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    New York Philharmonic Opens Its Season Amid Labor Talks and Troubles

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    The orchestra is working to negotiate a new contract with musicians, resolve a misconduct inquiry and hire a new chief executive.On a recent night at Lincoln Center, a group of New York Philharmonic musicians, dressed in matching black shirts and carrying union leaflets, fanned out and began to evangelize.“Support the musicians!” Thomas Smith, a trumpet player, told a crowd of concertgoers.It was one of the New York Philharmonic’s first concerts of the fall, and the musicians, in the middle of high-stake labor talks, were alerting their audience to what they hoped would be embraced as startling facts.The orchestra’s players have not had a raise since 2019, and they are paid substantially less than colleagues in Boston, Chicago and Los Angeles.“We need your help,” Alina Kobialka, a violinist, said as she handed out leaflets.The scene was a reminder of the stark challenges this season for the Philharmonic, which not so long ago seemed to be beginning a vibrant new chapter.The labor agreement between management and the musicians expires on Friday, only a few days before the orchestra’s opening gala, a major fund-raising event.The Philharmonic lacks a permanent president and chief executive, after the sudden resignation in July of its leader, Gary Ginstling. An investigation into sexual harassment and misconduct at the Philharmonic has dragged on. And the ensemble, which is awaiting the arrival in 2026 of the star conductor Gustavo Dudamel, has no full-time music director this season or next.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: 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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      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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      N.Y. Philharmonic Adds 2 Premieres to a Diet of Classics

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      Jaap van Zweden, the orchestra’s music director, led new works by Joel Thompson and Tan Dun amid pieces by Mozart, Beethoven and Mendelssohn.When Jaap van Zweden, the music director of the New York Philharmonic, led the orchestra at the beginning of the year, the program featured repertory hits: a Wagner prelude, a Beethoven piano concerto and a Brahms symphony. Last week he returned with more of the same: a Mendelssohn overture, a Mozart piano concerto and a Beethoven symphony.This felt a little like “let Jaap be Jaap,” with van Zweden — whose short Philharmonic tenure ends in a few months — finally freed of the burden of presenting new works and past rarities, and able to focus wholly on the standards that have been at the center of his conducting career.But on Thursday at David Geffen Hall, he — or at least the administrators who have encouraged more adventure in his choices — offered a reminder that his time in New York had not been entirely without variety. In fact, the concert offered something unusual in the orchestral field: In a mixed program that will be repeated on Saturday and Sunday, the two (two!) premieres on the first half together lasted longer than the Mendelssohn symphony (yes, more Mendelssohn) after intermission.It was too bad that neither of those new pieces made a positive impression and that performing them together worked against both.First came Joel Thompson’s “To See the Sky,” obscurely subtitled “an exegesis for orchestra.” Two years ago, the Philharmonic premiered Thompson’s sumptuously moody song cycle “The Places We Leave.” Now 35, he has largely specialized in vocal music, and the 20-minute “To See the Sky,” heard for the first time on Thursday, is his longest instrumental work; you got the sense of a young composer trying to figure out how to fill such a substantial span.The titles of the piece’s three sections together form a quotation from the musician Cécile McLorin Salvant: “Sometimes/you have to gaze into a well/to see the sky.” From its beginning, with a series of soft rumbles that explode into violent bursts, much of the work alternates sections of loud and bumptious rhythms, like a parody of hip-hop beats, with periods of subdued lyricism. But these repetitive assertive-then-reticent cycles don’t accumulate interest or tension — though there are nice touches, like the sound of a trumpet flecked with harp.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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      New York Philharmonic’s 2024-25 Season: What We Want to Hear

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      Gustavo Dudamel, who takes over as music and artistic director in 2026, is getting a head start with three weeks of concerts and more programs.Next season, the New York Philharmonic will be without a full-time maestro or a designate music director for the first time in decades.But Gustavo Dudamel, the superstar conductor who takes over as the ensemble’s music and artistic director in 2026, will help fill the gap, leading three weeks of concerts, the Philharmonic announced on Tuesday.Dudamel, who currently leads the Los Angeles Philharmonic, is steadily ramping up his commitments in New York. He is already helping to shape programming and tours. And next season he might begin to take part in auditions, though talks are still underway, said Gary Ginstling, the Philharmonic’s president and chief executive. Dudamel will also lead the summer concert series in city parks.“This is how we’re going to introduce Gustavo to literally tens of thousands of New Yorkers across the boroughs,” Ginstling said. “When you look at the totality of that, it feels like we’re making huge strides toward his imminent arrival.”Ginstling described the coming 2024-25 season as one of “experimenting and exploring.” There will be five world premieres, including works by Nico Muhly, Jessie Montgomery and Kate Soper. The pianist Yuja Wang will serve as artist in residence, and the dancer Tiler Peck will organize a series of evening programs. The Philharmonic’s musicians will create a program focused on the orchestra’s legacy.Here are five highlights of the coming season, chosen by critics and editors for The New York Times. JAVIER C. HERNÁNDEZWe 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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      Audience Snapshot: Four Years After Shutdown, a Mixed Recovery

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      Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.It was four years ago — on March 12, 2020 — that the coronavirus brought the curtain down on Broadway for what was initially supposed to be a monthlong shutdown, but which wound up lasting a year and a half.The pandemic brought live events and big gatherings to a halt, silencing orchestras, shutting museums and movie theaters and leaving sports teams playing to empty stadiums dotted with cardboard cutouts.Now, four years later, audiences are coming back, but the recovery has been uneven. Here is a snapshot of where things stand now:Broadway audiences are still down 17 percent from prepandemic levels.On Broadway, overall attendance is still down about 17 percent: 9.3 million seats have been filled in the current season as of March 3, down from 11.1 million at the same point in 2020. Box office grosses are down, too: Broadway shows have grossed $1.2 billion so far this season, 14 percent below the level in early March of 2020.Broadway has always had more flops than successes, and the post-pandemic period has been challenging for producers and investors, especially those involved in new musicals. Three pop productions that have opened since the pandemic — “Six,” about the wives of King Henry VIII, “MJ,” about Michael Jackson and “& Juliet,” which imagines an alternate history for Shakespeare’s tragic heroine — are ongoing hits, but far more musicals have flamed out. The industry is looking with some trepidation toward next month, when a large crop of new shows is set to open.Many nonprofit theaters around the country are also struggling — attracting fewer subscribers and producing fewer shows — and some have closed. One bright spot has been the touring Broadway market, which has been booming.— More

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      The Accusations Against Scott Stringer

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      [Want to get New York Today by email? Here’s the sign-up.]It’s Monday. Weather: Chance of an early sprinkle, then gradually clearing. High in the mid-60s. Alternate-side parking: In effect until Thursday (Solemnity of the Ascension and Eid al-Fitr). Sarah Blesener for The New York TimesLess than two weeks ago, the mayoral campaign of Scott M. Stringer, the New York City comptroller, appeared to be on the upswing.But on April 28, a woman who had worked unpaid on Mr. Stringer’s unsuccessful 2001 campaign for public advocate, Jean Kim, accused him of sexual misconduct, upending the mayor’s race some eight weeks before the June 22 primary.During an interview with my colleague Katie Glueck last week, Ms. Kim, shown above, described several advances that she said were unwanted.[Mr. Stringer has denied allegations that he misused his position of power with Ms. Kim.]The allegationsMs. Kim moved to New York in 1998, she said, and later became active in a political club, the Community Free Democrats, that Mr. Stringer was also involved in. In 2001, she took an unpaid role in Mr. Stringer’s unsuccessful campaign for public advocate.In a cab that summer, Ms. Kim said, Mr. Stringer grazed her knee. He touched her leg again — it was “a little bit more insistent”— a few weeks later as they shared another cab, she said.About a week before the scheduled primary in September, Ms. Kim said, Mr. Stringer kissed her at a bar. Ms. Kim said she tensed up, then Mr. Stringer kissed her again more passionately.Days later, Ms. Kim said, she shared one more cab ride with Mr. Stringer, during which he made more advances, asking why she would not have sex with him.“He constantly reminded me of his power by saying things like, ‘You want me to make a phone call for you to change your life,’ ‘You want me to make you the first Asian district leader,’” Ms. Kim said. “There was no doubt in my mind that he was powerful and he could make or break me.”The responseMr. Stringer has denied making unwanted sexual advances.He said he never suggested he could give Ms. Kim a political position.“Virtually every one of my friends volunteered on the campaign,” Mr. Stringer said in a statement. “There was no sense in which they were subordinates. While I obviously can’t speak to how any individual felt, I don’t think most people who were part of our social circle would say there was a power dynamic at play.”Mr. Stringer said Ms. Kim’s description of unwanted advances amounted to “a fundamental distortion of what happened.”He offered an account of what he has said was a consensual relationship.“I would estimate that on at least a dozen occasions over four to five months, an evening out ended with us kissing,” he said.Ms. Kim denied that she and Mr. Stringer ever had a consensual relationship.From The TimesA Photographer Captures ‘Generation Covid’No Scrum for Seats. No Quiet-Car Brawls. Is This Really My Commute?After Times Square Shooting, Adams and Yang Stress Support for N.Y.P.D.Who’s the ‘Comeback’ Candidate? 5 Takeaways from the Mayor’s Race.Want more news? Check out our full coverage.The Mini Crossword: Here is today’s puzzle.What we’re readingA right-wing Brooklyn radio host running for New York City Council pleaded guilty to directing a crowd to attack a journalist. [Gothamist]The head of New York City Transit said she expected that the subways will be safer after ridership numbers rise. [N.Y. Post]A 28-year-old man walked into a police station and confessed to killing his mother in her Queens home, police said. [NBC New York].css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-1rh1sk1{margin:0 auto;overflow:hidden;}.css-1rh1sk1 strong{font-weight:700;}.css-1rh1sk1 em{font-style:italic;}.css-1rh1sk1 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-1rh1sk1 a:visited{color:#333;-webkit-text-decoration-color:#ccc;text-decoration-color:#ccc;}.css-1rh1sk1 a:hover{-webkit-text-decoration:none;text-decoration:none;}And finally: The New York Philharmonic’s new reality The Times’s Zachary Woolfe writes:There are no seats at the moment in David Geffen Hall, the New York Philharmonic’s home at Lincoln Center. There is no lobby, no stage, no stairs. The theater — currently in the midst of a long-delayed renovation — is a raw shell of concrete and steel; the only music within it, the shouts of workers and the deafening screech of metal being sawed.If some part of us believes that life over the past 14 months has been waiting to be resumed more or less intact — on ice, just needing a thaw — the gutted Geffen speaks to the other part, the sense that things have fundamentally changed, or should.Late Friday afternoon, the Philharmonic was in an empty lot at Domino Park, on the Brooklyn waterfront just north of the Williamsburg Bridge, making a rough, modest sketch of some of those changes. As construction continues at its hall, the orchestra has produced a sequel to its mobile Bandwagon program, an avatar of a more nimble, responsive, community-connected organization. With performances now staged from a shipping container, it will travel over the remaining weekends of May for three-day stints in parks in Upper Manhattan, the Bronx and Queens.This reflects a new sense of how our large legacy classical arts institutions should interact with their cities. Those interactions are not new for opera companies and orchestras, but they’ve often had a permeating sense of noblesse oblige: The big symphony deigns to play at an acoustically subpar neighborhood high school or community center, and expects community organizations to bring in a local (read: diverse) audience. (This comes complete with a moralizing whiff of the “elevating power of classical music” and such.)It’s Monday — hit the road.Metropolitan Diary: Gaming away Dear Diary:I was on a downtown No. 1. The young man across from me was furiously playing a game on his phone and didn’t notice when one of his gloves dropped to the floor.An older man who was sitting next to the young man picked up the glove and held it out to him, but he was so absorbed in his game that he still didn’t notice.The older man balanced the glove on the young man’s knee. A few minutes later, it fell to the floor again and, again, he didn’t notice.By this time, the older man was standing by the doors and waiting to exit the train. He leaned toward the young man.“Your glove is on the floor,” he said loudly while pointing.Without looking up from his screen, the young man reached down and picked up the glove.“Thank you,” he said, eyes still on the screen. “Appreciate it.”The older man looked toward me, rolled his eyes and smiled.— Elisabeth LadensonNew York Today is published weekdays around 6 a.m. Sign up here to get it by email. You can also find it at nytoday.com.What would you like to see more (or less) of? Email us: nytoday@nytimes.com. More

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      How the Mayoral Candidates Plan to Help New York Rebound

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      [Want to get New York Today by email? Here’s the sign-up.]It’s Monday. Weather: Chance of rain increases as the day goes on. High around 70. Alternate-side parking: In effect until May 13 (Solemnity of the Ascension). Laylah Amatullah Barrayn for The New York TimesNew York City’s reopening looks to be near. Vaccinations are widely available, infection rates are dropping, the tulips are in full bloom.Last week, Mayor Bill de Blasio announced that he wanted the city to be fully reopened by July 1, about a week after the June 22 Democratic primary election, which will likely decide the next mayor.How the city re-emerges after more than a year of lockdowns, sickness and economic devastation will depend on the next mayor’s plans.“For a large amount of people suffering in this pandemic,” said Donovan Richards, the Queens borough president, “their question is going to be, ‘Reopen the city for whom?’”[As New York City reopens, its recovery will hinge on the next mayor.]Here are what some candidates have in mind:Andrew YangMr. Yang, the former presidential candidate and current front-runner, is banking on voters’ wanting a hopeful mayor with a simple message. He has unveiled several policy proposals based on accelerating the city’s opening, and has proposed a basic income program for the city’s poorest residents.Though Mr. Yang brands himself an ambitious entrepreneur, a report from The New York Times shows he didn’t deliver on his bold promises while leading his nonprofit.Maya WileyMs. Wiley, a civil rights lawyer and former counsel to Mr. de Blasio, is particularly focused on racial justice and equity.She wants to invest in caregiving by, in part, paying more informal care workers, and has proposed a $10 billion capital spending program for creating jobs and improving infrastructure.Eric AdamsMr. Adams, the Brooklyn borough president, often speaks from his experience as a Black former police captain and has presented himself as a candidate focused on inequality. He’s recently become the candidate most clearly focused on combating gun violence.A Spectrum News NY1/Ipsos poll found that crime and public safety are on Democratic voters’ minds. Mr. Adams has said that public safety is the “prerequisite to prosperity.”Dianne MoralesMs. Morales is a left-wing former nonprofit executive who sees racial justice and public safety as integral to the city’s reopening.She is proposing an overhaul of city institutions to address inequality, which has been deepened by the pandemic. Her proposals include “basic income relief for every household” and cutting $3 billion from the New York Police Department’s budget to reinvest in community responses.Read more:Sexual Harassment Allegations Roil N.Y.C. Mayor’s Race: 5 TakeawaysHelp, We Can’t Stop Writing About Andrew YangFrom The Times‘We’re Suffering’: How Remote Work Is Killing Manhattan’s StorefrontsN.J. Teacher Suspended After Calling George Floyd a ‘Criminal’After Years of Protests, a New Jersey County Ends Its ICE Jail ContractDebate Erupts at N.J. Law School After White Student Quotes Racial SlurWant more news? Check out our full coverage.The Mini Crossword: Here is today’s puzzle.What we’re readingFour people who were killed in a stampede in Israel were New York and New Jersey residents. [Gothamist]A teenager and a woman were targeted in anti-Asian hate crimes over the weekend in New York City, the police said. [New York Post]The city’s Taxi & Limousine Commission will stop testing cabdrivers for marijuana, after the state recently legalized it. [1010 Wins].css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-1rh1sk1{margin:0 auto;overflow:hidden;}.css-1rh1sk1 strong{font-weight:700;}.css-1rh1sk1 em{font-style:italic;}.css-1rh1sk1 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-1rh1sk1 a:visited{color:#333;-webkit-text-decoration-color:#ccc;text-decoration-color:#ccc;}.css-1rh1sk1 a:hover{-webkit-text-decoration:none;text-decoration:none;}And finally: Philharmonic in a shipping containerThe Times’s Zachary Woolfe writes:Late last summer, the august New York Philharmonic took a swerve toward scrappiness.With its theater closed by the pandemic, the orchestra rented a Ford F-250 pickup truck, wrapped it in red, white and black, and drove around the city over eight weekends for short, impromptu chamber events.The Philharmonic recently announced that it would be bringing the NY Phil Bandwagon concept back this spring, but for a shorter period and in more stable surroundings — reflecting the glimmers of a transition back to concert-hall trappings.Bandwagon 2 will trade in the pickup truck for a 20-foot shipping container atop a semi truck, which will visit four parks around New York City — including Domino Park in Brooklyn and Marcus Garvey Park in Manhattan — for weekend-long residencies through May. (Because of “health and safety guidelines,” the events will not be announced in advance, the Philharmonic said on its website.) Tricked out with a foldout stage, video wall and integrated sound and lighting, the setup is now more arresting and theatrically attuned.The offerings will also move beyond classical and new chamber music into more varied, genre-crossing collaborations with six community arts organizations, including A Better Jamaica in Queens and El Puente in Brooklyn.“Bandwagon 2 allows us to center the voices of our partners, and utilize the Philharmonic’s resources to amplify the work of our collaborators,” Deborah Borda, the orchestra’s chief executive, said in a statement. The countertenor Anthony Roth Costanzo, who helped create the Bandwagon last year, will have another stint as the program’s producer.It’s Monday — enjoy the show.Metropolitan Diary: Circle line Dear Diary:Some years ago, my wife and I drove down from Connecticut to take the Circle Line around Manhattan.Once aboard, we noticed some groups of people sticking together. We learned that they were engineers from other countries who had come to the United States to study the traffic patterns in large cities here.Approaching one nattily dressed, well-groomed member of the group, I bent forward slightly at the waist and began to speak to him in a halting tone.“And. What. Country. Are. You. From. Sir?” I asked.“I. Am. From. Phoenix. Arizona. U.S.A.,” he said. “I. Am. In. Charge. Of. This. Group.”— Jack LupkasNew York Today is published weekdays around 6 a.m. Sign up here to get it by email. You can also find it at nytoday.com.What would you like to see more (or less) of? 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