September 20, 2020 • 9:02 am Comments Off on YOLA: Shaping Tomorrow’s Voices Today
My story about YOLA (Youth Orchestra Los Angeles) for the new issue of Strings magazine is now online:
YOLA has become a signature of the Gustavo Dudamel era. Its creation predates his first season at the helm of the Los Angeles Philharmonic in 2009 and shows the influence of the educational philosophy that shaped him…
Filed under: Los Angeles Philharmonic, Strings
February 13, 2020 • 9:47 am Comments Off on The Weimar Republic at LA Phil
Esa-Pekka Salonen is back in Disney Hall to lead the second weekend of programs exploring the musical ferment of the Weimar Republic. Tonight brings the orchestra’s collaboration with director Simon McBurney for a staged presentation of Hindemith’s Murderer, the Hope of Women
and two Weill-Brecht creations: Das Berliner Requiem and The Seven Deadly Sins. And I’m wishing this had not become so relevant…
Filed under: Esa-Pekka Salonen, Kurt Weill, Los Angeles Philharmonic, Paul Hindemith
June 16, 2019 • 10:42 pm Comments Off on Yuval Sharon’s Radiant New Interpretation of Meredith Monk’s Avant-Garde Classic
Meredith Monk’s “Atlas” at the Los Angeles Philharmonic, staged by Yuval Sharon; photo credit (c) Mathew Imaging
Yuval Sharon bid adieu this past week to his three-year residency with the Los Angeles Philharmonic by boldly staging a work that changed his life: Meredith Monk’s opera Atlas, which before this had existed in just one production: the original, commissioned by Houston Grand Opera under David Gockley and staged there in 1991.
My review has been posted on Musical America (apologies for the paywall):
LOS ANGELES — A generation has already passed since Meredith Monk first charted an unprecedented operatic world in Atlas. Yet her ambitious stage work, which premiered at Houston Grand Opera in 1991, retains an aura of singularity — not just in its radiant music and almost entirely wordless libretto, but in the process through which Atlas was shaped as well. Monk cast aside convention altogether, building her opera from performance practices she had pioneered.
Filed under: Los Angeles Philharmonic, Meredith Monk, new opera, review, Yuval Sharon
May 29, 2019 • 3:01 pm Comments Off on Yuval Sharon on Three Years with the LA Phil
Looking forward to his upcoming Meredith Monk project:
Filed under: Los Angeles Philharmonic, Yuval Sharon
February 13, 2019 • 6:54 am Comments Off on Protected: Tan Dun’s Moving Buddha Passion Gets Its U.S. Premiere by LA Philharmonic
Filed under: Gustavo Dudamel, Los Angeles Philharmonic, Musical America, review, Tan Dun
November 8, 2018 • 7:45 am Comments Off on A Reich Premiere and Mahler Recharged at the Los Angeles Philharmonic
It’s been a bracing week of the non-routine in Los Angeles: Philip Glass’s Satyagraha at LA Opera and, from the Los Angeles Philharmonic, John Cage’s Europeras 1 & 2 (with Yuval Sharon’s The Industry) and Susanna Mälkki’s first program of the season. Here’s my review of the Mälkki concert for Musical America:
LOS ANGELES–This past weekend’s program by the Los Angeles Philharmonic was both a newsworthy event and a rousing artistic triumph. Newsworthy because it offered the world premiere of the first composition Steve Reich has written for a full orchestra in more than three decades. And with Susanna Mälkki on the podium, the entire concert on Friday night (November 2) made the concept of a modern symphony orchestra itself feel vitally relevant. Juxtaposed against the pleasures of Reich’s exquisitely crafted piece, a familiar Mahler symphony–the Fifth–was transformed into a revelatory experience.
continue [paywall]
Filed under: Los Angeles Philharmonic, Mahler, review, Steve Reich
October 10, 2018 • 3:50 pm Comments Off on Andrew Norman’s Sustain
I finally had a chance to listen to Sustain, the major new Andrew Norman piece, thanks to the Los Angeles Philharmonic’s online, on-demand (free) broadcast of the 4 October 100th-anniversary season kickoff concert, conducted by Gustavo Dudamel.
The entire program is terrific: Esa-Pekka Salonen’s LA Variations and the Beethoven Triple Concerto on the first half, with Sustain, an LA Phil commission and receiving its world premiere here, filling the second. But you should especially get excited about Norman’s composition. It’s a big piece, ambitious, visionary, otherworldly, spun from fascinating aural patterns that seem to wormhole and teleport across vast astronomical spaces.
Such purposeful originality here: the multilayered connotations of the title are by no means merely incidental. There’s no question now that Norman is a major, significant voice. Especially given its spatial conception, Sustain obviously has to be experienced live. But I highly recommend checking out the broadcast while it’s still available as a temporary compromise.*
Mark Swed writes: ” In an exceptional feat of musical transformation, we wind up in an indefinable new dimension. This is something new.”
And in the New York Times, Seth Coulter Walls discerns “a sublime new direction for the composer”: “Over the final third of ‘Sustain,’ this unusual merger between restraint and hyperactivity could hypnotize … Even when the dynamic level increases to an undeniable roar, there is a smoothness to the piece.”
*Look for the little link button (a bit hard to find) on this page, right below the words “in case you missed it – or want to relive the magic – we’re bringing it to you here on KUSC.org on demand!”
Filed under: Andrew Norman, Los Angeles Philharmonic, new music
April 10, 2018 • 7:38 am Comments Off on In Search of Mahlerian Music Drama at LA Phil
I covered a very unusual approach to Mahler’s Das Lied von der Erde for Musical America. This remarkably original staging by Yuval Sharon and the Chile-based Teatrocinema Company was performed this past weekend by the Los Angeles Philharmonic and Gustavo Dudamel, with soloists Russell Thomas and Tamara Mumford.
[review behind paywall]
Filed under: Los Angeles Philharmonic, Mahler, Musical America, review, Yuval Sharon
February 12, 2018 • 10:35 am Comments Off on A Rousing Reunion for Esa-Pekka Salonen and the Los Angeles Philharmonic
Esa-Pekka Salonen © Benjamin Suomela
Esa-Pekka Salonen’s return to Walt Disney Concert Hall highlighted his gifts as composer and conductor alike and underscored how an orchestra can sound genuinely 21st century.
Filed under: Beethoven, Los Angeles Philharmonic, review, Salonen
November 16, 2017 • 11:27 am 2
Simon Woods, who as President & CEO has worked so closely with Ludovic Morlot to reshape the Seattle Symphony and enhance its sense of mission, will head south in January to become Chief Executive Officer of the Los Angeles Philharmonic.
Michael Cooper reports in The New York Times:
In Los Angeles, Mr. Woods will have far greater resources — and a far larger organization to run. The Los Angeles Philharmonic’s annual budget, the largest of any American orchestra, is approximately $125 million — nearly four times Seattle’s, which is $32 million. But he said he was undaunted.
Here’s the full Seattle Symphony press release:
Seattle Symphony Board to Launch Search for Successor
SEATTLE – The Seattle Symphony’s President & CEO Simon Woods, who has led the organization since 2011, will leave in January to become the Chief Executive Officer of the Los Angeles Philharmonic, widely regarded as one of the nation’s most important and forward- looking orchestral organizations. A search committee led by Board Chair Leslie Jackson Chihuly and Chair-Elect René Ancinas will be formed to launch an international search for Woods’ successor.
Filed under: Los Angeles Philharmonic, music news, Seattle Symphony
Arts & Culture Stories from NPR
MEMETERIA by Thomas May 