San Francisco Conservatory of Music’s 2026–27 season announcement speaks of “a new model for conservatory education as a creative incubator to life.” The school plans to add unprecedented opportunities for students via artist residencies, professional internships, side-by-side performances, and recording sessions.
SF Classical Voice asked SFCM President David H. Stull about the specifics of these substantial claims, wondering about incubation for musicians and not only poultry.
How does the Conservatory act as an incubator?
“We explore ideas and watch artists’ projects to incorporate with the school’s work, supporting the artists at the same time,” Stull said.
For example?
Pointing to the unique performance and recording facilities in the Bowes Center for Performing Arts — the creation of which five years ago was one of Stull’s many bold projects — the president cites “incubation work” there with Yuja Wang, Joshua Bell, and Alisa Weilerstein — among hundreds of artists affiliated with Global Creative Alliance agencies.
Since Stull assumed his role as president in 2013, the Conservatory has made unique acquisitions of major artist management and recording companies. As a result, the school’s season also celebrates the 150th anniversary of Askonas Holt and 25th anniversary of Pentatone, key members of SFCM’s Global Creative Alliance, which also includes Opus 3 Artists.
“Yuja [Wang] told me about three things she wanted to do: conduct from the keyboard, explore jazz, and work with dancers. As we were sharing objectives, there was a clear opportunity to have workshops where Yuja and the students would all benefit,” Stull said.
In two residences at the Conservatory, the pianist raised funds for scholarships and shone in her new roles — this form of “incubation” met mutual objectives.
When Joshua Bell presented Rimsky-Korsakov’s Scheherazade through SF Symphony’s Great Performers Series, his Academy of St. Martin in the Fields orchestra was significantly smaller than required, so Conservatory incubation came to the rescue: rehearsals and workshops were conducted with the students, and 38 of them joined the Academy for the performance.
For Alisa Weilerstein's (Bach) Fragments project, Stull said the cellist worked with Conservatory students and workshopped the project at the school, “providing a window into the creative process.”
Integration of such partners into the culture of the Conservatory is further increased in the 2026–2027 season. Alliance collaborations will be recurring parts of the student experience, including annual artist residencies, internships with Alliance members, side-by-side performances with leading professional ensembles, and recording-centered work.
Among these projects: a residency by conductor Giancarlo Guerrero, who will work with students and conduct a performance by the SFCM Orchestra; a residency by conductor Louis Lohraseb, who will lead SFCM’s Voice program in Puccini’s Suor Angelica; a recital and masterclasses by tenor Ian Bostridge and pianist Julius Drake; and side-by-side projects with Alliance artists Il Pomo d’Oro and Canadian Brass.
Stull sums it up: “Our collective ambition is to build the most innovative professional music school in the world, one that provides a transformative education of peerless excellence and launches highly successful artists and individuals who are educated for life.
“Within the Conservatory, this of course means world-class faculty providing unparalleled technical training and access to state-of-the-art performance spaces and recording facilities. Our integrated curriculum extends to things like film and media scoring; Roots, Jazz, and American music; and entrepreneurship and business.
“Our students recognize themselves from day one as critical components of the professional musical ecosystem, not hopefuls waiting to graduate but active and valued participants.”
Another large and important interplay is between the Conservatory and the community with hundreds of free concert events, providing attendance opportunity for the San Francisco Bay Area and public performance opportunities for the students.
Some of the free concerts of the new season:
- Oct. 11: SFCM Baroque Orchestra; Corey Jamason, director, works by Vivaldi, Handel, Telemann
- Oct. 12: SFJAZZ vibraphonist Warren Wolf
- Oct. 13: Chamber Music Tuesdays, SF Symphony Principal Flute Yubeen Kim; John Kiunke, harpsichord; Lindsay McKenna, cello; James Laase, oboe; Anna Chung, clarinet; Angela Hernandez, bassoon; Helen Meng, piano; Sungmin Cho, violin; Janet Yang, viola; Zeke Sokoloff, violin; Eunji Kim, viola; Mila Wyrick, cello
- Oct. 30: New Music Ensemble, Edwin Outwater, conductor; Shara Nova, vocalist
- Nov. 12: Side-by-Side with SF JAZZ Collective
- Nov. 14: SFCM Orchestra, Giancarlo Guerrero, conductor; works by Jimmy Lopez, Roberto Sierra, Maurice Ravel and Béla Bartók
- Nov. 19-20: Puccini, Suor Angelica
- Dec. 7: Faculty artist and SF Symphony Principal Viola Jonathan Vinocour in recital
- Dec. 11-12: Stephen Sondheim, Into the Woods.
For the full concert schedule, visit the Conservatory website.