#winter-concert

#winter-concert

The wildly talented Bérubé has played violin with everyone from Stevie Wonder to Death Cab for Cutie. From touring nationally with the Broadway musical Hamilton to touring the world, Bérubé is in search of new experiences and challenges.

PLC announces the retirement of its Artistic Director, Mary McCarty, following 11 years of inspired leadership and artistic excellence.

Turns out every soul song with a lot of blank space in it just needs to be filled to the brim with Jersey club stomps and squeaks.

The 2025 San Francisco Gay Men's Chorus Holiday Spectacular was widely celebrated as one of the Bay Area's standout cultural events of the season, reinforcing the chorus' reputation for musical excellence, community engagement, and joyful performance. Audiences packed iconic venues across the region-from San Francisco's Golden Gate Theatre to Berkeley's Zellerbach Hall, the Green Music Center in Rohnert Park and Home for the Holidays at Davies Symphony Hall-with most of the eight shows selling out, a clear indicator of the concert's popularity.

What happens when you discover at a very young age a passion for writing and language but discover not soon after that the world often has other plans? That's kind of what Jacob Ming-Trent addresses in his new solo show, "How Shakespeare Saved My Life," getting its world premiere at Berkeley Repertory Theatre. As Ming-Trent, who is Black, puts it, "America tried to take my life, and somehow a five-hundred-year-old white dude saved it."

In three January weekends you all showed up for a one-composer concert presented by A Notion, A Scream; a preview of In Medio's ACDA performance ahead in March; Resonance Ensemble on stage with Sweet Honey in the Rock®; Oregon Chorale's journey to The Planets with the Beaverton Symphony; and Evenstar Ensemble taking us all back to the days of Duchies.

Upon its debut in 1725, The Four Sea­sons stunned lis­ten­ers by telling a sto­ry with­out the help of a human voice. Vival­di drew on four exist­ing son­nets (pos­si­bly of his own prove­nance), using strings to paint a nar­ra­tive filled with spring thun­der­storms, summer's swel­ter, autum­nal hunts and har­vests, and the icy winds of win­ter. The com­pos­er stud­ded his score with pre­cise­ly placed lines from the son­nets, to con­vey his expec­ta­tions that the musi­cians would use their instru­ments to son­i­cal­ly embody the expe­ri­ences being described.