New York Philharmonic

Subterms

    More stories

    • 88 Shares149 Views

      in Music

      Review: Jonathon Heyward Debuts With the Philharmonic

      by

      Jonathon Heyward, the incoming, barrier-breaking music director of the Baltimore Symphony Orchestra, leads the New York Philharmonic this week.On paper, this week’s New York Philharmonic program had plenty going for it: balance, an up-and-coming conductor, an established soloist. But at David Geffen Hall on Thursday, the concert was only sometimes on the verge of grand, and just as often one or two kindling sticks short of a true fire.Still, the show provided an opportunity to catch the rising star Jonathon Heyward, who was making his Philharmonic debut, filling in for Karina Canellakis. In a few months, he will become the first Black music director of the Baltimore Symphony. And, from the start of Thursday’s performance, his reputation for dramatic feeling and attention to dynamics seemed to be well earned.Heyward drew dynamism from the orchestra, without any recourse to stentorian volume, in the opening minutes of Zosha Di Castri’s “Lineage,” an 11-minute piece from 2013. Like some of her works on the recent portrait album “Tachitipo,” this one derives momentum from hairpin turns that link together drone-ish states and startling streams of motivic activity. But toward the end of the work, in some hushed moments of still-busy writing, the Philharmonic’s interpretation slackened — sounding tentative, or short of full commitment.

      Tachitipo by Zosha Di CastriSomething similar transpired during Brahms’s lengthy and majestic Violin Concerto, which followed. Initially, Heyward had the full attention of the Philharmonic players. During the opening movement, he subtly shaped a dramatic pause not long before the entrance of the soloist, Christian Tetzlaff; the orchestra responded with tactile precision to his dramatic, yet not too mannered, method of navigating the transition.Tetzlaff‌ was as impressive here as on a recent recording of this piece on the Ondine ‌label; though his approach was obviously well-drilled in advance, he also proved sensitive here to Heyward’s beat. And his expert handling of Joseph Joachim’s first-movement cadenza — with playing that varied in its timbral effects, from rough-hewn to silvery to robustly expressive — showed an invention that had been missing for a stretch of time in the broader ensemble playing.Sometimes, Tetzlaff seemed to toss off a line reading, appearing none too studied, but in service of setting up explosive precision. A bit of that moment-to-moment interpretive sensibility in the surrounding orchestral material might have proved equally thrilling.Thankfully, after intermission, a greater nimbleness prevailed during Lutoslawski’s Concerto for Orchestra. Although it is not as formally radical as other works in this Polish modernist’s catalog, Heyward and the orchestra found a great wealth of rambunctious material to savor. The first movement’s folk-like melody had a singing quality that contrasted nicely with some moments of raging, post-Stravinsky exclamation. The gentler middle movement had an air of transporting mystery. And the passacaglia of the third movement progressed with persuasive momentum.The final work also dispelled a sense I had that the Brahms might have been hobbled by the slightly chilly acoustic of the recently renovated Geffen Hall. In the Lutoslawski, there were some rounded, warm sounds that had been missing during the appropriate passages in the Brahms. But the orchestra is still getting used to its new home, and Heyward is still getting used to this orchestra; with time, a program like this might find a better tone.And he will be back. After Saturday’s performance — which is followed by a Nightcap program drawn up by Di Castri — Heyward will be absent from Geffen Hall only until he leads the Mostly Mozart Festival Orchestra there in August.New York PhilharmonicThis program repeats through Saturday at David Geffen Hall, Manhattan; nyphil.org. More

    • 113 Shares179 Views

      in Music

      New York Philharmonic, Pushing Cultural Diplomacy, Plans Asia Tour

      by

      Amid rising political tensions, the orchestra said it would perform in Hong Kong and Taiwan this summer and send a delegation of musicians to mainland China.The New York Philharmonic, saying it hoped to use culture to help ease political tensions, announced plans on Thursday for a summer tour in Asia, including stops in Hong Kong and Taiwan and a visit to mainland China by a small group of musicians.The tour will be the Philharmonic’s first visit to Asia since the start of the coronavirus pandemic, when many countries in the region shut their borders. It comes amid rising tensions between the United States and China and concerns about the possibility of a crisis over Taiwan.Gary Ginstling, the Philharmonic’s incoming president and chief executive, said the orchestra hoped to show that music could help strengthen ties between the United States and Asian countries.“At a time when communication and trust are on the decline, our firm belief is that cultural diplomacy is more important than ever,” he said. “Showing that we can span borders and bring people closer through music is at the heart of our mission.”The Philharmonic held a Shanghai residency in 2019. A delegation of nine players will visit the city this summer to lead chamber music concerts and teach classes.Chris LeeAfter a hiatus during the pandemic, American and European ensembles have in recent months explored returning to Asia, a booming market for classical music before the pandemic.The Philadelphia Orchestra, the first American ensemble to perform in Communist-led China, is planning to send a delegation of 12 musicians to Beijing and Shanghai this fall. (Last year, the orchestra canceled a tour to celebrate the 50th anniversary of its visit to the country in 1973, worried that China’s then-strict coronavirus protocols would create logistical challenges.)The Cleveland Orchestra is planning an Asia tour in 2025 that could include a visit to China, as well as Japan and South Korea. The Boston Symphony Orchestra visited Japan last year, the ensemble’s first overseas tour in four years.The New York Philharmonic’s Asia tour will include performances in late June and early July at the Hong Kong Cultural Center as well as performing arts centers in Taipei and Kaohsiung, a city in southern Taiwan. The orchestra will perform Beethoven’s Fifth Symphony, Dvorak’s Ninth Symphony, Tchaikovsky’s Sixth Symphony and Brahms’s Violin Concerto, featuring the violinist Hilary Hahn.Hong Kong is familiar terrain for the Philharmonic’s music director, Jaap van Zweden, who also leads the Hong Kong Philharmonic Orchestra.“I look forward to sharing the work of my New York musical family with audiences in both Taiwan and Hong Kong,” van Zweden said in a statement.The pandemic forced the Philharmonic to cancel three previously scheduled trips to China, where it has had a partnership with the Shanghai Symphony Orchestra since 2014. Following the visit to Hong Kong in July, a delegation of nine Philharmonic players will go to Shanghai for six days, where they will lead chamber music concerts and teach classes.The Philharmonic is also working to strengthen ties with Taiwanese cultural groups; on Friday, it will present a concert at David Geffen Hall by the Taiwan Philharmonic.Ginstling said the orchestra was considering a full tour in mainland China in the summer of 2024.“It’s too early to commit to that,” he said. “But we’ve certainly made it clear to our friends in Shanghai that when the circumstances warrant and enable it, we will resume our visits with the full orchestra.” More

    • 138 Shares179 Views

      in Music

      Review: András Schiff Wears Two Hats at the New York Philharmonic

      by

      Taking a cue from Mozart, András Schiff appeared with the New York Philharmonic as both piano soloist and conductor.There was a time, during darker days of the pandemic, when orchestral concerts departed from their usual formats — worn-down cookie cutters of a curtain-raiser, concerto and symphony — and turned into something more unpredictable, and open-minded.Out of an abundance of caution, ensembles avoided repertoire like the immense works of Mahler and instead turned to smaller-scale music, sometimes rarities and often from the Classical and Baroque eras. String quartets shared billing with Lieder and chamber symphonies. Concerts began to look more like variety shows.But as masks requirements loosened and vaccine records stopped doubling as passports, classical music started to look more like its old self, and not for the best. Once again, any concert with more than three works stands out as a treat — such as the New York Philharmonic’s performance with the pianist András Schiff acting as both soloist and conductor, at David Geffen Hall on Friday.Like a concert from the era of pandemic livestreams, it consisted of two Classical piano concertos and two orchestral works, with a changing ensemble size that, at its largest, was still small. Schiff’s appearance was part of his residency with the orchestra, a series that began with a solo recital on Tuesday and continues this week with a comparatively traditional program in which he will play Bartok’s Third Piano Concerto, and a chamber music afternoon at the 92nd Street Y next Sunday.Schiff approached Friday’s program more as he would one of his recitals, which these days are long but often rewarding, essayistic assemblages announced from the stage rather than advertised in advance. He contrasted concertos in D major and minor, and made explicit the connections between two Mozart works — arguments that were more persuasive from the keyboard than from his perch as conductor.Leading from the piano is a throwback to Mozart’s time, and can be fascinating to witness. When Mitsuko Uchida does it, for example, she treats the orchestra as an extension of her instrument — a mode of expression somewhat perversely, but beautifully, in service of her interpretation. Onstage at Geffen Hall, Schiff had more the appearance of a fan beating along to a recording, gesturing with the music instead of truly guiding it.Because of that, the purely orchestral sections of the program were the weakest. Schiff, as in his touch at a keyboard, relished the extremes of Schubert’s “Unfinished” Symphony — the opening truly pianissimo, the forzando notes truly explosive. But without much else in the way of an overarching vision, the piece grew indistinct by the second movement, which, in taking its time, also lost its sense of shape and direction, an andante con moto without its moto. After intermission, the Overture from Mozart’s “Don Giovanni,” music that punishes any performance that falls short of precise, was more of the same: hellfire-frightening chords at the start, then an insistent emphasis on articulation, patient to the point of slackness, over broader phrasing.It was nevertheless a gift to hear this repertoire — beloved, if overprogrammed — in the renovated Geffen Hall for the first time. So far, as the Philharmonic adjusts to its new home and the auditorium undergoes further tuning, smaller-scale works have benefited most from the more generous acoustics. The last time I came across Schubert’s “Unfinished” there, under Alan Gilbert’s baton in 2015, the low strings were virtually inaudible in the mood-setting, crucial opening bars; on Friday they rumbled, immediate and under the skin.And the hall’s transparent sound rewarded the lean wit of Haydn’s Piano Concerto No. 11 in D, at the top of the program. Here, Schiff was more in his element: stately, with a kind of dry humor in the cadenzas, his touch often gentle but, when sharp, amplified by the bright sound of his Bösendorfer piano.He followed the “Don Giovanni” Overture, attacca, with Mozart’s Piano Concerto No. 20 — treating them as one, and emphasizing their shared dark-to-light journeys from D minor to major. Schiff’s entrance in the first movement may have been overly strong, turbulent where moody would do, but his solos in the Romanze were exquisitely arialike.Schiff’s most characterful work, though, was in the Rondo finale, in which he rendered the cadenza as a grander conclusion, interjecting the “Don Giovanni” chords, then layering the overture and the concerto in clever counterpoint. Playful and unexpected, it was reflective of an artist who, even if not thoroughly successful on one night, possesses an undeniably brilliant musical mind.New York PhilharmonicThis program repeats on Sunday and Tuesday at David Geffen Hall, Manhattan; nyphil.org. More

    • 113 Shares199 Views

      in Music

      Review: A Concerto Makes Two Soloists a Many-Tentacled Creature

      by

      Felipe Lara’s sensational Double Concerto, with Claire Chase and Esperanza Spalding, was played by the New York Philharmonic under Susanna Mälkki.Placing an old piece in new surroundings can make you think about it in a fresh way. Until the New York Philharmonic played Charles Ives’s short, indelible “The Unanswered Question” on Wednesday at David Geffen Hall under Susanna Mälkki’s baton, I had never thought of it as a tiny double concerto.It isn’t, exactly. A double concerto adds two soloists to the orchestra, and the Ives has five: four flutists and a trumpeter. But its structure — in which soft expanses of consoling strings are the ground for interjections of somber trumpet and bursts of talkative flute — suggests the flutes are a single many-headed unit. It’s a kind of double concerto, then, in which two solo forces have a relationship to one another and to the main ensemble.It’s no surprise that my thoughts went to this form. Felipe Lara’s sensational Double Concerto, exuberant if not always sunny, had its New York premiere on Wednesday after the Ives.Written in 2019 and given its premiere in Helsinki under Mälkki two years later, this is a true double concerto, featuring a pair of soloists, Claire Chase and Esperanza Spalding. But this piece, too, complicates the form, since they each use multiple instruments: Chase, a battery of flutes — another reason the Ives was a wise juxtaposition — and Spalding, a double bass and her bright, pure voice.

      HKO Screen – Felipe Lara: Double Concerto from Helsinki Philharmonic on Vimeo.Unlike “The Unanswered Question,” which maintains a demure separation between the trumpet (for Ives, representing “the perennial question of existence”) and the flutes (attempts at answers), Lara intertwines his soloists into what Chase calls in a program note “a many-tentacled creature.”The two often play together, with the trail of one — a whipped breath of flute, a cool curve of voice, a slightly bending reverberation of bass — audible only as a comet’s tail off the joint sound. Neither stops for long over the work’s half-hour length.Which is not to say that either player is homogenized by combination. The vocabulary here is sprawling and idiosyncratic on both sides. Chase makes virtuosically parched, percussive exhalations; she can be sheerly sweet on the standard flute and has, on the enormous contrabass flute, the milky penetration of a whale’s deep-sea call.Spalding’s mellow, dancing bass plucks are a sound we know best from jazz, but are totally at home here, and her singing is guileless without being childlike. She mostly vocalizes, sometimes on the syllable “ah,” sometimes on “mm” and sometimes — most memorably at the end — on “shh.” She briefly sings a Portuguese text Lara wrote about life’s blessings, though to listeners that can blur into incantatory vocalizing, too. (From the audience it’s also hard to perceive a secret of the score: Chase is sometimes producing sound by singing into the flute.)The music is mostly notated, but in a large-scale dual cadenza Chase and Spalding improvise together, remarkably responsive, unified and relaxed, creating a miniature universe of sounds — whispery, earthy, otherworldly-woozy, underwater-translucent, simple and raucous: a paean to the joy of collaboration, of play.The orchestra, led by Mälkki with focused confidence on Wednesday, tends to be active but subdued, the way you can perceive seething activity even in a seemingly still jungle. There are hazy effusions of brass; little thickets of rattling, shivering percussion; and whooshing, glistening strings that were a textural link to the Ives, as well as to Stravinsky’s “Petrushka,” which came after intermission.Performed in the pared-down orchestration Stravinsky made in 1947, decades after writing the piece, “Petrushka” here seemed both to echo and to have generated the Lara concerto’s off-kilter abruptness, fearless colors and wry enigmas.The Philharmonic, sounding poised throughout the concert, was especially evocative in Stravinsky’s humid third tableau. Alison Fierst brought nuance and a sense of mystery to her crucial solo on, yes, the flute. (The instrument could hardly get a more profound showcase than this program.) Under Mälkki, “Petrushka,” more than any other quality, had unexpected intimacy.As did Lara’s concerto. Even as it builds to flourishes of gleaming Hollywood-golden-age grandeur, and even with substantial forces — there are two full string sections onstage, one tuned slightly higher than the other — Lara has the maturity to resist doing too much.He also has the skill to shape a gorgeously varied but unbroken single movement that evolves organically over its 30 minutes to a final lullaby, pricked by starry harp. This is a complex but legible, lovable piece; a funky yet elegant ritual; thrilling and taut, if also fundamentally unhurried and unpressured.Spalding performed in a jumpsuit printed, in bold capital letters, with “LIFE FORCE,” and I felt that way about the music, too.New York PhilharmonicThis program is repeated through Friday at David Geffen Hall, Manhattan; nyphil.org. More

    • 150 Shares199 Views

      in Music

      Review: The New York Philharmonic’s ‘St. Matthew Passion’ Is a Surprising Achievement

      by

      Jaap van Zweden is not known for Bach. But the “St. Matthew Passion” made for one of his finest New York Philharmonic concerts this season.You could be forgiven, recently, for not remembering that Jaap van Zweden is the music director of the New York Philharmonic.After he inaugurated the renovated David Geffen Hall in October, he disappeared from the orchestra’s performance calendar until a week ago. During that absence, the orchestra announced his successor, Gustavo Dudamel — whose visit to New York in February, to do little more than smile for the cameras and sign a piece of paper, was organized with so much fanfare, you almost felt bad for van Zweden, still the music director for one more season, as he quietly returned to the podium last Friday.His current residency, though, while just two weeks, is hardly modest. On Tuesday, the Philharmonic announced his final season, in which he will lead eight subscription programs, including, as his farewell, Mahler’s colossal “Resurrection” Symphony. And for his concerts this time around — part of a barely advertised mini festival called “Spirit” — he has taken up a pair of monumental works: Messiaen’s “Turangalîla-Symphonie” and Bach’s “St. Matthew Passion.”The Messiaen, sprawling and operatically excessive, would seem the better fit for van Zweden, who revels in enormity. But last week, it was mostly flattened and impatient, loud but not powerful.And the Bach didn’t hold out much promise. Van Zweden has never had a true grasp of the fleet litheness of the Classical repertoire, almost never touches Baroque music with the Philharmonic. His performance of the “St. Matthew Passion” at Geffen Hall on Thursday, however, proved a pleasant surprise — perhaps his finest appearance this season.After the thick bombast of the Messiaen, it was disorienting to hear van Zweden lead a “St. Matthew Passion” of wise, often deferential restraint and transparent, balanced counterpoint. The score’s nearly three hours of music moved along at a mostly unhurried pace, a calmly flowing mood set from the start: the opening chorus gently pulsating, the layers of sound smoothly accumulating.Not that it was a consistently clean evening. The “Passion,” typically performed during the Lenten season but not limited to it, is a mammoth undertaking for double choir, double orchestra and soloists to recount the betrayal, death and burial of Christ. On Thursday, the Philharmonic — joined by Musica Sacra and the Brooklyn Youth Chorus — didn’t seem to have had enough time to prepare it.Some sections unfurled without a fault; others were messy. Arias struggled to gain traction, and at times solo instrumentalists weren’t properly integrated with the larger ensemble. What’s lost, during lapses like that, are the moments that inspire awe, replaced by a kind of white-knuckle anxiety in, for example, the grand chorus that closes the oratorio’s first part.But more memorable than those imperfections was van Zweden’s refreshingly measured treatment of the orchestra, particularly in its support for the vocal soloists.And what soloists! The tenor Nicholas Phan was a lyrical, actorly guide through the story as the Evangelist, standing alongside the bass-baritone Davóne Tines’s Jesus, sung with a rich, creamy tone that, in Christ’s final words on the cross, turned compellingly momentous. The soprano Amanda Forsythe, her sound soaring and pure, shone in the longer, abstracted lines of the aria “Aus Liebe will mein Heiland sterben.” Tamara Mumford’s penetrating mezzo-soprano was well shaped in “Buss und Reu” and “Erbarme dich,” even at a nervously rushed tempo.Each appearance by the tender, earnest tenor Paul Appleby felt too brief. In “Geduld,” as he sang alongside the viola da gamba player Matt Zucker — who, like the organist Kent Tritle, offered a dose of historically informed performance style — he spun trickily long melodic lines of complex rhythms so precisely articulated and elegant, you wished he would return to this piece as the Evangelist.The standout was Philippe Sly, in his Philharmonic debut. This bass-baritone has a robust opera career — assured as either Leporello or the title character in Mozart’s “Don Giovanni” — and sang Jesus in a “St. Matthew Passion” with the Orchestra of St. Luke’s at Carnegie Hall last season. Commandingly resonant, but also sweetly warm in his upper range, he was more satisfying as a chameleonic soloist on Thursday: bringing dramatic color to the few lines of Judas, a desperate sadness to Peter and sensitivity to arias like “Komm, süsses Kreuz.”His “Mache dich, mein Herze, rein,” already a high point of the score, was the high point of the concert, while also standing in for the evening as a whole. It had an unsteady start and could have been slower, yet once it found its footing, the aria was serene, balanced and — regardless of your faith or the time of year — profoundly moving.New York PhilharmonicThis program repeats through Saturday at David Geffen Hall, Manhattan; nyphil.org. More

    • 100 Shares99 Views

      in Music

      The New York Philharmonic Announces Its 2023-24 Season

      by

      Jaap van Zweden’s final season as the New York Philharmonic’s music director will feature belated debuts and premieres, and a grand farewell.In his final season as music director of the New York Philharmonic, Jaap van Zweden will lead a host of premieres, performances of Mozart’s Requiem and Mahler’s Second Symphony, and a residency in China, the orchestra announced on Tuesday.Gary Ginstling, the Philharmonic’s incoming president and chief executive, said that the season would showcase van Zweden’s devotion to new music and traditional works.“This is an opportunity,” Ginstling said in an interview, “to really celebrate all the elements that Jaap brought to the New York Philharmonic.”Van Zweden will make his first appearance on Sept. 27, with a gala featuring the cellist Yo-Yo Ma as the soloist in Dvorak’s Cello Concerto.The season will feature premieres by several composers, including Olga Neuwirth, Mary Kouyoumdjian and Melinda Wagner, as part of Project 19, a multiyear initiative to commission new pieces from 19 women. And in summer 2024, the orchestra will return to China for the first time since 2019, for a residency in partnership with the Shanghai Symphony Orchestra.New Yorkers hoping to hear a taste of the Philharmonic’s future will have to wait: There will be no appearances next season by Gustavo Dudamel, the music director of the Los Angeles Philharmonic, who was announced as van Zweden’s successor in February. Ginstling said scheduling conflicts were to blame.Here are nine highlights of the coming season, chosen by critics for The New York Times. JAVIER C. HERNÁNDEZMirga Gražinytė-Tyla, Oct. 11-14For those keeping track of all the ways in which the Philharmonic has followed the lead of its West Coast counterpart, the Los Angeles Philharmonic — in its leadership, in its hall’s look, in its choice of music director — here’s another one: Mirga Gražinytė-Tyla, the lively Lithuanian conductor who is being talked of as a possible successor to Gustavo Dudamel in Los Angeles, will be making her debut. Daniil Trifonov, a welcome fixture at David Geffen Hall, will join for a program of Robert Schumann’s Piano Concerto, as well as selections from Sibelius’s “Lemminkäinen Suite” and Raminta Šerkšnytė’s “De Profundis,” from 1998. JOSHUA BARONEMirga Gražinytė-Tyla, a possible successor to Gustavo Dudamel in Los Angeles, will make her New York Philharmonic debut in October.Hiroyuki Ito for The New York TimesLigeti’s Centennial, Oct. 19-21The Philharmonic is celebrating the centennial of Gyorgi Ligeti’s birth with multiple concerts. (Look out for pianist Pierre-Laurent Aimard playing Études on Nov. 7.) This program, one of the most eclectic on the Philharmonic’s calendar, brings two pieces of Ligeti’s into dialogue with Brahms’s Serenade No. 1 and a piano concerto by the living modernist Elena Firsova. The Ligeti works are from relatively early in his career. (And one, “Mifiso la sodo,” is a U.S. premiere!) Evaluating their place alongside the Brahms and the Firsova, with Yefim Bronfman as the soloist, should make for a bracing ride with David Robertson at the podium. SETH COLTER WALLS‘Israel in Egypt,’ Oct. 25-26A recent performance of “Solomon” at Carnegie Hall was a reminder of the sumptuous power of Handel’s English oratorios, his genre of concert-format, loosely plotted, often biblically inspired works that made choruses the stars. The Philharmonic rarely programs these pieces — with the obvious exception of the perennial “Messiah,” conducted this year in mid-December by Fabio Biondi — so “Israel in Egypt” will be a treat. On the podium, Jeannette Sorrell makes her subscription debut with the orchestra, leading the choir of Apollo’s Fire, her Cleveland-based ensemble. ZACHARY WOOLFESound On, Oct. 27Past concerts in this chamber-focused series have delved deeply into contemporary music — and have also been relegated to smaller spaces inside Lincoln Center. But on this date, when the Ensemble Signal conductor Brad Lubman joins Philharmonic players and a wide range of guest soloists, the music will be presented in Geffen Hall proper. That bodes well for Unsuk Chin’s transporting aesthetic, which is represented here by her Double Concerto for Piano and Percussion. And there’s similar potential for a new (as yet untitled) collaborative work by Kinan Azmeh and Layale Chaker. Both are leading player-composers who also happen to improvise, and they’ll both be onstage here. SETH COLTER WALLSDessner’s Concerto for Two Pianos, Nov. 30-Dec. 2Bryce Dessner, one-fifth of the rock band the National, wrote his Concerto for Two Pianos for the tight, persuasive duo Katia and Marielle Labèque, who bring it to Geffen for its New York premiere. Dessner’s taste for lush transparency, evident in his orchestrations for Taylor Swift’s album “Folklore,” shows in the way he cushions the piece’s unabashedly pretty piano parts without overwhelming them. OUSSAMA ZAHR‘Vertigo,’ Jan. 23-26Playing film scores live alongside screenings has become a booming business for orchestras struggling with attendance, but the fare is usually blockbusters: the “Harry Potter” series, “Jurassic Park,” “Raiders of the Lost Ark.” Not when the Philharmonic performs Bernard Herrmann’s lush, ominous music for Hitchcock’s “Vertigo” as audiences watch that strange, hypnotizing study in erotic obsession. (Next season also brings “West Side Story” (Sept. 12-17) — Spielberg’s 2021 version, which featured the Philharmonic on its soundtrack — and “Black Panther” (Dec. 20-23). ZACHARY WOOLFEJames Stewart in Alfred Hitchcock’s “Vertigo,” which will be screened with a live soundtrack.Universal Studios Home EntertainmentKarina Canellakis, April 4-6I’m not entirely joking when I say this, but now that the Philharmonic has lined up its next music director, it can start thinking about who Gustavo Dudamel’s eventual successor might be. Karina Canellakis, who coincidentally occupies Jaap van Zweden’s former post as the chief conductor of the Netherlands Radio Philharmonic, might well be on its shortlist when the time comes. This native New Yorker’s belated Philharmonic debut offers a taste of her thoughtful programming: Webern’s Six Pieces for Orchestra, Strauss’s “Tod und Verklärung,” Scriabin’s “Le Poème de l’Extase” and Ravel’s Piano Concerto, with the soloist Alice Sara Ott. DAVID ALLENOlga Neuwirth, April 18-20Olga Neuwirth’s contribution to Project 19 in 2020 went — well, the way of many things early in the pandemic. Nearly four years after its scheduled premiere, it is finally coming to Geffen Hall, having been first unveiled instead with the Berlin Philharmonic, which streamed the unruly and delightful work for countertenor, children’s choir and orchestra on its Digital Concert Hall platform. Andrew Watts takes up the solo vocal part, making his New York Philharmonic debut alongside the conductor Thomas Sondergard, on a program that also includes Lili Boulanger’s “D’un Matin de Printemps” and Prokofiev’s Fifth Symphony. JOSHUA BARONEMahler’s ‘Resurrection’ Symphony, June 6-8Those with a taste for dry humor might ask themselves what exactly it is that Jaap van Zweden plans to resurrect with these final Geffen Hall concerts as the Philharmonic’s music director, but Mahler’s Symphony No. 2 at least offers him a grand farewell. He will be joined by the New York Philharmonic Chorus, the soprano Hanna-Elisabeth Müller and the mezzo-soprano Ekaterina Gubanova. ALLEN More

    • 113 Shares99 Views

      in Music

      Review: Jaap van Zweden Returns to a Changed Philharmonic

      by

      Since the orchestra’s music director was last on the podium in November, his successor has been announced. He came back blaring with Messiaen.“What have I missed?” you could imagine Jaap van Zweden thinking as he stood on the podium at David Geffen Hall and looked out at the audience on Friday evening. It’s been months since van Zweden, the music director of the New York Philharmonic, led this orchestra in a furious burst of activity as it opened the renovated Geffen Hall.In the meantime, the world has swiftly turned: Last month, the orchestra announced that Gustavo Dudamel, the superstar maestro of the Los Angeles Philharmonic, would succeed van Zweden, who is departing after next season. The prospect of a Dudamel era — a throwback to the heady, celebrity-fueled, jet-set days of Leonard Bernstein — immediately overshadowed van Zweden’s comparatively modest tenure.Modesty was set aside on Friday, though, for Messiaen’s immense, very loud “Turangalîla-Symphonie,” which van Zweden is ambitiously following this week with Bach’s “St. Matthew Passion,” for a brief residency the orchestra is calling “Spirit.”The spiritual quality couldn’t be more obvious in the austere severity of the “St. Matthew Passion.” It’s a little harder to discern in the hulking, gaudy “Turangalîla,” a 10-part, 80-minute paean to an erotic ecstasy that spills over into the realm of the cosmic.To keep things on a cosmic scale, Messiaen musters a solo piano part of concerto-level difficulty and variety. And the woozy, slippery wail of the theremin-like ondes martenot. And a glockenspiel, and a celesta. And a forest of percussion instruments, including shimmering tam-tam; curt wood blocks; and drums, both crisp and booming.Written in the aftermath of World War II, during which Messiaen spent time as a prisoner of war, the intricately conceived “Turangalîla” comes across as an explosion of long-simmering tensions: aggression and relief, energy and romantic longing, a celebration so huge it seems to encompass all the beauty and ominousness of nature, the delicacy and the granitic weight.The legacy of Stravinsky’s primal, euphorically muscular “Rite of Spring” is here, but billowing with the perfume of the French tradition of Ravel and blazing with the Technicolor brassiness of Broadway and Hollywood, returning to a few motifs — like a grim fanfare and a questioning four-note murmur — again and again.The quieter parts were the most memorable on Friday. The oscillating buzz of piano and celesta in the “Chant d’Amour II” section seemed to cast a blur over a lush melody in the violins. In “Turangalîla II,” a solo cello had the burnished strength of a horn. There was beautifully mellow playing in the winds throughout the “Jardin du Sommeil d’Amour,” the longest section, with the piano gently frisking, like a dancer in the moonlight on a foggy summer night.With van Zweden conducting, the score was forceful but slightly smudged, the textures both less lucid and less blooming than I’ve heard. I was aware, as I hadn’t been since earlier days in the renovated hall, of a hard, blaring quality to the orchestra’s sound in this space, a sense of being not surrounded, but almost assaulted.This performance felt heavier than some. But the work’s trippy grandeur and over-the-top virtuosity come through no matter what. And van Zweden’s build from misty mystery to density in the “Turangalîla I” section was persuasive, as was that from spare, forbidding march to ferocious dance in “Turangalîla III.”Jean-Yves Thibaudet, experienced at the daunting solo piano part, was both crisply powerful and self-effacingly suave. Cynthia Millar was a subtle presence at the ondes martenot — to the point that the instrument could have been more assertively amplified. We get to hear this retro-sounding relic of early electronica so rarely: Let it rip.New York PhilharmonicThis program continues through Sunday at David Geffen Hall, Manhattan; nyphil.org. More

    • 150 Shares179 Views

      in Music

      Michael Tilson Thomas Revels in the Present With the New York Phil

      by

      Thomas, who is fighting brain cancer, conducted two ruminative works, Schubert’s “Great” Symphony and his own “Meditations on Rilke.”The conductor Michael Tilson Thomas has always been a performer who communicates joy when sharing the music he loves. On Thursday, there was also a deep sense of gratitude: Speaking from the stage, he called his appearance with the New York Philharmonic “a lovely, affirming surprise.” Although he made no direct mention of his health, many in the audience understood the context: In the summer of 2021, Thomas, 78, learned that he had glioblastoma, an aggressive and terminal form of brain cancer. For him, every performance now is an opportunity to revel in the present.There are only two works on this program, both of them discursive and ruminative: Thomas’s “Meditations on Rilke,” which had its premiere in San Francisco in 2020, and Schubert’s “Great” Symphony.Thomas has always been a raconteur, and on Thursday he gave a 12-minute spoken introduction to “Meditations” from the podium. His speech may be more halting now, but the storytelling is as fluid as ever. And his quirky piece, which opens with a piano rag and quickly plunges into Mahlerian orchestration and psychic depths, needed at least some of that contextualization.“Meditations” is a song cycle for mezzo-soprano (the luminous Sasha Cooke), bass-baritone (an impassioned, rich-voiced Dashon Burton) and orchestra, with autumnal, meditative texts by the poet Rainer Maria Rilke. It’s also partly an instrumental fantasy based on an episode from the life of Thomas’s father, a scion of Yiddish theater giants who was thrust into a gig as a saloon pianist in an Arizona mining town (hence that opening rag); a zigzagging thesis on the similarities between cowboy songs and Schubert lieder; and a tribute to composers whose work is most deeply imprinted on Thomas, including Berg, Copland, Schubert and Mahler.Schubert’s “Great” Symphony did not need any introduction. It’s a broadly grand piece that was praised by Robert Schumann for its “heavenly length,” though many listeners have found it in need of a rigorous edit. In Thomas’s hands, it had a brilliant moment-to-moment tautness that made you forget the expanse of Schubert’s canvas, in which fine-honed details can sometimes get lost.The orchestra reveled in all those small turns — in each of the first movement’s gentle curves and crisply articulated angles, and in the surprising juxtapositions of the second movement, which shifts from proud march to sweet tenderness. Thomas, communicating with the most economical of arm gestures, made those internal transitions of mood and harmony seamless, their logic unstintingly clear. Many conductors treat the third-movement scherzo as an exercise in dance rhythm; here, the energy was certainly propulsive, but Thomas also coaxed out a riot of colors and textures.The final movement was nothing short of a joyous celebration, and more than a few of the Philharmonic’s players had barely sounded their last notes before erupting in laughter. Whether it was from the sheer pleasure of making music with Thomas or a quiet joke he might have made from the podium didn’t really matter; their delight was palpable — and shared.Michael Tilson Thomas at the New York PhilharmonicThrough Sunday at David Geffen Hall, Manhattan; nyphil.org. More