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      Review: At the Philharmonic, a Guest Challenges Common Wisdom

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      The conductor Nathalie Stutzmann surrounded a showcase for cellist Alisa Weilerstein with idiosyncratic readings of repertory staples.The conductor Nathalie Stutzmann, who made a hotly anticipated debut with the New York Philharmonic on Wednesday, has had a skyrocketing career. Most notably, she started this season as the music director of the Atlanta Symphony Orchestra — making her, regrettably, the lone female conductor among the 25 largest American orchestras. Women comprise about half of all orchestral players nationally and even outnumber men in the playing ranks of the Philharmonic.Many orchestra musicians reportedly love Stutzmann — who first made her name as a contralto and has recorded as a singer — for her deeply felt opinions and direct communication style. At the Philharmonic, she laid out her bona fides by beginning her program with Wagner’s “Tannhäuser” overture. (She will be making her debut at the Bayreuth Festival in August with this opera, so Wednesday’s performance felt like a bit of a preview.) She led it with a singer’s innate sense of phrasing and generous expanse; the orchestra seemed happy to luxuriate with her across every small hill and valley of the score.The most arresting work on the program was Prokofiev’s sprawling Sinfonia Concertante, a piece of constantly shifting moods that demands only the most virtuosic of soloists: It’s considered one of the most technically challenging, and exhausting, works written for cello.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Fosse Dancers: The thrill of “Bob Fosse’s Dancin’,” a revival of the 1978 musical is, aptly, its dancers. All are principals. No two are alike, not even a tiny bit. And that’s the way Fosse wanted it.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.The Sinfonia Concertante has never quite found a home in the repertory, though Prokofiev revised it extensively for his friend Mstislav Rostropovich. Before Wednesday, it had not been performed by the Philharmonic in two decades; the last time was with Rostropovich at the podium.But the piece has a profound champion in Alisa Weilerstein, the soloist this week. She is an artist who adroitly channels fierce work with her penetrating, brilliant sound — her performances of works by Kodaly and Shostakovich provide ample proof — and she made a compelling case for the Prokofiev. She dispatched every technical test with astonishing ease and visceral joy, and took obvious pleasure in the music’s often sardonic humor.It wasn’t such an easy match for Stutzmann, however, who emphasized pleasant piquancy over pointed commentary, and carefully burnished the work’s rough-hewn edges. The final movement has plenty of snarl and grit, and ends with a triumphant chord that is more frequently interpreted as thumb-your-nose sneering than exultant exclamation; instead, Stutzmann had the Philharmonic musicians land on it as delicately as a troupe of ballerinas.The orchestra was on more familiar terrain in Dvorak’s “New World”; this is, after all, the orchestra that premiered the extremely familiar work. And Stutzmann was a charming guide. She slowed down to let the audience appreciate minute, inner-voice details that they may well have otherwise missed, but she also hustled by some cherished landmark melodies. At other points, she took an overly literal interpretation of the score. I don’t recall ever hearing such a foursquare interpretation of the Largo theme, a tune meant to evoke Black spirituals that became more familiar as the melody of “Goin’ Home.”Stutzmann’s idiosyncrasies occasionally veered close to affectations. Who knew that the string chords that punctuate the brasses’ introduction to the theme at the beginning of the fourth movement were more important than the theme itself? On the other hand, Stutzmann is a conductor who certainly knows how to challenge common wisdom, making for an intensely absorbing evening.New York PhilharmonicThis program repeats through Friday at David Geffen Hall, Manhattan; nyphil.org. More

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      Classical Music to See and Hear in Spring 2023

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      This spring, Gustavo Dudamel, the Philharmonic’s next music director, conducts the big deal symphony, the Met Opera stages Terence Blanchard’s “Champion”; and in Chicago, Riccardo Muti says farewell.It was a hint about as subtle as a siren when the New York Philharmonic announced its current season a year ago: Gustavo Dudamel, the superstar conductor of the Los Angeles Philharmonic, would be coming to New York as a guest in May 2023 to lead Mahler’s Ninth Symphony.One of the repertory’s most sprawling and profound works, Mahler’s Ninth has been played by the Philharmonic almost exclusively under the batons of its music directors. It’s not an assignment the orchestra gives rising hotshots or conductors it sees once a decade. It’s the kind of musically knotty, deeply emotional score you want led by the artists closest to you.That was just one of many suggestions that Dudamel, 42, would, before too long, join the ranks of New York music directors, a group that has included eminences like Mahler, Toscanini, Bernstein and Boulez. And so it came to pass: Earlier this month, the Philharmonic said that he would succeed Jaap van Zweden in the position, for a five-year term beginning — because of classical music’s oddly glacial planning cycles — in the 2026-27 season.But before all that comes Mahler’s Ninth, which Dudamel has convincingly, with tenderness and naturally unfolding intensity, recorded with the Los Angeles Philharmonic. The three New York performances, May 19-21, were already sure to be well attended, given the famous conductor and the beloved piece. Now, since the concerts will be Dudamel’s first appearances on the Philharmonic’s podium since the announcement, these will be some of the hottest tickets in town this spring.When Terence Blanchard’s “Fire Shut Up in My Bones” opened the Metropolitan Opera’s 2021–22 season, in a run that sold out several performances, it was a landmark: the first time the company had put on the work of a Black composer. Now Blanchard’s earlier opera, “Champion,” from 2013, is coming to the house, beginning April 10.As in “Fire,” themes of identity, sexuality and the negotiation of traumatic memories dominate. “Champion” tells the true story of the closeted gay boxer Emile Griffith, who knocked out his opponent, Benny Paret, during a 1962 title bout; Paret never recovered consciousness and died 10 days later. At the Met, two bass-baritones share the role of Griffith: Ryan Speedo Green plays him as a young athlete in his prime, and Eric Owens, as an aging man looking back on his complicated past.A scene from Terence Blanchard’s “Champion,” in James Robinson’s production at Opera Theater of Saint Louis.Ken Howard/Opera Theatre of Saint LouisIn the wake of the box-office success of “Fire,” the Met — which has been struggling with ticket sales and said in December that it would withdraw $30 million from its endowment to cover costs — rushed “Champion” into production, part of a coming burst of contemporary operas aimed at broadening the audience. The staging reunites members of the team that helped make “Fire” vivid: the director James Robinson, the choreographer Camille A. Brown — the step dance routine that she conceived for “Fire” stopped the show — and the Met’s music director, Yannick Nézet-Séguin. Three veterans, Latonia Moore, Stephanie Blythe and Paul Groves, round out the cast.It is unusual for the Met (or any company) to unveil two new productions of Mozart operas back to back. And even rarer for both to be led by one conductor: in this case, Nathalie Stutzmann, a former mezzo-soprano turned maestro making her Met debut on the podium for “Don Giovanni” and “Die Zauberflöte.”Replacing a dreary, unilluminating Michael Grandage production on May 5, the new “Giovanni” is an import from the Paris Opera, where the much-discussed Dutch director Ivo van Hove and his colleagues put onstage what Joshua Barone described in The New York Times as “a de Chirico-like set populated by handsomely dressed people in a state of sexy desperation.” (It can hardly help but be an improvement on the Grandage.)Stutzmann, who started at the Atlanta Symphony this season — the only female music director leading one of the 25 largest American orchestras — conducts a promising cast, including Peter Mattei, a star in the title role at the Met for the past 20 years, as well as Adam Plachetka, Federica Lombardi, Ana María Martínez, Ying Fang and Ben Bliss.The situation with “Die Zauberflöte,” opening on May 19, is slightly complicated. The Met is planning to retain its existing production — which the director Julie Taymor and the designer George Tsypin filled with plexiglass and fanciful puppets — in its abridged, English-language, family-friendly form as “The Magic Flute,” now a holiday-season tradition.Performed in full and in German, the new-to-the-company “Die Zauberflöte,” a much-traveled staging directed by Simon McBurney, has the orchestra spilling over onto risers placed onstage and contemporary-style costumes. Stutzmann’s cast here includes Erin Morley, Lawrence Brownlee, Thomas Oliemans, Kathryn Lewek and Stephen Milling.Dudamel’s appointment is perhaps the biggest news in music this season: a new beginning. But the other crucial conductor move in America this spring signals the end of an era.Riccardo Muti is bringing his 13 years leading the Chicago Symphony Orchestra to a close in June.Gianni Cipriano for The New York TimesAt 81, Riccardo Muti — a fixture on the country’s major podiums since the 1970s and the music director of the Philadelphia Orchestra during the ’80s — is bringing to a close a 13-year tenure at the Chicago Symphony Orchestra with performances of Beethoven’s “Missa Solemnis,” June 23-25.Despite being an experienced Beethoven interpreter and a specialist in huge choral works, Muti stayed away from the notoriously thorny “Missa Solemnis” for decades, until he led it — with radiant dignity and grandeur — at the Salzburg Festival in 2021.“I always felt too small,” he said in an interview last year on Chicago radio, “never I felt ready to perform this huge monument, because it’s so deep, so vast.” Muti and other great conductors are not known for this kind of humility or patience, so these performances will be the fruit of uncommonly many years of study and thought.Given that the Chicago Symphony has not yet appointed his replacement, Muti will remain a crucial presence next season, and possibly beyond. But this “Missa Solemnis” — with the chorus coached by a distinguished guest, Donald Palumbo, the chorus master at the Met — is nevertheless sure to be a love fest between a superb orchestra and a conductor it has revered. More

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      Gustavo Dudamel, Superstar Maestro, Meets New York

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      On his first visit to the city since being named the New York Philharmonic’s next music director, he eagerly played the role of celebrity conductor.Gustavo Dudamel, groggy after a late-night flight from Los Angeles but still in good spirits, wandered into a roomful of New York Philharmonic employees, board members and donors on Monday afternoon and beamed.“I feel like Mickey Mouse,” he said as people approached to shake hands and pose for photos.It was Dudamel’s first visit to New York since being named the Philharmonic’s next music and artistic director — a post he will assume in 2026, after the conclusion of his tenure at the Los Angeles Philharmonic — and he was already playing the role of celebrity conductor.During his two-hour appearance at David Geffen Hall, the Philharmonic’s home, Dudamel, 42, offered few specifics about his vision, saying he needed more time to get to know the city and the orchestra. But he put on full display some of the qualities that made him the Philharmonic’s choice: charisma, charm and an ability to bring fresh excitement to classical music.He took part, with childlike giddiness, in a contract-signing ceremony. (“Are these presidential pens?” he asked as he prepared to put his name on the five-year document, which he had already signed electronically earlier this month, when the Philharmonic, in a major coup, poached him from Los Angeles.)He took questions from the Philharmonic’s leaders and the news media, weighing in on the future of classical music; his tenure at the Los Angeles Philharmonic, which he has led since 2009; and his sports allegiances. (After initially declining to take sides in Mets versus Yankees, he said he was a fan of the Cardenales de Lara of Barquisimeto, Venezuela, his hometown; but also of the Los Angeles Dodgers, because of their Brooklyn heritage; and finally he declared, with an air of hesitation, “I love the Yankees, too.”)Dudamel with Deborah Borda, the Philharmonic’s president and chief executive. “I always said you would have a ticker-tape parade when you came to New York,” she said.James Estrin/The New York TimesAnd he mingled with the orchestra’s musicians, praising their sound; discussing Mahler’s Symphony No. 9, which they will perform together in May; and thanking them for the gifts they had provided while the orchestra worked to woo him. (He told the cellist Maria Kitsopoulos that her homemade cheesecake was a crucial reason he had decided to move to New York.)Christopher Martin, the orchestra’s principal trumpet, who helped lead the search for a music director, embraced him. Among the orchestra’s players, Dudamel was the favorite from the start.“This is like a dream, seeing you here,” Martin said. “Nobody can believe it.”Deborah Borda, the Philharmonic’s president and chief executive, who hired Dudamel in Los Angeles in 2007, when he was 26, and spent the past year trying to lure him East, led a conversation with Dudamel on the stage of Geffen Hall before he took questions from the media.“I always said you would have a ticker-tape parade when you came to New York,” she said after cheers and whistles erupted in the hall.Dudamel said it was too early to lay out his plans for the orchestra, saying he did not want to impose his vision yet. But he reiterated his interest in creating an education program in New York similar to Youth Orchestra Los Angeles, known as YOLA, which is modeled on El Sistema, the Venezuelan social and artistic movement in which he trained.He quoted the Spanish poet and philosopher Miguel de Unamuno in describing the need to do more to connect with residents, particularly in poor neighborhoods: “The freedom of the people is in their culture.” When a reporter suggested he might call the New York version of his youth orchestra “YONY,” Dudamel smiled, saying, “I love the name.”“This is part of my DNA: to work with young people, to work with communities, to bring the orchestra to the community,” he said. “The New York Philharmonic, as the center of the artistic and musical life of this city, has to play a role, a very important role, in education.”Dudamel will be the first Hispanic leader of the Philharmonic in a city where Latinos make up about 29 percent of the population. When a reporter from Telemundo, the Spanish-language network, asked what Dudamel made of this milestone, he said he had not given it much thought. Then he said he hoped his journey from Barquisimeto to some of the world’s most prestigious stages would be an inspiration.“This can be a model so that girls, boys, young people, can have the certainty that dreams can always be achieved,” he said. “You have to work deeply, have a lot of discipline, and a lot of love for what you do, but it can be achieved.”Throughout the day, a recurring topic was Dudamel’s hair, which has been a subject of fascination since he broke onto the international scene in his early 20s.During a reception, a board member, Angela Chen, asked why he kept it shorter now, compared with his early days. “It feels more fresh this way,” he said, moving his fingers through his famous curls, which have started to gray. “One day it will be very white.”Sort of presidential: Dudamel at the ceremonial signing, with the board co-chairs, Peter May, left, and Oscar Tang. Behind him are Gary Ginstling, the orchestra’s executive director, and Deborah Borda.James Estrin/The New York TimesAt the news conference, Dudamel said he was no longer a “young promise” but that he still felt connected to the energy of his youth.“When I was 24 — 23, 24, 25 — it was crazy; I was a wild animal, not only because of my hair,” he said. “I keep that wild animal Gustavo that is always there — only with less hair.”Dudamel at moments seemed to be still processing his coming move to New York, which he has described as one of the most difficult decisions of his life.When he saw the actor and filmmaker Bradley Cooper, a friend, before the news conference, he said being in New York felt surreal.“I don’t know where to place myself right now,” he told Cooper.On his phone, he showed Cooper a photograph he had seen in Geffen Hall of Leonard Bernstein, a storied predecessor at the Philharmonic with whom he is often compared. (Cooper is directing and starring in a coming film about Bernstein.) In the photo, Bernstein is standing in an elevator after a performance with his eyes closed.“That says everything,” Dudamel said. “That exhausted look. He gave everything for music.”At the end of his visit, Borda led Dudamel on a tour of Geffen Hall, which reopened last fall after a $550 million renovation. As Dudamel looked on, she scrolled through a digital display of the Philharmonic’s past music directors — Toscanini, Mahler, Pierre Boulez, Bernstein — comparing the length of their tenures. They stopped by the new restaurant adjacent to the lobby; on the way out, Dudamel, a whisky fan, marveled at a bottle of 18-year-old Macallan.In a brief interview before leaving, Dudamel said he was exhausted but happy to finally celebrate his appointment with the orchestra, which he has conducted 26 times since making his debut in 2007.“I feel that I am blessed in life to have the opportunity to come here — to have the opportunity to extend the family that I have built in Los Angeles,” he said. “There’s a connection between all of this. It’s a big step. It’s beautiful.” More

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      Review: ‘In Seven Days’ Conjures the Creation, With Video

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      The New York Philharmonic, conducted by Ruth Reinhardt, played Thomas Adès’s “In Seven Days,” for piano, orchestra and moving image.When will the New York Philharmonic stop importing all things Los Angeles?First, New York poached the Los Angeles Philharmonic’s chief executive — then, earlier this month, the Los Angeles Philharmonic’s conductor.And concerts this week bring more: images of the Los Angeles Philharmonic’s Walt Disney Concert Hall, projected over the stage of David Geffen Hall. It’s getting ridiculous!Not that you would recognize Disney Hall in this form. The images of the building have been abstracted as part of the film accompaniment to Thomas Adès’s 2008 piano concerto “In Seven Days,” which the (New York) Philharmonic is performing with the pianist Kirill Gerstein under the baton of Ruth Reinhardt, in her debut with the orchestra.Adès’s music here, some of the best and most moving he has written, was conceived alongside Tal Rosner’s video. The half-hour piece is described by its creators as a “concerto for piano with moving image,” drawing on footage of Disney Hall and the Royal Festival Hall in London, the two spaces for which it was commissioned.Some of the film is lovely; I like the evocation of a shadowy, glinting jungle, and shifting, expanding geometric shapes conjure the jazzy, mid-20th-century look of Saul Bass’s movie title sequences. But on Thursday the endless kaleidoscope fractals mostly felt like a busy albatross around the score’s neck.And what a score. This is Adès at his most confident, elemental and ingenious. Brilliantly, the chaos of genesis at the start is not immediately chaotic, but rather an assertive, spiky motif with the slightest off-kilter dip to the rhythm, like something trying to catch its breath, to gather itself. The darkness of the universe is a brooding, gorgeous aria; the creation of the stars, a superhigh undulation amid glassiness, scattered through the piano and orchestra.Grim density flows into shining expanses, but this composer’s changeability and the creativity of his instrumental combinations keep it from ever sounding saccharine or sodden. Gerstein, who has played the piece many times, calmly negotiated its furious runs, granitic chords and tender wandering. For an encore, he gave Adès’s arrangement of the lonesome Berceuse from his opera “The Exterminating Angel.”The concerto offers a tantalizing impression of organic development and proliferation. That same quality was present — if in a quite different, more formally minimal vein — on Monday at Geffen’s new, intimate Sidewalk Studio in Julius Eastman’s “Femenine,” a piece from the mid-1970s that has been central to this composer’s posthumous rediscovery.At the Sidewalk Studio space, members of the Talea Ensemble and the Harlem Chamber Players performed Julius Eastman’s “Femenine.”Chris LeeSmall cells of material — including annunciatory themes as compelling as Adès’s — repeat (and repeat and repeat) and slowly evolve through the 70-minute work, over the ceaseless wintry shake of sleigh bells. The performers on Monday, a group drawn from the Talea Ensemble and the Harlem Chamber Players, juxtaposed, as Eastman intended, rhythmic alertness and regularity with woozy, oozing, shaggy sprawl.The Philharmonic can certainly play the Adès concerto, but its textures were not as clear or vivid on Thursday as they can be: the darknesses not as brutal nor the transparencies as shimmering. Grazyna Bacewicz’s motoric Overture for Orchestra, which opened the program, felt thick, too.After intermission, Dvorak’s Fifth Symphony was sometimes overly forceful. Reinhardt gave welcome prominence to the winds, but this orchestra doesn’t tend to dance gracefully, which made the internal movements heavy. By the Finale, though, more drama was made out of contrasting dynamics, with a candied, fairy-tale character to both the wistfulness and the high spirits.At the start of the concert, Reinhardt told the audience that the Philharmonic wanted to respond to the recent earthquake in Turkey and Syria, a lovely idea. But that response turned out to be an awkwardly played rendition of a cliché: the second movement of Bach’s Orchestral Suite No. 3 in D, best known as the “Air on the G String.”Couldn’t the ensemble have simply dedicated the whole concert — or at least Adès’s concerto, a musical depiction of the wonders and terrors of nature — to those affected?New York PhilharmonicThis program is repeated through Saturday at David Geffen Hall, Manhattan; nyphil.org. More

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      Gustavo Dudamel: A Maestro at a Crossroads

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      LOS ANGELES — Gustavo Dudamel paused mid-Rachmaninoff the other morning and flashed a mischievous smile at the 92 players of the Los Angeles Philharmonic.“This part,” he said as they rehearsed at Walt Disney Concert Hall, “is like that aunt who kisses you too much.” He puckered his lips loudly three times. “My dears,” he said, looking toward the violins, “let’s try it again.”He was back on the same podium where, just two days earlier, he had broken the news to the musicians, in a shaky and uncertain voice, that he would leave his post as their music and artistic director in 2026 to take on the same job at the New York Philharmonic. It was, he said, one of the hardest decisions of his life. But now he was back in his element, making music, swaying his hips and throwing his fist into the air, and imploring the players to “liberate every bit of gravity” from their playing — “to levitate.”Dudamel, 42, the rare maestro whose fame transcends classical music, finds himself at a crossroads: not only planning to move to a new orchestra, but also into a new phase of his career. Even as his curls have started to gray, he has never quite shed the image of a wunderkind, who at the age of 12 led his first orchestra in Venezuela, where he was born, and at 26 landed the job in Los Angeles.Dudamel backstage on Thursday at his first performance with the Los Angeles Philharmonic since he announced his move to New York.Philip Cheung for The New York Times“You cannot imagine how I have changed in these last years,” he said in an interview. “I’m not a young conductor anymore.”As Dudamel prepares to take the podium in New York, he is working to establish himself as a seasoned interpreter of the repertory — a maestro fluent in the symphonies of Mahler and Beethoven as well as less common fare, like a ballet by Ginastera. And he wants to continue to bring works by living composers into the mainstream.He is also eager to expand his legacy as a social activist — he was trained in El Sistema, the Venezuelan program that teaches music to children, many of them from poor families — from his coming platform in New York.“I see New York as a capital of the world, where I can send a message to the world that music is an important element of life — not only entertainment, but transformational,” he said.Dudamel has a devoted following in New York, where he was so admired that the Philharmonic decided to forgo a typical search for a music director, focusing its efforts instead on pursuing Dudamel like a “heat-seeking missile,” said Deborah Borda, the orchestra’s president and chief executive. Players admire his passion and humility; unlike most conductors, he in known for abstaining from solo bows after performances, instead preferring to gesture to highlight the contributions of the members of the orchestra.The film composer John Williams, a friend and mentor, described Dudamel as a “blessing to music” and predicted that he would be a transformative force in New York.“I can’t think of another conductor, man or woman, that I know that derives more sheer joy from music,” he said. “I don’t think you could have a better leader — a more positive person — to admit freely all kinds of things into our world, and at the same time maintain all the best traditions.”Dudamel stepping onto the stage of Walt Disney Concert Hall.Philip Cheung for The New York TimesSome have likened Dudamel to earlier titans like Leonard Bernstein, a predecessor at the New York Philharmonic, speaking of his potential to become a larger-than-life figure and to elevate the orchestra’s standing in American cultural life. Others question whether he is the product of hype. It is a lot of pressure.“Of course we will have challenges,” he said. “That is part of the beauty. Every day that you are in front of an orchestra, that you’re in front of a score of music, it’s a new challenge.”“To be afraid or worried about the risk of making mistakes is not in my head,” he added. “Never! Because I think risk is a part of life.”GUSTAVO ADOLFO DUDAMEL RAMÍREZ was born in Barquisimeto, Venezuela, on Jan. 26, 1981, the son of Oscar Dudamel Vásquez, a trombonist who played in a salsa band, and Solange Ramírez Viloria, a voice teacher. His arms were too short to play trombone like his father, so he took up the violin.His grandparents initially tried to discourage his studies, worried about having another musician in the family.“One time my husband told me, ‘Can you imagine if our grandson is a violinist? Who will be able to stand all the noise in the house?’” Engracia Vásquez de Dudamel, his grandmother, recalled in an interview with the Spanish-language newspaper Hoy in 2009.But the family relented, and Gustavo enrolled in El Sistema, where his talents as a conductor were soon recognized by José Antonio Abreu, the celebrated Venezuelan educator who had founded what became El Sistema in 1975.Abreu took on Dudamel as a pupil, teaching him rhythm and phrasing, and honing his technique as a conductor, telling him to feel sound in his hands the way a flying bird feels air. He appointed Dudamel to lead the national youth orchestra and inculcated in him the zeal of an evangelist, enlisting him in his effort to spread the “social mission of art.”Dudamel said that he wants to “send a message to the world that music is an important element of life — not only entertainment, but transformational.”Philip Cheung for The New York TimesIn 2004, Dudamel became a sensation after he won the first Gustav Mahler Conducting Competition in Bamberg, Germany. One of the jurors in the competition, the conductor Esa-Pekka Salonen (then the music director of the Los Angeles Philharmonic) phoned Borda (then the orchestra’s president) and told her he had just seen “a real conducting animal.”She invited Dudamel to make his American debut at the Hollywood Bowl the following year, in a program of works by Tchaikovsky and the Mexican composer Silvestre Revueltas.“In his U.S. debut Tuesday night, a 24-year-old conductor from Venezuela with curly hair, long sideburns and a baby face accomplished something increasingly rare and difficult,” the Los Angeles Times critic Mark Swed wrote of that performance. “He got a normally restive audience’s full, immediate and rapt attention. And he kept it.”Dudamel’s New York Philharmonic debut, in 2007, was just as memorable — especially after he broke a baton once used by Bernstein, which the orchestra had lent him, near the end of the concert, in the last few measures of Prokofiev’s Symphony No. 5. (The baton, still in two pieces, remains in the Philharmonic’s archives.)At his New York Philharmonic debut in 2007, Dudamel was given one of Leonard Bernstein’s batons. It broke during the last few measures of Prokofiev’s Symphony No. 5. Philharmonic ArchivesWhen he began his tenure in Los Angeles, in 2009, Dudamel quickly became a celebrity, forging ties with Hollywood and capturing the imagination of audiences who were unaccustomed to classical music.He set out to develop the ensemble’s sound; he has hired 42 of its musicians, about 40 percent of the orchestra. And he sought to continue Abreu’s mission, creating the Youth Orchestra Los Angeles, known as YOLA, which was modeled on El Sistema.During his directorship, the Philharmonic continued to rethink the role of a modern orchestra, making the promotion of new music a priority. The ensemble, one of the most financially secure in the United States thanks to the box office revenues it gets from the Hollywood Bowl, has commissioned more than 200 works during Dudamel’s time there and brought in pop and jazz stars, helping cement its reputation for innovation.The composer John Adams, a frequent collaborator, said that Dudamel arrived in Los Angeles a “babe in the woods when it came to contemporary repertoire.”“Then he discovered he liked it,” Adams said. “And now he’s not only a wonderful interpreter, but just a wonderful champion.”As part of his focus on new music, Dudamel has sought to elevate composers from Latin America, often lamenting that the region’s composers are barely known compared to its writers and visual artists.The Mexican composer Gabriela Ortiz said that Dudamel had been crucial in promoting her music, adding that it could be difficult for female composers from Latin America to gain recognition. She recalled a 2017 concert at which he featured one of her compositions before a performance by the Mexican pop singer Natalia Lafourcade, greatly expanding the audience for her music.“He’s an extremely generous person,” she said. “I’ve never felt I was with this infamous conductor where always there is some huge distance. I’ve always felt very, very close.”In 2021, Dudamel became the music director of the Paris Opera, looking to expand his repertory and build more ties to Europe, where he has been a welcome guest at prestigious orchestras including the Berlin and Vienna Philharmonics. (His wife, the Spanish actress and filmmaker María Valverde, is from Madrid, and the couple maintain a home there.)Dudamel is known for forgoing solo bows, often preferring to highlight the contributions of the orchestra. Philip Cheung for The New York TimesDudamel’s ties to Venezuelan leaders, whose support was vital for El Sistema, have drawn scrutiny. He conducted at the funeral of President Hugo Chávez, and for years he resisted criticizing the government, even as a series of social and economic crises worsened in the country.In “¡Viva Maestro!,” a documentary about Dudamel released last year, he spoke about the pressure he faced, not wanting to harm El Sistema. “I’m a leader of a program,” he said. “It’s not Gustavo only. It’s thousands of children, millions of young people.”After a young El Sistema-trained viola player was killed during a street protest in 2017, Dudamel decided to speak out. “It was very difficult to see my people fighting, to see my people suffering and getting to a very violent moment,” he explained in the documentary.He issued a statement that said “enough is enough” and wrote an opinion piece in The New York Times, criticizing a government plan to rewrite the constitution. President Nicolás Maduro responded by canceling overseas tours by Dudamel and the Simón Bolívar Symphony Orchestra, which he has led since 1999. Many players in that group, which had been a source of national pride, left the country. And Dudamel, who had last visited Venezuela in 2017, felt unable to return, even for the funeral of Abreu, his mentor, who died the following year. Instead he arranged a memorial concert in Santiago, Chile.Dudamel finally returned to Venezuela a few months ago, shortly after touring with the Los Angeles Philharmonic in Boston, New York and Mexico.As he pondered his next steps, he went to Barquisimeto to reconnect with what he described as “the genesis of my life as a musician.” He caught up with friends and family. He met with students and teachers in El Sistema. And he visited Abreu’s home, sitting in his studio and looking through his books.Dudamel said that his teacher, whom he calls “maestro” and speaks of as a father, remained “in my soul and in my brain.” He contemplated what Abreu would have made of his move to New York.“I was part of a vision — of his vision,” he said. “He saw me when I was a 9-year-old boy in Barquisimeto. I think he saw this. He saw me being in New York with the New York Philharmonic. I’m sure of that.”He added: “I can see him. I can feel him. And I believe he is happy. He’s very happy.”Adam Nagourney contributed reporting from Los Angeles, and Joshua Barone from New York. More

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      Review: No Dudamel Yet, but a Celebration at the Philharmonic

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      Esa-Pekka Salonen led the New York Philharmonic the day after Gustavo Dudamel was named as its next music director.If critics ruled the world — hope springs eternal — Esa-Pekka Salonen might be the New York Philharmonic’s music director right now. A conductor and composer, incisive and dryly funny, with a broad and quirky repertory, he was favored by some of us during the process that resulted in the selection of Jaap van Zweden in 2016.Who knows how long Salonen would have stayed in the job, but van Zweden is leaving after next season, just a few years into his tenure. And on Tuesday, the Philharmonic announced that Gustavo Dudamel, the superstar music director of the Los Angeles Philharmonic, would replace him.Dudamel, though, is conducting on the West Coast this week. He’s coming to New York for a news conference on Feb. 20, then doesn’t lead his new orchestra until May. Because of classical music’s glacial planning cycles, it won’t be until 2026 that he officially takes up the podium.So, by coincidence, it was Salonen — Dudamel’s predecessor in Los Angeles and now the music director of the San Francisco Symphony — who led the Philharmonic’s first concert since the appointment, on Wednesday at David Geffen Hall. (One for the annals of bad timing: Just last week, the two men and Rafael Payare of the San Diego Symphony unveiled, with much hoopla, the California Festival, a coming joint venture.)If any performance could have captured the excitement the Philharmonic is feeling —  look at the photo published in The New York Times of Judith LeClair, the principal bassoon, erupting when she learned the Dudamel news — it was the joyful rendition of Beethoven’s Seventh Symphony that closed Wednesday’s program.Under Salonen, the first movement steadily gained tension and excitement from the alternation — and sometimes the superimposition — of rough, abrupt accents and silkily long legato lines. He was unafraid of dramatic elongations of transitional passages: the short prelude to the Vivace section, the exchange of quietly wistful material through the winds later on.The Allegretto second movement, which under some batons can feel like an adagio dirge, was here remarkably flexible, neither too slow nor too heavy. The third movement began with a blitheness that gave the weighty trio section true grandeur by contrast. A whooshing start to the finale was soon, once again, grounded in those legato lines, headlong but fundamentally guided.It was interesting to compare with the excellent interpretation of Beethoven’s Second Symphony here last month by Santtu-Matias Rouvali. Written merely a decade before the Seventh, it is a vestige of the vanishing world of Classicism, and Rouvali scrupulously avoided breathlessness, any sense of losing rhythmic clarity and control.But in Salonen’s take on the more bacchic Seventh, you got a sense of revelry in the way this music is intricately constructed to seem on the verge of falling apart. Near the end of the first movement, there was the proper, slightly exhilarating, slightly queasy-making impression of different parts of the orchestra simultaneously speeding up and slowing down.It was appropriate in a week of Philharmonic pride that the soloist earlier in the program was drawn from the ranks of the orchestra: Anthony McGill, the principal clarinet, who was featured in the American premiere of Salonen’s “kínēma.” Replace the “k” with a “c” and you get the idea; the piece was drawn from plans for a film score.Salonen said from the stage that the roughly half-hour work, composed during the pandemic lockdown and scored for strings alone, was “practically” a clarinet concerto — made up of five “scenes” that he compared to individual rooms, each without the ranging or development we usually expect within concerto movements. (For those who wanted development, he said to laughter, there was the Beethoven symphony to come after intermission.)The first scene is a shining, dewy dawn; the second, a soft, easygoing aria over a steady repeating bass line; the third, a bright, pizzicato accompaniment to a skipping, spattering clarinet; the fourth, a restrained elegy punctuated by sudden, swiftly abandoned surges.The fifth begins with hymnlike solemnity, reminiscent of a sunset, with the violins making a high, smooth spearing sound that shades into the tone of the clarinet. Unexpectedly aggressive, sharply rhythmic music follows — this seems to be the material that Salonen joked earlier was an echo of “Psycho” — accompanied by siren cries from the soloist.It felt odd to be unleashing so much drama at the very end, a big release of something that was never quite built up. But “kínēma” isn’t unpleasant, and McGill was a stylishly reserved soloist, not one to impose himself even in virtuosic passages — his tone mellow yet direct, sweet and refreshing.The concert — beginning with Luciano Berio’s elegantly wry, 20th-century layering of four versions of an 18th-century Luigi Boccherini quintet — was a spirited union of new and old, and an aptly stirring celebration of exciting news.New York PhilharmonicThis program repeats through Saturday at David Geffen Hall, Manhattan; nyphil.org. More

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      New York Philharmonic Appoints Gustavo Dudamel as Music Director

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      Dudamel, a charismatic 42-year-old conductor, will take up the Philharmonic’s podium in 2026, in a major coup for the orchestra.LOS ANGELES — Gustavo Dudamel, the charismatic conductor of the Los Angeles Philharmonic, whose fiery baton and bouncy curls have made him one of classical music’s most recognizable figures, will leave his post in 2026 to become the music director of the New York Philharmonic, both orchestras announced on Tuesday.“What I see is an amazing orchestra in New York and a lot of potential for developing something important,” he said in an interview. “It’s like opening a new door and building a new house. It’s a beautiful time.”The appointment of Dudamel, 42, is a major coup for the New York Philharmonic, the oldest symphony orchestra in the United States, which was once led by giants including Mahler, Toscanini and Bernstein. Just a decade ago, there were concerns about its future, given the languishing efforts to renovate its lackluster hall and questions about its artistic direction. Now its home, David Geffen Hall, has reopened after a $550 million renovation, and it has secured in Dudamel the rare maestro whose fame transcends classical music, even as he is sought by the world’s leading ensembles.His departure is a significant loss for Los Angeles, where since 2009 Dudamel has helped build a vast cultural empire and helped turn the orchestra into one of the most innovative and financially successful in the United States.He was lured east by Deborah Borda, the New York Philharmonic’s powerful president and chief executive, in an instance of classical music history repeating itself. She signed the 26-year-old Dudamel to the Los Angeles Philharmonic back when she led that ensemble, and helped make him a superstar in its relatively new Walt Disney Concert Hall. Now she hopes to repeat that success in New York.“It’s a wonderful match,” said Borda, who arranged the deal in one of her last big pieces of business before she steps down from her post at the end of June. “I’m joyous for our orchestra. I’m joyous for our city.”The terms of the deal were not disclosed. Dudamel, one of the highest-paid artists in the industry, earned $2.8 million during a recent season in Los Angeles. In New York, he will be given the expanded title of music and artistic director, to match his current role. He will succeed Jaap van Zweden — first as music director designate in the 2025-26 season, then as the orchestra’s 27th music director in the 2026-27 season — with an initial contract for five years.Dudamel, who was born in Venezuela, will be the orchestra’s first Hispanic leader, in a city where Latinos make up about 29 percent of the population. His appointment comes as the Philharmonic has worked to connect with new audiences, especially young people and Black and Latino residents.Classical music audiences typically skew older, but Dudamel is a rare figure who has been able to galvanize traditionalists and newcomers alike. He has made nurturing a younger generation of artists and music fans a priority, building a youth orchestra in Los Angeles modeled on El Sistema — the Venezuelan-based movement, in which he trained, that weds teaching and social work.Dudamel at the Walt Disney Concert Hall in Los Angeles, where his contract with the Los Angeles Philharmonic will expire at the end of the 2025-26 season.Alex Welsh for The New York TimesAnd he is unique among modern conductors for his pop-culture celebrity. Dudamel has appeared in a Super Bowl halftime show and voiced Trollzart in the animated film “Trolls World Tour.” He inspired the wunderkind Latin American conductor played by Gael García Bernal on the Amazon series “Mozart in the Jungle” and made a cameo appearance on the show. (“Hear the Hair” was its parody of a classical music marketing campaign.) In addition to making recordings with the Berlin Philharmonic and the Vienna Philharmonic, he has conducted on soundtracks of a recent “Star Wars” film and Steven Spielberg’s version of “West Side Story.” In 2019, he was given a star on the Hollywood Walk of Fame.Dudamel now faces the difficult task of attempting to raise the New York Philharmonic’s standing in American cultural life while helping it navigate a series of challenges, including dwindling ticket revenues, shifting audience behavior since the pandemic and persistent questions about the relevance of classical music and live performance today.Dudamel said that as music and artistic director, he would champion new music and work to develop the orchestra’s sound, now that the musicians had a hall in which they could fully hear each other onstage.“There are no limits, especially in an orchestra with such a history,” he said. “I see an incredible infinite potential of building something unique for the world.”Dudamel, who has been the music director of the Paris Opera since 2021, and of the Simón Bolívar Symphony Orchestra of Venezuela since 1999, was a favorite for the podium in New York as soon as it became vacant. In the fall of 2021, van Zweden announced that he would step down at the end of the 2023-24 season after a six-year tenure.When Dudamel appeared at the Philharmonic last spring, for a two-program Schumann symphony cycle, some players, hoping to win him over, showed up to rehearsals bearing gifts and handwritten notes. Inside his dressing room, a group of musicians gave him a bottle of the Brooklyn-made Widow Jane bourbon, telling him the Philharmonic would welcome him if he could find a way to spend more time in New York.“Everything comes alive with him,” said Christopher Martin, the orchestra’s principal trumpet. “Everything is as natural as breathing.”Borda said that it was Dudamel’s long and fruitful relationship with the Philharmonic — he has led 26 concerts with the orchestra since his debut in 2007 — that had made him the choice of the musicians, board members and managers. She recounted meeting him secretly in various European cities over the past year, often flying in and out within 24 hours to avoid suspicion, as she tried to secure a deal. (Seeing him in Los Angeles, she said, “just didn’t feel kosher.”)In October, when Dudamel was in New York to perform at Carnegie Hall with the Los Angeles Philharmonic, she took him on a tour of the renovated hall during a rehearsal, taking a circuitous route to sneak him onto the third tier so that even the orchestra’s musicians would not know. The attempt at secrecy was foiled when they bumped into Lin-Manuel Miranda, who was preparing for a gala performance.The secrecy was broken on Tuesday afternoon when the New York Philharmonic’s musicians were summoned for an announcement shortly after a rehearsal with the guest conductor Esa-Pekka Salonen. Some worried that the news would be bad; only members of the orchestra committee knew what the meeting would be about.Judith LeClair, the New York Philharmonic’s principal bassoon, reacted to the news of Dudamel’s hiring on Tuesday.James Estrin/The New York TimesWith the players reunited onstage, Borda and her successor, Gary Ginstling, stepped onto the podium.“Our next music director will be,” Borda said, with a pause, “Gustavo Dudamel.”The musicians erupted into 20 seconds of applause, in a journey from wide-eyed surprise to whistles and cheers, genuine expressions of joy. Judith LeClair, the bassoonist, was the most animated of them, looking dumbfounded before holding a radiant smile through the rest of Borda’s speech.“The Philharmonic has had its ups and downs,” Borda told them. “And it had an amazing time in the ’60s, when we were golden,” she added, referring to Bernstein’s music directorship. “I really feel the promise of that again.”Afterward, members of the orchestra were visibly elated. The oboist Ryan Roberts, who grew up in Los Angeles, called his mother there: “Mom, guess who our new music director is.” She could be heard responding with Dudamel’s name, virtually screaming with excitement.The appointment of Dudamel is the latest chapter in a remarkable career. Born in the Barquisimeto, Venezuela, he grew up in a musical family: His mother was a voice teacher, and his father a trombonist who played in salsa bands. He enrolled in El Sistema as a child and studied violin and composition before pursuing conducting.He sometimes faced questions about his ties to Venezuelan leaders — he conducted at the funeral of President Hugo Chávez — but tried to remain above the political fray. But in 2017, after a young El Sistema-trained viola player was killed during a street protest, Dudamel issued a statement that said “enough is enough” and wrote an opinion piece in The New York Times accusing the government of flouting the Venezuelan constitution. President Nicolás Maduro canceled several overseas tours by Dudamel and the Simón Bolívar Symphony Orchestra as punishment, and Dudamel did not return to Venezuela until a quiet trip late last year.Dudamel has been a champion of new music, collaborating in Los Angeles with composers including John Adams and Gabriela Ortiz. He has also joined forces with pop and jazz stars, such as Billie Eilish and Herbie Hancock. The New York Times critic Zachary Woolfe wrote in 2017 that the Los Angeles Philharmonic was “the most important orchestra in America. Period.”At the New York Philharmonic, Dudamel will lead an organization that is smaller than his Los Angeles empire, and one that has struggled in recent decades with financial troubles. The Los Angeles Philharmonic, with its Frank Gehry-designed Disney Hall as well as the Hollywood Bowl, garnered about $187 million in yearly revenue before the pandemic. The New York Philharmonic earned $86 million.Chad Smith, the chief executive of the Los Angeles Philharmonic, congratulated Dudamel on the move, praised his tenure there for leaving “indelible marks on classical music” and hinted at the orchestra’s next steps.“From our earliest days, the L.A. Phil has been a trailblazer, boldly embracing the new, welcoming the world’s greatest artists to our stages and redefining the role of an orchestra in our community,” he said in a statement. “The search for our next music director will be conducted with this same spirit as we define the future of our organization.”Dudamel broke the news on Tuesday to Los Angeles players after a rehearsal, telling them that he would always be an Angeleno.Dale Breidenthal, a violinist in the orchestra, said Dudamel’s departure was stunning for the ensemble. “We haven’t processed it,” she said on her way out from the rehearsal. Still, she added, New York needed his talents. “We are really excited for him,” she said.Dudamel said he did not expect to build a replica of the Los Angeles Philharmonic in New York. “It’s impossible,” he said. “They are completely different cultures.”Still, he said, he would like to explore the idea of creating a youth education program similar to his efforts in Los Angeles. “It will be very important that we really develop social action through music,” he said. “For artistic institutions in the world, it’s important to embrace and to build. It will be very beautiful.”Borda, who returned to New York in 2017 after 17 years at the helm of the Los Angeles Philharmonic, balanced the New York Philharmonic’s budget and built up its once-depleted endowment. She also helped bring to fruition the long-delayed renovation of Geffen Hall, working with Henry Timms, the president and chief executive of Lincoln Center, to push it through ahead of schedule during the pandemic shutdown.That renovation has helped to revitalize the orchestra; speaking with the players on Tuesday, Borda told them, “It’s really because of you that he’s coming” but added, “And I have to say, it doesn’t hurt to have a nicer hall.”Paid attendance so far this season has hovered around 88 percent, compared with 74 percent before the pandemic, though the revamped hall is somewhat smaller. But the ensemble is still grappling with a host of questions about its identity and vision.Borda offered Dudamel two gifts while wooing him. One, given early in the search, was a program book from a Philharmonic tour of Venezuela in 1958, with a cover designed by the artist Carlos Cruz-Diez.The other, which he received as the deal was being finalized, was a pencil that was used to compose music by an artist who will now be his predecessor: Leonard Bernstein.Dudamel said in the interview that he would always maintain a connection to Los Angeles.“I don’t feel that I’m leaving this place or that it will be goodbye forever,” he said. “All the time I have spent here and all the experience that I have built here, I will bring to New York to build something new. This is life. I don’t feel that it’s an end.”Joshua Barone contributed reporting from New York. More

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      Gustavo Dudamel’s 10 Notable Recordings

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      Dudamel, the New York Philharmonic’s next music director, has a varied catalog of classics and contemporary works, as well as film scores.If Gustavo Dudamel, the 42-year-old superstar maestro who on Tuesday was announced as the next music director of the New York Philharmonic, is known for anything, it’s the sheer energy of his performances. His body moves with dancerly charisma as his baton conjures extremities of orchestral sound; the music feels alive, and so do you.The same could often be said for his recordings, even without the spectacle of a live concert. Still, the quality of Dudamel’s catalog is as varied as his repertoire: beloved symphonies, Latin American music and premiere recordings of contemporary works, even film soundtracks. If his Beethoven Nine is overblown, his Mahler Nine is heartbreakingly understated. Almost no album is without something to love, and something to scratch your head at.Over the years, Dudamel’s recordings have revealed gifts for Tchaikovskyan Romanticism, dancing rhythms and, above all, American music. Here is a sampling of those, as well as some possible red flags for his future in New York.John Williams: ‘The Imperial March’Dudamel is a fixture in Los Angeles — not only as the music and artistic director of the Los Angeles Philharmonic, a post he will hold through the 2025-26 season, but also as a celebrity conductor who moves easily between the worlds of Hollywood and classical music. Sometimes, he occupies both at once. He is a friend of the film composing legend John Williams, celebrating him on the stage of Walt Disney Concert Hall and recording hits including recognizable themes from the “Star Wars” movies.John Adams: ‘Must the Devil Have All the Good Tunes?’Dudamel has enthusiastically led the works of living composers, many in world or American premieres. John Adams is a particular specialty; Dudamel was the first to record his oratorio “The Gospel According to the Other Mary” and has led older pieces including “Grand Pianola Music.” (This spring, he will be in the pit for “Nixon in China” at the Paris Opera, where he is the music director.) At Disney Hall in 2019, Dudamel also conducted the premiere of Adams’s piano concerto written for Yuja Wang, “Must the Devil Have All the Good Tunes?”Ginastera: ‘Estancia’Another of Dudamel’s ensembles is the Simón Bolívar Symphony Orchestra in Venezuela, where he was born. With those players, he has released a lot of music, for the most part in the realm of familiar classics. On the album “Fiesta,” though, they explore Latin American (or Latin-influenced) works including Ginastera’s short but teeming 1941 ballet “Estancia.” The finale, driven by malambo rhythms, is a foot-tapping, smile-inducing explosion of energy, and of life.Ives: Symphony No. 4Among Dudamel’s finest recordings with the Los Angeles Philharmonic is a cycle of Ives’s four symphonies, works of pioneering American sound that freely dabble in the melodies of popular and traditional songs. From movement to movement, Dudamel demonstrates a mastery of the music’s mystery, delicacy and deeply felt nostalgia. All those come together in the finale of the enormous Fourth, a layered collage of tunes and textures that, under Dudamel’s baton, feels as unsettled and tenuously harmonious as America itself.Tchaikovsky: ‘Romeo and Juliet’Dudamel’s interpretations of Tchaikovsky are not uniformly the best; his “Nutcracker” with the Los Angeles Philharmonic can be missed. (Try instead Simon Rattle’s in Berlin or Valery Gergiev’s in St. Petersburg.) But his penchant for extremity makes for gripping drama and fervent passion in his account of the “Romeo and Juliet” fantasy overture with the Simón Bolívar Symphony Orchestra.Beethoven: Symphony No. 6The extremity often employed in Tchaikovsky doesn’t, however, serve Beethoven’s symphonies. Dudamel’s recordings of those works with the Simón Bolívar Symphony Orchestra often lack the breadth of Beethoven’s sound — the wit and joy alongside the darkness of, say, the Fifth. Particularly confounding is an unrelaxed and excitable Sixth that hardly lives up to the symphony’s nickname as the “Pastoral.”Mahler: Symphony No. 9When Dudamel and the Los Angeles Philharmonic visited Carnegie Hall for two concerts last fall, they ended their first program with an uneven reading of Mahler’s First Symphony. On disc, though, Dudamel proves himself to be a more trustworthy guide elsewhere in Mahler: through the varied moods of the Fifth, with the Berlin Philharmonic, and through the Indiana Jones-like adventure of the Seventh’s Scherzo. He is at his wisest in the Ninth, recorded — touchingly, patiently, unpretentiously — with the Angelenos.Andrew Norman: ‘Sustain’Dudamel’s support of new music in Los Angeles peaked with the Philharmonic’s 2019-20 centennial season, which inspired a series of commissions including Andrew Norman’s symphony-length “Sustain.” This cosmic score reveals itself slowly and, at times, unexpectedly. Yet for all its complexity, the music unfurls with lived-in inevitability in this standard-setting account.Bernstein: ‘West Side Story’Bits of “West Side Story” have appeared in Dudamel’s concerts before, but he took up the entire score — with propulsive intensity, playfulness and beauty — for Steven Spielberg’s 2021 film adaptation. Here, Bernstein proves a master of different musical idioms; and Dudamel does the same in the recording sessions for the soundtrack, which was made, fittingly, with both the New York and Los Angeles Philharmonics.Thomas Adès: ‘Dante’While in Los Angeles, Dudamel unveiled a modern masterpiece: Thomas Adès’s evening-length “Dante,” which Dudamel conducted in its concert premiere last spring after the “Divine Comedy”-inspired work had debuted as a ballet score in London. A recording of it, made at Disney Hall, is set for release in April on the Nonesuch label, but for now, there is a taste in “The Thieves — devoured by reptiles,” the Lisztian 12th section of “Inferno.” More