Davies Symphony Hall

From Mutter’s adoring gaze to the audience’s countless standing ovations, one thing was clear in Davies Symphony Hall: Williams is beloved. Perhaps he was the Valentine everyone needed.

In foggy San Francisco, where we lay our scene, romance is not dead, but it’s much darker.

The lion dances, fortune-telling and rabbit petting zoo in Davies Symphony Hall were all mere prologues to the San Francisco Symphony’s sweeping Lunar New Year festivities on the night of Feb. 5th.

The SF Symphony’s performance on Jan. 7 astonished as a special extension of “Jurassic Park,” a live version of a behind the scenes experience.

On Dec. 1, the San Francisco Symphony played the symphony to end all symphonies: Ludwig van Beethoven’s “Symphony No. 9.” The German composer’s widely-regarded masterpiece was preceded by two works new to the SF Symphony: Samuel Taylor Coleridge’s one-movement “Ballade,” and Michael Abels’ “Emerge.” 

Under the glow of a waxing crescent, San Francisco Symphony conjured the raucous spirit of Halloween on Oct. 28 for the “Frankenstein and Psycho” concert.

The symphony’s rich, exuberant sounds tumultuously transported audiences through time, from 1800s London to 1940s Russia.

Explosive and comprehensive, Wang played with unflappable virtuosity. She conquered epic ascending and descending runs, and she struck thick, stacked chords in rapid succession.

The San Francisco Symphony enwrapped attendees in a uniquely remarkable experience of Selena’s greatest hits.