SAN FRANCISCO — After leading his first concert as the San Francisco Symphony’s next music director here on Friday, Esa-Pekka Salonen said he had some advice for young conductors. His feet wrapped in impossibly glossy black leather as he spoke in a talkback interview on stage, he almost audibly winced: “Don’t conduct a concert in new shoes.”
Even a veteran like Mr. Salonen, 60, couldn’t resist dressing up for the first day of school.
The announcement last month that he would be this ensemble’s next conductor has been the talk of the music world, both because Mr. Salonen is one of the field’s only universally admired figures and because no one thought that he was in the market for a new job.
Indeed, leaving in 2009 after 17 years as music director of the Los Angeles Philharmonic, he kept wriggling out when orchestras approached him, saying he wanted time to compose. I and many others hoped he would succeed Alan Gilbert at the New York Philharmonic a couple of years ago; it didn’t pan out.
What did, and do, we see in him? Both a steward of music’s traditions and an explorer of the future. A vibrant interpreter of the music of others and a creator of his own. An artist who can star more than plausibly in an Apple commercial without seeming a sellout — one who’s thoughtful, even analytical, without ever seeming to try too hard.
Almost no one else in classical music so completely satisfies our polarized demands for old and new, innovation and tradition, head and heart. As Mr. Salonen prepared to leave Los Angeles, Alex Ross wrote in The New Yorker that he’d become “a fixed point of cerebral cool in a city of spectacle and flux.”
But if his persona has a certain wry distance to it, there is heat in his presence on the podium, and in his effect on orchestras. His connection to the San Francisco Symphony seemed close, confident and charged on Friday, just his fourth time leading the ensemble. (Classical marriages can be shotgun.) If his feet were bothering him, there was no betraying it in the music-making.
That he was able to come here for a visit so soon after the announcement last month was happenstance. This weekend of concerts at Davies Symphony Hall was supposed to be conducted by Mirga Grazinyte-Tyla, who has canceled a spread of dates this season (including her debut with the New York Philharmonic) after giving birth in August.
Mr. Salonen, who happened to be free, kept the second half of her program — Sibelius’s “Four Legends from the Kalevala” — and preceded it with Anna Thorvaldsdottir’s “Metacosmos” and Strauss’s “Also Sprach Zarathustra.”
The message was clear: No soloist; no concerto (Ms. Grazinyte-Tyla was to have conducted the pianist Gabriela Montero in Tchaikovsky’s First); just the orchestra and its next leader.
The results had polish and energy. Michael Tilson Thomas, stepping down as music director here after 25 years, has built an ensemble that plays with clean, versatile shine. (It can feel, in its agreeably open versatility, not so far from the Los Angeles Philharmonic.)
The San Francisco string sound, in particular, is glistening yet full-bodied, never hysterical but with a lovely glitter to the tone. Russ deLuna played the crucial English horn solo in Sibelius’s “Swan of Tuonela” movement with self-effacing eloquence. Indeed, solos throughout the concert were alert yet unshowy, always with a sense that the big picture was more important than stealing a star moment.
Mr. Salonen conducted the premiere of “Metacosmos” in April with the New York Philharmonic, and it makes a clever companion to “Also Sprach Zarathustra.” Both begin with the same low growl — though, as Ms. Thorvaldsdottir’s orchestra begins to rouse itself into a Strauss-style fanfare, it dolefully falls apart. This cycle of expansion and collapse defines the piece; lush, even cinematic gestures are pulled at by sickly downward moans.
This was a powerful, logical “Zarathustra,” lithe and bombast-avoidant in a thrillingly controlled opening and airy in the lilting passages later on. Mr. Salonen’s Sibelius was lean and fevered.
This isn’t an orchestra that does spectacular soft atmosphere, but moments like the stillness of the second movement, “Lemminkäinen in Tuonela,” when the barest shiver of violins is frosted by the barest shiver of rat-a-tat drum, were finely controlled. It was a performance not of effects or jarring contrasts, but of sustained force and focus.
The classical field is now waiting to see what Mr. Salonen will do in his career’s full maturity. He has announced a benevolent little think-tank army of artists who will be helping him, including Nico Muhly, Esperanza Spalding and Julia Bullock, and their plans will germinate through next year, as the orchestra turns to celebrating Mr. Thomas’s final season.
There is room for a refresh here. Mr. Thomas gained a reputation for fostering overlooked 20th-century American works, but on the calendar in Friday’s playbill, listing the orchestra’s programs through March 9, there’s a whole lot of Beethoven, Schumann, Mendelssohn and Mozart, as there is throughout the country.
Mr. Salonen’s innovations shouldn’t stop at concert programming. My hope is that he manages, as no one really has, to do even more with the American orchestra than smart repertory selections and commissions — that he makes it a clearinghouse of cultural and intellectual activities that extends beyond just music. As the loud reception for him on Friday shows, he has the audience behind him on this new adventure.B:
黄大仙加大版救世报【最】【佳】【女】【配】【颁】【奖】【结】【束】，【林】【浅】【下】【去】【的】【时】【候】【导】【演】【欣】【慰】【的】【侧】【头】【看】【着】【林】【浅】。 “【从】【你】【提】【名】【的】【时】【候】【我】【就】【知】【道】【肯】【定】【是】【你】。” 【林】【浅】【对】【角】【色】【的】【演】【绎】【是】【他】【在】【这】【部】【电】【影】【里】【最】【满】【意】【的】【一】【次】。 【终】【于】【韩】【珊】【能】【拿】【到】【最】【佳】【女】【主】【倒】【是】【挺】【让】【他】【意】【外】【的】。 【倒】【不】【是】【因】【为】【韩】【珊】【的】【演】【技】，【而】【是】【因】【为】【盛】【昕】【心】【也】【被】【提】【名】【了】。 【盛】【昕】【心】【的】【演】【技】【也】【很】【在】【线】，【那】【部】【电】
【那】【女】【人】【不】【甘】【心】【地】【咬】【了】【咬】【唇】，【做】【出】【一】【副】【自】【以】【为】【很】【了】【解】【宋】【轻】【染】【的】【样】【子】，【又】【说】【道】： “【慕】【太】【太】，【您】【不】【必】【这】【样】【仇】【视】【我】。【世】【上】【没】【有】【不】【偷】【腥】【的】【男】【人】，【就】【算】【不】【是】【我】，【也】【会】【是】【别】【人】。” 【她】【话】【音】【一】【转】：“【何】【况】【您】【和】【慕】【总】【是】【因】【为】【家】【族】【联】【姻】【才】【在】【一】【起】【的】，【一】【点】【感】【情】【基】【础】【都】【没】【有】，【两】【个】【人】【互】【不】【干】【涉】，【各】【玩】【各】【的】，【难】【道】【不】【好】【吗】？” 【这】【话】【听】【起】
【接】【下】【来】【的】【研】【究】【让】【白】【烨】【有】【些】【头】【皮】【发】【麻】！ 【他】【怎】【么】【也】【想】【不】【到】，【对】【方】【要】【做】【的】【事】【情】【绝】【不】【仅】【仅】【是】【一】【个】【公】【司】【那】【么】【简】【单】。 【等】【他】【的】【基】【因】【工】【程】【等】【级】【提】【升】【至】ｌｖ７【以】【后】，【他】【发】【现】【这】【个】【世】【界】【不】【一】【样】【了】。 【基】【因】【可】【能】【是】【人】【类】【最】【宝】【贵】【的】【财】【富】！ 【多】【元】【化】【的】【基】【因】【不】【断】【地】【重】【组】，【不】【断】【地】【在】【创】【造】【各】【种】【各】【样】【的】【奇】【迹】。 【甚】【至】【人】【类】【的】【发】【展】【史】【不】【仅】【仅】【是】黄大仙加大版救世报【第】【二】【天】。 【大】【早】【上】【王】【笑】【笑】【就】【被】【李】【若】【楠】【吵】【醒】【了】。 【她】【是】【给】【王】【笑】【笑】【告】【别】【的】。 【李】【若】【楠】【要】【和】【严】【振】【伟】【回】【她】【的】【老】【家】【补】【办】【婚】【礼】，【和】【她】【的】【父】【母】【一】【起】【回】【老】【家】【了】。 【接】【下】【来】，【她】【要】【和】【严】【振】【伟】【出】【去】【度】【蜜】【月】。 【估】【计】【要】【出】【去】【旅】【游】【一】【段】【时】【间】。 【去】【机】【场】【已】【经】【来】【不】【及】【了】，【王】【笑】【笑】【只】【好】【在】【手】【机】【里】【给】【李】【若】【楠】【说】【再】【见】【了】。 【李】【若】【楠】【没】【有】【忘】【记】【安】
【不】【过】【对】【于】【波】【波】【和】【妮】【娜】【等】【人】，【甚】【至】【是】【对】【于】【除】【了】【温】【妮】【而】【言】【的】【妮】【娜】【小】【队】【的】【所】【有】【人】，【和】【薇】【尔】【莉】【特】【而】【言】。 【他】【们】【更】【加】【关】【心】【的】【问】【题】，【其】【实】【却】【还】【是】【并】【非】【这】【种】【事】【情】。 【毕】【竟】【即】【便】【温】【妮】【有】【再】【多】【的】【借】【口】，【有】【再】【多】【的】【理】【由】。【可】【是】【她】【再】【多】【的】【借】【口】【和】【再】【多】【的】【理】【由】，【也】【永】【远】【不】【可】【能】【改】【变】【的】【了】【她】【身】【为】【一】【个】【血】【武】【士】【的】【现】【实】【问】【题】。 【所】【以】【即】【便】【胡】【萨】【维】【克】【血】
“【陈】【家】【比】【武】【的】【规】【矩】【我】【再】【重】【复】【一】【遍】，【同】【族】【较】【技】，【重】【在】【切】【磋】。【裁】【判】【若】【是】【叫】【停】，【不】【论】【任】【何】【情】【况】【必】【须】【立】【刻】【停】【下】【来】，【若】【是】【有】【人】【违】【背】【裁】【判】【的】【命】【令】，【族】【规】【处】【死】。【废】【话】【不】【多】【说】，【上】【来】【排】【队】【抽】【签】。” 【陈】【家】【的】【比】【武】【规】【则】【说】【了】【和】【没】【有】【说】【差】【不】【多】，【陈】【龙】【唯】【一】【得】【到】【的】【消】【息】【就】【是】【要】【听】【裁】【判】【的】【命】【令】【而】【已】。 【陈】【家】【设】【定】【这】【样】【的】【规】【矩】【也】【只】【是】【为】【了】【看】【出】【来】【自】
【纪】【呆】【呆】【地】【站】【在】【原】【地】，【站】【在】【一】【旁】【的】【两】【位】【司】【员】【们】【转】【头】【确】【定】【司】【长】【一】【行】【人】【确】【实】【离】【开】【之】【后】，【突】【然】【向】【纪】【走】【进】。 【看】【着】【两】【位】【司】【员】【面】【无】【表】【情】【地】【走】【近】，【纪】【下】【意】【识】【地】【往】【后】【退】【了】【一】【小】【步】，【沉】【声】【道】： “【你】【们】【想】【要】【做】【什】【么】？” 【那】【两】【位】【司】【员】【似】【乎】【在】【极】【力】【克】【制】【住】【什】【么】【似】【的】，【嘴】【角】【微】【扬】，【还】【是】【不】【断】【地】【向】【纪】【靠】【近】。 “【你】【们】【那】。”【纪】【无】【奈】【地】【摇】【了】【摇】
“【没】【想】【到】【会】【在】【这】【碰】【见】【你】，【真】【是】【意】【外】【之】【喜】，【我】【是】【锡】【德】．【安】【德】【烈】。” 【他】【没】【有】【撒】【谎】，【教】【会】【的】【确】【不】【知】【道】【刘】【潇】【在】【这】【里】，【虽】【然】【刘】【潇】【没】【有】【隐】【瞒】【自】【己】【的】【行】【踪】，【但】【摩】【羯】【座】【一】【直】【在】【替】【他】【隐】【瞒】，【而】【教】【会】【这】【段】【时】【间】【又】【处】【于】【动】【荡】【时】【期】，【以】【至】【于】【连】【刘】【潇】【入】【境】【都】【不】【知】【道】。 【刘】【潇】【伸】【手】【与】【他】【握】【了】【握】：“【你】【好】，【安】【德】【烈】【大】【主】【教】，【有】【事】【吗】？” “【当】【然】，