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    Review: A Conductor Surprises by Embracing the Ordinary

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    Esa-Pekka Salonen is known for unusual, ambitious projects. But at the New York Philharmonic this week, he succeeded with standard repertory works.The conductor Esa-Pekka Salonen tends to get noticed for his ambitious, even outlandish projects.Perfume cannons puffing out scent alongside the music. A rare performance of one of the piano’s most gargantuan concertos. Contemporary opera in the concert hall. A roboticist being included among his artistic collaborators. Ample helpings of his own works. (Salonen is the rare maestro who is also a successful composer.)But once all the perfume has dissipated, it shouldn’t be forgotten that Salonen, who led the New York Philharmonic on Wednesday at David Geffen Hall, is, at core, simply an excellent conductor.The Philharmonic program was unusual for him in that it was so, well, uncreative. No premieres, no stagings, no intriguing juxtapositions. Just two classic pieces — Shostakovich’s Cello Concerto No. 1 and Berlioz’s “Symphonie Fantastique” — that, in the style of old-fashioned orchestra programming, seemed to have been thrown together arbitrarily. And yet it was a terrific concert, overseen by Salonen with his characteristic fiery clarity.Fiery clarity is a good way of describing his most recent career move, too. Classical music is, outwardly at least, meticulously polite. Few musicians leave positions amid publicly verbalized anger.But in March, when Salonen announced he wouldn’t renew his contract as the music director of the San Francisco Symphony, he told the truth — or at least his truth. He had made his decision, he said, “because I do not share the same goals for the future of the institution as the Board of Governors does.”By the industry’s standards, this was an expletive-ridden rant. It quickly became clear that the problem was money. The San Francisco Symphony has hobbled out of the pandemic even more deficit-laden than it was before; its expensive promises to Salonen — like that team of artistic collaborators, roboticist and all — were going to need to be curtailed.The funny thing about Wednesday’s concert in New York is that it was exactly the kind of program that would be his future had Salonen chosen to remain in San Francisco: meat and potatoes repertoire, without the fancy trimmings.But even without them, the Philharmonic played beautifully for him on Wednesday. The Shostakovich concerto was dotted with eerily mellow rips of brass near the start, a hushed dusk in the strings at the start of the second movement and characterful pierces from the winds in the final Allegro. Sheku Kanneh-Mason, the soloist, played with a rich yet focused tone, and he didn’t indulge in excessive emotion. This resulted in a performance that was modest, straight-faced and fundamentally serene — but also a little cool, a little efficient. The piece seemed to sail by briskly.It was hard to remember the concerto at all after the monster that is Berlioz’s “Symphonie.” Last year, I wrote that the Philharmonic’s rendition of this score under Herbert Blomstedt was “leisurely, mellow, thoroughly pastoral.” That could hardly have been further from Salonen’s neurotically unsettled, icy-hot take, which grabbed every opportunity to emphasize off-kilter rhythms and changeable textures.The opening “Reveries, Passions” section had a dewy freshness to the sound that could shift, in a moment, to intense fullness, and then back again. Salonen couldn’t keep the long central “Scene in the Fields” section from feeling like it lingers. But it had quietly been building tension, with an undercurrent of anxiety — an anticipation of the trembling violas a little later on — even in Ryan Roberts’s quiet, plangent English horn shepherd calls.Salonen embraced the sudden swerves and floodlit brashness of the “March to the Scaffold,” which was, as it is too rarely, genuinely scary. And the finale, “Dream of a Witches’ Sabbath,” was raucous but never messy — a ferocious, fantastic party.New York PhilharmonicThis program continues through Saturday at David Geffen Hall, Manhattan; nyphil.org. More

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      Review: A Conductor Takes a Victory Lap With Her Orchestra

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      Mirga Gražinytė-Tyla has returned to the City of Birmingham Symphony Orchestra, now as a guest, for a tour that stopped at Carnegie Hall.When Mirga Gražinytė-Tyla, a rapidly rising young Lithuanian conductor, announced last year that she would step down from her post as the City of Birmingham Symphony Orchestra’s music director, her statement had the euphemistic wording of a breakup.“This is a deeply personal decision,” she said at the time, “reflecting my desire to step away from the organizational and administrative responsibilities of being a music director at this particular moment in my life and focusing more on my purely musical activities.”But she was being honest: An outlier in classical music, at 36 she would rather dedicate time to her own interests and her growing family than be tied to an orchestra. When I met her in January, as she was preparing a new production of Janacek’s “The Cunning Little Vixen” in Munich as part of a year dedicated to various iterations of that opera, she said lightheartedly, “I’m not sure the big orchestras will be interested in having me if I say I’ll do only ‘Vixen’ for the whole season.”If more proof of Gražinytė-Tyla’s sincerity were needed, she has also delivered on the final part of her statement that “we shall continue to make music together in the coming years.” She is touring with the Birmingham, England, ensemble, now as its principal guest conductor. One of their stops was at Carnegie Hall on Saturday night: a program that was something of a victory lap not only for her six-season tenure with these players, but also for the group’s pandemic-delayed centennial celebrations from 2020.Among those celebrations was a series of commissions that included Thomas Adès’s “The Exterminating Angel” Symphony, a four-movement adaptation of his 2016 opera that had its New York premiere on Saturday.“The Exterminating Angel” is one of the great operas of our time — a work of wicked humor and dark beauty that befits both the 1962 Luis Buñuel film that inspired it and the overwhelming dread and instability we try to live with today. (Now, its story of surreal, indefinite imprisonment in a single room comes off as prescient and all too familiar.) The sound world Adès conjures throughout is dramaturgically airtight: shifting harmonies, the eeriness of an ondes Martenot, dense forces of cosmic immensity.It’s a lot to take in, and there have been few opportunities; “The Exterminating Angel” is an expensive production, with a sprawling principal cast and an orchestra of Wagnerian heft. Adès conducted the American premiere at the Metropolitan Opera in 2017, and given the house’s unreliable continued support of contemporary work, however successful, it’s difficult to imagine a revival any time soon.Thankfully, Adès has made further music from the score: the solo piano Berceuse, written for Kirill Gerstein, and this symphony, which cleverly echoes the opera without excerpting it. Gone is the eerie ondes Martenot, though it lives on in swinging glissandos in the strings; still intact, however, is the opera’s excess and horror, made all the more unsettling by the orchestra’s coolly crisp, virtually objective delivery on Saturday.The first movement, “Entrances,” nods at the grotesquerie and layered textures of the opening scene; “March,” from an interlude between Acts I and II, could just as easily be called “Prelude to the Afternoon of a Firing Squad,” with martial terrors reminiscent of Shostakovich’s 11th Symphony. The grim lyricism of Adès’s love songs and lullabies returns with another Berceuse, followed by the finale, “Waltzes,” a rhapsodic assemblage that evolves into a relentless danse macabre analogue to the opera itself.Had the symphony not come after an intermission, it would have been a whiplash response to the work that opened the program: Elgar’s sparely orchestrated and often quiet Cello Concerto in E minor, featuring Sheku Kanneh-Mason as the soloist. He’s an expressive musician, who defaults to a wide, emotive vibrato — especially in his encore, a harmonious arrangement of Bach’s “Komm, süsser Tod” for five cellists. Gražinytė-Tyla deferred to him as the concerto’s narrator, with modest accompaniment and rarely blooming grandeur.And a compelling narrator he was. Kanneh-Mason plays with the seeming spontaneity that can come only from extreme discipline, but also a freedom that occasionally slides into flawed intonation. And in a work as plain-spoken as the Elgar, his elevated articulation was more Shakespeare than, say, the Chekhov it should have been. But all that could be forgiven for the sheer charisma of his performance.The most traditional showcase of the Birmingham ensemble’s sound under Gražinytė-Tyla was in Debussy’s “La Mer,” which closed the evening in a transparent interpretation that revealed the piece’s rich, subtly maximal orchestration. Gražinytė-Tyla’s reading wasn’t the most volatile, but it was revealing in its clarity, balancing texture upon texture below a gracefully buoyant melody in the brasses or winds.Players in every section of the orchestra responded to her gestures — sometimes efficiently small, sometimes evocative of a swerve or plunge — with lived-in ease. Gražinytė-Tyla might not be attached to them full time, but neither is she fully detached. Whatever she has decided to do, to reconcile her own interests with that of this orchestra, it’s working.City of Birmingham Symphony OrchestraPerformed on Saturday at Carnegie Hall, Manhattan. More

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      Review: A Cellist Accompanied by His Sister. Or Vice Versa?

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      Isata and Sheku Kanneh-Mason were true musical partners in concert at Zankel Hall.If someone asked you what kind of concert you went to at Zankel Hall on Wednesday evening, you’d probably call it a cello recital. That’s the shorthand for performances by prominent young string soloists; the usual thought is they are the main event. We would traditionally say that they were simply “accompanied” by a pianist.But on Wednesday that pianist was Isata Kanneh-Mason. She played beautifully: her touch patrician in a Beethoven sonata; dreamy in one by Shostakovich; suave in one by Frank Bridge; and alert without being anxious in one by Britten. Calmly commanding throughout, she was also unfailingly subtle. You could even say she was accompanied by her younger brother, the cellist Sheku Kanneh-Mason.I’m joking, of course, but that the Kanneh-Masons are siblings makes it easier to see them as equal partners, and to see the lie in the common notion that the keyboardist is the bit player in someone else’s show. The sonata repertoire is often difficult enough on the piano that the accompanist label seems inadequate. This truly felt like a concert of duets.Both of these musicians have been rising in recent years: first Sheku, 23, following his internationally televised appearance at the royal wedding in 2018; and more recently Isata, 25, with a pair of excellent, quietly innovative albums. They appeared together in 2019 at Carnegie Hall’s smallest space, and returned on Wednesday to Zankel, the middle-size hall, whose 600 seats were sold out. (Is the biggest, Stern Auditorium, to come?)The program was nicely constructed. Bridge was Britten’s teacher; and Britten and Shostakovich are linked, as the Kanneh-Masons said in a recent interview with The New York Times, through the advocacy of the great cellist Mstislav Rostropovich.Rostropovich also played Karen Khachaturian’s lively sonata, which the Kanneh-Masons are doing at some stops on their present tour. I wish they had presented it at Zankel instead of Beethoven’s Cello Sonata No. 4 in C, an intrusion — however pleasant — from the early 19th century in what otherwise would have been four pieces written over just 50 years in the 20th. As an opening here, it was restrained to the point of weightlessness.In some ways, the first half of the concert felt like a preparation for the second, with the Shostakovich, after the Beethoven, also floating by with lots of smoothly threadlike, wispy cello playing — though in the Largo, Sheku’s even keel paid off in some arresting harshness, and Isata was icily lucid in the second movement.After intermission, in the rarely performed, richly wistful Bridge sonata, these musicians didn’t lose their restraint but gained tension as more extravagant emotion kept spilling past the reserve. The second movement climaxed in the piano’s softly conclusive, consoling line, setting off a spiral of light calligraphy in the cello — a passage of superbly unified playing.And Britten’s sonata was a match for the Kanneh-Masons’ self-possession, in the gnomic interplay of the first movement — nearly silent undulating in the cello as the pianist seems to wander, searching for him — and the caroming yet controlled pizzicato of the second. A sense of togetherness, of shared sensibility, permeated the whole piece, as it did the whole concert, down to the understated yet feeling encore, their arrangement, inspired by Samuel Coleridge-Taylor’s, of the spiritual “Deep River.”Isata and Sheku Kanneh-MasonPerformed on Wednesday at Zankel Hall, Manhattan. More

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      A Sister and Brother Choose Repertoire by Feeling and Listening

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      The young British phenoms Isata and Sheku Kanneh-Mason are performing a duo recital of cello sonatas, including by Shostakovich and Frank Bridge, at Carnegie Hall.Are Sheku and Isata Kanneh-Mason those rarest of things: young superstars who might actually live up to their hype?It certainly appears that way. The pair are two of seven British brothers and sisters, all musicians, who shot to fame when Sheku, a cellist, won the BBC Young Musician Award in 2016. Sheku’s exposure, in particular, has been extravagant since his star turn in the wedding of the Duke and Duchess of Sussex in 2018. But listen to more than the breathless reporting of their streaming numbers and you find musicians who, while still in the early stages of their careers, already have serious, distinctive things to say.Sheku, 23, made his New York Philharmonic debut in November, playing Dvorak’s Cello Concerto, a performance that revealed him to be a “charismatic protagonist and a generous collaborator,” as Joshua Barone put it in The New York Times. Isata, 25 and a pianist, has recorded two outstanding solo albums, one filled with works by Clara Schumann, the other cleverly moving between composers including Samuel Barber, Amy Beach, George Gershwin and Samuel Coleridge-Taylor.After an acclaimed appearance together at Weill Recital Hall in December 2019, they are returning for a duo recital at Carnegie Hall on Wednesday, part of a long, busy tour that continues in Boston and Atlanta before a European leg.Speaking from Kansas City, Mo., they talked about their program of cello sonatas by Frank Bridge, Britten, Shostakovich and either Khachaturian or Beethoven, depending on the stop. Here are edited excerpts from the conversation.You each have your own concerns as artists, so how do you go about compiling a program when you play together on a tour like this?SHEKU The main criteria is music that we’ve heard or want to discover, that we enjoy and maybe have something to say with, and we want to spend time working on and perform many, many times. Also it’s always interesting to pick repertoire that perhaps is new to some of the audiences we perform for. The Bridge Sonata is an example: It’s music that I really love and think is special, and has been new to a lot of audiences.ISATA Sometimes when we present pieces that aren’t so well known, you have to go through the difficulty of getting presenters to accept them and trust that the audiences will like them. We’ve found on this tour that the audiences like these pieces; they really respond to the music. That just shows that all good music can be communicated, whether it’s something popular or not.Sheku, what appeals to you about Frank Bridge’s sonata, which is a rarity compared even to the Britten and Shostakovich?SHEKU It’s an incredibly beautiful and at times heartbreaking piece of music. The sonata was split in terms of when it was composed, the first movement from before World War I and the second from toward the end of the war. Bridge was certainly affected by what happened, you can hear that. The first movement ends quite peacefully, and then the second starts in a completely different world. It’s like a lament, with some dark, harsh moments as well. It ends with the first movement’s theme, and when it does it’s quite like the Elgar Cello Concerto, it’s nostalgic, almost desperate. Although it ends on a nice major chord, it doesn’t feel resolved. It’s a really fascinating piece.Did you intend the works to speak to each other, to draw connections?SHEKU The program that we constructed with Khachaturian and Shostakovich, the Bridge and Britten, there are very clear connections between the pieces: Britten and Bridge having the student-teacher relationship, Britten and Shostakovich …ISATA Through Rostropovich.SHEKU Exactly. Those connections are very strong. When I discovered the Khachaturian Sonata, it was because I was listening to an album that has Rostropovich performing the Shostakovich with Shostakovich, and the second half of the album is Rostropovich playing the Khachaturian with Khachaturian.And the Beethoven is there because some presenters think he is easier to promote than Khachaturian?SHEKU It’s great music as well, I get it.ISATA It is great music, and we were playing it before anyway. But yeah, it was originally because it’s more accessible than the Khachaturian.Are these works that you have lived with for a long time?ISATA The Bridge and the Britten we first played about a year ago. The Shostakovich we played a couple of movements of during childhood — actually we played the whole thing when we were about 18. We put it away for a few years and then came back to it.The Shostakovich was written in 1934, after the premiere of “Lady Macbeth of Mtsensk” but before his political denunciation in 1936. How would you describe the sonata?SHEKU He wrote it during a period of separation from his wife, but I don’t think the piece is about that necessarily. It has quite Classical elements in terms of the form of the whole sonata, the style of each movement, how the phrases are constructed, but harmonically, rhythmically and the colors he chooses to use are very distinctive of Shostakovich. The third movement is where he pours all of his heart and sorrow and soul. The outer movements are quite playful and quirky. He had a good sense of humor.This is Isata Kanneh-Mason’s favorite page in the Shostakovich Cello Sonata, from the final movement.SikorskiDo you have a favorite page in the score?ISATA I actually could pick one! It would be in the fourth movement, about six pages before the end. The music dies down, there’s this moment of silence — and then the piano explodes with these semiquavers, with an E flat minor chord in the left hand. It’s just so Shostakovich to have such a dramatic mood change. When I was younger this passage always terrified me, because I was like, Oh, I’m going to mess up the semiquavers, but now, after many years of practicing, I’m usually just excited to shock the audience with this outburst.A favorite passage from Shostakovich’s Cello SonataMstislav Rostropovich, cello; Dmitri Shostakovich, piano (Warner)You’ve both shown an interest in expanding the diversity of the music your audiences hear, whether Clara Schumann or music rooted in spirituals, but that’s not been the case with your Carnegie dates together. Is there scope for doing more of that in your chamber music programs, or is it harder in some areas than in others?ISATA There is great repertoire in the chamber music world of female composers, of Black composers, but that will come to us naturally, the way any piece of music does — through listening and through feeling compelled to play them, rather than ticking boxes.SHEKU What is potentially a shame is that a lot of the pressure to perform repertoire by female composers is placed on women, and a lot of the pressure to perform music by Black composers is placed on Black musicians. You don’t often see a white performer performing music by Samuel Coleridge-Taylor, for example. So us just being Black performers is, I don’t know, enough of a difference. More

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      Review: The Cellist Sheku Kanneh-Mason Makes an Entrance

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      A young star made his New York Philharmonic debut in an evening of bold, charismatic musical storytelling.It takes a long time for the soloist to enter in Dvorak’s Cello Concerto: three and a half minutes of orchestral music with the force and sweep of a symphony. But when that entrance finally comes, it’s marked in the score as “risoluto” — resolute, bold, declarative.And it could hardly have been more so than it was at Alice Tully Hall on Thursday, when the cellist Sheku Kanneh-Mason made his debut with the New York Philharmonic. Having sat patiently at his instrument during the introduction, Kanneh-Mason, 22, became suddenly animated, matching the ensemble’s grandeur with his own: fiery vibrato, dramatic phrasing, richly voiced yet crisp forzando chords.This wasn’t the Kanneh-Mason whom nearly two billion people saw perform at the wedding of Prince Harry and Meghan Markle in 2018. Then, he was more restrained — with the occasional expressive, searching look in his eyes, but generally measured as he played three short pieces. One of them, Fauré’s “Après un Rêve,” has racked up millions of streams on Spotify.The streaming numbers for his latest album — “Muse,” with the excellent pianist Isata Kanneh-Mason, his sister — are much smaller so far. But that recording is far more revealing than the wedding performance of his sound and style, proving his gift as a compelling musical storyteller in sonatas by Barber and Rachmaninoff, whether charting thorny passages or soaring to emotional heights.That was recognizably the musician who played the Dvorak concerto on Thursday: a charismatic protagonist and a generous collaborator in chamber-like passages. But Kanneh-Mason could also be a bit of a ham, his extremities of expression sometimes tipping into an unwieldiness that, as he maintained the overall shape of a phrase, sacrificed intonation along the way. These passing errors, though, were less memorable than the grace of his bow gliding over harmonics, or the control and tension with which he was able to build long crescendos.After the standing ovation that followed, he announced that his encore would be a premiere: “3-Minute Cello Concerto,” by the 11-year-old Larissa Lakner, part of the Philharmonic’s Very Young Composers program. Delivered with the same sincerity afforded Dvorak, this work was a dialogue between soloist and orchestra, in varied episodes of Mozartean tidiness and melodies that wouldn’t be out of place on a “Harry Potter” soundtrack; Kanneh-Mason had his share of pyrotechnics in agile fingering, double stops, octaves and passionate legato. It has been heartening to see ever-greater attention given to the children in this initiative, whose work has been featured in widely attended outdoor concerts, pandemic Bandwagon performances and, here, a high-profile subscription program.The concert was conducted by Simone Young, lately a more regular presence at the Philharmonic.Chris LeeThe conductor was Simone Young, who stepped in two years ago after a long absence to lead the orchestra because its music director, Jaap van Zweden, burned himself with an ice pack, and is thankfully becoming a more regular presence at the podium here. Preceding the Dvorak was a brief opening in the form of the “Fuga (Ricercata)” from Bach’s “Musical Offering,” arranged by Webern in a modernist showcase of 18th-century complexity; after intermission came Brahms’s First Symphony.With an ear for easily overlooked details and dramatic instincts that gave the whole evening a sense of drive and accumulation, Young subtly threaded elements of the Bach through the pieces that followed. By slightly emphasizing the section cellos in the opening of the Dvorak, she lent their part the brightly articulated counterpoint of individual voices in the “Fuga”; later, in the first movement of the Brahms, Webern’s arrangement was echoed as a leading line was passed from oboe to flute and cello.Young led the orchestra with decisive urgency and refreshingly little over-the-top physical extroversion. (She had that combination of qualities in common with another star of the evening, Sheryl Staples, the principal associate concertmaster, who was heavily featured as a soloist in the Dvorak and Brahms.) Most impressive was the reserve Young employed in the opening movements of those two works. Substantial, and with spectacular endings, each could almost be a stand-alone piece.But Young withheld somewhat in both, preferring a slow burn that built toward truly stirring finales — the galloping Brahms blossoming into a radiant chorale and popping chords that sent the audience, once again, standing to greet the music with enthusiastic applause.New York PhilharmonicThis program repeats Friday and Saturday at Alice Tully Hall, Manhattan; nyphil.org. More

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      Renovating Its Hall, New York Philharmonic Plans a Roving Season

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      With David Geffen Hall under construction, the orchestra will spend most of 2021-22 at two other Lincoln Center venues.For any major music ensemble, planning a season of concerts as a pandemic stretches on is daunting. For the New York Philharmonic, there is an added challenge: The orchestra’s home, David Geffen Hall at Lincoln Center, is in the midst of a $550 million renovation.That will leave the orchestra roving for the next year as it tries to recover from the pandemic, which resulted in the cancellation of its 2020-21 season and the loss of more than $21 million in ticket revenue, forcing painful budget cuts.But the Philharmonic won’t travel too far. On Tuesday, it announced its 2021-22 season: a slate of about 80 concerts, compared to 120 in a normal year, spent mostly at two other Lincoln Center venues, Alice Tully Hall and the Rose Theater, with four forays to Carnegie Hall and a holiday run of “Messiah” at Riverside Church.“People are starved for live entertainment,” Deborah Borda, the Philharmonic’s president and chief executive, said in an interview. “There may be some slight hesitancy at the beginning, but I think people are going to come flocking back.”The season opens Sept. 17 with the pianist Daniil Trifonov playing Beethoven’s Piano Concerto No. 4 at Tully. Other prominent artists on the schedule include the pianists Yuja Wang and Leif Ove Andsnes; the violinists Hilary Hahn and Joshua Bell; the saxophonist Branford Marsalis, who will play a concerto by John Adams; and the conductor Gustavo Dudamel, who will lead Schumann’s four symphonies and two world premieres over two weeks in March. The Philharmonic’s principal clarinetist, Anthony McGill, will be featured in Anthony Davis’s “You Have the Right to Remain Silent.”Soloists appearing for the first time with the orchestra include the cellist Sheku Kanneh-Mason, who will play Dvorak’s concerto and also participate in a Young People’s Concert; the soprano Golda Schultz; the pianist Beatrice Rana; and the conductors Jeannette Sorrell and Dalia Stasevska.In its fourth year with the conductor Jaap van Zweden as its music director, the Philharmonic will also premiere a variety of works, including by the American composers Joan Tower and Sarah Kirkland Snider. Those two premieres are part of Project 19, a multiyear initiative to commission works from 19 female composers to honor the centenary of the ratification of the 19th Amendment, which barred the states from denying women the right to vote.A few of the concerts will be at an unusual time: The orchestra will present three Sunday matinees, the first time it has done that since the 1960s, in an effort to broaden its audience.The Philharmonic has been at the center of the recent revival of the arts in New York. The orchestra appeared at the Shed in April, its first indoor concert in 13 months. And it performed at Bryant Park last week, the first time its musicians had played together without masks since the start of the pandemic.The orchestra is taking precautions in its planning to ease fears about the virus. There will be no intermissions at least through December, to prevent crowds from gathering. Borda said the orchestra would follow guidance from the state and federal authorities in deciding other public health measures, like requiring masks or proof of vaccination.“What it will be like in September is anybody’s guess,” Borda said. “We have to remain flexible.”The Philharmonic had to make a series of painful cuts as more than 100 of its concerts were canceled. The orchestra reduced its administrative staff by about 40 percent, largely through layoffs. In December, its musicians agreed to a four-year contract that included a 25 percent cut to the players’ base pay through August 2023, with compensation gradually increasing after that, though remaining below prepandemic levels.There were some bright spots amid the turmoil. Donations increased 11 percent last year, totaling $31.5 million. The orchestra also worked to deepen its connections with city residents through two series of Bandwagon concerts, bringing first a pickup truck and then a 20-foot shipping container with a foldout stage to neighborhoods across the city, and giving local artists an opportunity to perform.Several of the organizations that took part in Bandwagon concerts, including National Black Theater, a nonprofit arts group in Harlem, and El Puente, a social justice organization in Brooklyn, will be featured in the 2021-22 season. Those collaborations will be organized by Anthony Roth Costanzo, a countertenor who produced the Bandwagon series and is also the orchestra’s artist-in-residence next season; he has also helped prepare a two-week festival focusing on identity, “Authentic Selves: The Beauty Within.”The coming season will be the first time in recent decades that the orchestra has not had access to its own hall. Its administration and Lincoln Center decided to use the shutdown to accelerate the renovation of Geffen Hall, which is set to reopen in the fall of 2022, a year and a half earlier than planned. The hall will feature state-of-the-art acoustics and a more intimate feel, with seats that wrap around the stage.Borda said much of the coming season would be devoted to preparing for the orchestra’s return to Geffen.“This hall provides an opportunity to transform ourselves,” she said, “but also to paint on an even larger palette.” More