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      Mitsuko Uchida Keeps the Focus on Young Artists at Ojai

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      Mitsuko Uchida sat at the piano with her back to the audience.It was an unusual look for a reigning pianist who can fill a concert hall, or sell a new album of 200-year-old sonatas, on the strength of just of her name and face. But over four evenings of performances at the Ojai Music Festival in California, that’s how Uchida played.It was especially strange, given that she was the festival’s music director, an annual post given to an artist to organize programming and the roster of performers. Throughout the festival’s outdoor campus, her name was on T-shirts and signs, not to mention Vogue-thick program books handed out at each concert.Then again, we’re talking about Ojai, where open-minded audiences take in music accompanied by nature and snack on freshly picked pixie tangerines. Uchida might have seemed like a headliner, but this festival is about sharing the wealth.She invited friends and colleagues whom she has known for years, like the endlessly genial Brentano String Quartet. Most heavily featured, during the festival’s run from June 6 through 9, was the Mahler Chamber Orchestra, with whom Uchida often tours in concerto programs that she leads from the piano.The Mahler Chamber Orchestra played traditional concerts at Ojai and also showed up at a local bar as a Johnny Cash cover band,Adali Schell for The New York TimesThose tours, though, rarely showcase the shape-shifting resourcefulness the ensemble brought to Ojai. Its members played pop-up miniatures in Libbey Park, the festival’s center, and even at a local bar as a Johnny Cash cover band. Onstage, they took on traditional fare, like heavenly Mozart concertos with Uchida, but also more contemporary works by Missy Mazzoli and John Adams.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Florentina Holzinger Brings Roller-Skating Nuns to the Opera House

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      The choreographer Florentina Holzinger’s shows feature circus performers and abundant nudity. Now, she’s bringing her experimental approach to opera.In a rehearsal last week at the Mecklenburg State Theater in Schwerin, northeastern Germany, Fleshpiece, a shirtless performer with tattoos and purple hair, strode to the front of the main stage and delivered an impassioned monologue.“This opera house, this is our church,” Fleshpiece intoned. “We continue to nail you to the present, just as Jesus was nailed to the cross.”Supervising the scene was the experimental choreographer Florentina Holzinger, wearing a black baseball cap and a T-shirt printed with a picture of two nuns engaged in B.D.S.M. play.Her previous works, including “Ophelia’s Got Talent” at the Volksbühne in Berlin and “A Divine Comedy” for the Rührtriennale festival, were boundary-pushing, peripatetic shows in which nudity, profanity, onstage helicopters, onstage ejaculation and performers hanging from their teeth have shocked and awed audiences. “Ophelia’s Got Talent” jointly won Germany’s Faust prize for best dance production last year, cementing Holzinger’s status as one of Europe’s rising theater stars.In the German-speaking world, that kind of profile brings invitations to direct opera — and Holzinger’s work, which matches music with powerful, stage-filling spectacle, certainly has operatic qualities. Yet a gilded opera theater still seems an unlikely home for Holzinger, 38, whose anarchic works are collaged from new and old text and music, often with sharply contrasting styles.Holzinger is known for her boundary-pushing experimental shows.Gordon Welters for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: An Absent Player in the Spotlight at the Philharmonic

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      This week’s program was supposed to feature the orchestra’s principal oboe, but he and another player have been suspended amid misconduct allegations.It’s rare that the most significant music in a concert is a piece that isn’t played. But this week’s program at the New York Philharmonic may end up being remembered for what was omitted.The performance on Wednesday, conducted by Jane Glover, was supposed to include Mozart’s Oboe Concerto, with the solo part taken by the orchestra’s principal oboe, Liang Wang. But he and the associate principal trumpet, Matthew Muckey, have been benched by the Philharmonic since allegations of misconduct and assault against them resurfaced last month.In 2018, those accusations prompted the orchestra to fire the two men; the players’ union then appealed to an arbitrator, who reinstated them in 2020. Now, as another investigation has begun and Wang and Muckey have sued the orchestra, saying they’ve been wrongfully suspended, it is unclear when — and whether — either will play on the stage of David Geffen Hall again.Rather than replace Wang, the Philharmonic swapped out Mozart’s Oboe Concerto with his Symphony No. 13 in F (K. 112). Written in 1771, when its composer was 15 and on a tour of Italy with his father, the symphony — just 13 minutes long — has that easygoing, tossed-off eloquence that’s evident even in Mozart’s teenage works. The first movement is sprightly; the second, gentle, scored for strings alone; the third, graceful. Best of all is the lively triple-time finale, which evokes the long history of courtly hunting music, with an alluring short section in minor key.The Philharmonic had never performed the symphony before Wednesday, and under Glover’s baton it flowed with the same nimble, unaffected naturalness as the rest of the program: four pieces, including three Mozart symphonies, from the final three decades of the 18th century. Glover’s tempos throughout the concert were sensible and unexaggerated, with ample room to breathe but no dragging, and the playing was lovely — though the violins sometimes took on a slightly thin, wiry edge, highlighted by the cool clarity of Geffen Hall’s acoustics.In the work not by Mozart — Beethoven’s “Ah! perfido,” a concert scene from five years after Mozart’s death but still very much within the world of his opera arias — the orchestra provided sensitive accompaniment for the soprano Karen Slack. Making her Philharmonic debut, she inhabited the piece’s shifting moods, from anger at a treacherous lover to vulnerability to proud resolution, with strikingly clear high notes by the end.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      2 Players Sue N.Y. Philharmonic, Saying They Were Wrongfully Suspended

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      Matthew Muckey and Liang Wang said they were sidelined without cause by the New York Philharmonic after a recent magazine article detailed allegations of misconduct against them.Two New York Philharmonic players sued the orchestra on Wednesday, saying they had been wrongfully suspended after a recent magazine article revived allegations of misconduct against them.The players, Matthew Muckey and Liang Wang, filed separate lawsuits in Federal District Court in Manhattan. The men claimed that the Philharmonic had removed them without cause and in violation of an arbitrator’s ruling, which had ordered the orchestra to reinstate them in 2020 after an earlier attempt to fire them.The players also sued their union, Local 802 of the American Federation of Musicians, accusing the organization of failing to provide them fair representation.The Philharmonic, which recently said it would commission an outside investigation into the orchestra’s culture in response to the uproar over the article, said that it could not comment on active litigation. Local 802 declined to comment.The lawsuits came after a report last month in New York magazine detailed accusations of misconduct made in 2010 against Mr. Muckey, the associate principal trumpet, and Mr. Wang, the principal oboist. After the story’s publication the Philharmonic moved quickly to remove Mr. Muckey and Mr. Wang from rehearsals and performances and suspend the players with pay for an indefinite period.In the article Cara Kizer, a former Philharmonic horn player, came forward for the first time to publicly discuss an encounter that she said occurred while she was on tour with the Philharmonic in Vail, Colo., in 2010. She told the Vail Police Department at the time that she had been sexually assaulted after spending the evening with the two players and was given a drink she came to believe was drugged, according to police records. No charges were filed against the men, and both have denied wrongdoing.In 2018 the Philharmonic, under new leadership, commissioned an investigation and moved to dismiss Mr. Muckey and Mr. Wang. But the players’ union challenged their dismissals, and an independent arbitrator forced the orchestra to reinstate them in 2020.Mr. Muckey’s lawsuit accused the Philharmonic of backtracking on that agreement. The suit said that the orchestra had “violated an indisputably final and binding award which has determined that Mr. Muckey could not be removed based upon such allegations and specifically ordered his reinstatement with back pay and seniority.”Mr. Wang accused the Philharmonic of suspending him “without cause or explanation, and in clear violation of the terms of his employment, which expressly require that he be given opportunities to perform and excel as a musician.” His suit claims that a lawyer for the Philharmonic said in 2019 that the ensemble had not accused Mr. Wang of misconduct related to the incident in Colorado.Both men claimed that Local 802, which fought for their reinstatement in 2018, had failed to respond to their requests for assistance in contesting their new suspensions.The union has struck a different tone on the case since the publication of the article. Sara Cutler, Local 802’s new president and executive director, said last month that the decision to keep Mr. Wang and Mr. Muckey offstage “are good first steps, but they can’t be the last.” She also said that she was “horrified” by the accusations, “as a woman, a musician and a new union president.”Mr. Wang’s suit accused Ms. Cutler of making “duplicitous and injurious statements.” Mr. Muckey’s suit said that Local 802 had “failed and refused to perform its duty of fair representation.”Mr. Muckey and Mr. Wang, who are seeking an unspecified amount in damages, said that the Philharmonic’s decision to suspend them had harmed their careers.Mr. Muckey lost engagements with the Chamber Music Society of Lincoln Center and other ensembles. Mr. Wang was placed on leave from the Manhattan School of Music, where he teaches, and he lost work with the Taipei Music Academy and Festival and other groups. More

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      Andrew Davis, 80, Dies; Renowned Conductor Who Championed Britain’s Music

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      Celebrated for his long tenure with Lyric Opera of Chicago, he led this and other orchestras with force and a notably energetic podium presence.Andrew Davis, an ebullient British conductor who brought energy to his countrymen’s compositions and passion to hundreds of opera performances, died on April 20 in Chicago. He was 80.His manager, Jonathan Brill, said the cause of Mr. Davis’s death, in a hospital, was leukemia.More than many conductors, Mr. Davis was remembered by those who worked with him as deriving a sense of physical enjoyment from the music — “almost a palpable pleasure,” the pianist Emanuel Ax said in an interview. And that translated into a pleasure for his collaborators. “People loved playing for him,” Mr. Ax said.Mr. Davis spent 21 years, from 2000 to 2021, as music director and principal conductor of one of America’s great opera companies, Lyric Opera of Chicago, in a vast repertoire ranging from Mozart through Wagner to Berg. He also led orchestras in Canada — the Toronto Symphony Orchestra, from 1975 to 1988 — and Australia — the Melbourne Symphony Orchestra, from 2013 to 2019. He also conducted at the Glyndebourne Festival in England from 1988 to 2000.But it was as an interpreter of 20th-century British music, and particularly the works of Elgar, Vaughan Williams, Delius, Holst, Britten and others, that Mr. Davis made his mark and earned his way into the affections of his fellow Britons. With its fervid, billowing patriotism and ruminative pastoral interludes, this music sometimes struggles to cross national boundaries.Mr. Davis conducting the BBC Symphony Orchestra in 1995. He was the orchestra’s principal conductor for a decade.Robbie Jack/Corbis, via Getty ImagesMr. Davis, as principal conductor of the BBC Symphony Orchestra from 1989 to 2000 and at summer London Proms concerts in front of enthusiastic audiences of thousands in the Royal Albert Hall, made the most of the British compositions that were his specialty. This deep homegrown commitment led The New York Times’s Bernard Holland, reviewing a 1987 Avery Fisher Hall appearance by Mr. Davis that included little-known works by Arnold Bax and Michael Tippett, to write that “the music of 20th-century Britain has hugely profited from the fervent ministrations of British musicians and the British musical press.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Fire Shut Up in My Bones’ Review: A Met Milestone Returns

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      After making history as the Metropolitan Opera’s first work by a Black composer, Terence Blanchard’s “Fire” is back — with its showstopping step dance.The Metropolitan Opera premiere of “Fire Shut Up in My Bones,” on Sept. 27, 2021, was a momentous event. Doubly so: “Fire” was the company’s first staged opera after an 18-month pandemic closure, and it was, after 138 years, its first work by a Black composer.The opera, with a score by Terence Blanchard and a libretto by Kasi Lemmons, took on some of the grandeur and excitement of that moment. The raucous fraternity step dance that opens the third act brought down the house.That step dance still stopped the show on Monday evening, when “Fire” returned to the Met. Two and a half years later, the work is a test case. The company has sharply increased its diet of contemporary operas — some of which, including “Fire,” sold very well as new productions. But how will these operas perform when they’re brought back, without the same promotional push?On Monday, at least, the audience seemed robust and, as it was during the initial run, notably diverse. And “Fire” remains a heartfelt piece, emanating a touching if vague sadness. But without the exhilarating sense of occasion it had at its Met premiere, the opera’s shortcomings were clearer.Based on the New York Times columnist Charles M. Blow’s memoir of his turbulent upbringing in Louisiana, “Fire” is a progression of episodes — some upbeat, some forlorn. It takes the form of a search: The lonely Charles, his psyche wounded as a child by his cousin’s sexual abuse and his mother’s real but distracted love, looks for belonging and healing.He tries church, fraternity membership, his siblings, a woman, another woman, but none offer what he’s seeking; all want him to be different than he is. Only after a hasty, therapy-speak conclusion in the final minutes, presided over by an ethereal choir and the voice of his younger self, can he finally accept himself and sing, “Now my life begins.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: A Conductor’s Philharmonic Debut Is a Homecoming

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      Karina Canellakis, a born-and-raised New Yorker, led her hometown orchestra alongside another debut, of the pianist Alice Sara Ott.Recently, there has been more speculation than usual about the future of American orchestras. This week, the 28-year-old conductor Klaus Mäkelä became the youngest music director of the Chicago Symphony Orchestra, and there are openings at a number of the highest-profile ensembles in the country — especially after Esa-Pekka Salonen announced his departure from the San Francisco Symphony in March.One conductor under close watch is Karina Canellakis, who made her New York Philharmonic debut on Thursday. A born-and-raised New Yorker, she is the chief conductor of the Netherlands Radio Philharmonic Orchestra — a job once held by the Philharmonic’s departing music director, Jaap van Zweden — and principal guest conductor of the London Philharmonic Orchestra.With the Philharmonic, Canellakis made an exciting and memorable debut, in a program that leaned heavily toward meditative, dreamy reflection. She began with an incisive reading of Webern’s Six Pieces for Orchestra, keeping her conducting elegantly restrained, even economized — gestures that befitted this sharply angled, brief set.Where the Webern was spare, the next piece, Strauss’s mystic “Death and Transfiguration,” was sumptuous, with Canellakis and the orchestra rendering phrases in richly hued colors and gentle curves. She harnessed the ensemble’s full power, riding over the heaving waves of sound with a muscular confidence.After a multiyear delay because of the pandemic, the German-Japanese pianist Alice Sara Ott finally made her Philharmonic debut as well, playing Ravel’s jazz-fueled Piano Concerto in G, which fit her like a custom suit. She had enormous fun with the two sparkling and vivacious outer movements and brought deep tenderness to the inner slow movement, which she rendered as intimately as if she had been playing in a small nightclub.This concerto, completed in 1931, is something like a French sibling of Gershwin’s “Rhapsody in Blue,” which Ravel asked to hear the American composer play when he visited New York in 1928. (The admiration was mutual; at one point, Gershwin sought to study with Ravel.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Klaus Mäkelä to Lead Chicago Symphony Orchestra

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      He will be the youngest music director in the orchestra’s 133-year history, and one of the youngest ever to lead a top American ensemble.The Chicago Symphony Orchestra, which has been led for decades by conducting titans including Georg Solti, Daniel Barenboim and Riccardo Muti, announced Tuesday that its next music director would be Klaus Mäkelä, a 28-year-old Finnish conductor whose charisma and clarity have fueled his rapid rise in classical music.When he begins a five-year contract in 2027 at 31, Mäkelä will be the youngest maestro in the ensemble’s 133-year history, and one of the youngest ever to lead a top orchestra in the United States.Mäkelä, who will become music director designate immediately, said in an interview that he did not think his age was relevant, noting that he had been conducting for more than half his life, beginning when he was 12.“I don’t think about it,” he said. “Music doesn’t really have any age.”Mäkelä, who will also take over as chief conductor of the Royal Concertgebouw Orchestra in Amsterdam in 2027, said he was joining the Chicago Symphony because it has “that intensity — that same sound from the past.”“You felt as if anything you would ask, they could actually improve and do more,” he said, recalling his recent guest appearances there. “For a conductor, that is a very, very special feeling because you see that there really are no limits to what you can achieve.”Mäkelä making his debut conducting the New York Philharmonic in December 2022.Chris LeeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More