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      New York Philharmonic Was Once All-Male. Now, Women Outnumber Men.

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      The New York Philharmonic, which was an all-male bastion for most of its 180 years of existence, currently has 45 women and 44 men.When the New York Philharmonic moved to Lincoln Center in 1962, its new hall had no women’s dressing rooms. That’s because there were no women in the orchestra.But this fall, as the Philharmonic opens its newly renovated home, David Geffen Hall, its players have returned not only to more equitable facilities backstage, but to a milestone onstage: For the first time in its 180-year history, the women in the Philharmonic outnumber the men, 45 to 44.“It’s a sea change,” said Cynthia Phelps, the principal viola, who joined the orchestra in 1992. “This has been a hard-won, long battle, and it continues to be.”The orchestra’s new female majority could prove fleeting — it currently has 16 player vacancies to fill, in part because auditions were put on hold during the pandemic — but it still represents a profound shift for an ensemble that had only five women at the beginning of the 1970s. That was the decade it began holding blind auditions, with musicians trying out by playing behind screens.The pipeline now teems with female candidates: At the Philharmonic, 10 of the 12 most recent hires have been women.“This certainly shows tremendous strides,” said Deborah Borda, the Philharmonic’s president and chief executive and a pioneer in the field of orchestral management. “Women are winning these positions fair and square.”“All we seek is equity,” she said, “because society is 50-50.”Women now make up roughly half of orchestra players nationwide, but they are still substantially outnumbered by men in most elite ensembles, including in Boston, Philadelphia and Los Angeles.Jaap van Zweden conducting the women and men of the Philharmonic this month at the newly-renovated David Geffen Hall. Fadi KheirThe Philharmonic still falls short by several measures. Women hold only about a third of its leadership positions, including its principal positions and assistant or associate principals, which are the best-paid positions for players. The orchestra has never had a female music director. Some sections remain noticeably divided by gender: 27 of its 30 violinists are now women, for example, while the percussion section is made up entirely of men. There is still a glaring lack of Black and Latino members.Still, many artists hailed the new prevalence of women in the Philharmonic as a significant development. Symphony orchestras were long seen as the dominion of men. And turnover is generally extremely slow at leading ensembles like the Philharmonic, whose players are tenured and can remain in their posts for many years. Meaningful demographic change can take decades.“It’s more of a family now,” said Sherry Sylar, associate principal oboe, who joined the orchestra in 1984. “There are moms and pops both.”For much of its history, the Philharmonic, the oldest symphony orchestra in the United States, was closed off to women. At the time of its founding in 1842, women were not only discouraged from pursuing careers in music — it was rare for them to attend evening concerts unless they were with men. (In “Philharmonic: A History of New York’s Orchestra,” Howard Shanet wrote that during the 19th century, the ensemble’s public rehearsals on Friday afternoons were popular with “unaccompanied ladies who could venture forth by day with more propriety than they could by night.”)It was not until 1922 that the Philharmonic hired its first female member, Stephanie Goldner, a 26-year-old harpist from Vienna. She departed in 1932, and the orchestra became an all-male bastion again for decades.Then, in 1966, Orin O’Brien, a double bassist, was hired as the Philharmonic’s first female section player. Often described as the first woman to become a permanent member of the orchestra, she was at the vanguard of a pioneering group of female artists who opened doors for other women to join. The orchestra’s move toward blind auditions in the 1970s was seen as making the process fairer. By 1992, there were 29 women in the orchestra.Even as representation increased, however, female musicians often faced discrimination. Sexism was widespread in the industry (the maestro Zubin Mehta, who opined in 1970 that he still did not think women should be in orchestras because they “become men,” was named the orchestra’s music director six years later). Fewer women got the best-paid principal positions, and some who did found that they earned far less than their male counterparts. In 2019, the Boston Symphony settled a lawsuit in which the principal flutist of the orchestra said she was being paid less than a male colleague, the principal oboist.Judith LeClair became the first woman to take over a first chair at the Philharmonic when she joined as principal bassoon in 1981, at the age of 23. She described her early days in the orchestra, when she was one of 17 women, as lonely. She said she had to fight to be paid as much as her male colleagues, hiring a lawyer to help negotiate contracts. It took at least 20 years, she said, before she reached parity.Sheryl Staples, the orchestra’s principal associate concertmaster; Qianqian Li, its principal second violinist; and Lisa Eunsoo Kim, the associate principal second violinist, during a recent rehearsal. Calla Kessler for The New York Times“I did feel I was taken advantage of in the very beginning because I was a woman, and young and naïve,” she said. “It felt humiliating and demeaning.”Some male colleagues took to calling the women in the orchestra “the skirts.”“It minimized the role that we played in the orchestra,” said Sylar, the oboist. “It felt like you had to be better to gain the respect of the other musicians. It was just a constant struggle of always pushing myself to be better.”The nickname was not her only encounter with sexism. Shortly after she joined the orchestra, she recalled that Erich Leinsdorf, a frequent guest conductor, during a meeting in his dressing room, asked why she did not wear dresses during rehearsal (she preferred pants).“It just sort of floored me,” she said.It was not until 2018 that the Philharmonic changed its dress code to allow women to wear pants at its evening concerts. Before that they were required to wear floor-length black skirts or gowns.In recent years, as women have taken on more leadership roles in the orchestra, the climate has become more inclusive, several players said.“It’s so welcoming and warm and it feels just like a big family,” said Alison Fierst, who joined as associate principal flute in 2019, and had been moved by getting the chance to get to play alongside some of the pioneering women who had broken barriers in the orchestra.There are some outliers — the St. Louis Symphony, for example, has had a female majority for a decade — but men still outnumber women at most leading orchestras in the United States. Elsewhere, progress has been slower: The Vienna Philharmonic did not allow women to audition until 1997. It is now about 17 percent female.When the orchestra moved to Lincoln Center 60 years ago, it had no women in it. Now, it is majority female. Calla Kessler for The New York TimesThe lack of women in leadership roles in orchestras — the principal players in each section can earn much more than their colleagues — has also drawn criticism. The vast majority of principal positions still go to men, and the conducting field is overwhelmingly male: Only one of the 25 largest ensembles in the United States is led by a woman, the Atlanta Symphony Orchestra, whose new music director is Nathalie Stutzmann.Michelle Rofrano, a conductor who is a founder of Protestra, an orchestra and advocacy group focused on social justice, said that more needs to be done to ensure that women rise to leadership roles.“Diversity shouldn’t be just a box to check; it requires mentorship and support,” she said. “We’re missing out on perspectives and an array of people who bring their unique talent.”The Philharmonic has sought to play a role in promoting change, including by hiring more women as guest conductors in recent years and by commissioning works from 19 female composers to honor the centennial of the 19th Amendment, which barred states from denying women the right to vote (one of the works it commissioned, “Stride,” by Tania León, won the Pulitzer Prize). Some of its players have privately urged the Philharmonic’s leaders to select a woman to replace the orchestra’s outgoing music director, Jaap van Zweden, who is set to step down in 2024.After spending decades in an industry in which men have been so dominant, some Philharmonic members say they are still getting used to the sight of so many women onstage. This fall, as the orchestra celebrates its remodeled home and the Philharmonic makes history with its female majority, some feel that a new chapter has begun.Sylar said she was struck by the artistry of the women who have recently joined the ensemble.“I’m not saying I want this to be an all-women orchestra either,” she said. “It just nice to see that women are being recognized for their talent.” More

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      The Philharmonic Tests Its New Home With the Classics

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      David Geffen Hall reopened with a month of concerts that sketched a possible future for the New York Philharmonic. Now it’s back to business.The new David Geffen Hall has opened — and opened, and opened.In 1962, one performance was enough to cut the ribbon on the New York Philharmonic’s home at Lincoln Center. Sixty years — and many tweaks later, big and small — it took four weeks of festivities to celebrate the acoustically and aesthetically troubled hall’s decades-in-the-making, $550 million gut renovation.A month of opening nights: Call it inflation.I was in the hall for nearly all of those nights. For a crowd-pleasing concert dedicated to the people who constructed it. For a sober jazz-meets-classical, multimedia exploration of the history of the neighborhood razed to build the center.For an evening with the folksy mandolin virtuoso Chris Thile, the coziness of which shocked anyone who had ever been to the drafty, dingy barn that was the hall pre-renovation. For the unveiling of three series in the glassed-in Sidewalk Studio. For the flashing lights, booming electronics and pitch-bending vocal octet of a slew of premieres.For not one but two fund-raising galas: first, a genial if never showstopping parade of Broadway stars like Bernadette Peters, Lin-Manuel Miranda and, the urbane highlight, Vanessa Williams; then, two days later, a brusque romp through Beethoven’s Ninth Symphony (which PBS will air and stream on Friday).For an open house last weekend with aerialists rappelling down the building’s facade, and a test of the 50-foot screen that will simulcast concerts to those who wander into the lobby. (The quality of the video is already crisp; the sound is a work in progress.)Members of Bandaloop performed an aerialist act as part of Geffen Hall’s open house weekend. Richard Termine/Lincoln CenterBy Wednesday, the confetti had settled. And after all that, we were deposited back into the standard repertory.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.Who Is David Geffen?: The entertainment magnate, who jump-started the renovation, has become avidly sought by culture and education leaders looking to finance a wave of new construction.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Expert Assessment: Right after the reopening our critic wrote that the renovation had a mightily improved sound. In the weeks that followed his feelings became more complicated.Because, for all of Geffen’s intended uses — as a community center and high school graduation spot, as a pop venue and corporate event rental — it is, first and foremost, a traditional orchestra hall. If Wednesday’s program, a Mozart piano concerto and a Bruckner symphony, didn’t work here, nothing else would matter — not the more spacious lobbies or the auditorium’s wraparound seating or the stylish restaurant.Beethoven’s Ninth had been a return to the wholly unamplified and wholly familiar, but in one-night-only, hastily rehearsed form. Wednesday was the back-to-business moment: the real opening night, a culmination of a month’s testing of the space, its acoustics and its house band.Weeks of performances under the Philharmonic’s music director, Jaap van Zweden, had begun to form a portrait of Geffen’s sound: clear, clean and adroitly balanced, but a little colorless and cool, even chilly. Soft passages glistened, solos popped, and there was a palpable sense of the bass frequencies that had struggled in earlier iterations of the hall. Reducing audience capacity by 500 and pulling the stage forward to let seating encircle it resulted in a far more engaging experience.But especially when the playing was loud and densely massed, the clarity muddied, and there was little sense of the enveloping richness that is one of the great joys of hearing an orchestra live. The music blared at your face when it should have surrounded you.There was appealing intimacy and considerable warmth on Wednesday, though, in an account of Mozart’s Piano Concerto No. 22 that featured Yefim Bronfman — a veteran too often taken for granted — playing with lucid, gentle eloquence. He was the first real, acoustic concerto soloist in the new space, and he was a gallant partner; the piano, properly, sounded somewhere both inside and in front of the orchestra. In the slow second movement, silky, misty strings made a poised counterpart to familial interplay in the winds.Van Zweden, as in his breakneck second movement in Beethoven’s Ninth, pressed the third-movement Allegro of the Mozart a few shades past comfort. You get the sense that he thinks this kind of breathlessness transmits excitement, but it comes off as harried rather than thrilling or witty.His briskness can bulldoze eddies of feeling. A few moments before the end of the Mozart, the rambunctious mood suddenly shifts for maybe 10 seconds of wistful sublimity. The passage is over before you know it, whisked back to a spirited rondo, but it epitomizes the piece’s — and its composer’s — mixing of the jovial and aching. Van Zweden zipped through it to the final bars.And in Bruckner’s Seventh Symphony, his prioritization of lyrical flow — overall, a welcome sense of naturalness from a conductor better known for punchy climaxes — pressed the Adagio slightly too fast to allow for the building of what can be excruciating intensity. The Finale was, unusually, more moving, with its seesawing between peace and war; in van Zweden’s smooth, happy-minded rendition of the work, neither too heavy nor hectoring, it was no surprise which side eventually triumphed.The playing wasn’t flawless. There was a lack of depth in the mesmerizing unwinding lines for the violins in the Adagio, and some iffy intonation in the brasses. But there wasn’t the sense I had had in earlier concerts, particularly when I was sitting on the ground level, of distance or almost clinical detachment in the sound.Jaap van Zweden leading the Philharmonic in Mozart’s Piano Concerto No. 22, featuring Yefim Bronfman as soloist.Fadi KheirOr of that blare. Even if the brasses sometimes felt overly bright at top volume, there was more transparency and better blend at those heights. The consistent problem since the opening remains the hard, strident sound that the violins take on at the top of their range and force.This may be the playing of an orchestra that tends aggressive — in other words, something that can be fixed — rather than a feature of the room itself. Or it might be a shortcoming of the hall, a slight but consequential lack of sufficient reverberation.Only time will tell: Such are the ambiguities of acoustics. But some of the concerns about the basic sound of the place that I’d had over the past few weeks were assuaged on Wednesday; the orchestra is, as expected, adapting to its new home, so impressions are evolving, too.This Mozart-Bruckner pairing signals a return to the classics after the showy progressivism of the opening month’s programming. That multimedia event early in October, Etienne Charles’s “San Juan Hill,” was essentially an 80-minute land acknowledgment, mustering narration, archival images, poetic filmed reconstructions of street life early in the 20th century, oral history, notation and improvisation to sketch a lost community.After the piece opened with a long set by a jazz ensemble, the Philharmonic awkwardly shuffled onstage in the wake of a section called “Destroyer”: interlopers invading an already vibrant culture. The self-castigating aspect felt very much of our moment. Then, of the two October subscription programs, the first was dominated by living composers. The second featured a half-hour premiere by Caroline Shaw and was anchored by a rediscovered symphony by Florence Price; in an inversion of the usual format, the opener was the standard — Debussy’s “Prélude à l’Après-midi d’un Faune” — rather than a new piece.This is all hardly the model for what is coming up. There are intriguing scores being performed: Bartok’s Concerto for Two Pianos and Percussion gets a rare hearing in a couple of weeks, and the Philharmonic has never played Shostakovich’s 12th Symphony, which is scheduled for the beginning of December.But while there’s no shortage of contemporary pieces this season, living composers — or even unusual selections from the past — get that anchor slot at the end of the concert only a few times. October sketched a possible future for the Philharmonic; it didn’t describe the present.That future will be guided by a new music director; van Zweden, hardly a driving creative force even before the pandemic break separated him from the ensemble, is leaving after next season. Over the coming months both promising younger artists (the likes of Santtu-Matias Rouvali and Klaus Makela) and veterans (Marin Alsop, Gianandrea Noseda) make guest appearances. Gustavo Dudamel, the star maestro of the Los Angeles Philharmonic, who returns in May, is the elephant in the room.Whoever ends up with the job will be a crucial part of the continuing adjustment to the new hall, a process that will not be over soon. The promise of the space is clear. The building is far more spacious and comfortable than it was, even if the public spaces evoke the mid-market casualness of an airport terminal — usable but disposable — more than an inspiring house of culture.Every aspect of the hall seems to have embraced this half-vulgar, half-lovable ethos. First I cringed, then I giggled, at one of the orchestra’s cellists, who has recorded the “please silence your cellphones” announcement that plays as the lights dim.“Now here,” she concludes with goofy, irresistible relish, like she’s channeling Ed McMahon, “comes the music!” More

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      How the Philharmonic’s New Home Sounds, From Any Seat

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      After a major renovation, the acoustics throughout David Geffen Hall are strikingly consistent — but complicated.Over the past week at David Geffen Hall, the New York Philharmonic’s overhauled home, I’ve listened from the new block of seating behind the orchestra — so close to the players that I could almost read the percussionist’s music. I’ve sat in the last row of the third tier, as far from the stage as you can get. And I’ve been in the critic’s usual spot on the main level.It was striking how acoustically similar these three experiences were. The new Geffen seems to have achieved a rare distinction in its engineering for sound: consistency. No seat in the hall — at least the vastly different ones I’ve had in numerous visits so far — is appreciably better or worse than any other.Last week, after a handful of opening events, I wrote that the hall — an acoustical and aesthetic problem since its opening in 1962 — had a mightily improved sound. And I maintain that things have gotten better. But as I’ve spent more time there, and as the Philharmonic has audibly begun to settle into it, my feelings about that “mightily” have become more complicated.Simply being in the new Geffen is more immediate and intimate than it was before this long-awaited, long-delayed transformation. The blond-wood hall now has 2,200 seats, 500 fewer than it did, and the stage has been pulled forward into the auditorium to allow for seating to be wrapped around it. The general impact on what used to be an enormous, dreary barn is a flood of warmth, even conviviality. Substantially expanded public spaces (and more bathroom stalls) haven’t hurt.This all has an effect on our perception of the acoustics, but with each successive concert I’ve begun to detect some subtle gaps between the more inviting visuals and the elusive sound of the hall.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.‘Unfinished Business’: After a 17-year run in Los Angeles, Deborah Borda returned to the New York Philharmonic, which she led in the 1990s, to help usher it into its new home.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Expert Assessment: Right after the reopening our critic wrote that the renovation had a mightily improved sound. In the weeks that followed his feelings became more complicated.Geffen sounds clear, clean and straightforward; there’s nothing distorted or echoing, no weird balances or flabby resonances. But that cleanness can sometimes seem like coolness: an objective, almost clinical feeling, matched by the hard white light glaring on the orchestra. (Compare it with Carnegie Hall, in every respect a golden bubble bath.)This quality can make soft passages beautifully lucid at Geffen, and solos come off with precision, as if the hall were pointing an index finger at the players, one by one. In the first subscription program in the new space — a brassy set of pieces that made Christopher Martin, the principal trumpet, the performances’ assured star — the no-fat sound brought the audience to its feet at the superloud ending of Respighi’s “Pines of Rome.” The lack of sonic plumpness also helps make Geffen superb with amplification.But the Philharmonic’s second subscription program — led on Thursday by its music director, Jaap van Zweden — was mellower and more strings focused, featuring Debussy’s silky “Prélude à l’Après-midi d’un Faune”; an American premiere by Caroline Shaw, featuring her vocal octet Roomful of Teeth; and Florence Price’s hearty, recently rediscovered Fourth Symphony.Here a certain lack of warmth and richness of blend — perhaps partly the Philharmonic’s sometimes blunt playing, and partly the room — detracted more from the music. Unlike in the first program, when the strings and woodwinds were occasionally swamped at full volume and density, they were plainly audible on Thursday. But those instruments — the violins and violas, for example, especially higher in their ranges — didn’t have ideal presence and color. Unlike in some halls, their sound doesn’t bloom even up in the third tier.So the Debussy was taut, but not sensual. Price’s Fourth was rhythmically agile and spirited, but lacked the robustness, the lushness — the sense of sonic, and thus spiritual, abundance — that the Philadelphia Orchestra brought to her First Symphony at Carnegie in February.At least these opening programs have been a fresh vision of what a major orchestra can and should play, with women and composers of color, past and present, looming just as large — if not more so — than the grand old masters. Even if that chestnut “Pines of Rome” provided the rousing finale of the first program, living composers dominated it. Marcos Balter’s new “Oyá” paired the Philharmonic with live-produced electronics (by Levy Lorenzo) and flashing lights (by Nicholas Houfek) to turn the hall into a heaving, pounding belly of a beast, darkly — and, over 15 minutes, tediously — evoking the Yoruba goddess of storms, death and rebirth.The Philharmonic’s first concerts this season have been dominated by living composers, including Caroline Shaw, front left, who performed with her ensemble Roomful of Teeth on Thursday.Chris LeeAnd the orchestra brought back Tania León’s “Stride,” which premiered at Geffen in 2020 and was awarded the Pulitzer Prize last year. Progressing with somber uncertainty but unfailing nobility, it’s a strong piece. And it’s good general practice to revive successful contemporary works, gradually folding them into the repertory rather than just generating premiere after premiere.Best was the first Philharmonic performances of an underrated 2003 masterpiece by John Adams, “My Father Knew Charles Ives,” which weaves Ivesian controlled chaos into autobiographical musical depictions of sublime mountain vistas on both the East and West coasts, along with tender suggestions of the scratchy radio foxtrots Adams’s parents might have heard as they were courting.On this week’s program, the Debussy standard is just 10 minutes long; the remaining hour of music consists of Shaw’s premiere and the Price symphony, which was written some 80 years ago but had its belated first performances in 2018.The Philharmonic hasn’t played Price’s music on a subscription program before. While her Fourth Symphony lacks the stirring hymn of her First’s slow movement and the inspired slyness of the Juba dance in her Third, it does have a sprawling yet stylishly developing first movement, a sensitive Andante, its own swinging Juba and a feisty finale. Shaw’s “Microfictions,” Vol. 3, is — like her contemporary classic “Partita for Eight Voices” — a combination of the angelic and quotidian, of singing, speech, breathing, pitch bending and wailing, though the piece lacks the inspired variety of “Partita.” The orchestral accompaniment is both playful, with lots of drizzly irregular pizzicato, and ominous.After the concert on Thursday, Roomful of Teeth moved to the hall’s new Sidewalk Studio — visible from the street at the corner of 65th and Broadway — for the first Nightcap program of the season: a set of six pieces, including several world and New York premieres, that showed off the group’s talent for dreamy floating harmonies and uncanny, even otherworldly, effects.The Sidewalk Studio is also being used for daytime chamber music performances under the rubric NY Phil @ Noon; last week, a shaky rendition of Mozart’s “Kegelstatt” Trio was outweighed by a polished, graceful take on Schubert’s “Trout” Quintet. The small space’s acoustics are lively, regardless of whether the music is amplified.Geffen still prompts some raised eyebrows when it comes to tastefulness. A David Smith sculpture has been shoved into a corner of the lobby and blocked by protective wire. Clearly wanting to echo the “sputnik” chandeliers that elegantly rise as the lights dim before performances at the Metropolitan Opera, the hall’s designers devised “fireflies”: flickering polyhedrons that do a tacky little up-and-down show before the orchestra tunes. The public spaces have grown in size, but are also now strewn awkwardly with furniture and stanchions.But some questionable décor hasn’t kept the space from being inviting. With a few minutes left until the concert on Thursday, laptops had been opened; wine was being sipped; newspapers were being read; friends were sitting, chatting, laughing. It was bustling but not even close to unpleasantly packed, like in the old days. It was a space that was, in the best sense, being used. More

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      In New York, Masks Will Not Be Required at the Opera or Ballet

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      Many arts groups, worried about alienating older patrons, have maintained strict rules. Now “the time has come to move on,” one leader said.Masks are no longer required in New York City schools, gyms, taxis and most theaters. But a night at the opera or the ballet still involves putting on a proper face covering.That will soon change. Several of the city’s leading performing arts organizations — including the Metropolitan Opera, Carnegie Hall, the New York Philharmonic and New York City Ballet — announced on Monday that masks would now be optional, citing demands from audience members and a recent decline in coronavirus cases.“The time has come to move on,” Peter Gelb, the Met’s general manager, said in an interview.The Met, Carnegie Hall and the Philharmonic will end mask requirements on Oct. 24, along with Film at Lincoln Center and the Juilliard School. The David H. Koch Theater, home to City Ballet, will follow on Nov. 1. Two venues on the Lincoln Center campus, the Mitzi E. Newhouse and Claire Tow theaters, will maintain their mandates.The decision is a milestone for classical, dance and opera institutions, which had been among the most resistant to relaxing mask rules — wary of alienating older patrons, who represent a large share of ticket buyers. As coronavirus infections have declined and masks have vanished from many other settings, arts groups are feeling pressure from audiences to make a change.At the Met, for example, only about a quarter of ticket buyers said in a survey last month that they would feel uncomfortable attending a performance if masks were optional. Over the summer, that number had been close to 70 percent.“People’s attitudes are changing,” Gelb said. He hoped that relaxing the rules would help make the Met more accessible to “younger audiences who really don’t want to wear a mask.” With the elimination of the mandate, the company will also reopen its bars, many of which have remained closed during the pandemic.Proof of vaccination, as well as masks, were required to gain entry to many venues starting last year, when arts organizations returned to the stage after a long shutdown. Over the summer, however, as hospitalizations and deaths declined, many groups began to ease their rules. Broadway theaters (with a few exceptions) dropped the vaccine requirement on May 1, and the mask mandate on July 1.While most classical, opera and dance groups eliminated the vaccine requirement this fall, many kept in place strict mask mandates on the advice of medical advisers. The question of masks posed a challenge for many groups; they risked alienating some ticket buyers, no matter how they proceeded.At the Met, stage managers have delivered announcements from the stage before each performance reminding audiences to keep masks on for the duration of opera. At Carnegie Hall, ushers have checked each row and called out people who were not wearing masks.Clive Gillinson, Carnegie’s executive and artistic director, said that the hall kept mask rules in place this fall because of lingering concerns about the virus among some medical advisers and audience members. But it decided to make a change after medical advisers said it could operate safely without masks, and after complaints from the audience were growing.“Ushers were finding it actually quite difficult because a lot of people were very annoyed having to still wear masks when in most of their lives they’re no longer doing so,” Gillinson said in an interview.By eliminating the mask rules, arts leaders hope they can help restore a sense of normalcy at a time when many groups are struggling to recover from the turmoil of the pandemic. While live performance is flourishing once again in New York and across the United States, audiences have been slow to return.Deborah Borda, the president and chief executive of the Philharmonic, said in an interview that the mask rules could change if the virus emerged as a deadly threat once again.“This is an ever-evolving situation,” she said. “We will stay on top of whatever the current medical protocol dictates.”But for now, she said, it is time to change focus.“We feel it’s important that we do our part to help the city return to a much more normal state of affairs,” she said, “and to encourage people to come back into the city and to reinvigorate the economy.” More

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      After Decades, the Philharmonic’s Hall Sounds and Feels More Intimate

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      Raise your hand if you ever thought you would go see the New York Philharmonic, America’s most venerable orchestra, by entering off Lincoln Center’s plaza through a wide-open garage door. No one?But yes: The main entrance of David Geffen Hall — the Philharmonic’s home, newly, completely and happily renovated after a wait of decades — is now a big glass wall that can swoop up in good weather. And the past week has been bright and mild in New York. So as audiences drifted in for some of the first concerts in the revamped hall, the lobby inside and the plaza outside merged, without any barrier.It’s a new degree of informality, matched once you get into the transformed auditorium. The vast, drab shoe box that the city knew as Avery Fisher Hall after 1973 — a few years before a major remodeling attempted to fix the acoustics that had been criticized since the building first opened as Philharmonic Hall, in 1962 — has been gutted.Five hundred seats have been eliminated, along with the proscenium. The stage has been pulled 25 feet forward, and seating has been stretched around it. The once-dingy interior is now acres of honey-colored wood, the seats upholstered in a floating-flower-petal motif. A theater in which it once felt like miles from the back row to the timpanis now verges on intimacy.There is intimacy in how it sounds, too. Any judgment on a hall’s acoustics is highly provisional after just a few visits. For the rest of October’s opening events — and the rest of this season — I will be listening to the Philharmonic play in the new Geffen, and hearing how the experience changes as I sit all over. The orchestra will be changing, too, adapting to its home the way a player adjusts to a new instrument.But a mighty improvement is already obvious. The acoustical problems of the hall post-1976 have perhaps been overstated. Especially as it aged, it sounded so bad at least in part because it looked and felt so bad.Now the sound, like the whole experience of being there, is far more immediate and warm. We hear with our eyes as well as our ears, and simply seeing your fellow audience members sitting above and around the stage makes Geffen sound more human.On Wednesday, the Philharmonic’s first subscription program in the space, the third movement of John Adams’s “My Father Knew Charles Ives” demonstrated that magical orchestral alchemy in a superb hall: the way dozens of musicians playing softly can feel huge. A low growl in the basses was palpable, not just audible. At quiet dynamics throughout the evening — like the brooding opening of the catacombs section of Respighi’s “Pines of Rome” and the ambiguous haze of Tania León’s “Stride” — the sound was glistening and lucid.Van Zweden and the orchestra on Wednesday; the sound was glistening and lucid in quiet passages.Amir Hamja for The New York TimesIf, at its loudest and densest, the Philharmonic seemed strident and blurrily blaring rather than richly massed and blended, with the brasses and percussion overwhelming the woodwinds and strings, that may be less an inherent quality of the room than a remnant of the orchestra’s notoriously blunt and punchy style.That style — which has not always been discouraged by Jaap van Zweden, on the podium as music director for another two seasons — evolved partly because of the shortcomings of the old hall, the need to force the sound to reach its distant upper reaches. But what felt necessary merely to be heard in that former space could profitably be eased in this new one. The Philharmonic no longer has to blast to a faraway audience, but can play more like it is sharing the music with a bunch of friends gathered around the campfire.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.‘Unfinished Business’: After a 17-year run in Los Angeles, Deborah Borda returned to the New York Philharmonic, which she led in the 1990s, to help usher it into its new home.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Timeline: From a troubled opening in 1962 to a full gutting in 1976 to the latest renovations, here is a brief timeline of the long road to the new hall.It’s been a long journey to that campfire. Most observers swiftly recognized that the 1976 renovation, which built a new theater in the shell of the 1962 building, had not solved the hall’s acoustical issues, and had introduced new aesthetic ones. But the will was not present — and relations between the Philharmonic and Lincoln Center, its landlord, were too dysfunctional — to do much about it.Around the turn of the 21st century, a plan emerged to demolish the building entirely and start over, but the Philharmonic was so spooked by the scheme’s probable cost and duration that it tried to pick up and move to Carnegie Hall, its home before Lincoln Center was built. That escape failed miserably, leaving Avery Fisher Hall as the center’s problem child, ignored in a sweeping, six-year campuswide refurbishment that finished in 2012.In 2015, David Geffen restarted the hall project with a $100 million gift — minus the $15 million required to buy off Avery Fisher’s heirs, who were surprised to learn that Fisher’s name wouldn’t be permanently attached to the building. But the design that was developed in the wake of Geffen’s donation once again spiraled out of control in ambition and price tag.It wasn’t until two pragmatic chief executives, Deborah Borda at the New York Philharmonic and Henry Timms at Lincoln Center, arrived a few years ago that a workable project — which would, as in 1976, fill the existing shell with new contents — was finally agreed on. And when the pandemic shut down performances, construction was fast-tracked so that the opening has come two years earlier than planned, without exceeding the $500 million budget.The only part of the 1960s auditorium that remains is the zigzag ceiling, and it’s been painted black and hidden behind a billowing silvery sheath. In one crucial way, though, this is a restoration: At 2,200 seats (versus 2,700 starting in 1962), the hall finally has the capacity for which its acoustics were originally designed.Over the next weeks and months, the orchestra will be adapting to its home the way a player adjusts to a new instrument.Amir Hamja for The New York TimesIn pulling the stage forward and surrounding it with seating, the new theater, designed by Gary McCluskie of Diamond Schmitt Architects, with Paul Scarbrough in charge of the acoustics, borrows the approach that was workshopped with a temporary structure for over a decade at Lincoln Center’s summertime Mostly Mozart festival. That setup was in turn influenced by the “vineyard” seating of the Philharmonie in Berlin and its most famous American descendant, the Frank Gehry-designed Walt Disney Concert Hall in Los Angeles.If it lacks Disney’s flair, the Geffen auditorium, clean and straightforward, is more successful than the hall’s public spaces, which have been redesigned by Tod Williams and Billie Tsien. Their main achievements are in decluttering. The box office has been moved to a corner, allowing the lobby to extend far deeper off the plaza, reducing crowding in a space now more appealing to linger in. Having lost its weird mudroom of an archival display, the grand promenade one floor up is much more expansive, too. The corner of 65th Street and Broadway has become a small performance space visible from the street.But the eclectic decorations — the vaguely tree-shaped lighting fixtures on the first tier balcony, for example, and the scattering of curvy couches in the lobby — have the brightly clashing patterns and generic whimsy of a Marriott, a college student center or the new Delta Sky Club at LaGuardia. The champagne-colored curtains surrounding the grand promenade, stitched with bits of light-catching gold, have the mass-market feel of those spaces, too — bathed in the permanent deep blue light of a catering hall cocktail hour.A week in, the sprawling spans of frosted glass around the promenade are already smudged, which is a little icky and a little charming: The new Geffen Hall already has a comfortable, lived-in feel. That seems to be the point. After all, Marriotts, student centers and airport lounges are designed to be antitheses of the intimidation often associated with classical music. But in eschewing intimidation, did the space have to reject glamour, too?Some of the ways the new hall intends to embrace a broader audience already feel persuasive. A concert hall’s quality in unamplified music is no indication it will work when amplified, too. (Carnegie Hall is a classic example.) But when its retractable fabric dampening panels are opened and line the walls, the new Geffen is as good with amplification as without.“San Juan Hill: A New York Story,” Etienne Charles’s multimedia excavation of the history of the neighborhood razed to build Lincoln Center, which officially opened the hall on Saturday, begins with a small jazz ensemble playing alone for half an hour. The amplified sound was direct but resonant; even Charles’s slightest finger taps on a drum registered, just enough.And on Tuesday, the mandolin virtuoso Chris Thile convened a handful of guests for the first in his series of events this season modeled on bluegrass jam sessions. Merrill Garbus, the singer of the band Tune-Yards, came onstage in bright green socks, so Thile took his shoes off, too. The sound was crisp yet tender, the moody lighting classily done.It was astonishing and delightful to realize that Geffen Hall had become a place where artists could pad around the stage in their socks, or groove as quietly as they would in a tiny jazz club. On Tuesday there wasn’t that vaguely embarrassing feeling of an orchestra hall slumming it with pop. Geffen felt — and sounded — natural.Near the end of the show, Thile looked out into the darkness and smiled broadly. “Let’s do this lots more times,” he said. More

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      What I’ve Learned in 60 Years of Listening to the Philharmonic

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      When Anthony Tommasini was a young, aspiring musician, he made his first forays into the orchestra’s concert hall. He realized it would not do.In April 1962, having just turned 14, I attended a New York Philharmonic concert at Carnegie Hall that brought together my top two classical music heroes: Leonard Bernstein and Rudolf Serkin. Well, three heroes, if you include Beethoven, the evening’s featured composer. I can still see Serkin swaying on the piano bench, mouthing the German words to a joyous theme, almost a beer hall tune, in the “Choral Fantasy,” as he played along. Their exhilarating performance of the mighty “Emperor” Concerto made me fantasize about somehow, someday playing it.After the concert, I waited at the stage door and, mumbling shyly, got Serkin’s autograph. I still have two scrapbooks of programs and playbills from those days, now falling apart.That Carnegie concert was just five months before the orchestra was to take up residence in its new home, Philharmonic Hall at Lincoln Center. For years this project had been promoted as the beginning a new era for the performing arts in New York, and the country. I bought into the hype. After all, Bernstein — Uncle Lenny to aspiring young musicians like me — had been talking up the hall big time, asserting that the orchestra needed a state-of-the-art space, a home of its own and a place of honor in this ambitious cultural complex. It sounded like a great idea to my teenage self.Later, as a music critic, I would spend an enormous amount of my professional life with the New York Philharmonic and what became Avery Fisher Hall, then David Geffen Hall. Now that the Philharmonic is opening the doors to its transformed auditorium, and welcoming audiences to what it hopes will be not just a new era, but a creative rebirth for the orchestra and its audiences, I’ve been reflecting on my early concert-going life. And some of my youthful impressions turned out to be perceptive about problems that would vex this hall for some 60 years.Back then, I didn’t see what the problem was with Carnegie Hall. Yes, it was dusty and worn, with chipped paint, torn seat cushions and no air conditioning. All that made it seem more welcoming, somehow — its storied history as tangible as the dust particles. I felt like I belonged there, just by dint of loving music so much.When Philharmonic Hall opened, almost immediately critics, artists and architects complained about its acoustics. I remember reading the coverage by the lofty New York Times critic Harold C. Schonberg. In one column he wrote that the “first night was a near-disaster, acoustically,” that the sound “was too dry,” that “low strings could scarcely be heard” and that quick adjustments to the hall left it, at best, inconsistent. Whew, I thought, he certainly seemed sure of himself.I was too consumed with school — the Third Form at St. Paul’s in Garden City, Long Island — along with practicing the piano and entering competitions, to get to Philharmonic Hall until the summer of 1963. It certainly looked plush and elegant. But it’s telling that I have such vague memories of the music from that night. The performances (by a festival orchestra), the sound of the music, must not have grabbed me. The musicians seemed kind of distant.Thinking back, my memories of Philharmonic concerts I attended during those first years, usually sitting somewhere in the balconies, remain vague, though I heard some exciting performances, including Duke Ellington leading the orchestra in his suite “The Golden Broom and the Green Apple.” I finally heard Bernstein conduct the orchestra there in early 1966, and I can’t say I have lingering memories, even with Prokofiev’s powerful Fifth Symphony as a closer.Newly renovated versions of the hall have been unveiled over the years, including this one in 1976.Chester Higgins Jr./The New York Times
      What was wrong? At that time I was also going to the Metropolitan Opera, the “old” Met on 39th Street, and though I can hardly remember what the house looked like and have only scant recollections of productions, I remember the music vividly and in detail. In retrospect I blame Philharmonic Hall: the setting, the stiff formality and stuffiness.I acclimated to Philharmonic Hall, or so I thought, when I attended the orchestra’s Stravinsky Festival in the summer of 1966. The first concert, led by Bernstein, ended with “The Rite of Spring” (with Stravinsky in the audience). The last one ended with Stravinsky conducting his “Symphony of Psalms.”OK, I thought, this place will do. After all, the music, what’s being presented, matters most. Then, a month later, I heard Bernstein conduct the “Rite” again, preceded by Beethoven’s “Eroica” Symphony, in an open-air tent as part of the Long Island Festival at C.W. Post College.This concert was an epiphany. I “got,” I’m sure, the point Bernstein was making by pairing these pathbreaking scores. Sitting maybe 15 rows from the stage, I was overwhelmed by the sheer audaciousness of both pieces. It was clear to me that no concert at Philharmonic Hall could have the visceral impact that this one did.Fast forward to 1997, when I joined the staff of The New York Times as a classical music critic. Now it was my job to report on performances and hold the orchestra to high standards. I went to concerts at Avery Fisher Hall all the time, usually sitting in the same choice seat. I wanted to be open-minded and maintain a larger perspective. Yes, the hall was no Carnegie or the Musikverein in Vienna, but the badness of the acoustics was often overstated. On a given night, a concert there could be terrific.Since I started this look back with memories of Beethoven at Carnegie, let me use him to explain how I’ve experienced the hall over the years. When I got the critic’s job, Kurt Masur, a self-professed Beethoven expert, was the Philharmonic’s music director. His Beethoven had heft and rectitude but it came across as ponderous and imposing, somehow above it all, rather like the hall itself.The contrast was stunning when, in 2006, Bernard Haitink brought the London Symphony Orchestra to Avery Fisher for a survey of Beethoven’s nine symphonies. The playing was crackling and robust, confident yet spontaneous. The maestro and his players seemed to be delving into these sublime, sometimes strange scores for the first time. I forgot about the drab surroundings and the acoustical limitations.I fully supported the decision to hire the young Alan Gilbert, who took over as music director in 2009. Some critics and patrons found his Beethoven performances uninspired. I didn’t really agree, and I didn’t care. The orchestra became newly adventurous under his watch. At the end of his first season, working with the inventive director Doug Fitch, Gilbert turned the featureless hall into a wonderfully makeshift opera house for a riveting production of Ligeti’s modernist opera “Le Grand Macabre.” I forgot all about acoustics. That night the hall seemed cool, the place to be.But it wasn’t, really. And there were too many nights when stirring Bach choral works, animated Mozart symphonies, intense Brahms concertos, diaphanous Debussy scores and more just sounded wan, and I felt restless in my seat.Over the years, there have been a few attempts at major renovations to correct the hall’s shortcomings. They weren’t radical enough. So it was past time to get it right, to reconfigure the entire space and to turn David Geffen Hall into a welcoming and acoustically lively home for America’s oldest orchestra. When the visionary Deborah Borda was appointed president of the Philharmonic in 2017, her second stint running the orchestra, she swept aside existing plans and started afresh. (She and Henry Timms, the new president and chief executive of Lincoln Center, worked to make it happen, helped by the closure from the pandemic, which allowed construction to speed up.)During a recent rehearsal at Geffen, she said that the goal was to create an “intimate-feeling hall.” The word “feeling” is crucial. The new auditorium, after all, seats 2,200 concertgoers. But being in it, standing on the stage looking out, I felt the space was invitingly intimate. I felt the same sitting in various seats close and far, high and low.Though critics have pledged not to discuss acoustics until after concerts begin, and it will take time to assess, I can’t help saying that I’m guardedly optimistic about what has been accomplished.The transformation of the public spaces already seems a triumph. Especially the spacious yet cozy main lobby just off the plaza, which has a 50-foot-wide video screen on the back wall, upon which live performances will be screened for free, so passers-by can get a sense of what’s going on upstairs.Still, as Borda told me in an interview last year, “If we don’t get the acoustics right, it’s not going to be a success.” Giving concerts, after all, is what orchestras do, the whole point. We’ll see. More

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      David Geffen Hall Reopens, Hoping Its $550 Million Renovation Worked

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      When the New York Philharmonic opened its new home at Lincoln Center in 1962, it held a white-tie gala, broadcast live on national television, with tickets having sold for up to $250 apiece, or nearly $2,500 in today’s dollars.It was a glittering affair, but the hall’s poor acoustics — a critical problem for an art form that relies on unamplified instruments — ushered in decades of difficulties. After the last major attempt to fix its sound, with a gut renovation in 1976, the hall reopened with a black-tie gala and a burst of optimism. But its acoustic woes persisted.Now Lincoln Center and the Philharmonic are hoping that they have finally broken the acoustic curse of the hall, now called David Geffen Hall, which reopened on Saturday after a $550 million overhaul that preserved the building’s exterior but gutted and rebuilt its interior, making its auditorium more intimate and, they believe, better sounding.But this time they are taking a different approach to inaugurating the new hall. Geffen reopened to the public for the first time not with a pricey formal gala, but with a choose-what-you-pay concert, with some free tickets distributed at the hall’s new welcome center.And instead of opening with Beethoven (as the orchestra did in 1962) or Brahms (as in 1976), Geffen opened with the premiere of “San Juan Hill,” a work by the jazz trumpeter and composer Etienne Charles that pays tribute to the rich Afro-diasporic musical heritage of the neighborhood that was razed to clear the land for Lincoln Center. The work, commissioned by Lincoln Center, was performed by Charles and his group, Creole Soul, and the New York Philharmonic under the baton of its music director, Jaap van Zweden.“It really is like a homecoming, but there are some different family members around this time, which is a great thing,” Henry Timms, Lincoln Center’s president and chief executive, said in an interview.The reopening of the hall drew several elected officials, who saw it as a hopeful sign for a city still trying to recover from the damage wrought by the coronavirus. Gov. Kathy Hochul of New York predicted that people would look back at the moment as more than the opening of a new concert hall: “They will say you got it done in the middle of a pandemic.”Senator Chuck Schumer was among the elected officials at the reopening of the hall, which was described as a hopeful moment for a pandemic-battered city. Christopher Lee for The New York TimesBoth Lincoln Center, which owns the hall, and the Philharmonic, its main tenant, see the new hall as an opportunity to become more accessible and welcoming. They are seeking both to lure back concertgoers and to reach a more diverse cross-section of New Yorkers, including Black and Latino residents, who have long been underrepresented at these events.“This is not your grandmother’s Philharmonic,” said Deborah Borda, the orchestra’s president and chief executive. “We are thinking of the totality of the artistic and human and social statement.”Instead of one big celebration, there will essentially be a month of festivities, part of an effort to showcase the hall’s versatility, to break through into the consciousness of media-saturated New Yorkers — and to avoid placing too much emphasis on a single high-pressure night that could yield quick-fire judgments on the renovation and the acoustics.Dozens of people lined up outside the hall on Saturday morning for a chance to get free tickets to “San Juan Hill.” Joanne Imohiosen, 83, who has been attending concerts since the Philharmonic came to Lincoln Center in 1962 and lives nearby, said she hoped the renovation would finally remedy the hall’s acoustic issues. “They should have figured it out by now,” said Imohiosen, who used to work as an assistant parks commissioner. “They’ve been fiddling with it for years.”After “San Juan Hill,” the Philharmonic will return with a couple of weeks of homecoming concerts pairing works by Debussy and Respighi with pieces by contemporary composers including Tania León, Caroline Shaw and Marcos Balter, whose multimedia work “Oyá” is billed as a fantasia of sound and light.There will be not one, but two galas — one featuring the Broadway stars Lin-Manuel Miranda, Brian Stokes Mitchell and Bernadette Peters, and another featuring a performance of Beethoven’s Ninth Symphony. A free open-house weekend will close out the month, with choirs, youth orchestras, Philharmonic players, hip-hop groups, dance troupes and others performing each day in different spaces in the hall.Much is riding on the success of the revamped Geffen Hall. The 180-year-old Philharmonic, which is still recovering from the tumult of the pandemic and grappling with longstanding box-office declines, is hoping that a more glamorous hall with better sound will lure new audiences.“The stakes are very high; everybody’s waiting and hoping that it’s going to work out,” said Joseph W. Polisi, a former president of Juilliard whose new book, “Beacon to the World: A History of Lincoln Center,” has sections tracing the trials and tribulations of the building. “$550 million is a lot of money. It’s a very big bet.”At the core of the Philharmonic’s strategy is a desire to make Geffen Hall not just a concert venue, but a welcoming gathering place. The new hall includes a coffee shop, an Afro-Caribbean restaurant and a welcome center next to the lobby. Small performances, talks and classes on music and wellness will take place inside a “sidewalk studio” visible from Broadway.The renovation, which equipped the main auditorium with a film screen, an amplified sound system and other technical improvements, gave the Philharmonic an opportunity to reimagine its programming. “San Juan Hill” and “Oyá” showcase the Philharmonic’s new abilities, mixing music with film, 3-D imagery, electronics and light.“The new hall can do things that we’re going to do as a 21st-century orchestra,” Ms. Borda said.A critical test of the new hall will be its audiences. The Philharmonic and Lincoln Center have worked over the past several years to attract more low-income residents to performances, and Lincoln Center has been handing out fliers at nearby public housing complexes advertising upcoming events at Geffen Hall. For the opening, they made a point of inviting former residents of the San Juan Hill neighborhood, as well as schools that serve large numbers of Black and Latino students.“This is a home for all New Yorkers,” Ms. Borda said. “We want to invite them in.”Throughout the hall’s history, politicians, architects, musicians and critics have at times declared past renovations successful, only to see acoustical issues resurface soon after.Mr. Polisi, the former Juilliard president, said that this time seemed different, given the crucial decision to reduce the size of the hall — it now seats 2,200 people, down from 2,738. He said if the Philharmonic had finally remedied the sound problems, it would allow the orchestra to focus on other priorities, including building closer ties to the community and finding a conductor to replace van Zweden, who steps down as music director in 2024.“If they’re a happy orchestra now and they’re able to feel comfortable in their home, that’s also going to be a very psychologically important element for the organization,” said Mr. Polisi, whose father, William Polisi, had been the principal bassoonist of the Philharmonic.As construction workers made finishing touches on the hall this week, unpacking furniture and installing metal detectors in the lobby, the Philharmonic’s players filed into the auditorium for rehearsals. The early reviews from the musicians have been largely positive: Many say that they can finally hear one another onstage and that the sound feels warmer.Ms. Borda and Mr. Timms said they were confident that the Philharmonic would finally have a hall to match its abilities, though they said they did not want to jinx the reopening. “The thing about curses,” Mr. Timms said, “is you never claim they’re broken. You let them speak for themselves.”Ms. Borda, who first began trying to revamp the hall in the 1990s, when she served a previous stint as the Philharmonic’s leader, said she had prepared an image of an atomic explosion to send to Mr. Timms if the renovation turned out to be a disaster.“If it’s really bad,” she joked, looking at Mr. Timms, “I’m sending you this first.”Adam Nagourney More