After growing up in the Bay Area, John Partridge and his wife, Silvia, built a life together in Sonoma, where they lived for 15 years. Over time, they found themselves craving a more walkable neighborhood with easier access to San Francisco. About a year ago, they found exactly what they were looking for—a home on Glendale in Rockridge—and quickly fell in love with both the house and the community. The move has transformed their day-to-day life: “We know more of our neighbors now than we did in our 15 years in Sonoma.”
John found his passion for music early in life, beginning to compose music at 5 years old. “I have to write because that’s how I react to things,” he easily admits. “Children playing, political protests, requests from a local church … all are grist for my mill.” As he lists his repertoire of cantatas, sonatas, operas, choruses, and even ragtime, his inspirations have clearly continued to flow during the past seven decades. “Eighty-five percent is unconscious, but you have to focus as it emerges. Natural talent does not mean not working at it … I work really, really hard.”
Born in Berkeley, his parents moved shortly after to rural Illinois. Both were involved in the anti-war movement. John’s musical passion was evident early. A piano teacher who “didn’t take children” took him immediately when she saw his talent. His father helped found KPFA in 1953, then left and came back in 1964 to take the job of station manager so as “not be beholden to others in trying to tell the truth.”
As a young musician, John studied with piano teachers throughout the East Bay, composing ensemble pieces from grade school through high school. At Berkeley High, he found expanded creative opportunities, including directing the Berkeley High School orchestra in a performance of his own piano concerto.
John’s first job at age 14 was as a church musician at the Berkeley Richmond InnerCity Mission—an opportunity that followed his teenage romance with the minister’s daughter. Paid from the Sunday collection, he also developed a lasting spiritual mentorship with the minister.
When Oberlin did not accept him as a freshman, he took a year off before entering the Composition and Conducting Program at UC Santa Cruz. That time was put to good use by becoming an Associate Conductor of the Contra Costa Youth Orchestra under Ron Daniels.
Santa Cruz professors were all musically avant-garde. “Anything you want” was what he was told; however, that was not what John wanted. He was drawn to the rules and structure of classical music. He stayed on to become the only UCSC conducting major at the time, fashioning his own curriculum and conducting music for a range of performances at the school. Some of his fellow musicians even accepted his standing offer: “Need a violin concerto?”
Video: Anna L Marks
John’s parents encouraged all his creative and spiritual pursuits. They were atheists, yet fully supported his long career directing a wide range of church choirs and orchestras, as well as composing for these ensembles for religious holidays. John was eventually baptized at St. Augustine’s Episcopal Church on Telegraph — inspired by “people who lived their faith” — serving as their music director for several years.
As technology evolved, John found a career at Bechtel to support himself and his growing family. Drawing on a single programming class, he began his career in data entry and worked his way up to Applications Developer. He often compared the “beauty and elegance” of a classical composition to that of a well-crafted computer program—one that is clear, efficient, and maintainable for future users: “Nothing superfluous, just like classical music,” he explains.
For several years, bringing productions to the stage has been a central focus for John. As a church music director, he managed performances in Napa, San Leandro, and Sonoma. Traditional music programs always sold out for a holiday performance at the Jacuzzi Winery.
His talent and ambition opened many doors. When Goat Hall Productions left a note under his door declaring, “We need an opera,” he responded with Soldiers Who Wanted to Kill Death, inspired by a Chaucer tale.
In response to his own fury at the first Gulf War, he wrote the Missa L’Homme Armée. He took the admonition of St. Paul to “harden not your hearts” to create an oratorio as a plea to accept homosexuality in the church.
In a different sphere, he produced “Wine Country Ragtime,” a project he continued for 10 years after becoming enchanted with the genre. He now directs the choir at St. Paul’s in Benicia, and plays a traditional pipe organ every week at the Jacuzzi Winery where the organ fits perfectly in the barrel room.
Bring John’s Opera, The Passion of Joan of Arc, to Life
In June 2025, an opera by local composer John Partridge was presented at the Sebastiani Theatre in Sonoma. The Passion of Joan of Arc was a big hit. John is now planning to produce a full recording to present to opera companies, with both the original cast and local musicians ready to perform.
To make this dream a reality, he has launched a Kickstarter campaign with a goal of $13,000, running through March 31. To learn more about him and his work, visit www.jpartridge.com.
John’s current quest is to bring his opera, The Passion of Joan of Arc, to life. Fifty years ago, he found a book at a friend’s house that was the transcript of the trial of the legendary warrior and Catholic saint. Like many, he didn’t know a record of her trial existed. He was transfixed by the description.
“Joan’s personality jumps off the page,” he exclaims. He was determined to capture her passion. The 16-year-old had led troops into successful battles before being captured by the English. The Catholic Church was tasked with creating the justification for her execution. Joan clearly rebuffed every accusation, eventually warning the 70 clerics sitting before her, “You think you’re judging me, but you should be worried about how you will be judged by your treatment of me.” The final scene is a duet between Joan and the one priest who tried to help her, sung as the flames begin to rise at the stake where she is bound.
John completed the piece, the cast was ready, and initial funding was secured—then the pandemic struck. In 2025, after only three rehearsals and one performance, the show was canceled. Using a generous donation from a fellow musician, programmer, and mentor, he was able to pay the cast before closing down the production. Yet neither the financial setback nor the pandemic deterred him; last year, he reunited most of the cast to perform a section of the opera to the delight of 250 audience members. “The audience loved it, even with some rough edges,” John reports.
Now, John is determined to put on a fully staged production and is actively seeking community support to celebrate local artists and make his dream a reality. He encourages people to visit the campaign site today—because, as John says, “My reaction to everything is creative.”
