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      Composers Give New Shape to Ornette Coleman’s Jazz

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      A group of artists are reimagining the 1959 album “The Shape of Jazz to Come” for Bang on a Can’s Long Play festival.Bang on a Can had big plans for 2020.Before the pandemic started, this classical music collective was busy planning its most ambitious festival yet in New York City: a three-day event called “Long Play,” with acts stretched across multiple venues in Brooklyn.In moving beyond their storied, single-day marathons, Bang on a Can was signaling new ambitions, and was going toe-to-toe with other major avant-garde bashes like the Big Ears Festival in Tennessee.Of course, those designs were plowed under. So Bang on a Can reacted nimbly and quickly by commissioning artists from those scuttled dates to write solo pieces that were premiered online. Those “pandemic solos,” as they have been called, became a tradition of their own. (Some of them showed up as programming last year at the collective’s summer festival.)Still, there was a sense of something lost.“We had this gigantic idea of how to expand the marathon into Long Play,” David Lang, the composer and Bang on a Can co-founder, told The New York Times in April 2020. “I’m sure we’ll do that again, should the world ever get back to normal.”Now, it’s normal — enough — for another go at it. Long Play comes to New York City this weekend at seven venues in Downtown Brooklyn, from Friday afternoon through Sunday evening. There are familiar names on the lineup, but also ones that suggest Bang on a Can has its ears open to the work of younger artists. (Friday night’s sets by Jeff Tobias and the Dither guitar quartet offer some of that generational variety.)The festival won’t be a retread of the 2020 program. “Mostly, this is new stuff,” Lang said in an interview. And a sparkling highlight comes at the close, on Sunday night: a thorough, multilayered reimagining of the saxophonist and composer Ornette Coleman’s 1959 album “The Shape of Jazz to Come.” The performance will feature a band led by Coleman’s son, Denardo, who held the drum chair in his father’s groups over several decades (including in “Haven’t Been Where I Left,” a piece the elder Coleman, who died in 2015, wrote and sometimes performed with the Bang on a Can All-Stars).Denardo Coleman, left, and Tacuma during a recent rehearsal.Gabriela Bhaskar/The New York TimesThis weekend’s take on “Shape” will also include a 20-person ensemble, conducted by Awadagin Pratt and playing new arrangements of all six compositions from the album. These have been written by a dizzyingly varied roster of artists — including the vocalist and electronics virtuoso Pamela Z (who arranged “Lonely Woman”) and the orchestral and big band composer David Sanford (who took on the boppish “Chronology”).“There are all these threads that go through the festival,” Lang said. “Threads of young composers, and threads of dead composers. And threads of modernist music and threads of free jazz.”The idea is for audiences to be able to follow their own stylistic predilections. “But all of these threads lead to this piece, and to this concert,” Lang noted. “We designed some of the concerts to interfere with other concerts; nothing interferes with this concert.”To prepare for this festival climax, Denardo Coleman has been rehearsing his own core group of players on a weekly basis. On a recent afternoon, in a modishly designed living and rehearsal space near Penn Station in Manhattan, he drilled the group, now called Ornette Expressions, through the album’s six tunes, twice.The performers come from different generations: Ulmer, left, played wth Ornette Coleman in the 1970s, while Moran didn’t get to know him until the 2000s.Gabriela Bhaskar/The New York TimesAlthough the music comes from “Shape,” the musicians come from different generations. The guitarist James Blood Ulmer and the bassist Jamaaladeen Tacuma both played with Coleman’s father in the 1970s. In an interview after a rehearsal, Coleman said that the ensemble’s pianist, Jason Moran, hadn’t made his way to Ornette Coleman’s home until the early 2000s; he was already a leading light in the contemporary jazz scene, and quickly built a rapport with one of the great melodists of the field’s avant-garde.Filling out the ensemble are two up-and-coming musicians: the saxophonist Lee Odom and the trumpeter Wallace Roney Jr. The first time they all played one of the compositions, “Peace,” they hewed somewhat closely to the original, an emotionally complex work that manages to be at once mournful and finger-snapping.After a break — and after Moran had to leave — the tune took a turn, with Roney plugging his trumpet into a wah-wah pedal. This time, his electric trumpet lines wove around Odom’s acoustic, prayerful alto sax playing: even more searching and heated.Roney, on trumpet.Gabriela Bhaskar/The New York Times“We’re doing our arrangement right now,” Denardo Coleman said after the take was over, though he added that “it may not be that way” at the concert on Sunday. It’s likely to turn out different because the day of that rehearsal, he had only just received the finished arrangement. And much of the balance between his group and the sinfonietta was yet to be hashed out.In a phone interview, Z said “everybody was asked to write for this sinfonietta.” There was “a little side note,” she added, saying to “also please leave space for Denardo’s ensemble to jump in, here and there.”When arranging “Lonely Woman” — perhaps Ornette Coleman’s most famous melody — she brought the work in line with her own electronic music. “I played with the music the same way that I play with sampled sound. I really stretched it out, and I compressed it.”Odom on saxophone.Gabriela Bhaskar/The New York TimesUlmer on guitar.Gabriela Bhaskar/The New York TimesStill, her contribution is entirely acoustic — unlike many of her solo sets. “It starts out with really high harmonics on the strings and bowed vibes,” Z said. “And the first time you hear the melody, it’s played a quarter of the speed that it’s supposed to go, being played on a tuba. So I just had a lot of fun, playing with time in it.”That’s exactly what Denardo Coleman was hoping for. “The way my father would have approached it would have been that everybody had equal participation,” he said. “Meaning he wasn’t just the leader and everybody was there to make him sound good. If you had an idea, you could take it.”Hence, Coleman said, each arranger’s freedom in working with the original tunes.“It wasn’t as if we said ‘OK, just orchestrate the song the way it is,’” he said. “They may reconstruct, deconstruct, turn it inside out, something else. The tune — the composition — is just a starting point. That just leads you into some other territory. And that other territory is what it’s really about.” More

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      Carnegie Hall Announces Its 2022-23 Season

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      The presenter is planning a return to full-scale programming for its 2022-23 season. Our critics and writers chose 15 highlights.After scaling back its current season as it grappled with disruptions brought on by the coronavirus pandemic, Carnegie Hall announced on Tuesday that it would return to full programming next season with a slate of more than 150 concerts.The 2022-23 season, which is scheduled to run from September to June, will feature the presenter’s typical variety of soloists and ensembles, but with an earnest focus on female musicians and composers.“We wanted to show that in every area of music, whether it’s jazz, classical or world music, there are truly extraordinary women who are recognized as such on the world platform,” Clive Gillinson, Carnegie’s executive and artistic director, said in an interview.The season’s lineup includes the eminent pianist Mitsuko Uchida and the singer-songwriter Rhiannon Giddens, who each will organize a series of Perspectives concerts; the flutist Claire Chase, as artist in residence; and appearances by conductors including Marin Alsop, who will lead the São Paulo Symphony Orchestra in its Carnegie debut, and Susanna Mälkki, who will lead the Helsinki Philharmonic Orchestra, which is traveling to Carnegie for the first time in more than a half-century.The enterprising flute player Claire Chase will perform as Carnegie’s artist in residence.Vincent Tullo for The New York TimesProgramming has also been inspired by the war in Ukraine. In February, the hall will host the Lviv National Philharmonic Orchestra of Ukraine, whose performance will include Tchaikovsky’s First Piano Concerto, featuring the Ukrainian American pianist Stanislav Khristenko.“This is a turning point in history,” Gillinson said. “It’s really, really important that a dictator does not win. We felt we needed to very overtly support Ukraine.”Carnegie had originally planned to open the season with a three-concert engagement by the Russian conductor Valery Gergiev and the Mariinsky Orchestra, Gillinson said. But the hall abandoned those plans after Russia invaded Ukraine in February, when Gergiev, a longtime friend and supporter of President Vladimir V. Putin of Russia, became the target of widespread condemnation.Instead, the Philadelphia Orchestra and its music director, Yannick Nézet-Séguin, will take the stage on opening night, Sept. 29, performing Ravel’s “La Valse”; Gabriela Lena Frank’s “Chasqui” from “Leyendas: An Andean Walkabout”; Dvorak’s Symphony No. 8; and Liszt’s Piano Concerto No. 1, featuring the Russian pianist Daniil Trifonov. (The Philadelphians rescheduled their own opening night to accommodate Carnegie, in one of multiple appearances at the hall next season; it’s not the first time during the war in Ukraine that Nézet-Séguin has come to the hall’s rescue.)Gillinson said that he was optimistic about audiences turning out. Attendance since the hall reopened in October has been relatively strong, around 88 percent, compared with 91 percent before the pandemic, though there have been fewer concerts over all.Among the offerings, here are 15 highlights chosen by New York Times critics and writers.The pianist Maurizio Pollini at Carnegie in 2019.Hiroyuki Ito for The New York TimesMaurizio Pollini, Oct. 16Pollini turned 80 this year, so take what opportunity you can to hear this most stimulating of pianists, especially in the repertoire that he has made distinctive across the six decades of his career. He plays Schumann’s “Arabeske” and the Fantasy in C, before a second half of Chopin, including the Ballade No. 4 and the Scherzo No. 1. DAVID ALLENCity of Birmingham Symphony Orchestra, Oct. 22While this ensemble’s outgoing music director, Mirga Gražinytė-Tyla, doesn’t plan to take up the podium of another orchestra any time soon, she is at least taking up the baton for this tour stop that features Elgar’s Cello Concerto, with the charismatic Sheku Kanneh-Mason; Debussy’s “La Mer”; and, most notably, the New York premiere of Thomas Adès’s “The Exterminating Angel” Symphony. JOSHUA BARONELos Angeles Philharmonic, Oct. 25-26Absent from Carnegie for more than three decades, the Philharmonic has instead been more likely to perform at Lincoln Center. Now, the orchestra will give the New York premieres of Gabriela Ortiz’s “Kauyumari” and Violin Concerto, with María Dueñas as soloist, as well as Arturo Márquez’s “Fandango for Violin and Orchestra,” featuring Anne Akiko Meyers. JAVIER C. HERNÁNDEZJean Rondeau, Oct. 27This harpsichordist’s recent recording of Bach’s “Goldberg” Variations is meditative, sensuous even when sprightly, and, at an hour and 45 minutes, long. The variations become worlds to lose oneself in, less taut dramas than engulfing studies in texture and sound, an effect that may well be amplified when he plays the work in the intimate Weill Recital Hall. ZACHARY WOOLFEBeatrice Rana, Oct. 28Praise be to Beatrice Rana, a sensitive, perceptive pianist who is starting to do the hard work of challenging the biases of the inherited repertoire. She will play Clara Schumann’s youthful Piano Concerto with Nézet-Séguin and the Philadelphia Orchestra. Rana returns for a comparatively traditional recital of Bach, Debussy and Beethoven on April 20. ALLENThe bass-baritone Davóne Tines at Carnegie last year.Jennifer TaylorDavóne Tines, Nov. 3His voice and presence both serene yet simmering, this bass-baritone, a creative programmer as well as a gifted singer, has been touring with his reinvention of the traditional Mass, which incorporates music past and present, including works by Caroline Shaw, Bach, Margaret Bonds and Julius Eastman, and spirituals reimagined by Moses Hogan and Tyshawn Sorey. WOOLFEBerlin Philharmonic, Nov. 10-12When this eminent orchestra last appeared at Carnegie, in 2016, it played Mahler’s Seventh Symphony. Performing there for the first time under its current chief conductor, Kirill Petrenko, it brings back the Seventh, then does it again two nights later. In between is a program of Andrew Norman, Mozart and Korngold — the grand Symphony in F sharp, which Petrenko has lately championed. WOOLFECleveland Orchestra, Jan. 18America’s finest orchestra makes just a single appearance next season, but with a program that draws fascinating parallels between the two favorite composers of its music director, Franz Welser-Möst. Berg’s “Lyric Suite” weaves its way around Schubert’s darkly unfinished Symphony No. 8, before a rare performance of Schubert’s late, reflective Mass in E flat. ALLENThird Coast Percussion, Jan. 20In a collaboration with the dance organization Movement Art Is, this reliably innovative percussion quartet will continue to refresh its repertory. Already adept at works by John Cage, Steve Reich and Dev Hynes, at Carnegie the group will perform Tyondai Braxton’s “Sunny X,” Jlin’s “Perspective” and its own arrangements of selections from Philip Glass’s “Aguas da Amazonia.” SETH COLTER WALLSPhiladelphia Orchestra, Jan. 28One Rachmaninoff piano concerto is daunting. But all four of them in a single evening, and his “Rhapsody on a Theme by Paganini”? That herculean task has never been attempted at Carnegie, but Yuja Wang will take it up the keyboard, with Nézet-Séguin conducting, in a program to celebrate the composer’s 150th birthday. HERNÁNDEZYannick Nézet-Séguin leading the Philadelphia Orchestra at Carnegie earlier this year.Chris LeeLviv National Philharmonic Orchestra of Ukraine, Feb. 15Since the Russian invasion, many members of the Lviv National Philharmonic Orchestra of Ukraine have been separated — some staying in the country, others fleeing as refugees. At Carnegie, they will be united to play Brahms’s “Tragic Overture,” the Tchaikovsky concerto with Khristenko and Dvorak’s “New World” Symphony, as part of a tour led by the Ukrainian American conductor Theodore Kuchar. HERNÁNDEZMitsuko Uchida, Feb. 24The most recent Carnegie appearances by Uchida, one of our reigning and most sensitive pianists, have been in works by Schubert and Mozart, two composers on which she built her reputation. More underrated, but no less accomplished, are her Beethoven interpretations, a sampling of which comes in a program of his cosmic final piano sonatas. BARONEEnsemble Intercontemporain, March 25This group’s music director, Matthias Pintscher, will lead Schoenberg’s Five Pieces, Op. 16, and Pintscher’s “Sonic Eclipse.” But the real succulent on offer is “Derive 2,” a grand (and long-revised) work by Pierre Boulez, the avant-gardist who founded Ensemble Intercontemporain. WALLSPhiladelphia Orchestra, March 31As in recent months, Nézet-Séguin and this ensemble — one of the three he leads, including the Metropolitan Opera Orchestra, another Carnegie fixture — are virtually in residency next season. Their most intriguing program is this contrast between John Luther Adams’s climate meditation “The Vespers of the Blessed Earth,” featuring the choral group the Crossing, and Stravinsky’s “The Rite of Spring.” WALLSClaire Chase, May 25Chase’s “Density 2036” — a multi-decade initiative to commission a new flute repertory leading to the centennial of Varèse’s “Density 21.5” — has thus far not been fare for the Carnegie crowd. But the project is moving uptown from the Kitchen, with Parts I and II on May 18, followed a week later by Part X: a world premiere by Anna Thorvaldsdottir. BARONE More

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      Denouncing War, Ukrainian Musicians Unite for a World Tour

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      The newly formed Ukrainian Freedom Orchestra will perform in Europe and the United States this summer, using music to oppose the Russian invasion.The Russian invasion has devastated cultural life in Ukraine, forcing renowned musical ensembles to disband and leading to an exodus of conductors, composers and players.Now some of Ukraine’s leading artists, with the help of the Metropolitan Opera in New York and the Polish National Opera in Warsaw, are uniting to use music to express opposition to Russia’s continuing attacks. They will form a new ensemble, the Ukrainian Freedom Orchestra, and make an 11-city tour of Europe and the United States in July and August, the orchestra announced on Monday.“This is something we can do for our country and for our people,” Marko Komonko, a Ukrainian violinist who will serve as the orchestra’s concertmaster, said in an interview. “It’s not much, but this is our job.”The 75-member orchestra, which will be made up of Ukrainian refugees as well as musicians still in the country, will appear at several European festivals, including the BBC Proms in London for a televised performance on July 31. It will make stops in Germany, France, Scotland and the Netherlands, before heading to the United States to perform at Lincoln Center and at the Kennedy Center in Washington. Proceeds from the concerts will benefit Ukrainian artists.The orchestra will be led by the Canadian Ukrainian conductor Keri-Lynn Wilson, who came up with the idea for the ensemble, eager to find a way to help musicians and others in Ukraine.“We want to show the embattled citizens of Ukraine that a free and democratic world supports them,” Wilson said in an interview. “We are fighting as artistic soldiers, soldiers of music. This gives the musicians a voice and the emotional strength to get through this.”Marko Komonko, the orchestra’s concertmaster, said: “This is something we can do for our country and for our people. It’s not much, but this is our job.”via Marko KomonkoWilson pitched the idea to her husband, Peter Gelb, the Met’s general manager, who offered the company’s support and persuaded the Polish National Opera to assist as well. The orchestra will assemble in mid-July in Warsaw for rehearsals and hold an opening concert at the Wielki Theater, home to the Polish National Opera.Gelb said it was important that artistic groups spoke out against the Russian invasion. Shortly after the invasion began, the Met announced it would not engage performers or institutions that supported President Vladimir V. Putin of Russia. Last month, the Met staged a concert in support of Ukraine; banners forming the Ukrainian flag stretched across the exterior of the theater, bathed in blue and yellow floodlights.“This is a world situation that is far beyond politics,” Gelb said in an interview. “It’s about saving humanity. The Met, as the largest performing arts company in the United States and one of the leading companies in the world, clearly has a role to play and we’ve been playing it.”The Freedom Orchestra will perform a variety of works, including the Ukrainian composer Valentin Silvestrov’s Seventh Symphony; Chopin’s Piano Concerto No. 2, featuring the Ukrainian pianist Anna Fedorova; Brahms’s Fourth Symphony; and Dvorak’s Ninth Symphony.How the Ukraine War Is Affecting the Cultural WorldCard 1 of 6Gavriel Heine. More

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      One Night, Several String Quartet Premieres

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      The JACK Quartet and the Danish String Quartet presented new works that nodded to the past and spoke to the present.On Thursday evening, two eminent string quartets presented premieres in New York. At Merkin Hall, the JACK Quartet unveiled Patricia Alessandrini’s “A Complete History of Music (Volume 1),” Khyam Allami’s “Ma-a a-ba ud me-na-gin Ma-a di-di-in” and George Lewis’s “String Quartet 4.5.” Not far away, at Zankel Hall, the Danish String Quartet paired Schubert’s “Death and the Maiden” with Lotta Wennäkoski’s new “Pige.” Our critics were at both events.JACK QuartetYou always remember your first.The first live concert you attended after the initial pandemic lockdown, that is. So the JACK Quartet will always hold a place in my heart. But after that outdoor performance, at the Morris Museum in New Jersey in August 2020, it was back to a long digital-streaming relationship for me and the group. So seeing them in person again on Thursday evening, almost two years later, felt like another of this era’s many happy reunions.Appearing at Merkin at the tail end of “Bridges,” a series presented by the Kaufman Music Center and the John J. Cali School of Music at Montclair State University, the JACK — Christopher Otto and Austin Wulliman, violins; John Pickford Richards, viola; Jay Campbell, cello — now had optimal indoor acoustics to show off their uncanny clarity and agility in these three premieres.In the cheekily titled, 12-minute “A Complete History of Music (Volume 1),” the quartet’s skittering, airy playing is translated, through electronic processing, into fragments of recordings of works from the classical canon, which seem to mistily surround the live sounds.The results might have been clearer over the super-sophisticated speaker system at Empac, the experimental arts center in upstate New York where the piece was workshopped earlier this month. At Merkin, you could make out a chorus in the first section — heard faintly, as if from a distant room. In the final section, “Appendix 2” (there is no “Appendix 1”), the electronics were still very quiet, and impossible to identify, but had a certain density, a soft sumptuousness.A trembling motif passes around the four instruments in Allami’s “Ma-a a-ba ud me-na-gin Ma-a di-di-in,” gradually overlapping in waves for a kind of dusky, shaggy old-school Minimalism. The piece feels shorter than its 19 minutes, the music receding and rebuilding with a carefully wrought naturalness, and ending in a serene coda of slow, hazy unison chords.Before the JACK played his “String Quartet 4.5,” Lewis — the eminent composer and scholar recently named the next artistic director of the International Contemporary Ensemble — said from the stage that he wrote the piece “against complacency,” as a reminder for audiences to “stay alert.” This is a political posture, but it’s also a declaration of Barnum-style showmanship, and the 17-minute work richly delivered, commanding attention like a ringmaster conjuring acrobats.The acts included sudden slides; a long unison squeal; a tiny, precious duet of little scratches between the first violin and the cello; and a passage of nearly lilting, Mendelssohnian delicacy. The other players twinklingly twittered as Campbell’s hand slid up and down the neck of his cello, for a woozy ondes Martenot effect. Near the end, crunchy grinding gave way to balletic glassiness. It was a spectacularly varied circus — and serious fun. ZACHARY WOOLFEThe JACK Quartet, from left: Austin Wulliman, Christopher Otto, Jay Campbell and John Pickford Richards on Thursday at Merkin Hall.Joan JastrebskiDanish String QuartetThe men of the Danish String Quartet — the violinists Rune Tonsgaard Sørensen and Frederik Øland, the violist Asbjørn Nørgaard and the cellist Fredrik Schøyen Sjölin — are masters of juxtaposition.Their enlightening “Prism” albums trace lines from Bach’s fugues to late Beethoven and works of the 20th century. Another series, “Doppelgänger,” pairs Schubert’s final quartets (and his finest piece of chamber music, the String Quintet in C) with premieres that respond to them.“Doppelgänger” has had a delayed start in New York. Because of the pandemic, Part I will arrive here last; on Thursday, the second installment came first, featuring the famous “Death and the Maiden” Quartet (D. 810) and Wennäkoski’s “Pige.”Nørgaard introduced “Death and the Maiden” as “almost the definition of the Romantic string quartet,” though you wouldn’t have guessed that at first in the group’s interpretation — a controlled accumulation that built toward a sprinting and desperate tarantella.This work’s nickname comes from Schubert’s earlier song “Der Tod und das Mädchen,” whose funereal opening serves as the theme for the second movement. Sørensen, as the first violin, was a stand-in for the Maiden, his articulation at the start delicate, even reticent. As the music becomes more animated, it lashes out and retreats, torn between fury and woe; the Danish players opted for restraint, their command of the score absolute but their passion understated.In the second movement, they revealed the power in Schubert’s pauses, particularly with a patient ending, like an attempt to prolong its moment of peace. That couldn’t last forever, though: At the coda of that tarantella finale, here impressively cohesive amid increasingly frantic chorales and unstable runs, Death arrives in a sudden minor-key turn, delivered in grandly Romantic fashion.“Pige” (Danish for “Girl”) shifts the focus from Death to the Maiden. As response pieces go, this one reflects less on the quartet — though nods to it abound, as in a version of Schubert’s long-short-short rhythm — and more on the original song. Schubert’s quartet never quotes the Maiden’s verse, which gets its due in the first movement of “Pige,” a series of phrases that start and disintegrate in wispy fragments and fading arpeggios.Throughout, Wennäkoski balances extended technique and expressive lyricism, sometimes layering the two, but bringing the instruments together for affecting silences. Then comes the bright, episodic finale, “The Girl and the Scrapbook,” which takes flight with up-bow flourishes and a casual reference to Cyndi Lauper’s “Girls Just Want to Have Fun.” In the final measure, the cellist (Schubert’s voice for Death in the quartet) tears a sheet of paper — “slowly and continuously,” the score says, at a forte.The group followed “Pige” with a transcription of “Der Tod und das Mädchen,” a straightforward treatment with a touch of frostiness in trilled harmonics. That could have been a baked-in encore, but the Danish players returned with another arrangement: of “Der Doppelgänger,” the series’s namesake.They referred to it as “one of Schubert’s best songs.” I’d agree, and add that it’s also one of his most terrifying, which they teased out by building on its harmonic ambiguity for a tension almost as discomfiting as the thought of death itself. JOSHUA BARONE More

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      Joyce DiDonato Wants Music to ‘Build a Paradise for Today’

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      The star mezzo-soprano’s album and concert program “Eden” addresses climate change by planting seeds both real and metaphorical.What are the duties of an artist toward society? As Russia invades Ukraine, as racism persists in the United States, this age-old question remains very much of the moment. And the list of issues to take a political stand on, whether by choice or suggestion, grows ever longer.The one taken up by the mezzo-soprano Joyce DiDonato in her latest project, an album and concert program called “Eden,” is climate change.Employing a broader repertoire than DiDonato’s typical focus on the Baroque — Wagner, Mahler and a new commission from Rachel Portman in counterpoint with Cavalli, Gluck and Handel — the program reflects on what this star singer sees as humanity’s disconnect from nature. If the result is more mystical than activist, DiDonato’s aim remains, as her liner notes say, a prompt for her listeners “to build a paradise for today.”Touring since early March and arriving at Carnegie Hall on Saturday with the period-instrument ensemble Il Pomo d’Oro under the conductor Maxim Emelyanychev, the concerts are staged by Marie Lambert-Le Bihan. At performances, plant seeds are handed out to audience members, and, as part of an educational initiative, local children’s choirs — some ongoing, others formed for the occasion — sing “Seeds of Hope,” a song collated by the teacher Mike Roberts from lyrics and melodies written last year by 11- to 13-year-old students at a school near London.In an interview, DiDonato spoke about her project and the issues it raises, picking a favorite page from Portman’s “The First Morning of the World,” which features text by Gene Scheer. Here are edited excerpts from the conversation.What were the origins of this project?It emerged about five years ago from the last big project I did with Il Pomo d’Oro, “In War and Peace.” I struggled for about two years to try to reconcile how to put climate change onto the stage in a way that made people want to come and experience it. I’m essentially an optimistic person, and I think my biggest strength is to prompt people to relief and hope, which is hard to do when you’re looking at a pretty dire situation.In a naïve way, it falls under that category of a disconnect, from me to you and me to the world that I’m living in: When I look at music and the natural world; I see harmony; I see balance; I see all kinds of forces working together to create an ecosystem, to create a symphony, to create an environment where everything has the chance to thrive. So, I’ve married those two, and I’m putting it out under the invitation to say, in a really simplistic way: What seeds are you planting with your words, with your actions, with your tweets, on your balcony?You start the program by singing the trumpet part to Ives’s “The Unanswered Question.” How did you select the repertoire?We knew that it had to start in a mystical and magical way. The Ives is infinite, but you have this insistent question that keeps coming back, and you have a progressively complicated and chaotic non-answer. I just don’t know of anything that summarizes the 21st century more accurately than that.That piece was on Gene’s mind in writing the poetry for “The First Morning of the World.” His line “there is a language without question marks” is a bridge from the Ives. We’re hoping to demonstrate what it is to be fully connected to nature, which happens in Mahler’s “Ich atmet’ einen linden Duft,” certainly in Handel’s “Ombra mai fu,” but also to demonstrate that ripping apart, that complete disconnect from nature that the Myslivecek warns about. We feel deeply in the “Piante ombrose” of Cavalli a sense of desolation and despair. The answer finally comes in the Mahler and the Wagner — and the Handel.What do you admire in the music of Rachel Portman, which has predominantly been for film?She wasn’t necessarily on my radar as a composer, but her name came up from several different sources. I listened to her “Leaves and Trees,” and it was clear that she had a very personal connection to the natural world.What she gave us I wouldn’t classify as cinematic at all, but it feels perfect for trying to create the nurturing and tranquil side of nature. There’s an unease because the singer hasn’t yet learned to speak this language of nature that is in the text, but the language is present from the beginning in the flute.Rachel Portman’s ‘The First Morning of the World’EratoThere’s something comforting about that first bird sound that you hear in the morning. You’ve gone to bed reading all the headlines, and right before you pick up your phone to see the horror of the day, you hear the bird. There’s something primal in us that goes, “Well, here comes another day.”The Portman song ends with “Teach me to sing notes that bloom like a canopy of leaves,/Meant to do nothing but feel the sun.” That would seem to imply that music can’t do much in the world, but you write that the album is a “call to action.” What can your audience really do in the face of climate change?I think they can do extraordinary things, personally, but the extraordinary things are at a local level. I get completely overwhelmed if I’m trying to solve world peace or climate change. But when I do little things, and again I know this sounds so naïve, I’ve come to believe that it’s really the only way forward.Literally, the call to action in this is planting seeds. We are giving seeds to every concertgoer who comes, and if everybody takes a pot of dirt, puts them in, gives them a little bit of water, we will have planted thousands and thousands of plants across the course of this tour.The other huge part of this project is planting seeds of music in kids. I don’t know of very many more effective ways to grab kids and to empower them than choral music. That is one practical way in which this project is calling people to action.So what do you think the role of an artist should be in politics?I think some artists embrace more humanitarian aspects, and some are just called to get through the day and do the best they can — and I think all of it is OK. You can’t put one stamp on an artist and say, “Because you call yourself an artist, you’re required to do X, Y and Z now.” But you also can’t pretend that art and politics are not intertwined.I don’t think we can make a blanket statement about what artists should and shouldn’t do, but if they want to talk about politics, and they want to use their music as it has been done for centuries, then they are allowed to do that.You want to get your message out to as many people as possible, understandably, but you are touring this program on five continents. Has this project led you to question the priorities of your own industry?For sure, what has been heavy on my mind is that I want people to take care of the environment and I’m getting on a plane to travel around the world. But I don’t think it’s enough to just do a 90-minute drive-by concert for people who can afford the tickets and move on to the next. That’s why we are leaving behind a green souvenir in the hands of everybody who comes to the concert. I think even more profoundly of the effect that it’s going to have on these kids, to join a world-class artist on the stage.Of course, we’re finding more ways to travel on the ground if we can, and finding ways to do carbon offsetting. I know it’s not a perfect solution. The biggest thing is, the impact that we leave behind has to be lasting. More

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      With ‘Waiting for the Sibyl,’ Kentridge Looks Into the Future

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      The South African artist developed a piece about how difficult it is to see around the next corner. Ironically, the work anticipated the uncertainties of pandemic life.LONDON — Billions of us have spent the past two or so years trying to divine the future. Will I get Covid-19? How bad will it be? When will the coronavirus pandemic end? Will it ever end? Reliable answers have been scant; even if we’ve been cushioned from the worst effects, many people have been camping in a sort of existential waiting room, living in near-permanent uncertainty.Appropriate timing, then, that the Barbican arts center in London is about to stage a chamber opera, by the South African artist William Kentridge, about how difficult it is to see around the next corner. Titled “Waiting for the Sibyl,” it retells the myth of a Greek prophetess whom mortals once pestered with exactly these sort of exasperating questions.A scene from “Waiting for the Sibyl,” which premiered at the Teatro Dell’Opera di Roma, in Italy, in 2019.Stella OlivierThat prophetess, the Cumaean Sibyl, was said to have spit out her written answers on oak leaves, but there was a catch: If the wind scattered the leaves, she would not help put them in the correct order, leaving her clients none the wiser. The opera is a reminder that humans have been trying to get a jump on what’s coming next for perhaps as long as we’ve existed — and that maybe we’d be better served by living in the present instead.In a recent interview in London, Kentridge said that, ironically, he hadn’t seen the piece’s relevance coming: He had begun work on “Waiting for the Sibyl” more than two years before the pandemic.“Those questions of mortality, fate, who are we in this world, have been the bread and butter of artists for millennia,” he said. “But that’s been brought right to the forefront now.”Commissioned by the Teatro dell’Opera di Roma in Italy and debuted there in September 2019, the roughly 40-minute piece consists of short, fragmentary scenes without dialogue. At first, it seems as cryptic as anything produced by a Greek oracle. A cast of nine singers and dancers enact moments from the legend. In one, a performer writhes in stuttering flashes of light in front of a screen displaying messages like, “I have brought NEWS” and “THE MOMENT HAS GONE.” Later, the cast dances while surrounded by scraps of prophecies on leaves of paper.The prophecies themselves are wry: “Resist the THIRD MARTINI,” “DISCARD LAST YEAR’S SOCKS.” But the parallels with our pandemic experience are often eerie. “FRESH GRAVES are everywhere,” reads one. Another is even more plangent: “My turn is when?”Making the opera had been an intricate process, Kentridge explained. The work was compiled from odd phrases he’d seen in books of English, Russian and Hebrew poetry and from a 1916 book of proverbs compiled by the South African writer Solomon Plaatje, which he made into a libretto of sorts.“A libretto is a straitjacket: You put it on willingly, but nonetheless it is a restriction,” Kentridge said. This opera “is a totally different experience.”Alex Ingram for The New York TimesThese scraps of text were then workshopped with the singers alongside the composers Nhlanhla Mahlangu and Kyle Shepherd. Together, they translated the phrases into African languages including Zulu, Setswana and Sesotho and Xhosa, and developed an improvised musical score.Sometimes, the music refers to traditions such as call-and-response isicathamiya choral singing; elsewhere it is deliberately jumbled. To draw all of this together, Kentridge created art work — drawings, ink washes, sculptures, palimpsests of old letters and reference books — which he turned into animated projections and stage designs.Like so many of his works, the result is a “collage,” Kentridge said. While he has designed and directed operas before — notably a madcap spin on Shostakovich’s “The Nose” (2010) and a brutally monochrome version of Berg’s “Wozzeck” (2017) — being able to create his own universe was liberating, he added.“A libretto is a straitjacket: You put it on willingly, but nonetheless it is a restriction,” he said. “This is a totally different experience.”Mahlangu said that, for himself and the singers, the Greek source material seemed remote at first. Yet as they developed the piece, it began to resonate with African mythologies and storytelling traditions. “Many people in South Africa believe that when people die, they don’t actually die,” he said. “They continue to look after the living. There is a sibyl in each and every one.”He added that this story of prediction and counter-prediction also resonated with the volatile politics of contemporary South Africa, which became even more turbulent amid the pandemic, as the country’s unemployment rate climbed to a dizzying 35 percent. “Here we are constantly in the state of wonder and worry,” Mahlangu said: “‘What is the next step? Where will we be?’”Now 66, Kentridge is unusual — almost unique — among contemporary artists in having achieved as much acceptance in theaters and opera houses as in museums and contemporary art spaces. He began his career in the mid-1970s as a Johannesburg-based illustrator and printmaker, but his practice has expanded to include whimsical short films, elaborate installations and majestic pieces of public art.A still from “City Deep,” an animated film by Kentridge about South Africa.William KentridgeOften his subjects reference classical literature or art history; almost always they reflect on South Africa’s bitter legacy, as in his new animated film “City Deep” (2020), a response to Johannesburg’s contentious history. A documentary on the making of the movie will be screened at the Barbican alongside “Waiting for the Sibyl.”In an era of conceptual and digital art, Kentridge has remained defiantly figurative and analog: His hulking charcoal drawings, loose sketches in Indian ink and flickering projections are immediately recognizable. Even when working on collaborative projects, the bulk of his time is spent laboring alone with ink, or charcoal, and paper, the artist said. “The physicality is essential. It’s the medium through which the thinking happens.”Much as he enjoys making gallery-based shows, he loves the challenge of theatrical commissions, he added. “The opera house says, ‘We’ll give you a canvas, 17 meters wide, 11 meters high. And we’ll give you another 18 meters of depth,’” he said. “And I get to make an hour-and-a-half drawing in the space.”With opera houses and concert halls closed, he hunkered down in Johannesburg and made a series of nine films about his studio practice, which are now being edited. He has also been preparing a career retrospective at the Royal Academy in London (set to open in September after pandemic-related delays), and making an animated film response to Shostakovich’s Symphony No. 10, which will be performed live at the Lucerne festival, in Switzerland, in June.“There are always a few too many projects,” he said with a laugh. “But I can’t blame anyone but myself.”In an era of conceptual and digital art, Kentridge has remained defiantly figurative and analog: His hulking charcoal drawings, loose sketches in Indian ink and flickering projections are immediately recognizable.Alex Ingram for The New York TimesRe-encountering “Waiting for the Sibyl” in light of the coronavirus had been salutary, he added: Though the opera was partly about the limits of human knowledge, partly about mortality itself, it also contained seeds of hope.“In the long run, none of us are going to get out of this alive, but while we are here, we can acknowledge that,” he said. “We can still work wisely and optimistically. Comfort must be taken where it can be found.” More

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      Nicholas Angelich, Ocean-Straddling Pianist, Dies at 51

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      American-born and Paris-based since he was 13, he performed on both sides of the Atlantic, winning acclaim specializing in Germanic repertory.Nicholas Angelich, an American-born pianist best known for his soulful interpretations of the Germanic repertory, which he performed with elegant virtuosity and expressive intimacy, died on Monday in Paris, where he had lived since he was 13. He was 51.The cause was degenerative lung failure, according to his manager, Stefana Atlas.A soft-spoken man with a gentle demeanor, Mr. Angelich performed most frequently in Europe, but when he made appearances at American concert halls, they were almost invariably praised.Reviewing a recital at the Metropolitan Museum of Art in 2011, Anthony Tommasini of The New York Times wrote that Mr. Angelich’s performance of Bach, Chopin and Schumann “consistently challenged my thinking about this repertory.”“But his playing,” he added, “was so deliberate in its intentions, alternately refined and feisty, and so intriguing that I was affected and impressed.”Mr. Angelich had a particular affinity for Brahms, in particular the second piano concerto, which he performed with many orchestras and conductors on both continents. In 2016 he wrote an essay for Gramophone magazine about the piece and his relationship to it, at one point commenting: “I was more attracted to it because I had listened to it much more at home with my parents. I was very familiar with it and had several recordings I really loved.”Reviewing a performance of the concerto with the Boston Symphony Orchestra, Jeremy Eichler wrote in The Boston Globe that Mr. Angelich had conjured “unusual veiled sonorities, drawing out inner lines that often go unnoticed, and dispatching rapid passagework with remarkable lightness and dynamic control.”“Pianissimos,” he added, “floated effortlessly into the hall.”Mr. Angelich also frequently performed Bach, Beethoven and Romantic composers like Schumann and Liszt, whose “Années de Pélerinage” was another of his signature pieces.But while dedicated to the core 19th-century repertory, Mr. Angelich believed musicians should be adventurous; he thought it essential that they explore varied repertory for creative growth. He performed 20th-century composers like Bartok, Messiaen, Stockhausen and Boulez and gave the premieres of music by Bruno Mantovani, Pierre Henry, Eric Tanguy and Baptiste Trotignon.Mr. Angelich receiving an honor at the Victoires de la musique classique awards ceremony in 2019 at the Seine Musicale Auditorium in Boulogne-Billancourt, outside Paris.Geoffroy Van Der Hasselt/Agence France-Presse — Getty ImagesMr. Angelich’s own music making was notable both for its muscular power and for its delicacy. He disputed the idea that musicians tend to offer performances that are either cerebral or emotional.“There are people who say that it is one way or the other, it is either expressive or intellectual,” he said in an interview, “but I think that you need to have both. All great musicians offer that unique mix of spontaneity and thought.”Nicholas Angelich was born on Dec. 14, 1970, in Cincinnati, the only child of two professional musicians. His mother, Clara (Kadarjan) Angelich, who was Russian, attended the Academy of Music in Belgrade, where she met and married the Yugoslav violinist Borivoje Andjelitch. The couple emigrated to America in the 1960s.Clara taught piano, and her husband was a member of the violin section of the Cincinnati Symphony Orchestra for 46 years. He anglicized his name to Bora Angelich after arriving in America.Nicholas began studying piano with his mother at age 5 and made his debut at 7 performing Mozart’s Piano Concerto No 21. At 13, he and his mother moved to Paris so that he could study at the Conservatoire National Superieur de Musique, where he won multiple prizes for piano and chamber music. His teachers included Aldo Ciccolini, Yvonne Loriod and Michel Béroff.In 1994, Mr. Angelich won the Gina Bachauer International Piano Competition and made his New York recital debut in Alice Tully Hall at Lincoln Center the following year. In 2003, Leon Fleischer, one of his mentors, gave him the Young Talent Award at the Ruhr International Piano Festival in Germany. Mr. Angelich made his debut with the New York Philharmonic under Kurt Masur at Lincoln Center in May 2003, performing Beethoven’s “Emperor” Concerto.Mr. Angelich, a committed chamber musician, was a frequent guest at the Verbier and Lugano festivals in Switzerland. He frequently collaborated with the violinist Renaud Capuçon and the cellist Gautier Capuçon, with whom he recorded the Brahms piano trios, violin sonatas and piano quartets for the Virgin Classics label.Reviewing the trio’s performance at the Wigmore Hall in London, Martin Kettle wrote in The Guardian: “Though the French brothers provide the celebrity element, it is Angelich’s piano which is the constant in these varied programs. Angelich is a master Brahmsian.”Mr. Angelich made eight recordings for Warner Classics, including Bach’s “Goldberg Variations,” a disc of Prokofiev, Brahms Piano Concertos with Paavo Jarvi and the Frankfurt Radio Orchestra, and Beethoven’s fourth and fifth piano concertos on a historic Pleyel piano. His catalog also includes a recording of music by Baptiste Trotignon on the Naïve label.In the 2018-19 season, Mr. Angelich began his first season as soloist-in-residence with the Orchestre Métropolitain de Montreal, working with the conductor Yannick Nézet-Séguin, a frequent collaborator who described him on Tuesday in the Montreal Gazette as “a generous soul and a pianist like no other.” Mr. Angelich was scheduled to close the orchestra’s 2021-22 season with two concerts in June.Mr. Angelich, who died in a hospital, left no immediate survivors.In an interview in 2019 at the John F. Kennedy Center for the Performing Arts in Washington, Mr. Angelich explained that even when playing pieces he had performed for decades, he always studied the score again. “You will find a detail or several details which will make you understand something in a totally different way about the entire structure of the piece,” he said. “And this is something I find necessary and fascinating.” More

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      Lincoln Center Announces ‘Summer for the City’ Festival

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      A festival, Summer for the City, which includes elements of Mostly Mozart, is part of an effort to attract younger, more diverse audiences.After more than two years of upheaval brought on by the coronavirus pandemic, Lincoln Center will stage a festival this summer aimed at helping New York City heal.Called Summer for the City, the festival will take place across 10 outdoor spaces and three indoor stages at the campus from mid-May to mid-August and will be programmed around themes of rejoicing, reclaiming and remembering. It is also part of Lincoln Center’s efforts to recalibrate its image as an exclusive bastion of classical music and appeal to a younger, more diverse crowd.The center plans to feature more popular music and install a large disco ball, 10 feet in diameter, that will hang over a dance floor at the center’s main plaza.“My hope is that we’re making space for people to find their neighbors again, to find each other again and to find their own inner performer,” Shanta Thake, the center’s chief artistic officer, said in an interview. “And to really be in their whole body with other New Yorkers and come back together again as a city.”The festival, which is expected to include over 300 events and 1,000 artists, is the first under Thake, who joined Lincoln Center last year with a mission of broadening its appeal beyond classical music and ballet into genres like hip-hop, poetry and songwriting.This year’s programming will open with a mass singalong on the Josie Robertson Plaza, featuring the Young People’s Chorus of New York, under the direction of Elizabeth Núñez, and including classics like “This Little Light of Mine” and Elton John’s “Your Song.”In August, two versions of Mozart’s Requiem will be on offer — a traditionally presented one, by the Mostly Mozart Festival Orchestra, and a reimagined dance version, “Requiem: Fire in the Air of the Earth,” choreographed by Kyle Abraham and performed by his company, A.I.M, featuring the electronic musician Jlin.Summer in the City will unite the center’s festivals — including the discontinued Lincoln Center Festival and the Mostly Mozart Festival, which has largely been put on hold since 2020.The Mostly Mozart Festival Orchestra will perform six pairs of concerts this summer, including a free opening program in July under the ensemble’s longtime music director, Louis Langrée, with Conrad Tao as the soloist in Mozart’s Piano Concerto No. 17 in G and Gershwin’s “Rhapsody in Blue.” (Tao will also play the William Grant Still solo “Out of the Silence” from “Seven Traceries.”)Thake, a former associate artistic director at the Public Theater, where she spent a decade managing the cabaret-style venue Joe’s Pub, said that she hoped to broaden the audience for Mostly Mozart by integrating it with Lincoln Center’s other summer offerings.“What we’re experimenting with this year is really the breaking down of our internal silos,” she said. “They’re all under the same banner, and this is one Lincoln Center audience that is very broad, and we’re going to see how that works.”Summer for the City aims to build on Restart Stages last year, when the center hosted small-scale performances outdoors, to help get artists back to work after months of pandemic cancellations. According to Lincoln Center, that series attracted more than 200,000 people, nearly a quarter of whom were first-time visitors.The disco ball is the centerpiece of the Oasis, an outdoor stage designed by the costume and set designer Clint Ramos, that will host live music and dance parties throughout the summer.In June, Jazz at Lincoln Center, embracing a New Orleans tradition, will lead a second-line processional from Columbus Circle to Lincoln Center, to mourn those who have died since the pandemic started. And in July, the center will host “Celebrate LOVE: A (Re)Wedding,” as a ceremony for couples who canceled or scaled back nuptials in the past two years, with live music and a reception on the dance floor.The arts, Thake said, “speak to all of the deep trauma that we’ve all collectively been through and also bring so much of the joy and revitalization that the city needs.” More