Zellerbach Hall

Butler’s original themes of hope and community in a dangerous world are translated into fiery melodies and assured anthems.

I never expected to love UC Berkeley in the way I do. And there are many other things that defied my expectations coming here.

At the conclusion of this spring semester Robert Reich, the Carmel P. Friesen Professor of Public Policy at UC Berkeley's Goldman School of Public Policy, will officially retire from his teaching position. 

Although the original score was written for an orchestra of flutes, oboes and a variety of other string and wind instruments, Kavakos, Ax and Ma offered a fulfilling rendition of the symphony; the addition of other winds was volitional.

Holding eye contact with someone often provides reassurance that we are seen. But as someone who manifests a version of myself based on that look in the eyes of those I love, I’m terrified I’ll blink and miss what they see in me.

To call “EDEN” simply a rendition of DiDonato’s own album is imprecise — this is because, among other things, “EDEN” is an experience of creation, education and music, culminating into a performance that transcends both time and place.

Seong-Jin Cho’s airline may have lost the luggage carrying his concert suit on the way to Berkeley, but the world-class pianist was no less dazzling on the stage of Zellerbach Hall.

“13 Tongues” eluded definition like a trout squirming from a fisherman’s hands and returning to sea.

In “Symphonie Fantastique,” the first program of a Halloween-themed trilogy, the San Francisco Symphony’s foray into the spooky and surreal astounded with its striking repertoire and stylistic charisma. 

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