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    Lincoln Center’s Summer Festival to Focus on Civic Bonds

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    The third edition of Summer for the City will feature hip-hop, comedy, classical music and more, under the motto “life, liberty and happiness.”Lincoln Center said on Wednesday that it would devote its summer festival to themes of community and civic participation, with a mix of hip-hop, comedy, dance, classical music and more under the motto “life, liberty and happiness.”The festival, Summer for the City, will feature premieres of anthems about contemporary hopes and struggles. Classical music concerts will be more participatory than in the past; at one event, audience members will be asked to vote on the program. And civil rights will be prominent, with the New York premiere of an opera about Eric Garner, who died in 2014 at the hands of police officers on Staten Island.“We know the performing arts have a role in strengthening our community and strengthening our civic bonds,” Shanta Thake, Lincoln Center’s chief artistic officer, said in an interview. “This is a time where we can really be together and celebrate the ideas and ideals that we all share.”The third edition of the festival, which will run from June 12 to Aug. 10, is part of the center’s efforts to appeal to a younger, more diverse crowd, in part by promoting a broader array of genres, including pop music and social dance.Under Henry Timms, Lincoln Center’s president and chief executive, the center has shifted its focus from classical music and international theater, prompting some criticism that it is not doing enough to promote traditional offerings. (Timms will depart his post in August; a search for his successor is in progress.)After eliminating the Mostly Mozart Festival, a summer fixture since the 1970s, Lincoln Center renamed the Mostly Mozart Festival Orchestra, saying that it was time to reimagine the ensemble for a modern and more inclusive age. This season, the Festival Orchestra of Lincoln Center, as the ensemble is now called, will convene for the first time under the rising conductor Jonathon Heyward.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Henry Timms Wants to Tear Down Walls at Lincoln Center

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      For evidence that all is not business as usual at Lincoln Center these days, look no further than its stately travertine campus, which, for much of the summer, was dominated by a giant glittering disco ball, pink and purple flowers painted on the sidewalk and a flock of 200 flamingo lawn ornaments.“There are some who will reasonably eye-roll at this,” said Henry Timms, the center’s president and chief executive, standing on the plaza recently. “I get it. But it sends a message that we are here to have some fun.”“We can afford,” he said, “to loosen up a little.”Since taking the helm in 2019, Timms has been on a mission to remake Lincoln Center. Having helped finally push through the long-delayed $550 million renovation of David Geffen Hall, he is working to forge closer ties with the city and to bring more diversity to the center’s staff, board and audiences.Now he wants to tear down the barriers that literally wall the campus off from Amsterdam Avenue, with its neighboring housing projects, schools and new developments. But as Lincoln Center rethinks its programming — this summer’s festival included hip-hop, K-pop and an LGBTQ mariachi group — it has drawn some criticism for presenting less classical music and international theater.For the summer, Lincoln Center hung up a disco ball on the plaza.Evelyn Freja for The New York TimesThis summer’s festival — which included more popular programming than in the past and choose-what-you-pay tickets for some events — attracted more than 380,000 people, officials said, many of whom were new to the campus. Among them was Sandy Mendez, a saleswoman who lives in Washington Heights, and saw her first Lincoln Center performance, a comedy show, after coming across an advertisement at a community center. She took photos in front of the disco ball with her husband and two children.“It feels like a dance club here,” said Mendez, 42, “not a performing arts center.”It is the kind of observation that both Timms’s admirers and his detractors might make.Running Lincoln Center is not easy. The center acts as landlord to the independent arts organizations on its campus, including the Metropolitan Opera, New York City Ballet and the New York Philharmonic, but has little power over them, since each has its own leadership, board and budget.Linc. Inc., as it’s known, also presents its own work, which has sometimes led to tensions with constituents. Reynold Levy, its president for more than a decade, called his memoir “They Told Me Not to Take That Job.” After he left, in 2013, Lincoln Center cycled through four leadership teams in five years before appointing Timms in 2019.The British-born Timms, 46, who previously led the 92nd Street Y, helped create #GivingTuesday and co-wrote “New Power,” a book exploring bottom-up leadership, including movements like #MeToo and social networks like Facebook. Now he is trying to apply some of those participatory principles at Lincoln Center. He said his efforts were not “some new trendy idea” but a response to the fact that the center has for too long been disconnected from the community.“We very much came with an agenda, which was we were going to tell a different kind of story about Lincoln Center,” Timms said, “to fundamentally shift the institution in terms of who leads it, who represents it, who’s on our staff, who’s on our stages, who’s in our audiences.”Tatiana by Kwame Onwuachi, the new restaurant at Geffen Hall, has been a hit with critics and is drawing crowds.Nico Schinco for The New York Times“We have a long way to go as an organization — nobody at Lincoln Center is taking a bow,” he added in an interview at Tatiana by Kwame Onwuachi, the new restaurant at Geffen Hall that critics have named one of the best in the city. “But relative to where we were, I feel like we’ve made good progress.”Nevertheless, the reduction in programming, and the shift away from classical music and theater to other genres, has raised questions. Joseph W. Polisi, a former president of the Juilliard School who has written a history of Lincoln Center, said that Timms’s vision was a “sea change” for the center that could come at a cost.“It leaves a gap in music programming in New York City that is not being filled — it can’t be filled,” he said. “All the artistic leaders I know are fully in support of more program diversity at Lincoln Center. Now the question is, how far does the pendulum swing?”The critic Alex Ross recently wrote in The New Yorker that the new approach seemed “fundamentally out of step with Lincoln Center and its public, both extant and potential.”The conductor Jonathon Heyward will lead a reimagined version of the Mostly Mozart Festival Orchestra.Lawrence Sumulong/Lincoln CenterBut Timms pushes back on such criticism, partly by pointing out that “we have just spent four years through a pandemic, and half a billion dollars, creating a concert hall to house the New York Philharmonic” and noting that the center had hired Jonathon Heyward, who recently became the first Black music director of the Baltimore Symphony Orchestra, to lead a reimagined version of the Mostly Mozart Festival Orchestra.“Lincoln Center was founded as Lincoln Center for the Performing Arts; it was not founded as Lincoln Center for the Classical Arts,” Timms said. “You go back to the beginning and there’s a reason Mahalia Jackson was playing here. And it’s not because we’re only supposed to be about the opera and the ballet.”Summers at Lincoln Center look different now. The old Lincoln Center Festival was scrapped a few years before Timms arrived, and with it the large-scale, ambitious productions it brought each summer from around the world, including Noh theater and Kabuki theater from Japan, Indonesian dance and Chinese opera. Lincoln Center’s programming is now overseen by Shanta Thake, its chief artistic officer, who was formerly an associate artistic director at the Public Theater. She and Timms have replaced the Mostly Mozart Festival, which had focused on classical music and recently celebrated its 50th anniversary, with the more eclectic Summer for the City festival.Portia and the American Composers Orchestra at “Freedom Is a Constant Struggle,” which Lincoln Center staged in Damrosch Park as part of its Summer for the City festival.Lawrence Sumulong/Lincoln Center“How do we build on this promise of being a performing arts center for all New Yorkers?” Thake asked. “How do we not rest on our laurels but push for what a performing arts center needs to be right now? Everybody’s willing to have hard conversations.”The coming fall and winter season will feature an array of classical offerings, including a new production of Henry Purcell’s “The Fairy Queen” and a performance of Philip Glass’s piano études. There will also be more experimental fare in line with the center’s new vision, including a reimagining of “The Sound of Music” through a “utopian, Afrofuturistic lens,” featuring gospel, funk, soul and Afrobeat music.Timms has also prioritized diversity backstage: of the 109 current members of the executive and senior management teams, about 60 percent are women and nearly 40 percent are people of color. In addition, the center recently started a two-year fellowship program to develop a diverse pipeline of potential board members for the resident organizations; three have been placed as trustees and three more have elections pending.Darren Walker, the president of the Ford Foundation, who serves on Lincoln Center’s board, praised Timms as a “once-in-a-generation leader” who “genuinely understands that diversity correlates with excellence.”A summer dance party on the Lincoln Center plaza.Mohamed Sadek for The New York TimesThe ballet dancer Misty Copeland, who joined Lincoln Center’s board under Timms, commended his spearheading of the Amsterdam Avenue project, a long-neglected plan to make right Lincoln Center’s initial razing of the low-income San Juan Hill neighborhood where the performing arts complex was built.“He does not shy away from a history that may not look clean and sparkly,” Copeland said. “I don’t think I could imagine 10 years ago that this is where Lincoln Center would be.”Timms, whose mother was an illustrator from the United States and whose father was a British archaeologist, grew up in Exeter, England, where his family often attended regional theaters.“Our childhood was full of ideas and the arts,” he said. “We had access and experience and ownership. You felt like you were a part of something.”He graduated from Durham University in England and landed a job overseeing programming at the 92nd Street Y in 2008, where he helped start #GivingTuesday, a day of philanthropy after Black Friday and Cyber Monday that became a global success. In 2014, he was named the Y’s executive director.Steven R. Swartz, the new chairman of Lincoln Center, said Timms had won over the center’s board with his energy and ideas, quickly recognizing the organization’s main problems, including tensions with the constituents. “He just so quickly diagnosed what needed to be done,” Swartz said.And after years of false starts and bitter feuds, Timms built a good working relationship with the leaders of the Philharmonic — he and Deborah Borda, who was the orchestra’s president and chief executive, sometimes resolved disputes over coffee or martinis — and finally renovated Geffen Hall. By accelerating construction during the pandemic shutdown, they were able to open the reimagined hall ahead of schedule.“He was intent on moving past the history of animosity that existed between Lincoln Center and the New York Philharmonic,” said Borda, who stepped down at the end of June. “He put a premium on working together. He was essentially the right man at the right time at the right place.”Katherine G. Farley, who stepped down as Lincoln Center’s chairwoman in June, said Timms “has led the transformation of a traditional institution” and that he is “quick and eager to experiment.””Not everything works out,” she added. “When it doesn’t work, he’s quick to shut it down and try something else.”Like other arts institutions, Lincoln Center is still trying to recover from the pandemic shutdown, when the performing arts came to a halt for more than 18 months. The organization is spending less on programming than it did when Timms began his tenure: about $14 million in the fiscal year that ended in June 2022, down from $23 million in 2019, a decrease of about 40 percent that officials attributed in part to the fact that Geffen Hall remained closed for construction through the fiscal year of 2022.But fund-raising remains relatively strong, and the endowment has risen to about $268 million, compared to $258 million in 2019. Moody’s recently affirmed its A3 rating on the center’s $356 million of debt but revised its outlook to stable from negative, noting the completion of Geffen Hall and the center’s efforts to cut expenses and attract new audiences.And relations have eased with the constituent organizations — who historically competed with Lincoln Center for audiences, donors and attention.David Geffen Hall, the home of the New York Philharmonic, reopened last year after a long-delayed renovation.Hilary Swift for The New York Times“He’s been very clear that it’s the job of Lincoln Center to honor and pay attention to and try to help all the constituents that make up Lincoln Center,” said Andre Bishop, the artistic director of Lincoln Center Theater. Peter Gelb, the general manager of the Metropolitan Opera, said Timms had signaled to the constituents early in his tenure that the days of infighting were over. “Here was somebody who understood and really seemed to be listening,” he said. And Damian Woetzel, the president of Juilliard, said Timms had proven “tradition is not at war with innovation.”On a recent day, a team of Lincoln Center staff members inside Geffen Hall was conducting research to prepare for the Amsterdam Avenue project, asking visitors where they spent time on campus and what they would like to do more of: attend cultural events? meet friends? play games? exercise? A poster explained the history of the San Juan Hill neighborhood and said: “Help us make our campus more welcoming!”In a few hours, Timms would join a salsa band on the outdoor dance floor in a pair of coral-colored Nike Air Max sneakers.“Changing with the world isn’t just the right thing to do morally,” he said. “It’s the right thing to do strategically. And if leaders in a position like ours don’t lead this change, what on earth are you doing?” More

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      Mostly Mozart Festival Has Diverse Crowds, New Programming

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      At recent Mostly Mozart Festival Orchestra performances, visibly diverse crowds took in programming new to the ensemble.For the past 10 months, the back side of David Geffen Hall has greeted passers-by with Nina Chanel Abney’s installation “San Juan Heal.” Its bold, color-blocked illustrations pay tribute to the largely Black and Puerto Rican neighborhood that was torn down to make way for Lincoln Center in the mid-20th century.“San Juan Heal” was a way of acknowledging this performing-arts campus’s original sin. When it was announced, Henry Timms, the center’s president and chief executive, said, “We’ve been very intentional about thinking about different voices, different audiences, more people seeing themselves at Lincoln Center.”But as the months passed, I began to wonder: Are there more people of color on the building than inside it? If the installation is both a nod to the past and a hope for the future, then what is Lincoln Center doing to get there?The Mostly Mozart Festival Orchestra, which has taken up residence at Geffen Hall for two and a half weeks as part of Lincoln Center’s Summer for the City programming, has a lot of ideas on that front. With so few concerts, it has little time to capture audience interest, but it also has more room to be conceptually agile.Near the end of July, the ensemble’s concerts began with a premiere by the Iraqi American composer Amir ElSaffar, featuring his Two Rivers ensemble, and continued with programs — led by Thomas Wilkins, Gemma New and Jonathon Heyward — that featured contemporary works about identity and equity while otherwise sticking to the orchestra’s unofficial remit of familiar, easy-on-the-ears repertoire. The performances ranged from workaday to exhilarating.Wilkins, in opening remarks, spoke of composers who feel “comfortable in their skin” as a kind of artistic self-actualization, and he and Heyward gave a platform to Black composers: Adolphus Hailstork, Xavier Foley, Jessie Montgomery and Fela Sowande.At Wilkins’s concert, Foley’s “For Justice and Peace” — written for double bass (Foley), violin (the concertmaster Ruggero Allifranchini) and string ensemble — spurred into action with flashy passagework after an elegiac opening. In Sowande’s African Suite (1944), the musicians tossed genial Nigerian melodies to one another with infectious spirit. But it was in the finale, Hailstork’s Symphony No. 1, that Wilkins inspired excellence in them and conjured a heady mix of timbres like thrashing beams of light and glistening surges of sound.Heyward opened his program with Montgomery’s “Records of a Vanishing City,” a tone poem that swirled with the music — most conspicuously, Miles Davis — that she heard growing up on the Lower East Side. Amid the piece’s slippery, chimerical atmosphere, a solo clarinet, played by Jon Manasse, emerged with sweetly mellow innocence, like a child’s voice in an urban variation of Barber’s “Knoxville: Summer of 1915.” As it happened, a vivacious account of Barber’s Violin Concerto followed.Heyward, front and center, was among recent conductors of the Mostly Mozart Festival Orchestra, including Thomas Wilkins and Gemma New.Lawrence SumulongLast year’s Mostly Mozart Festival Orchestra concerts featured a diverse lineup of composers too, but the choices — William Grant Still, Joseph Boulogne and Florence Price — have sometimes crowded out contemporary composers. The recent programs, though, reflect an evolution in a more substantive direction toward true inclusivity.Heyward, in his first concert with the orchestra since being named its next music director, displayed a natural rapport with the audience, an appealing podium manner and a crisp way with downbeats. Stiff at first in the Montgomery, he gradually relaxed into more organic gestures in the Barber and Schumann’s “Rhenish” Symphony.At the moment, though, there is a gulf between Heyward’s intentions and his output. He spoke of “absolute joy” before the Schumann, then delivered something more like breathy contentment. Earthiness teetered on earthbound in the symphony’s exultant depictions of the Rhineland.Despite this orchestra’s name, Mozart made just one appearance in the three recent programs, when New conducted his “Prague” Symphony, a sterling example of his mature style, woven together with unmistakable snatches of the operatic masterpieces he wrote around the same time, “Le Nozze di Figaro” and “Don Giovanni.”New cultivated a fine core of color and volume and shifted from it in gradations, though she didn’t necessarily mine the Andante’s introspection or the Presto’s drama. She also led Mendelssohn’s Piano Concerto No. 1 and Sarah Gibson’s “warp & weft,” a mysterious, openhearted, at times astringent tribute to the feminist art movement of the 1970s that fought to elevate so-called women’s work from craft to fine art.The soloists on these three evenings brought personal flair, if not the last word in technique, to their showpieces. Foley’s adroit, sly, softly powerful style in Bottesini’s Double Bass Concerto No. 2 drew listeners to the edge of their seats despite a stylistically questionable habit of bending notes. Stewart Goodyear took off like gangbusters in the Mendelssohn piano concerto — fast, efficient, driving — and put aside elegance for hair-raising thrills. In Barber’s rapturous Violin Concerto, Simone Lamsma smoothed over the tension brought by triplet rhythms in the first movement’s long, sumptuous melody; her tendency to play on the sharp edge of the pitch gave her tone an uncanny brilliance that kept it from nestling into the warm orchestral textures.Shanta Thake, Lincoln Center’s artistic leader, came onstage before each concert to welcome the audience and lead it in what she called a “ritual.” Last year, this call-and-response exchange felt like a way to speak healing into existence after the pandemic. This year, the audience’s disengagement from the exercise deepened with each concert.Arguably, Wilkins and Heyward are the ones creating community by enlarging the Mostly Mozart Festival Orchestra’s repertoire. And if the delighted reactions of the large, diverse crowds — who supplied enthusiastic applause and even scattered standing ovations between pieces — are any indication, it’s working. More

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      Louis Langrée Wraps Up a Quietly Transformative Era of Conducting

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      Rehearsals led by the conductor Louis Langrée tend to follow a trajectory. Early on, he speaks poetically and tells stories; during preparations for a May concert with the Cincinnati Symphony Orchestra, where he is the music director, he explained Saint-Saëns with references to the Kyrie of a Mass and the paintings of Hieronymus Bosch. But then his language becomes technical and specific; that day, broad explanations of mood gave way to meticulous balance and bowing as the playing took shape like an increasingly detailed, fine sculpture.Langrée wasn’t afraid, at that point, to repeat a phrase until it was right. Musicians are capable of understanding a direction when it’s given to them, he said in an interview later, “but they need to feel it, physically.”The result is often an interpretation rich in specificity and color, to a degree that can impress even seasoned musicians. On that program in Cincinnati, Vikingur Olafsson joined the orchestra as the soloist in Ravel’s Piano Concerto in G, and although he had toured the piece all season, he felt that rehearsing it with Langrée, a Frenchman, was like “talking about Chopin with someone in Warsaw.” And, Olafsson added, “there were things that I hadn’t heard before, and that’s a big compliment.”And yet, at 62, Langrée has never been one of the world’s most famous or sought-after conductors. His career has been a steady climb of prestige and quality, quietly remarkable but undersung even as he has transformed ensembles: in Cincinnati, where he has been at the podium for a decade, and in New York, where he has been the music director of the Mostly Mozart Festival Orchestra since 2003.Langrée conducting in Cincinnati. “He’d rather leave five years too early,” Jonathan Martin, the orchestra’s chief executive, said, “than stay five minutes too late.”Madeleine Hordinski for The New York TimesHis time at both posts, though, is coming to an end. Lincoln Center has dropped the Mostly Mozart Festival, keeping its orchestra but changing its music director and name, so Langrée is set to depart this summer at the end of his contract; and his tenure in Cincinnati concludes next season. All this, as he settles into his new job as the leader — not the conductor — of the Opéra Comique in Paris.Cincinnati, which is still searching for his successor, will have a mourning period, said Jonathan Martin, that orchestra’s chief executive. But Langrée is returning to France on a high note.“He’d rather leave five years too early,” Martin said, “than stay five minutes too late.”BORN IN MULHOUSE, France, Langrée is a proud Alsatian, who studied in the region at the Strasbourg Conservatory. From there, his work was primarily as a vocal coach and assistant conductor, at institutions including the Orchestre de Paris, where he encountered eminences like Pierre Boulez, Georg Solti and Daniel Barenboim.Solti passed down a bit of wisdom for conductors he had heard from Richard Strauss: Go into the hall to listen. Langrée doesn’t always need to do that, though, because he leans on the ears of his assistants, like Samuel Lee in Cincinnati. Langrée said that Lee “knows what I like,” and turned back to check in with him often during the May rehearsals, asking about articulation and whether specific textures were coming through.Starting in the early 1990s, Langrée began to pick up podium appointments in Europe, including at the Opéra National de Lyon and Glyndebourne Touring Opera. He said that his children practically grew up at Glyndebourne, in England; his daughter, Céleste, is now studying scenic design at the Royal Welsh College of Music and Drama, he added, because she was brought up by stage hands instead of nannies.Langrée first conducted the Mostly Mozart Festival Orchestra in 1998, in a program that included Mozart’s Symphony No. 40 in G minor. He still remembers details of those rehearsals — working with the ensemble to perfect the style of a minuet by way of connecting the piece to “West Side Story” — and of quickly developing a relationship with the players, who were assembled from a variety of sources, like Lincoln Center institutions and Broadway.In 2002, he was appointed music director after the departure of the orchestra’s longtime conductor, Gerard Schwarz, and a strike that left the players’ morale battered. The ensemble was no critic’s favorite, but once Langrée took over, “he put his heart and soul into every aspect” of it, said Jane Moss, who shepherded Lincoln Center’s artistic programming from 1992 until 2020.Langrée rehearsing Saint-Saëns at Music Hall in Cincinnati.Madeleine Hordinski for The New York TimesThe orchestra, and the Mostly Mozart Festival, flourished under the leadership of Moss and Langrée. He hired most of the ensemble in its current form — he is particularly proud of Ryan Roberts, “this genius” from the New York Philharmonic, who recently joined as principal oboe — and steadily turned it into a powerhouse of Classical style.At the same time, the festival’s repertoire broadened, the programming including contemporary music; idiosyncratic, interdisciplinary performance; and international hits like George Benjamin’s opera “Written on Skin” and Barrie Kosky’s staging of “The Magic Flute.” The ambition, Moss said, flowed from her and Langrée’s relationship as “muses to each other.”“She needed me, and I needed her,” Langrée said. Moss agreed, adding: “We fed each other a very special energy. And that came through to the audience. It was about communicating how much he loved music. It was a golden age, and he was really its star.”When Langrée took over in Cincinnati in 2013, he moved his family there based on advice he had heard from Simon Rattle about his time with the City of Birmingham Symphony Orchestra. Rattle, he recalled, told him: “If you want to have a deep experience as a music director, you should live in the city. It’s more than conducting many concerts or programs. You have to understand the power and weakness of the city, and think about how the orchestra can be part of the solutions.”Choosing to live in Cincinnati, said Martin, the orchestra’s chief executive, “inevitably led to roots growing out into the community.” Langrée was even an active parent at Walnut Hills High School — where Céleste was involved in theater and his son, Antoine, played in the band; and where he conducted the school orchestra several times. He was tickled by the fact that he worked in the Over-the-Rhine neighborhood of the city, given that he was born “over the Rhine” in Alsace.Living there also meant that Langrée was present to see the Cincinnati Symphony through the darkest days of the pandemic shutdown; he devised ways, almost immediately, to commission new music and stream concerts for free online. “The thing that was important to Louis was to keep things going,” Martin said.The Cincinnati Symphony today, as with the Mostly Mozart orchestra, is largely a product of Langrée’s efforts. He was actively involved in the renovation of its home theater, Music Hall, and has hired, Martin said, “somewhere between a third and half” of the players. The ensemble has built a reputation on nurturing new works on the scale of concertos and symphonies; 65 of those were led by Langrée during his directorship. And, crucially, the group is performing at a level of excellence that reflects his taste for color and nuance.“He’s set a high bar,” Martin said. “It’s not going to be easy to find someone at least as good.”“He’s set a high bar,” Martin said of Langrée in Cincinnati. “It’s not going to be easy to find someone at least as good.”Madeleine Hordinski for The New York TimesLangrée told the Cincinnati Symphony in 2021 that he wouldn’t renew his contract there beyond the 2023-24 season. That year, he was hired by President Emmanuel Macron of France to run the Opéra Comique; it was, Langrée said, the first job he had ever applied for.His departure from Mostly Mozart, though, was blurrier. His contract there was set to conclude this summer, but there was no formal announcement about whether he would renew. The festival had gone dark in 2020, and by the time it would have come back, last year, Lincoln Center had a new artistic leader, Shanta Thake, who rolled out a summer series that included no festival proper and fewer performances than before by the Mostly Mozart Festival Orchestra. The 2019 edition was unceremoniously the festival’s last. How, Langrée said, could he renew for something that doesn’t exist?Langrée didn’t want to say more about the end of his Mostly Mozart tenure — by any measure a triumph of ensemble-building and musical curiosity. He wanted to protect the players, and for the orchestra to continue. Recently, Jonathon Heyward was made its music director, an appointment that came with the news that the group’s name would change.Thake said that, as a New Yorker who knows the Mostly Mozart orchestra as a beloved New York institution, she can see that going into Langrée’s final season, “they’re stronger than ever.” And there are still echt Langrée performances to come, like a pairing of Mozart’s C-minor Mass and a premiere by Amir ElSaffar, beginning July 25.Langrée moved to Paris once he started at the Opéra Comique, and when he is working in the United States, his day begins early, with about three hours of meetings before rehearsal starts. It’s a challenge, but in the future, he will conduct less: Beyond his concerts in Cincinnati next season, he has only a couple of guest appearances.In lieu of score study, he is now getting acquainted with the nonartistic side of his field, stressed now not about orchestral concerts, but about, say, the effect of inflation on the cost of running a theater.“It’s the last major project of my life,” he said of his job with the Opéra Comique. He will conduct one production there each season. And, as a guest, he will lead a “much-reduced repertoire” that he wants to explore more deeply than he could as a music director. Those moments, which he referred to as a “luxury,” will almost be the easy part of his career’s new phase.“I come from a musical background,” Langrée said. “When you have to read these Excel things and have to balance budgets and work with subsidies from the government — now, I feel like I’ve been plunged into real life. And that’s hard.” More

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      Lincoln Center Revives Summer for the City, Hoping to Draw New Fans

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      The festival will include hip-hop, Korean arts, Mostly Mozart and a flock of 200 flamingo lawn ornaments.Lincoln Center will bring back its Summer for the City festival this year, the organization announced on Monday, continuing its efforts to attract new audiences by embracing a wide variety of genres, including pop and classical music, social dance and comedy.There will be a weeklong celebration of hip-hop, performances by the Mostly Mozart Festival Orchestra and a Korean cultural festival. A flock of 200 neon-pink flamingo lawn ornaments will adorn a pool near David Geffen Hall, part of a reimagining of the center’s outdoor spaces by the Broadway costume and set designer Clint Ramos.“The hope is to transform the campus — to upend people’s expectations of what Lincoln Center is,” Shanta Thake, the center’s chief artistic officer, said in an interview. “To allow people to just come and play and understand that this isn’t a precious palace on a hill, but a place to inspire joy.”Under Henry Timms, Lincoln Center’s president and chief executive, the organization has worked in recent years to appeal to a younger, more diverse crowd. Its efforts have led to some grumbling among fans of more traditional genres, who say the center is not doing enough to promote classical music. Some elements of the Mostly Mozart rubric have been reduced in recent years, including guest ensembles, intimate recitals and performances of new music that flows out of the classical tradition.The Mostly Mozart Festival Orchestra will perform 13 concerts over three weeks, beginning with a program on July 22 that features Mozart’s Concerto No. 2 for Flute, with the soloist Jasmine Choi, as well as the Korean folk song “Arirang” and Soo Yeon Lyuh’s “Dudurim.” The performance is also part of Korean Arts Week, which includes K-pop bands, DJs and a film festival.It will be Mostly Mozart’s last season with Louis Langrée, who has been the ensemble’s music director since 2002. His contract expires this year.Thake said that Mostly Mozart would maintain a presence after Langrée’s exit. She said that the center was in talks with the orchestra about future seasons, and that they were discussing how Mostly Mozart “fits within the values of Lincoln Center,” including efforts to reach new audiences and promote inclusivity.“There’s no doubt that the orchestra will maintain a central place in our programming going forward,” she said.Hip-hop will be front and center as part of a celebration of its 50th anniversary, with performances by J.Period, Rakim and Big Daddy Kane.An opera based on Octavia E. Butler’s novel “Parable of the Sower,” by the folk and blues musician Toshi Reagon and the composer Bernice Johnson Reagon, will get its New York City premiere at Geffen Hall on July 14.Social dance returns on June 14 with a performance of Cuban music by the singer Lucrecia and the salsa band 8 Y Más. The giant disco ball that hung over the main plaza last year, also designed by Ramos, will be back too.More than 300,000 people attended last year’s festival, which aimed at helping New York City heal after the upheaval brought on by the coronavirus pandemic. More than three-quarters of them had never before bought a ticket to a Lincoln Center offering, according to the center.Thake said she was not overly concerned about skeptics who worry that the center’s identity has changed too much.“To those people I say, It’s wonderful that you have found a home at Lincoln Center and what a gift it has been that Lincoln Center has been a home for so many for so long,” she said. “All that we are doing right now is opening up that invitation. And really having many, many more New Yorkers be able to say the exact same thing. That’s a real gift, and something that not only we can do, but something that we really have to do.” More

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      Music, Science and Healing Intersect in an A.I. Opera

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      “This is what your brain was doing!” a Lincoln Center staffer said to Shanta Thake, the performing arts complex’s artistic director, while swiping through some freshly taken photos.It was the end of a recent rehearsal at Alice Tully Hall for “Song of the Ambassadors,” a work-in-progress that fuses elements of traditional opera with artificial intelligence and neuroscience, and the photos did appear to show Thake’s brain doing something remarkable: generating images of flowers. Bright, colorful, fantastical flowers of no known species or genus, morphing continuously in size, color and shape, as if botany and fluid dynamics had somehow merged.“Song of the Ambassadors,” which was presented to the public at Tully on Tuesday evening, was created by K Allado-McDowell, who leads the Artists and Machine Intelligence initiative at Google, with the A.I. program GPT-3; the composer Derrick Skye, who integrates electronics and non-Western motifs into his work; and the data artist Refik Anadol, who contributed A.I.-generated visualizations. There were three singers — “ambassadors” to the sun, space and life — as well as a percussionist, a violinist and a flute player. Thake, sitting silently to one side of the stage with a simple, inexpensive EEG monitor on her head, was the “brainist,” feeding brain waves into Anadol’s A.I. algorithm to generate the otherworldly patterns.“I’m using my brain as a prop,” she said in an interview.The “ambassadors” included, from left, Debi Wong, Laurel Semerdjian and Andrew Turner.Vincent Tullo for The New York TimesDigital art by Refik Anadol was projected above the Tully stage.Vincent Tullo for The New York TimesJust to the side of the stage, level with the musicians, sat a pair of neuroscientists, Ying Choon Wu and Alex Khalil, who had been monitoring the brain waves of two audience volunteers sitting nearby, with their heads encased in research-grade headsets from a company called Cognionics.Wu, a scientist at the University of California, San Diego, investigates the effects of works of art on the brain; in another study, she’s observing the brain waves of people viewing paintings at the San Diego Museum of Art. Khalil, a former U.C. San Diego researcher who now teaches ethnomusicology at University College Cork in Ireland, focuses on how music gets people to synchronize their behavior. Both aim to integrate art and science.Read More on Artificial IntelligencePublic Defenders: Clearview AI’s facial recognition software has been largely restricted to law enforcement. Now, the company plans to offer access to defense lawyers.Creating Art: Artwork made with artificial intelligence won a prize at the Colorado State Fair’s art competition — and set off fierce backlash about how art is generated.Generative A.I.: Apps like Stable Fusion use artificial intelligence to create images. Some say it is the key to unlock creativity, but critics abound.Are These People Real?: We created our own artificial-technology system to understand how easy it is for a computer to generate fake faces.Which makes them a good match for Allado-McDowell, who first pitched “Song of the Ambassadors” in January 2021 as a participant in the Collider, a Lincoln Center fellowship program supported by the Mellon Foundation. “My proposal was to think about the concert hall as a place where healing could happen,” said Allado-McDowell, 45, who uses the gender-neutral pronouns “they” and “them.”Healing has long preoccupied them. They suffered from severe migraines for years; then, as a student at San Francisco State University, they signed up for a yoga class that took an unexpected turn. “I was besieged by rainbows,” they recalled in a forthcoming memoir. “Orbs of light flickered in my vision. Panting shallow breaths, I broke out of the teacher’s hypnotic groove and escaped to the hall outside. As I knelt on the carpet, cool liquid uncoiled in my lower back … as a glowing purple sphere pulsed gold and green in my inner vision.”This, they were told, was a relatively mild form of kundalini awakening — kundalini being, in Hindu mythology, the serpent that is coiled at the base of the spine, a powerful energy that generally emerges from its dormant state only after extensive meditation and chanting. Others might simply have dropped yoga. “For me, it was an indication that I didn’t understand reality,” Allado-McDowell said. “It showed me that I didn’t have a functional cosmology.”Audience volunteers were outfitted with research-grade headsets from a company called Cognionics.Vincent Tullo for The New York TimesWhat followed was a yearslong quest to get one. Along the way, they picked up a master’s degree in art and went to work for a Taiwanese tech company in Seattle. At one point, while sitting in a clearing in the Amazon rainforest, they had a thought: “A.I.s are the children of humanity. They need to learn to love and to be loved. Otherwise they will become psychopaths and kill everyone.”Later, in 2014, Allado-McDowell joined a nascent A.I. research team at Google. When the leader suggested collaborations with artists, they volunteered to lead the initiative. Artists and Machine Intelligence was launched in February 2016 — 50 years after “9 Evenings: Theater and Engineering,” the pioneering union of art and technology led by Robert Rauschenberg and the AT&T Bell Labs engineer Billy Kluver. The connection was not lost on Allado-McDowell.One of the earliest partnerships they established was with Anadol: first for “Archive Dreaming,” a project inspired by the Borges story “The Library of Babel,” then for “WDCH Dreams,” Anadol’s A.I.-driven projection onto the billowing steel superstructure of the Frank Gehry-designed Walt Disney Concert Hall in Los Angeles. For “Song of the Ambassadors,” Anadol said, “we are transforming brain activities in real time into an ever-changing color space.”Anadol’s artwork also responds to Skye’s music, which alternates between periods of activity and repose. “We wanted to bring people in and out of a space of meditation,” Skye said. “I carved out these long gaps where all we’re doing is environmental sounds. Then we slowly bring them out.”All this is tied to Allado-McDowell’s goal of testing the therapeutic powers of music in a performance setting. “Might there be policy implications?” they asked. “Might there be a role that institutions could play if we know that sound and music is healing? Can that open up new possibilities for arts funding, for policy, for what is considered a therapeutic experience or an artistic experience?”The jury is still out.“We know that listening to music has an immediate impact for things like mood, attention, focus,” said Lori Gooding, an associate professor of music therapy at Florida State University and president of the American Music Therapy Association. Positive results have been found for people who have suffered a stroke, for example — but that’s after individualized therapy in a medical or professional setting. The approach in “Song of the Ambassadors,” she said, is different because of “the public aspect of it.”Derrick Skye’s score was performed by musicians including the violinist Joshua Henderson.Vincent Tullo for The New York TimesOne goal of the project is to turn a hall like Tully into a public healing space.Vincent Tullo for The New York TimesWu and Khalil, the neuroscientists involved with the production, have yet to analyze their data. But at a panel discussion preceding Tuesday’s performance — and yes, this opera did come with a panel discussion — Khalil made a prediction that left the audience cheering.“We’ve started to understand that cognition — that is, the working of the mind — exists far outside our head,” he said. “We used to imagine that the brain is a processor and that cognition happened there. But actually, we think our minds extend throughout our bodies and beyond our bodies into the world.”With music, he continued, these extended minds can lock onto rhythms, and through the rhythms onto other minds, and then onto yet more. As for the spaces where that happens, Khalil said, “You can start to think of them as healing places.” More

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      The Syncopated Sounds of Old San Juan Hill at the New Geffen Hall

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      Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Before there was Lincoln Center, there was San Juan Hill — a diverse neighborhood located in the West 60s in Manhattan. The “hill” refers to a peak at 62nd Street and Amsterdam.To some, the neighborhood’s reputation was synonymous with racial conflict. In a Page 1 article, in 1905, The New York Times reported that, on a weekly basis, the “police of the West Sixty-eighth Street Station expect at least one small riot on the Hill or in The Gut,” a stretch of the neighborhood on West End Avenue, involving the area’s Black and white rival gangs.But beyond the notoriety of the police blotter, a different American cultural story was taking shape on San Juan Hill. Around 1913, James P. Johnson could be found playing piano at the Jungles Casino, on West 62nd Street; the dances he witnessed there, which he described as “wild and comical,” would inspire “The Charleston,” his syncopated Roaring Twenties-defining hit, a decade later.During a recent interview at Lincoln Center, the jazz trumpeter and composer Etienne Charles noted that the musical legacy of San Juan Hill was particularly rich throughout the first half of the 20th century.“Thelonious Monk is from here,” Charles, 39, said. “And Benny Carter — to me Benny Carter is one of the most influential arrangers because he’s one of the first people to do a five-saxophone soli in big band, right? And he’s a great bandleader, a great improviser.”The musical aspect of the San Juan Hill story long predates the era in which the Mayor’s Committee on Slum Clearance, led by Robert Moses, razed the neighborhood to make way for the sprawling Lincoln Center arts complex. (Using eminent domain, Moses’ “urban renewal” project displaced more than 7,000 economically vulnerable families, nearly all of them Black and Hispanic.)It was the lack of a broader appreciation for this history, Charles said, that made him excited to propose a work about San Juan Hill when Lincoln Center approached him in 2020 for a piece to celebrate the reopening of David Geffen Hall. Turns out, the organization had been thinking along similar lines.“It had already been in conversation, here,” Shanta Thake, Lincoln Center’s chief artistic officer, said; the organization was “starting to really think about: What was our history? How do we talk about our history?”They agreed that Charles would compose a piece evoking the old neighborhood — and that it would use the New York Philharmonic, Lincoln Center’s first-ever commission for a full orchestra. “San Juan Hill,” a 75-minute multimedia work, will have its premiere on Oct. 8, when Charles and his group, Creole Soul, join the New York Philharmonic for two performances.“We want to celebrate it and make sure as many people as possible see this as their first piece in the hall,” Thake said. (Tickets for the performances, which will be at 2 p.m. and 8 p.m., were made available on a choose-what-you-pay basis; a limited number of free tickets will be distributed that morning at 10 a.m. at Geffen Hall’s Welcome Center.)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.Thake said Charles’s new work “speaks volumes about what the future can look like” at Lincoln Center, adding that she couldn’t “imagine that it just won’t get deeper with time and that you’ll see more like this.”Charles at the piano. His score for the Philharmonic has a wealth of American musical textures, from vintage stride piano to modern hip-hop.Josefina Santos for The New York TimesAt the Kaplan Penthouse in Lincoln Center’s Rose Building, Charles was seated next to a piano and his score for “San Juan Hill” as he rattled off a roll-call list of all-stars with roots in the neighborhood, including, for a time, the writer Zora Neale Hurston. And he recalled learning about the neighborhood’s cultural legacy shortly after arriving, in 2006, to pursue a master’s degree in jazz studies at Juilliard.During preparations for a concert of Herbie Nichols’s music, the pianist and educator Frank Kimbrough gave Charles his first lesson on the topic — and pointed out a connection to Charles’s background. “He was like, ‘You’re from Trinidad?’” Charles said. “‘Well, Herbie’s parents were from Trinidad, and he was born right there.’ And he pointed to San Juan Hill.”It didn’t take long for that dual message — of local import, and of a broader tie to the West Indies — to be reinforced. When the pianist Monty Alexander stopped by the apartment Charles was sharing with another student, Aaron Diehl, he schooled Charles on a fresh way to hear the music of Monk. “Listen to Monk’s music and you hear that Caribbean bounce,” Alexander told Charles.On the Kaplan Penthouse’s piano, Charles played an appropriately bumptious figure from Monk’s “Bye-Ya” as punctuation for that anecdote. “It’s almost like dancehall,” he said.For Charles, one challenge of “San Juan Hill” was its scope. His first thought was: “I’ve never composed for orchestra,” he said. But thanks to his training at Juilliard, he had studied orchestration and completed some arrangements for orchestra. “So yeah,” he said to himself. “Let’s go.”

      Kaiso by Etienne CharlesWhile reflecting on the music that filtered into and out of San Juan Hill, Charles also went on fact-finding missions — looking through archives and speaking with people who lived in the neighborhood before 1959, including a former leader of one of its many gangs. (Charles said he couldn’t specify which leader or which gang.)Thake said such efforts were emblematic of how “deeply researched and how curious” Charles is as a performer. “He has a deep investment in this place, coming from Juilliard, moving through Jazz at Lincoln Center,” she said, noting that he was one of the first musicians to play a free concert in the organization’s Atrium space.That civic impetus is familiar to Charles’s former Juilliard roommate Diehl — a pianist who has also memorably collaborated with the New York Philharmonic. In a phone interview, Diehl remembered fondly Charles’s way of schooling him on the connections between Caribbean traditions and American jazz.“Spending time with him really revealed an entire world of Afro-diasporic music that I hadn’t even encountered,” Diehl said. “He will be very quick to tell you if you’re not playing one of those grooves correctly.”For the Oct. 8 performances, “San Juan Hill” will open with a mini-set by Creole Soul. While the group plays, images of the neighborhood, past and present, will be projected inside Geffen Hall. But the bulk of the piece involves the Philharmonic players and their music director, Jaap van Zweden, in dialogue with Creole Soul. Then, the images will be projected only between movements. (The multimedia aspects involve film elements directed by Maya Cozier, graffiti by the visual artist Gary Fritz (known as Wicked GF), and 3-D imagery by Bayeté Ross Smith.)The movements with the Philharmonic — there are five, representing about 55 minutes of the 75-minute performance — feature a wealth of American musical textures, from vintage stride piano to modern hip-hop.Charles: “I also wanted to channel the sounds of the immigrants. I’m from Trinidad; there was a significant number of English-speaking Caribbean people in this neighborhood — so I had to channel Calypso.”Josefina Santos for The New York Times“A lot of it is heavily influenced by what James P. Johnson was doing, what Fats Waller was doing,” Charles said. “And then I also wanted to channel the sounds of the immigrants. I’m from Trinidad; there was a significant number of English-speaking Caribbean people in this neighborhood — so I had to channel Calypso.”The historical record is also fodder for Charles’s musical imagination. The first movement with the orchestra, titled “Riot 1905,” refers to one of those infamous street altercations in San Juan Hill. That front-page story in The Times, from July 1905, had to do with a race riot that broke out when a Black man stepped in to assist a local ragman who needed help making his way through the neighborhood.But toward the end of “Riot 1905,” a rhythmic indication in the score name-checks the work of the hip-hop producer J Dilla, who died in 2006. It’s a playful fillip — and perhaps anachronistic, at first glance. But for Charles, it’s a way to draw a parallel between eras, since “people are still dealing with senseless acts of violence.”A movement for his group and the orchestra, “Negro Enchantress,” paints a portrait of Hannah Elias — at one point a courtesan and, later in life, a landlord and property owner and one of the richest Black women in New York City.Around the turn of the 20th century, Elias received hundreds of thousands of dollars in gifts from a lover, John R. Platt, a white man. “I don’t know if you want to call it like an 1895 version of ‘The Tinder Swindler,’” Charles said. “But he sued her. And they put it all in the papers. She had a mansion on Central Park West. Seven-bedroom mansion! And this whole mob showed up outside her house. She won the lawsuit; he lost the lawsuit. She bought property all over New York.”The music of this movement begins softly and seductively, before taking on a suspenseful tinge. “It gets really out,” Charles said. “It’s like Jekyll and Hyde. You thought this person was one thing — but it’s also really that you’ve been convinced by your family that you shouldn’t be giving this person money.”The third and fourth movements — “Charleston at the Jungles” and “Urban Removal” — address the sharply divergent legacies of the pianist James P. Johnson and Robert Moses. But Charles didn’t want to end the piece on a downer, so the final movement for the orchestra, “House Rent Party,” is a delirious fusion of ragtime, Afro-Venezuelan waltzes and turntablism.“What is it like being a DJ in a party with people from everywhere?” Charles asked, rhetorically, after I pointed to the profusion of styles in this portion of the score. “You’ve got to give them a little taste.” More

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      At Mostly Mozart Concerts, Casual Vibes and High Musical Values

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      The Mostly Mozart Festival Orchestra offered a series of breezy but focused programs at Lincoln Center, filled with treats big and small.The Mostly Mozart Festival Orchestra bears the name of a festival that no longer exists, but over the last three weeks, it played 12 concerts that showed it still has a place in the new creative landscape at Lincoln Center.In April, Lincoln Center announced a newly streamlined festival for this year, “Summer for the City,” that subsumed (or really replaced) a sprawling collection of offerings, including the Mostly Mozart Festival and Midsummer Night Swing. Lincoln Center’s chief artistic officer, Shanta Thake, has said that the organization plays a civic role, so while the updated lineup still sprawls, its emphasis is squarely on community. Social dances, celebratory gatherings for Pride and Juneteenth and a tribute to the Brooklyn-born hip-hop star Notorious B.I.G. have filled the schedule, with many events at no cost.Classical music, a longtime centerpiece of Lincoln Center’s identity, was allotted roughly two and a half weeks of prime time in the middle of its three-month calendar.How does a genre that has wrestled with accusations of elitism fit with the populism of “Summer for the City”? The Mostly Mozart Festival Orchestra and its music director, Louis Langrée, wasted no time finding out, offering up breezy yet focused concerts that unfurled as effortlessly as a picnic blanket — welcoming, comforting and filled with treats big and small.I attended the first four programs before being sidelined by COVID-19, and the concerts I saw were a joyous success. They largely followed a template of spotlighting highly personable soloists and making a quiet point of incorporating works by Black composers after years of neglect.As a siren sounded in the distance while Conrad Tao performed at Damrosch Park, he paused and shot the audience a look as if to say, “I’ll wait.”Caitlin Ochs for The New York TimesThe series began with a free show at Damrosch Park that juxtaposed works by Black composers and their contemporaries. Joseph Boulogne’s rousing overture to “L’Amant Anonyme” flowed seamlessly into a briskly elegant account of Mozart’s Piano Concerto No. 17. A glassy, small-scale piece by William Grant Still connected more tenuously to George Gershwin’s ecstatic “Rhapsody in Blue.”Taking a jubilant jaunt through Gershwin’s crowd-pleaser, the pianist Conrad Tao seemed to conduct his own symphony at the keyboard, plunking out a pitter-patter of notes, coloring in sunset shades and slamming his forearm delightedly on the keys. At one point, as a siren sounded in the distance, he paused and shot the audience a look as if to say, “I’ll wait.” The crowd loved it.Before the concert, Thake led the audience in a spoken ritual derived from the three themes of “Summer for the City” — remember, reclaim and rejoice — a reflection on the healing process that communities have undertaken during the pandemic.The orchestra played six programs in total, performing each twice, on consecutive days. The other five programs, all at Alice Tully Hall, had a choose-what-you-pay model, with a minimum price of $5. The concerts lasted 90 minutes or less without intermission.Concertgoers at the Damrosch Park concert on July 19.Caitlin Ochs for The New York TimesWhether it was the ticket prices, the inviting run times or the chance to escape the enervating heat, concertgoers seemed energized and unguardedly enthusiastic, often applauding between symphonic movements (though, instinctively, not after the slow ones). And why not, given the conductor Xian Zhang’s tight, decisive reading of Beethoven’s Fourth in the first Alice Tully Hall program? Summer seems a good time to shed some layers and some concert decorum.There’s something heartening about audiences in shorts and T-shirts leaping to their feet in a concert hall to cheer well-turned showpieces by Ravel, Barber and Jacques Ibert. It shakes loose the idea that casual vibes are incompatible with high musical values.The luminous Trinidadian soprano Jeanine De Bique sang a rendition of Samuel Barber’s “Knoxville: Summer of 1915” so touching and minutely observed that I instinctively reached for my husband’s hand. De Bique’s voice, rich and grounded, seemed to bloom from somewhere deep inside her, taking on a slender, shimmery quality as it extended toward the top of her range.Other soloists included the saxophonist Steven Banks, who radiated mellow glamour in the long lines of a Glazunov concerto; the violinist Augustin Hadelich, who dug into the raw strangeness of Ravel’s “Tzigane” and drew out the warm midrange of his Guarneri violin in a relative rarity by Boulogne; and the violinist Joshua Bell, who played pieces by Florence Price and Henri Vieuxtemps in a concert I missed led by Jonathon Heyward, who will become the first Black music director of the Baltimore Symphony in 2023.The replacement of printed programs with QR codes felt like a budgetary constraint, a nonchalant trimming of concert amenities and a nod to our new, continuing pandemic normal. But it drew at least one loud complaint from an attendee.As if in reply, Langrée took the stage and offered entertaining explanatory remarks — a new tradition in the making — before his translucent account of Ravel’s “Mother Goose” Suite. The conductor Roderick Cox spoke movingly of his program a few nights later, though the distinctive atmosphere of Barber’s “Knoxville” and Copland’s “Appalachian Spring” Suite suffered from his unshaped orchestral climaxes.There were new frontiers, too: Nokuthula Ngwenyama wrote the beautifully direct “Primal Message” (2020), a more emotive version of the Arecibo message sent into space in 1974, and the ensemble’s musicians invited concertgoers to mingle with them in the lobby after each concert.If the series told a story — one of remembrance, reclamation and exultation — then it seemed appropriate to conclude with Mozart’s Requiem, a piece of vaulting yet intensely personal feeling, which I was sad to miss on Friday and Saturday.But there’s another story here: Langrée’s contract runs through the 2023 season, and the orchestra’s contract is up for negotiation in February. (Thake has already expressed a desire to engage it next season.)If these concerts felt like the Mostly Mozart Festival Orchestra’s audition to join Thake’s new Lincoln Center, then the ensemble did everything it could to secure its part. More

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      Classical Music Has a Hazy Future in Lincoln Center’s Summers

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      The day had been hot and muggy. But a mild breeze was blowing at Lincoln Center by the time the Mostly Mozart Festival Orchestra took the stage in Damrosch Park on Tuesday evening.The pianist Conrad Tao played an elegantly unruffled Mozart concerto and a daydreamy “Rhapsody in Blue.” Apart from a sprinkling of small performances last summer, this orchestra hadn’t been assembled since 2019, but it sounded comfortable and spirited.In just three years, the group has become an anachronism. The festival whose name it bears — Lincoln Center’s premier summertime event before the pandemic — is no more. The center’s summer, once a messy assortment of competing series and festivals, has finally been streamlined under a single label: “Summer for the City.”Planned by Lincoln Center’s president, Henry Timms, and its artistic chief since last year, Shanta Thake, Summer for the City has hoisted a 10-foot disco ball over the plaza fountain and includes outdoor film screenings, spoken word, social dance, comedy shows and an ASL version of “Sweeney Todd.”Five of New York’s dance companies will come together next month for a few days of performances. And starting on Friday, the Mostly Mozart Festival Orchestra moves inside to Alice Tully Hall for five programs: 10 concerts over two weeks.Louis Langrée, the orchestra’s music director since 2002, led the performance on Tuesday.Caitlin Ochs for The New York TimesBut despite that packed little orchestral season, other musical experiences that once appeared under the Mostly Mozart rubric have vanished along with the name — including guest ensembles, intimate recitals, and the new music that flows out of the classical tradition and is embodied by the International Contemporary Ensemble, long in residence at the festival but absent this year.Up in the air is the ultimate fate of the Mostly Mozart orchestra, a high-quality, carefully built and expensive group whose music director, Louis Langrée, has been on its podium since 2002. Though Thake told the orchestra on Friday that it would be a part of the summer next year, things get hazier beyond that. And while her vision for the season is still developing, this first iteration seems to have intentionally moved away from swaths of music and performance that have been central to the center’s identity for decades.Which is not to say that Lincoln Center’s summers have been just one thing. As Joseph W. Polisi, a longtime president of the Juilliard School, describes in “Beacon to the World: A History of Lincoln Center,” recently published by Yale University Press, the initial thought was that the center’s own programming would happen primarily in the summertime, so as not to compete in fall and spring with the constituent organizations for which it serves as a landlord, like the Metropolitan Opera and New York Philharmonic.As the campus was being conceived, summer was imagined to be a good time for folk-ish operas and musicals, like “Oklahoma!” or Copland’s “The Tender Land,” or perhaps a film festival; it’s in the DNA for the center’s summer offerings to be ambitious but accessible, populist but serious.The pianist Conrad Tao was the soloist in several works on the program, including a Mozart concerto and “Rhapsody in Blue.”Caitlin Ochs for The New York TimesThe flutist Jasmine Choi played in William Grant Still’s “Out of the Silence.”Caitlin Ochs for The New York TimesThough Summer for the City is taking place largely outdoors, the novelty in those early years was being inside: Midsummer Serenades — A Mozart Festival, which started in 1966 and was renamed Mostly Mozart six years later, was the first festival in New York to take place in an air-conditioned hall.The campus’s Community/Street Theater Festival of the early 1970s morphed, a few years later, into Lincoln Center Out of Doors, a free, outdoor, eclectic mélange: Ballet Hispánico and bluegrass, string quartets and a doo-wop opera, and eventually a helping of social dance as Midsummer Night’s Swing.Mostly Mozart grew to be perceived as stodgy and listless in this company. When Jane Moss — like Thake, a hire from outside classical music — became the center’s artistic leader in the early 1990s, it was believed that part of her brief was to eliminate it. After the Lincoln Center Festival, which hosted ambitious international touring productions, was founded in the mid-90s, Mostly Mozart, which had once lasted up to nine weeks, dwindled from seven to four. A musicians’ strike in 2002 was another existential crisis.But instead of spiking Mostly Mozart, Moss took a firmer hand with the programming, hired Langrée as a partner, and broadened the offerings — eventually to something closer to Slightly Mozart. In 2017, amid budget and management crises, the Lincoln Center Festival folded and Mostly Mozart was set to expand by up to 50 percent to partly compensate. The festival orchestra entered the opera pit for the first time in 2019; there were dance theater productions and the lauded New York premiere of “The Black Clown”; Langrée’s contract was renewed through 2023.During the center’s pandemic silence in 2020, though, Moss decided to step down. And here we are: Mostly Mozart, instead of being expanded, has been eliminated.In a joint interview with Timms, Thake said that this year’s Summer for the City should not necessarily be seen as the model for all to come. “It’s definitely a unique moment,” she said. “We’re coming out of a two-year pandemic. This is our first full expression of what is possible.”Starting on Friday, the orchestra moves inside to Alice Tully Hall for five programs: 10 concerts over two weeks.Caitlin Ochs for The New York TimesReferring to the center’s Restart Stages initiative from 2021, she added: “There had been some proven success in experimentation. What you’re seeing this year is a continued explosion of form, and putting it all under one umbrella.”Summer for the City has the spunky feel of Joe’s Pub, the cabaret space that Thake ran, along with other Public Theater initiatives like Under the Radar and Public Works, before she was hired by Lincoln Center. It also feels like a throwback to the Community/Street Theater Festival and Out of Doors tradition from the early ’70s.That can yield wonderful programming, and much civic good. Growing up just outside the city, I found Midsummer Night’s Swing — with its tango-ing, salsa-ing crowd — exciting and glamorous, the definition of a New York summer night.But those offerings existed in an ecosystem in which classical music — broadly construed as far as style, period and form — was another pillar, not a fringe.Thake insisted in the interview that classical programming has found its way into Summer for the City in more varied, informal ways: as an accompaniment to blood drives and a mass wedding ceremony, and in the form of music-and-meditation sessions in the David Rubenstein Atrium.Timms added: “In terms of volume, probably, the amount of classical music being presented hasn’t changed much. The nature of it has changed, to some degree, though not fundamentally.”Uh-huh.The two leaders implied that the reconception of the summer is pulling the center more toward the role of host, welcoming as many people as it can onto campus, while the constituent organizations handle or at least share the presenting — especially in the classical sphere. The idea, for example, is that the Chamber Music Society of Lincoln Center’s small set of Summer Evenings concerts can basically take care of what was once Mostly Mozart’s cozy A Little Night Music series, as well as its other solo and chamber events.Other musical experiences that once appeared under the Mostly Mozart rubric have vanished along with the name — including guest ensembles, intimate recitals and new music.Caitlin Ochs for The New York TimesThe danger, of course, is that in reducing redundancies and internal competition, the city simply ends up with less.It’s true that the Mostly Mozart Festival Orchestra’s compressed season — which began with a week of mentoring and performing alongside student musicians — promises to showcase talented young guest artists. On Aug. 5 and 6, Langrée leads Mozart’s Requiem, a few days before Jlin’s arrangement of that work is the score for Kyle Abraham’s recent dance “Requiem: Fire in the Air of the Earth” — the kind of artistic cross-pollination that should be the center’s stock in trade.Even more important, the orchestra’s Tully concerts are choose-what-you-pay, a ticketing philosophy that should be a model for the center’s whole year. A range of excellent music, painstakingly prepared and performed at the highest level for affordable prices: That is true populism.Instead, classical music, even in its ever-struggling nonprofit form, gets cast as the elitist hegemon for which scrappier alternatives must be found — certainly if much-vaunted “new audiences” are going to be attracted.But classical programming should not be considered a chore, or a bone thrown to a dwindling audience — a familiar one rather than “new.” No, serious performance is a jewel, of which Lincoln Center is one of the few remaining supreme presenters. Conrad Tao playing Mozart with a superb orchestra for free or cheap: That is the core of the center’s mission. Its job is to cultivate audiences for and increase access to that.Which is not to say that change is impossible. Is a resident orchestra with an appointed music director the only way to fulfill Lincoln Center’s mission? Perhaps not. But is there a way of programming such an orchestra so that it could be an integral part of a diverse, adventurous summer season? Yes. Could it be joined to opera, recitals, new music and guest ensembles in broadening what I think Timms and Thake are trying to do: to foster inexpensive interactions with great performance? Absolutely.“We’re still getting our feet under us,” Thake said. “And seeing again, how can we continue to be responsive? How can we move through this season and get a sense of what worked, what didn’t work, what’s next for all of us?” More