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    Laurie Anderson and Angélique Kidjo Inaugurate Perelman Center

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    Global performers including Angelique Kidjo, Laurie Anderson and José Feliciano will inaugurate the theater at ground zero.The first public events at the new $500 million Perelman Performing Arts Center, the opulent new theater near the site of the World Trade Center, are deliberately laden with symbolism. The center is opening its doors with five shows on Sept. 19-23, collectively titled “Refuge: A Concert Series to Welcome the World.”Each concert offers a different kind of refuge as its theme: Home, Faith, School, Family and Memory. Home (Sept. 19) presents musicians who gravitated from around the world to New York City; Family (Sept. 22) has sibling and multigenerational groups. School (Sept. 21) features musicians who have made education an integral part of their work.The series affirms the city’s diversity with an international lineup that includes Grammy-winning stars — Angélique Kidjo on Sept. 19, Common on Sept. 21, José Feliciano on Sept. 23 — along with lesser-known musicians dedicated to preserving and extending deep-rooted traditions. The program for Devotion: Faith As Refuge, on Sept. 20, includes klezmer music from the Klezmatics, electronic transformations of Afro-Cuban Yoruba incantations by Ìfé and Moroccan Sufi trance music from Innov Gnawa.Two decades after the Sept. 11 attack, the center’s artistic director, Bill Rauch, describes the Perelman’s mission as “civic healing.”“We want to say that everyone is welcome,” Mr. Rauch said. “There’s a lot of trauma and resilience on our part of the island that we want to honor. You know, there were 93 countries represented in the people who lost their lives on 9/11. And so it’s important that we welcome as many different artists and audiences into our building as possible.”The Perelman joins a New York City arts landscape full of big-budget performing-arts institutions, from Lincoln Center to the Brooklyn Academy of Music to the Shed. Is the scene too crowded? “When every man, woman and child who lives in the five boroughs of New York City has a life that is saturated in performing arts, then we can begin to talk about whether there’s too much,” Mr. Rauch said.The center’s artistic director, Bill Rauch, describes the Perelman’s mission as “civic healing.”Hiroko Masuike/The New York TimesAngélique Kidjo alongside the dancer Supaman on Sept. 14, opening night at the Perelman.Hiroko Masuike/The New York TimesAlthough the new arts center is a monumental marble cube with elaborate technological underpinnings — theaters that can be configured more than five dozen ways, sitting on foot-thick rubber supports to insulate them from subway noise — the tickets for the inaugural shows were priced pay-what-you-will from $15-120. Most of the concerts are sold out, but some will also feature free after-parties in the Perelman’s public lobby. Forró in the Dark, which plays upbeat music from Northeastern Brazil, follows the Sept. 19 show. The center plans frequent free lobby performances.Arturo O’Farrill, the pianist who leads the Afro Latin Jazz Orchestra, is performing on Sept. 20 in the “School as Refuge” concert. He founded the Afro Latin Jazz Alliance, which provides instruments and music lessons to public-school students in New York City. When the center was being built, Mr. O’Farrill was part of an advisory committee of artists; he urged the center to pay close attention to acoustics. “I found it incredibly welcoming to artists’ voices,” Mr. O’Farrill said. “That’s not always the case with institutions.”He added, “Bill’s a very forward-looking person. This programing is about community. He’s a very thoughtful man, and he’s looking to expand the conversation on what performing arts is, what elitism does to the arts. He’s not interested in perpetuating elitism.”Laurie Anderson, who is to perform on Sept. 19, is pragmatic but hopeful about the center’s future. “Sometimes a place opens and it never finds its audience,” she said. “I always like it when it’s opened up to the people who live in the neighborhood, but nobody lives in that neighborhood — it’s mostly abandoned offices now. So how do you make a community out of a bunch of empty offices? We’ll see. Maybe you make it by bringing music that’s just so incredible that everybody wants to get on the subway and go down there. That would be great.”Ms. Kidjo, the clarion-voiced singer and songwriter whose albums have connected West African music to the Americas and Europe, was enthusiastic about the center’s inaugural statement. “We are all refugees from somewhere,” she said. In 1983, she fled to Paris from the dictatorship in her homeland, Benin; she now lives in Brooklyn. “I think that each one of us, we have the responsibility and the duty to welcome somebody that is in a dire situation. For a performing arts center to support that speaks straight to my heart. Because everybody needs a place to put your load down and say, ‘I’ve found a place.’She added, “We have a special status after what happened on 9/11 — to prove our openness to the rest of the world. And we have the place called the Perelman Center right next to ground zero that is open to the whole world. It’s just the beginning. We have to live up to the promise.” More

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      World Trade Center Arts Space to Open With Music, Theater and Dance

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      A one-man Laurence Fishburne show, a Bill T. Jones premiere and a new take on “Cats” will be among the offerings at the new Perelman Performing Arts Center.As the marble-clad, cube-like Perelman Performing Arts Center has taken shape at the World Trade Center site, questions have swirled about what will actually happen inside.Some answers came on Wednesday, when the center announced a first year of programming that will feature original work, including the premiere of an autobiographical play written by and starring the actor Laurence Fishburne called “Like They Do in the Movies,” as well as partnerships, including with the Tribeca Festival.Bill Rauch, the center’s artistic director, said the roster was deliberately eclectic.“We much want to give many different audiences many different reasons to come into our building,” he said in a telephone interview, adding that PAC NYC — as the center is being called — is invested in “creating connections.”The year will feature dance, opera, music and theater. Some highlights include:The world premiere of “Watch Night,” a new multidisciplinary piece by the dance artist Bill T. Jones, the poet Marc Bamuthi Joseph and the composer Tamar-kali, in November.The New York Premiere of “An American Soldier,” an opera by the composer Huang Ruo and the playwright David Henry Hwang. The opera, which will be staged in May, tells the true story of Danny Chen, a New Yorker who enlisted in the Army and was subjected to hazing and racist taunts in Afghanistan, and who killed himself at 19.A reimagining of the Andrew Lloyd Webber musical “Cats” set in New York City’s ballroom scene. The musical, planned for next June and July, will be directed by Zhailon Levingston and Rauch; its choreographers will be Arturo Lyons and Omari Wiles, and its dramaturg and gender consultant will be Josephine Kearns.Dance performances will include a celebration of street dance from around the world, including notable D.J.s. There will be a recital by the Easter Island pianist Mahani Teave, an evening with the Broadway performer Brian Stokes Mitchell and, in October, the 2023 Herbie Hancock Institute of Jazz International Piano Competition.Performances at the center are to begin Sept. 19 with a five-evening, pay-what-you-wish concert series called “Refuge: A Concert Series to Welcome the World.”One night will feature New York artists who come from elsewhere, including Raven Chacon, Angélique Kidjo and Michael Mwenso. Another will focus on spiritually oriented performers, including the Klezmatics and the Choir of Trinity Wall Street. Other concerts will highlight educators (featuring Arturo O’Farrill and the Afro Latin Jazz Orchestra), family ensembles (such as the Villalobos Brothers) and childhood traditions (with Alphabet Rockers).The center is named for Ronald O. Perelman, the billionaire who made a $75 million pledge in 2016. But its largest donor wound up being Michael R. Bloomberg, the billionaire former mayor, who gave $130 million to get it built. The center, which used to call itself “the Perelman” for short, now calls itself PAC NYC.“There will be something for everyone at PAC NYC,” Bloomberg, the center’s chairman, said in a statement.The Tribeca Festival will do its own programming, but Rauch described its presence as “a collaboration.”“It’s a natural allyship for us, given our location — it made great sense,” he said. “We’re very excited to have them in the building.”PAC NYC has also partnered with Creative Artists Agency to present conversations with celebrity authors like Kerry Washington, Jada Pinkett Smith, Jenna Bush Hager and Barbara Pierce Bush.“Part of what we want to do is not only reflect the dynamic energy of all five boroughs but to invite conversation in our spaces,” Rauch said, “so having events that are book readings and getting to hear from the authors just feels like it’s well aligned.”Beginning June 23, tickets, starting at $39, are available through February. PAC NYC memberships starting at $10 for the inaugural season are available as of Wednesday.There are three stages at the PAC seating 99, 250 and 450 people. David Rockwell and his Rockwell Group designed the interior of the lobby and restaurant, which will be run by the chef Marcus Samuelsson, along with the bar and outdoor terrace.Plans for programming in the building’s lobby space will be announced in the future and will generally be programmed with less lead time, Rauch said.“All the performances on that stage will be open and free,” Rauch said. “That commitment to access is really crucial.” More

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      It’s the Perelman Performing Arts Center, But Bloomberg Gave More

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      It looked like it was never going to happen.Year after year, plans to build a cultural institution on the World Trade Center site percolated, only to then fizzle out. The International Freedom Center, the Joyce Theater, the Drawing Center, the Signature Theater, New York City Opera, a design by Frank Gehry — all were discussed as possibilities, but none went anywhere.Now, two decades after the 2003 master plan for ground zero called for a cultural component, a performing arts center is finally preparing to open there in September. And though it bears the name of Ronald O. Perelman, the billionaire businessman who jump-started the moribund project in 2016 by announcing a $75 million donation, the person who finally got the project over the finish line, and who ended up giving more money than Mr. Perelman, is Michael R. Bloomberg, the billionaire former mayor.Mr. Bloomberg has given $130 million to the arts center, a gift that has not been previously revealed, and stepped up as chairman of the board in 2020 (replacing Barbra Streisand, who had been appointed chair in 2016) when the organization needed a strong fund-raiser. The center, which will ultimately cost $500 million — more than twice what was projected in 2016 — is now on track to have a ribbon cutting on Sept. 13.“I can afford it,” Mr. Bloomberg said of his largess during a recent hard hat tour of the center. “And they need the money.”The center continues to be called the Perelman Performing Arts Center, but the Perelman name gets less emphasis these days. While the center’s promotional materials once called it “the Perelman” for short, they now tend to call it “PAC NYC,” with PAC standing for Performing Arts Center. Its website, once theperelman.org, is now pacnyc.org, a change officials said that they made in order to tighten its URL.The new performing arts center at the World Trade Center site, which is opening after years of delays, is a 138-foot-tall cube sheathed in marble.Victor Llorente for The New York TimesMr. Perelman, the cosmetics mogul, has had recent financial woes, prompting some to wonder if he made good on his pledges. But Mr. Bloomberg said Mr. Perelman had come through. “He’s paid in advance — never had to ask him for a check,” Mr. Bloomberg said. “They were always there before the schedule.”Mr. Perelman said in a statement that the arts center will “bring the renewal and community the arts have always represented.”“Mike and many others had the vision, and through a real shared commitment, it’s now being realized,” Perelman continued. “I’m thrilled I could play a part in making it happen.”The new center is opening at a moment when many arts organizations are struggling to come back in the wake of the pandemic, and as New York arts institutions find themselves competing for philanthropic support, talent and audiences. The Shed, another expensive, architecturally striking arts space, opened in Hudson Yards a year before the pandemic struck, and has struggled somewhat to find its footing.Mr. Bloomberg has been intimately involved with both the Shed and the Perelman — as mayor and as a philanthropist — and has given equally to both: his donations to the Shed have now reached $130 million as well.As mayor, Mr. Bloomberg initially ceded the World Trade Center site to Gov. George E. Pataki and instead focused on the Far West Side, where his early attempts to build a football stadium and lure the Olympics foundered, but which led to the creation of the Hudson Yards development and the Shed. Over time, though, Mr. Bloomberg turned his attention back to Lower Manhattan, becoming chairman of the National September 11 Memorial & Museum in 2006 and then taking a role in the performing arts center.Mr. Bloomberg said he was a firm believer in the idea that the World Trade Center site should be about renewal as well as loss. “There is so much tragedy,” he said. “The families have to go on and the deceased would have wanted, I think, their relatives to have a life.”The building is on track to have a ribbon cutting on Sept. 13. Victor Llorente for The New York TimesWhile he readily concedes that he is no culture vulture himself, Bloomberg sees the arts as an important driver of economic development, which guided his approach to cultural capital projects as mayor. “Culture attracts capital a lot more than capital attracts culture,” he said. “That’s why New York and London are the two cities that will survive almost anything — because they have commerce and culture.”To be sure, both of Mr. Bloomberg’s pet projects face challenges. Commercial real estate is suffering in Lower Manhattan and at Hudson Yards. And it’s difficult to build a constituency for a new cultural center by starting with a building rather than a program, as the Shed has found. But Bloomberg said he is unconcerned.“It’s a different business model,” he said, likening it to the Serpentine Galleries in London, a museum without a permanent collection where he serves as chairman.The Perelman center’s artistic plans — it promises to showcase theater, dance, music, chamber opera and film — should come into focus on June 14 when it announces its first season. Recent audition announcements suggest that its plans include the New York premiere of the opera “An American Soldier,” by Huang Ruo and David Henry Hwang, and mounting a production of the Andrew Lloyd Webber musical “Cats” set in the contemporary ballroom scene, with roles that “may have flexibility with gender.”The building, a 138-foot-tall cube, is sheathed in marble that glows at night, and has a flexible interior with three theater spaces that can be combined to provide multiple configurations. The Lower Manhattan Development Corporation committed $100 million to the project.The building is sheathed in marble that is designed to appear to glow at night. Victor Llorente for The New York TimesThe center has already had some bumpy leadership changes. David Lan, who led the Young Vic theater in London, was initially its temporary artistic director. In 2018, Bill Rauch was appointed artistic director. In 2019, Leslie Koch replaced Maggie Boepple as the center’s president (Ms. Koch in March 2022 segued to president of construction and will step down when the building is complete). And last October, Khady Kamara, the former executive director of Second Stage Theater, was named executive director.During his recent tour, Mr. Bloomberg was most animated when talking about the flexibility of the new building design — by REX architects — and how the walls and floors can move to accommodate different events.The theaters are designed to be flexible, with different seating configurations possible.Victor Llorente for The New York Times“I’m a big Broadway fan — I love musicals, and comedies,” he said. As for his taste in visual art, Mr. Bloomberg said he lacked a discerning eye. “I’m not as knowledgeable about culture as I should be,” he said. “I was an engineer in college. Did I take a lot of art courses? No. I know what I like. I’m not sure I could explain to you why.”And spoke of its commercial value. “It satisfies the need down here of different venues of different sizes,” he said. “Lots of companies are going to want to rent this space. It’s a great place to have a breakfast meeting with your clients. Weddings, bar mitzvahs, confirmations, graduations.”Mr. Bloomberg said he was a firm believer in the idea that the World Trade Center site should be about renewal as well as loss. Victor Llorente for The New York TimesMr. Bloomberg sounded bullish on New York as a city that always bounces back, and said that the center is “what downtown needs.”“Downtown doesn’t have as much culture as other parts of the city,” he said. “This is going to pull the whole thing together. The economics are going to work. Lots of people are going to want to use this location.” More

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      Rafael Viñoly, From the Drawing Board to the Keyboard

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      There is something transcendent about the architect’s spaces: something unseeable that you experience when you enter. They are as fluid as music.The great trumpeter Wynton Marsalis once told a group of graduating college students, “Music is the art of the invisible. It gives shape and focus to our innermost inclinations and can clearly evidence our internal lives with shocking immediacy.”Marsalis’s creative home, of course, is Jazz at Lincoln Center, a collection of performance spaces tucked into the fifth floor of the Time Warner Center at Columbus Circle in New York City. The complex’s crown jewel is the Appel Room, designed by Rafael Viñoly, who died on March 2. The space is intimate and sweeping, thanks largely to Rafael’s love of glass and the way it frames the adopted city to which he was endlessly devoted.Through the course of our intersecting lives, I spent countless rich and meaningful hours with Rafael. But to really understand him, I’d have to meet him twice: first as an architect and, many years later, as a musician.He opened his studio in New York City in 1983. I started mine the following year. Soon after the Sept. 11 attacks, he and the architect Frederic Schwartz invited me to join the Think design team they assembled to create a new concept for the World Trade Center site. I was living in TriBeCa at the time, and Rafael’s studio, where we met to brainstorm, was a street-front space on Vandam Street in SoHo. We’d walk downtown in horror, engaged it now seems in an endless conversation about the future of cities, in particular New York.Rafael Viñoly in 2002 presenting plans by the Think team for the World Trade Center site, showing open latticework towers, and favoring civic use over office space.Librado Romero/The New York TimesThe plan for the site, a pair of twin towers that spiraled upward, a filigreed weave of steel and air, would transform the center for trade to one of civics and culture. There were many of us involved in the Think team, but the design, which won the competition but was rejected by then-Gov. George Pataki, was largely a combination of Fred’s relentless belief in the significance of urban life and Rafael’s love and belief in the power of beauty and culture.Rafael’s studio at the time seemed, like him, larger than life. The spaces were filled with amazing models, many of them large-scale studies. We would discuss the plans for the World Trade Center site, and how to create built environments that fostered a sense of civic purpose. My strongest memories of that process are feeling his hand leaning on my shoulder as he quizzically looked at what I was drawing and sat down, lowered his glasses and offered — sometimes graciously, sometimes not so much — an invariably whip-smart critique or suggestion.He was an obsessive architect, pencil in hand, always sketching and drawing, across countries and continents. But he was also a classically trained pianist. And what I would come to understand is that it wasn’t possible to truly know Rafael without appreciating the centrality of music and performance in his life.I knew that tucked away in the offices was a piano — actually two Steinway D concert pianos from Hamburg, I would later learn. (More recently, according to his son, Román, he kept one belonging to András Schiff, the British pianist.) The pianos were both well used, because Raphael would rely on music — often Bach — to relieve the pressure.His friend Bernard Goldberg, the art dealer and former hotelier, as passionate as he was about classical music, tells of the time Rafael was redesigning the Roger Williams Hotel, including a space for free chamber music performances. In the middle of one conversation, the architect suddenly popped out of his chair, walked over to a Steinway and started to play a Bach toccata. He finished playing, returned to Bernard, and said, “Now let’s get on with this stuff,” and continued the design conversation.I was just beginning to return to the piano myself, for the first time since childhood, with an extraordinary piano teacher, Seymour Bernstein. I had resumed my training in 2016 with a level of attention that I had thought impossible. It was then that I finally met Rafael as a musician.The Appel Room, part of Jazz at Lincoln Center’s Frederick P. Rose Hall in New York, was designed by Rafael Viñoly and exhibits his love of glass.Brad Feinknopf It was at an event at Jazz at Lincoln Center. We were discussing the space — the adaptability of the rooms, allowing for intimate recitals and larger performances — and I mentioned that I was beginning to study piano again. From that moment on, our conversations were about music: how it filled his childhood, the pleasure of practice, the nature of the art form, and how it differed, he insisted, from design and architecture. He famously said that music and architecture were opposites, that music is completely about abstraction. “In a way,” he said, echoing Marsalis, “it has been incredibly constructive to know what true abstraction is.” Architecture, he would often insist, “is a fight against gravity. The musician’s job is to create beauty.”Several months later I showed up at a “playing class” Seymour had organized at his home on 79th Street. Seymour, who is now 95 and is still at the top of his game as an inspiring teacher, had asked a group of his long-term students to each play a new piece they had been working on, followed by a conversation. As I walked in, I was shocked to see Rafael off to the side. I asked him what he was playing and he said he had come to hear me. I was incredibly moved and equally terrified.Rafael and I would continue to work on various design projects, most recently the NEMA residential building in Chicago, where he did the structure and I did the interiors. But our communication was different. Music had become our shared language, as we talked — sketching on the same pad — about the rhythm and structure of the outdoor spaces that we both found so important.Carrasco International Airport in Montevideo, Uruguay, by the architect, features a monumental curved roof inspired by the rolling dunes along the coastline. Daniela Mac Adden I appreciate the distinction that Rafael is trying to make between architecture and music. But I’m not convinced that he fully believed it. In the same interview where he spoke about architecture and gravity and music and beauty, he paused to acknowledge exceptions — projects where the two were totally commingled. He cited the Salk Institute for Biological Studies in San Diego. The architect Louis Kahn, who worked on the design with Jonas Salk, produced a campus where each building is unique but somehow united, notes connected almost invisibly. Rafael described stepping onto the plaza between the two long structures, saying, “You feel like you are touched by something that makes you feel good.”Rafael’s work — his design for the World Trade Center site; the Rose Hall at Jazz at Lincoln Center; his terminal at Carrasco Airport in Montevideo, Uruguay; the Kimmel Center for Performing Arts, home of the Philadelphia Orchestra, and so many others — managed to merge tangible, real-world permanence with Marsalis’s “art of the invisible.” There’s something transcendent about them, something unseeable that you experience when you enter them. When you encounter them, “you are touched by something that makes you feel good.” In other words, his buildings don’t just exist; they perform. More

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      7 Events in New York Honoring 9/11

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

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      ‘No Responders Left Behind’ Review: Heroes Need Heroes Too

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      John Feal works tirelessly as an advocate for rescuers injured or sickened in the events of Sept. 11, 2001, and their aftermath.In “No Responders Left Behind,” John Feal is a kind of action hero — political action, that is. This documentary by Rob Lindsay follows Feal’s tenacious efforts to obtain government health benefits and compensation for the thousands of rescuers with illnesses and injuries from working on Sept. 11, 2001, and beyond.Feal organizes multipronged campaigns to press Congress to pass aid bills, and the government’s delays and denials feel increasingly galling as the documentary retraces the timeline using interviews and archival footage. The banner piece of legislation on the benefits issue — the Zadroga Act — was not passed until 2010, with renewal and related pushes necessary in 2015 and 2019.Feal — who was injured by falling steel while managing World Trade Center debris removal — is blunt and funny in a way that helps cut through the movie’s hurried, sound-bitey, fundamentally televisual quality. Along the way, he introduces (and amiably rags on) some fellow injured responders, including Ray Pfeifer, a revered firefighter (who died in 2017). He’s open about his tactic of putting politicians on the spot and pushing buttons as necessary. Jon Stewart lends his celebrity as a loyal and sincere supporter of the cause, testifying before Congress.While pragmatic in bent, the documentary repeatedly underlines the toxic manner in which this country treats many who have sacrificed body and mind in service to others. With its blue-collar ranks of responders, the movie also shows who tends to bear such all-consuming burdens and how it can take someone singular like Feal to get both attention and results.No Responders Left BehindNot rated. Running time: 1 hour 19 minutes. Watch on Discovery+. More

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      ‘The Outsider’ Review: Inside the Making of the 9/11 Museum

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      A new documentary focuses on one man involved in the museum’s creation. But it’s not clear why his voice deserved to be heard above others’.Documentaries often cast their subjects in a congratulatory light, but “The Outsider” portrays Michael Shulan, the first creative director of the 9/11 Memorial & Museum, as in effect the last honest historian of Sept. 11, 2001 — a man who wanted to pose “big questions,” per the voice-over, that America might not have been ready to ask.As the directors Steven Rosenbaum and Pamela Yoder tell it, Shulan was hired by the museum because he had become an inadvertent expert in Sept. 11 images. Shortly after the attacks, he helped turn a SoHo storefront he owned into a crowdsourced photo gallery. (The movie is weirdly vague about his background, but a New York Times story from 2001 described him as a writer.)The documentary — shot from 2008 to 2014, the year the museum opened — follows Shulan and several others involved in creating the museum as they decide what to exhibit and how to present it. Different goals (remembrance, education, preservation) are in tension. Shulan prefers an open-ended approach, in which visitors might come away with individual impressions of every photograph. The filmmakers cast Alice M. Greenwald, who came from the United States Holocaust Memorial Museum and is now the 9/11 museum’s chief executive, as Shulan’s adversary: “Michael wanted to engender questions,” the narrator says. “Alice wanted to provide answers.”Both perspectives have their purposes, but the filmmakers never clarify why they find Shulan’s vision more valid than Greenwald’s or the other curators’ — or why Shulan deserves some sort of monopoly on the memory of Sept. 11. Arguments will continue over the propriety of transforming Ground Zero into a tourist attraction. But it’s grotesque to turn that process into a monument to one man’s professional advancement.What’s especially peculiar about the focus on Shulan is that, in other respects, “The Outsider” is an ensemble piece, distributing screen time among a half a dozen people planning for the museum’s opening. (In another miscalculation, the film relegates families of the deceased to the periphery.) During a scene in which Shulan argues with a colleague, Amy Weisser, about a particular photograph, it’s even harder to see why the filmmakers tilted the scales toward him.The press notes suggest that Shulan emerged as the hero in the editing stage, which means the apparent self-aggrandizement shouldn’t necessarily be blamed on him. “The Outsider” might have unfolded as a dispassionate, Wiseman-esque institutional portrait, without the bizarre personality-based angle or amateurish, true-crime-doc voice-over. The Times reported last month that lawyers for the museum had requested changes for “inaccuracies and distortions.” The filmmakers demurred, but a complete overhaul is nevertheless in order.The OutsiderNot rated. Running time: 1 hour 23 minutes. Watch through virtual cinemas. More