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Yoshi Kato February 3, 2021Updated: February 5, 2021, 9:56 am
Eight of the eleven ox sculptures commissioned by the Chinese Chamber of Commerce for the “Year of the Ox on Parade” exhibition are seen at Pier 54 on Monday, Feb. 1, in San Francisco. Photo: Lea Suzuki, The Chronicle
As one of the biggest Lunar New Year gatherings outside of Asia, San Francisco’s annual Chinese New Year Parade brings together residents of the Chinatown neighborhood with revelers from around the Bay Area and beyond.
While parades can be exhilarating and communal, those kinds of public gatherings are also potential super-spreader events during the COVID-19 era. So the Chinese Chamber of Commerce of San Francisco had a big decision to make about how to honor the start of the Year of the Ox in 2021.
Yoshi Kato December 16, 2020Updated: December 17, 2020, 7:06 am
When Sarah Hicks took to the podium on the stage of the Morton H. Meyerson Symphony Center in Dallas during Labor Day weekend, the San Francisco-based conductor became one of the first musicians in the U.S. to lead an indoor orchestral performance during the pandemic. It was a subscribers-only program featuring members of the brass and percussion sections of the Dallas Symphony Orchestra, plus concert organist Bradley Hunter Welch as the guest soloist.
“It was really interesting,” Hicks recalls, talking to The Chronicle by phone back home in Pacific Heights. “It was a reduced ensemble, and there were between 50 and 75 people in the audience completely spread around the hall, which holds over 2,000 people.”
Yoshi Kato December 16, 2020Updated: December 18, 2020, 7:09 am
Sarah Hicks with the Minnesota Orchestra in 2017. Photo: Courtney Perry
The challenges musicians face to keep their skills sharp and make a living during the pandemic have been well-documented. But conductors have an extra set of obstacles.
Unlike their comrades who play within the symphony, they can’t spend their sheltered-in-place hours practicing their instrument, which is the orchestra itself. The technology is still being perfected for fluid remote performances by just two musicians, and those multi-panel viral videos of classical instrumentalists playing a piece together are marvels of digital editing as much as of performance. The postproduction combining of individual instrumentalists, while its own art, is the antithesis of live conducting.
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