French Music at the SF Symphony

Last week's all-French San Francisco Symphony program on Thursday afternoon did not start promisingly. Just as the 51-year-old Swiss conductor Philippe Jordan was waiting for audience silence before the quiet opening of Debussy's 1894 Prélude à l'après-midi d'un faune, a cell phone rang. After another pause, somebody emitted an explosive sneeze and the audience started giggling. There were two more cell phone alerts before Jordan finally gave up and embarked on an exquisitely transparent performance of the Prelude.

Rebecca Wishnia at the San Francisco Classical Voice website gave the concert a dismissive review, but I had a different experience and thoroughly enjoyed the afternoon. Part of the reason was that I bought a last-minute rush ticket and was seated in the second row of the orchestra section, smack dab in front of the fabulous French pianist Jean-Yves Thibaudet, complete with sparkly jacket.

He was the soloist in the 1896 Piano Concerto No. 5, "Egyptian" by Camille Saint-Saëns, with its evocative slow mvement depicting a journey on the Nile. The concerto has been derided as kitsch over the years, but I loved every minute of it, and Thibaudet gave an awesome performance, modulating his dynamics from delicate to forceful throughout.

For an encore Thibaudet was joined by conductor Jordan for the final movement from Ravel's 1910 Mother Goose Suite, entitled Le jardin féerique: Lent et grave (The Fairy Garden). It could not have been more charming.

After intermission, Jordan led an exciting account of Berlioz's 1830 Symphonie Fantastique. The five-movement work filled with famous tunes is completely eccentric. I heard Michael Tilson Thomas conducting the Symphonie Fantastique a couple of times over the decades, and it was always unsatisfying because he tended to smooth out the strangeness of the work, but that was not the case with Jordan. The concluding two movements, March to the Scaffold and Dream of a Witches' Sabbath were thrilling and weird, just as they should be.

Don Quixote at the SF Ballet

San Francisco Ballet's lavish production of Don Quixote, an 1869 Russian extravaganza that premiered at the Bolshoi, just finished up a successful two-week revival. Nathaniel Remez and Pascal Molat played Don Quixote and Sancho Panza respectively as they bumbled their way through Barcelona, a gypsy camp, a tavern, and a fairy dreamscape. (All production photos are by Lindsay Rallo.)

In truth, the Don and his servant are not the main characters of the narrative, which revolves around a young couple trying to marry while being thwarted by a father wanting a wealthier match for his daughter. The opening night cast featured Sasha de Sola and Francesco Gabriele Frola as Kitri and Basilio, who I did not see, but according to Steven Winn and Rachel Howard, they were fabulous.

Unfortunately, ballet is as strenuous and injury-prone as any professional sport, and the new Italian principal dancer Francesco Gabriele Frola injured himself in the last minutes of the long, three-act ballet, limping off the stage with no word on when or if he would return to action.

On the following Friday, we saw the young Australian dancer Joshua Jack Price in the role of Basilio, and he was pretty fabulous himself. Also worthy of praise is the entire production, particularly the exquisitely colorful costumes by Martin Pakledinaz.

The highlight for me was seeing the Swedish dancer Nikisha Fogo in the major role of Kitri.

Fogo tends to stand out in any performance, with her combination of musicality, speed and angular gestures that are sharper than everyone around her. It was a joy to witness her taking on such an extended, difficult role.

No Kings 3 in San Francisco

The most poignant moment I saw at the No Kings 3 march up Market Street on Saturday afternoon was a lone man holding a sign with a picture of Alex Pretti, the Minneapolis intensive care nurse murdered by federal ICE agents.

Most of the other thousands of Unpaid Protestors were either expressing rage or dark humor or both.

I ran into Jan Adams, my favorite political blogger, and after a hug we shrugged our aged shoulders together in a gesture meaning, "Well, here we are back on Market Street for the umpteenth time."

One of my favorite marchers was the gentleman above who had rigged up a portable sound system playing upbeat music ranging from Aretha Franklin's Respect to Queen and Davie Bowie singing Under Pressure.

There was lots of anger being expressed...

...at having a credibly accused pedophile rapist blowing up the world.

In a nod to conservation, Austin was recycling his homemade sign for the third straight No Kings march.

At the end of the march, many forewent the speeches in Civic Center and went to Hayes Valley for al fresco food and drink, where I spotted the signage, "IF KAMALA HAD WON WE'D BE AT BRUNCH RIGHT NOW".

Clara Bow as IT at The Castro

The San Francisco Silent Film Festival finally returned to its ancestral home at the Castro Theater last Sunday with a showing of the 1927 movie IT.

The huge theater was sold out and the line started forming along the sidewalk two hours before the screening.

There were many objections to Another Planet Entertainment transforming the 1922 Spanish Baroque masterpiece by architect Timothy Pflueger from a seated movie theater to a live pop concert hall, but the multi-year, $41 million makeover has turned out well. The compromise between temporary tiered seating for film showings and a flat dance floor for concerts has become a happy surprise.

Among the many improvements, the old basement bathrooms have now become gender-free and have plenty of stalls so the women's restroom line no longer stretches forever.

The real wonder is the interior restoration, an obvious labor of love, where decades of grime and cigarette smoke were scraped away and the brown ceiling has returned to its original red color with all its baroque illustrations gleaming.

IT was an entertaining bit of fluff comedy where Clara Bow as a shopgirl sets her sights on snagging the handsome young owner of the department store where she works.

Bow plays the personification of the 1920s flapper "IT" Girl who has ineffable sex appeal that can slay anyone, including the handsome Antonio Moreno, a Spaniard who was one of the first Latin lovers of American silent films.

The film was accompanied by a beefed-up Mont Alto Motion Picture Orchestra, a music ensemble from Colorado that specializes in silent movies.

They will also be accompanying films, along with a roster of other musical artists, at the upcoming San Francisco Silent Film Festival, which will be returning to the Castro from May 6 to 10. There's no place like home.