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This week’s Philharmonia Baroque Orchestra program is aptly named “Corelli the Godfather.”. Composer, violinist, and educator, Arcangelo Corelli (1653-1713) was certainly one of the most powerful Italian composers of his day. At his peak a full generation before Bach and Handel, this “Corleone of the concerto” exerted considerable influence on his contemporaries as well as the composers of subsequent eras. He is widely credited with inventing the concerto grosso, the musical form that allowed diverse star players to take turns in the spotlight.

With Richard Egarr appearing as Philharmonia Baroque’s guest conductor, the program offers opportunities for seamless ensemble and individual virtuosity, Two Corelli masterworks — the Concerto Grosso Op, 6, No, 2 in F major, and the No, 10 in C major — are featured, Handel, who was greatly influenced by Corelli, is represented in the Concerto Grosso Op, 6, No, 1 in G major, and the No, 4 in A minor, Egarr, the music director and keyboardist of the Academy of Ancient Music since 2006, also serves as soloist in Handel’s Organ Concerto No, 15 in D minor, bloch pump ballet shoes Muffat’s Sonata No, 5 in G major, from “Armonico tribute,” completes the lineup..

Details: 8 p.m.March 8 at Herbst Theatre, San Francisco; 7:30 p.m. March 9 at Bing Hall, Stanford; 8 p.m. March 10 and 4 p.m.March 11 at First Congregational Church, Berkeley; $28-$120; 415-392-4400; www.philharmonia.org. Philharmonia Baroque has also announced plans for 2018-19. “Transcendence,” the early music orchestra’s 38th subscription season, runs Oct. 3 to April 13, 2019. Six programs are on the schedule, beginning with an all-Mozart program conducted by music director Nicholas McGegan and featuring soprano Camille Ortiz in the composer’s “Exsultate, jubilate” (Oct. 3-7, 2018.) “Vivaldi the Teacher” follows, with recent graduates of the Juilliard School joining McGegan and the orchestra in works by Vivaldi, Corelli, and Geminiani (Nov. 7-11.) In December, guest conductor Patrick Dupré Quigley conducts “Philharmonic Fire,” a program featuring Bach cantatas and the “Frost Scene” from Purcell’s “King Arthur,” along with works by Vivaldi and Monteverdi (Dec. 5-9.).

In 2019, McGegan returns for “Viennese Pivot,” with violinist Rachel Barton Pine as soloist for Clement’s Violin Concerto in D major, Schubert’s Symphony No, 6, bloch pump ballet shoes and Mozart’s Overture to “The Marriage of Figaro,” complete the program (Feb, 6-10, 2019.), Mezzo-soprano Anne Sofie von Otter and countertenor Daniel Moody join McGegan and the orchestra in a program of Handel arias and duets, along with works by Purcell, Arvo Pärt, and Caroline Shaw (March 6-10, 2019.) The season closes in large-scale style with Handel’s dramatic oratorio, “Saul.” Joining McGegan, the orchestra, and Bruce Lamott’s Philharmonia Chorale are sopranos Sherezade Panthaki and Yulia Van Doren, countertenor Aryeh Nussbaum Cohen, tenor Aaron Sheehan, and baritone Daniel Okulitch (April 6-13, 2019.)..

Philharmonia Baroque also plans to return to its popular “PBO Sessions” series of informal talks, insights and demonstrations, with events scheduled on Nov. 8 and March 7, 2019 and April 9, 2019. The orchestra will tour this season, too, with concert stops in Connecticut, New York, Costa Mesa, Santa Barbara, and Los Angeles. Tickets for the 2018-19 season go on sale Aug. 1; for prices and venue information, visit www.philharmonia.org. CZECH YOUR CALENDAR: Having completed last month’s survey of Romanian music, the Gold Coast Chamber Players are setting their sights on works by Czech composers. “Czech Mate” features an appearance by the Boston Trio in Josef Suk’s “Elegie,” Op. 23, and Smetana’s “Trio” in G minor, Op. 15. Gold Coast artistic director, violist Pamela Freund-Striplen, joins the Boston players in Dvorak’s mighty Quartet No. 2, Op. 87, for piano, violin, viola, and cello.

Details: 7:30 p.m. March 10, Lafayette Library Community Hall; bloch pump ballet shoes $45 general, $40 seniors, $15 students; 925-283-3728; www.gcplayers.org, MYTH AND MUSIC AT LEFT COAST: With its story of love and loss, the myth of Orpheus and Eurydice has inspired — and continues to inspire — composers through the centuries, This week’s program by the Left Coast Chamber Ensemble, titled “Sonnets to Orpheus,” samples a few of the enduring ones, including excerpts from Monteverdi’s “L’Orfeo” and Gluck’s “Dance of the Blessed Spirits.” Capping the program are new and recent works by Eric Moe, Aida Shirazi, and Chiayu Hsu..

Rudyard Kipling’s cultural footprint is a whole lot bigger in Great Britain than on this side of the Atlantic, and Graham Lustig grew up well-ensconced in a realm shaped by the writer’s imagination. As a boy in London, the budding dancer often escaped the city’s fog and bustle going on camping trips with the Boy Scouts, an organization inspired partly by Kipling’s “Jungle Book” stories. “I was a cub in the Boy Scouts, and the leader of the pack is the Akela,” said Lustig, Oakland Ballet’s artistic director, referring to the “Jungle Book” wolf who helps oversee the feral boy Mowgli’s upbringing. “That mythology was part of my childhood. I knew the stories and the characters.”.

Lustig drew on his deep affinity for Kipling’s tale in his family-friendly dance theater production “Jangala,” which is distilled from several “Jungle Book” stories (which are set in India), But rather than simply transferring beloved characters from page to stage, he reimagines the tale by mingling contemporary ballet with elements of bharatanatyam, the South Indian classical dance form, “I was fascinated that no one had approached ‘Jungle Book’ from an Indian arts perspective,” bloch pump ballet shoes he said, adding that his many treasured experiences in India while dancing with the Royal Ballet contributed to the project, “I have very strong and beautiful memories, like meeting Ravi Shankar at his house, Growing up in London with a lot of Indian communities around me I was drawn to Indian arts and culture.”..