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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?)

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?)

15 March 2013

Free Period
"Period instruments or no period instruments, it takes great musicians to give great performances," wrote The New York Times in yesterday’s review of our first Bach B-minor Mass concert in almost two decades.
Fortunately, we measured up and the Times went on to praise the “intelligent, exciting and affecting performance” of Alan Gilbert, the Orchestra, the New York Choral Artists, and our four soloists: Soprano Dorothea Röschmann, mezzo Anne Sofie von Otter, tenor Steve Davislim, and bass-baritone Eric Owens. Congrats all around, and don’t miss our last two performances of the B Minor Mass tonight and tomorrow!
(Photo: Chris Lee)

Free Period

"Period instruments or no period instruments, it takes great musicians to give great performances," wrote The New York Times in yesterday’s review of our first Bach B-minor Mass concert in almost two decades.

Fortunately, we measured up and the Times went on to praise the “intelligent, exciting and affecting performance” of Alan Gilbert, the Orchestra, the New York Choral Artists, and our four soloists: Soprano Dorothea Röschmann, mezzo Anne Sofie von Otter, tenor Steve Davislim, and bass-baritone Eric Owens. Congrats all around, and don’t miss our last two performances of the B Minor Mass tonight and tomorrow!

(Photo: Chris Lee)

7 January 2011

Check out Anthony Tommasini’s New York Times review of this weekend’s concert…. Then, come hear for yourself why this “assured and exhilarating” performance of Adés’s “riveting, restless and kaleidoscopically colorful” In Seven Days is not to be missed.

Check out Anthony Tommasini’s New York Times review of this weekend’s concert…. Then, come hear for yourself why this “assured and exhilarating” performance of Adés’s “riveting, restless and kaleidoscopically colorful” In Seven Days is not to be missed.

8 December 2010

In his latest piece for the The New York Times’ Lens Blog, photographer Librado Romero tells the story of an iconic image of former Music Director Leonard Bernstein taken by Ken Heyman in the backstage elevator of Philharmonic Hall (now Avery Fisher Hall). Nearly 40 years later, Mr. Romero captured this image with an image of his own chance encounter with current Music Director Alan Gilbert in that very same elevator.

In his latest piece for the The New York Times’ Lens Blog, photographer Librado Romero tells the story of an iconic image of former Music Director Leonard Bernstein taken by Ken Heyman in the backstage elevator of Philharmonic Hall (now Avery Fisher Hall). Nearly 40 years later, Mr. Romero captured this image with an image of his own chance encounter with current Music Director Alan Gilbert in that very same elevator.

12 November 2010

As Complex As the Music She Plays →

Peter DaSilva for The New York Times

"What I would like to be? I’m getting there.” — Anne-Sophie Mutter talks with James R. Oestreich of The New York Times, days before her first concerts as the New York Philharmonic’s Mary and James G. Wallach Artist-in-Residence, November 14, and November 18–20 and 23.

8 November 2010

A Long Way From Boy Chorister  →

Gerald Finley (center) in John Adams's "Doctor Atomic"

Read Matthew Gurewitsch’s New York Times profile of Canadian baritone Gerald Finley, who sings the title role in Mendelssohn’s Elijah with the New York Philharmonic this week. You’ll find out why Peter Sellars calls him a “once-in-a-generation singer who has the danger and allure and sheer integrity to make every villain he plays the hero, and to give every hero he plays depths of darkness that are unimaginable.” You’ll also read of Alan Gilbert’s hopes for an upcoming, ambitious project together.

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