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      She Landed One of Music’s Great Gigs, but First Came Boot Camp

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      Classical musicians have limited options to play professionally, so some turn to the U.S. military.Those who emerge successfully from the audition process must then endure boot camp.For several months, musicians train as soldiers without any access to their instruments.Managing to secure a full-time job with a premier military band can be transformational.The Great ReadShe Landed One of Music’s Great Gigs, but First Came Boot CampThe 4,300-seat performance space about an hour north of Carnegie Hall was eerily empty, except for nine judges in uniform sitting behind a thick black curtain.Ada Brooks, her mouth dry from nerves, lifted the bell of her euphonium, a smaller relative of the tuba, and prepared to play the notes that could determine her future.“Breathe,” she thought. “The beginnings are the most treacherous part.”Ms. Brooks had told herself this before. Her fervent pursuit to professionally play the euphonium, which is not used in traditional symphony orchestras, had come with many stressful auditions. This one was her 10th for the institution that calls itself the nation’s largest employer of musicians: the United States military.Time and time again she had practiced and prepared and tried to remember to breathe. She was turned down repeatedly or offered jobs in regional bands. Now came an opportunity for a premium position, a rarely open seat in the prestigious West Point Band.Some aspects of the audition — like playing for a jury hidden behind a curtain, to guard against potential bias — would be familiar to most orchestra musicians. Others were unique to the military. Two of the other four candidates said they had to lose weight to qualify, and the finalists were tested for coordination in marching drills.Scores of regional military bands represent the armed forces at ceremonies, parades and holiday celebrations. About a dozen premier bands, including the U.S. Military Academy’s ensemble in West Point, N.Y., perform at inaugurations and foreign dignitary visits.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      He Made the Met Opera’s Chorus the Best in the World

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      During the second intermission of the Metropolitan Opera’s gilded, gargantuan production of “Turandot” one Friday last month, Donald Palumbo raced up to a tiny broadcast studio on the top floor for an interview.Then he raced downstairs again. There was something he needed to do backstage before the curtain rose.Palumbo, 75, who is retiring this spring after 17 years as the company’s chorus master, wanted to run through the start of Act III with the quartet of heralds, drawn from the chorus, who hauntingly call out a warning from Princess Turandot.It was 13 performances into the season’s “Turandot” run, at 10 o’clock at night. But Palumbo, one of opera’s most mild-mannered yet most unrelenting perfectionists, was still making sure that the singers’ intonation was flawless, still fine-tuning the placement of the first note in a certain phrase.Palumbo conducting from the wings during a performance of “Turandot” at the Metropolitan Opera in April. Elliott Jerome Brown Jr. for The New York Times“You have to be very specific,” he had said earlier about the way he coaches his choristers, “but you can’t micromanage.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      After Outcry, Concertgebouw Will Allow Jerusalem Quartet to Perform

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      The Dutch concert hall reversed course after facing criticism for canceling performances by the Israeli ensemble because of security concerns.The Concertgebouw in Amsterdam, one of the world’s most prestigious concert halls, said Thursday that it would allow the Jerusalem Quartet to perform, two days after it had canceled the ensemble’s concerts amid security concerns related to threatened protests.The Concertgebouw said in a statement that the Jerusalem Quartet would be allowed to perform on Saturday after all, with expanded security measures and a more robust police presence. The ensemble had originally been scheduled to perform on Thursday and Saturday, but the Concertgebouw canceled the engagement, saying it could not ensure the safety of audience members, musicians and employees because of the threat of protests related to the Israel-Gaza war. The cancellation prompted an outcry from musicians.Simon Reinink, general manager of the Concertgebouw, said in an interview that the hall had reversed course after securing commitments from the police.“Now we have enough confidence to go ahead with it,” he said. “It has everything to do with security. We were forced to crack the dilemma of security on the one hand and freedom on the other.”Reinink defended the hall’s handling of the situation, saying that the cancellation “had nothing to do with antisemitism.”“We fight and we fought we like hell to keep these concerts,” he added.The Jerusalem Quartet said in a statement that it had been “moved to tears by the outpouring of support worldwide from musicians of all profiles, from internationally famous names to anonymous amateurs.”“Every single voice has uplifted us,” it said. “It is overwhelming to experience this extraordinary community help remind the world of humanitarian values and artistic expression which underlie everything we do and believe in.”The controversy was the latest example of the Israel-Hamas war’s impact on the performing arts. Since the start of the war, cultural institutions have faced heavy scrutiny over artists, programming and funding.The Concertgebouw’s decision to cancel the concerts drew criticism from leading artists. A group of prominent musicians, including the conductor Simon Rattle, the pianist Martha Argerich and the violinist Anne-Sophie Mutter published a statement on Thursday condemning the hall, saying it was capitulating to protesters.“It is not the Jerusalem String Quartet’s performances that put our freedom in danger, but those who threaten public order unless their demands are met,” the musicians wrote. “Surrendering to those threats is not only an act of weakness, but a clear signal that we are not willing or prepared to defend our democratic values and our way of life.”Reinink said that the decision to call off the concerts was made in part because of recent pro-Palestinian demonstrations at the University of Amsterdam that had turned violent.“That was, for us, the game changer,” he said. “The risk was simply too high. As long as the police could not guarantee that they could handle this situation, we made the decision it was not a good idea to go ahead.” More

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      Barbara Hannigan, Daring Singer and Maestro, to Lead Iceland Symphony

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      Hannigan, the rare artist to have a career as a soprano and a conductor, will assume a full-time conducting post for the first time.Barbara Hannigan, a daring singer and maestro who has built a reputation for innovative programming, will become the chief conductor and artistic director of the Iceland Symphony Orchestra in 2026, the ensemble announced on Wednesday.It will be the first full-time conducting post for Hannigan, 53, a rare artist who began her career as a soprano but in recent years has made a name as a conductor.Hannigan said in an interview that she was drawn to the inventiveness of the Iceland Symphony, which she first conducted in 2022 in a program of Ives, Schoenberg, Berg and Gershwin.“These people are working in a kind of shimmering creative realm that resonates very much with my own,” she said. “I realized I could do things with them and ask things of them that they took so naturally.”Lara Soley Johannsdottir, the Iceland Symphony’s managing director, called Hannigan a “one-of-a-kind” artist. In a statement, Johannsdottir said, “Experiencing the trust between her and the musicians and how they create and go on an adventure together is extremely inspiring.”Hannigan will lead the ensemble for an initial three-year term, succeeding Eva Ollikainen, a Finnish conductor whose tenure began in 2020. The Iceland Symphony announced last month that Ollikainen had decided to leave her post when her contract expires at the end of the 2025-26 season.Hannigan, who was born in Canada, emerged on the cultural scene as a soprano. But in 2011, when she was 40, she began a career as a conductor, appearing with top ensembles like the London Symphony Orchestra, the Orchestre Philharmonique de Radio France and the Cleveland Orchestra. Since 2019, she has served as principal guest conductor of the Gothenburg Symphony Orchestra in Sweden.She has become known for virtuosic performances in which she both sings and conducts from the podium. In April, for example, she led the Iceland Symphony in a performance of Poulenc’s one-act opera for soprano and orchestra “La Voix Humaine,” singing the soprano part.Hannigan said she was eager to record and tour with the Iceland Symphony and that she would work to champion Icelandic composers. She said the orchestra would also commission works that would allow her to sing and conduct on occasion.“The orchestra is very adventurous,” she said, “and so is the audience.”Hannigan, who is currently at work on a recital program featuring Scriabin, Messiaen and Zorn, said that she would continue to perform widely as a soprano. She said that she never envisioned taking a full-time conducting post but felt a special connection to the Iceland Symphony, calling it “one of the most creative orchestras out there.”“I know they are going to enrich my life a lot,” she said, “and I hope that I am enriching the artistic life in Iceland.” More

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      A Night to Remember at the Opera, Complete With a Phantom

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      In the pitch-dark auditorium of Rome’s Teatro Costanzi, a high-pitched lament floated from the top galleries. Dozens of flashlights snapped on, their beams crisscrossing crazily, seeking the source of the sound.The shafts of light homed in on a spectral figure — a slim, dark-haired woman dressed in white, moving at a funereal pace and plaintively singing. In the audience, 130-odd children, ages 8 to 10, let loose squeals, some gasps, and one “it’s not real.” Several called out “Emma, Emma.”The children had just been told that the Costanzi, the capital’s opera house, had a resident phantom. No, not that one. This was said to be the spirit of Emma Carelli, an Italian soprano who managed the theater a century ago, and loved it so much that she was loath to leave it, even in death.“The theater is a place where strange things happen, where what is impossible becomes possible,” Francesco Giambrone, the Costanzi’s general manager, told the children Saturday afternoon when they arrived to participate in a get-to-know-the-theater-sleepover.The children reading clues of a treasure hunt.Alessandro Penso for The New York TimesMusic education ranks as a low priority in Italy, the country that invented opera and gave the world some of its greatest composers. Many experts, including Mr. Giambrone, say their country has rested on its considerable laurels rather than cultivate a musical culture that encourages students to learn about their illustrious heritage.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: An Absent Player in the Spotlight at the Philharmonic

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      This week’s program was supposed to feature the orchestra’s principal oboe, but he and another player have been suspended amid misconduct allegations.It’s rare that the most significant music in a concert is a piece that isn’t played. But this week’s program at the New York Philharmonic may end up being remembered for what was omitted.The performance on Wednesday, conducted by Jane Glover, was supposed to include Mozart’s Oboe Concerto, with the solo part taken by the orchestra’s principal oboe, Liang Wang. But he and the associate principal trumpet, Matthew Muckey, have been benched by the Philharmonic since allegations of misconduct and assault against them resurfaced last month.In 2018, those accusations prompted the orchestra to fire the two men; the players’ union then appealed to an arbitrator, who reinstated them in 2020. Now, as another investigation has begun and Wang and Muckey have sued the orchestra, saying they’ve been wrongfully suspended, it is unclear when — and whether — either will play on the stage of David Geffen Hall again.Rather than replace Wang, the Philharmonic swapped out Mozart’s Oboe Concerto with his Symphony No. 13 in F (K. 112). Written in 1771, when its composer was 15 and on a tour of Italy with his father, the symphony — just 13 minutes long — has that easygoing, tossed-off eloquence that’s evident even in Mozart’s teenage works. The first movement is sprightly; the second, gentle, scored for strings alone; the third, graceful. Best of all is the lively triple-time finale, which evokes the long history of courtly hunting music, with an alluring short section in minor key.The Philharmonic had never performed the symphony before Wednesday, and under Glover’s baton it flowed with the same nimble, unaffected naturalness as the rest of the program: four pieces, including three Mozart symphonies, from the final three decades of the 18th century. Glover’s tempos throughout the concert were sensible and unexaggerated, with ample room to breathe but no dragging, and the playing was lovely — though the violins sometimes took on a slightly thin, wiry edge, highlighted by the cool clarity of Geffen Hall’s acoustics.In the work not by Mozart — Beethoven’s “Ah! perfido,” a concert scene from five years after Mozart’s death but still very much within the world of his opera arias — the orchestra provided sensitive accompaniment for the soprano Karen Slack. Making her Philharmonic debut, she inhabited the piece’s shifting moods, from anger at a treacherous lover to vulnerability to proud resolution, with strikingly clear high notes by the end.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lead in Beethoven’s Hair Offers New Clues to Mystery of His Deafness

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      Using powerful technologies, scientists found staggering amounts of lead and other toxic substances in the composer’s hair that may have come from wine, or other sources.At 7 p.m. on May 7, 1824, Ludwig van Beethoven, then 53, strode onto the stage of the magnificent Theater am Kärntnertor in Vienna to help conduct the world premiere of his Ninth Symphony, the last he would ever complete.That performance, whose 200th anniversary is on Tuesday, was unforgettable in many ways. But it was marked by an incident at the start of the second movement that revealed to the audience of about 1,800 people how deaf the revered composer had become.Ted Albrecht, a professor emeritus of musicology at Kent State University in Ohio and author of a recent book on the Ninth Symphony, described the scene.The movement began with loud kettledrums, and the crowd cheered wildly.But Beethoven was oblivious to the applause and his music. He stood with his back to the audience, beating time. At that moment, a soloist grasped his sleeve and turned him around to see the raucous adulation he could not hear.It was one more humiliation for a composer who had been mortified by his deafness since he had begun to lose his hearing in his twenties.But why had he gone deaf? And why was he plagued by unrelenting abdominal cramps, flatulence and diarrhea?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Coming Soon to Little Island: An Arts Festival With Powerful Backers

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      The mogul Barry Diller, who paid for the park, will finance a summer season of music, dance, theater and more, shaped in part by the Broadway producer Scott Rudin.Little Island, the $260 million park on the Hudson River that opened in 2021, was imagined as a haven for innovation in the performing arts. But the park’s cultural offerings — mostly sporadic, one-off works — have so far fallen short of those ambitions.Now Barry Diller, the billionaire media mogul who paid for the park, is setting out to deliver on the original vision, financing a robust, four-month annual performing arts festival on Little Island, the park announced on Monday. He is doing so with the guidance of Scott Rudin, the film, television and theater producer who retreated from public view in 2021 amid accusations of bullying by workers in his office.Diller said in an interview that he and his family foundation were prepared to spend more than $100 million over the next two decades on programming. The festival, one of the most ambitious artistic undertakings in New York City in recent years, will promote new work in music, dance, theater and opera. Nine premieres are planned this year for June through September, including a full-length work by the choreographer Twyla Tharp, and an adaptation of Mozart’s “The Marriage of Figaro” in which the countertenor Anthony Roth Costanzo will sing all of the leading roles.“I want people to enjoy the originality and adventure of Little Island,” Diller said. “I want it to produce a smile.”Rudin, a friend of Diller’s and a longtime adviser to Little Island, was not mentioned in a news release on Monday announcing the creation of the festival, but Diller said he was intimately involved in its planning.“He’s engaged in almost every discussion we have about the programming,” Diller said. “It started with him. It was his project.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More