Tchaikovsky

Apparent in their flawless delivery of the night’s program, Vengerov and Osetinskaya’s chemistry was unmatched.

Tchaikovsky’s opera, forged in the fiery throes of Romanticism, sympathizes with sentimentalism more so than Pushkin’s masterful novel.

When the Symphony has the opportunity to play with a full orchestra, Davies’ cavernous hall turns into a cornucopia, offering a multi-course meal of sound and texture galore.

Oozing with an intangible, irresistible glamor, the San Francisco Ballet’s “Swan Lake” took opulence as an opportunity.

As her final performance following a 20-year tenure at the San Francisco Ballet, the production was a celebration of Van Patten’s venerable career, encompassing a medley of her most exemplary roles.

The grand spectacle of “The Nutcracker” — of the glittering costumes, lavish production design, impossibly difficult yet effortlessly executed movements — kindles a rare sense of pathos. One that lingers long after the intermission and settles in on the drive along the Bay Bridge.

Since its founding in 1996, the Trans-Siberian Orchestra has made a name for itself through symphonic rock renditions of Christmas classics. (Indeed, there are far too few orchestras so ready to rock.) The concert welcomed the holiday season with flashing neon lasers and jaw-dropping pyrotechnics.

While taking AP and honors classes, my sister and I would come home and trade stories about how the teachers would awkwardly stare in our directions after reading the N-word.

With vehement downbeats, principal guest conductor Pinchas Zukerman led the philharmonic to fill Zellerbach Hall with sound and fury on Sunday.

Viewers were greeted by heavy canary blue curtains and gold piping that lined the edges to reinforce the typically elaborate set design of SF Ballet productions. In the same vein, the costume design by Jens-Jacob Worsaae implemented opulent velvet robes, gaudy headpieces and an abundance of ornately decorated tutus.