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      A Road Trip to Sample America’s Many, Many Music Festivals

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      Four classical music festivals. Three children. Two exhausted parents, with a brave grandfather in tow. One bedraggled minivan.It’ll be fun, my wife promised me. Surprisingly, it was.While some of my colleagues have been taking in the mighty festivals of Europe over the past few weeks — premieres in Aix-en-Provence, France, and the charms of Salzburg, Austria — the revival of programming after the darker days of the pandemic affords the adventurous a fresh chance to get better acquainted with the summer offerings here in the United States.There are plenty of them, after all. Several of our major orchestras benefit from their own vacation homes, whether Tanglewood for the Boston Symphony or Blossom for the Cleveland Orchestra, Ravinia outside Chicago or the Hollywood Bowl in Los Angeles. Others, not so fortunate in padding their bottom lines with picnickers, play on in their usual halls, or piece together short residencies in various climes.Then there’s Ojai, and Ravinia, and Spoleto, and Caramoor, and Bard, and Cabrillo and many, many more festivals; if your budget stretches and your stomach is strong, you can even take a jet boat down the Colorado to hear “Quartet for the End of Time” in a riverside grotto outside Moab.Attending a music festival in the Rockies offers the chance to combine listening with visiting national parks and resorts like this one, in Vail. Andrew Miller for The New York TimesThe opportunities are endless, but for anyone interested in combining soundscapes with scenery, as our Junior Rangers demand, one road trip through the mountains begs to be explored.My family and I — including children aged 6, 3 and not quite 1 — started with the up-and-coming Colorado Music Festival in Boulder, which is within easy reach of Rocky Mountain National Park. Then it made sense to a climb up to the ski resorts west of Denver — first to Bravo! Vail, then to the next valley for the Aspen Music Festival and School. Jackson Hole, Wyo., didn’t look all that far away, really. There, the Grand Teton Music Festival plays just outside the park of the same name, with Yellowstone National Park an hour to the north. Why not?Of course, we could have left at that, and that would probably have been wise. Still, there’s also an alluring route back south, down through the Canyonlands of Utah and on toward Santa Fe Opera. Tempting.With the rest of the family flying home, I reported on “Tristan und Isolde” and “M. Butterfly” there recently. But what about the other four festivals, which we visited over 12 days in July?They are all quite different, serving discrete audiences in distinct atmospheres even if spending time at some of them is expensive, whatever the ticket price. Each has its own idea of what — and whom — a summer festival should be for, and each turned out to be valuable in its own way.John Adams leading a performance of his composition “City Noir” at the recent Colorado Music Festival.Andrew Miller for The New York TimesColorado Music FestivalGlance at it from a distance, and you might mistake the auditorium of the Colorado Chautauqua, where this 44 year-old, five-and-a-bit week festival is based, for Wagner’s temple in Bayreuth. Built in 1898, it is perched on Boulder’s southwestern flank, the Flatiron rock formations brooding behind it with hiking trails all around. Get there at the right time, and you can just about hear a rehearsal from the playground down the hill. Our youngest watched deer wandering the grounds from his swing, while I eavesdropped on some John Adams.Fetchingly ramshackle, the wooden hall offers an acoustic that is as comfortable for string quartets as for the festival’s orchestra, and it draws an audience that listens closely. It’s a solid platform, one from which the music director, Peter Oundjian, who has recently taken over the Colorado Symphony in Denver, hopes to turn this festival from a primarily local event to something with broader reach.That’s an easy enough mission to believe in if you have friends like Adams. Contemporary scores are dotted through even the more traditional evenings here, which this season included commissions from Wang Jie and Wynton Marsalis, and there’s a flair to the programming that mixes slightly unusual works with cornerstones of the canon.Peter Oundjian, the festival’s music director, hopes to turn it from a primarily local event to something with broader reach.Andrew Miller for The New York TimesEven so, my visit coincided with the start of a new music week that Adams took part in organizing as composer in residence, albeit without offering any novelties himself. The Attacca Quartet came in for a night to feast on works by Philip Glass and Gabriella Smith, but of the three concerts I heard, the two orchestral programs were most revealing of this festival’s virtues.Take the second: a brief premiere from Timo Andres, “Dark Patterns,” prefaced Samuel Adams’s Chamber Concerto, a violin concerto in disguise that smartly refracts Baroque forms and was played amazingly by the soloist Helen Kim, before Samuel’s father, John, stepped up to conduct his own, pulsating “City Noir.”Adams visibly enjoyed himself on the podium, and with good reason: The festival ensemble is an admirable one. The players mostly hail from regional orchestras — the wind soloists, for instance, include regular-season principals from Arizona, Connecticut, Hawaii and Florida — and they come together each summer to play with terrific commitment and no shortage of virtuosity.They can play pretty much anything, too. The first program I heard was one of three that intriguingly paired the piano concertos of Beethoven with works by Ralph Vaughan Williams. Oundjian busily drew crisp, energetic support for Jan Lisiecki, who was a rather clangorous soloist in the “Emperor” Concerto, but the real shock was the rarefied eloquence that his orchestra lavished on the Vaughan Williams’s World War II-era Fifth Symphony. I’m still thinking about it, weeks later.Concert-goers listening from the lawn seats at the Gerald R. Ford Amphitheater during the Bravo! Vail summer music festival.Andrew Miller for The New York TimesBravo! VailCelebrating its 35th season, the delightfully friendly Bravo! Vail is an entirely different kind of affair. Digging deep into its donors’ pockets, it brings three major orchestras, as well as a chamber ensemble, to town for six intense weeks of performances, the most prominent of them in a stunning outdoor amphitheater named for the local vacationer-turned-civic-booster Gerald R. Ford (yes, that one).It’s a jaunt that the ensembles clearly value. The fourth one rotates from year to year; this season, it was the Saint Paul Chamber Orchestra. But the Dallas Symphony Orchestra just signed up to appear through 2024, while the Philadelphia Orchestra is contracted through 2026 and New York Philharmonic through 2027.The magical setting — cradled in forested mountains, the amphitheater abuts a botanical garden and backs onto a creek — doubtless has a lot to do with that, and the players and their families have time to enjoy the ski resort’s abundant amenities.But Juliette Kang, the first associate concertmaster of the Philadelphians, told me during a break in rehearsals that she and her colleagues also take inspiration from the hardy folk who turn down a seat in the pavilion, where the atmosphere is relaxed enough that nobody minded my six year old drawing the flowers behind the stage during Brahms’s Fourth, for the tiered lawn. Out there, where our baby babbled his way through Bruch to no complaints, lightning warnings are routinely ignored and no amount of rain sends the attentive patrons scuttling for cover; tarpaulins, not just golf umbrellas, are necessary here.Classics and pops are mostly what these audiences brave thunderstorms for — the Texans brought the Beatles as well as Beethoven — even if the artistic director, Anne-Marie McDermott, has valiantly begun a commissioning project that this summer saw three premieres reach the main stage. And the chamber music and free community concert series roam more enthusiastically across the repertoire.Nathalie Stutzmann conducting the Philadelphia Orchestra at the Vail festival last month.Andrew Miller for The New York TimesWhile the Philharmonic often uses its time in Vail to test out programs for the Lincoln Center season to come, the Philadelphians repeated pieces from the season prior, given the single rehearsal on offer for each evening. Nathalie Stutzmann, their principal guest conductor, who was on the podium for the two concerts I heard, said she finds that performances seem to breathe more naturally in the mountain air; there was not even a whiff of complacency in hers.Vail’s amphitheater, with its four-paned roof redolent of ski runs, offers fair sound, and though it is a tad reticent with details, it has enough body that the Philadelphians still sounded like the Philadelphians. Deluge be damned, Stutzmann turned in one of the most honestly moving Tchaikovsky Sixths that I have heard.At the Aspen Music Festival, Gil Shaham, left, shared the spotlight with the young cellist Sterling Elliott, performing the Brahms Double Concerto.Tessa NojaimAspen Music Festival and SchoolFor the musical tourist, the problem with Aspen is that its title is a misnomer.Founded in 1949 as part of Chicago businessman Walter Paepcke’s plan to turn a sleepy Colorado town into a haven for the soul and mind alike, this venerable endeavor is best thought of as a finishing school for budding elite musicians, about half of whom now receive a free ride scholarship for the considerable costs.Although plenty of guest artists pass through for recitals, most of the hundreds of performances in the sprawling, eight-week season here have a primarily pedagogical purpose, as the students put to use what they have learned from the enviable faculty. Renée Fleming, no less, now directs the opera program with the conductor Patrick Summers.The festival serves the students, in other words, and the reverse is less the case.Not that Aspen sprawls quite as much as it once did, despite a gorgeous, $75 million campus renovation that was completed in 2016. Wind the clock back a couple of decades, and you would have found a thousand students here; this year, officials had to cut an entire orchestra from the program because of a housing shortage, leaving the student body at 500 or so. Alan Fletcher, Aspen’s chief executive, said that it’s not yet clear whether that number will become the norm.Patrons picnicking outside the Aspen festival’s Benedict Music Tent.Tessa NojaimThe Benedict Music Tent, which succeeded two previous structures as Aspen’s main venue when it opened in 2000, could do with as much of a refresh as the programming, which is dismayingly staid given the usually eclectic tastes of the music director, Robert Spano; next to the ostentatious glamour of the city, the tent looks unkempt. Tickets also don’t come cheap to sit on the hard blue benches indoors, though anyone — families included ­— can listen for free on the meadows outside.That would just about have been worth doing for the concert I heard, a Sunday afternoon feature from the school’s leading ensemble, the Aspen Festival Orchestra, that Fletcher said from the stage was “purely emblematic” of what the school aims to achieve.Faculty take the principal seats while their students play alongside them; alumni often return as soloists, in this case the ever-popular violinist Gil Shaham, who shared the spotlight with the excellent young cellist Sterling Elliott in an engaging Brahms Double Concerto. Although the tent’s acoustic is distant, and the conducting of the guest maestro John Storgards in Saariaho’s “Ciel d’Hiver” and Sibelius’s Symphony No. 6 was oddly brusque, the playing standards were high.Grand Teton Music FestivalI’m not sure that the residents of Jackson Hole, whether they are fortunate enough to enjoy their first or their fourth homes in sight of the Grand Tetons, quite understand what they have going for them at Walk Festival Hall, a happily unpretentious, 700-seat indoor theater beside the gondolas in Teton Village.Donald Runnicles, the music director here since 2006, is a no-nonsense man with a no-nonsense festival. Though a piano series started this year and there are weekly chamber music nights to attend — if you, unlike my wife, can tear yourself away from seeing the sun set from the mountaintop — the main attraction is the Festival Orchestra, which operates on a subscription-season schedule, performing programs twice and rehearsing thoroughly.It shows. This is another ensemble made up of players from across the country: some retreat here from orchestras as prestigious as the Boston and Chicago symphonies, while a number usually play in opera pits, including at the Metropolitan Opera, and a few are even conservatory professors who come here to sharpen their performance skills. Some of the musicians stay for the whole season, but most can only manage two or three weeks. If that constantly changing roster might pose problems — five concertmasters are listed in the program book, and 15 horns — it also lends an eagerness to the playing.Donald Runnicles, who has been the Grand Teton music director since 2006, conducting the Festival Orchestra in July.Chris LeeRunnicles, one of the most underrated musicians of his generation, knows how to use it. The all-Russian program I heard was of unerring quality, one in which even a political statement was carefully conceived for its musical value.Before a strong, big-boned account of Shostakovich’s Symphony No. 10, which is often thought of as the composer’s declaration of liberation after the death of Joseph Stalin, the Pittsburgh Symphony violinist Marta Krechkovsky, whose family remains in Ukraine, played the solo line in Myroslav Skoryk’s “Melody,” which has been in wide use as a hymn to freedom since the Russian invasion. Heard in that context, the Shostakovich became all the more immediate.You could have asked for a mite more focus to the orchestral sound in the concert, though you would struggle to hear a more astounding rendition of Prokofiev’s Violin Concerto No. 2, or anything else to be honest, than the one that soloist Augustin Hadelich contributed.You could ask for a little more variety in Grand Teton’s programming generally, too, although there’s a dexterity to how it incorporates new music — John Adams’s “Absolute Jest” alongside Stravinsky’s “Petrushka,” for instance — and it’s no small feat to put on Mahler’s “Resurrection” Symphony and Puccini’s “La Bohème” in a place where bears roam the night.But to quibble like that would be to miss the point; not every festival needs to be an Ojai. What Grand Teton offers, like Bravo! Vail and the Colorado Music Festival in their own ways, is a simpler kind of joy, of good music in glorious surroundings. I know where I’d while away my summer, if I could. More

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      A Quirky Parisian Festival Refinds Its Footing

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      The annual Paris l’Été hosts some especially strong multidisciplinary shows this summer, one of which includes a seven-hour hike.PARIS — The birds hovering around the ruins of Port-Royal des Champs, a former abbey southwest of Paris, may have been taken aback by the flock of visitors who arrived on a recent Saturday. Around 11 a.m., bleary-eyed Parisians poured out of buses for a seven-hour hike through the site and woodland that surrounds it — all in the name of theater.And “Joy of Man’s Desiring,” Clara Hédouin’s back-to-nature adaptation of a 1935 Jean Giono novel, took full advantage of its unusual setting. A hunt was staged in the forest. Farming, a central theme, was debated in front of actual barns. Bird names were listed, at length, to the human audience in a meadow, while the local fauna circled above.The trek wasn’t what you’d expect from a city-centric arts festival like Paris l’Été (literally “Paris in the summer”), which played host to “Joy of Man’s Desiring” and organized travel from the capital. Yet this multidisciplinary festival, which started in 1990 as a way to keep the performing arts scene alive in Paris during the quiet summer months, has always had a quirky side.Its first director, Patrice Martinet, delighted in bringing unconventional works to venues ranging from gardens to suburban residential buildings. In 2016, a new team was appointed under Laurence de Magalhaes and Stéphane Ricordel, who were already at the helm of the Monfort playhouse in Paris. They promptly changed the name of the festival, from Paris Quartier d’Été to the more anodyne Paris l’Été.The early years of de Magalhaes and Ricordel’s tenure saw a dip in the quality and originality of the festival’s programming, but the 2022 edition suggests they have now found their footing. While Paris l’Été remains much smaller than the major French summer festivals, like Avignon, this year intriguing productions abounded. The week before “Joy of Man’s Desiring,” locals and tourists could take their pick from a Ukrainian punk concert, an immersive performance starring professional strippers and a bravura theater show built entirely out of cardboard props, among other offerings.Dakh Daughters at the Monfort theater.Maxim DondyukOn July 14, Bastille Day, a packed audience watched as the Ukrainian band Dakh Daughters, which has often performed at the Monfort theater since 2013, returned to that stage under very different political circumstances. This radical feminist group, which bridges the gap between punk and folk influences with stunning ease and a dark theatricality, has long sung about the 2014 Maidan revolution in Ukraine, as well as Russia’s annexation of Crimea and the Donbas region. Yet currently, the band’s entire country is under attack.“Close the sky over Ukraine,” the screens behind the group read early in the show, and images of the conflict, Russian nationalist propaganda and protests around the world were subsequently shown. Between songs, the stories of ordinary Ukrainians were read in voice-over. Midway through the concert, the women of Dakh Daughters, who also performed at the Avignon Festival this week, asked the audience to observe a minute of silence.While the band performed a number of songs that were composed before Russia’s invasion of Ukraine, and its members dressed, as usual, in tutus and combat boots, with faces painted white, the band’s typically no-holds-barred performance style was stripped back. An edge of cold despair shaded even the loudest, most percussive moments. “I would like to return to my home,” the band’s drummer said at one point, in softly accented French. “Do you want peace in your home?” she then asked the audience. When the answer was a resounding “yes,” she whispered: “Good idea.”Marion Coutarel and Julie Benegmos in “Strip: At the Risk of Liking It.”Quentin ChevrierDakh Daughters aside, this year Paris l’Été focused primarily on new and recent French productions. “Strip: At the Risk of Liking It,” directed and performed by Julie Benegmos and Marion Coutarel at a high school, gave audiences a window into the world of professional striptease — and kept them on the edge of their seats, too, with the promise of one-on-one time with a stripper in a private booth for a lucky few.The production relied a little too heavily on this literal teasing. Early on, Benegmos and Coutarel explained that, at regular intervals, a flower would be given to an onlooker, who would then be invited to follow them outside the small auditorium. Two men and a woman were selected when I attended, and the audience was left to wonder what happens next. (The answer comes at the very end, and while I won’t give it away, it involves a virtual role reversal.)There is much of interest in the rest of “Strip: At the Risk of Liking It,” including filmed interviews with other professional strippers, a pole dance number and questions about the degree of freedom women are afforded when selling eroticized performances. But the show’s structure never quite flows, with abrupt transitions that fail to dig deeper into this material.“Fat People Skate Well. A Cardboard Cabaret,” on the other hand, takes an impossibly complex idea and makes it work through sheer virtuosity. The show is built around the contrast between Olivier Martin-Salvan, dressed in a dapper suit, who sits throughout the show and mumbles in an expressive yet incomprehensible mix of English and gibberish, and Pierre Guillois, who flits around him in boxer shorts, carrying dozens of cardboard cutouts as a means of telling the story.Pierre Guillois and Olivier Martin-Salvan in “Fat People Skate Well. A Cardboard Caberet.”GestuelleThey come in all shapes and sizes, with words written on them to explain what they represent: “fjord,” “tree,” “hail,” and even “fly swat.” With the help of two assistants on the sides, Guillois, a maverick of a performer, spins lo-fi yet meticulous choreography out of these props. (Despite the title, the closest we get to skating is some shoe boxes on Martin-Salvan’s feet.)“Fat People Skate Well. A Cardboard Cabaret” has won a number of awards this season, including a Molière, and it was obvious why in this outdoor revival at the Centre Culturel Irlandais. Puns and visual jokes are interspersed throughout as Martin-Salvan’s character goes on an absurd quest around European countries to reconnect with a siren he met (in the form of Guillois, wearing a cardboard tail). There is nothing currently like it on the French stage, and the instant standing ovation rewarded the duo’s ingeniousness.The ingeniousness of “Joy of Man’s Desiring,” Hédouin’s open-air saga around Port-Royal-des-Champs, was of a different nature, and it had outstayed its welcome by the seventh hour. Giono, whose novel the show is based on, was an early environmentalist, and his characters, all inhabitants of a small village who set about reclaiming their joy with the help of a mysterious stranger, did fit beautifully into the surroundings. But the cast’s take on Giono’s lyrical style was often plodding, and gave the sense that the production had yet to find its inner rhythm.Still, there was joy to be found in traipsing through forests and the remains of the abbey, armed with the camping stools provided by Paris l’Été. At the end of the day, it was the sign of a festival hitting its stride, and thinking outside the box again.Paris l’Été. Various venues in Paris, through July 31. More

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      Joni Mitchell Performs Surprise Show at Newport Folk Festival

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      The 78-year-old artist performed a full set, her first in about two decades, at the renowned festival in Rhode Island on Sunday.Joni Mitchell, the revered Canadian singer-songwriter and one of the defining musicians of the 1960s and ’70s, surprised an audience in Rhode Island on Sunday when she appeared at the Newport Folk Festival to perform her first full set in about two decades, guitar in hand.Mitchell, never one for the limelight, has remained largely out of the public eye since having a brain aneurysm in 2015. As she recovered, she made a few brief appearances: In December, she gave a rare public speech as she accepted a Kennedy Center Honor, and in April, made a televised appearance at the Grammys and was honored at a gala for MusiCares, a Grammy-affiliated charity.But on Sunday, Mitchell, 78, wearing a beret and sunglasses, performed some of her most iconic songs, including “Carey,” “Big Yellow Taxi” and “Both Sides Now.”At one point, Mitchell, an electric guitar slung over her shoulder, performed a several-minutes-long solo during “Just Like This Train,” as fans whooped and cheered.“After all she’s been through, she returned to the Newport Folk Fest stage after 53 years and I will never forget sitting next to her while she stopped this old world for a while,” the singer-songwriter Brandi Carlile, who sang backup for Mitchell during her festival appearance, said in a Tweet.Having “looked at life from so many sides,” Mitchell has come “out of the storm singing like a prophet,” she added.Although Mitchell has limited her appearances in recent years, she has not avoided the headlines.In January, Mitchell joined Neil Young in boycotting the streaming service Spotify, over its role in giving a platform to Covid-19 vaccine misinformation.“Irresponsible people are spreading lies that are costing people their lives,” Mitchell wrote of the company at the time. She added, “I stand in solidarity with Neil Young and the global scientific and medical communities on this issue.”On Sunday, several musicians, including Carlile, flanked Mitchell onstage, and sang with her. “I will never be over this. I can’t even watch it without the tears coming back,” Carlile wrote later on Twitter. “Please forgive me.”As Mitchell and Carlile sang “A Case of You” from the influential “Blue” album, released more than 50 years ago, Mitchell sang:Oh, I could drink a case of you, darlingAnd I would still be on my feetOh, I would still be on my feet.The crowd roared. More

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      What to See, Eat and Do in San Francisco

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      The city’s neighborhoods, from the Mission to Russian Hill and the Outer Sunset, are vibrant with packed restaurants and bars, and many are home to new parks and the return of in-person events.Lately, it seems like the news headlines from San Francisco have been negative, from the city’s homelessness crisis and highly publicized recall elections to the area’s astronomical cost-of-living and worsening fire seasons.But San Francisco is still San Francisco. The fog still rolls in from the Pacific to blanket the city’s jumbled hills, the sunset still flames crimson behind the Golden Gate Bridge and the smell of salt and eucalyptus still hits the moment you step outside of San Francisco International Airport. Always a city for lovers of the outdoors, pandemic restrictions led to the near-universal embrace of an indoor-outdoor city life. And at its core, the city’s spirit, a heady brew of creativity, progressivism and experimentation, remains unbreakable.San Francisco’s pandemic recovery has been slower than other major metropolitan areas in the United States; according to data from the San Francisco Travel Association, forecasts for 2022 estimate 80 percent of 2019’s visitor volume. While the Downtown and Union Square neighborhoods remain quieter than prepandemic times, the city’s singular neighborhoods, from the Mission to Russian Hill and the Outer Sunset, are vibrant with packed restaurants and bars, and many boast of new parks and in-person events. San Francisco no longer imposes a mask mandate, but some businesses will require or request masks; masks are recommended but not required on MUNI and BART, the city’s public transportation systems. Many indoor events, including concerts and theater productions, require proof of vaccination to enter.San Francisco has become more walkable and bikeable with the Slow Streets program, which limits or prohibits car traffic on streets and includes the Great Highway alongside Ocean Beach.Jason Henry for The New York TimesNew parks and slow streetsSan Francisco’s wealth of green spaces has increased thanks to a trio of new parks, including the Presidio Tunnel Tops, 14 acres of new national park land hugging the city’s north coast that opened this month. Boasting panoramic views of the Bay, the park was designed by the same group behind New York’s High Line and is home to a changing roster of food trucks, art installations and performances. For more views, check out Francisco Park in the city’s Russian Hill neighborhood, which opened in April on the site of San Francisco’s first reservoir. In the southeastern Mission Bay neighborhood, largely protected from the city’s frequent westerly winds, Crane Cove Park has become a warm, sunny destination for stand-up paddle-boarding, kayaking and lounging since it opened in 2020.Always a home for lovers of the outdoors, San Francisco during the pandemic saw a near-universal embrace of an indoor-outdoor city life. Francisco Park in the city’s Russian Hill neighborhood opened in April.Jason Henry for The New York TimesIn addition to new parks, San Francisco has become more walkable and bikeable with the pandemic-driven development of the Slow Streets program, which limits or prohibits car traffic on streets throughout the city. Destination-worthy ones include the Great Highway, which runs alongside Ocean Beach on the city’s western shore (it’s currently closed to car traffic on weekends and often, on windy days) and JFK Promenade in Golden Gate Park, which could be made permanently car-free in November. The one-and-a-half-mile stretch of JFK takes you past destinations like the Conservatory of Flowers and the Rose Garden, plus the Skatin’ Place, where you’ll often find a rocking roller disco.A return to in-person music eventsGolden Gate Park is also playing host to a number of major in-person events this year, including Hardly Strictly Bluegrass, a free, three-day music festival being held Sept. 30 to Oct. 2. This year’s lineup will feature Emmylou Harris, Steve Earle and Buddy Miller, with more artists to be announced next week. The Outside Lands Music Festival is taking place Aug. 5 to 7 with artists including Green Day, Post Malone and Lil Uzi Vert (single-day tickets from $195; three-day passes from $409). Find even more music in the Sunset District at the Stern Grove Festival, now in its 85th year. The series of free weekly concerts, happening on Sundays through Aug. 14, has acts ranging from the San Francisco Symphony to Phil Lesh.The Portola Music Festival (single-day tickets from $200, two-day passes from $400), a new music festival is coming to San Francisco from the team behind Coachella, takes place on Sept. 24 to 25 at Pier 80, and will showcase electronic acts including Flume, James Blake, The Avalanches and M.I.A.Jonathan Carver Moore, director of donor relations, partnerships and programming, at the Institute of Contemporary Art San Francisco, which will opens this fall.Jason Henry for The New York TimesA new destination for contemporary artWith its opening in October, the Institute of Contemporary Art San Francisco aims to provide a fresh approach to the ways in which contemporary art should be showcased and shared. Tied to its core tenets of equity and accessibility, ICASF will have free admission and plans to showcase local artists and artists of color in an environment that is welcoming to all. Opening programming includes a solo exhibition from Jeffrey Gibson, a Choctaw-Cherokee painter and sculptor, a group exhibit curated by Tahirah Rasheed and Autumn Breon, Oakland-based members of the collective See Black Womxn, and work from the local artists Liz Hernández and Ryan Whelan.Sharing plates at Shuggie’s, a pop-art explosion which features “trash pizza” made from repurposed food waste.Jason Henry for The New York TimesEat and drinkSan Francisco’s restaurants have struggled from pandemic restrictions, but also the high operational costs and high costs of living limiting the workforce. Many storefronts remain empty, and a number of legacy businesses closed, including Alioto’s, an Italian seafood restaurant that held court in Fisherman’s Wharf for 97 years, and the Cliff House, an iconic destination hugging the jagged shoreline over the Pacific (a new restaurant may open there by the end of the year).While undoubtedly challenging, the past two years have had a silver lining: Outdoor dining and drinking cropped up everywhere, from long-established restaurants like Nopa to brand-new spots like Casements, a modern Irish bar in the Mission that opened in January 2020. The bar had originally planned to be a cozy, indoor-only affair, but instead it now serves stellar cocktails (from $12) on one of the best patios in the city, complete with an outdoor semi-private space, live music, D.J.s and colorful murals of Irish rock musicians including Dolores O’Riordan of the Cranberries and Phil Lynott of Thin Lizzy.San Ho Won is a Korean barbecue spot with classic dishes and riffs on tradition.Jason Henry for The New York TimesWhile marquee openings are still a major part of the city’s food fabric — recent ones include the opulent Palm Court Restaurant in the new RH Gallery and a new Ghirardelli Chocolate Experience store — some of the most exciting developments center on low-key projects from high-end chefs. In the Mission, Corey Lee of three Michelin-starred Benu opened San Ho Won, a Korean barbecue spot with classic dishes and riffs on tradition, like a blood-sausage pancake and kimchi pozole (starters from $16, barbecue from $26). Matthew Kirk, a sous chef from Lazy Bear, opened Automat, a day-and-night destination in the Western Addition for baked goods, breakfast sandwiches and burgers (sandwiches from $9 to $16).Natural wine is nothing new in San Francisco, but low-intervention bottles — small-batch, often funky wines made utilizing organic ingredients, native yeast and usually, little to no sulfites — are dominating new restaurants and bars. Shuggie’s, a pop-art explosion with a lively bottle list from the West Coast and beyond, features two-dollar wine shots and a “trash pizza” made from repurposed food waste (wines from $15 for a glass or $51 for a bottle; pizzas from $19). Palm City Wines opened in the Outer Sunset in spring of 2020 as a takeaway-only natural wine bottle shop and deli; now, it also serves small plates, wines by the glass, Northern California beers and forearm-sized hoagies (starters from $8, sandwiches from $19). Upping the ante is Bar Part Time in the Mission, a natural wine-fueled disco with a rotating roster of D.J.s and wine producers.1 Hotel opened in San Francisco in June on the Embarcadero near the Ferry Building. The space features reclaimed wood and native greenery.Jason Henry for The New York TimesWhere to stay1 Hotel opened in San Francisco in June on the Embarcadero near the Ferry Building. The striking space features reclaimed wood and native greenery, recyclable key cards and hangers in the 186 guest rooms and 14 suites (from $500 per night), plus a rooftop spa, chef’s garden and beehives. Terrene, the hotel’s restaurant, features a farm-to-table inspired menu and a wide selection of mezcal and tequila.With 299 rooms and a rooftop lounge, LUMA is the first hotel development in the Mission Bay neighborhood. Jason Henry for The New York TimesLUMA, which also opened in June, is the first hotel development in the Mission Bay neighborhood. With 299 rooms (from $329 per night) and a rooftop lounge opening later this summer, the hotel is close to Oracle Park and the Chase Center. And on June 30, the longstanding Sir Francis Drake Hotel in Union Square reopened as Beacon Grand with 418 renovated guest rooms (from $249 per night), a lobby bar and in 2023, will reopen a redesign of the famed top-floor bar, the Starlite Room.Follow New York Times Travel on Instagram, Twitter and Facebook. And sign up for our weekly Travel Dispatch newsletter to receive expert tips on traveling smarter and inspiration for your next vacation. More

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      How the King of Rock ’n’ Roll Still Makes Australia Sing

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      PARKES, Australia — The Elvis Presley from Japan bowed with quiet respect. Then he tore into a rendition of “Burning Love” that sounded straight out of Memphis, and that definitely stretched the crotch of his blue jumpsuit to the limit.Backstage, a few more “Elvi” — the plural of Elvis, at least at the largest Elvis festival in the Southern Hemisphere — were going over final song choices, sweating their options for a crowd that blurred the line between fans and impersonators. Thousands of Elvi were out there in the middle of Australia, aged 5 to 85, with more pompadours and leisure suits than anyone could count.“God, it’s so many people,” said Charles Stone, Elvis’s tour manager from 1971 until his death in 1977, surveying the scene with a gold chain peeking outside his T-shirt. “Look at this.”Parkes, a small town five hours’ drive from Sydney, now shines once a year with Elvis sequins and rhinestones. Around 25,000 people usually join the festival, which started out with a couple of restaurant owners trying to bring a little less conversation and a little more action into Parkes.That was back in 1993. Nearly 30 years later, the festival has become a national treasure that exemplifies how Australians tend to do a lot of things: all together, with self-deprecating humor and copious amounts of alcohol.An Elvis tribute contest during the festival.A street in Parkes blocked off during the Elvis festival to accommodate an array of vintage cars.A couple swing dancing in their matching Elvis-themed outfit at the Parkes Leagues Club restaurant.This year’s event — after Covid forced a cancellation in 2021 — felt somehow more Elvis-like than ever. A certain heaviness mixed with the thrill of rock ’n’ roll. From tiny pubs with first-time singers to golf courses and rugby pitches where games were played in matching Elvis gear — and, of course, to the main stages, where the world’s top tribute artists could be found — there was a craving for post-lockdown, post-pandemic release.What is life even for, many of them yelled over the music, if not for a dress-up-and-let-go, yank-each-other-up-on-stage-and-SING sense of abandon?“It lets us forget everything,” said Gina Vicar, 61, a small-business owner from Melbourne who had come to the festival with a dozen friends. “With all that we’ve gone through, and what the world is going through now, it’s great to see all this joy.”When we met, she had just shouted encouragement to an Elvis (real name, Deon Symo) who had announced that he was only 21 and from Adelaide, a city often joked about and rarely celebrated.He was wearing a white jumpsuit as he stood in front of a red curtain held up with rubber bands in a pub with sticky floors — and the crowd treated him like a Las Vegas superstar. Two women a decade or two his senior danced in front, mouthing the words to every song.A couple from Queensland, Australia, wearing “Blue Hawaii” themed t-shirts.Toki Toyokazu, a crowd favorite from Sendai, Japan, performing on the festival’s main stage.The annual match between the Elvis-inspired “Blue Suede Shoes” and the “Ready Teddys.”“He’s got a great voice,” Ms. Vicar said. “He just needs the confidence.”All over Parkes, from Wednesday to Sunday, Elvi won over the Elvis faithful.Toki Toyokazu, the singer from Sendai, Japan, was a crowd favorite; he won the festival’s formal competition in 2020, and his return seemed to signal a post-Covid milestone.Another performer, “Bollywood Elvis,” wearing a gold jumpsuit featuring faux gems the size of Waffle House biscuits, also seemed to pop up whenever energy flagged. His real name was Alfred Vaz. He moved to Australia from Bombay in 1981, when he was a manager for Air India, and he said he had been coming to Parkes since the festival began. This year, he brought his nephew, Callum Vincent, 24, a music teacher from Perth, who smiled as he took it all in.“There’s only one Elvis,” Mr. Vaz, 65, said on Saturday morning as the festival’s parade began. “There are a lot of pretenders and a lot of contenders, but there’s only one Elvis.””There are a lot of pretenders and a lot of contenders, but there’s only one Elvis.”Except in Parkes, a former mining town in a country where Elvis never actually played a concert.A few minutes earlier, the mayor and the area’s local member of Parliament had driven by, sitting on the back of a convertible wearing ’70s jumpsuits along with wigs and sunglasses. Ms. Vicar and her friends walked in the parade alongside, well, the full range of Elvi. More

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      Coachella Will Return Without Masks or Vaccines Required

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      When the Coachella outdoor music festival returns for the first time in two years this April, performers will be greeted by a sea of unmasked — and potentially unvaccinated — fans, as the struggling concert industry stirs back to life.On Tuesday, organizers said that attendees will not be required to wear masks or be vaccinated or tested for the coronavirus at the Coachella Valley Music and Arts Festival, which drew up to 125,000 fans a day to Southern California and was one of the biggest music festivals of the pre-pandemic era.“There is no guarantee, express or implied, that those attending the festival will not be exposed to Covid-19,” Goldenvoice, a division of the global concert giant AEG Live, said on the Coachella website.Goldenvoice noted, however, that the festival’s Covid policies may change “in accordance with applicable public health conditions.”Goldenvoice also said that Stagecoach, a country music festival in Southern California, also said on Tuesday that there would be no requirements for guests to be masked, vaccinated or tested. The festival was set to run for three days at the end of April and the beginning of May.It has been a turbulent two years for the concert and touring industries, as a number of events were canceled because of the virus. In the last year, since the Covid vaccine became widely available, organizers have grappled with decisions over whether to hold the events at all and whether to require masks, vaccines and testing.Over four days last summer, the Lollapalooza music festival in Chicago ran at full capacity, with its 400,000 attendees being required to show either proof of vaccination or a negative Covid test. According to data released by the city after the festival, infection rates among the concertgoers were very low.Coachella did not run in 2020 or 2021, and was canceled three times over the pandemic, including a rescheduled date in the fall of 2020.Before the pandemic, Coachella, which is widely seen as a bellwether for the multibillion-dollar touring business, had put on a show every year since 1999 at the Empire Polo Club in Indio. It typically runs over two weekends in April.The organizers of Coachella announced in January, after weeks of speculation, that the festival would be back this year. It is set to be headlined by Billie Eilish, Harry Styles and Kanye West. More

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      Sundance Canceled? Don’t Tell These Partygoers.

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      The film festival went virtual again this year. But that didn’t stop some veteran attendees from having a good time in Park City anyway.When the Sundance Film Festival announced that it was canceling all in-person events because of the pandemic two weeks before it began, festival goers could be forgiven for thinking the party was over.There would be no screenings at the Egyptian Theater in Park City, Utah. No swag lounges along Main Street. No celebrity sightings at the Tao Park City pop-up club.But that didn’t stop Rebecca Fielding, 34, who handles client engagement for an interior design firm in Manhattan, from boarding her flight. When she arrived last weekend, she spent the day at a spa before hobnobbing at a Main Street club with hundreds of inebriated people dancing on banquettes and bumping into each other on the dance floor.“This is so fun,” she said, making her way to join them. “So many people are here.”Sundance may have gone virtual this year (screenings through Jan. 30 have moved online), but many film buffs and hangers-on still made the pilgrimage to Park City. Despite the lack of official events, they found ways to party, schmooze and even watch movies.“This has been bigger than in past years,” said Jennifer 8. Lee, 45, a documentary film producer from New York City who has organized housing and activities for hundreds of film lovers during Sundance since 2007. “I was surprised by how many people were still willing to come. We even got extra people after the festival was canceled.”Signs for Sundance were still on display on Main Street in Park City, Utah.Lindsay D’Addato for The New York TimesThrough her film-buff group, Goodside, she had arranged for 80 to 100 people to stay across 12 houses in Park City; the guests had paid up to $500 a night for a room. (While Ms. Lee’s group allowed guests to buy out each others’ reservations, many hotel rooms and Airbnbs were nonrefundable or only eligible for a partial refund or credit when Sundance was canceled. Most airlines only offered flight credit.)Last Saturday night, Ms. Lee held a screening for the one of the festival’s most talked-about films — Lena Dunham’s “Sharp Stick,” a comedy about a 26-year-old babysitter in Los Angeles who loses her virginity to her employer — at her six-bedroom mountainside rental house on Woodside Avenue, a couple blocks from town.About 20 people piled onto couches and the floor, drinking cocktails and snacking on homemade dumplings and curried popcorn, while the film was projected on a screen that one of the guests had brought. To minimize risk, all guests had to take a Covid test.“There is enough critical mass that we can do our own events,” said Ms. Lee, a former reporter for The New York Times. Following the screening, there was a group discussion of the movie.Other houses took turns showing films and hosting dinner parties. “We are probably screening five movies a day across the houses,” Ms. Lee said.After the screenings, the action moved to restaurants and bars around town. At Courchevel Bistro, patrons in fur vests and leather pants dined on baked Brie and elk. At No Name Saloon Bar & Grill, a rowdy sports bar nearby, servers wore “Sundance 2022” shirts and served tequila shots to packs of guys in flannel shirts and cowboy boots.There seemed to be few of the celebrity-filled parties usually held during Sundance to promote films, fashion labels and other publicity-starved brands.A celebration at the new Vintage Room at the St. Regis Deer ValleyLindsay D’Addato for The New York Times“Without the festival, we just had to get more creative in finding ways to entertain them,” said Lucien Alwyn Campbell, a V.I.P. concierge for hire in Park City who estimates that 40 percent of his Sundance clients still made the journey this year. “There were four groups who went snowmobiling. We staged seven dinner parties last night with private chefs for clients who rented homes.”He also held house parties. “Usually, people go to the Tao pop-up during Sundance,” Mr. Campbell, 37, said, “but we obviously didn’t have it this year, so we had to create late-night places for people to dance.”Local bars and clubs, however, remained open and were, in fact, easier to patronize since there were no invitation-only parties to crash. Downstairs, a popular club on Main Street, had a special lineup of DJs and V.I.P. tables for as little as $100 for four.On Saturday night, DJ Spider played a mix of hip-hop and house music to a packed dance floor. By 10:30 p.m., the line to get in was 15 people deep; most of them appeared to be in their 20s and 30s, and many wore Canada Goose parkas and cowboy hats. Maskless partygoers crammed the small dance floor until the 2 a.m. closing time.“Coming through,” said a young server in a tight black ensemble, screaming over the song “I’m Too Sexy” as she fought her way through the crowd with bottles of tequila.In part because it was so last-minute, this year’s cancellation of Sundance did not seem to hurt local businesses as much as it did the previous year, said Brooks Kirchheimer, president-elect of the Park City Chamber of Commerce. “This has actually been great for Park City,” he said. “Usually people come to town and just sit in a movie theater for eight days. Now these people are seeing Park City in a different light. They are doing different activities.”Would-be Sundance attendees actually hit the slopes this year.Lindsay D’Addato for The New York TimesThat includes skiing.Many visitors talked about how they actually had time to hit the slopes this year, and how nice it was to take advantage of Park City’s terrific skiing and its lift along Main Street.“I’ve been coming on and off to Sundance since 2001,” said Elisa Briles, 47, a communications manager for a San Francisco tech company. “This is the first time I’ve ever focus on skiing during Sundance. Usually I am too busy going to movies and parties.”Ms. Briles was taking an afternoon break at a bar at the St. Regis Deer Valley near the Vintage Room, a large, greenhouse-like lounge that opened last month atop Deer Valley. On that Friday afternoon, the lounge was packed with would-be festival goers dressed in metallic snowsuits and furry boots, guzzling Champagne and oysters.“I wouldn’t say it feels like a movie festival here, but it definitely feels like a really fun ski weekend,” Ms. Briles said. “I’m still with my friends. We are still meeting really cool people.” More

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      Astroworld Disaster Rekindles Fears About Music Festival Safety

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      The concert industry notes that serious problems are still rare, but over the years a number of deadly stampedes have shown the inherent dangers of big, excited crowds.On Dec. 3, 1979, a crowd amassed outside Riverfront Coliseum in Cincinnati for a concert by the Who. The show was booked without seat reservations, giving early-bird fans the chance to rush toward the stage. In the confusion outside the venue, 11 people were crushed to death.In response, Cincinnati banned that kind of general-admission model, sometimes called festival seating, and the incident served as a reminder of the inherent danger when pop music is mixed with big crowds.Cincinnati’s ban was lifted in 2004, just as a new, lucrative era of music festivals was taking off, led by events like Coachella, that were modeled after European festivals where fans roamed free and took in attractions on multiple stages.But through the years a series of disasters at concerts, clubs and festivals have served as reminders of the dangers of crowds, like the death of nine people at a Danish festival in 2000, or a stampede at a nightclub in Chicago in 2003 that left 21 dead.Those fears were rekindled again with Travis Scott’s Astroworld festival in Houston last Friday, where nine people died and more than 300 were injured, at a packed event that drew 50,000 people to NRG Park.For now, more questions than answers surround Astroworld, including how well the festival’s security plan was followed and why it took nearly 40 minutes to shut the show down after Houston officials declared a “mass casualty event.” The Houston police are conducting a criminal investigation, and dozens of civil lawsuits have been filed against Mr. Scott and Live Nation, the festival’s promoter, among other defendants.The event, and the finger-pointing in response, seemed all too familiar to Paul Wertheimer, a concert security expert and longtime critic of the industry. He began his career investigating the Who disaster and has since documented thousands of safety incidents at festivals and concerts; his research has included hours studying the dynamics of mosh pits.“I’ve been living this recurring nightmare, what happened in Houston, for 40 years,” he said in an interview. “I’ve seen it over and over again.”In 1979, 11 people were killed in a stampede at a Who concert in Cincinnati that had no assigned seats.Bettmann/Getty ImagesThe Astroworld disaster has already ignited debate about the safety of festivals, just as the industry has finally seen the return of large-scale touring after more than a year of dormancy during the pandemic.To critics like Mr. Wertheimer, Astroworld is yet another sign that concert promoters prioritize profits over safety. The concert industry sees it differently, arguing that the rarity of serious problems given the many thousands of events that go on without major incident each year proves that most shows are perfectly safe, and that expertise has been developed to protect the public.Live Nation, the world’s largest concert company, put on some 40,000 shows of various sizes in 2019, the most recent year that it had a full slate of events. Deaths and major injuries are rare, and when they do occur they often involve factors like drug overdoses.Still, the impact of the deaths in Houston are already being felt in the industry, as executives calculate the increased costs and heightened security measures they expect will be required in the future to avoid becoming the next Astroworld.Randy Phillips, the former chief executive of AEG Live, a concert giant that counts Coachella among its portfolio of festivals, said that for shows he is planning on his own as a promoter, “we are oversecuring and overinsuring all participants in a way we probably wouldn’t have pre-Astroworld.”Until the criminal investigation is completed, and courts sort out liability in the civil suits, it may be unclear just what steps festivals promoters and concert venues should take to prevent a recurrence. But few doubt there will be repercussions that will affect insurance, security, government regulations and contractual agreements among promoters, performers, venues and various third parties like security firms.In a statement, Live Nation said, “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve.” The company declined to comment further.For Live Nation and other promoters, festivals have become an important moneymaker. The day before the Astroworld disaster, in a conference call with analysts to announce Live Nation’s third-quarter financial results, Michael Rapino, its chief executive, said that when the company controls all revenue streams for a festival, “it’s our highest-margin business.”Crowd-control plans are an essential part of those events, and have evolved over the last two decades or so as festivals have become a key part of the touring industry.To manage general-admission events, long barriers known as crowd breaks are usually deployed to divide large spaces into smaller zones that contain as few as 5,000 patrons, reducing the risk of overcrowding, Mr. Phillips said. Other practices have emerged, like the use of counterprogramming on multiple stages, with overlapping set times, to prevent the full force of a festival audience from piling into one place at the same time.It is unclear how well those lessons were implemented at Astroworld.In 2010, 21 people died when crowds of thousands passed through a narrow tunnel on the way to a festival in Germany.Erik Wiffers/Agence France-Presse — Getty ImagesIn an appearance on NBC’s “Today” show on Tuesday, Samuel Peña, the Houston fire chief, said that barricades had been used to prevent the crowd from surging forward, but the movement of the crowd toward the stage “in essence caused other areas of pinch points.”“As the crowd began to surge and push and compress toward the front,” Mr. Peña said, “it was those people in the center that began to get crushed and the injuries started.”Astroworld has also stood out for the role of Mr. Scott, the festival’s creator and star attraction. A chart-topping rapper and entrepreneur, he has developed a reputation for putting on chaotic, high-energy shows, even encouraging fans to sneak in. Twice before, Mr. Scott has been arrested and accused of inciting crowds at his shows, and pleaded guilty to minor charges.At one point last Friday, Mr. Scott paused his set to take note of an ambulance in the crowd. But what he knew about the extent of danger in the crowd will surely be a central point in the investigation and the civil suits.The relative lack of injury at most big events has led concert executives to defend what they do as safe.Carl Freed, the promoter of the Hot 97 Summer Jam, an annual hip-hop festival at MetLife Stadium in New Jersey, called Astroworld “a horrible tragedy,” and added: “But there’s been a great deal of thought put into the safety of patrons. Always has been, always will be.” Summer Jam, which has assigned seating, has had a number of incidents over the years involving fans trying to push their way through security and sometimes scuffling with police.The history of trouble with overcrowding goes back to the very beginning of rock ’n’ roll. In 1952, the disc jockey Alan Freed’s “Moondog Coronation Ball” in Cleveland was shut down by police after up to 25,000 fans showed up for an arena that could hold just 10,000.And a number of events have turned deadly. In 1991, three teenagers were trampled to death at an AC/DC concert in Salt Lake City. That same year, nine people died in a stampede outside a benefit basketball game at City College in New York that was presented by a young rap promoter, Sean Combs. In one of the highest-profile disasters in recent years, 21 people died in 2010 when crowds of thousands were forced to pass through a narrow tunnel on the way to the Love Parade, a festival in Duisburg, Germany.The rise of big outdoor festivals in the late 1960s helped establish rock as a paramount cultural force, but the problems at Woodstock (gate-crashing; traffic and sanitation failures) and Altamont (a fan’s death at the hands of a Hells Angels security crew) frightened local governments around the country, which passed public gathering laws that stunted the growth of American festivals for decades.Brian D. Caplan, a lawyer who is not involved with the Astroworld suits, said that it may take courts time to establish which parties face liability, but that the history of dangers and violence at concerts serves as fair warning to promoters that steps must be taken to protect the public.“These happen sporadically, but all large promoters would know that an event of this nature could happen,” Mr. Caplan said. “They do the best they can to ensure these things don’t happen, but when they do it’s difficult to escape some form of liability for the consequences.”Viewing the footage of Astroworld, Mr. Wertheimer said that the deaths could have been prevented simply by reducing the density of the crowd. But with the popularity and profitability of festivals, he doubted that would happen.“It’s going to be business as usual after this in Houston,” he said, “unless officials rise up and try to protect their communities.” More