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Dr. Gustavo Dudamel leads the New York Philharmonic, with L.A. style

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After successfully conducting the Los Angeles Philharmonic at Coachella, Gustavo Dudamel is now making a significant mark in New York City. He’s here for a three-week residency with the New York Philharmonic and has planned two impressive programs to end the orchestra’s season in David Geffen Hall. Later, he will be the main act for thousands of picnickers at free concerts across various New York parks. Additionally, Dr. Dudamel received an honorary doctorate from the Juilliard School over the weekend.

The welcome mat for a conductor couldn’t be any more inviting, as this individual currently lacks an official role within the orchestra. The New York Philharmonic’s website highlights three significant figures: pianist Yuja Wang, who serves as artist in residence; Matías Tarnopolsky, their newly appointed president and CEO; and Alec Baldwin, the host of their radio series.

In September, Dudamel is appointed as the future music and artistic director. After finishing his 17th season as the music director of the Los Angeles Philharmonic, he assumes leadership of the nation’s oldest and most esteemed orchestra a year later.

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Instead of keeping track of days, months, or years, it’s clear that the moment Maestro Dudamel stepped onto the stage at Geffen Hall for the initial performance of his series last week, the spotlight was all his.

The orchestra now bears Dudamel’s distinctive mark, his likeness evident throughout. It’s been buzzing in town that an upcoming music director has already revitalized one of the world’s renowned orchestras, leading them to perform at unprecedented heights and with a fresh, unique sound.

New York residents continue to boast about their ability to avoid being deceived effortlessly. The media extols Dudamel as a potential Leonard Bernstein successor one moment, then searches for any imperfections the next. However, a certain atmosphere pervaded during the open rehearsal, which was attended by donors and journalists, that even an outsider could sense. Dudamel appeared to fit in naturally, without making an obvious effort, as if he was destined for this role. He knew precisely what needed to be done and how to execute it flawlessly. When he requested something from the players, a notoriously challenging orchestra responded promptly.

Without a shadow of a doubt, Dudamel was striving to be part of the New York Philharmonic’s rich history. The concert, unique as it consisted of pieces he hadn’t played before, was designed as a homage to this esteemed orchestra. He started by coupling the very first work the 183-year-old orchestra had ever commissioned with a debut performance of a groundbreaking new composition. Following the intermission, he presented the grandest and most powerful symphonies by the city’s most renowned composer, a living legend — Philip Glass — to an orchestra that had largely overlooked him for half a century.

Under the control of Dudamel, both the orchestra and audience, he achieved another triumph. The New York Times described this performance as a heartfelt tribute to New York City.

If so, the love letter had a postmark from L.A.

As a fervent admirer, I’d share that during World War II, I (Stravinsky) was residing in West Hollywood, much like Schoenberg before me. Unlike him, I wasn’t fortunate enough to secure a lucrative film scoring contract in Tinseltown. However, the pieces I had created for the 1943 epic “The Song of Bernadette” didn’t go unused. Instead, I repurposed these fragments in my Symphony in Three Movements, which mirrored the tumultuous times we were living through.

Following its commission, Kate Soper’s latest piece titled “Orpheus Orchestra Opus Onus” was presented. This captivating monodrama, a blend of witty humor and deep insight, is centered around the significance of music and features an amplified soprano alongside a large orchestra. The talented Ms. Soper took on the solo role herself, having previously showcased her skills at the L.A. Phil’s Green Umbrella concert with a more daring early work, “Only the Words Themselves Mean What They Say.” Known for pushing boundaries in the opera world, Soper has seen three of her operas staged by Long Beach Opera, including the premiere of her whimsical masterpiece, “Romance of the Rose,” arguably the most innovative American opera of the past ten years.

Entertainment & Arts

Esa-Pekka Salonen’s successful two-week tenure leading the L.A. Philharmonic Orchestra in outstanding performances of Beethoven and Boulez has sparked optimistic discussions about his potential return as Music Director, following the departure of Gustavo Dudamel.

In breaking the glass ceiling for the New York Philharmonic, Dudamel wielded a powerful influence from the L.A. Phil. The first piece by Glass performed by the New York Philharmonic was the Two Pianos Concerto in 2017, led by Jaap van Zweden, who preceded Dudamel. Interestingly, it was actually Dudamel who debuted the concerto and the L.A. Phil that commissioned its creation.

Through Dudamel’s rendition, the New York Philharmonic embarked on their inaugural performance of a Glass symphony (being the 11th one, with 15 composed thus far, and the L.A. Phil commissioning the 12th). The 11th is notorious for elements that both audiences and orchestra members typically find challenging. It stretches over 40 minutes, features a grandiose orchestral structure reminiscent of Bruckner, and is distinctively Glass in its recurring patterns and romantic expressions.

Instead of exerting such remarkable persuasive power, Dudamel highlighted Glass’ ability to effortlessly create orchestral grandeur that left the audience in awe. Overwhelmed, the crowd erupted into a standing ovation for the frail 88-year-old composer who sat on the first tier.

Despite some initial stiffness, the performances were still well-executed, even for a renowned orchestra grappling with the novel. However, things have changed now. What once seemed unfamiliar was a sense of acceptance that pervaded Geffen Hall. The audience-friendly renovations undertaken during the pandemic have significantly enhanced its acoustics, fostering an atmosphere of openness. Gone are the days when John Adams was met with angry boos or when audiences noisily exited during premieres by Olivier Messiaen and Iannis Xenakis, creating a less rigid environment.

Beyond boasting a number of young musicians, the New York Philharmonic also innovatively engages new audiences. Notably, Geffen Hall broadcasts every concert on large screens in the lobby, providing a free viewing experience for passersby and those wishing to immerse themselves fully in the event. The video production is remarkably imaginative, offering an unprecedented level of creativity.

The audio setup isn’t top-notch and there are numerous disturbances around. Nevertheless, I attended an afternoon show and found it captivating, with the sound quality being satisfactory enough for me to notice that by the second performance, the orchestra had significantly improved their cohesion.

This situation looks promising for Dudamel, as he now has the backing of the West Coast team that he sought after. Deborah Borda, who initially brought Dudamel to the L.A. Philharmonic and later recruited him from the New York Philharmonic, continues to serve as an advisor for the orchestra. During Adam Crane’s tenure at Cal Performances, he developed a close relationship with Dudamal. In fact, Crane, who now serves as the L.A. Philharmonic’s vice president of external affairs, was part of Borda’s team when Dudamel made his U.S. debut at the Hollywood Bowl and subsequently joined the L.A. Phil.

It’s still unclear what direction things will take, but by now it should be clear that Dudamel won’t follow in Bernstein’s footsteps as the next great New Yorker. While he could potentially impact New York significantly, it seems unlikely that he will adopt New York as his permanent home. Unlike Bernstein, who lived within walking distance of Carnegie Hall and Lincoln Center, was a neighbor at the Dakota, and was deeply immersed in the cultural, intellectual, and political life of New York day and night.

Gabriela Dudamel refers to Los Angeles as his home and considers the L.A. Philharmonic as his extended family. However, he’s since moved to Madrid and obtained Spanish citizenship, making the New York Philharmonic a new family for him.

Despite some unexplained cause, it appears that the Los Angeles way of thinking has influenced both the New York Philharmonic and Lincoln Center. Following Maestro Dudamel’s performances of “Star Wars: The Empire Strikes Back” in concert, the orchestra embarks on an Asian tour under the leadership of conductor Esa-Pekka Salonen.

As a cinephile, I’m excited to share that although Yuval Sharon and Peter Sellars, two notable figures in L.A.’s opera scene who are currently absent from our city, have found a new stage at the Lincoln Center. This June, we can look forward to the New York premiere of Sharon’s production, “The Comet/Poppea,” which he developed for The Industry in L.A. last year. In July, Sellars will team up with composer Matthew Aucoin for “Music for New Bodies.” I can hardly wait!

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2025-05-29 21:31

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