Jason Victor Serinus

It's not just his face and body that are hot. Vittorio Grigolo is the real thing, an Italian tenor with a beautiful voice, ringing high C,  and genuine feel for the music. This is the recital we've been waiting for.

Immeasurable Light, the new CD from Chinese pipa master Wu Man, virtually wallops you over the head with its first track, Jacob Garchik’s arrangement of The Round Sun and Crescent Moon in the Sky. Part of the repertoire of the Zhang Family Band, it is as raucous as it is joyous.

When an opera is as brilliant as Mozart and librettist Lorenzo Da Ponte’s Le Nozze di Figaro, and everything onstage and in the pit clicks, the results can be magical. Such is the case with one of the most animated and delightful productions of the masterpiece that I have ever seen.

Time has smiled sweetly on Anonymous 4. Twenty-four years after their founding, three of four members of this chart-topping a cappella women’s vocal ensemble remain, sounding as good as ever ... and as simple as ever.

In her 33-year career as a professional violinist, Anne Akiko Meyers, 40, has amassed a unique resumé that includes a debut with the New York Philharmonic at age 12 and recent tours with Il Divo and Chris Botti. Shortly before she launches her new CD with an Oct. 4 concert, she discusses her childhood debut on The Tonight Show, bowing problems associated with pregnancy, and her love of the old and embrace of the new.

It’s not just about the big names. When the 53rd Monterey Jazz Festival swings into action on Friday, Sept. 17, ten gifted high school–age ensembles will feature prominently on the grounds and main arena stages. Their appearances constitute but one aspect of a comprehensive jazz education program.

Soprano Danielle de Niese — eye-buggingly beautiful, extremely intelligent, and madly in love with everything she does — is a joy to interview. Here she talks about her steamy iPod encounters, S.F. Opera debut in Figaro, work with Nicola Luisotti, and recent vocal developments. 

As one of the grandest of grand operas, it’s only fitting that Verdi’s Aida would open San Francisco Opera’s fall season. The 140 people assembled on the War Memorial Opera House stage for the Triumphal Scene may not have held a candle to the 2,000 supernumeraries enlisted by Col. Mapleson in Chicago in 1885, but when you add in all the women in the audience who used the opening as an excuse to wear huge pieces of Egyptian-styled jewelry, it was quite the show.

Judging from their playing, which pours forth freely in one melodic stream after another, Sir Neville Marriner and the Academy of St. Martin in the Fields must have relished their assignment. Their recent multichannel SACD sampler of orchestral music by Gordon Getty (b. 1933), released by Pentatone, is a joyful experience, overflowing with lovely, richly scored pieces.

As San Francisco Opera prepares to open its star-studded fall season on Sept. 10, several smaller companies are trumpeting that this is far from a one-house region. Indeed, the risks that regional companies are taking at a time of economic contraction — I’m being euphemistic here — are cause for rejoicing.