Best of '07 classical: World-class and within reach

The 2007 concert season will be remembered for the dynamic evolution that the opera world has taken toward a more theatrical and digital art form. From Metropolitan Opera simulcasts in Natomas movie theaters to a first live simulcast of a San Francisco Opera at the Mondavi Center, world-class opera was in play locally in a big way.

But opera wasn't the only area providing stunners this season, thanks to outstanding performances from local and touring musicians – proving you don't have to leave the 916 and 530 area codes to find great classical music. The following are some notable performances for 2007:

1. Philadelphia Orchestra, Mondavi Center

Sooner or later, when talking about orchestras, someone will float the idea that the Philadelphia Orchestra is without equal. And they are not just proud Philadelphians. During an outstanding Jackson Hall performance last May, this fine group of musicians proved they are worth the hype. Under the baton of Christoph Eschenbach, this orchestra dazzled with a multi-dimensional and incandescent performance of Hector Berlioz's "Symphonie Fantastique." During the work, it was as if time was standing still while the music surged forward. It was as close to a mystical musical experience as you can get in a concert hall.

2. David Tanenbaum, Festival of New American Music

This San Francisco-based classical guitarist made the case that the classical guitar repertoire is no longer the feel-good provenance of the Iberian peninsula. He did it by combining stellar playing with an intelligent mix of contemporary works for guitar by the likes of Steve Reich, Terry Riley and Lou Harrison. Tanenbaum's playing was clear and spiked with feverish intensity. Most refreshing was the fact this guitar music carried a strong political message. In a span of two hours, Tanenbaum gave his audience a taste of what's in store for the 21st century classical guitar.

3. "The Rake's Progress," San Francisco Opera

This boldly executed production is a veritable calling card for general director David Gockley's aesthetic for the opera company. It's all about taking risks to engage audiences. In Robert LePage's production of Igor Stravinsky's neoclassic gem, the opera gets an updating from London in the 1850s to Hollywood circa 1950. The modernization made this cautionary tale fresh and relevant. And the brilliantly executed stage design, where oil derricks morph into movie cameras, and beds swallow up characters whole, added an electric sheen to the action. With crisp performances by tenor William Burden and soprano Laura Aikin, this production became the kind of opera that gets neophytes running to the ticket booth for more.

4. Sun Quartet, CSUS

It's a shame that the members of this ensemble are known more outside of Sacramento than within. These well-established musicians, all of whom have serious street cred on both coasts, gave works such as the Arensky Quartet for violin, viola and two cellos such a brooding and dynamic quality that it was tempting to think that the piece was being performed in a Slavic music hall.

5. "Iphigenie et Tauride," San Francisco Opera

A thrilling performance by mezzo- soprano Susan Graham. Steadily, Graham has been making the case for being one of the most sensitive and theatrical mezzos in opera today. Here she imbued her Iphigenie with a troubled soul, and she did it by combining poised sincerity with a dash of spontaneity. Robert Carsen's brilliant, minimalist production showed flashes of Brechtian flair throughout and gave Graham the right landscape from which to sing this signature role.

6. Sarah Cahill, Festival of New American Music

When hearing Cahill perform new works from contemporary composers, you get the feeling there's nothing she can't handle. She made playing pieces like Stephen Blumberg's "Numina" and Pauline Oliveros' "Quintuplets Play Pen" look easy. There's nothing harder than tackling new music, especially a premiere. Cahill made all this new music sound like it is part of the established canon.

About the writer:

• Call Bee arts critic Edward Ortiz, (916) 321-1071.