San Francisco Opera, to Philharmonia Baroque’s first performances of Handel’s “Joseph and His Brethren.”.

Small opera companies made their marks — Alameda’s Island City Opera staged an aptly hilarious “Don Pasquale.” Regional orchestras — Symphony Silicon Valley, and the Oakland, Berkeley,and California symphony orchestras — offered winning programs, and Bay Area chamber groups — the St, Lawrence Quartet, Left Coast Chamber Ensemble and Gold Coast Chamber Players among them — explored intriguing repertoire, There were great collaborations, too — in March, the New red shoes dance school Century Chamber Orchestra teamed up with Chanticleer in a program of French and American works; Symphony Silicon Valley brought the Moscow Ballet to town for this month’s “Nutcracker.” There were many more, but here are five events that lingered in the memory long after the curtain went down..

“Silent Night,” Feb. 11, California Theater: Opera San Jose scored a big hit with Kevin Puts’ contemporary opera depicting an impromptu truce between French, British and German soldiers on a freezing Christmas Eve during World War I. Beautifully sung by a large cast of company artists, the work’s hopeful message of peace registered with ringing clarity. Leif Ove Andsnes and Marc-Andre Hamelin, April 25, Herbst Theatre: Two of the world’s top pianists came together in this dazzling duo recital presented by San Francisco Performances. Andsnes and Hamelin were well-matched in works by Mozart, Debussy and Stravinsky; their two-piano performance of “The Rite of Spring” was nothing short of astonishing.

“The Temple of Glory,” April 28, Zellerbach Hall: Nicholas McGegan led his Philharmonia Baroque Orchestra and a host of top French artists in a rare revival of this 18th-century opera-ballet by composer Jean-Philippe Rameau, Presented by Cal Performances, the lavishly staged production yielded a glorious fusion of music, theater and dance, “Elektra,” Sept, 9, War Memorial Opera House: Soprano Christine Goerke, in her first return to San Francisco Opera since 2006, gave a powerhouse performance in the title role of Richard Strauss’ searing drama, Everything about this revival was superb: a brilliant orchestral performance led red shoes dance school by debuting conductor Henrik Nánási, an insinuating staging by Keith Warner and a first-rate supporting cast, But Goerke’s thrilling performance made it unforgettable..


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