Joshua Kosman is a veteran classical music critic and cultural commentator currently writing for his Substack, On a Pacific Aisle. For 36 years, he served as the chief classical music critic at the San Francisco Chronicle, where he chronicled the evolution of the Bay Area’s arts scene while championing contemporary composers and interrogating institutional power dynamics.
Joshua Kosman has shaped the discourse around classical music for nearly four decades, blending incisive criticism with a deep commitment to contextualizing art within societal frameworks. After graduating from Yale and UC Berkeley, he joined the San Francisco Chronicle in 1988, succeeding Robert Commanday as chief classical music critic in 1993. Over 36 years, his coverage spanned landmark events like Michael Tilson Thomas’s tenure with the San Francisco Symphony and the rise of contemporary composers such as John Adams. Since retiring from the Chronicle in April 2024, Kosman has transitioned to Substack’s On a Pacific Aisle, where he continues to dissect opera, orchestral politics, and the ethical responsibilities of artists in turbulent times.
Kosman’s review of the San Francisco Opera’s production of Wagner’s Tristan und Isolde exemplifies his ability to marry technical analysis with vivid storytelling. He praises music director Eun Sun Kim’s “gentler, more shaded expressive palette,” contrasting her approach with the “brash dynamism” of traditional Wagner interpretations. The piece delves into the logistical challenges of reviewing opening nights while championing the production’s emotional resonance, which he describes as “sneak[ing] up on you and tear[ing] your heart out.” By contextualizing the opera within broader debates about artistic timing and institutional legacy, Kosman underscores the urgency of experiencing live performance in an era of digital detachment.
This provocative essay grapples with the Israel Philharmonic’s performance in San Francisco amid escalating violence in Gaza. Kosman refuses to compartmentalize art from politics, arguing that “silence is complicity” when governments weaponize culture to sanitize oppression. He critiques the orchestra’s program—Bernstein and Tchaikovsky—as a “calculated evasion” of current events, while highlighting dissident artists like conductor Daniel Barenboim who leverage their platforms for activism. The article sparked intense debate, particularly among Jewish readers, and reflects Kosman’s unwavering belief that critics must confront moral contradictions head-on.
In this exploration of hemispheric orchestral works, Kosman examines how composers like Gabriela Lena Frank and Silvestre Revueltas negotiate identity and colonialism. He contrasts the “rhythmic vitality” of South American pieces with the “austere introspection” of North American compositions, framing the concert as a microcosm of cultural exchange and erasure. The analysis extends to programming choices, questioning why institutions often tokenize non-European works rather than integrating them into broader narratives. Kosman’s call for “curatorial courage” resonates beyond the concert hall, urging artists to reckon with historical legacies.
Kosman consistently highlights how opera directors and composers engage with social issues, as seen in his critique of the Israel Philharmonic’s apolitical repertoire. Pitches should explore productions that address migration, gender, or climate change, particularly those premiering at regional companies like the Oakland Symphony. For example, a piece on the Bay Area’s experimental opera scene could align with his interest in “art as dissent.”
With deep ties to the San Francisco Symphony and Opera, Kosman scrutinizes leadership transitions and labor practices. A pitch might examine how post-pandemic recovery has affected musician contracts or the rise of community-led ensembles challenging traditional hierarchies. His coverage of Esa-Pekka Salonen’s departure from the SFS exemplifies this beat.
Kosman champions figures like John Adams who reimagine classical forms for modern audiences. Successful pitches could spotlight emerging composers integrating technology (e.g., AI-generated scores) or global folk traditions, provided they avoid superficial “fusion” narratives and emphasize substantive artistic dialogue.
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