- $9 for balcony seating (up to $20 value)
- $17 for front orchestra seating (up to $33 value)
- $29 for side orchestra seating (up to $53 value)
- $29 for side mezzanine and tier seating (up to $53 value)
- Click here to view the seating chart.
- Note: a pre-concert talk open to all ticket holders will precede the show at 7 p.m. in the main hall.
The Berkeley Symphony Orchestra finds beauty in the beastly subjects of this monster-themed concert. Beethoven’s ode to the original fire-bringer transitions into a new work dedicated to Mary Shelley’s modern Prometheus. 18-year-old wunderkind Simone Porter, meanwhile, pulls soloist duty, demonstrating the talent that the Seattle Times called “bold” and the London Times called “virtuosic.”
- Beethoven—Overture to The Creatures of Prometheus: A majestically paced introduction transforms into a lively celebration of life in Beethoven’s only ballet.
- Grey—Frankenstein Symphony: Co-commissioned by the Atlanta Symphony and the Berkeley Symphony, Mark Grey’s new work was written to commemorate the 200th anniversary of Mary Shelley’s classic horror novel
- Tchaikovsky—Violin Concerto in D major: As it dances through oboe and timpani, a trilling violin solo strikes a balance between sweet romance and faint melancholy.
- 1969: British maestro Adrian Boult's protégé Thomas Rarick debuts the Berkeley Promenade Orchestra—which, in true '60s spirit, performs wearing casual clothes in unconventional settings while being conducted entirely by good vibes.
- 1978: Kent Nagano takes the reins as music director, heralding such changes as programming focusing on rarely heard 20th-century scores, a switch to formal attire, and a name change.
- 1984: The orchestra joins forces with Frank Zappa for a critically acclaimed concert featuring elaborate stage sets and life-size puppets.
- 2003: The orchestra gets a comfortable pullout sofa and therefore its first composer-in-residence: Naomi Sekiya, whose Sinfonia delle Ombre for two guitars and orchestra debuts later that year.
- 2009: Joana Carneiro becomes the third music director in the orchestra's 40-year history, forging relationships with prominent Bay Area composers such as John Adams, Gabriela Lena Frank, and Paul Dresher.