Hear flutist Ransom Wilson with French pianist François Dumont in Redlands recital – San Bernardino Sun

The Redlands Symphony Orchestra will end its 2021-22 season with two performances June 12 of a recital featuring music by French composers.

Flutist Ransom Wilson, who is the orchestra’s conductor and music director, will join French pianist François Dumont in the program at the First Presbyterian Church of Redlands, 100 Cajon St. Performances are at 3 and 7 p.m.

Tickets start at $18 and and are available at redlandssymphony.com or by calling 909-587-5565. Tickets will also be available at the door.

“Thanks to everyone’s new best friend coronavirus, it has been almost three years since François Dumont and I have seen each other,” Wilson said in a news release.

“Knowing that we were scheduled to play a recital this coming June for the all-important Redlands audience, we decided that we needed to get used to playing together again. So I recently took a trip to France, where I stayed with François and his beautiful family while we rehearsed,” Wilson said.

“From the first notes, it was like meeting a childhood friend. No matter how much time had passed, we were in sync. Then we took the TGV train to play two recitals, one in a former royal palace in the gorgeous 17th-century village of Blois, and one at the Claude Debussy Conservatoire in Paris. Such an immense pleasure for both of us, and I predict that you have a real treat in store in June.”

The program includes Maurice Ravel’s Violin Sonata No. 1, transcribed for flute and piano, “D’un matin de printemps” (“Of a Spring Morning”) by Lili Boulanger, Francis Poulenc’s Sonata for Flute and Piano, Claude Debussy’s “Estampes” for solo piano and “Syrinx” for solo flute and Jean Rivier’s “Oiseaux tendres” (“Sweet Birds”), among others.

Wilson, who has been music director of the Redlands Symphony since 2016, is also artistic director of New York’s Le Train Bleu ensemble and of the Lar Lubovitch Dance Company. He has also been music director of the Solisti New York Orchestra, the OK Mozart International Festival and the Idyllwild Arts Academy Orchestra and has appeared as guest conductor with many orchestras, including the San Francisco Chamber Symphony.

Wilson has appeared as a flute soloist with orchestras including the Philadelphia Orchestra and London Symphony and has released 27 albums as a flute soloist and 11 as a conductor, winning three Grammy nominations, according to the news release.

French pianist François Dumont’s international career was launched by his success in international piano competitions, including winning prizes in the Chopin Competition, the Queen Elisabeth Competition and the Clara Haskil Competition.

He has been nominated for the Victoires de la musique, a major French classical music event, and hasreceived the Prix de la Révélation from the Syndicate of Music Critics in France.

He has appeared as a soloist with orchestras including the Cleveland Orchestra, the Montecarlo Philharmonic, the Orchestre National d’Île de France, the Warsaw National Philharmonic and the Tokyo Symphony and he regularly tours Japan and China.

Among his recordings are the complete piano music of Maurice Ravel and two albums with Ransom Wilson, “In the Time of Ravel” and “In the Age of Debussy.”


‘I have done my part’: How Osmo Vänskä drew greatness out of the Minnesota Orchestra

Over nearly two decades, Osmo Vänskä has taken the Minnesota Orchestra to the world’s most fabled concert halls, with stops in Cuba, South Africa and even the Grammy Awards along the way.

“Now it’s time for someone else,” he said as he prepares to step down following three sold-old concerts June 10-12.

The 69-year-old conductor from Saaminki, Finland, leaves a legacy of renowned recordings, critically acclaimed performances, groundbreaking tours and — not least of all — a reshaped and re-energized organization following the 16-month lockout of musicians that threatened the orchestra’s very existence.

“It’s really one of the greatest orchestras,” Vänskä said with evident satisfaction as we made ourselves comfortable on the Finnish furniture in his office at Minneapolis’ Orchestra Hall. He reflected on his 19-year tenure here in a conversation that has been edited for brevity and clarity.

Q: Take me back to your first visit: Did you feel a spark of connection with the orchestra?

A: It was a long time ago. In 2000, I conducted the St. Paul Chamber Orchestra and David Hyslop — the [Minnesota Orchestra’s] CEO at the time — asked if I could come and listen to a concert.

Eiji Oue was conducting and I thought, “This is a very good orchestra.” And the hall — the sound was so good. Then when it was time for me to conduct here as a guest conductor, I thought: “These people can play.”

Since Day 1, I wanted to work with the orchestra, and they responded so well. My idea is quite simple: If we can do the next concert a little bit better than the last concert, then there is a progress. The players may have tired sometimes and were thinking, “Why again so hardworking?” But that’s what they’ve done. And the orchestra is playing very well right now.

Q: You always struck me as very confident about what you wanted to do. The year after you arrived, you took the orchestra to Europe and started recording the Beethoven symphonies.

A: I’d been working with BIS Records in Lahti for years. [Vänskä was chief conductor of Finland’s Lahti Symphony.] We’d made, I don’t know, 40 or 50 CDs. So when BIS heard about my new orchestra here, they said immediately they were willing to come and continue this collaboration. That has been a great, great, great situation for the orchestra. To get one of the absolute best classical music companies. And Rob Suff, who is simply the best producer in the world.

I’ve often thought the hardest thing to play — and the best thing for the orchestra — is Vienna classical music. Mozart, Haydn, Beethoven. But I don’t want to waste time. You need to do the recordings as soon as possible, because the recording process is also making the orchestra better. And not wait for years to tour. If we go to London, we can’t play very badly. If we make a recording, we cannot play very badly. They all are feeding each other.

Q: In hearing your first Beethoven recordings — and the concerts — I thought you were doing things I’d never heard before.

A: There had been years of this kind of romantic, big-orchestra way to do Beethoven. Then we had those ensembles that played with authentic instruments, like how maybe they played it when the pieces were written. So I thought: Do I want to go where all the big names have gone? Or is there something that is missing right now? Instead of the “bigger is better,” can we do something like the crispness of [England’s] Orchestra of the Age of Enlightenment, except with a big orchestra?

I wasn’t interested in this romantic style. I needed to find something where things started bouncing more [he snapped his fingers] and the rhythm is much more important than this big sound.

Q: You immediately wanted to play festivals like London’s BBC Proms and great concert halls like Carnegie Hall and the Concertgebouw in Amsterdam.

A: Yes, it’s all connected. I don’t know if I’ve spoken with you about my [idea of] three legs. The first leg is home concerts for home audiences. Each should be better than the last one. And then it’s ideal to do recordings — good recordings with a good company — so we can spread the word that this is a great orchestra. The third part is: If our recordings are good enough, then the festivals are interested in us. And if we are doing good concerts at those festivals, our home audience is hearing that feedback, and more people are willing to come listen to us. It starts to feed each other.

Q: I know those concerts were important enough to you that — well, I want to talk a bit about the 2012-14 lockout of Minnesota Orchestra musicians. You told the board you would resign if the 2013 Carnegie Hall concerts were canceled.

A: And the Proms. Huge institutions in the music life. At that moment, it was a question of life or death for the orchestra. My purpose with that letter was to say, “Come on! Think about if we are losing Carnegie Hall. Think about if we are losing the Proms. You can’t do that.” But it was obvious that the people who were negotiating on behalf of the [orchestra’s] board, it didn’t mean anything for them.

Q: You did resign, and immediately conducted three concerts with the musicians. How did that change your relationship with them?

A: I think I have always been close with the players, but that was some sort of great turning point. First of all, I wanted to do music with them. And I wanted to give my support for the players, because they were handled very unfairly. The cuts that the board wanted were too high.

Q: And how about the audience? There was a palpable sense of grief in the hall. And I thought: Wow, this audience really feels a connection with Osmo Vänskä. Did that take you by surprise?

A: [He pauses.] I don’t want to say surprised. Because it’s so simple: If somebody is taking care of me, it brings us closer together in a better place. If I want to take care of the orchestra, it’s the same thing. It means that we care for each other, and we want to help the situation and go through it together.

We have to remember that there were different kinds of people on the board. In the very end, when the music lovers were put in charge of the negotiations, the contract was done in a few weeks. The CEO at that time [Michael Henson] had lost his faith for classical music. He set a plan that we had to cut all the salaries in a very radical way. And he believed that all the American orchestras were going to do the same in a few years.

In the end, two board members came to see me and ask if I would come back. And I said: “Yes, but you have to send some people away from the administration and from the board.” And they did it.

I also said, “I don’t want to come back to the old system.” The board was in one corner, the administration in another corner, and the players in one corner, and the three don’t like each other. I said, “We need to start to work together.” If we’re doing it together, we have everybody’s brain and heart there, maybe. That has been the model, very much, since the lockout. I think we needed some sort of big disaster before people were ready to change.

Program planning is the closest example for me. I wanted to set a new artistic committee. It has mostly the players, one board member, the CEO, and I am there. But the players are the majority. I know that there are many, many other committees and groups that are working the same way, so that they are working together.

Q: Would you talk about the orchestra’s landmark tours? It became the first major American orchestra to visit Cuba since the 1950s and the first to visit South Africa.

A: When [Cuban President] Raul Castro and [then-President Barack] Obama made new rules, it was obvious in the music business that an orchestra should try to go there. And we were quick. Those good board members wanted to react and make this possible.

In Cuba, we found our model in touring — not to just go to one place, then fly the next morning, but to stay and try to connect with the music schools, young students, youth orchestras. I remember we had one side-by-side rehearsal with the Cuban National Youth Orchestra. Their conductor did his arrangement of a song that had a lot of the traditional Cuban rhythms. The kids were teaching the Minnesota Orchestra players how to make those sounds, and how to make the rhythm so it is really swinging. It was so much fun, such a great experience. I was playing bass drum toward the end of the program.

When we went to South Africa, we wanted to do it the same way.

Q: How did that tour come about?

A: That started with my very good friend Ilkka Uurtimo, who is a cellist in the Lahti Orchestra. He had been coaching the South African National Youth Orchestra, and they were having a 50th anniversary celebration but didn’t have a conductor for it. He asked if I was interested. I so enjoyed working with them. And I loved the country, too. Seeing those kids playing there, I thought: This might be an ideal place to come with the Minnesota Orchestra. Because this is not a place where every orchestra is going.

Q: You followed the Beethoven cycle by recording the Sibelius symphonies.

A: BIS asked me, “What do you think about doing a second cycle of Sibelius?” Because we’d done the cycle in Lahti. I said, “C’mon, we just did it.” And they said, “Hey, Osmo, you may not have noticed, but it’s 18 years ago when we did the very first recording. You’re still the same person, but your artistic ideas might be moving.”

Q: Then you moved on to Mahler for the third symphonic cycle of your tenure, which will bring you back to Minneapolis next November for a final round of concerts and recording. So why Mahler?

A: Mahler has been in my mind for a long time: Maybe one day, maybe one day. The Mahler symphonies are big, big complicated pieces. It was important for me to do this with my own orchestra.

Q: So what’s next? You still have the position in South Korea, as music director of the Seoul Philharmonic.

A: That only goes through the end of this calendar year, and then it’s done. I told them that I didn’t want to extend my contract.

Q: Is that your last official position?

A: You never know. I believe strongly — as do many other conductors — that they are never or very seldom retiring. There might be a chance that some orchestra is asking us to be a music director, but guest conducting fills my calendar totally right now. A lot. Maybe too much.

Q: Yet you seem as energetic as ever on the podium.

A: I love music. I think that is the only thing I can do. And if I have the chance to make music with a great orchestra like the Minnesota Orchestra — it’s really one of the greatest orchestras. When I’m guest conducting, I always miss them, because they are really, really good. And if I can do good music with a good orchestra, nothing is better. I am always in love doing music.

Q: Is there one thing you can say is your proudest achievement?

A: I’m very proud of the quality of the orchestra. Wherever I go, it’s very seldom or maybe never when I can get better playing than I can get from the Minnesota Orchestra. This is one of the top orchestras. And I hope that it will continue getting better and better.

But this orchestra is not like a boat going where the winds are blowing. They know where they are going. That collaboration model is taking care of this orchestra right now if there is a gap to get the new music director. Everyone is taking care of the orchestra. The players, the board, the administration and the audience.

I have done my part of this. Now it’s time for someone else to continue.


Hamisa Mobetto Releases Her Hugely Anticipated Feel Good Debut EP -Yours Truly FT Korede Bello & Otile Brown – Music Industry Today

Hamisa Mobetto Releases Her Hugely Anticipated Feel Good Debut EP -Yours Truly FT Korede Bello & Otile Brown – Music Industry Today – EIN Presswire

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Classical Connections: Tight squeeze – Pattaya Mail

Leonardo Rojnić

Many years ago, I decided to buy a piano accordion, under the impression that being a reasonably competent pianist, it would be fairly easy to play. I was wrong. The keyboard looked friendly enough, but it was something of a challenge to play the keyboard sideways without getting my fingers in knots. Then there were the left-hand buttons to sort out. Many accordions use the so-called Stradella bass system, in which the buttons are arranged in intervals of the fifth: separate buttons for bass notes and additional rows of buttons for major, minor, dominant seventh, and diminished chords. So far, logical enough.

The trouble is, when playing the instrument, the buttons are unmarked and in any case they’re completely out of sight, so that you have to fumble around until you manage to memorize the positions. My biggest problem was remembering to keep pushing and pulling the bellow with the left arm – an action that doesn’t come naturally, especially as your fingers are busily engaged in other occupations. The accordion is also an incredibly heavy contraption, supported by thick leather straps that go over your shoulders. Compared to the piano, practising is a physical effort.

The accordion is rather loud, which is why it’s popular in dance music. Sadly, it was not popular with my neighbours who were clearly not connoisseurs of accordion music. There were so many complaints that my potential as an international accordion star was never realized. In any case, I never really got the hang of the bellows.

After its invention in 1829, the accordion became enormously successful and it travelled with migrating Europeans to many parts of the world. It was ideal for folksongs and dance music because it could provide harmonies as well as melody. Ironically, this was one of the reasons that the accordion was slow to be accepted into classical music because the buttons could produce only relatively simple chords. The breakthrough came with the emergence of the “free-bass accordion” which could play a wide range of individual bass notes. Accordions are part of a large family of musical instruments known technically as free-reed aerophones and include mouth organs, the ancient Chinese sheng and the Thai khaen. The melodeon, bandoneon and the concertina are really just simpler versions of the accordion.

Paul Hindemith (1895-1963): Kammermusik No.1, Op. 24 No. 1.  ESMRS Sinfonietta cond. Peter Eötvös (Duration: 14:54; Video: 720p)

If the music of Paul Hindemith doesn’t normally float your boat, give this early work a try. Kammermusik (“Chamber Music”) is the title of eight compositions that he wrote during the 1920s. While most German composers of that time were writing romantic nationalistic music, Hindemith was looking forward rather than back and wanted to explore new tonalities and new ideas. This strikingly original work is scored for wind instruments, piano, string quintet, percussion and accordion. It’s strident and provocative music and contains more than a hint of Stravinsky. After the premiere, the 27-year-old Hindemith acquired the reputation of being “the bad boy of music” a description that he probably relished. One reviewer scoffed, “music has finally managed to embrace today’s lifestyle at its most frivolous and vulgar…a kind of music the likes of which no German composer has ever even dared think about, let alone write…music of lewdness and frivolity.”

To modern ears, it is a delight, with touches of humour, some notoriously difficult passages and a wild, vivacious energy that’s difficult to resist.

Ihor Naumovich Shamo (1925-1982): Concerto for Accordion and Strings. Leonardo Rojnić (acc), HRT symphony orchestra (Zagreb), cond. Tomislav Fačini (Duration: 10:17; Video: 480p HD)

Concertos for accordion and orchestra are a bit thin on the ground. The first one was evidently composed in 1937 and since then only a trickle have emerged. It seems that few composers have ever felt the need to write one, though there are examples by American composers Alan Hovhaness, Henry Cowell, Paul Creston and the British composer Gordon Jacob. With the accordion being so closely associated with France, you’d have thought that some French composers would have written a concerto but no one did. But here’s a splendid work by the Ukrainian composer Ihor Shamo, who was born in Kiev. The concerto is superbly and sensitively played by the brilliant young Croatian accordionist Leonardo Rojnić who currently studies at The Sibelius Academy in Helsinki. You’ll notice that he plays a rather complex-looking instrument that uses buttons instead of a keyboard. It’s known as a bayan, a type of accordion developed in Russia during the early 20th century and favored by many professional players because of its richer tone colour and more powerful bass notes.

The performance was recorded at the Croatian National Finals of the Eurovision Young Musicians 2020. Shamo’s concerto is a fascinating work, approachable and in complete contrast to the work of “bad-boy” Hindemith. The Prelude is of simple, flowing melodies, lyrical harmonies and a kind of romantic soul-searching quality. It leads into a sparkling and virtuosic Toccata which demonstrates Leonardo Rojnić’s formidable technical skills. Magic indeed.


Santoor maestro Bhajan Sopori composed music for over 6,000 songs, including Urdu, Kashmiri | People News

New Delhi: Santoor maestro Bhajan Sopori, often referred to as the ‘saint of santoor’ and ‘king of strings’ for his mastery over the instrument, died on Thursday at a Gurugram hospital following a battle with cancer. He was 73. Sopori is survived by his wife and two sons Sorabh and Abhay, who also plays the santoor.

Sopori’s death comes just weeks after santoor virtuoso Pandit Shiv Kumar Sharma, who also belonged to Kashmir and took the stringed instrument to the classical music stage, died on May 10. And on Saturday, playback singer KK passed away on Saturday in Kolkata following a cardiac arrest. 

Sopori received multiple awards through his career, including the Padma Shri in 2004, the Sangeet Natak Akademi Award in 1992 and the Jammu and Kashmir State Lifetime Achievement Award. The musician-composer belonged to north Kashmir’s Sopore district and came from the ‘Sufiana Gharana’.

Sopori, who gave his first public performance at the age of 10, was initiated into the intricacies of santoor playing by his grandfather Pandit Samsar Chand Sopori and later by his father Pandit Shamboo Nath Sopori. The musician is considered a pioneer in establishing the santoor on national and international platforms as a complete solo instrument. He is also credited with innovating the instrument to improve its tonal quality and range.

Sopori had a double Masters degree in Indian classical music, specialising in both the sitar and the santoor. The versatile artiste also had a Masters degree in English Literature and studied Western Classical Music at Washington University.

Sopori composed music for over 6,000 songs in almost all Indian languages, including Hindi, Kashmiri, Dogri, Sindhi, Urdu and Bhojpuri, as well as Persian and Arabic. During his career, he composed music for ‘ghazals’ written by greats such as Ghalib, Daag, Momin, Bahadur Shah Zafar, Iqbal, Faiz Ahmed Faiz and Firakh Gaurakhpuri. He also set to tune the works of Kabir and Meera Bai.

In 2011, Sopori was honoured with a Rs 5 stamp, a special tribute by the Indian Postal Department for his extraordinary work in the field of art and culture.

National Conference leader Omar Abdullah described him as a ‘colossus in the world of classical Indian music who made the santoor his own’. Condoling the musician’s death on Twitter, the former chief minister of the erstwhile state of Jammu and Kashmir said he was “very sorry to hear about the tragic demise of Padma Shri Pandit Bhajan Sopori sahib. A great son of the soil…”

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Some Album Suggestions for Finals Week – The Spectator

Finals week is always a stressful ordeal for students and faculty alike. For late-night study sessions or getting ready to jump into a final exam, Redhawks use music to power through the stress of the last days of the quarter. Here are some music suggestions to get through finals week. 

Methwitch: Indwell

Deathcore and other subgenres of extreme metal are often misconstrued as, simply, ‘loud music’ without a deeper appreciation for their sonic complexity. Methwitch, a solo project of artist Cameron McBride, offers utterly punishing yet compositionally rich walls of harsh sound to bring some intensity to any last-minute study sessions. Of particular note are the vocals on the album, which are deliciously terror-inducing and bring together the grit of the album nicely. 

Loathe: I Let It in and It Took Everything 

Loathe is one of the best bands in heavy metal today. Hailing from Liverpool, the English outfit brings a uniquely ethereal quality to their work which makes for a unique metal experience. Unlike some of their more commercial contemporaries, Loathe’s recent work manages to instill a sense of genuine wonder and nostalgia while still delivering the pumping riffs that fans of the genre have come to expect. Students looking for a foray into metal during the last week of the quarter would be well-served by trying out this album. 

Knocked Loose: A Tear in the Fabric of Life 

Knocked Loose is on the cutting-edge of American hardcore music. A Tear in the Fabric of Life represents the culmination of their sound up to this point. It offers a plunge into a desolate landscape, punctuated by occasional stings which keep the listener on edge. The album begins with audio of a car crash, and it only gets more brutal from there. For those students who need an artist who will keep them from falling asleep while going over their notes, there’s nothing like a little Knocked Loose to knock you loose. 

Lingua Ignota: CALIGULA

Lingua Ignota’s style is difficult to categorize. She is a multi-instrumentalist with a gift for melding extreme metal with classical, and the result is a transcendent hybrid of influences that cannot be found anywhere else. CALIGULA offers a dense theological exploration of a suffering human mind with lush aesthetic flourishes that would make the album sound at home in a metal venue or a gothic cathedral. For students looking for a beautiful and challenging listening experience, Lingua Ignota is a great choice. 

BabyMetal: Metal Galaxy 

BabyMetal is a Japanese heavy metal band offering an electric mix of metal and pop which coagulate into a sugary mess of a listening experience. As a band from Japan, which draws inspiration from various shades of international metal trends, BabyMetal has a knack for capturing unique renderings of metal riffs with which American fans may be less familiar. Those searching for an energetic mix would be well-served by Metal Galaxy. 


In CRASH, Charli XCX invites listeners to start their summer on an upbeat and fun note via her seamless amalgamation of hyper-pop in her fifth studio album. With features from Rina Swayama, Caroline Polacheck and Christine and the Queens, new listeners of XCX might sense some familiarity due to the inclusion of these artists. For students staying in Seattle throughout the summer, they can experience the album live at Capitol Hill Block Party July 22 just outside of Seattle U’s campus. 


Traditionally trained in the Flamenco style, Rosalia translates her perfect vocal range into a flawless Latin Urbano Pop album written for anyone looking to strut through the lower mall like they’re walking their very own runway. MOTOMAMI is recommended for anyone looking to turn finals week into a good time. You’ve probably already heard LA FAMA (with The Weeknd) and if you liked that, prepare for the rest of the album to only get better. 

Poppy: I Disagree 

Poppy knows how to subvert genre and the expectations of her audience. Initially an internet meme, Poppy moved beyond her viral-video roots to pursue a music career which gradually transitioned from pop to metal. I Disagree offers a strong balance of Poppy’s internet-informed sonic sensibilities and hard metal themes. Students looking for an entrance into more intense music should start with Poppy. 

As students move into finals, they will need albums which keep them motivated. In the coming days filled with presentations, exams and papers, we hope the above albums can bring you to the finish-line. 


Summer Guide 2022: Music in Chicago in the weeks ahead

The sun is out, the sky is blue, it’s time to catch some live tunes!

Chicago’s vibrant music scene is amping up for a jam-packed summer with sounds from every genre under the sun. Concerts are popping up in area venues large and small, in neighborhood bars and festivals in and around Chicago.

We’ve listed some of the summer’s must-see music, from jazz to jam bands and everything in between:

All Summer Long

Ravinia Festival. Pitbull, Erykah Badu, Common, Diana Ross and Grace Potter are just a few of the artists you can listen to under the stars at the Highland Park annual extravaganza, this year running through Sept. 18. Visit ravinia.org

Grant Park Music Festival with the Grant Park Orchestra and more. June 15-Aug. 20. Millennium Park, Pritzker Pavilion, Michigan and Randolph and citywide. Free. grantparkmusicfestival.com

Jazzin’ at the Shedd with Detour JazFunk, Rio Bamba, Michele Thomas Quartet and more. June 15-Aug. 31. The Shedd Aquarium, 1200 S. DuSable Lake Shore Dr. $14.95-$39.95; sheddaquarium.org

Naper Nights with The Prince Experience, Soul 2 the Bone, Red NOT Chili Peppers and more. June 17-Aug. 20. Naper Settlement, 523 S. Webster St., Naperville. $15-$20; napersettlement.org

Chicago SummerDance with Salsa, Polka, Swing and more. June 18-Sept. 17. Spirit of Music Gardens, 331 E. Randolph St. and citywide. Free. chicagosummerdance.com

Pitbull headlines Ravinia on Aug. 25.|

Summer Breeze Concert Series with Shining Star, The Flat Cats and The Chicago Experience. July 9-Aug. 27. Robert O. Atcher Municipal Center, 101 Schaumburg Ct., Schaumburg. Free. parkfun.com

Lakeside Pavilion Free Outdoor Summer Series with The Greatest Piano Men, Magic of Motown, Frida Fiesta! and more. July 15-Aug. 5. McAninch Arts Center, 425 Fawell Blvd., Glen Ellyn. Free. atthemac.org

Rockin’ in the Park with Rush Tribute Project, Bruce in the USA & Deadfest, Motley Inc. and more. Through Sept. 1. Parkway Bank Park, 5501 Park Pl., Rosemont. Free. rosemont.com

Live on the Lake! Performers TBA. Through Sept. 4. Navy Pier Beer Garden, 600 E. Grand Ave. Free. navypier.org

Jazz’n on the Steps Through Sept. 25. St. Moses The Black Parish, 331 E. 71st St. Free. southsidejazzcoalition.org

Bring a picnic blanket and listen to some classical tunes at the Grant Park Music Festival, June 15-Aug. 20.|

Bring a picnic blanket and listen to some classical tunes at the Grant Park Music Festival, June 15-Aug. 20. Pavilion seating also available.|

Patrick L. Pyszka/ City of Chicago


The Music Institute of Chicago Chorale – From Africa June 5. Nichols Concert Hall, 1490 Chicago Ave., Evanston. Free. musicinst.org/chorale

Chicago Blues Festival June 9-12. Millennium Park, Pritzker Pavilion, Michigan and Randolph and citywide. Free. chicagobluesfestival.us

Chi-Soul Fest June 11-12. Performers TBA. Navy Pier Beer Garden and the Polk Bros Park Performance Lawn, 600 E. Grand Ave. Free. navypier.org

Departure (Journey Tribute) June 16. Parkway Bank Park, 5501 Park Pl., Rosemont. Free. rosemont.com

Summer Smash with Post Malone, Playboi Carti, Young Thug x Gunna, Wiz Khalifa and more. June 17-19. Douglass Park, 1401 S. Sacramento Dr. $275-$450; thesummersmash.com

Lionel Richie Tribute, All Night Long June 18. Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights. $40; metropolisarts.com

Elvis My Way Starring Brandon Bennett June 18-19. Marriott Theatre, 10 Marriott Dr., Lincolnshire. $55; artistsloungelive.com

Liz Callaway: Broadway and Beyond June 23. Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights. $40-$45; metropolisarts.com

River North Live Music Festival with The Calling,Emo Night Brooklyn, Michigander,Baysikand more. June 24-26. River Park at theMART, 222 Merchandise Mart Plaza. $10-$12; rivernorthlive.com

Lil Wayne, Wu-Tang Clan & Wiz Khalifa at Summerfest. June 25. American Family Insurance Amphitheater, 100 N. Harbor Dr., Milwaukee, WI. $66.25+; summerfest.com

Toronzo Cannon is among the artists set for the Chicago Blues Festival, June 9-12.

Toronzo Cannon is among the artists set for the Chicago Blues Festival, June 9-12.|

Mike White/City of Chicago

Leaders of the Pack Starring the Lovettes June 25-26. Marriott Theatre, 10 Marriott Dr., Lincolnshire. $55; artistsloungelive.com

Pride in the Park with The Chainsmokers, Alesso, Saucy Santana, Rebecca Black and more. June 25-26. Butler Field, Grant Park, 377 E. Monroe St. $45-$300; prideparkchi.com

Catch big-name bands at Pride in the Park, June 25-26, at Grant Park.|

Catch big-name bands at Pride in the Park, June 25-26, at Grant Park.|

Courtesy Adam Alexander Photography


Square Roots Festival with Bob Mould, Guided by Voices, Dehd and more. July 8-10. Lincoln Ave. between Montrose Ave. and Wilson Ave. Free. squareroots.org

Michael Franti & Spearhead with Arrested Development. July 9. Ravinia Pavilion, 200 Ravinia Park Rd., Highland Park. $49-$110; ravinia.org

Passport Vibes: Afrobeat Street Festival Lineup TBA. July 9. The Promontory, 5311 S. Lake Park Ave. Free. passportvibesfest.com

Ticket to the Moon (ELO Tribute) July 14. Parkway Bank Park, 5501 Park Pl., Rosemont. Free. rosemont.com

Pitchfork Music Festival with The National, Mitski, Japanese Breakfast, The Roots and more. July 15-17. Union Park, 1501 W. Randolph St. $99-$399; pitchforkmusicfestival.com

Heatwave Music Festival with Above & Beyond, Galantis, RL Grime, Tiësto and more. July 16-17. Douglass Park, W. Ogden Ave. and S. Sacramento Dr. $99-$448; heatwavemusicfestival.com

The Black Keys with Band of Horses and Ceramic Animal. July 17. Hollywood Casino Amphitheatre, 19100 Ridgeland Ave., Tinley Park. $38+; tinleyparkamphitheater.com

Wicker Park Fest with Masked Intruder, Ric Wilson, Archers of Loaf and more. July 22-24. N. Milwaukee Ave. between N. Damen Ave. and N. Wolcott Ave. $10 suggested donation; wickerparkfest.com

Leslie Odom Jr. with Marin Alsop and the Chicago Symphony Orchestra. July 24. Ravinia Pavilion, 200 Ravinia Park Rd., Highland Park. $15-$125; ravinia.org

Lollapalooza with Metallica, Dua Lipa, Machine Gun Kelly, Green Day, Doja Cat, J.Cole and more. July 28-31. Grant Park, 331 E. Randolph St. $125-$4,200; lollapalooza.com


American English (Beatles Tribute) Aug. 4. Parkway Bank Park, 5501 Park Pl., Rosemont. Free. rosemont.com

Windy City Smokeout with Willie Nelson & Family, Tim McGraw, Sam Hunt, Miranda Lambert and more. Aug. 4-7. United Center, 1901 W. Madison St. $44.95+; windycitysmokeout.com

Country music superstar Tim McGraw is among the lineup for Windy City Smokeout in August.|

Country music superstar Tim McGraw is among the lineup for Windy City Smokeout in August.|

Elton John Aug. 5. Soldier Field Stadium, 425 E. McFetridge Dr. $159+; chicago-theater.com

Grant Park Chorus Aug. 8. South Shore Cultural Center, 7059 S. South Shore Dr. Free. grantparkmusicfestival.com

Fitz and The Tantrums & Andy Grammer Aug. 12. RiverEdge Park, 360 N. Broadway, Aurora. $35-$199; paramountaurora.com

My House Music Festival with DJ Sneak, Farley, Ralphie Rosario, Jackmaster Funk and more. Aug. 13-14. Harrison Park, 1824 S. Wood St. $30-$125; myhousemusicfest.com

Ruido Fest with Cuco, Los Fabulosos Cadillacs, Cypress Hill and more. Aug. 19-21. Union Park, 1501 W. Randolph St. $99.99-$599.99; ruidofest.com

Sunday in the Park with Lyric with the Lyric Opera Orchestra. Aug. 21. Millennium Park, Pritzker Pavilion, Michigan and Randolph. Free. lyricopera.org

Alicia Keys Aug. 23. Huntington Bank Pavilion at Northerly Island, 1300 S. Linn White Dr. $54+; chicago-theater.com

Leon Bridges Aug. 24. Credit Union 1 Arena, 525 S. Racine Ave. $48+; chicago-theater.com

Dreamgirls directed by Christopher Betts. Aug. 31-Oct. 16. Paramount Theatre, 23 E. Galena Blvd., Aurora. Ticket prices TBA. paramountaurora.com


The Lumineers will headline Wrigley Field on Sept. 3.| 

The Lumineers will headline Wrigley Field on Sept. 3.|

Chicago Jazz Festival Sept. 1-4. Millennium Park, Pritzker Pavilion, Michigan and Randolph and citywide. Free. chicago.gov

Out of Space at Temperance with Houndmouth, Car Seat Headrest, Neko Case, Steel Pulse and more. Sept. 1-4. Temperance Beer Co., 2000 Dempster St., Evanston. $35-$40; outofspaceconcerts.com

Michael Bublé Sept. 2. Allstate Arena, 6920 Mannheim Rd, Rosemont. $109+; chicago-theater.com

ARC Music Festival with Carl Cox, Charlotte De Witte, Fatboy Slim and more. Sept 2-4. Union Park, 1501 W. Randolph St. $279-$999; arcmusicfestival.com

North Coast Music Festival with Armin Van Buuren, Illenium, Porter Robinson and more. Sept. 2-4. SeatGeek Stadium, 7000 S. Harlem Ave., Bridgeview. $73.57-$391.50; northcoastfestival.com

The Lumineers Sept. 3. Wrigley Field, 1060 W. Addison St. $85+; chicago-theater.com

Small Venue Must-Sees

Chicago’s iconic Metro is among the music venues that will benefit from the Save Our Stages Act.

Attend a live show at one of the many small venues Chicago has to offer.

Tiny Moving Parts with This Wild Life and In Her Own Words. June 9. Bottom Lounge, 1375 W. Lake St. $25; bottomlounge.com

Liily with Catcher. June 29. Empty Bottle, 1035 N. Western Ave. $15-$17; emptybottle.com

Umi June 30. Lincoln Hall, 2424 N. Lincoln Ave. $23-$89; lh-st.com

Corinne Bailey Rae with Malia. July 5. Thalia Hall, 1807 S. Allport St. $38-$60; thaliahallchicago.com

Spirit of the Bear July 15. Hideout, 1354 W. Wabansia Ave. $10+; hideoutchicago.com

Sleigh Bells Aug. 5. Metro, 3730 N. Clark St. $29-$35; metrochicago.com

Jorja Smith Aug. 25. The Salt Shed, 1357 N. Elston Ave. $49.50-$129.50; saltshedchicago.com


How post-war innovators created a subgenre of music that is now an Instagram staple

Experimental music in the early and mid-20th century was the purview (largely) of composers trained either in classical music (Arnold Schoenberg, Olivier Messiaen, La Monte Young, to name a few) or engineers.

While classical music composers such as Schoenberg, Messiaen and La Monte Young drew on non-Western music traditions like Indian classical music and Balinese court music to push the boundaries of Western composition, engineers in post-war Europe began cobbling together spare parts to create their own instruments. As Tristram Cary, a British pioneer of electronic music explains in the documentary What the Future Sounded Like, “When I started to seriously design my own studio, this coincided with the post-war appearance of an enormous amount of junk from the Army, Navy and Air Force… so for someone who knew what to do, even if you had just 30 shillings in your pocket, you could get something.”

Tristram Cary had worked as a radar engineer for the British Navy in World War II. The war had created a huge pool of skilled engineers like him, a small number of whom now turned to electronic music. What united both avant-garde classical composers and electronic music engineers was the dream of a new sound, the dream of pushing music beyond all boundaries, frontiers and norms.

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As Tristram Cary puts it in What the Future Sounded Like, “With electronic music you can play any sound, at any pitch and any frequency that you like. Musical instruments can’t do that. Now we don’t need to talk about notes… you don’t talk about C or E, you talk about frequencies…theoretically you can go from the highest notes you can hear to the lowest notes you can hear… the entire audio range.”

A craving for an expanded audio range is probably a good description for the evolutionary history of Western music. What one finds over the longue duree is that given enough time, Western music seems to accommodate and assimilate experimental techniques in order to satisfy this craving.

For a concrete example, you can take a look at the genre on YouTube that goes by the keyword phrase “slowed to perfection” or “slowed+reverb”.

These are fan-made edits of popular songs that are slowed down and drenched in reverb. Some of my personal favorites are Lil Peep’s “Star Shopping,” Slowdive’s “When the Sun Hits,” Mitski’s “Washing Machine Heart” and G-Eazy’s “Tumblr Girls.”

Slowing down the track allows the listener to more carefully and attentively focus on every lyric and every word of these songs – it opens up a space for deeper contemplation and by elongating each riff and every melodic phrase, you are able to pick up on details that you might have missed when you heard the original version of these songs. These fan-made edits also often lower the pitch of the vocals, making the singing and the enunciation of the words deeper and bassier (think Amitabh Bachchan-y), adding pathos that is subdued, less pronounced (or in the case of G-Eazy’s “Tumblr Girls”) entirely lacking in the original.

You experience reverb in spaces where sounds bounce and echo off the walls – old buildings, churches, swimming pools, tunnels or wells. By drowning these songs in reverb, the listener is enveloped within the sounds of the song, and is able to dwell within the song – hearing each drum beat, each guitar riff and each word linger on.

A more extreme form of this experiment can be found in a genre on YouTube that goes by the keyword phrase “slowed to 800%”.

My favorite from this genre is Clams Casino’s “I’m God.” The original track is about four minutes and 39 seconds long but slowed to 800% it expands to 35 minutes and 52 seconds. The song is no longer recognisable – it is impossible to make out individual words as each vowel is stretched beyond recognition. Words that were sung in the original are now heard only as crashing waves of ethereal sound. Even more so than the slowed to perfection tracks, with such extreme manipulation, the listener is fully and thoroughly able to dwell within the song, surrounded by it and cocooned within it.

This idea isn’t new. As far back as 1967, composer Steve Reich experimented with slowing music down. In his book Writings About Music, one finds the following note, “The basic idea was to take a tape loop, probably of speech, and ever so gradually slow it down to enormous length without lowering its pitch. In effect it would have been like the true synchronous sound track to a film loop gradually presented in slower and slower motion… The possibility of a live performer trying to speak incredibly slowly did not interest me since it would be impossible, in that way, to produce the same results as normal speech, recorded, and then slowed down.”

What was once a niche and somewhat avant-garde and academic genre – experimental music has now become a commonplace musical practice. Thanks to the internet and easy access to cheap/freely available audio editing and audio manipulation software, anyone with a smartphone or a laptop can experiment with music.

At one point in the documentary What the Future Sounded Like, Tristram Cary complains that his music was always relegated to the fringes: “People did not take it seriously at first, I couldn’t get any royalties on it for example because people said it wasn’t music.”

The musical innovators of the early and mid-20th century dreamed of an environment without boundaries and without frontiers – they wanted to redefine what music was. It is perhaps only now, half a century on, with the democratisation of technology that the world these early pioneers dreamed of is finally being realised.


Dragon Boat Festival a hit – Feedback, Event, Howick 175

Marking 2022 Dragon Boat Festival and celebrating Howick 175 this year.Photo supplied

We have successfully organised another Chinese Cultural Event to celebrate 2022 Chinese Traditional Dragon Boat Festival on Sunday May 29 at the East Auckland Chinese Culture Centre. It is another opportunity to promote history to local residents, especially this year which is the remarkable year for Howick’s 175th Anniversary.

The Dragon Boat Festival is one of the major traditional Chinese festivals apart from Chinese New Year, Mid-Autumn Day [also known as the Moon Festival or Mooncake Festival].

People celebrate to commemorate a well-known Chinese poet called Qu Yuan, a national hero for his patriotism and contribution through classical poetry. The event exhibited art works collected from the Chinese artist community and provided wonderful performances for community including Chinese folk music and dance, a magic show, Chinese comedy cross talk etc.

This event is supported by the Asian Library Trust and New Zealand Institute of Chinese Culture and Arts, co-organised by other Chinese Community Organisations such as the New Zealand Association for Chinese Culture Exchange and New Zealand Chinese Artist Association.

Chao Yu
Ambassador for Howick & Districts 175th Trust


40+ Things to do in the Bay Area this summer

Summer has begun, and it’s time for some fun! Here are all the upcoming local happenings you might want to add to your calendar.

Cornerstone Music Series: 12-3 p.m. every Saturday and Sunday, 23570 Arnold Drive, Sonoma. Join Cornerstone Sonoma for live music at their outdoor kitchen venue every weekend through the end of October. Hear an exciting lineup of local musicians and enjoy Primal Cuts BBQ, wood-fired pizza, wine, beer and artisan cocktails. Free admission; cornerstonesonoma.com

Keep on Truckin’: Saturdays through June 11. Location varies. Tandy Beal and Company’s Keep on Truckin’ presents its free, outdoor family shows to provide a burst of joy in your neighborhood. tandybeal.com/keep-on-truckin

‘Clue’ on Stage: 8 p.m. Thursday-Saturday, 2 p.m. Sunday, June 2-19, Hillbarn Theater, 1285 E. Hillsdale Blvd., Foster City. Based on the 1985 Paramount movie, which in turn was inspired by the classic Hasbro board game, “Clue” is a hilarious farce-meets-murder mystery. $30-58. Hillbarn Theater: hillbarntheatre.org/

‘The Pajama Game’: June 2-19, Gateway Theatre, 215 Jackson St., San Francisco. The 42nd Street Moon ensemble presents a revised Tony award-winner for best musical. $35-76. 42nd Street: bit.ly/39S5uuj

Friday Nights at OMCA: 5-9 p.m. every Friday starting June 3, Oakland Museum of California, 1000 Oak St., Oakland. Reconnect with family, friends and community over delicious local eats from Off the Grid food trucks and exciting museum offerings. Free admission; museumca.org/friday-nights

Diablo Regional Concert Band: 12 p.m. June 4, Benicia Capitol State Historic Park, 115 W. G St., Benicia. Enjoy a free concert and plenty of sunshine. Bring your chair, blanket and lunch from local eateries. Free. Visit Benicia: bit.ly/3sWgVrs

Black Music Month Festival: 2 p.m. June 4, 410 14th St., Oakland. This multigenerational festival celebrates Black Music Month with Oakland’s finest Black artists in jazz, blues, country and gospel. $40. Eventbrite: https://bit.ly/3MLDjfg

Spring Sing!: 3 p.m. June 4, Temple Hill Events, 4780 Lincoln Ave., Oakland. The Piedmont East Bay Children’s Choir will present a season finale with performers ages 5-19. $30. Piedmont Choirs: bit.ly/3NvHVpJ

Drive-In Movie ‘The Princess Bride’: 8 p.m. June 4, 1221 Linda Mar Shopping Center, Pacifica. Catch a drive-in showing of the 1987 classic. $40 per vehicle. Facebook Events: bit.ly/3tikB7p

Night Shift – A Shavuot Experience: 7 p.m. June 4, Albert and Janet Schultz Cultural Arts Hall (Building F), 3921 Fabian Way, Palo Alto. Night Shift is a Jewish cultural experience and a new take on Shavuot, the holiday that celebrates Jewish culture and literacy. $25. Palo Alto JCC: paloaltojcc.org

Kairos Music Academy – ‘A Midsummer Night’s Dream’: 7 p.m. June 4 and 4 p.m. June 5, The Hillside Club, 2286 Cedar St., Berkeley. The Kairos youth choir brings two performances of Shakespeare’s classic to the stage at the historic Hillside Club. $12-15; kairosmusicacademy.org/

No Mean Reward – Chanticleer and the Golden Fleece: 7:30 p.m. June 4 and 8 p.m. June 10, location varies. Grammy award-winning vocal ensemble Chanticleer presents an evening of Renaissance choral masterworks from the late 15th century. $20-$62; chanticleer.org

“Ramayana!”: 7 p.m. June 9, Mexican Heritage Theater, 1700 Alum Rock Ave., San Jose. This musical theater production, adapted for modern audiences, is replete with lively action, dazzling costumes, humor and universal life lessons. $15. ramayana.brownpapertickets.com/

‘Romeo and Juliet’: 7 p.m. June 9-13, 1320 Willow St., San Jose. William Shakespeare’s star-crossed lovers — in the form of two female protagonists — arrive in San José to kick off Pride. Free; svshakespeare.org

Phantom Limb – Headlands Fellowship Exhibition: 12-5 p.m. June 10-July 2, Kala Art Institute, 2990 San Pablo Ave., Berkeley. View an exhibition of work by Headlands’ graduate fellows Kristen Wong, Ebtihal Shedid and more. Free; headlands.org/event/phantom-limb/

Breaking Down Walls – Celebrating Our Shared Humanity Through The Arts: 7 to 8:30 p.m. June 11, Cowell Theatre, Fort Mason, San Francisco. This benefit for Ukraine features artists including singer-songwriter Will Hammond Jr., choreographer Mia J. Chong and members of Post:ballet with music by Vân-Ánh Võ, Teatro Nagua and more in a show emceed by comedian Dhaya Lakshminarayanan. $25. Eventbrite: bit.ly/3MAz6ur

Farms of Tuolumne County Farm & Ranch Tour: 10 a.m. June 11, 16111 Lance Court, Sonora. Tour five farms in Tuolumne County and enjoy free bites, wine tastings and plenty of animals at this family-friendly event. $15; farmsoftuolumnecounty.org/

Doors Open California: 9 a.m. to 6 p.m. June 11-12, location varies. Enthusiasts of historic architecture, design, and cultural heritage will have access to more than 75 sites across the state this weekend from a Preston Castle tour in Gold Country to a behind-the-scenes greenhouse tour at Filoli. $20; californiapreservation.org/doca/

Benicia Arsenal Artists Open Studios: 10 a.m. to 5 p.m. June 11-12, 940 Tyler St., Benicia. More than 40 artists in Benicia’s Historic Arsenal Arts District will open their studios to visitors, Studios are located along Tyler and Jackson streets, all studios are within walking distance.  Free. BeniciaArsenalArtists.com

The Black Food & Wine Experience: June 11-19, Oakland venues. This mission-driven event celebrates Black culture with a series of wine dinners and special events at several Oakland locations and a Grand Tasting at The Hive Oakland.  $25-$275; thechefmimi.com/bfwe

Circus Bella – Flip * Flop * Fly *: June 16-July 23, Mission St.,, San Francisco. Circus Bella returns to  Bay Area Parks with its 13th annual open air shows featuring dazzling circus talent from the Bay Area and beyond. Free; circusbella.org/flipflopfly

Circus Bella aerialist Dwoira Galilea performed during a 2021 show at Lincoln Square Park in Oakland.(Ray Chavez/Bay Area News Group File) 

ART on the Square Summer 2022: 5 to 8:30 p.m. June 17, July 8, 22, Aug. 26, Hamilton Avenue at Courthouse Square, Redwood City. Summer art shows accompany the city’s Music on the Square series with artists who create jewelry, photography, glass, fiber art, ceramics and woodwork. Free. artonthesquarerwc.com

Transcendence Theater Company – ‘Let’s Dance’: 7:30 p.m. Fri-Sun, June 17-July 3, Jack London State Historic Park, 2400 London Ranch Road, Glen Ellen. Transcendence Theater Company opens its 2022 season of original outdoor musical revues with “Let’s Dance,” a reimagining of some of Broadway’s biggest dance showstoppers. $25-$165; transcendencetheatre.org/lets-dance/

Benicia Wine Walk: 1-5 p.m. June 18, Main Street, Benicia. A variety of wines will be poured inside participating downtown shops, providing an enjoyable outing to “sip, walk and shop” with friends. $35. Visit Benicia: bit.ly/3wKg5PP

Symphony Royale: 6 p.m. June 18, Scottish Rite Center, 1547 Lakeside Drive, Oakland Sweden’s Queen of Swing, Gunhild Carling, joins forces with members of the California Symphony for an evening of vintage ballroom glamor, jazz and swing-filled entertainment. $500 per table. California Symphony: bit.ly/3MJvmqM

‘Budmo!’ Book Event: 7 p.m. June 18, Albert and Janet Schultz Cultural Arts Hall (Building F), 3921 Fabian Way, Palo Alto. Join chef Anna Voloshyna in support of Ukraine for the pre-launch of her cookbook, “Budmo!” $45; paloaltojcc.org/

Diablo Symphony Family Concert “Animals of the Orchestra”: 2 p.m. June 19, Lesher Center for the Arts, 1601 Civic Ave., Walnut Creek. This interactive concert features familiar and sometimes surprising members of the animal kingdom. $0-$35, diablosymphony.org

Diablo Writers’ Workshop Reading: 6 p.m. June 21, Orinda Books, 276 Village Square, Orinda. The Diablo Writers’ Workshop is celebrating five years of bringing creative writing classes to adults in the Bay Area and beyond with readings from their featured writers. Free. Orinda Books: bit.ly/3wNZMS8

Poetry’s Leading Voices: 7 p.m. June 23, 1960 Olympic Valley Road, Olympic Valley. The Community of Writers Annual Poetry Workshop will host in-person and live-streamed readings of published and unpublished works. $15-30. Community of Writers: bit.ly/3wMVP1l

Oakland Black Pride: June 23-26, Oakland. Oakland Black Pride is pleased to announce its Black Pride Celebration will again take place during Pride Month. This years events include a Queer Pub Crawl, a Queer Expo, a MasQueerade Gala, a Black Pride Brunch and more. Free; oaklandblackpride.org/

Taste of Sonoma: June 25, Kendall-Jackson Wine Estate & Gardens, 5007 Fulton Road, Fulton. Enjoy Taste of Sonoma’s annual celebration of all things wine, food and music in Sonoma County, home to world-class wines and remarkable winemakers. $180-210. Taste of Sonoma: bit.ly/3wOFNUk

Sonoma County's Kendall-Jackson has reopened for outdoor food and wine experiences. (Kendall-Jackson)
Sonoma County’s Kendall-Jackson is hosting Taste of Sonoma in June. (Kendall-Jackson) 

Classical on the Square – Redwood Symphony: 6 p.m. June 25, Courthouse Square, 2200 Broadway, Redwood City. Maestro Eric K conducts members of the Redwood Symphony in a concert of classics from Mozart, Haydn and Rimsky-Korsakov to Joplin. Free. Redwood Symphony: bit.ly/3NmI6ng

Bricks by the Bay Public Expo (Lego exhibition): 9 a.m. to 4 p.m. June 25-26 at the Santa Clara Convention Center, 5001 Great America Parkway in Santa Clara. This fun-filled, family-friendly weekend includes Lego creations built by hobbyists and artists from across the nation, along with vendors selling all kinds of toy bricks and related accessories. $8 to $35. Eventbrite: bit.ly/3vFyKgl

Chopin for Ukraine: 4 p.m. June 26, Peace United Church of Christ, 900 High St., Santa Cruz. Acclaimed pianist Stanislav Khristenko performs four Chopin Ballades, Heroic Polonaise and works by Ukrainian composers to benefit NovaUkraine.org. $100. distinguishedartists.org

2022 Marin County Fair – So Happy Together: 11 a.m. to 11 p.m. June 30-July 4, Marin Fairgrounds, 10 Avenue of the Flags, San Rafael. Enjoy outdoor entertainment including concerts, carnival performers and rides, interactive art experiences, the Global Marketplace, the Barnyard, food and drinks, and nightly fireworks. $20-25. MarinFair.org

Fairgoers rids the Ring of Fire during day 4 of the 2019 Marin County Fair in San Rafael, Calif. Saturday, July 6, 2019. (Jeremy Portje/ Marin Independent Journal)
Fairgoers ride the Ring of Fire during the 2019 Marin County Fair in San Rafael. (Jeremy Portje/ Marin Independent Journal File) 

Broadway and Vine: June through September, 4048 Sonoma Highway in Napa. Hear Broadway stars in concert with acclaimed chefs and winemakers providing bites and sips. Lea Michele, June 7; Nasia Thomas and Jelani Remy, July 11; Ciara Renée and Natalie Tenenbaum, Aug. 10; Abby Mueller, Sept. 20. $25 to $1,200. Broadwayandvine.org

Drive In Movie – ‘Spider-Man No Way Home’ (2021): 8 p.m. July 2, 1221 Linda Mar Shopping Center, Pacifica. Catch a drive-in showing of the 2021 blockbuster.  $40 per vehicle. Facebook Events: bit.ly/3wKfSxp

Guitar Bliss: 8 p.m. July 9, 2209 Broadway St., Redwood City. Guitar virtuosos Daniel Champagne and Christie Lenee bring their showstopping act to Club Fox. $22-27. Eventbrite: bit.ly/3z1eLL8

Festival Napa Valley: July 15-24, Napa Valley. This music, wine and food festival blends the beauty and bounty of Napa Valley with performances spanning all genres. Prices vary; festivalnapavalley.org

Taste of Napa: 11 a.m. July 16, The Meritage Resort and Spa, 875 Bordeaux Way Napa. Taste of Napa is the annual one-day event celebrating food, wine and music in Napa Valley. $150. Festival Napa Valley: bit.ly/3GgFe93