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      Wiener Festwochen Says ‘No Excuses Anymore’ for Inequality

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      In Vienna, a series of concerts and summits will highlight women and nonbinary composers, as well as the dominance of the dead, white, male canon.In the world of classical music, progress toward gender parity can seem incredibly slow.Recent big wins have included women of the New York Philharmonic being allowed to perform in pants, and the appointment of the second woman — ever — to a music director role at one of the 25 largest orchestras in the United States. The Berlin Philharmonic, one of the world’s great ensembles, hired its first female concertmaster last year.Frustrated by the stubborn gender imbalances in classical music, the directors of the Wiener Festwochen, a prestigious arts festival in Vienna, have this year formed the “Academy Second Modernism,” an initiative that will showcase works by 50 female and nonbinary composers over five years.This season, less than 8 percent of approximately 16,000 works staged by 111 orchestras worldwide were composed by women, according to a report from Donne, Women in Music, an organization working for equity in the classical music industry. Of those works, the vast majority were composed by white women.According to the report, three of the 10 orchestras that performed the highest proportion of works composed by women were in the United States: the American Composers Orchestra in New York, the Chicago Sinfonietta and National Philharmonic in North Bethesda, Md. But at the New York Philharmonic and the Boston Symphony Orchestra, two of America’s top orchestras, only about 10 percent of the music programmed was composed by women.“There are so many of us,” said Bushra El-Turk, a British-Lebanese composer who often merges Western and Eastern musical traditions in her work. “Whether we’re given opportunities is the problem.”Rehearsing El-Turk’s opera “Woman at Point Zero,” in Vienna last month.David Payr for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Opera Singer Aigul Akhmetshina on Her Career, ‘Carmen’ and More

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      During a break at the Royal Opera House, Aigul Akhmetshina discussed her action-packed career, “Carmen” and her mission to spread her love of opera.The Russian mezzo-soprano Aigul Akhmetshina only just turned 28. Yet she already has a couple of operatic records under her belt: She’s the youngest artist ever to have sung “Carmen” at the Metropolitan Opera and at the Royal Opera House in London.Her trajectory began about 2,700 miles east of London.Akhmetshina was born in the village of Kirgiz-Miyaki in the Republic of Bashkortostan region of western Russia, closer to Kazakhstan than Moscow. She is one of three children of a single mother who worked in the passport office at the police station, whose own mother was a police officer in Soviet times.She was 3 years old when she first sang onstage, and 14 when she decamped to the nearest city, Ufa, to study music. Scouted in her teens at a voice competition in Moscow, she was invited to try out for the Royal Opera’s Jette Parker program for young artists in London — and got the gig. By 22, she was stepping in as an understudy to sing “Carmen” on the main stage, and delivering a career-shifting performance in the title role.Akhmetshina was in London after singing in “Carmen,” one of eight productions of the Bizet opera that she is performing in this season at major opera houses. In an interview during a break from rehearsals for a gala at the Royal Opera House, she discussed her action-packed career and her mission to spread her love of opera.The following conversation has been edited and condensed.What were you like as a little girl?Everyone knew me as Aigul, the singer in the village. I was free-spirited, and an old soul. I would give advice to anyone who came to me with a question. I was into psychology and philosophy from an early age.For me, the village was too small. I was always saying: “Why can’t I just be free to go everywhere? I want to see the world, I want to explore, I want to learn.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At the Curtis Institute, Students Live Entirely for Music

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      James Estrin/The New York TimesStudents, some barely adolescent and some well into adulthood, come from all over the world to study at the Curtis Institute of Music in Philadelphia.They study with nearly monastic focus, with the numbers and skill to operate as a world-class orchestra and opera company.But they’re still young people growing up, experiencing triumphs and struggles for the first time, just in an extraordinary environment.At This School, the Students Live Entirely for MusicDelfin Demiray had packed too much. She was leaving her home in Ankara, Turkey, for the Curtis Institute of Music in Philadelphia. An 18-year-old who had never been to the United States, she didn’t know what to expect.As she prepared for her flight in August, loading her suitcases with clothes and books, she was still surprised at the turn her life had taken. Demiray had played piano since she was 8, and had a gift for reproducing music she heard on TV at the keyboard; she also liked to improvise with friends and write melodies of her own. But she didn’t think of herself as a composer until a year ago, when she applied to Curtis and, to her shock, was accepted.Her move to the United States would make her parents empty-nesters, but she tried not to think too much about the sadness of saying goodbye. “It’s just how life is,” said Demiray, now 19. “I feel like they are living their dreams through me.”Her story is not so rare at Curtis, an extremely selective school whose roughly 150 students come from around the world to study with almost monastic focus. Even among conservatories, it is exceptional, with a wide age range — from preadolescence to post-baccalaureate adulthood — and a personalized approach, of schedules and repertoire, for musicians who live almost entirely for their art.“We know what it feels like to have to go to bed early on a Saturday night because you have to wake up Sunday morning for a lesson,” said Dillon Scott, a viola student, “and we all know what it feels like to have a performance that was objectively good, but still could’ve been better.”Some of the students are already professionals who perform outside school, as well as on the campus of Curtis, which maintains a full orchestra, an opera program and chamber music groups. Many of the musicians form friendships that lead to collaborations that endure throughout their careers. The list of alumni reads like a musical hall of fame, with titans like Leonard Bernstein and current stars like Lang Lang and Hilary Hahn.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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      Margo Guryan Died in 2021. Her Music Keeps Getting Rediscovered.

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      “Words and Music,” a new anthology, shines light on a little-known but increasingly beloved master of pop and jazz songwriting.In the late summer of 1970, Elton John arrived at Los Angeles International Airport for his debut U.S. shows and was greeted by another wildly talented piano-playing singer-songwriter: Margo Guryan. Her husband, David Rosner, worked for the company that signed John, and together they helped him get sorted in the run-up to his legendary performances at the Troubadour, kicking off a long, spectacular career.Guryan’s career proved less of a spectacle. After modest success as a jazz-pop songwriter, she recorded one album of her own, with Rosner’s encouragement. “Take a Picture” was alive with dazzling melodies, lyrical wit, strikingly intimate vocals and marvelously florid arrangements — a small masterpiece of the microgenre known as sunshine pop. But Guryan was reluctant performer who refused to tour, and her album, released in 1968, was a commercial flop, after her label barely promoted it.And yet, in a unique twist on a familiar story, the 11 songs of “Take a Picture” became a shared secret around the world; pirate pressings overseas earned her the sobriquet “The Soft Pop Queen of Japan.” In 2000 the LP was officially reissued, followed by others collecting her demo recordings — lean performances that could pass for 21st-century indie-pop. Her work caught the ears of music supervisors in TV (“Minx,” “I Think You Should Leave”), film (“Sam & Kate”) and advertising (Tag Heuer). Her demo of “Why Do I Cry” became a TikTok meme, spurring thousands of video clips by (presumably) nostalgia-loving sad girls and sad boys; at last check, the song had 23 million streams on Spotify.Guryan’s 1968 album, “Take a Picture,” was her only studio LP. via Jonathan RosnerThe apotheosis of this snowballing rediscovery — or “discovery,” as Guryan, who died in 2021, preferred to say — arrives this week with “Words and Music,” a lavish collection of recordings, many previously unreleased, from the boutique label Numero Group. The archival flush, illuminated with a historical essay by the music critic Jenn Pelly, shows the scope of Guryan’s talent to be even wider than fans have known.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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      Stockhausen’s Adventures in Space and Time at the Armory

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      An elliptical halo of thin, concentrated light floated in the capacious drill hall of the Park Avenue Armory on a recent morning, above a circular space designed to dissolve your sense of space and time.At the center was Kathinka Pasveer, the widow of the composer Karlheinz Stockhausen, performing his electronic music at a console. Pierre Audi, the Armory’s artistic director, sat nearby, visibly delighted by the scene around him. To his right and left, idiosyncratically shaped video screens faced each other across a round expanse dotted with lights that moved and changed color as Urs Schönebaum, the designer, spoke into a headset while riding a scooter.After a brief pause, Schönebaum cued various elements: Out of darkness and silence emerged eerie sounds that traveled freely through the space from unseen speakers; the videos throbbed with the music, their brightness, with the changing lights, creating an illusion of a void beyond the circle. It became difficult to track the passing minutes. The pleasant spring morning outside might as well have been another world.Kathinka Pasveer, Stockhausen’s widow, performing his music at the Armory on Urs Schönebaum’s very lighted set.Balarama Heller for The New York TimesSuch is the effect of “Inside Light,” the Armory’s theatrical presentation of electronic music from “Licht,” or “Light,” Stockhausen’s monumental, impractical cycle of seven operas written from the late 1970s to the early 2000s. Defying simple explanation and traditional form, these works, by turns comical and mystically sublime, deal with cosmic clashes of good and evil, with intimate dramas and global politics, with the nature of music itself.At the Armory, listeners will hear five electronic pieces that make up just a sliver of the 29-hour cycle, but even that will be substantial. They will be performed over two nights, beginning on Wednesday, or as single-day marathons for those who want to get lost in the sounds of Stockhausen, who died in 2007 and influenced the likes of Kraftwerk and Björk.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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      The End of a Maestro’s Era Approaches at the Philharmonic

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      Jaap van Zweden returned to the New York Philharmonic to lead some of his final programs as the orchestra’s music director.When the conductor Jaap van Zweden was hired for his short-lived tenure as the music director of the New York Philharmonic, he was seen as someone who could bring some punch to heavyweight symphonies by Beethoven and Mahler.As if to hold on to that idea, Mahler’s “Resurrection” Symphony will be performed at van Zweden’s farewell next week. But when I look back on his six seasons with the Philharmonic, the shortest stay for a maestro since that of Pierre Boulez in the 1970s, what I’ll remember most, and most fondly, is not any 19th-century warhorse but Bach’s “St. Matthew Passion.”Performed last season, van Zweden’s “Passion” was one of the great surprises of his time in New York. Gone was his tendency to bulldoze and flatten a score; instead, he gave shape to nearly three hours of music, sensitively making room for reflection amid drama in an interpretation that was exquisitely clear and genuinely moving.That night felt like a glimpse of what van Zweden’s tenure might have looked like if he had been able to truly settle in — if his second season with the Philharmonic hadn’t been cut short by the pandemic; if the orchestra hadn’t returned with a nomadic season as its hall was being renovated; if, when he got back inside David Geffen Hall, he didn’t have just two years left.Unfortunately, van Zweden’s time with the Philharmonic will probably be remembered less for his conducting than for those disruptions and milestones, as well as for the overshadowing coup of the starry, charismatic Gustavo Dudamel being poached from the Los Angeles Philharmonic to succeed him.That move looked like a pendulum-swinging reaction to van Zweden’s personality as a reserved technician, which hasn’t paid off: The orchestra sounds more or less the same as when he started, evidence of a relationship that never deepened. It can be difficult to explain why musicians and conductors aren’t compatible; a maestro might thrive with one group and flop with another. For whatever reason, the Philharmonic never developed a clear identity as his ensemble.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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      Amid Orchestral Waves, the Sound of Cultures Conversing

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      “Natural History,” performed in Cincinnati, is a collaboration between the composer Michael Gordon and the Native American ensemble Steiger Butte Drum.Eleven members of Steiger Butte Drum sat in a circle around a large elk-hide drum at the front of the stage of Cincinnati’s Music Hall last Thursday. Washes of sound from the orchestra behind them built and receded in grand waves.The group was the concerto soloist, of a kind, in “Natural History” by Michael Gordon, one of the Bang on a Can composers who infused Minimalism with rough, rebellious energy in the 1980s. A few times over the course of the 25-minute piece, Steiger Butte Drum, a traditional percussion and vocal ensemble of the Klamath Tribes of Native Americans in the Pacific Northwest, broke out in a ceremonial song, the members beating the drum in fast, dramatic unison as they made a piercing, tangily pitch-bending, wordlessly wailing chant.They were joined by a full chorus, placed in the first balcony: the men on one side of the hall, the women on the other. Percussion in the upper balcony evoked woodland animals; brasses, also up there, let out joyful, squealing bits of fanfare that seemed to tumble down and join lines coming from the Cincinnati Symphony Orchestra onstage — eventually rising to a powerful, churning finale, with all these sprawling forces, conducted by Teddy Abrams, going at once.Unsettled and unsettling, both celebratory and threatening, imposing and ultimately harmonious, this was the sound of a cultural conversation that is still, after centuries, in its nascent stages.Native American composers and performers are slowly gaining more visibility after having long been largely ignored by institutions associated with the Western classical tradition. Raven Chacon, a Diné composer and visual artist, won the Pulitzer Prize in Music in 2022. In March, the New York Philharmonic premiered an orchestral version of the Chickasaw composer Jerod Impichchaachaaha’ Tate’s “Pisachi.”And yet Native music, kaleidoscopically varied across the country and its many tribes and heritages, remains only rarely heard, and so only vaguely understood and appreciated, by non-Natives. This is hardly surprising, given the country’s more general neglect of a full, sustained reckoning with its history with — and its often stunningly cruel treatment of — Native Americans.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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      Jaap van Zweden’s Brief, Fraught Time Atop the New York Philharmonic

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      On a balmy spring morning, after a breakfast of coffee and plain yogurt at a luxury Manhattan hotel, Jaap van Zweden grabbed his bag of conducting batons and scores by Mozart and Gubaidulina and set out for Lincoln Center through the wilds of Central Park.“I love the air, I love the trees,” he said. “Everybody can do whatever they want here. This is freedom, absolute freedom.”Van Zweden, 63, will leave the New York Philharmonic this summer after six seasons as its music director, the shortest tenure of any maestro since Pierre Boulez, the eminent French composer and conductor who led the Philharmonic in the 1970s. Van Zweden helped the orchestra emerge from the turbulence of the pandemic; shepherded it through a trying, nomadic season when its home, David Geffen Hall, was undergoing a $550 million renovation; and led the orchestra when it reopened the sparkling, reimagined hall ahead of schedule, to the delight of musicians and audiences.But throughout his tenure, van Zweden, an intense, exacting maestro from Amsterdam, faced persistent questions about whether he had the star power, creative drive and strong connection to New York needed to lead the Philharmonic.During the pandemic, he spent more than a year at home in the Netherlands, which fractured his nascent relationship with the ensemble. And in 2021, he announced that he would step down from his post, far earlier than many people expected.Van Zweden said he felt no other Philharmonic music director had faced such profound challenges.“We had to start all over again,” he said. “I feel like we are still in the process of getting to know each other.”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