Look below to find a list of our upcoming concerts. You can also learn more about the artists by clicking on their names and following the links to their bios and websites.
To respect our artists and patrons, we do not permit infants or toddlers to attend our performances.
Mike Greensill & Friends, featuring Wesla Whitfield
Mike Greensill, piano; Wesla Whitfield, vocals
Wesla and Mike have put together a new show based on the two iconic duet albums that Tony Bennett and Bill Evans recorded in the '70's. Drawing on the repertoire from those albums in the first half of the concert Wesla and Mike will explore the delicate art of the vocal and piano duet. The second half will feature Mike and his jazz friends playing Mike's originals as well as the best of the standard repertoire. The show features such gems from the songbook as Some Other Time, When In Rome, Young and Foolish, My Foolish Heart, The Days of Wine and Roses, and many others.
Kevin Rogers, violin; Otis Harriel, violin; Taija Warbelow, viola; Doug Machiz, cello
Brian Baumbusch Three Elements San Francisco Premiere
Maurice Ravel String Quartet
Philip Glass String Quartet No. 3 “Mishima”
Garth Knox Satellites
Friction Quartet, whose performances have been called “terribly beautiful” (San Francisco Classical Voice), “stunningly passionate” (Calgary Herald) and “chillingly effective” (San Francisco Examiner), exists to expand the string quartet repertoire and audience for adventurous contemporary music through commissioning composers and performing in underserved schools and communities. Recently they gave their Carnegie Hall debut as part of the Kronos Quartet Workshop. They will participate in the Shouse Institute at the Great Lakes Chamber Music Festival this June where they will give their Detroit debut and appear with Paul Watkins of the Emerson Quartet. Friction received a Chamber Music America grant to commission a piano quintet from Andy Akiho. John Adams shared Friction’s video of the second movement of his first string quartet on his homepage and called it “spectacular.” They are the first ensemble in residence at the Center for New Music in San Francisco. While Friction has garnered international attention as commissioners and interpreters of new music, they are also devoted to performing masterworks of the string quartet repertoire. They were quarter finalists in the 2015 Fischoff Competition, placed second at the 2015 Frances Walton Competition and received the 2012 Berkeley Piano Club Award. Friction has participated in the St. Lawrence String Quartet Seminar, The St. Lawrence String Quartet Emerging Quartet program, the Banff Chamber Music Residency, and the Deer Valley Music Festival.
Michael Graham, cello; Miles Graber, piano; Tom Rose, clarinet
Johannes Brahms Sonata in F minor for clarinet and piano, Op. 120, No. 1; Sonata in F major for cello and piano, Op. 99; and Trio in A minor, Op. 114
The Graham-Graber-Rose Trio, or G-G-R Trio, formed in 2013 and gave its debut performance at Trinity Chamber Concerts. Since then the group has performed at Old First Concerts, Four Seasons Arts Cameo Concerts, NoonTime Concerts and other venues. Because works of major composers for this instrumentation are limited, G-G-R Trio also explores arrangements and lesser known works of various composers, including Mikhail Glinka, Marko Tajčević, Paul Juon, and Mendelssohn. Michael Graham, cellist, studied at the Eastman School of Music and Yale University. He performs regularly with many Bay Area orchestras and chamber ensembles. He is also active as a recording artist. Miles Graber received his musical training at the Juilliard School. He is a member of several chamber music groups, including Musica AEterna, the Sor Ensemble, the Alcyone Ensemble, and is a premiere accompanist for many soloists, in the Bay Area and across the nation. Tom Rose studied music at San Francisco State College and Mills College. Mr. Rose is Principal Clarinetist with Music in the Mountains Festival Orchestra and is a member of Trio Brillante. In January 2016 he and Graber released their second CD of music for clarinet and piano.
The Circadian String Quartet
The Sound and the Fury
Sarah Wood, violin; David Ryther, violin; Omid Assadi, viola; David Wishnia, cello
Claude Debussy String Quartet
Anton Arensky Variations on a Theme by Tchaikovsky from String Quartet No. 2, Op. 35a
Igor Stravinsky The Rite of Spring, Part 1 (transcribed for String Quartet and Percussion by David Ryther)
The Circadian String Quartet presents The Sound and the Fury: The Rite of Spring Re-imagined, the first concert in a series of three programs developed to explore the revolutionary sound world from Stravinsky's ballet The Rite of Spring and its links to the explosive events of the decades from which it sprung. This iconic 20th century masterpiece, which infamously caused a riot at its 1913 premiere, struck a powerful nerve in a Europe wracked by political and social tension. Since then, the music has provoked unending fascination with its mix of French harmonies & deep, primal Russian roots. This concert features the Circadian's own version of The Rite for String Quartet and Percussion, which will be heard alongside Debussy's ground-breaking 1893 quartet and Arensky's Variations on a Theme by Tchaikovsky from String Quartet No. 2, Op. 35a. It is a San Francisco musical event not to be missed!
Opera Academy of California
La voix humaine & L'heure espagnole
Yefim Maizel, Director; Solmaaz Adeli, mezzo-soprano; Taylor Rawley, tenor; Michael Orlinsky, tenor; Jason Patrick, tenor; Clifford Romig, bass; James McGoff, bass; Spencer Dodd, baritone; Bradley Kynard, baritone; Cybele Gouverneur, mezzo-soprano; Sophie Delphis, mezzo-soprano; Richard Burgess Block, bass
Francis Poulenc La voix humaine
Maurice Ravel L’heure espagnole
La voix humaine, an unusual work subtitled “Lyric Tragedy”, was created ten years after Dialogues of the Carmelites. Francis Poulenc composed this operatic monologue for Denise Duval, his favorite singer, who created the role under the direction of Georges Prêtre, with staging and scenery by Jean Cocteau, who also wrote the libretto. Putting to music his friend Cocteau’s monodrama, the composer creates an extraordinary tour de force. L’heure espagnole, a sex farce about a lusty Spanish woman juggling lovers while her husband is preoccupied with clockwork mechanisms, evokes a Spanish flavour through Ravel’s use of native dance forms including the jota, the habañera and the malagueña.