10 February 2014
Jell-O … Candy Corn … Us …
Our founders would be so proud.
We have been grouped with “The Love Boat,” Def Leppard, and Jell-O. We’re all “guilty pleasures,” according to The New York Times. (What’s guilty about Strauss tone poems?)
3 June 2013
“‘There is a growing audience for contemporary works, especially among the younger attendants at the concerts,’ reads a ‘General Practices’ document,” writes The New York Times in a recent Sunday Arts & Leisure feature. “Though new music might isolate subscribers, the committee believed, ‘careful distribution’ of the works alongside war horses would be beneficial, a tactic still employed, to mixed results.”
While this GP document feels very relevant today, this more-than-half-century old document, one of the many business communications housed in the New York Philharmonic Digital Archives, shows the trajectory of new music at the Philharmonic during Leonard Bernstein's tenure as Music Director. It conveys a spirits that is still alive and is on display through Gilbert’s Playlist, officially launched in last week’s packed concerts with Wynton Marsalis and the Jazz at Lincoln Center Orchestra. As we turn this week to music by Prokofiev and Dallapiccola with Lisa Batiashvili, Gerald Finley, Patricia Racette, and others this week, the Times takes this occasion to look at what they’ve dubbed ”Lenny’s Playlist.” Read more about the adventures here.
31 May 2013
“It has the potential to break out of the classical ghetto and into the consciousness of cultured New Yorkers. While there are a fair number of familiar names in the programs, the open-call scheme creates an opportunity for real discoveries.”
That’s a taste of New Yorker critic Alex Ross’s effusive reaction in his blog, The Rest Is Noise, to Wednesday’s announcement of the NY PHIL BIENNIAL, a kaleidoscopic exploration of today’s music by a wide range of more than 50 contemporary and modern composers that will showcase an array of performances presented with partners in venues both on and off the Lincoln Center campus. The New York Times shared his enthusiasm, writing, “The inaugural series, to run from May 28 to June 7, 2014, positions the orchestra at the heart of an evolving cultural sector concerned with new sounds and fresh ideas.”
Learn more about the rich and varied array of events and wrap your head around the jam-packed schedule by exploring our Webpage.
29 May 2013
Full details of the inaugural NY PHIL BIENNIAL are now available! As Music Director Alan Gilbert told The New York Times: "The idea was to have curated events — pavilions, if you will — that present different points of view, different threads of composition, of pursuit, of philosophy, of direction, so that it’s possible for an audience member to immerse him- or herself in a very rich, kaleidoscopic exploration of a lot of things presented together in a way that you wouldn’t be able to do otherwise without travel, expense and time.”
Check out the plethora of pavilions, which bring together everything from Salzburg public art and Edgar Allan Poe’s “The Raven” to Pierre Boulez and Bang on a Can, by clicking here.
26 April 2013
On the Bruckner Beat
"Mr. Gilbert’s love for Bruckner is unmistakable, and this performance contained glories: luminous French-horn solos by Philip Myers; awed hushes; pulverizing climaxes."
There’s one more chance to catch the program at Avery Fisher Hall on Saturday.
(Photo: Hiroko Masuike, The New York Times)
19 April 2013
Though you won’t find Alan Gilbert riding a broomstick you will catch some acrobatics from our Music Director and Assistant Conductor Case Scaglione as they take on this daunting Symphony.
The program, which also includes works by Rouse and Bernstein, run through Saturday. When you come, who knows, perhaps under that tuxedo you’ll catch a glimpse of Alan Gilbert’s Gryffindor uniform … or would it be Ravenclaw?
8 March 2013
Better Know a Bach Soloist: Dorothea Röschmann
The Mass may be in B minor, but there’s nothing minor about the four soloists we have lined up for next week’s program (conducted by our very own Alan Gilbert). First up is soprano Dorothea Röschmann, a native of Flenburg, Germany, which is equidistant between Hamburg and Odense, Denmark.
Perhaps it was her proximity to Scandinavia, but there is a Nordic grace, with touches of Vermeerean light and borealis beauty in Röschmann’s tone that has made her a Phil favorite (she can be heard on our DVD of Mahler’s Symphony No. 2). Of a recent recital she gave at Carnegie Hall, The New York Times wrote: “Sublimity is a term that should never be used lightly. Still, it was unavoidable in the best moments — and there were plenty.” Hear what all the fuss is about in “Die Schatzbarkeit der weiten Erden,” from Dorothea’s 1995 disc of secular cantatas by Bach.
28 February 2013
The Highest Judge of All
The reviews are starting to come in for our production of Rodgers & Hammerstein’s Carousel, and critics are “Bustin’ Out All Over” for John Rando's production, Tiler Peck and Robert Fairchild's footwork, and the vocal power of a cast that includes Nathan Gunn, Stephanie Blythe, and Kelli O’Hara.
"There are times when a production can achieve transcendence not by exceeding expectations but merely by meeting them," writes USA Today. “A case in point: the New York Philharmonic’s new concert staging of Rodgers and Hammerstein’s Carousel (* * * * out of four stars)… Helmed by John Rando, under the expert musical direction of conductor Rob Fisher, it features a dizzying array of talent led by musical theater star Kelli O’Hara and operatic baritone Nathan Gunn.”
"… from top to bottom this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear," writes The New York Times
Congrats to all for a real nice opening! You have four more chances to catch Carousel in action before it rides away this Saturday.
(Photo of Robert Fairchild and Tiler Peck by Chris Lee)
11 February 2013
This past Saturday the Philharmonic reached this nice, round number Saturday evening, performing its 15,500th concert. (We did start in 1842, after all.)
On the occasion, Andris Nelsons concluded the concert with Bartók’s Concerto for Orchestra, “drawing out the spectacular range of the Philharmonic’s sound, from powdery pianissimo strings to deeply hued woodwind solos and the brilliant clarity of the brass,” according to The New York Times.