For the past two weeks the San Francisco Symphony has welcomed guest conductors to the podium at Davies Symphony Hall for programs anchored by Mozart and Beethoven and guest artists performing exciting concertos from the 20th century. But that isn't the really big news.
On the SFS website under "Hall Amenities," "Starting January 2017, SF Ballet, SF Opera, and SF Symphony will launch a pilot program offering audiences the chance to enjoy beverages at their seats during select performances."
We became aware of the new policy after noticing many patrons with glasses and bottles during the first of the eligible concerts, and got the explanation by referring back to signs posted in the lobby. The note on the website goes on to say that many venues nationwide have adopted similar policies, and all three local organizations will meet during the six-month trial period to monitor the impact.
We knew you could bring sippy cups into many Broadway shows already, and considering the prices, I mean really, why not? So now it is possible to remain hydrated and even make a wine pairing with repertoire at the big three SF cultural sites, too. The only major distraction results from the sheer novelty of watching listeners drink while the musicians play. If they don't mind, I can get used to it, too. Far be it from me to condescend, it may be it isn't only music that has charms to sooth the savage beast.
The most recent concerts at DSH featured the return of French conductor Lionel Bringuier after his debut in 2014 when he paired with pianist Helene Grimaud for a lumpy presentation of the Brahms Piano Concerto No. 1. His first time was marred mostly by Grimaud's willfulness and his inability to keep up. He had much better luck this time around with another star soloist.
Jean-Yves Thibaudet has the Ravel Piano Concerto in G Major (1931) in his DNA, and we knew we were in for a jazzy treat the minute he walked onstage in a patterned dinner jacket just this side of Liberace, and a pair of crested slippers. With the attentive and sympathetic support of Bringuier and the orchestra, Thibaudet took us on a joyride through the heady Paris of the early 1930s, redolent of Gershwin, Stravinsky and bittersweet Gallic melody.
It was a happy visit, and there really should have been an encore, but it was good enough to give Bringuier a pass for his stolid interpretation of the Beethoven Fourth after intermission. It was well-played and solid, and still a little dull. Kodaly's gypsy-flavored Dances of Galanta opened the bill and was a fine set-up for the dizzy Ravel Concerto. The Beethoven provided a less satisfying conclusion.
The week before, conductor James Gaffigan also made his way back to DSH. We remember him from his days with MTT, serving as SFS associate conductor and as artistic director of the Orchestra's Summer in the City concerts. Paired with guest artist Simone Lamsma performing Prokofiev's Violin Concerto No. 2, Gaffigan proved he is a game co-worker, but is more suited to flying solo.
I had the same response to Lamsma in Prokofiev as I first experienced at DSH during her debut in 2014 with a poorly paced and hard-fought performance of the great Sibelius Violin Concerto. The attractive Dutch artist is obviously gifted and she is never less than competent, but her interpretive skills take a backseat to technique. She met the daunting challenge with determination, but still couldn't convince.
Gaffigan proved his gift warmly with a really entertaining Mozart Symphony No. 36 in C Major. The orchestra responded to his just-right lead with full sound and positive energy. It brought the audience to their feet, for Mozart! Now, I'll drink to that.