Featured Artists

Benjamin Simon, Conductor

Lara Nie, Mezzo-soprano

Brian Thorsett, tenor

 Due to the fire that recently occurred at First Congregational Church, our 2/26/17 & 4/30/17 matinees will both take place at St. John’s Presbyterian Church in Berkeley. Click HERE to support our friends at First Church by donating to their gofundme campaign.


FRI, FEB 24 | 7:30pm

Herbst Theatre, 401 Van Ness Ave [Map]

Doors: 6:45pm (general admission, first-come first-served)


SAT, FEB 25 | 7:30pm

First United Methodist Church, 625 Hamilton Ave [Map]

Doors: 6:45pm (general admission, first-come first-served)


SUN, FEB 26 | 3pm

St. John’s Presbyterian Church, 2727 College Ave [Map]

Doors: 2:15pm (general admission, first-come first-served)


On February 26, bring your instrument to our 3:00pm Main Stage Concert at Berkeley’s lovely St. John’s Presbyterian Church, and join us afterward for a fun, informal reading session with the fabulous (and friendly) players of the wonderful SF Chamber Orchestra. It will be the very first in what we hope will be a series of side-by-side get-togethers, just for the musical fun of it. No audition necessary and admission-free! Click here for more information and registration

CANTELOUBE Chants d’Auvergne (Songs of the Auvergne)

     Lara Nie, mezzo-soprano

JOSHEFF The Dream Mechanic, Four Poems by Carol Vanderveer Hamilton (2016) [SFCO Commission & World Premiere]

     Brian Thorsett, tenor
     Lara Nie, spoken voice

SCHUBERT String Quartet No. 14 in D minor (“Death and the Maiden”) [arr. Simon]


Dedicated to the lyrical muse, this program features two outstanding singers well-known to SFCO audiences: mezzo-soprano Lara Nie (“a magnetic presence“) and tenor Brian Thorsett (“strikingly gifted, with a deeply moving, unblemished voice“). Canteloube’s lush settings of folk songs from France’s Auvergne region are paired with a newly commissioned work by Berkeley composer Peter Josheff, based on the “haunting and wildly beautiful” poetry of Carol Hamilton. Schubert’s darkly dramatic Death and the Maiden allows the orchestra’s virtuosic string section to whisper, sing, and shout to one of the most exciting string quartets ever written.