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      Waiting for Dudamel, the New York Philharmonic Is Doing Fine

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      Between music directors this season, the orchestra has been sounding fresh, engaged and more cohesive.The New York Philharmonic is flying free.Its former music director, Jaap van Zweden, left last summer. Its next, Gustavo Dudamel, is gradually deepening his commitment — including performances of Mahler’s Seventh Symphony at David Geffen Hall through Sunday — but doesn’t officially start until fall 2026.Those who follow orchestras tend to assume that their quality will dip without a devoted director to oversee things. Partly because of the myth of the indispensable, all-powerful maestro, it can be easy to fear that conductorless periods will be rudderless ones.That certainly hasn’t been the case this season at Geffen Hall. The Philharmonic has been sounding great: fresh, vital, engaged, more cohesive. The chilly blare that seemed to frost the hall’s acoustics when it reopened in 2022 after a renovation has warmed and softened.The most telling music-making of the year was in a program last month led by the Hungarian conductor Ivan Fischer. The final hour of the concert was given over to a rare performance of Bartok’s fairy-tale ballet “The Wooden Prince,” a sprawling, instrument-packed score that swerves from candied to bombastic, from radiant expanses to driving dances. The orchestra rose to the occasion with playing that was nuanced and colorful, and in Mozart’s “Turkish” Violin Concerto, the ensemble matched Lisa Batiashvili’s sensual flair.But in a way, I was even more impressed by the opener: Mozart’s overture to “The Magic Flute,” a chestnut of the kind that is often passed over quickly in rehearsal. It glowed.The true test of a great orchestra — what reveals its base line standard — isn’t how it does in the big symphonies and premieres that steal the lion’s share of attention and applause. It’s how the group sounds in little repertory standards, and that “Magic Flute” overture may have been the most encouraging seven minutes of the season.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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      As ‘Pretty Little Baby’ Goes Viral, Connie Francis Is Joining TikTok

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      With a forgotten song becoming an unlikely hit, the 87-year-old singer is happy to be back in the spotlight.Sixty-four years ago, Connie Francis recorded “Pretty Little Baby” as one of dozens of songs in a marathon recording session that yielded three albums within two weeks. It did not, at the time, feel like a song that had the makings of a hit, so it landed on the B-side of the 1962 single “I’m Gonna Be Warm This Winter” that was released in Britain. Since then, it was more or less overlooked.Then came TikTok and its canny ability to resurrect decades-old songs for a new generation.Over the last few weeks, “Pretty Little Baby” has been trending on the social media app — it has been featured as the sound in more than 600,000 TikTok posts and soared to top spots in Spotify’s Viral 50 global and U.S. lists — bolstered by celebrities and influencers, like Nara Smith, Kylie Jenner, and Kim Kardashian and her daughter North, who have posted videos of themselves lip-syncing to it.The ABBA singer Agnetha Fältskog used the song for a clip on TikTok in which she said Ms. Francis had long been her favorite singer. And the Broadway actress Gracie Lawrence, who is currently playing Ms. Francis in “Just in Time” — a play about Bobby Darin, Ms. Francis’s onetime romantic partner — also posted a video of herself lip-syncing to it, in her 1960s costume and hair.The song’s current popularity is an unexpected twist to Ms. Francis’s long and illustrious career. In 1960, she became the first female singer to top the Billboard Hot 100 and, by the time she was 26 years old, she had sold 42 million records and had two more singles top the Billboard charts. But this particular song, which she recorded in seven different languages, remained so obscure that Ms. Francis, 87, told People magazine that she had forgotten ever recording it.Amid the frenzy of the unexpected attention, Ms. Francis is trying to figure out how to turn this sudden attention into opportunities for herself. She and her publicist, Ron Roberts, enlisted Mr. Roberts’s son to help them set up a TikTok account for her and, in a phone interview on Thursday, she said she had been mulling the idea of emerging from retirement to do some kind of show in the next few months.This interview has been edited and condensed for clarity.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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      ‘This House’: An Intimate, Intergenerational Opera Is Also a Family Affair

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      Ricky Ian Gordon and Lynn Nottage tell the story of three generations in a Harlem home. Enter a second Nottage generation, her daughter, on the creative team.During the Covid pandemic, lockdowns made our homes seem like leading characters in our daily lives; those familiar confines became as much a presence in our experiences as any living creature. For the creative trio of the composer Ricky Ian Gordon and the librettists Lynn Nottage and Ruby Aiyo Gerber, that experience fueled “This House,” a new opera having its world premiere on Saturday at the Opera Theater of St. Louis. (It runs through June 29.)This project reunites Nottage and Gordon, who previously worked together on the chamber opera “Intimate Apparel,” a Metropolitan Opera commission that ran at the Lincoln Center Theater in 2022 after a pandemic delay.Gordon and Nottage, a two-time Pulitzer Prize winner, found they had a deep rapport. “The hardest thing when you’re collaborating is when you see different things,” Nottage said in a Zoom interview with the three creators. “I’ve been in collaborations where I see red, and then I realize, ‘Oh, my collaborator sees blue.’ So then how do we get to purple? That was not the case with Ricky. We had a shared vocabulary.”That common language expanded with the addition of a second librettist: Gerber, Nottage’s daughter, a writer and multimedia artist. The mother-daughter pairing seems particularly suited to “This House,” which explores the bonds and struggles of three generations of the Walker family in Harlem.(This House) ((Brad Bickhardt (Glenn) and Briana Hunter (Zoe) )))Eric WoolseyJustin Austin, left, and Kearstin Piper Brown in Gordon and Nottage’s “Intimate Apparel” at the Mitzi E. Newhouse Theater at Lincoln Center.Sara Krulwich/The New York TimesWe 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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      Sean ‘Diddy’ Combs’s Ex-Employee, ‘Mia,’ Set to Testify of Sex Abuse

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      Testifying under a pseudonym, the mogul’s former assistant is expected to describe allegations of sexual assault that prosecutors say amounted to forced labor. Mr. Combs denies coercing anyone into sex.A former personal assistant of Sean Combs who, prosecutors say, was sexually assaulted by her boss, is set to take the stand on Thursday at the music mogul’s sex trafficking and racketeering trial.Throughout the trial, the woman has been referred to by the pseudonym “Mia.” Prosecutors have previewed her testimony for jurors by saying that she would “tell you about the times that the defendant forced himself on her sexually, putting his hand up her dress, unzipping his pants and forcing her to perform oral sex, and sneaking into her bed to penetrate her against her will.”Previous witnesses have described Mia as part of Mr. Combs’s entourage and a friend of Casandra Ventura, the music mogul’s on-and-off girlfriend of 11 years whom he is charged with sex trafficking.Mr. Combs is not accused of sex trafficking Mia but of subjecting her to forced labor — including sexual activity — through violence and threats of serious harm. The forced labor allegation is part of a broader racketeering conspiracy charge that accuses Mr. Combs of directing a criminal enterprise that helped him commit crimes and cover them up over two decades.Mr. Combs has pleaded not guilty to all of the charges against him. His lawyers have acknowledged that he was responsible for domestic violence, but they vehemently denied the existence of a criminal conspiracy, asserting that he was the head of entirely lawful businesses that had nothing to do with his private sex life. They have argued that the sex at issue in the case was entirely consensual.In the defense’s opening statement, Teny Geragos, a lawyer for Mr. Combs, previewed the upcoming cross-examination of Mia, which will surface messages she wrote to Mr. Combs throughout her employment in which Ms. Geragos said she expressed “unbelievable love” for him.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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      Smokey Robinson Accuses Housekeepers of Defamation in Countersuit

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      Four of Mr. Robinson’s former employees had sued the Motown singer, saying he sexually assaulted them for many years. He argues their anonymity is a reason to dismiss their suit.Lawyers for the Motown singer Smokey Robinson, whom four former housekeepers have accused of sexually assaulting them dozens of times, filed a cross-complaint on Wednesday that accuses the women and their lawyers of defamation.Mr. Robinson’s lawyers also filed a motion to dismiss the women’s lawsuit, arguing that they should not have been granted anonymity.In the legal filings, Mr. Robinson’s lawyers said the housekeepers had “fabricated” the abuse allegations “in support of their extortionate scheme.” The countersuit describes a caring relationship that Mr. Robinson and his wife, Frances Robinson, had with the women, noting that they vacationed together, celebrated holidays and doted upon them with concert tickets and, in one case, a car.The court papers, which were filed in Los Angeles County Superior Court and ask for $500 million in damages, offered as evidence text messages in which the women wished Mr. Robinson a happy birthday, invited him to celebrations and gave other expressions of support. The filings said Ms. Robinson had considered at least one of the women a friend, including her in a will.“The Robinsons did not abuse, harm or take advantage of plaintiffs; they treated plaintiffs with the utmost kindness and generosity,” the countersuit said. “Unfortunately, the depths of plaintiffs’ avarice and greed knows no bounds.”John Harris and Herbert Hayden, lawyers for the former housekeepers, said in a statement that the countersuit was an attempt to silence and intimidate the women.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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      At Sean ‘Diddy’ Combs Trial, ‘Victim-4,’ His Ex-Employee, Set to Talk of Sex Abuse

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      Prosecutors say the woman, who will testify under the pseudonym “Mia,” was forced into sex when she worked for Sean Combs.Jurors at Sean Combs’s sex-trafficking and racketeering trial have heard gripping testimony from Casandra Ventura, the singer known as Cassie, who described in lurid detail the violence and coerced sex that she suffered at the hand of the music mogul.On Wednesday, they are set to hear from a second woman, testifying under the pseudonym “Mia,” who prosecutors say had her own harrowing experience with Mr. Combs.For months before trial, little was disclosed about Mia — then identified only as “Victim-4” — other than that she is a former Combs employee who prosecutors say was coerced into sex with him. In one filing last month, the government redacted virtually an entire page-long passage about her.But in opening statements this month, lawyers for both sides fleshed out the woman’s profile somewhat. Emily A. Johnson, a prosecutor, described Mia as a former personal assistant whom Mr. Combs “worked to the bone for years.” At some point, she said, he then “forced himself on her sexually, putting his hand up her dress, unzipping his pants and forcing her to perform oral sex, and sneaking into her bed to penetrate her against her will.”“Mia will tell you how she could not talk about what happened to her until recently,” Ms. Johnson added, “how she wanted to take the secret of what the defendant did to her to her grave.”Mr. Combs, who has pleaded not guilty to all charges, has denied having anything but consensual sex with women, and his defense team has suggested it will pursue that approach in countering the testimony of Mia when she appears on Wednesday, likely in the afternoon.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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      What It’s Like on the Ground at the Sean Combs Trial

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThe trial of Sean Combs, the rap mogul best known as Puff Daddy or Diddy, has entered its third week, as federal prosecutors attempt to prove charges of sex trafficking and racketeering conspiracy in a Manhattan courtroom.Centering so far on the testimony of Casandra Ventura, a former girlfriend who performs as Cassie, the trial has also included time on the witness stand by Ms. Ventura’s family and friends; a former boyfriend, the rapper Kid Cudi; male escorts who were involved in her sexual relationship with Mr. Combs; and multiple employees of Mr. Combs, who witnessed his behavior over the years. (Mr. Combs has pleaded not guilty to all charges, with his lawyers arguing that any sex was consensual.)Yet while many headline-grabbing cases tend to be broadcast online these days, the rules at the Daniel Patrick Moynihan United States Courthouse prohibit video or audio recording, meaning only those present can experience the proceedings directly.Present each day for The New York Times has been a team of reporters, led by Julia Jacobs and Ben Sisario, who have covered the story since even before Mr. Combs was under criminal investigation. (Ms. Ventura filed a lawsuit against Mr. Combs in November 2023, which was settled a day later for $20 million; that account helped put into motion a series of events that led to Mr. Combs’s indictment last year.)This week on Popcast, the host Joe Coscarelli, who has also been covering the trial, was joined by Ms. Jacobs and Mr. Sisario to discuss the intricate charges against Mr. Combs; how the testimony so far has played in court versus how it is consumed online later; the effect of the trial on the reputations of Mr. Combs and Ms. Ventura; and what is still to come in the weeks that remain.Connect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

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      What I Learned From the Great Singer Dietrich Fischer-Dieskau

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      The baritone Benjamin Appl remembers his teacher at 100, as one of the 20th century’s greatest singers and a complicated, conflicted man.One September morning in 2009, I glanced at my watch over and over, nerves fluttering in my chest. I was sitting in the front row of a packed concert hall in Schwarzenberg, Austria, surrounded by other vocal students. At precisely 10:30 a.m., the baritone Dietrich Fischer-Dieskau stepped onto the stage. It was the first day of his master class at the Schubertiade, and it was the moment I would meet the artist who had shaped my musical life.I was just 12, growing up in Bavaria, Germany, when I first heard Fischer-Dieskau. Leonard Bernstein had called him “the greatest singer of the 20th century,” and few would disagree. When my music teacher played us a recording of his interpretation of Schubert’s “Winterreise,” something stirred within me. This voice was different. Immediate. Truthful. Over the years, I listened to dozens of Fischer-Dieskau’s recordings, studied them, grew with them, and was continually astonished by them.Now I stood before him. The old video footage of that master class still shows how nervous I was: my vibrato wavering, my breath shallow, my stance unsure. What I did not realize at the time was how open and attentive he was with me. At the end of the course, he offered to work with me privately. For the next three years, I had the privilege of studying with him regularly at his homes in Berlin and Bavaria. Those hours remain among the greatest gifts of my life.In the months leading up to his centennial on Wednesday, I was granted access to his personal archive: letters, diaries, programs, photo albums. It was a journey to find out more about the man behind the name, affectionately known to his friends as FiDi. And it was an immersive experience that helped me to shape my new album “For Dieter: The Past and the Future.”This recording features songs that defined his artistic path; songs that shaped the singer who would became one of the most revered vocalists of his time, including works from his family circle; songs by Brahms, Schubert and Wolf; as well as compositions written especially for him by Britten and Barber. Through my access to his archive, I was also able to accompany the album with a book that offers a deeply personal portrait of a multifaceted, fascinating man.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