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      Juilliard’s President Is Challenged but Retains Support of Board

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      The school’s chairman and biggest benefactor, Bruce Kovner, had wanted its president, Damian Woetzel, to leave after a negative evaluation. He marshaled support and stayed.When the charismatic former New York City Ballet star Damian Woetzel was named president of the prestigious Juilliard School in 2017, the school’s powerful chairman, Bruce Kovner, praised his “unusual mix” of intellectual and artistic qualities.But earlier this year Kovner told Woetzel that an internal evaluation had found a lack of confidence in his leadership and asked him to resign by the end of June, a year before the end of his contract, according to a letter Woetzel sent to the school’s trustees that was obtained by The New York Times.Woetzel fought back and succeeded in rallying support behind him, getting testimonials from several eminent artists including the trumpeter and composer Wynton Marsalis, who directs Juilliard’s jazz program, and the pianist Emanuel Ax, a leading member of the faculty. And he wrote in his letter to trustees that the performance review “was extraordinary and highly inconsistent with best practice in nonprofit governance — it was conceived, initiated and managed by our board chairman.”Things came to a head at a board meeting last month. The trustees were informed of the evaluation and Kovner’s recommendation that he leave, but declined to take steps to ease Woetzel out. Kovner, long the school’s biggest benefactor, is planning to step down this June after 22 years as its chairman, a move that one associate said had long been planned.Kovner declined to comment, and Juilliard provided a statement from the board to The New York Times in which it said that “at its most recent meeting, the board strongly reaffirmed its support for President Damian Woetzel” and the 10-year strategic plan that the school created in 2019.The statement said that the board was “unwavering in its focus on the best interests of the students of the Juilliard School, and remains committed to supporting the school’s exceptional faculty, staff and management.”Some saw the conflict as a rare power struggle between two prominent figures in the cultural world, a showdown between old guard and new blood.Given Kovner’s immense influence as Juilliard’s biggest patron — and as an important figure at Lincoln Center, Juilliard’s home, where he serves on the board and has given large sums — some were surprised to see Woetzel prevail. One trustee likened it to a David and Goliath story.Woetzel, 54 — who earned a master’s degree in public administration from the John F. Kennedy School of Government at Harvard while still dancing — has built a national reputation, having directed the Aspen Institute Arts Program and the Vail International Dance Festival and served on President Barack Obama’s Committee on the Arts and Humanities.Kovner, 75, whose net worth Forbes estimates at $6.2 billion, has been something of a permanent government at Juilliard, having served as chairman for an unusually long time. With his wife, Suzie, Kovner’s gifts have included $25 million toward a new wing and scholarships in 2005; a trove of precious music manuscripts in 2006; $20 million for the early music program in 2012; and $60 million for a new scholarship program in 2013.At Lincoln Center, Kovner was one of the biggest donors to the redevelopment of the performing arts complex, serves on the board of the Metropolitan Opera and was formerly a trustee of the New York Philharmonic.The standoff posed a challenge for the board and the school, given that Kovner’s ongoing support of Juilliard remains crucial.Bruce Kovner, the chairman of Juilliard, and his wife, Suzie, are the school’s biggest benefactors. He sought to ease Woetzel out after a negative evaluation. Dia Dipasupil/Getty Images For Lincoln CenterWoetzel’s evaluation was sent to 49 members of the faculty and staff — including every department head and 18 direct reports — 43 of whom responded to it anonymously. There are about 700 full-time and part-time members of Juilliard’s faculty and staff.The review was designed and conducted by Kovner and J. Christopher Kojima, a vice chairman, Woetzel’s letter to the board said. His letter said that it was “not conducted at an arm’s length distance by an independent party as is best practice for nonprofit institutions of our scale.”The responses included 143 comments, more than three-quarters of which were negative, according to someone privy to a summary of the report who was granted anonymity to describe this sensitive personnel matter.The feedback amounted to several key criticisms, according to the summary, which was described to The Times: that Woetzel focused on performance instead of education; had weak administrative leadership; failed to consult faculty members on key decisions; and created an atmosphere of fear and intimidation.A question about confidence in Juilliard’s future met with a negative response from more than half of those who responded, according to the person familiar with the summary.On Jan. 27, Woetzel was asked to leave, according to his letter to the board.“Bruce Kovner communicated — on behalf of the Executive Committee — that my service as president would be terminated prior to the end of my contract, and that the decision was ‘irrevocable,’” Woetzel wrote in the letter to trustees.“Having communicated to me this intent to terminate,” the letter said, “Bruce then emailed me an offer of a severance package that would include a jointly crafted statement that would create a false narrative that I was resigning as of June 30th.”The letter gave Woetzel 96 hours to respond. He decided not to resign.On Feb. 4, Kovner sent the results of the evaluation to the full board, saying the findings were concerning and would be discussed at the regularly scheduled board meeting four days later.Woetzel marshaled support from a number of prominent artists and colleagues, who sent letters to the board in advance of the meeting.“Damian has a record of excellence in his leadership of the school, especially during two pandemic years and these deeply troubling social, political and financial times that have changed the social landscape of America,” Marsalis wrote in his letter, obtained by The Times. “He has been engaged with students, faculty and board in attempting to create a modern institution that is nimble and able to address the very real concerns of students and alumni around the world.”“I feel how we are going about this brings our ethics into question,” Marsalis continued. “This attempt to remove him seems to be poorly thought out, poorly executed, and it will place a stain on our institution that even our love of resources and fragile spirit will not easily remove.”Juilliard has had successes, but also problems, since Woetzel took charge.Jeenah Moon for The New York TimesThe trombone player Weston Sprott, who is the dean of Juilliard’s Preparatory Division, warned in an email to Ax, an influential faculty member, that “a decision to terminate Damian will be incredibly harmful to the institution.”“In the midst of managing the bumps and bruises that could be expected in navigating the national reckoning regarding racial injustice,” Sprott continued, “Damian has put together perhaps the most diverse, inclusive and successful leadership team in our industry — one that is respected by students and faculty and is the envy of its competitors.”Kovner and the executive committee expect Woetzel to address the problems raised in the evaluation with outside coaches and under the guidance of the trustee Reginald Van Lee, a former management consultant, according to the person familiar with the summary. But one trustee said no such course of action has been decided by the full board.Woetzel started out as an unconventional choice for Juilliard, having never worked in academic administration, let alone at one of the world’s leading performing arts schools, which at the time of his appointment had a $110 million annual budget, a $1 billion endowment, and more than 800 students.At Juilliard, Woetzel has made several noteworthy advances, securing a $50 million gift to expand the school’s weekend training program aimed largely at Black and Latino schoolchildren; filling several key positions; and guiding the school through the challenging two years of the pandemic.But he has also had bumps along the way. After a drama workshop at the school involving the re-enactment of a slave auction prompted an outcry, Woetzel issued a “heartfelt apology” in a note to the community.Last June, students protested a planned tuition increase, occupying parts of Juilliard’s Lincoln Center campus and holding street demonstrations. (Several other leading music and drama schools offer free tuition.)Kovner, who made his fortune as a hedge fund manager, has contributed extensively to conservative causes and has served on the boards of the American Enterprise Institute and the Manhattan Institute, both right-leaning think tanks. Last May, City Journal, which is published by the Manhattan Institute, criticized what it described as the school’s “growing cadre of diversity bureaucrats” in an article headlined “The Revolution Comes to Juilliard: Racial hysteria is consuming the school; unchecked, it will consume the arts.”Kovner has also supported left-leaning organizations, including the Innocence Project, which aims to free the wrongfully convicted; and Lambda Legal, devoted to civil rights for lesbian, gay, bisexual and transgender people.Now Juilliard is preparing for the next chapter. This week the school’s Duke Ellington Ensemble was scheduled to perform a celebration of the 20th anniversary of Juilliard Jazz at the Chelsea Factory, a new arts space. More

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      Geffen Hall’s $550 Million Makeover Is Fully Funded

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      The New York Philharmonic’s home will reopen in October, a year and a half ahead of schedule, after construction was accelerated during the pandemic.Gone are the mustard-colored seats and shoe box interior of David Geffen Hall, the New York Philharmonic’s home at Lincoln Center. When the hall reopens this fall, wavy beech wood will wrap around the stage — and so will the audience, in seats upholstered in richly colored patterns evoking flower petals in motion.When the coronavirus pandemic hit, paralyzing the performing arts, the orchestra and center seized on the long shutdown to accelerate a planned makeover of Geffen Hall, gutting its main theater and reimagining its public spaces.Now the long-delayed overhaul is almost complete. The project’s leaders announced on Wednesday that they had raised their goal of $550 million to cover the cost of the renovation, and that the hall will reopen to the public in October, a year and a half ahead of schedule.In a rendering of the new hall, wavy beech wood wraps around the stage of the new hall — as does the audience.Diamond Schmitt“It’s not just a simple renovation where we repainted the walls and put down new carpet and chairs,” Deborah Borda, the Philharmonic’s president and chief executive, said in an interview. “The whole space is transformed. It’s an entirely new hall and an entirely new feeling.”With 2,200 seats (down from 2,738 in the old hall), Geffen will have a more intimate feel — and, if all goes as planned, improved acoustics. The project’s leaders hope the renovated hall will help galvanize New York’s performing arts scene during a difficult time, as cultural institutions work to recover from the coronavirus and win back audiences.The pandemic cost the Philharmonic more than $27 million in anticipated ticket revenue; in the early days of the crisis, it was forced to reduce its staff of 135 by 40 percent, though many have since been rehired. The orchestra is currently in the midst of a roving season during the construction, shuttling mostly between Alice Tully Hall and the Rose Theater at Jazz at Lincoln Center; it is also on the hunt for a replacement for its music director, Jaap van Zweden, who announced in September that he would step down in 2024.The coronavirus pushed the Philharmonic and the center to think more urgently about attracting new audiences, a challenge that orchestras have been grappling with for decades. The hall will include a variety of spaces meant to draw people in. In the lobby, there will be a 50-foot digital screen broadcasting concerts live. A new studio facing Broadway, with floor-to-ceiling windows, will offer passers-by a glimpse of performances, rehearsals and other events.The seats in the new hall will be upholstered in richly colored patterns evoking flower petals in motion.Vincent Tullo for The New York Times“We’re opening ourselves up to New York so it doesn’t feel like a fortress,” Borda said. “It feels welcoming, inviting and vibrant.”The renovation of the hall — which opened in 1962 as Philharmonic Hall and was called Avery Fisher Hall starting in 1976 — has been in the works for decades, repeatedly stalled by management woes and concerns about losing subscribers if the orchestra was exiled from its home for a prolonged period.A $100 million gift from the entertainment mogul David Geffen revived the project in 2015. Since then, the orchestra and center have raised an additional $450 million, though other naming gifts have not yet been announced.The pandemic, which forced the hall to close in March 2020, offered a silver lining, giving the orchestra and the center a chance to accelerate the construction. They worked at breakneck speed, gutting the interior of the main theater, removing the box office and relocating the escalators.Turmoil in the global supply chain made it harder to obtain some building materials. Surges in coronavirus cases also presented safety challenges at the construction site. But the project pushed forward, even as live performances in the city came to a standstill.“It has become a real celebration of the resilience and creativity and diversity of our great city,” Henry Timms, the president of Lincoln Center, said in an interview.The renovation project pushed forward, even as live performances in the city came to a standstill.Vincent Tullo for The New York TimesTimms added that there was still work ahead, including bringing the seats into the hall and painting the interior. The orchestra will begin playing in the space in August as part of an acoustic tuning process that is expected to last several weeks.“No one is declaring this a triumph yet,” Timms said. “We’re not done yet.”The acoustics of the hall, long derided by musicians and critics, have been a priority. The renovated space features beech wood walls molded into grooves to help improve resonance. Seats will wrap around the stage, which has been moved forward 25 feet, providing a greater sense of intimacy.The hall’s notoriously congested lobbies and other public spaces have been reimagined by Tod Williams Billie Tsien Architects, which in 2019 joined a team that already included Diamond Schmitt Architects, which is working on the auditorium’s interior; Akustiks, an acoustical design firm; and Fisher Dachs Associates, a theater design firm.The lobby has nearly doubled in size and will include a lounge, a bar and a restaurant.The project’s leaders said the renovation has provided substantial benefits to the city’s economy, which has lagged behind the rest of the United States in its recovery. More than 6,000 jobs have been created, according to the Philharmonic and Lincoln Center; many have gone to businesses run by women or members of racial or ethnic minorities.“We built through the pandemic because we knew New Yorkers needed jobs as much as they needed culture,” Katherine Farley, the chairwoman of Lincoln Center’s board, said in a statement.The leaders of the Philharmonic and Lincoln Center announced the funding of the hall at a news conference on Wednesday, joined by Gov. Kathy Hochul and Mayor Eric Adams. Adams said the project was a symbol of New York’s comeback amid the pandemic, drawing comparisons to the construction of the Empire State Building during the Great Depression.“We’re going to come back bigger and better than ever,” he said.Borda — who was hired as the Philharmonic’s president and chief executive in 2017, after leading it in the 1990s, in large part because of her success completing the Los Angeles Philharmonic’s Walt Disney Concert Hall in 2003 — said the renovation was long overdue. She added that the project had given the Philharmonic’s staff and players a sense of hope during the difficult moments of the pandemic, when dozens of concerts were canceled and pay cuts were imposed.“It’s emblematic of New York: real resilience and hanging in there,” she said. “It’s the reason I came back. I’ve always believed in this project.” More

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      Can New Yorkers Be Lured Back to the Arts by a Good Deal?

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      With two-for-one cocktails at the Met museum and two-for-one Broadway tickets, New York arts institutions are trying to lure back locals after a long, tough winter.The sounds of a small jazz combo filled the Great Hall of the Metropolitan Museum of Art last Saturday evening. Warm candles lit the space. Over at the museum’s American Wing Café, Christa Chiao and Anna Lee Hirschi were sipping prosecco.It was the first weekend of “Date Night” at the Met, an initiative to lure local visitors back to the museum on Friday and Saturday evenings with two-for-one cocktails, gallery chats and free live music featuring New Orleans jazz bands, Renaissance ensembles and string quartets.The museum’s efforts to woo back visitors from the region comes as many New York cultural organizations worry not only about the pandemic-era decline in tourism, but also the continuing struggle to bring back local crowds. The Met is currently attracting 62 percent of the local visitors it did before the coronavirus pandemic, a change it attributes in part to the continuing prevalence of remote work.“In this new reality, where many outer borough residents are working virtually and do not have to come to Manhattan, it’s on us, on the cultural institutions, to be creative and proactive in finding ways to encourage local visitorship,” said Ken Weine, a spokesman for the museum.“The challenge that the Met faces,” he said, “is really no different than a midtown small business.”Anna Lee Hirschi, left, and Christa Chiao toasted each other with their two-for-one proseccos.Nina Westervelt for The New York TimesThe Met is far from the only arts institution trying to entice local visitors back with deals as the Omicron surge fades and the coronavirus outlook seems to be improving.Lincoln Center recently announced a new “Choose What You Pay” ticketing program for its American Songbook series at the Stanley H. Kaplan Penthouse, with a minimum ticket price of $5.00, and a suggested price of $35, in an effort to make its programing more accessible.The Museum of Modern Art announced this week that it would restart a program offering free admission to New York City residents on the first Friday of every month between 4 p.m. and 8 p.m.And this year NYC & Company, the city’s tourism agency, extended NYC Broadway Week — during which theatergoers can get two-for-one tickets to most Broadway shows — for an additional two weeks, through February 27.Chris Heywood, a spokesman for NYC & Company, said that the move to extend Broadway Week deals was proving popular: As of mid-February, he said, the program’s website had already received more traffic than it did in 2020, before the pandemic closed Broadway.Learn More About the Metropolitan Museum of Art$125 Million Donation: The largest capital gift in the Met’s history will help reinvigorate a long-delayed rebuild of the Modern wing.Recent Exhibits: Our critics reviewed exhibits featuring the drawings of the French Revolution’s chief propagandist and new work by the sculptor Charles Ray.Behind the Scenes: A documentary goes inside the Met to chronicle one of the most challenging years of its history.A Guide to the Met: From the must-see galleries to the lesser-known treasures, here’s how to make the most of your visit.Winter is traditionally a down period for museums and the performing arts, arts officials note, and this season was made even tougher by lagging tourism and the disruption caused by the Omicron variant, which forced some arts institutions to retrench at the very moment the city was seeking to triumphantly bounce back.Now, with spring on the horizon, some arts groups say they hope to essentially restart the reopening that began in the fall. Deals, they hope, will help.The Met hopes that deals will lure back locals. It is currently attracting 62 percent of the local visitors it did before the pandemic.Nina Westervelt for The New York TimesThe Met, which already allows New York State residents to pay what they wish for admission, is trying to sweeten the deal. As it began its second “Date Night” last Saturday, the museum was busy and bustling, with a line out the door late into evening.As they sipped their proseccos and shared a box of dips and veggies that had been classified as a date-night special, Chiao, 28, of Harlem, and Hirschi, 29, of Washington, said it was their first time back inside a museum since before the pandemic began. They had not known about the “Date Night” promotion, but they were on a date and were happy to partake.“It feels like it’s time,” Chiao said. “It’s your own risk assessment. I think more about what I’m going to do — is this thing going to be worth it? I do think I’m going to try to go out and do more stuff.”Patrick Driscoll, 34, and Kathryn Savasuk, 33, of the Upper West Side, were also on a date at the Met, and said they were feeling increasingly at ease about going out. They had already taken advantage of the two-for-one Broadway tickets, having snagged tickets to “Company,” the revival of the Stephen Sondheim musical.“We’d be comfortable either way, but it’s definitely an enticement to go out, be active and get into the flow of going to these types of events again,” Driscoll said of the deals. And they plan to keep going to the theater even for those shows that do not offer the two-for-one deals: They already have tickets to see Daniel Craig and Ruth Negga in the upcoming Broadway production of “Macbeth.”Back inside the Great Hall, Allan Shikh, 21, had his arms wrapped warmly around Ami Kulishov, 21, as the jazz band finished its first set. They, too, were unaware that their romantic evening had fallen on an official “Date Night.” They would have been there anyway.“We consider ourselves pretty artsy people,” Shikh said. “I don’t really need much enticing.” More

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      The Met Opera Races to Reopen After Months of Pandemic Silence

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      The company, which faced steep losses after the pandemic forced it to shut down on March 12, 2020, is working to lure operagoers back to its 3,800-seat theater. Tera Willis was backstage at the Metropolitan Opera, painstakingly adding strand after strand of salt-and-pepper hair to a half-finished wig — one of dozens she and her team were racing to finish in time for opening night later this month after the pandemic had kept performers from getting measured until mid-August.“I would love about six months,” Ms. Willis, the head of the company’s wig and makeup department, said. “We have six weeks.”The chorus was back at work, singing through masks.Krista Schlueter for The New York TimesA performer warmed up at a rehearsal for Terence Blanchard’s “Fire Shut Up in My Bones,” which will open the season.Krista Schlueter for The New York TimesIn the Met’s underground rehearsal rooms, chorus members were straining to project through the masks they must rehearse in, a few pulling the fabric a couple of inches from their face for a moment or two. Just outside its gilded auditorium, which has been empty since the pandemic forced the opera house to close a year and half ago, stagehands were reupholstering some worn red velvet seats. Beneath the arched entry to the opera house, an electrician was installing wiring to make some of the heavy front doors touchless.Reopening after the long shutdown was never going to be easy for the Metropolitan Opera, the largest performing arts company in the nation. Unlike a Broadway theater, which must safely bring back one show, the Met, a $300-million-a-year operation, is planning to mount 196 performances of 22 different operas this season, typically changing what’s on its mammoth stage each night.The financial stakes are high: The Met, which lost $150 million in earned revenues during the pandemic, must now draw audiences back to its 3,800-seat opera house amid renewed concerns about the spread of the Delta variant. Will people return in force, after getting out of the habit of spending nights at the opera? Will the Met’s strict vaccine mandate — it will ban audience members under 12, who cannot yet be vaccinated — reassure operagoers, especially older ones? How much will travel bans hurt the box office, where international visitors made up as much as 20 percent of ticket buyers?The Met is warily watching sales. It has sold about $20 million worth of tickets for the season so far, the company said, down from $27 million at the same point in the season before the pandemic. Subscriptions, which have been steadily eroding at American symphony orchestras and opera companies in recent years, are down by about a quarter from before the pandemic, but officials expect more subscribers to renew when they feel safe about attending. Strong recent sales, and the speed with which the Met sold out an affordably priced performance of Verdi’s Requiem on Saturday to commemorate the 20th anniversary of the Sept. 11 attacks, offered hope that audiences will come back.The financial uncertainty led the Met to seek concessions from its unions, some of which will be restored if and when the box office approaches prepandemic levels. The ensuing labor disputes further complicated the reopening: The company did not reach a deal with its stagehands until July, delaying summer technical rehearsals, and only settled another, with its orchestra, late last month, removing the last major barrier to reopening.Riyo Mitsui, one of the Met’s wigmakers, at work.Krista Schlueter for The New York TimesSo now the company is gearing up quickly, preparing to marshal the forces of roughly 1,000 singers, orchestra players, conductors, dancers and actors scheduled to perform this season. It started with two free performances of Mahler’s Symphony No. 2, “Resurrection,” outdoors at Lincoln Center last weekend; will perform Verdi’s Requiem on Saturday, its first performance back inside the opera house, a concert that will be broadcast on PBS; and it will finally open the opera season on Sept. 27 with Terence Blanchard’s “Fire Shut Up in My Bones,” its first opera by a Black composer. The company is hoping that “Fire” and another contemporary opera — “Eurydice,” by Matthew Aucoin — will draw new audiences. The whole organization is getting ready to reopen. Keith Narkon, a ticket seller, was with his colleagues behind the Met’s box-office windows, stuffing tickets into envelopes — and happy to be back after the virus had taken away their jobs for more than a year.In the box office, employees are getting the tickets ready for opening night.Krista Schlueter for The New York Times“It was just this numbness,” Mr. Narkon, a self-described opera fanatic, said of the long shutdown. As the opera house buzzes with preseason anticipation, there are still bruised feelings from the labor battles, but there is also a palpable sense of relief to finally be back in the building together and working again after so many months of unemployment checks and uncertainty.“You don’t realize how much you respect the job until you don’t have it,” said Phillip D. Smith, a stagehand who has worked at the Met for over 20 years, as he ripped the worn velvet off a seat cushion.“You don’t realize how much you respect the job until you don’t have it,” Phillip D. Smith, a stagehand who has worked at the Met for over 20 years, said as he reupholstered a chair.Krista Schlueter for The New York TimesThe doors to the auditorium got a fresh coat of paint.Krista Schlueter for The New York TimesBut life backstage is still far from normal, as company officials keep a close eye on the Delta variant, and the steps they must take to keep the company and the audience safe..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-uf1ume{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}The company’s vaccination mandate is so strict that an unvaccinated telecom worker who arrived for a job was turned away. A special patron’s entrance area has been turned into a testing center where people in rehearsals must get nasal-swab tests twice a week. And to keep audience members apart from the performers, the first two rows of seats in the auditorium will be blocked off through the end of the year.“On one hand, it’s frightening and frustrating to see the rate of infection,” said Peter Gelb, the general manager of the Met. “But it’s so thrilling to see the possibility within grasp of actually opening performances.”Workers cleaned one of the stairways at the opera house.Krista Schlueter for The New York TimesSome bitterness lingers over the labor disputes, which were resolved when the company’s three biggest unions agreed to new contracts that cut their pay modestly, saving the company money by moving some workers to a different health care plan and reducing the number of guaranteed full-time members of the orchestra and chorus.In the props department, where scenic artists were working to create corn on the cob and a pat of butter for a Thanksgiving dinner in the upcoming production of “Fire,” Ryan Hixenbaugh, an artist, lamented that some of the work had been finished in California, where Met management outsourced work after locking out its stagehands in December in the fight over pay cuts. “We had the capability of making all the scenery for all of these operas here,” Mr. Hixenbaugh said.With the opera house empty for more than a year, there was sprucing up to do: Keishla Nieves cleaned a brass railing.Krista Schlueter for The New York TimesWith no audiences and no crowds for a year and a half, there was no need for stanchions to direct people to the Box Office. But they will soon be put in service again.Krista Schlueter for The New York TimesSome stagehands made ends meet during the shutdown, and the lockout, by building outdoor shelters for the city’s new al fresco dining spots. Others got work in television production, which rebounded before live performance.When they returned to the Met in July, the stagehands found an enormous amount of work. For more than a year, the opera house had sat still, as if frozen in time. The decades-old machinery that makes the Met’s stage run was not built for such dormancy.Two scenic backdrops that had been hanging for months had fallen to the ground earlier in the year. The wheels on the Met’s wagon system — which is powerful enough to quickly shuttle its mammoth sets of Ancient Egypt, Imperial China or Fin-de-Siècle Paris on and offstage — were flattened by the weight of the sets that had been left on top of them. And parts of the fly system, made up of wire rope lines and riggings, had rusted.“To leave it sitting still for that length of time was terrifying,” said David Feheley, the Met’s technical director. “So many of these systems have lasted as long as they have because of constant attention.”Stagehands built sets backstage. When they returned to the opera house, they found that the stage machinery needed a great deal of maintenance work.Krista Schlueter for The New York TimesTo accommodate all the urgent maintenance work, the Met’s technical rehearsals were pushed from the beginning of August to the end of the month. One opera, Gluck’s “Iphigénie en Tauride,” was canceled.The orchestra saw 11 of its 96 regular full-time members retire or leave their jobs during the pandemic, according to the orchestra committee, which negotiates labor issues on behalf of the musicians. A number of veteran stagehands retired too.The company hopes the excitement of working together again will outweigh any residual resentment.“The Met is maybe slightly fractured,” Mr. Gelb said, “but it is a family.”The Met is planning 196 performances of 22 different operas this season, which means a lot of ironing.Krista Schlueter for The New York TimesPaul Tazewell, the costume designer for “Fire,” said that it was odd not to be able to see the faces of performers, who have been staying largely masked.Krista Schlueter for The New York TimesAt this stage of the pandemic, it’s a family that can’t have any members under the age of 12, and not just in the audience. The Met’s performers cannot be young, either. In “Boris Godunov,” which is scheduled to open on Sept. 28, a part that is often sung by a boy soprano will be given to an adult mezzo-soprano. And in “Fire” — which is based on a memoir by Charles Blow, an Opinion columnist for The New York Times — a 13-year-old, Walter Russell III, will play the role of young Charles, who is supposed to be 7.“I have been trying to get into the mind of a 7-year-old kid,” Mr. Russell said.In the props department, scenic artists prepared a Thanksgiving dinner for the upcoming production of “Fire.”Krista Schlueter for The New York TimesTo reopen smoothly, the Met’s staff members still have numerous battles to wage.Everything from fabrics for costumes to machinery for stage lights to basic materials like plywood and steel are proving difficult to obtain because of pandemic supply-chain problems. And booking the international performers opera relies on has become a mess of unpredictable red tape, between visa troubles and virus-related travel restrictions.One of the few times performers can take their masks off these days is when they are being fitted in the costume shop, for photos that are taken to help designers take in the effect of each costume.“If there’s an unspoken feeling, normally I would be able to see that on a performer’s face, but I can’t access that,” said Paul Tazewell, the Tony-winning costume designer for “Fire.”A model of the “Fire Shut Up in My Bones” set.Krista Schlueter for The New York TimesBut, come Sept. 27 — if all goes as planned — the masks will come off, the Sputnik chandeliers will ascend, the curtain will go up and live opera will be back onstage.Zachary Woolfe contributed reporting. More

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      7 Events in New York Honoring 9/11

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      On Saturday, performances and memorials around the city and online will mark the 20th anniversary of the attacks. Here’s how to find them.Twenty years after four coordinated terrorist attacks by Al Qaeda killed 2,977 people — 2,753 of them at ground zero in New York City — the nation and the city remember. They remember through dance, music, museums, TV specials and light beamed into the sky.And especially now, after a war in Afghanistan, the ways we remember move beyond commemoration. They start to connect the dots between the attacks themselves and the larger historical era that followed, and continues to unfold.History echoes and reverberates in Lower Manhattan, where businesses have shuttered once more, this time because of the pandemic. There, from the rooftop of the Battery Parking Garage, two 48-foot squares of light will recreate the ghostly images of the twin towers this Saturday night.Here’s a selection of events — both in-person and virtual — for New Yorkers to remember and reflect this year. Check websites for Covid-19 protocols.Verdi’s Requiem in MemoriamThe Metropolitan Opera plays Verdi’s Requiem in commemoration often. The last time it was performed there, the piece was in honor of the beloved Russian baritone Dmitri Hvorostovsky.Before that, the music was presented as a memorial to Luciano Pavarotti (2008), President Kennedy (1964) and Verdi himself (1901). Now, in its first indoor performance for an audience since March 2020, the Met Opera will perform the Requiem on Sept. 11 to commemorate the 20th anniversary of the attacks.Five hundred free tickets will be made available to the families of victims, and the remaining tickets will be $25. The event will also be broadcast live on PBS, hosted by the ballet star Misty Copeland from the 9/11 Memorial & Museum in Manhattan. From $25; metopera.org.‘Remembering 9/11’ at New York’s Oldest MuseumImages from “Here is New York,” a photographic archive of ground zero, at the New-York Historical Society. Hiroko Masuike for The New York TimesIn the immediate aftermath of the attacks, the New-York Historical Society collected materials — pieces of debris, parts of memorials — as rescues and memorials unfolded. And so began the History Responds initiative, which has since continued to document major events like the Black Lives Matter protests and the Climate Strike.Now, 20 years later, two ongoing exhibits — “Remembering 9/11” and “Objects Tell Stories: 9/11” — at the museum on Central Park West are showcasing that history. On Saturday, images from the photographic archive “Here is New York,” which documented ground zero in the moment, will be projected on digital displays in the Smith Gallery. $22 for an adult ticket; nyhistory.org.A National TV SpecialIn 2001, the rubble of the World Trade Center South Tower buried Will Jimeno — a Port Authority of New York and New Jersey police officer — for 13 hours. He survived, as did his partner, John McLoughlin.Their experiences will comprise part of “Shine A Light,” a one-hour national television special airing on CNN at 7 p.m. on Saturday. The nonprofit 9/11 Day, co-founded by David Paine, announced that the special will be hosted by Jake Tapper and feature performances by H.E.R., Brad Paisley and Common.“We hope to demonstrate that even in the face of great tragedy, good things can arise,” Paine said in a statement. “That’s an essential and powerful reminder for all of us now, 20 years later, as we continue to deal with other tragic events.” 911day.org.‘Table of Silence’Daniel Bernard Roumain, center on violin, performing “Table of Silence” at Lincoln Center last year.Sara Krulwich/The New York TimesEvery Sept. 11 morning since the 10th anniversary of the attacks, Buglisi Dance Theatre has presented its “Table of Silence” — a free “public performance ritual for peace” — at Lincoln Center. The pandemic hasn’t changed that: Last year, 28 dancers draped in white fabric reached their outstretched arms toward the sky.Although that event marked the first large-scale performance at Lincoln Center since March 2020, it was closed to the public, available only as a livestream. This year, however, the 8 a.m. performance will feature both live and virtual elements. Limited standing capacity will be available on Josie Robertson Plaza, on a first-come, first-served basis. Free; tableofsilence.org.‘Memory Ground’Inside Green-Wood Cemetery, the top of Battle Hill — the highest point in Brooklyn and the setting of the largest Revolutionary battle — affords sweeping views of Lower Manhattan, including the World Trade Center. The musical performance “Memory Ground” will take place there on Saturday. The Mississippi-born and New York City-based composer Buck McDaniel will present original compositions. (Previously, his work “Detroit Cycles” premiered with the radio program The Moth.)Saxophonist Noa Even — whose solo commissioning project, “Atomic,” has toured across the country — will perform, as will the New York City-based string ensemble Desdemona. Each performance is 45 minutes, and will run at noon, 1 p.m. and 2 p.m. $10 recommended donation; green-wood.com.The Crossing’s ‘Returning’The Crossing, a new-music choir, will perform in Philadelphia on Saturday.  Jessica Kourkounis for The New York TimesLatvian composer Eriks Esenvalds’s song “Earth Teach Me Quiet” begins with the line “Earth teach me quiet — as the grasses are still with light.”The Crossing, a new-music choir, will perform pieces by Esenvalds, Ayanna Woods, Michael Gilbertson and James Primosch on Saturday at 7 p.m. at the Presbyterian Church of Chestnut Hill in Philadelphia.While the event, “Returning” may not explicitly address the terrorist attacks, its themes — isolation, grief, confusion, hope and returning — are more than fitting. This “coming home to song” marks the opening of the Crossing’s back-to-live-performance season, in the spirit of return and renewal. $35 for general admission; thecrossing.ticketleap.com.A ‘Tribute in Light’ Across the CityAt sunset on Saturday, 88 7,000-watt light bulbs will reach four miles into the sky from the roof of the Battery Parking Garage, mirroring the shapes of the twin towers.This Tribute in Light, organized by the 9/11 Memorial & Museum, was first presented six months after the attack. Each year after that, the ghostly echoes of the towers have lighted up Lower Manhattan from dusk until dawn on the evening of Sept. 11.Buildings throughout the city, including the Empire State Building, One World Trade Center, the Metropolitan Opera, Lincoln Center Plaza and the New-York Historical Society will join in the memorial by lighting up their facades and rooftops in sky blue. More

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      Review: The Met Opera Reunites, With Mahler’s ‘Resurrection’

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      After a year and a half, the company’s forces came together for an outdoor performance of the sprawling, ecstatic symphony.The Metropolitan Opera hardly ever plays concerts at home at Lincoln Center. But before Saturday evening, the company had opened its season with Mahler’s Symphony No. 2, the “Resurrection,” once before.In 1980, a bitter labor battle kept the Met closed more than two months into the fall. When peace was re-established, Mahler’s sprawling journey of a soul, ending in ecstatic renewal, seemed just the thing — and the symphony, with its enormous orchestral and choral forces working in intricate lock step, is nothing if not a paean to cohesion.“The ‘Resurrection’ Symphony almost chose itself,” James Levine, then the Met’s music director, said at the time. It was, he added, “a way for the company to get in touch with itself again.”If there has ever been another time this company needed to get in touch with itself, it is now. That two-month hiatus four decades ago seems like child’s play compared with the situation today.Twenty twenty-one has, like 1980, brought contentious labor struggles — on top of a pandemic that has threatened the core conditions of live performance and kept the Met closed for an almost unthinkable 18 months. Its orchestra and chorus, as good as any in the world, were furloughed in March 2020 and went unpaid for nearly a year as the financially wounded company and its unions warred over how deep and lasting any pay cuts should be.The “Resurrection” Symphony brought the full company and its audience back together in grand style: 90 minutes; an orchestra of 116; a chorus of 100; and 2,500 attending in the park.Jeenah Moon for The New York TimesJeenah Moon for The New York TimesJeenah Moon for The New York TimesJeenah Moon for The New York TimesInstituting a vaccine mandate and gradually coming to terms with the unions, the Met inched closer to reopening as the summer dragged on. And on Aug. 24, it removed the final barrier by striking a deal with the orchestra, paving the way for a resurrection — and a “Resurrection.”The company scheduled a pair of free Mahler performances outdoors at Damrosch Park, in the shadow of its theater, on Labor Day weekend, at the start of what has become an opening month. On Saturday, the Met will return indoors for Verdi’s Requiem, in honor of the 20th anniversary of 9/11. And on Sept. 27 the opera season begins in earnest with the company premiere of Terence Blanchard’s “Fire Shut Up in My Bones,” its first work by a Black composer, and, the following evening, a revival of Mussorgsky’s “Boris Godunov.”Led by the Met’s music director, Yannick Nézet-Séguin, the “Resurrection” Symphony brought the full company and its audience back together in grand style: 90 minutes; an orchestra of 116; a chorus of 100; and 2,500 attending in the park, as well as hundreds more listening from the street. The mood was a blend of parks concert — one woman tried to muffle the crinkling of her bag of potato chips — and serious focus; a man sitting on the aisle followed along with the score, brightly lit on his tablet.With so much to celebrate, this was indeed a celebratory, smiling reading: Punchy and taut at the start, yes, but without the neurotic, feverish quality that some conductors sustain throughout. There was an overall sense of gentleness and soft-grained textures. The second movement was more sly than sardonic; the climactic burst of dissonance in the third movement was beautiful, not brutal. The chorus, facing the audience in front of the stage and getting its cues from screens, sang with mellow sweetness.It goes without saying that outdoor classical performance is never ideal. (Speaking from the stage, Peter Gelb, the Met’s general manager, claimed, tongue perhaps in cheek, that Lincoln Center’s president had promised no helicopters in the area for the duration of the symphony. Well. …)Ying Fang, the soprano soloist, is a symbol of the company’s present and future.Jeenah Moon for The New York TimesAmplified violin sections are inevitably harsh; woodwinds tend to get swamped by the strings and brasses, even more than usual in Mahler’s dense orchestration. And so much of this and every symphony’s power depends on musicians massed in a room together with their audience. Under the open sky, even on a gorgeous, mild evening like Saturday, the visceral and emotional impact of the music is diffused.But the offstage percussion and brasses finally sounded like they were coming from a real distance, as they rarely do in a concert hall. And there is special resonance in a great opera company performing this score, so redolent of the music-theater repertory, especially Mahler’s beloved Wagner. The stormy start of “Die Walküre”; the motif of the sleeping Brünnhilde from the end of that work; the mystically stentorian choruses of “Parsifal”; the sighing winds as Verdi’s Otello dies — all echo through the visionary excess of the “Resurrection.”It was moving to see Denyce Graves, a classic Carmen and Dalila at the Met 20 or 25 years ago, onstage and dignified in the great alto solos, even if her voice is a shadow of its former plush velvet. The soprano soloist, Ying Fang, a radiant Mozartian, was a symbol of the company’s present and future.While no one is ever hoping for distractions during Mahler, there was something heartwarming about the siren wailing down 62nd Street and tearing into the symphony’s majestic final minutes. What would a New York homecoming be without noise, and more noise? More

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      Review: Mostly Mozart Returns to Lincoln Center, Quietly

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      The center’s summertime music series has a limited outdoor run this week.The Mostly Mozart Festival Orchestra, the headliner ensemble of Lincoln Center’s summertime music series, is the latest group to return to live performance in New York. But unlike some organizations, it sneaked back into action quietly.Early Monday evening, Louis Langrée, the orchestra’s music director, led 13 players in a Mozart masterpiece, the “Gran Partita” Serenade for Winds in B flat. The informal performance — a surprise pop-up, produced with little promotion — took place on the inviting artificial lawn with which Lincoln Center has covered its plaza.Louis Langrée, the orchestra’s music director, led the performance.Douglas Segars for The New York TimesThe concert, and other offerings in the center’s Restart Stages venture this summer, was conceived at a time when arts institutions were being especially careful to avoid attracting oversize crowds because of fears of the virus spreading. Those concerns, of course, linger.But I wish the revival, however modest, of Mostly Mozart had been more touted. In addition to crowd control, the center’s reticence might have to do with the questionable fate of the venerable festival: As my colleague Javier C. Hernández reported Tuesday in announcing the news of the center’s new artistic leader, officials there say they are still working out Mostly Mozart’s future. That’s not reassuring, especially since it was only four years ago that the center, grappling with budget woes, dissolved the Lincoln Center Festival to focus on reinventing Mostly Mozart.Despite the limited publicity, a couple hundred people, including children scampering up and sliding down the curved artificial turf walls, were already on the lawn before the performance began. As the players took their seats and started warming up with Langrée, the crowd grew even larger.On a balmy evening, a crowd gathered on the artificial turf lawn that has covered the plaza since the spring.Douglas Segars for The New York TimesLangrée spoke to the audience about how special the occasion was for the musicians — the “first time in two years that Mostly Mozart gets together again.” He announced a schedule of performances for the rest of the week, including two more pop-ups, both at 6 p.m.: On Tuesday, a performance of a Mozart duo for violin and viola accompanying two dancers from the New York City Ballet, and on Wednesday, Bach’s Brandenburg Concerto No. 3 and Mozart’s Divertimento in D (K. 136). On Friday in Damrosch Park, at 8 p.m., the full orchestra will play Mozart’s first and final symphonies.Monday’s performance was wonderful; hearing the music in that space amid grateful New Yorkers was inspiring. The musicians, who played splendidly, were visibly moved.In the “Gran Partita” Serenade, Mozart achieves an uncanny blend of breeziness and grandeur. The music seems genial and sunny, yet is also intricate and complex, almost epic: The piece has seven movements and lasts some 45 minutes. The scoring is heftier than was typical of wind serenades at the time. Along with the standard two bassoons and two oboes, two clarinets are fortified by two basset horns (a deeper alto clarinet); two French horns are doubled to four; and a string bass brings added depth.The ensemble will give a series of performances this week at the center.Douglas Segars for The New York TimesSubtle amplification allowed intricate details to come through beautifully. Langrée and the players — determined, it seemed, to draw in listeners — played whole stretches with mellow sound and soft-spoken grace, especially in the sublime slow movement. Yet the feistier episodes were full-bodied and exciting. The concluding rondo was exceptionally rousing.It was gratifying to see how many people who might not have anticipated hearing this performance wound up standing near the players or sitting on the lawn, listening closely, including mothers swaying to the music with babies in their arms. Mostly Mozart is back, for the time being, even if many music lovers in New York didn’t know it.Mostly Mozart Festival OrchestraEvents this week listed at mostlymozartmusicians.com. More

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      Lincoln Center Names Shanta Thake as its New Artistic Leader

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      Shanta Thake, a theater executive, faces challenges that include helping the center embrace new genres and attract virus-wary audiences.Feeling the pressure to attract new audiences and rethink its offerings even before being upended by the coronavirus pandemic, Lincoln Center announced on Tuesday that it had chosen a theater executive with a reputation for working across disciplines as its next artistic leader.Shanta Thake, most recently an associate artistic director at the Public Theater, will assume the role of chief artistic officer at the center, the nation’s largest performing arts complex, as it works to broaden its appeal beyond classical music and ballet into genres such as hip-hop, poetry and songwriting.Thake — who at the Public spent a decade managing Joe’s Pub, a cabaret-style venue, and more recently began overseeing Under the Radar, Public Works and other programs there — said she was eager to bring more popular and world music to Lincoln Center.“The goal is expansive reach,” Thake, 41, said in an interview. “What’s missing? What have we left out? What stories aren’t we telling that feel like they’re demanding to be told in this moment?”Lincoln Center is the landlord of the Metropolitan Opera, New York Philharmonic, New York City Ballet and other independent institutions, which are responsible for their own programming. But it is also a presenting organization in its own right, putting on hundreds of events each year and running the Mostly Mozart and White Light festivals, which have been primarily devoted to the classical arts. The center and its constituent organizations have competed, sometimes tensely, for rehearsal and performance space, ticket sales and donations.Thake will oversee the work Lincoln Center presents, and said in the interview that its robust classical offerings would be maintained. “We’re not looking to erase history here,” she said.But center officials say they are still working out the future of Mostly Mozart, which was put on hold amid the pandemic, other than a few small events this week. In 2017, as it grappled with budgetary constraints, the center dissolved the Lincoln Center Festival to focus on reinventing Mostly Mozart, its summertime sibling.Thake, who starts next month, replaces Jane Moss, who played a key role in programming for nearly three decades and stepped down as artistic director last year — and who also came from a theater background. (The chief artistic officer title is a new one.) Thake joins the center at one of the most challenging moments since it opened in 1962. Its woes predate the coronavirus: It struggled for years from leadership churn and money problems.Then the pandemic wiped away tens of millions in revenue and forced the cancellation of hundreds of events. About half of Lincoln Center’s staff of 400 was furloughed or laid off, and its top leaders took pay cuts.While many workers have been rehired and indoor performances are set to resume in the fall, the center will likely be grappling with the financial fallout for years. It remains to be seen whether audiences will return at prepandemic levels, especially given the recent spread of the Delta variant of the virus.Henry Timms, Lincoln Center’s president and chief executive, said the organization had turned to Thake for her experience programming creatively across genres. “We wanted someone who could kind of help us think about some new territory,” he said.Timms said the virus would continue to pose a challenge for the center’s artistic ambitions, but added that he believed audiences were eager to return. “There will be a great deal of demand for what we do and there will be a great deal of re-imagination,” he said.As infections have eased in recent months and vaccines have become widely available, Lincoln Center has started to come back to life, building several outdoor stages and transforming its plaza into a summer gathering place by covering it in a synthetic lawn. When indoor performances resume, the center plans to require vaccines for audience members, production staff and artists. Children under 12 will not be permitted to attend performances since they are currently not eligible for vaccines.Thake said she saw her mission as, in part, to “lift up the city that is still reeling from the ongoing trauma” of the pandemic. She said Lincoln Center could play a role in helping smaller arts organizations, for example by sharing best practices for reopening venues.“Hopefully we can make it to the other side all together,” she said.Thake, whose mother is Indian and whose father is white, said she was committed to presenting artists who represent a variety of racial and ethnic backgrounds. Cultural institutions have in general been slow to respond to demands for a reckoning over racial justice in the United States. But Lincoln Center is one of the few arts organizations to show substantial progress in bringing more diversity to its upper ranks. People of color now make up about half of its leadership team. More