Aurelia Butler

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    New York Philharmonic Announces Its 2025-26 Season

    Our critics choose highlights from a lineup that includes Joshua Bell, Nathalie Joachim, Barbara Hannigan and more.Gustavo Dudamel does not officially take over as the New York Philharmonic’s music and artistic director until fall 2026. But he will be a fixture on the podium in the orchestra’s coming season, leading six weeks of concerts and several world premieres, the ensemble announced on Tuesday.Matías Tarnopolsky, the Philharmonic’s president and chief executive, said that the new season, which includes a celebration of the 250th birthday of the United States as well as a centennial tribute to the eminent French composer and conductor Pierre Boulez, “gives us a glimpse into a supremely exciting, joyful and embracing future with Gustavo Dudamel.”Dudamel will lead the world or local premieres of an oratorio by David Lang based on Adam Smith’s “The Wealth of Nations”; an orchestral reimagining of Frederic Rzewski’s “The People United Will Never Be Defeated”; and a choral work by Ellen Reid, which the Philharmonic commissioned with the Los Angeles Philharmonic, where Dudamel is the music and artistic director through the end of next season.At the opening night concert, in September, Dudamel will be on the podium with Yunchan Lim as the soloist in Bartok’s Piano Concerto No. 3. The cellist Sheku Kanneh-Mason will serve as the Philharmonic’s artist in residence; Barbara Hannigan will make her conducting debut with the ensemble; and stars like the violinist Joshua Bell, the pianist Jean-Yves Thibaudet and the violinist Nicola Benedetti will return.Here are 10 highlights of the coming season, chosen by critics for The New York Times. JAVIER C. HERNÁNDEZBoulez Centennial, Oct. 3-11The Philharmonic will celebrate the centennial of the composer and conductor Pierre Boulez, a former music director of the orchestra’s, with two programs. First, Pierre-Laurent Aimard will present some of the composer’s early Notations for piano, and Esa-Pekka Salonen will conduct Boulez’s later orchestral adaptations of those pieces, alongside works by Debussy. The following week, dancers choreographed by Benjamin Millepied will accompany Salonen and the orchestra in Boulez’s “Rituel in Memoriam Bruno Maderna.” SETH COLTER WALLSWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Sony Gives N.Y.U. $7.5 Million for an Audio Institute

    A multifaceted new program at the university’s Steinhardt School will train students (on Sony equipment) for jobs in music and audio “that don’t exist yet.”Students at New York University who study the music industry and do research at the frontiers of audio have a new benefactor: Sony.A $7.5 million donation from the Japanese electronics and media giant, made through its personal entertainment business unit, will help establish the Sony Audio Institute, a multifaceted partnership at N.Y.U.’s Steinhardt School of Culture, Education and Human Development. It is set to open this spring.N.Y.U. and Sony, which jointly announced their agreement on Tuesday, say that the institute is not a physical space. Rather, it’s an interdisciplinary approach to studying and researching the latest advances in consumer and pro-level audio tech — replete with Sony tools to facilitate. As part of the partnership, a studio space will be revamped with professional equipment from Sony and the institute will offer an array of internships, scholarships and programming, even letting students collaborate with Sony’s engineers and researchers.The institute will not, however, grant degrees. It will be part of Steinhardt’s degree programs in music business and music technology.“To have access to the researchers who are inventing the future of audio, as well as the businesspeople who are managing the introduction of those products, creates a great opportunity and a competitive advantage for our students,” Larry S. Miller, the director of Steinhardt’s music industry program, said in an interview.Miller, a former music executive, will step down from his leadership of the school’s music industry program in the fall to become director of the Sony Audio Institute, which has been established for an initial 10-year run. (It is unrelated to the Clive Davis Institute of Recorded Music, a degree program under N.Y.U.’s Tisch School for the Arts.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Some Vegans Were Harmed in the Watching of This Movie

    A film critic who provides “vegan alerts” for animal cruelty goes beyond onscreen violence. Milk and eggs are problematic, too.Inside a dark theater in Midtown Manhattan, Allison McCulloch watched “Kraven the Hunter,” an origin story for the obscure Spider-Man villain, while jotting notes on a white piece of paper smaller than a Post-it.Fur clothing.Taxidermied animals.Characters eating steak.McCulloch is the Roger Ebert of vegans, a dedicated cinephile who cares as much as anyone about acting and cinematography — and more than almost anyone about onscreen portrayals of dairy, poultry and beef.In the short reviews she writes for the app Letterboxd, she includes her overall critique as well as “vegan alerts,” flagging signs of animal products in a one-woman quest to highlight animal welfare onscreen, even in details most viewers would overlook.“People might think a glass of milk is innocuous,” she said. “It’s not. It’s full of violence.”Some of McCulloch’s vegan alerts for “Kraven the Hunter,” with Aaron Taylor-Johnson: “Sergei catches and eats raw fish” and “tiger rug.”Columbia Pictures/Marvel, via Sony PicturesMcCulloch has documented her opinion on 24,082 movies on her Letterboxd account, putting her in the top 100 out of the app’s more than 18 million members. Movies starring animals are almost a lock for vegan-friendly ratings, with films like “Flow” and “Kung Fu Panda 4” getting four stars.“Kraven the Hunter,” about a criminal-tracking vigilante played by Aaron Taylor-Johnson, flopped by traditional measures (“incomprehensible plotting and dodgy one-liners,” Robert Daniels wrote in The New York Times). But it worked on some level for McCulloch, who was surprised by how it framed Kraven as a kind of conservationist who shares a supernatural connection with the creatures he encounters, and hunts criminals instead. She even gave the movie one “vegan point” for Kraven’s decision to not shoot a lion.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Inside the Detail-Obsessed, Essential World of Music Editing

    When composers publish their scores or prepare them for performance, they need an editor — a role that rarely enjoys the classical music limelight.Editors of contemporary classical music are used to describing what they do through metaphors and comparisons.“I suppose you could say I was like a midwife bringing musical children into the world,” said Sally Cox, a former editor at the publisher Boosey & Hawkes.“What happens when Lady Gaga drops a record, and there are, like, 12 writers credited on it, where one guy simply massaged a synthesizer?” asked the freelance editor Ash Mistry. “Isn’t this like the same thing?”Not quite, but that’s a useful starting point. Just as we can understand Lady Gaga’s music as hers while acknowledging the many musical hands involved in its conception, so too can contemporary composition — at least the kind produced through major publishers — be understood as simultaneously the work of a sole composer and a product of group labor.Among those laborers — performers most visibly, but also commissioners, programmers and publishers — there are music editors, people who prepare manuscripts for performance. It’s a role away from the spotlight and rarely explored. “People don’t realize or don’t think about how the music gets onto their stand,” Cox said.This is true even for composers. “When someone says, ‘What does an editor do?,’ we tend to say, ‘We save the composer from themselves,’” said Elaine Gould, a former editor at Faber Music. “That can sound very arrogant, but quite often a lot of them have no idea how much we do.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Last Take: Rust and the Story of Halyna’ Review: Confusing Accounts

    The Hulu documentary challenges ideas around who is responsible for the death of the cinematographer Halyna Hutchins on the set of “Rust.”“I don’t know how you get justice from an accident.” In 2021, the cinematographer Halyna Hutchins was fatally shot on the set of the movie “Rust.” The new Hulu documentary “Last Take: Rust and the Story of Halyna,” directed by Rachel Mason, a friend of Hutchins, is not a chronicle of Hutchins’s life, nor a tribute to it. The film is instead a plodding but cleareyed account of the confusion, blame and scandal around her death.The documentary begins with a brief overview of the case, highlighting some of the crew members who were involved. The film goes on to challenge a schematic reading of who is responsible for Hutchins’s death, and even suggests that certain “Rust” producers were never held accountable for mismanaging the production.One compelling section highlights an email received by the armorer, Hannah Gutierrez-Reed, which scolded her for neglecting her prop duties to focus on firearm supervision. The revelations offer new perspectives on a tragedy that was already thoroughly covered in the media.The film’s biggest letdown lies in its cursory tour of who Hutchins was apart from her final hours. Despite testimony from Hutchins’s friends that repeatedly references her artistry, Mason rarely incorporates clips of Hutchins’s cinematography outside “Rust.” When the documentary does find time for a montage of her work, it is only to illustrate a point about where the guns onscreen are being aimed.Last Take: Rust and the Story of HalynaNot rated. Running time: 1 hour 30 minutes. Watch on Hulu. More

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    Lonnie Holley Never Plays a Song Twice. (Even His Own.)

    In late January, Lonnie Holley was scheduled to perform at a concert in Tulsa celebrating the 50th anniversary of Bob Dylan’s “Blood on the Tracks” as part of a lineup that included Elvis Costello and Lucinda Williams. Holley, 75, a venerated visual artist whose work has been displayed at the Metropolitan Museum of Art in New York and the National Gallery of Art in Washington, D.C., has been singing and playing keyboards for much of his life, but only started releasing his music publicly in 2012. Initially, he didn’t want to go.“He was terrified,” Matt Arnett, Holley’s manager, said. “He’d never sung a cover song. Lonnie’s never even played a Lonnie Holley song twice.”Holley’s approach to music is both extreme and extremely simple. His performances, whether live or recorded, are all improvised in the moment. He’s made a half-dozen hypnotic, soulful, genre-bending albums, including a new one, “Tonky,” which will be released on March 21, but the material has only ever been played the one time it was recorded. Arnett eventually convinced Holley to play the Dylan tribute, and Holley tweaked his approach slightly, using Dylan’s songs as a jumping-off point for his own idiosyncratic performance.Holley has been singing and playing keyboards for much of his life, but only started releasing his music publicly in 2012. Kendall Bessent for The New York Times“I get lost in thought when I’m onstage,” Holley said during an interview in Atlanta on an early February afternoon. “My thing is I got so much going on in my brain.”Holley is tall, with a regal bearing and a gentle voice. His long gray hair was pulled back in braids, a collection of beaded necklaces hung around his neck and his round-framed glasses were perched on his forehead in the manner of an absent-minded professor. He was sitting on a couch at the Grocery on Home, a tiny former community grocery store in the city’s Grant Park neighborhood. Arnett initially bought the Grocery as a place to live, then repurposed it in 2010 into an intimate music venue.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    South Korean R&B Singer Wheesung Is Found Dead at 43

    The artist was known for popularizing the musical genre in the country, but convictions for drug abuse damaged his image.The South Korean singer-songwriter Wheesung, who popularized R&B music in the country but had documented struggles with drug abuse, was found dead in his home in Seoul on Monday evening, police said. He was 43.Fire department officials found the singer, whose birth name was Choi Whee-sung, in a state of cardiac arrest in his apartment around 6:30 p.m. on Monday. An officer at Seoul Gwangjin Police Station said there was no evidence of a break-in or foul play, and that the authorities were investigating the possibility of a drug overdose.The death is the latest in a string of tragedies to strike the country’s booming entertainment industry. Several South Korean celebrities have died including Kim Sae-ron, a young actress who was found dead at her home a few weeks ago. Police ruled Ms. Kim’s death a suicide.Mr. Choi, who also went by Realslow, began his career in 2002 with the album “Like a Movie” and quickly gained critical and popular acclaim, winning several South Korean music awards in the same year. `He released around a dozen albums and also starred in musicals, playing iconic roles including Zorro and Elvis Presley. Mr. Choi also helped write music for some of South Korea’s most successful K-pop bands, including Twice and Super Junior.His career suffered a setback in 2021, after he was found guilty of purchasing and using propofol, a powerful sedative that is a controlled substance in South Korea, on several occasions. He received a suspended sentence of one year in prison, avoiding jail time on the condition that he didn’t reoffend. He was also fined 60.5 million won (around $41,000), ordered to perform community service, and undergo drug treatment.With the drug charge, Mr. Choi came under scrutiny from the media and faced harsh public criticism, with some people posting hateful comments online. In South Korea, the social standing of celebrities usually hinges on having a blemish-free reputation and blameless character.Singers in South Korea posted tributes in honor of Wheesung on their social media accounts. “His music was a big part of my 20s,” the rapper Paloalto wrote on Instagram along with a picture of Mr. Choi’s first album cover. “Thank you for being there with me.”Wheesung had been scheduled to perform on March 15 with the singer KCM in Daegu, a city in the country’s south.Tajoy Entertainment, the company that managed Wheesung, did not immediately respond to a request for comment.If you are having thoughts of suicide, call or text 988 to reach the 988 Suicide and Crisis Lifeline or go to SpeakingOfSuicide.com/resources for a list of additional resources.In South Korea, call 109 for the health ministry’s suicide prevention hotline, or visit the Korean-language site 129.go.kr/109. More

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    Fashion? Rockets? Yachts? A Trump Ally Has Ideas for the Kennedy Center

    Paolo Zampolli, a Trump appointee on the center’s board, wants the institution to host Valentino fashion shows, send art into space and open a marina and a Cipriani restaurant.The businessman Paolo Zampolli has counted Donald J. Trump as a friend for decades. In the 1990s, when Mr. Zampolli ran a modeling agency, he played matchmaker for Mr. Trump, introducing him at a party to his future wife, Melania.Now Mr. Zampolli, 55, is helping Mr. Trump in another way: reshaping the John F. Kennedy Center for the Performing Arts in Washington.Mr. Zampolli has served on the center’s board since Mr. Trump appointed him toward the end of his first term. But things have changed rapidly since Mr. Trump began his second term with the stunning takeover of the historically bipartisan institution, firing all of the Biden appointees on its board and having himself elected chairman.Exactly what it all means is still coming into focus. A number of artists have canceled appearances there, and the musical “Hamilton” scrapped a planned tour there next year. Richard Grenell, whom Mr. Trump named as its new president, recently said that the center planned “a big, huge celebration of the birth of Christ at Christmas.”Mr. Zampolli, who shares Mr. Trump’s attention-grabbing instincts, has his own ideas. He wants the center to launch art into space with the help of Elon Musk, host Valentino fashion shows and to open a marina on the Potomac and a Cipriani restaurant.“We need to make the Kennedy Center a destination,” Mr. Zampolli, a special envoy for Mr. Trump who once served as a United Nations ambassador of Dominica, said in a recent interview. “It has the hugest potential ever.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More