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New York Times
a day ago
- Entertainment
- New York Times
Waiting for Gustavo Dudamel, the Philharmonic Is Doing Just Fine
The New York Philharmonic is flying free. Its former music director, Jaap van Zweden, left last summer. Its next, Gustavo Dudamel, is gradually deepening his commitment — including performances of Mahler's Seventh Symphony at David Geffen Hall through Sunday — but doesn't officially start until fall 2026. Those who follow orchestras tend to assume that their quality will dip without a devoted director to oversee things. Partly because of the myth of the indispensable, all-powerful maestro, it can be easy to fear that conductorless periods will be rudderless ones. That certainly hasn't been the case this season at Geffen Hall. The Philharmonic has been sounding great: fresh, vital, engaged, more cohesive. The chilly blare that seemed to frost the hall's acoustics when it reopened in 2022 after a renovation has warmed and softened. The most telling music-making of the year was in a program last month led by the Hungarian conductor Ivan Fischer. The final hour of the concert was given over to a rare performance of Bartok's fairy-tale ballet 'The Wooden Prince,' a sprawling, instrument-packed score that swerves from candied to bombastic, from radiant expanses to driving dances. The orchestra rose to the occasion with playing that was nuanced and colorful, and in Mozart's 'Turkish' Violin Concerto, the ensemble matched Lisa Batiashvili's sensual flair. But in a way, I was even more impressed by the opener: Mozart's overture to 'The Magic Flute,' a chestnut of the kind that is often passed over quickly in rehearsal. It glowed. The true test of a great orchestra — what reveals its base line standard — isn't how it does in the big symphonies and premieres that steal the lion's share of attention and applause. It's how the group sounds in little repertory standards, and that 'Magic Flute' overture may have been the most encouraging seven minutes of the season. Want all of The Times? Subscribe.
Los Angeles Times
2 days ago
- Entertainment
- Los Angeles Times
Dr. Gustavo Dudamel leads the New York Philharmonic, with L.A. style
New York — After triumphantly bringing the Los Angeles Philharmonic to Coachella, Gustavo Dudamel is taking his biggest bite so far out of the Big Apple. He is in town for a three-week New York Philharmonic residency. He has devised two ambitious programs to close the orchestra's season in David Geffen Hall and will then be the big attraction for thousands of New York picnickers at free New York Philharmonic parks concerts throughout the boroughs. In the meantime, Dr. Dudamel picked up an honorary doctorate Saturday from the Juilliard School. A welcome mat doesn't get more welcoming than that for a conductor, and this is someone who has yet no official title with the orchestra. The three main 'People of the New York Philharmonic' featured on the orchestra's website are pianist Yuja Wang (artist in residence), Matías Tarnopolsky (newly appointed president and chief executive) and Alec Baldwin (radio series host). In September, Dudamel becomes music and artistic director designate. A year later, having completed 17 seasons as music director of the Los Angeles Philharmonic, he takes charge of the country's oldest and most celebrated orchestra. But who's counting days, months or years? From the moment Dudamel walked on stage at Geffen Hall to begin the dress rehearsal of his first concert of the series last week, there could be no question that it's his show. The orchestra has become fully Dudamel-branded, his image plastered everywhere you look. The talk of the town is that a music-director-designate-to-be has already transformed one of the world's great orchestras, which is said to be playing at a new level and with a new sound. New Yorkers still take pride in not being easily hoodwinked. The press glorifies Dudamel as the next Leonard Bernstein one minute and looks for flaws anywhere it can find them the next. But there is something in the air that even an outsider could feel at the rehearsal, which was open to donors and press interlopers. Dudamel simply seemed, without ostensibly trying, to belong. He knew exactly what to do and how to do it. When he asked the players for something, an orchestra famed for being difficult responded instantly. But Dudamel was doubtlessly trying to belong. The program, composed of nothing he has performed elsewhere, was meant to be a tribute to the New York Philharmonic. He began by pairing the first work the 183-year-old orchestra had ever commissioned with a premiere of a startling new commission. After intermission, he introduced the largest and most robust of the recent symphonies by the city's best-known composer, a veritable icon — Philip Glass — to an orchestra that had done its best to ignore for half a century. With orchestra and audience in his hands, Dudamel had yet another triumph. The New York Times called this program a love letter to New York. If so, the love letter had a postmark from L.A. Stravinsky composed his Symphony in Three Movements, written during and reflecting World War II, while he lived in West Hollywood. Like Schoenberg before him, the Russian émigré composer tried but failed to get a lucrative contract scoring a Hollywood film. Instead, Stravinsky reused bits he had meant for the 1943 epic 'The Song of Bernadette' in his war symphony. The newly commissioned work that followed was Kate Soper's 'Orpheus Orchestra Opus Onus,' a sensationally witty and profound monodrama about the meaning of music for amplified soprano and large orchestra. Soper herself was the talented soloist, as she had been a few weeks earlier when she appeared at the L.A. Phil's Green Umbrella concert in a far riskier early work, 'Only the Words Themselves Mean What They Say.' A favorite of operatic progressives, Soper has had three operas staged by Long Beach Opera, including the premiere of her astonishingly fanciful 'Romance of the Rose,' perhaps the most original American opera of the decade. When it came to breaking the New York Philharmonic's Glass ceiling, Dudamel brought an L.A. Phil hammer. The first concert work by Glass that the New York Philharmonic ever performed was Concerto for Two Pianos in 2017, conducted by Dudamel's predecessor, Jaap van Zweden. It was Dudamel, however, who had given the premiere of the concerto and the L.A. Phil that commissioned it. Dudamel's performance of Symphony No. 11 thus became the first New York Philharmonic attempt at a Glass symphony. (He's written 15, and the L.A. Phil commissioned the 12th.) The 11th has everything audiences and orchestra players are said to dread. It is long (40 minutes), orchestrally big-boned in the manner of Bruckner and echt-Glass in its repetitions and romantic effusions. But in an act of remarkable conductorial persuasion, Dudamel emphasized Glass' talent for orchestral go-with-the-flow magnificence to blow the audience away. The crowd stood en mass and cheered the frail 88-year-old composer seated on the first tier. For all that, the performances were nonetheless on the stiff side, the famously virtuosic orchestra effortfully coming to terms with the unfamiliar. But the needle has moved. What felt unfamiliar was a general feeling of acceptance in Geffen Hall. The audience-friendly renovation during the pandemic helps with a powerful acoustic that encourages openness. This is no longer the uptight atmosphere where John Adams was angrily booed and where people noisily walked out as Zubin Mehta premiered major new works by Olivier Messiaen and Iannis Xenakis. The New York Philharmonic, moreover, has many younger players. And Geffen Hall has found novel means of reaching new audiences, particularly with its large video screens in the lobby, where every concert is streamed for free for passersby or those who want to take in the whole event. The video work is the most creative I've encountered. The sound system is not high-end and there are plenty of distractions. But I watched a matinee and found the experience compelling and the sound good enough to tell that by the second performance of the program, the orchestra had already gotten tighter. All this bodes well for Dudamel, who now has the West Coast support team he wanted. Deborah Borda, who hired Dudamel at the L.A. Phil and poached him at the New York Philharmonic, remains as an adviser to the orchestra. When Tarnopolsky ran Cal Performances at UC Berkeley, he became close to Dudamel. Adam Crane, the orchestra's vice president of external affairs, worked under Borda in L.A. when Dudamel made his U.S. debut at the Hollywood Bowl and was hired by the L.A. Phil. It is too soon to tell where this may lead. By now New Yorkers should know that Dudamel will not be the next Bernstein. He may well change New York, but he is not likely to be a New Yorker. Bernstein lived in New York, walking distance from Carnegie Hall and, when it was built, Lincoln Center. Bernstein raised his family at the Dakota and was, day and night, at the center of New York cultural, intellectual and political life. Dudamel says he still thinks of L.A. as home and the L.A. Phil as family. The New York Philharmonic is a new family. But Dudamel, in fact, now lives in Madrid and has Spanish citizenship. Yet for whatever reason, an L.A. mindset does seem to have reached the New York Philharmonic and Lincoln Center. The orchestra follows Dudamel's appearances with 'Star Wars: The Empire Strikes Back' in concert and then heads off on an Asian tour with conductor Esa-Pekka Salonen. L.A. opera directors Yuval Sharon and Peter Sellars, nowhere to be found in L.A. at the moment, are prominent at the Lincoln Center. Sharon's production of 'The Comet/Poppea' he created for the Industry in L.A. last year will have its New York premiere here in June. Sellars' collaboration with composer Matthew Aucoin, 'Music for New Bodies,' is in July.
Miami Herald
4 days ago
- Entertainment
- Miami Herald
Patti LuPone and Audra McDonald Feud: What We Know
Patti LuPone took a jab at fellow Broadway star Audra McDonald in a recent interview, noting that they had a "long-ago rift." Newsweek reached out to LuPone and McDonald's representatives via email for comment on Tuesday. LuPone and McDonald's history dates back 25 years when the actors costarred in the 2000 New York Philharmonic's version of Sweeney Todd: The Demon Barber of Fleet Street. The pair worked together again in 2007 in LA Opera's Rise and Fall of the City of Mahagonny. LuPone was interviewed in a New Yorker profile piece, published Monday, for her upcoming appearance in the Sex and the City spin-off And Just Like That.... During her conversation with writer Michael Schulman, LuPone's relationship with McDonald, 54, was brought up while discussing a separate squabble with Broadway star Kecia Lewis. Last year, LuPone starred in The Roommate and shared a studio wall with the Hell's Kitchen cast and crew. At the time, the 76-year-old voiced her frustrations with being able to hear the sound cues. In response, Lewis, 59, posted a video to Instagram, in which she called LuPone's remarks "offensive," "racially microaggressive," "rude" and "rooted in privilege." "Oh, my God," LuPone told the New Yorker in response. "Here's the problem. She calls herself a veteran? Let's find out how many Broadway shows Kecia Lewis has done, because she doesn't know what the f*** she's talking about." "She's done seven. I've done 31," she said after searching online for the answer. "Don't call yourself a vet, b****." Lewis actually has 10 Broadway credits and LuPone has 28, per the New Yorker. When Schulman said McDonald gave Lewis' clip "supportive emojis," LuPone said: "Exactly. And I thought, 'You should know better.' That's typical of Audra. She's not a friend." McDonald is currently starring in Gypsy, and LuPone was asked what she thought of the production. Schulman reported that the singer "stared" at him "for 15 seconds" before dismissing the question by looking out the window and saying: "What a beautiful day." On X, formerly Twitter, people were divided on LuPone's New Yorker story. While some defended her: X user wonderhall wrote: "The entire interview is so balls to wall funny, I adore Patti LuPone so much." heartslupone stated: "My cutie pie I'll never hate you #pattilupone." averawlz shared alongside a screenshot of her interview: "Patti LuPone is a bada**." Others, however, criticized her: finleysduke said in a message with 188,100 views and 4,300 likes: "Listen I appreciate Patti LuPone and her contributions to theatre as much as anyone else, but she's crossed the line one too many times. I'm tired of her actions being passed off as 'diva behavior' when in reality she's just mean spirited." DouglasSings added in a note with 16,000 views and 744 likes: "Dear Patti LuPone, 31 shows doth not equal class. #broadway." MaddieTillem wrote in a comment with 24,500 views and 661 likes: "I hate Patti LuPone and have for years. She plays the victim in every scenario, when in actuality, she is the one who is choosing to make enemies with kind, talented people. She's not a diva or an icon, she's just a rude old lady who thinks she's God's gift to theatre." @Olas_Truth remarked: "Patti LuPone is 22 years older than Audra McDonald and old enough to be her mother. There is no reason for Patti LuPone's comments other than that Audra McDonald is an icon. She's a legend, and she is the moment. Patti is not." And Just Like That Season 3 debuts on Thursday, May 29, at 9 p.m. ET and concludes on August 14. Earlier this year, LuPone confirmed that she will be featured in two episodes and has scenes with Sarah Jessica Parker's character, Carrie Bradshaw. McDonald stars on Broadway as Rose in the show Gypsy, which is the first time the character has been played by a Black actor. Tickets are currently on sale, although McDonald will not be appearing in the entire run. Related Articles 'Agatha All Along' Is Punished by Power in Episode 5-Recap'American Horror Story: NYC' Release Schedule: How Season 11 Is Different'American Horror Story' Season 11: Which Series Veterans Are Returning?'A Thrill': Matt Doyle on Being in Sondheim's 'Company' With Patti LuPone 2025 NEWSWEEK DIGITAL LLC.
Express Tribune
5 days ago
- Entertainment
- Express Tribune
Patti LuPone on Audra McDonald: Broadway icon calls former colleague 'not a friend' amidst reports of rift
Patti LuPone, the iconic Broadway performer, has candidly opened up about her long-standing rift with fellow star Audra McDonald. The 76-year-old actress, known for her commanding stage presence, did not mince words when discussing their fractured relationship. LuPone, who has won three Tony Awards and starred in some of Broadway's most beloved productions, stated plainly, 'She's not a friend.' The comment, from her revealing interview with The New Yorker, came in response to questions surrounding McDonald's current role as Rose in Gypsy, a character LuPone famously portrayed in 2008, which earned her a Tony Award. When pressed about the cause of their estrangement, LuPone mentioned a past incident without providing specifics. However, her frustration was palpable. gonna start saying 'what a beautiful day' when people ask me how a show was — Tom Smyth (@Tom_Smyth_) May 26, 2025 While the pair have shared the stage on several occasions—most notably in the 2000 New York Philharmonic concert version of Sweeney Todd—their personal bond appears to have disintegrated over time. LuPone, who has long been an outspoken figure in the theatre world, has no interest in rekindling the friendship, and her comments suggest a permanent break. The two Broadway legends have had vastly different careers in the theatre world, with McDonald, 54, receiving 11 Tony nominations (the most of any performer in history) and winning six. LuPone, in contrast, has been recognized for her powerful performances in productions such as Evita and Gypsy, earning her three Tony Awards. However, despite their mutual acclaim, their personal relationship has evidently soured. Adding to the complexity of their public falling-out, LuPone did not shy away from discussing a separate social media dispute with Kecia Lewis, a fellow performer. The conflict arose after Lewis criticized LuPone's comments on the musical Hell's Kitchen, calling her remarks 'microaggressive' and 'rooted in privilege.' LuPone's response was blunt and confrontational, further highlighting her tendency to speak her mind without reservation. Though it's clear that LuPone and McDonald are no longer friends, the former's candor about their fractured relationship is a reminder of the complex dynamics within the Broadway community. As LuPone continues to make her mark in television and film, her past disputes remain part of her larger narrative, one that shows no signs of fading into the background. With her new role in And Just Like That… and an illustrious career spanning decades, LuPone remains one of Broadway's most compelling and divisive figures. Whether her feuds with former colleagues are part of the larger fabric of her career or simply a reflection of her unapologetic nature remains to be seen.
New York Times
19-05-2025
- Entertainment
- New York Times
Review: With Last-Minute Conductor Swap, Philharmonic Soldiers On
The final weeks of an orchestra's season can feel like the end of school: Everyone's worn down and summer is beckoning. Last week's program at the New York Philharmonic had that mood even before a late-breaking curveball that tested the orchestra further. The Spanish conductor Juanjo Mena was to be on the podium for the New York debut of Kevin Puts's 'The Brightness of Light,' an orchestral song cycle featuring the soprano Renée Fleming and the baritone Rod Gilfry, along with Ravel's rapturous 'Daphnis et Chloé.' But the Philharmonic announced on Thursday afternoon — just a day before the concerts — that Mena would not be conducting. No reason was provided, and his management did not respond to inquiries. (In January, Mena disclosed his diagnosis of early-onset Alzheimer's disease.) Instead, the conductor Brett Mitchell, the music director of California's Pasadena Symphony and a newcomer to the Philharmonic, stepped in. Mitchell possesses the right credentials, having led 'The Brightness of Light' at the Colorado Symphony with Fleming and Gilfry in 2019. Still, this was no easy task given his truncated rehearsal time and lack of familiarity with the players. 'The Brightness of Light' is a portrait of the artist Georgia O'Keeffe and her husband, the photographer Alfred Stieglitz. For the libretto, Puts uses selections from their correspondence — from the heady rush of their early relationship through its souring and O'Keeffe's deepening romance with the landscape of New Mexico. (This work expands on an earlier piece with Fleming, 'Letters,' that relies solely on O'Keeffe's perspective.) Puts, who also wrote the opera 'The Hours' with Fleming in mind, adores her voice's glowing luminosity; his orchestral writing often bathes her in shining halos of sound, and on Friday she returned the favor. Gilfry, who was also making his New York Philharmonic debut, handled Stieglitz with polish, though the role functions as little more than a foil for O'Keeffe's personal and artistic evolution. The music was accompanied by Wendall K. Harrington's visuals, which included projections of work by O'Keeffe and Stieglitz, images of the couple's letters, and libretto supertitles. Puts leans on the projections to do the storytelling; the music often feels more like accompaniment than main attraction. Still, he illustrates the couple's complicated relationship with verve and humor, deploying rapid percussion to express the nervous, bright energy of new love, and a hacking, squawking violin solo (played by the concertmaster Frank Huang) to go with the lines 'I've labored on the violin till all my fingers are sore — You never in your wildest dreams imagined anything worse than the notes I get out of it.' (A little on the nose, but enjoyable nonetheless.) Then came the Ravel, played with a steely determination to get through the not-ideal circumstances. Mitchell was restrained: not quite letting the players steer 'Daphnis et Chloé,' but not doing much to articulate his own vision either. Style came mainly from soloists — especially the principal flutist Robert Langevin's shapely contributions — and from the New York Philharmonic Chorus, directed by Malcolm J. Merriweather, which leaned into Ravel's rich tonal colors. School may be almost out, but the Philharmonic passed this particular test with grit.
