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    ‘Doppelganger’ Review: A Soldier Confronts His Mortality

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    At the Park Avenue Armory, an imaginative and viscerally shocking staging of Schubert songs from the director Claus Guth and the tenor Jonas Kaufmann.In the classical tradition, a song often evokes intimacy and solitude: a poet baring vulnerability, a composer painting a miniature. That sense of seclusion extends to the performance as well: a singer and pianist alone onstage, a listener absorbing the work in an intimate recital hall or immersed, alone, with headphones.These conventions surround the final group of songs written by Schubert, known as “Schwanengesang” (Swan Song) and published after the composer’s death in 1828 at age 31. But those expectations were upended in “Doppelganger,” which had its world premiere Friday at the cavernous Park Avenue Armory Drill Hall. The director Claus Guth, the star tenor Jonas Kaufmann, the pianist Helmut Deutsch and a raft of collaborators transformed “Schwanengesang” at the Saturday night performance into an entire wartime narrative.Kaufmann is a soldier who lies dying in a military hospital. Far from being alone with Deutsch onstage, he is one of nearly two dozen injured and sick soldiers being tended by a fleet of six nurses, the rest of the cast is made up of dancers. Deutsch and the piano are dead center among more than 60 hospital beds that stretch across the hall’s immense floor. Kaufmann’s soldier spends the last hour of his life revisiting his memories in a cascade of Schubert’s songs, stitched together with ominous new music by the German composer Mathis Nitschke.Guth’s imaginative and powerful staging for his New York debut recalls history. This drill hall has served as a hospital and shelter; “Doppelganger,” which had originally been intended for a fall 2020 premiere, also invokes the field hospitals hastily erected at the start of the coronavirus pandemic.The inventive and minimalistic set design by Michael Levine is dominated by hospital whites, and the clever lighting is by Urs Schönebaum.Monika Rittershaus/Courtesy of Park Avenue ArmoryMichael Levine’s inventive and minimalistic set design is dominated by the blanched shades of hospital whites and khaki uniforms. Growls of Nitschke’s sound and clever lighting by Urs Schönebaum suggest thunderstorms and bombings.Does the theatrical conceit serve Schubert’s songs? In the hands of Kaufmann and Deutsch, who have long worked together, yes — and it reignites the master’s music in a fresh, intelligent setting without sacrificing the duo’s artistry as classical performers.At one point, the piano becomes a main character in the drama, as Kaufmann and the dancers gather to listen in respite to Deutsch perform the second movement of Schubert’s Piano Sonata in B-flat Major, D. 960. It was a rare treat to hear Deutsch, who usually performs an accompanist, take literal center stage.In a concession to the Armory’s sheer expanse, Kaufmann’s voice was lightly amplified. This was occasionally distracting when he turned his head away from his microphone, and his normally crisp articulation was slightly muddied. But Kaufmann’s sweet tone transcended the limits of the technology, particularly in Schubert’s yearning song of desire “Ständchen.”In the evening’s climactic song, “Der Doppelgänger,” Kaufmann’s soldier encounters his ghostly twin at the moment of death. Although the audience knows this was coming, having already seen the soldier being mortally wounded, the theatrical ingenuity and visceral force of “Doppelganger” was so strong that the audience let out an audible gasp of shock. When was the last time you heard something like that in a classical concert hall?DoppelgängerThrough Thursday at the Park Avenue Armory, Manhattan; armoryonpark.org. More

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      John Cage Shock: When Japan Fell for Cage and Vice Versa

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      After a 1962 visit, a mutual love affair began between the composer and the country’s musicians. A new series at the Japan Society explores this relationship.About 30 miles south of Tokyo is the city of Kamakura, where the American composer John Cage was taken soon after arriving on his first visit to Japan, in 1962.There, D.T. Suzuki, the Zen authority from whom Cage had learned about Buddhism a decade earlier, greeted him and his close collaborator David Tudor at Tokei-ji, an ancient temple. Cage was given special permission to ring the temple bell; a photograph captures him inside the bell, slightly bent over and smiling a little as he listens to the reverberations.As Serena Yang writes in a recent dissertation on Cage and Japan, the discussion at Tokei-ji turned to the music of a Zen ceremony at another temple, near Kyoto. Cage exclaimed “this ceremony must be dominated by silence” — in other words, it must be similar to the works that had, by then, made him one of the world’s most important experimental composers.The similarity was, indeed, profound. The overlap between Cage and Japan went deep; for us today, suspicious of appropriation, it is a precious example of a truly mutual cultural exchange. And it has inspired a four-part series at the Japan Society in New York that begins on Sept. 28 and continues into December.Cage’s vision of life and music — his embrace of indeterminacy and chance; his use of and trust in silence — was shaped by Japanese philosophy, religion and aesthetics. And the influence of his 1962 visit on Japanese composers was such that it came to be referred to as “Jon Keji shokku”: John Cage Shock.His liberating example helped those composers — who had largely been in thrall to European modernism in the years after World War II — broaden their style, including to use traditional music as source material.John Cage conducting Toshi Ichiyanagi’s “Sapporo” at Hokkaido Broadcasting Company in 1962. From left: Yoko Ono, Yuji Takahashi (behind her), Kenji Kobayashi, Ryu Noguchi, Toshinari Ohashi, Toru Konishi, John Cage (with his back to camera), David Tudor and Ichiyanagi at the piano.Yasuhiro Yoshioka, via Sogetsu Foundation“I think that what we played for them gave them the chance to discover a music that was their own, rather than a 12-tone music,” Cage said, referring to the radical path away from traditional tonality that Arnold Schoenberg had charted a few decades earlier. “Before our arrival, they had no alternative other than dodecaphony.”Toru Takemitsu, the eminent composer who became close with Cage, later recalled: “In my own life, in my own development, for a long period I struggled to avoid being ‘Japanese,’ to avoid ‘Japanese’ qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.”As Yang emphasizes, the meeting of Cage and Japan did not begin with his arrival in 1962. Avant-garde Japanese musicians had been aware of Cage, who was born in 1912, from the late ’40s, through journalistic accounts of his work and, eventually, scores.“I felt an ‘Eastern’ sense from Cage’s music,” the composer Kejiro Sato wrote in the mid-’50s.In a 1952 letter to the critic Kuniharu Akiyama, Cage wrote, “I have always had the desire to come one day to Japan.” He later wrote to Akiyama that Japan “is the country of the whole world whose art and thought has most vitality for me.”After his early studies with Schoenberg, the prophet of 12-tone technique, Cage had undergone a transformation: a “great leap of the heart,” as the critic Kay Larson put it in “Where the Heart Beats,” her 2012 book on Cage and Zen. Starting in the mid-1940s, he delved into Indian music and philosophy; attended some of Suzuki’s American university lectures on Zen Buddhism; and discovered the “I Ching,” the Chinese text which he began to use as a stimulus for chance techniques in his music. His new course diverged from both tonality and dodecaphony.In 1952, this great leap culminated in a piece that asked a pianist merely to sit at his or her instrument for four minutes and 33 seconds. The music would be all the sound in the performance space that was not music; “4’33,” Cage’s most famous artistic statement, was more a philosophical inquiry into the passage of time, the nature of silence and the distinction between individual and collective experience than a standard concert event.As the ’50s went on, some of the fruits of his innovations began to filter into Japanese publications, which wrote about Cage’s embrace of Eastern art and ideas. Avant-garde critics observed that Cage’s musical choices (like his use of percussion rather than the traditional Western orchestra), his rhythms and his adoption of randomness as a compositional tool were influenced by Eastern examples, including the Japanese concept of “ma,” the notion of empty space or silence.Cage at Nanzenji Temple in Kyoto in 1962. He would return to Japan many times after ’62, including with the Merce Cunningham Dance Company.Yasuhiro Yoshioka, via Sogetsu FoundationFor Cage, Zen was not only an aesthetic inspiration; it also spoke to his more general desire to re-energize a Western world he perceived as in serious crisis. At the 1954 Donaueschingen Festival in Germany, he told the critic Hidekazu Yoshida that “America is a mixed nation and has no unified spiritual basis. We rely on material culture and therefore have less and less spirituality. Yet I think the East is totally the opposite. My interest in Zen is based on my hope to recover Americans’ lost spirit.”Inspired by Cage and by European musicians making similar investigations, such as Stockhausen, composers like Takemitsu, Toshiro Mayuzumi and Yuji Takahashi had begun to work with chance; graphic scores, rather than traditional Western notation; and Cagean instruments like the “prepared” piano, adjusted with objects that affected the sounding of its strings. A contemporary music festival in Osaka in 1961, which included works by Cage, brought his brand of indeterminate, malleable music to Japanese audiences for the first time. (The response was decidedly mixed.)This all laid the groundwork for Takemitsu, Mayuzumi and Toshi Ichiyanagi, a composer who had studied with Cage in New York, to invite Cage to visit Japan, under the auspices of the Sogetsu Art Center in Tokyo, a nexus of experimental performance in the 1960s. He and Tudor spent six weeks there: In addition to their trip to Tokei-ji, they toured widely, including Tokyo, Kyoto, Osaka and Sapporo; had the rare honor of viewing a geisha banquet; spent the night at a monastery; and even used a chance procedure to choose the color of a necktie to buy.In Kyoto, they were shown the Zen temple Ryoanji, renowned for a rock garden with 15 stones arranged in a geometric pattern. Cage’s drawings based on the stones, made 20 years after the trip, inspired his highly mutable ensemble piece “Ryoanji,” which will be performed at the Japan Society on Oct. 21 — with some of the performers streaming live from Japan.Cage and Tudor’s concerts during their visit had a galvanizing effect. Performing Cage’s “Music Walk” in Tokyo, Tudor lay under the piano; Yoko Ono, already an important artist and musician who was married to Ichiyanagi at the time, put her body on top on the piano strings. In “Theater Piece,” Tudor cooked rice and stir-fried, with contact microphones attached to objects around the stage: the cookware, a piano, toys.For the premiere of “0’00,” a follow-up silence exercise to “4’33,” Cage sat at a desk and wrote a sentence: “In a situation provided with maximum amplification (no feedback), perform a disciplined action.” Contact microphones had been attached to his pen and glasses, so, as the Cage scholar James Pritchett writes, his action “was both the creation of the score and its first performance.”“0’00,” dedicated to Ichiyanagi and Ono, will be among the works performed at the Japan Society on Dec. 7 in “Cage Shock,” a program meant to convey a sense of the 1962 visit. It was not until 1969 that Hidekazu Yoshida, the critic, used that phrase, and some have suggested it overstates the suddenness of what was actually a more gradual influence.But it is clear that experimental work in a Cagean spirit grew more common in Japan after the visit. Even a composer like Makoto Moroi, who was skeptical about the 1962 performances, took to working with indeterminacy and graphic notation — as well as traditional Japanese instruments — in the wake of Cage Shock.For Cage’s part, Yang writes that visiting the country “corrected his image of Japan. Where he had pictured a Zen-like, ancient Eastern country, he found a vibrant, modern society.” Both sides of the exchange had their ideas of the other refined and deepened.Cage and Tudor returned to Japan two years later on tour with the Merce Cunningham Dance Company, and again with Cunningham in 1976 — and then five times in the 1980s. His last visit, in 1989, was to receive the prestigious Kyoto Prize. The citation called him “a prophet who has foretold the spirit of the coming era” through “a new style of contemporary music by his new concept of chance music and non-western musical thought.”By then, Cage was mulling what he called a “Noh-opera,” possibly to be based on works by Marcel Duchamp. But Cage died, in 1992, before he could realize the project. On Nov. 16 at the Japan Society, a team led by the composer and performer Tomomi Adachi will offer a kind of completion of the idea — which, like so much of Cage’s work, transcends traditional boundaries of genre and culture.“It was Cage,” Takemitsu said, “who could ignore all restraints and do whatever he liked, who helped me make up my mind to get out of my own restraints.” More

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      Capturing John Zorn at 70: One Concert Is Just a Start

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      The Miller Theater at Columbia University began a series of programs to celebrate this restless and eclectic musician’s milestone year.John Zorn may have turned 70 this month, but he looks younger.He sounds younger, too — energetic and irrepressible. Recent recordings of Zorn’s music, issued on his Tzadik label, include the swinging, mystic patterns of “Homenaje a Remedios Varo” and the brightly, largely consonant chamber guitar writing of “Nothing Is as Real as Nothing.” The coming “Parrhesiastes” showcases his trademark ferocity.Zorn has been taking his stylistically varied live performances on the road to celebrate this birthday. His packed calendar includes a recent multiday festival in San Francisco, a daylong marathon at the Walker Art Center in Minneapolis and appearances at Roulette in Brooklyn.On Thursday, the Miller Theater at Columbia University took its turn, with the first in a series of “composer portrait” concerts that continue into November. Throughout the evening, this most hyperactive of American composers could be seen bounding with ease between the stage and his seat in the audience.With a ringleader’s zeal, Zorn introduced different groupings of musicians. During the changes between pieces, he leaped up onstage to describe his childhood interest in, say, the Dada writer Tristan Tzara, whose theatrical work “The Gas Heart” provided inspiration for Zorn’s mini-opera of the same name, performed on Thursday.Befitting his reputation, the pacing of motivic events inside that work and others tended to be fast and furious. Yet each piece also communicated joy — and a certain fellowship among the interpreters who had spent time together mastering Zorn’s rigorous, change-on-a-dime aesthetic.Here, the music featured the barreling riffs familiar from a lot of his chamber works, jazz tunes and extreme rock. But I came away from the Miller show dazzled by way in which a supple new approach to beauty has established itself in the past decade or two of his output. (Something similar has been going on with Zorn’s saxophone playing — not least in his New Masada Quartet, which has held crowds rapt at the Village Vanguard and Roulette in recent seasons.)Thursday’s concert began with a two-trumpet fanfare, “Circe” (2019), rendered with panache by Peter Evans and Sam Jones. The shortest piece on the program at a mere three minutes, it was also the most consistently hardcore. Yet its aggressive motifs were precisely coordinated — and given the independence to roam, even amid the overall feel of maelstrom. In between piercing trills, you could perceive and appreciate the way units of melody passed between the players.From left, the violinists Christopher Otto and David Fulmer, the cellists Jay Campbell and Michael Nicolas, and the violist John Pickford Richards, who formed a quintet for Zorn’s “Sigil Magick.”Rob Davidson for Miller Theatre at Columbia UniversityThe three other pieces on the program, all from 2020, focused on Zorn’s writing for strings. Each involved one or more members of the JACK Quartet. (Austin Wulliman, a violinist with the group, was not available, but David Fulmer substituted with aplomb.) And there were other guests, including the cellist Michael Nicolas in the string quintet “Sigil Magick.”In that work, listeners were offered short, droning chords, as well as polyphonic ensemble passages of whipsawing extended technique. But players within the quintet also diverged to present deliriously contrasting material: At one such juncture, while two parts held down a static pattern with a parched, brittle approach to sound production, the violinist Christopher Otto launched into sumptuously singing parlando.At the end of the concert, the violist Yura Lee joined the JACK players and Nicolas to create a sextet for — deep breath — “Prolegomena to Any Future Metaphysics That Will Be Able to Present Itself as a Science.” At over 20 packed minutes, this struck me as one of the loveliest and most widely ranging chamber music pieces in Zorn’s considerable catalog.In addition to moments of chromatic density, the work welcomed gently strummed early music melody into its soundscape. At another point, both cellists bowed doleful yet gorgeous patterns near the top of the necks of their instruments, close to the tuning pegs, collaborating on a slightly sour intonation that seemed in line with medieval tunings. Given this range, “Prolegomena” shares something with recent Zorn string quartets, like “The Alchemist,” which JACK has recorded with his other quartets (for a planned release on Tzadik in 2024).In between the quintet and sextet came Zorn’s adaptation of “The Gas Heart.” This was Zorn in absurdist-opera mode. Here, the JACK cellist Jay Campbell and Nichols joined two percussionists — Sae Hashimoto and Ches Smith — to form the cast. Smith provided expertly swinging rhythms at a traditional kit, but also slurped water and appeared to be operating a device that played back giddy laughter; when not playing vibraphone or other pitched percussion, Hashimoto could be seen torturing a pillow with a long whip or sawing a wooden board.The cello music — often smartly, subtly amplified — was sometimes grim and gravely, and produced by bowing below the bridge. But there were also delicate moments for the strings, often positioned in contrast to some of the wildness of the percussionists. This was all funny, as intended. Every bar, though, seemed as carefully deliberate as in the more obviously “profound” string music of “Prolegomena.”And here may be a secret of Zorn’s longevity: A piece may tend comic or grave, but every moment is intensely felt.Earlier on Thursday, rumors had swirled online about the possible arrival of the Tzadik catalog on streaming services. On Friday, Zorn’s distributor, Redeye, confirmed that the move would happen, next week. This is big news, given how long Zorn has held out against streaming — and given the amount of care he takes in designing his physical releases.However you access it — on recordings or in person — Zorn’s recent catalog is worth seeking out. This fall, the Miller will host Zorn and his New Masada Quartet, on a bill with one of his great metal groups, Simulacrum. Then comes a program of his music with the star soprano Barbara Hannigan.The implicit message: One night is probably insufficient in encapsulating this artist’s range. But it could, as on Thursday, provide a riotously good start. More

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      Jonas Kaufmann and Friends Take On Schubert at the Armory

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      The tenor Jonas Kaufmann stars in “Doppelganger,” a staging of “Schwanengesang” by Claus Guth, making his New York debut.In Schubert’s song “Der Doppelgänger,” a piano resounds with increasingly tormented chords as the narrator recounts a realization: that a pained stranger, wringing his hands in the night, is in fact himself.“I think there is something like a moment where your soul steps out, and your body is there,” the director Claus Guth said about the song over coffee in Munich. “It’s this shocking moment: You understand that you’re dying.”That instant, he said, is the heart of “Schwanengesang,” the posthumous collection of Schubert’s final songs, which is often performed as a cycle, like the composer’s canonical “Die Schöne Müllerin” and “Winterreise.” And it’s that harrowing, transitional state that has inspired Guth’s staging of “Schwanengesang,” called “Doppelganger,” which premieres at the Park Avenue Armory in New York on Friday.The production — featuring the star tenor Jonas Kaufmann performing with his longtime collaborator, the pianist Helmut Deutsch — will be the New York debut of Guth, one of the most sought-after opera directors in Europe.Schubert’s music is regularly presented in the Armory’s intimate Board of Officers Room, the site of most of the arts center’s recitals. But the composer’s songs, like those of “Schwanengesang,” originally sung in parlors, are much less expected, and seemingly ill-suited, for the vast drill hall. But “Doppelganger” will unfold there amid an installation (designed by Michael Levine) of more than 60 hospital beds occupied by wounded soldiers. Kaufmann will rise from one of them, to think back on his life at the moment of his death.Kaufmann and Guth at the Armory, whose enormous drill hall will be the site of “Doppelganger,” a staging of Schubert’s intimate “Schwanengesang.”Amir Hamja/The New York TimesThe path to “Doppelganger” was long, and not just because the production, originally planned for fall 2020, was delayed by pandemic closures. Years ago, Pierre Audi, the Armory’s artistic director, approached Guth and Kaufmann about a music theater project for the drill hall, inspired by little more than their prestige and friendship, which goes back to their education at the Hochschule für Musik in Munich.“I gave them carte blanche to propose something,” said Audi, one of the few dreamers in New York who can still commission work on the monumental scale of the Armory. Kaufmann said that he and Guth discussed music by Strauss, Mahler and Wagner, as well as Janacek’s frequently staged cycle “The Diary of One Who Disappeared.”But the idea of mounting, say, Mahler’s “Kindertotenlieder” didn’t appeal to Guth. “If you have this huge orchestra, it will be the same structure you have at a normal concert,” he said. “So, how to get this very specific situation of not being in the opera house or concert hall? We thought it would be great to have in this huge hall just this lonely singer exposed.”They arrived at the idea of a song recital. And from there, Guth said, “It must be Schubert.”He researched the history of the Armory, and was struck as much by its use as a hospital and shelter as by its housing of a militia regiment. “It’s interesting to think of this place not as a drill hall, but the opposite,” he said.Guth also thought about the “Schwanengesang” song “Kriegers Ahnung,” in which a soldier worries about dying in battle and longs for “how cheerful the fireside glow seemed when she lay in my arms.” “My storytelling is, say, the last hour of this wounded soldier,” Guth said. “And in this last hour you see his flashbacks and his dreams.”Levine — a collaborator with Guth on a Metropolitan Opera-bound production of Janacek’s “Jenufa” — responded to that idea with a design incorporating a dreamily expansive field of hospital beds, in part as an attempt to rise to the drill hall’s size.“You want to address the space itself,” he said on a recent afternoon at the Armory, gesturing to the set as it was being arranged. “It’s a thrilling space to put anything in, and in a way it’s your responsibility to do justice to it. I’ve seen some beautiful, beautiful things here, but it’s not an easy space to get right.”He first submitted his designs in early 2020, just as he was reading about how Wuhan, China — a city of roughly 8.5 million people — was shutting down because of Covid-19. He couldn’t imagine that; it would be like New York City doing the same. Once that happened too, he began to see pop-up hospitals similar to the one he had conceived for “Doppelganger.”Now it has taken on an eerie resonance. Set vaguely in the first half of the 20th century, the production, with its rows and rows of beds, seems like a darkly familiar sight, especially to New Yorkers. And, Levine said, the isolation of a temporary hospital — whether during a war, as in “Doppelganger,” or somewhere like the Javits Center in the early days of the pandemic — is supported, even amplified, by Schubert’s music.“There’s something lonely about these songs,” Levine said, “and there’s something quite lonely about this space.”Kaufmann will be lightly amplified, but the concept of “Doppelganger” still relies on a performer with his immense presence, Audi said. “You need a personality like this,” he added, “because he’s alone onstage, and this is all taking place inside his head.”He won’t be entirely alone. Among the beds will be dancers, who play the parts of fellow soldiers, as well as actors playing hospital workers. And Schubert’s score will be joined by Mathis Nitschke’s original music — which joins the songs together, picking up the harmonic thread of one and transitioning to that of the next. (Deutsch also has a showcase in the form of an interlude pulled from a late Schubert piano sonata.)All this is possible, Kaufmann said, because “Schwanengesang” isn’t really a cycle. “We’re allowed to do something different with it,” he added, in a collaborative process among friends. “That’s our privilege, that we can present our ideas in a new package.” More

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      Russian Soprano Anna Netrebko Sings in Berlin, Amid Protests

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      The Russian star soprano appeared in her first staged opera in Germany since the Ukraine invasion, still under fire for her past support for President Vladimir V. Putin.The Berlin State Opera’s production of Verdi’s “Macbeth” begins with the madly ambitious Lady Macbeth slowly walking over a burning battlefield, carrying a sword as she negotiates a stage littered with corpses.As the Russian soprano Anna Netrebko, who sang that role at the State Opera on Friday, crossed from left to right, the scene was a hallucinatory version of real life: a powerful woman attempting to make her way through a world aflame with war.Netrebko, one of opera’s biggest stars, has been under fire in the West since the Russian invasion of Ukraine for her long history of support for President Vladimir V. Putin. But on Friday, she was appearing in a staged opera in Germany for the first time since the war broke out, the latest milestone in her return to major cultural institutions.She received a warm ovation at her curtain call, even as she performed in the face of opposition from political leaders and robust, angry protests outside the opera house that continued through the end of the show, including rounds of chants that her appearance was “Schande,” a disgrace.Inside, isolated but loud, sustained boos were mixed with the applause after both parts of her opening aria. She responded by standing center stage with arms folded and lips pursed, breaking character to blow kisses to the conductor and orchestra.After the Russian invasion, in February 2022, Netrebko’s performances were called off for a time as she gave confused signals about her position. That March, the Metropolitan Opera canceled her contracts, and did not change course after she announced she opposed the war but refused to denounce Putin. (Last month, Netrebko sued the Met for discrimination, defamation and breach of contract.)But over the past year and a half, she has gradually returned to stages in South America and Europe, including the Vienna State Opera, Paris Opera and Teatro alla Scala in Milan. The response has been a mix of protests (usually outside) and cheers (in).Berlin, though, is a hotbed of pro-Ukraine sentiment. So her appearance at the State Opera — she was engaged for four performances of “Macbeth” that continue through Saturday — has been the object of intense scrutiny.Netrebko bowing on the stage of the State Opera after performing in Verdi’s “Macbeth.”Annette Riedl/DPA, via Associated Press“It’s a difficult decision, of course,” Matthias Schulz, the company’s general director, said in an interview. But, he added, “I’m still absolutely behind that decision.”He and Netrebko’s other defenders argue that her statement was sufficiently clear — “She used the word ‘war,’” Schulz said, “and she used the words ‘against Ukraine’” — and that she distanced herself from Putin, even if she stopped well short of criticizing him.Such direct criticism, they add, is nearly impossible when dealing with an authoritarian government, as it might expose Netrebko, her family and friends, especially those still living in Russia, to security risks. (Netrebko, a citizen of Russia and Austria, lives in Vienna.)Schulz emphasized that her behavior since the war began has not further compromised her. Unlike some Russian artists — including her mentor, the conductor Valery Gergiev — she did not remain in the country, nor has she returned to perform there. The Greek-Russian conductor Teodor Currentzis has drawn criticism for the support he received from a sanctioned Russian bank, but has continued to be engaged in the West, though he has made no public statement about the war.It is crucial, Netrebko’s supporters say, not to tar all Russian artists with the same brush and thus play into the hands of Putin, who claims that the West is implacably Russophobic.Yet agreeing that all Russian artists shouldn’t be condemned isn’t the same as saying that none should. Given Netrebko’s stardom, and her documented history praising and receiving recognition from Putin, her case is different from that of less prominent Russian musicians who have condemned the war. Nevertheless, her posture has been that of victim.“She just doesn’t understand why she’s been made responsible for this,” Schulz said.Netrebko seems to believe that she is being held responsible for actions in which she’s had no part, and that she has been blamed for her behavior before the war more than, say, political leaders in Germany and elsewhere who did business with Putin. The Met and other companies were protested for years for engaging her and Gergiev as Russia passed anti-gay laws and annexed Crimea.But many of those people and institutions have admitted that they were wrong. Netrebko’s statements have expressed no remorse for her support of Putin, nor for an incident in 2014 in which she gave a donation to an opera house in Donetsk, a Ukrainian city controlled by Russian separatists, and was photographed holding a separatist flag.And on social media, Netrebko has kept up her prewar parade of lavish dinners, designer fashion and family vacations — a spectacle that was amusing enough before the invasion but feels dishearteningly tone-deaf now.“Yes, I think she was politically naïve or stupid in the past,” Schulz said. “But is this enough to say you cannot sing any more on any stage?”Netrebko, though, doesn’t have any inherent right to be onstage. And yet her artistry is still formidable. For a listener who had not heard her live since well before the pandemic, she has maintained her immediately recognizable, seductively dark and heavy sound, with its slightly, excitingly breathless quality.There were protests outside the opera house that continued through the end of the show, including rounds of chants that Netrebko’s appearance was “Schande,” a disgrace.Lena Mucha for The New York TimesLady Macbeth has been one of her greatest triumphs, and she still clearly relishes the character’s machinations and chesty exclamations, even if the top of her range is now more effortful and less powerful. Her soft singing doesn’t quite have its old floating presence, making the final sleepwalking scene impressive rather than unforgettable.Her future is not entirely clear. Some of her performances, including a concert in Prague next month, continue to be canceled under pressure. Serge Dorny, of the Bavarian State Opera in Munich, which canceled her engagements early in the war, wrote in a text message that there were no current plans for her to appear there, declining to comment further.But she is scheduled to return to Vienna, Milan and Paris in the coming months. At the Salzburg Easter Festival early next spring, she will sing the title role in Ponchielli’s “La Gioconda,” directed by Oliver Mears, the artistic leader of the Royal Opera in London.“At the beginning of the war, things were very raw,” Mears said in an interview about the possibility of her return to London, adding: “Never say never.”Nikolaus Bachler, the Easter Festival’s director, said, “The passage of time always has a big meaning.”Things inevitably take on a Rorschach quality in these polarized situations. If you’re for her, the fact that Netrebko is appearing at the plainly pro-Ukraine Berlin State Opera, and that “Macbeth” depicts the devastation wrought by war, is a kind of covert admission of feelings she cannot openly express. If you’re against her, she is merely using the company’s — and Verdi’s — ethical bona fides without earning them.As with so much else in our politics, the battle lines have been drawn, and are wearily unmoving. What has happened, as Macbeth puts it in the opera, has happened.This is all really between Netrebko, her conscience and what she hopes will be written in the obituaries when she’s gone. “She did the bare minimum” is hardly the noblest epitaph, and even her defenders can’t argue that she’s shown courage.“She is no Marlene Dietrich,” Schulz said, referring to the German film star who renounced her citizenship in 1939 and spent World War II rallying American troops through the U.S.O., earning a Medal of Freedom. “And she will not be rewarded as such.” More

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      Lise Davidsen Shows Her Vocal and Theatrical Power in Recital Debut

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      Davidsen, a true dramatic soprano, was the rare singer whose first New York recital came at the Metropolitan Opera House.When Lise Davidsen sang the first four notes of Elisabeth’s aria “Dich, teure Halle,” from Wagner’s “Tannhäuser,” at the Metropolitan Opera last night, all I could think to write down in my notebook was “holy” — and remembering to mind my manners — “cow.”That opening salvo was magnificent — an ideal balance of warmth, penetration and power that didn’t seem to strain her one bit.It’s rare for the Met to invite an artist for a solo concert in its 3,800-seat auditorium. And it’s rarer still for that singer to be making her New York City recital debut.But Davidsen is another rare thing: a true dramatic soprano. Originally trained as a mezzo, she possesses a fully resonant lower register that passes through a dark, capacious middle into a blazing, seraphic top. When her voice really starts flowing, its legato is molten, and the sonic boom of her high notes can cause a mild ringing in the ears. Davidsen’s timbre is also lovely in its shapeliness, metal wrapped in layers of velvet.Her rangy program with the pianist James Baillieu covered improbable distances — Verdi’s delicate Desdemona from “Otello,” Wagner’s ecstatic Elisabeth and Tchaikovsky’s shattered Lisa from “Queen of Spades”; Schubert’s gracious songs and Richard Strauss’s rhapsodic ones; silver-age operetta and golden-age musical theater.Rather than open the first half with Elisabeth’s rapturous greeting to the Hall of Song — too obvious — Davidsen chose three placid Edvard Grieg songs in her native Norwegian and three more in German. By the fifth song, “Zur Rosenzeit,” she was fully invested, adding a drop of ink to her pooling tone and bringing herself to the verge of tears amid the narrator’s grief-stricken desire. Baillieu also dodged expectations, exploring degrees of quiet from the Met’s vast stage.Sensitive and theatrically engaged, Davidsen doesn’t merely ply audiences with lots of high-decibel singing. In the long introduction to Lisa’s suicide scene, she swayed back and forth, almost unconsciously, as her character waits impatiently for a lover on a riverbank, unfurling a splendid sound shot through with a chilly gust. No sets, no costumes, no orchestra: But the whole opera was there.Using a microphone to talk to the audience between numbers, Davidsen, a witty, soft-spoken presence, explained the program’s personal bent. She wanted to bring her “home composer,” Grieg, to the Met stage; she had avoided Schubert for so long because she didn’t think dramatic voices were supposed to sing him; the “Queen of Spades” aria was a memento of her 2019 Met debut, and “Dich, teure Halle,” of her days as a voice student.She needn’t have worried about Schubert. Her tone in “An die musik” and “Litanei auf das Fest Aller Seelen” was voluminous, clean and gently applied, and she made a compellingly operatic scene out of “Gretchen am Spinnrade.”Perhaps there are times, though, when a voice is simply too big. The hushed, focused line of Strauss’s “Morgen” eluded her, and her tonal opacity, perfect for Wagner, sometimes obscured the vulnerability of an aria from Verdi’s “Un Ballo in Maschera.” But the arching exclamations of Strauss’s “Zueignung” and Sibelius’s “Den första kyssen” sounded tailor-made for her.In a winking final set, Davidsen playfully enjoyed her own vocal glamour in an Emmerich Kalman operetta aria and slid languidly into Lerner and Loewe’s “I Could Have Danced All Night” in an apparent nod to the great Birgit Nilsson, who capped her famous recording of it with a missile-like high C.Davidsen may have been acknowledging that audiences are eager for her to pick up Nilsson’s mantle. But she had also spent an evening inviting them to get to know her own story and artistry first. More

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      Alexandre Kantorow Wins Surprise, Prestigious Piano Award

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      Alexandre Kantorow, 26, joins an esteemed group of pianists who have won the Gilmore Artist Award, which is given every four years.The 26-year-old French pianist Alexandre Kantorow was not exactly sure what the man from Kalamazoo, Mich., wanted when he invited him to lunch last spring in Italy.So when that man, Pierre van der Westhuizen, the executive and artistic director of the Irving S. Gilmore International Piano Festival, began to tell Kantorow that he had won the $300,000 Gilmore Artist Award, one of the most prestigious prizes in classical music, he was stunned.“I was absolutely just on my knees,” he said. “It was a bit like a ‘You’re a wizard, Harry,’ kind of moment, from ‘Harry Potter.’”The Gilmore announced on Wednesday that Kantorow would join the elite and eclectic group of pianists who have won the award, which is given every four years. (The pandemic caused a yearlong delay; the last winner, Igor Levit, was announced in 2018.)The Gilmore is not awarded as part of a competition, so contestants do not even know that they are being considered for it. Instead, a small, anonymous jury of cultural leaders travels incognito to concerts around the world, searching for the winning artist with the potential to, according to the prize, “make a real impact on music.”The award is often thought of as the music world’s version of the MacArthur Foundation’s “genius” grants: a prize that cannot be applied for or sought. The long, confidential selection process aims to judge pianists over a sustained period of time, in contrast to the high-pressure atmosphere of competitions.Jury members had been attending Kantorow’s concerts without his knowledge for years, trailing him in Germany, Switzerland, Minnesota, Florida and elsewhere. They also listened to his recordings and watched videos of his performances. They were impressed by his charisma, curiosity and “inquisitive nature,” van der Westhuizen said.“Nothing is ever the same twice,” he added. “It’s always fresh and always interesting. He has so much to say. There’s nothing that holds him back in what he wants to say and how he wants to say it.”In 2019, Kantorow won the gold medal at the International Tchaikovsky Competition, one of the world’s most important music contests. He also received the prestigious Grand Prix award there.He will receive $50,000 outright to spend as he wishes and can apply the rest to anything that furthers his career or artistry over a four-year period, subject to the Gilmore’s approval. Kantorow said that he was not yet sure how he would spend the money but that he hoped to create something “that lasts, that is concrete.” He is thinking about a film project, or possibly creating a space where musicians could practice and gather.Other winners of the award include Rafal Blechacz, Kirill Gerstein, Ingrid Fliter, Piotr Anderszewski and Leif Ove Andsnes.Kantorow was born in Clermont-Ferrand, France, to musicians, and began playing piano at age 5. He has recorded several albums, including Saint-Saëns piano concertos and works by Brahms.“His movements are free and loose yet precise, like a well-coordinated rag doll,” the magazine Gramophone wrote last year. “He is one of the most relaxed pianists you could imagine.”Kantorow will perform and speak in Kalamazoo on Sunday. In October, he will come to Carnegie Hall, playing a recital of works by Liszt, Brahms, Schubert and Bach.“This is the best kind of gift a young artist can receive,” he said. “I really feel I have wings for the future.” More

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      With $40 Million Gift, New York Philharmonic Jump-Starts Dudamel Era

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      The donation from Oscar L. Tang and his wife, Agnes Hsu‐Tang, is the largest endowment gift in the orchestra’s history.The New York Philharmonic has a sparkling home: the recently renovated David Geffen Hall at Lincoln Center. It has a charismatic new conductor: the superstar maestro Gustavo Dudamel, who will take the podium in 2026.And now it will start its next chapter with a groundbreaking gift: the Philharmonic announced on Tuesday that it had secured a $40 million donation from the financier Oscar L. Tang, a co-chairman of its board, and his wife, Agnes Hsu‐Tang, an archaeologist and art historian, the largest contribution to the endowment in the ensemble’s 181-year history.The donation will be used to endow the Philharmonic’s music and artistic director chair starting in the 2025-26 season, when Dudamel, the 42-year-old leader of the Los Angeles Philharmonic, becomes music director designate.Gary Ginstling, who took over as the Philharmonic’s president and chief executive in July, described the gift as “visionary” and said it would allow the ensemble to “reimagine what a 21st-century orchestra can be and ensure that the Philharmonic’s music-making will serve future generations.”Dudamel, who has spoken of his desire to expand the Philharmonic’s social programs, possibly by creating a youth education program similar to one that he started in Los Angeles, praised Tang and Hsu-Tang.“Their deep belief in the power and importance of art has been self-evident from our first encounter and is something that bonds us closely,” he said in a statement. “I’m certain that we will accomplish extraordinary things and build many beautiful bridges together.”The gift is a coup for the Philharmonic, the oldest symphony orchestra in the United States, which has been led by giants including Mahler, Toscanini and Leonard Bernstein.Just a decade ago, there were concerns about the Philharmonic’s future, given the languishing efforts to renovate its lackluster hall and questions about its artistic direction and financial health.But it has seen a revival in recent years, stabilizing its finances and, with the help of Lincoln Center, pushing through the long-delayed $550 million renovation of Geffen Hall, which reopened last year. In February, the Philharmonic announced it had signed Dudamel, one of the world’s most in-demand maestros.Tang, who has served on the Philharmonic’s board since 2013, said he hoped the gift would help usher in a “new golden age” under Dudamel, with a focus on music education and social change, as the Philharmonic works to connect with new audiences, especially young people and Black and Latino residents. Tang recalled coming to New York to start his career on Wall Street in 1962, when Bernstein was music director and the Philharmonic had a broad audience.“We like to think of returning the New York Philharmonic back to an age of prominence and leadership, which existed when I came to New York,” he said. “We wanted to encourage that and set the tone for the next stage of what hopefully is the transformation of the New York Philharmonic.”Hsu-Tang, who has worked on international cultural heritage protection and rescue, advising UNESCO in Paris as well as the Cultural Property Advisory Committee under President Barack Obama, said the gift reflected the couple’s confidence in the Philharmonic’s new leaders.“We support institutions that are game changers — that want to make changes, that act on changes — rather than institutions that were forced to make changes because of the pandemic,” she said. “This is not just a golden age for the New York Philharmonic. It’s a renaissance for New York, and it’s a renaissance for music, arts and culture.”Hsu-Tang, who also serves as chair of the board of the New‐York Historical Society, and Tang are among the city’s most prominent cultural philanthropists. In 2021, the Metropolitan Museum of Art announced that the couple had pledged $125 million to help rebuild its wing for modern and contemporary art, the largest capital gift in the museum’s history.Now retired, Tang was a founder of the asset management firm Reich & Tang in 1970 in New York. Born in Shanghai, he was sent to school in America at 11, after his family fled to Hong Kong from China during the Communist revolution.After the 1989 Tiananmen Square massacre in Beijing, he teamed up with the architect I.M. Pei, the cellist Yo-Yo Ma and others to establish the Committee of 100, a Chinese American leadership organization for advancing dialogue between the United States and China.Tang and Hsu-Tang have also championed efforts to fight racial discrimination. In early 2021, the couple founded the Yellow Whistle campaign to combat anti‐Asian hate, distributing 500,000 free yellow whistles emblazoned with the slogan “We Belong.”Their gift represents around a fifth of the Philharmonic’s endowment, which totals about $221 million. The funds will be used to support programming and education, in addition to compensation for the music director.While Dudamel does not become the Philharmonic’s 27th music director until the 2026-27 season, he is gradually increasing his commitment to the orchestra.On Tuesday, the Philharmonic announced that he would come to New York in April for a festival celebrating the 100th anniversary of the Philharmonic’s Young People’s Concerts, which have helped introduce new generations to classical music. Dudamel, who had not been previously scheduled to appear this season, will lead the ensemble’s spring gala concert and participate in educational activities. More

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      Review: This London ‘Ring’ Is on the Met Opera’s Radar

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      It’s not stage-filling spectacle, but Barrie Kosky’s version of Wagner’s “Das Rheingold,” the start of a four-opera epic, is eerie, vivid and intense.Two years ago, the Metropolitan Opera went shopping for a new “Ring” in London and came home empty-handed.English National Opera’s first installment of Wagner’s four-part epic of gods and humans, lust and power, was judged a bit too scrappy and bare to transfer to the grand Met. And anyway, the English company was soon reeling from cuts to its government funding, putting the completion of the cycle in jeopardy.The Met would like to bring a “Ring” to New York in four seasons — a blink of an eye given opera’s glacial planning cycles and Wagner’s technical and casting complexities. So its leadership has another London option under consideration: a production directed by Barrie Kosky that opened on Monday at the Royal Opera, the city’s bigger and older company.Eerie, vivid and intense, Kosky’s version of “Das Rheingold,” the first “Ring” opera, is a show that an opera house on either side of the Atlantic could be proud of, accessible and stimulating for Wagner newcomers and connoisseurs alike. The story is crystal clear, and its emotional and political stakes are taken seriously, without oversimplification or overstatement.It would also finally bring to the Met one of opera’s finest, most rangy and resourceful directors. (A collaboration on Prokofiev’s “Fiery Angel” was spiked during the pandemic.) Kosky, who was born in Australia, was celebrated during his recently ended tenure at the helm of the Komische Oper in Berlin, for his revivals of long-forgotten operettas and his giddy disregard for distinctions between high and low art, between “Kiss Me, Kate” and “Moses und Aron.”His signature style is zany, high-spirited and high-kicking, but he can do sober and austere when the piece calls for it, like a starkly savage “Kat’a Kabanova” at the Salzburg Festival last year. His Royal Opera “Rheingold,” though not without shots of bitter humor, is in this vein.The work’s single, two-and-a-half hour act is all played atop, around and inside a huge hollow tree trunk, collapsed on its side. This is a dying world, Kosky suggests — and to that end he puts Erda, the earth goddess who intones a climactic warning, onstage almost throughout, in the form of a silent actress: elderly, naked, frail, vulnerable. (For that climactic monologue, the singer is hidden from the audience.)Katharina Konradi with the magic gold, whose theft from the Rhine sets the “Ring” in motion.Monika RittershausThe gold whose theft from the Rhine sets the “Ring” in motion, and from which the central ring of power is forged, is here a shiny, syrupy fluid that flows from the tree. It evokes, appropriately, a union of metal and river, as well as the fossil fuels on which the global economy is disastrously based. Its associations range bodily and geologic — lava, milk, semen, blood, honey — and characters lick it greedily from their hands.Kosky and his set designer, Rufus Didwiszus, have imagined Nibelheim, the inferno in which the stolen gold is worked on, as a steampunkish industrial monstrosity, with clamps gripping the tree. Erda, her torso popping out of a knot in the trunk, is connected to tubes that pump the iridescent batter from her body and drain it into pails. This society is built from — and rotted by — the devaluation of women (particularly the old) and environmental exploitation.Victoria Behr’s costumes are contemporary, and there are hints of British flavor: These wealthy, self-serving gods have a taste for nostalgic old-money activities like polo. But this is a basically placeless, timeless production; its primary location, the theater. Kosky emphasizes this by having the audience enter, curtain up, to see the unadorned expanses around the stage. Stagehands do their work visibly, and Alessandro Carletti’s lighting draws attention to its equipment.Kosky uses steam, lights, loudspeakers and knobby holes in the tree to conjure, in charmingly old-fashioned ways, the magic effects and transformations of Wagner’s libretto. But this staging mostly lacks proscenium-filling spectacle — and it was a similar lack that made English National Opera’s “Ring” a no-go for the Met.The transitions between the scenes in “Das Rheingold,” from the heights of mountains to the bowels of the earth and back again, are played at the Royal Opera with the curtain closed, as if Kosky is thumbing his nose at expectations that he is supposed to provide more of a scenic extravaganza. Instead, those interludes are simply showcases for Antonio Pappano, starting his swan-song season as the company’s music director, and the orchestra.You could call this meager. But on Monday, it felt more like focused modesty.Christopher Purves, center, as Alberich transforms the tree into an industrial monstrosity pumping golden fluid from Rose Knox-Peebles, left, as Erda.Monika RittershausWork that’s powerful in the 2,200-seat Royal Opera House won’t necessarily make the same impact in the Met, nearly double that size. But the last New York production of the cycle, directed by Robert Lepage on a preposterously expensive, 45-ton high-tech set, was, when it opened in 2010, an artistic embarrassment for the company as well as a depressing example of empty-headed excess at a time of financial crisis.The “Ring,” given its size and prominence, is a symbol of an opera house’s values, and the lean vitality of Kosky’s vision, which will unfold in London over the coming years, seems right for an era of budget and programming cuts.At the Royal Opera, Pappano and the orchestra match Kosky with fiery but never overblown playing, especially from the lush yet biting strings, their intimacy startling. This is a “Rheingold” that, first and foremost, supports its singers.Wotan, the king of the gods, and Alberich, the dwarf who steals the gold from the Rhine, are here almost brotherly figures, both with bald heads and sturdy bodies, and they share certain qualities, too. Christopher Purves’s Alberich has aristocratic reserve, while Christopher Maltman’s booming, tight-smiling Wotan is capable of feverish aggression; it is shocking but not surprising when he cuts off Alberich’s finger to take the ring.Yet the tenderness with which Maltman embraces the fragile Erda, as the voice of the goddess is heard warning him to give up the ring, is just as indelible, and feels just as true. As Fricka, Wotan’s wife, Marina Prudenskaya sings with slicing anxiety; Sean Panikkar is a charismatically grinning, cackling playboy as Loge, the anarchic fire god; Insung Sim is unusually agonized as the giant Fasolt.This is not an ostentatious production. But the finale, which shouldn’t be given away, is proscenium-filling spectacle, and vintage Kosky, in that it uses one of theater’s simplest, most traditional devices with unforgettable showman flair, conveying all the glittering glamour and fundamental emptiness of the gods’ ascent to their new home — a triumph as hollow as the giant tree.Das RheingoldThrough Sept. 29 at the Royal Opera House, London; roh.co.uk. More