As Dickens prophetically reminds us, ours is hardly the first age of wisdom and of foolishness, the first epoch of belief and of incredulity. Dudamel’s great challenge is to make his 17th and final season as music director of the Los Angeles Philharmonic — and his prelude season before taking over the New York Philharmonic (in September he officially became designate music and artistic director) — the best of musical times for both cities.
The opening concerts for the two orchestras were two weeks apart, the Big Apple having come first. The main works on the New York-centric program were by two great 20th century composers, Bartók and Charles Ives, who were treated as outsiders by the city’s musical establishments during their lifetimes.
The performances were impressive. An orchestra that has a reputation for being difficult was responsive. If I read the room right, there was a genuine, if somewhat guarded, sense of optimism from a welcoming crowd.
Following a tradition he started with his first season in L.A., Dudamel opened with a newly commissioned work, Leilehua Lanzilotti’s “of light and stone.” He struck instant sonic gold with this mystical evocation of Hawaii, wondrous in sound, Lanzilotti, a hopeful good start.
Dudamel has a different look these days when he walks out on stage for an L.A. Phil concert after he’s been away for a while. Thursday night at Walt Disney Concert Hall, he again seemed ever so slightly hesitant, as if not knowing what to expect now that his leaving has become manifest. But greeted by a full house’s demonstratively embracing thankful enthusiasm, he beamed, the hesitant posture turning into ownership.
The conductor opened his farewell season with Ellen Reid’s “Earth Between Oceans,” a joint commission bridging his two orchestral families.
(Timothy Norris / Los Angeles Philharmonic)
The new work this year is Ellen Reid’s “Earth Between Oceans,” and it is Dudamel’s first effort at bringing together what he calls his two families.
Reid, who is herself bicoastal between L.A. and New York, narrates, through astonishing orchestral properties and powers, an environmental tale of her two cities. The work is a joint commission with the New York Philharmonic; Dudamel will take it east in the spring.
Earth, air, water and fire are Reid’s subject matters, which she translates into four movements that cover a New York winter, an aerial approach to Manhattan’s noise and quiet, the Altadena and Pacific Palisades conflagrations, ending on a sort of surfboard ride over crashing blue waves. With the help of a wordless Los Angeles Master Chorale, Reid tells the story through ever-surprising instrumental evocation.
Nothing, however, sounds like you might expect in Reid’s massive orchestral soundscape capable of holding a listener in tight grip for 30 minutes. Is that percussive pounding in earth the ground moving under our feet and the cello solo snowy Central Park? I don’t know how she does it, but I immediately bought into weird sounds from the chorus indicating something words can’t express about what those New York skyscrapers are up to. The effect of what sounded like ticking clocks going astray felt like an inviting dip in the lake.
Dudamel ended the concert with Richard Strauss’ “Alpine Symphony,” 125 orchestral musicians schlepping up the mountain, finding spiritual ecstasy at the summit and getting drenched on the way down, a self-satisfied drinking in of nature with every step. It is an astonishing, so to speak, over-the-top score, which you either love or abhor for its instrumental vulgarity.
Love was in order Thursday. Dudamel first performed “Alpine Symphony” at Disney in 2008, a year before beginning as music director. He jogged up the mountain and back, full of beans, showing off but also sharing his enthusiasm and demonstrating a skill that gave confidence that this 20-something conductor had the chops.
Dudamel’s performance of Strauss’ “Alpine Symphony” demonstrated the L.A. Phil’s distinctive immediacy compared with his more formal European interpretations.
(Timothy Norris / Los Angeles Philharmonic)
Last summer, I heard Dudamel conduct the “Alpine” with the Vienna Philharmonic at the Salzburg Festival. The playing was sumptuous but formal and distant. These were the Alps as seen from a comfortable gondola taking in the view, and what a view, indeed.
The L.A. Phil sound, on the other hand, reveled in being-there, huffing-and-puffing immediacy. A rainstorm was a rainstorm: wet. The pastures replete with cowbells weren’t so much scenic as earthy, the real thing.
The orchestra sounded rapt and ready for ecstasy Thursday. There are two new first-chair players. A member of the orchestra’s second violin section, Melody Ye Yuan, has become her section’s principal. Ryan Roberts is the new principal oboe, and he had a luminous solo in the “Alpine.”
It was only after Roberts, who grew up in Santa Monica, won the L.A. Phil blind audition for principal oboe that Dudamel discovered he had just hired away a rising star in what is about to become his New York Philharmonic. But it’s all in the big new family.
New York — It was a quiet, while not quite silent, morning for the“Table of Silence Project” Thursday, on the plaza of Lincoln Center and in front of David Geffen Hall, home of the New York Philharmonic. Commemorating the 24th anniversary of 9/11, white-robed members of the Buglisi Dance Theatre circled the plaza, a few with megaphones for chants, an occasional violin joining in, mellowing even the sounds of background traffic roaring down busy Broadway.
On this solemn but beautiful New York day and after more than two years in waiting, Gustavo Dudamel took charge, at least in practice, of the New York Philharmonic. Six decades ago, during the Leonard Bernstein era, America’s oldest and most celebrated orchestra had the city’s (and much of the nation’s) full attention in a way it hasn’t since. Could that happen again?
When Dudamelannounced in early February 2023 that he would leave the Los Angeles Philharmonic to become music and artistic director of the New York Philharmonic in the fall of 2026, he became instant celebrity news here. A New York Philharmonic player gives Dudamel a cheesecake, and the New York Times writes a story.
This season Dudamel gains his first official title: music and artistic director designate. But the orchestra is basically his baby now. His photo is plastered on the orchestra’s posters and publicity. And on Thursday night, Dudamel, for the first time, opened the New York Philharmonic’s new season. After two weeks this month, he will have a sizable presence later winter and in spring, while also closing out his last L.A. Phil season with major programs.
Dudamel arrived in New York on Tuesday, having spent two weeks conducting the Simon Bolivar Orchestra of Venezuela, his homeland orchestra, to open Coldplay’s concerts at Glastonbury in England, just as the newly named U.S. Department of War immediately began to live up to its name by sending warships to Dudamel’s native Venezuela and threatening regime change.
But here in New York, Dudamel paid tribute to a new city in his life with Bartók’s Piano Concerto No. 3 and Charles Ives’ Symphony No. 2. In 1945, Bartók, having fled Nazi-invaded Hungary, wrote his final piano concerto in a New York apartment on 57th Street, a block west of Carnegie Hall. Bernstein led the New York Philharmonic premiere of Ives’ Second — the first great American symphony — at Carnegie, then the New York Philharmonic’s home, six years later.
Still, the first orchestral sounds that emanated from the Dudamel designated directorship turned out to be barely heard, while not silent, percussion stirrings. Following a season-opening tradition he began when he became music director of the L.A. Phil, Dudamel began the program with a world premiere.
For this, he directed New Yorkers’ attention westward. In “of light and stone,” Leilehua Lanzilotti sets the sonic stage for an evocation of Hawaii, where she resides, before statehood. She makes references to King Kalakaua, Queen Lili’uokalani and other Hawaiian nobility few in a mainland audience are likely to know. There are fragments of Hawaiian song, a dance of the wind.
Nothing settles in this four-part, 15-minute song of a land, a score that falls somewhere between history lesson and color-field sonic landscape. A whisp of a canorous clarinet or a rumbling rattle is all it takes for a kind of instant transport to a far-off time and place. New York Philharmonic audiences can be cool, but they’ve demonstratively taken to Dudamel at Geffen, and an ethereal performance appeared to open ears.
The young Korean pianist, Yunchan Lim, who became instantly hot after winning the Van Cliburn competition three years ago, was soloist in Bartók’s Third Piano Concerto. Lim will be a soloist with Dudamel and the L.A. Phil this season as well as give a solo recital in Walt Disney Concert Hall. He is an exceptional pianist. He too opens ears and can transport a listener to a distant land. And Lim’s case is far more distant or far less knowable than Hawaii.
Lim’s Bartók exists in a world of the pianist’s own. Every phrase is for him an oddity, as if he had found some weird object in an imaginary world and was figuring out what he might do with it. His tools were rhythm, accents and dynamics, each a quirky new toy. The New York Philharmonic produced beauty and excitement, but Lim went his own way that wasn’t quite imaginative enough to improve on Bartók. Here we go again with an exceptional young soloist being pushed into the limelight too soon.
The New York Philharmonic owns Ives’ Second. Written in the first decade of the 20th century, the symphony offered a whole new way of thinking about American and European music and it sat dormant for some four decades before Bernstein premiered it. But that 1951 performance had a huge effect on how to transform folk music, popular music, Beethoven’s Fifth Symphony and what-not, twisted, transformed and tacked together. Bernstein later recorded it twice with the New York Philharmonic. The first time full of beans that revived it for good. The second time in 1987 as a glorious spiritual exercise. Hearing that performance live left me in a state of rapture.
Dudamel has made a specialty of the symphony himself, conducting it with the Vienna Philharmonic, recording it with the L.A. Phil and now going to the source. His performance Thursday night did not try to follow in Bernstein’s footsteps or necessarily Dudamel’s own. The performance flowed with exquisite lyricism and mustered a thrilling finale.
In Vienna, Dudamel was more robust. At Disney, Dudamel found exceptional expression in every little detail. That was the Dudamel that we last saw at the Hollywood Bowl this summer when he conducted Mahler’s First more vividly than ever.
That is not, quite yet, the Dudamel for New York. Here his Ives seemed to be laying the groundwork, letting his new orchestra show him what it can do before he begins, as he surely will, digging deeper.
It took a once controversial effort for Bernstein to transform an uptight virtuosic New York Philharmonic into a tight but electric one. Now it’s Dudamel’s turn for transmogrification, and he’s made a promising beginning.
Tuesday night, Gustavo Dudamel was back at the Hollywood Bowl. This summer is the 20th anniversary of his U.S. debut — at 24 years old — conducting the Los Angeles Philharmonic, and becoming irrepressibly besotted with the amphitheater.
He walked on stage, now the proud paterfamilias with greying hair and a broad welcoming smile on his face as he surveyed the nearly full house. The weather was fine. The orchestra, as so very few orchestras ever do, looked happy.
For Dudamel, his single homecoming week this Bowl season began Monday evening conducting his beloved Youth Orchestra Los Angeles as part of the annual YOLA National Festival, which brings kids from around the country to the Beckmen YOLA Center in Inglewood. But it is also a bittersweet week. Travel issues (no one will say exactly what, but we can easily guess) have meant the cancellation of his Simón Bolívar Symphony Orchestra of Venezuela‘s trip to the Bowl next week. Dudamel will also be forced to remain behind with them in Caracas.
After 20 years, Dudamel clearly knows what works at the Bowl, but he also likes to push the envelope as with Tuesday’s savvy blend of Duke Ellington and jazzy Ravel. The soloist was Korean pianist Seong-Jin Cho, whose recent recording of Ravel’s complete solo piano works along with his two concertos, has been one of the most popular releases celebrating the Ravel year (March 7 was the 150th anniversary of the French composer’s birth).
Ellington and Ravel were certainly aware of each other. When Ravel visited New York in 1928, he heard the 29-year-old Ellington’s band at the Cotton Club, although his attention on the trip was more drawn to Gershwin. Ellington knew and admired Ravel, and Billy Strayhorn, who was responsible for much of Ellington’s music, was strongly drawn to Ravel’s harmony and use of instrumental color.
On his return to Paris, Ravel wrote his two piano concertos, the first for the left hand alone, and jazz influences were strong. Cho played both concertos, which were framed by the symphonic tone poems “Harlem” and “Black, Brown and Beige, which Ellington called tone parallels.
There has been no shortage of Ravel concerto performance of late — or ever — but Ellington is another matter. Although the pianist, composer and band leader was very much on the radar of the classical world — “Harlem” was originally intended for Arturo Toscanini and the NBC Symphony; Leopold Stokowski attended the Carnegie Hall premiere of “Black, Brown and Beige,” as did Eleanor Roosevelt, Marian Anderson and Frank Sinatra — Ellington never played the crossover game. The NBC “Harlem” never panned out and became a big-band score. Ever practical, Ellington, who composed mostly in wee hours after gigs, always wrote for the occasion and the players. He tended to leave orchestration to others, more concerned with highlighting the fabulous improvising soloists in his band.
The scores, moreover, were gatherings, developments and riffs on various existing songs. “Harlem” is an acoustical enrapturement of the legendary Harlem Renaissance and one of the great symphonic portraits of a place in the repertory. “Black, Brown and Beige” is an ambitious acoustical unfolding of the American Black narrative, from African work songs to spiritual exaltation with “Come Sunday” (sung by Mahalia Jackson at the premiere) to aspects of Black life, in war and peace, up to the Harlem Renaissance.
Both works are best known today, if nonetheless seldom heard, in the conventional but effective orchestrations by Maurice Peress and are what Dudamel relies on. The version of “Black, Brown and Beige” reduces it from 45 to 18 too-short minutes.
The primary reason for these scores’ neglect is that orchestras can’t swing. The exception is the L.A. Phil. With Dudamel’s surprising success of taking the L.A. Phil to Coachella, there now seems nothing it can’t do.
The time has come to commission more experimental and more timely arrangements. But even these Peress arrangements, blasted through the Bowl‘s sound system and with the orchestra bolstered by a jazz saxophone section, jazz drummer and other jazz-inclined players, caught the essence of one of America’s greatest composers.
Ravel fared less well. The left-hand concerto has dark mysteries hard to transmit over so many acres and video close-ups of two-armed pianists trying to keep the right hand out of the way can be disconcerting. This summer, in fact, unmusical jumpy video is at all times disconcerting.
Ravel’s jazzier, sunnier G-Major concerto is a winner everywhere. But for all Cho’s acclaim in Ravel, he played with sturdy authority. Four years ago, joining Dudamel at an L.A. Phil gala in Walt Disney Concert Hall, Cho brought refined freshness to Tchaikovsky First Piano Concerto. In Ravel at the Bowl, amplification strongly accentuated his polished technique, gleaming tone and meticulous rhythms, leaving it up to Dudamel and a joyous, eager orchestra to exult in the Ravel that Ellington helped make swing.
When looking at a majestic residence like the 1908 Gamble House — a Craftsman crown jewel of Pasadena — its easy to romanticize the lives of its owners. Luxury and wealth radiate from its graceful, low-slung eaves, sloping lawns and wide porches. But the idea of class is baked into its architecture, with a series of rooms built to be occupied by the domestic servants who toiled day and night to keep the house running for its privileged inhabitants, the heirs to the Proctor & Gamble fortune.
Through Aug. 17, those rooms are open for tours with the addition of a compelling art installation by Karen Schwenkmeyer and Lisa Mann titled “Dirty Laundry,” which examines the heartache, disappointments and perseverance of domestic laborers in the early 20th century by printing their words on tea towels and sheets hung in the Gamble House’s drying yard, and stitching them into a pillowcase in one of the small staff bedrooms.
“What I mind is the awful loneliness,” reads the pillowcase on austere wooden twin bed. “Many times, many nights I went to bed and cried myself sick.”
A sculpture constructed of Ivory soap, mops and scrub brushes takes up residence in the staff bathroom. The soap, one of Procter & Gamble’s bestselling products, was marketed as 99.44% pure, and the sculpture is a meditation on “who is pure and who is not,” explained Mann during an opening reception for the installation, adding that she and Schwenkmeyer approached the lavatory as “a place of resistance and empowerment.”
The goal of the installation, say Schwenkmeyer and Mann, was to bring to light the “emotional and psychological toll of being on-call every day of the week.”
A tea towel blowing in the warm Southern California air puts it more plainly: “I hope someday will come when I don’t have to work so hard … I do hate to get up in the morning. I am so tired.”
Artists Karen Schwenkmeyer and Lisa Mann stand with their installation “Dirty Laundry” at the Gamble House in Pasadena.
(Paul Takizawa)
Domestic staff in many of the country’s most rarefied households was made up of immigrants who came to America looking for a better life only to find themselves stuck in the same classist , low-wage systems they had fled in the first place, the artists explan.
“Servants in the United States ‘were haunted by a confused and imperfect phantom of equality,’ which promised perfect parity at one moment but then suddenly shouted a reminder that some people are more equal than others,” reads a bedsheet quoting from a book about Americans and their servants by Daniel E. Sutherland, which greets visitors upon entrance to the yard.
Thinking of these words and imagining the lives of the many men, women and children who devoted their lives to caring for wealthy people is a potent way to walk through the beautiful rooms inside the Gamble House. We may not call domestic laborers servants anymore, but the way we choose to treat those who tend to our many needs — to see them and respect them, or not — speaks volumes of who we are as a society.
I’m arts and culture writer Jessica Gelt, rethinking all my assumptions about a bar of soap. Here’s this weeks art news.
Best bets: On our radar this week
Newsletter
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings of L.A.
You may occasionally receive promotional content from the Los Angeles Times.
The Broadway cast of the musical comedy “Some Like it Hot” in 2022. The national tour is now playing at the Hollywood Pantages.
(Courtesy of Marc J. Franklin)
Some Like It Hot This musical adaptation of Billy Wilder’s 1959 film comedy about two musicians who go on the run disguised as women after witnessing a mob hit in prohibition-era Chicago brings a contemporary sensibility to the 1930s shenanigans. The Broadway production won four Tony Awards in 2023. Through Aug. 17. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com
Keith Carradine and Shelly Duvall in Robert Altman’s “Nashville.”
(Paramount Pictures)
Robert Altman’s America: A Centennial Review UCLA Film and Television Archive celebrates the late filmmaker’s 100th birthday with a 13-film series that kicks off with 1976’s “Nashville,” which melds politics with country music and features a large ensemble including Ned Beatty, Karen Black, Ronee Blakley, Keith Carradine, Geraldine Chaplin, Shelley Duvall, Barbara Harris, Lily Tomlin and dozens more. 7:30 p.m. Friday; series continues through Sept. 26. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
Musician Adrian Quesada performs a free concert, co-hosted by De Los, on Saturday.
(James Carbone/For De Los)
Adrian Quesada De Los, The Times’ platform for all things Latinidad, co-hosts a free concert by the Grammy-winning musician and Oscar-nominated songwriter. Best known for his work in the bands Grupo Fantasma and Black Pumas, Quesada’s latest album, “Boleros Psicodélicos II,” is “a 12-track sonic field trip through Quesada’s Latin American influences — and a testament to teamwork,” wrote Carlos De Loera in a recent De Los profile. 6 p.m. Saturday. Grand Performances, 350 S. Grand Ave., downtown L.A. grandperformances.org
The Actors’ Gang’s performance of “Roswell That Ends Well.”
(Bob Turton Photography)
Roswell That Ends Well The Actors’ Gang turns the Bard on his ear in this year’s Shakespeare in the Park production, an adaptation of “All’s Well That Ends Well” where outer space meets the Wild West in the form of a determined cowgirl with big dreams and a four-armed alien king. 11 a.m. Saturdays and Sundays, through Aug. 24. Admission is free, reservations highly suggested. Media Park, 9070 W. Venice Blvd., Culver City. theactorsgang.com
Chow Yun-Fat in John Woo’s “A Better Tomorrow.”
(Shout! Studios)
Hong Kong Cinema Classics The American Cinematheque and Beyond Fest, in partnership with Shout! Studios and GKIDS, present a retrospective of seminal films, many of which are rarely screened. Genre master John Woo will appear with his films “Hard Boiled” (7 p.m. Saturday), a triple feature of the “A Better Tomorrow” trilogy (11 a.m. Sunday) and “The Killer” (7 p.m. Sunday). The monthlong series also includes films by stalwart action directors Tsui Hark, Ringo Lam and Ching Siu-tung. 7 p.m. Saturday; 11 a.m. Sunday; 7 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Karl Benjamin, #13, 1970. Oil on canvas, 68” x 68”
(Gerard Vuilleumier)
Complications in Color A new exhibition marks the 100th birthday of Claremont artist Karl Benjamin (1925-2012), a painter and leader in the 1950s hard-edge abstraction painting movement. In his review of the 2007 survey of the painter’s work, Times art critic Christopher Knight wrote, “Benjamin emerges as a colorist of great wit and inventiveness.” The current exhibition also features the work of fellow abstractionists Florence Arnold, June Harwood, Rachel Lachowicz and Terry O’Shea. Noon-4 p.m. Thursdays and Saturdays; noon-7 p.m. Fridays; 10 a.m.-4 p.m. Sundays, through Nov. 16. Claremont Lewis Museum of Art, 200 W. First St., Claremont. clmoa.org
Gustavo Dudamel is back at the Hollywood Bowl on Tuesday and Thursday.
(Jason Armond / Los Angeles Times)
Gustavo Dudamel returns The maestro is back at the Bowl next week and makes the most of it. On Tuesday, he conducts the L.A. Phil as Ravel meets Ellington with a little help from star Korean pianist Seong-Jin Cho. Two nights later, Dudamel’s back leading the orchestra in works by Korngold (Featuring violinist Vilde Frang) and Mahler. Dudamel completes this brief concert run Aug. 8-9, conducting John Williams’ crowd-favorite “Jurassic Park” score over a live screening of the summer blockbuster. Ellington and Ravel. 8 p.m. Tuesday; Mahler and Korgold, 8 p.m. Thursday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
Culture news
Wallis Annenberg, who died Monday at 86, photographed in 2022.
(Mel Melcon/Los Angeles Times)
Philanthropist Wallis Annenberg — whose name became synonymous with arts and culture in Los Angeles — died earlier this week of complications from lung cancer at the age of 86. The wealthy patron was memorialized in tributes for her commitment to making art accessible to people from all walks of life, as well as for her friendship and love of animals. Annenberg was the daughter of publishing magnate Walter Annenberg, who made his fortune, in part, by selling TV Guide, among other publications, to Rupert Murdoch’s News Corp. For the last 16 years of her life, Wallis served as chairwoman of the board, president and chief executive of her family’s Annenberg Foundation.
Only July 23, Congressman Bob Onder introduced the Make Entertainment Great Again Act, which proposed that the John F. Kennedy Center for the Performing Arts be renamed the Donald J. Trump Center for Performing Arts. NPR reported that the bill is likely a long shot.
The SoCal Scene
Adam Lambert performs during a rehearsal of “Jesus Christ Superstar” on July 26 at the Hollywood United Methodist Church in Los Angeles.
(Etienne Laurent / For The Times)
“Jesus Christ Superstar,” starring Cynthia Erivo as Jesus and Adam Lambert as Judas , opens tonight at the Hollywood Bowl for a sold-out, three-night run. I spent last Saturday at a rehearsal dishing with Josh Gad on the sidelines while watching Lambert strut his stuff and tearing up over Phillipa Soo’s performance of “I Don’t Know How to Love Him.” Read my behind-the-scenes story of how the musical came together and why the casting is so important in this era of political turmoil and change. (Gad, who was to play King Herod, had to drop out of the show Wednesday, after contracting COVID.)
Enjoying this newsletter? Consider subscribing to the Los Angeles Times
The Norton Simon Museum in Pasadena is celebrating its 50th anniversary with a variety of special programs and events. In August, the museum is holding a Saturday afternoon film series titled, “Cinematic Touchstones 1975,” which features four movies that made a lasting impact on the culture 50 years ago. The stellar lineup consists of “Mahogany,” “Escape to Witch Mountain,” “Grey Gardens” and “Barry Lyndon.” Admission to the theater is free with general admission to the museum. For schedule and additional details, click here.
The Santa Ynez Chumash Museum and Cultural Center opened in May in the tiny Santa Barbara County town on 3.5 acres of land planted with native blooms, trees, grasses and shrubs. Times staff writer Jeanette Marantos paid a recent visit and reported back on the high-tech interactive displays that bring the past to life and highlight the continuing importance of the tribe and its lasting impact on the area.
The nonprofit organization Tierra Del Sol, which champions professional development through arts education for people with disabilities, will stage its inaugural fashion show in West Hollywood on Sept. 27. The show will showcase hand-crafted designs from eight developmentally disabled artists working out of the organization’s Sunland and Upland studios. After the runway show, the creations will remain at Tierra del Sol’s Gallery, located at 7414 Santa Monica Blvd., for a six-week exhibition, ending Nov. 1.
— Jessica Gelt
And last but not least
There is nothing as soul-soothing as a hot bowl of pho — and that’s pho sure! The Times Food section has created a list of 11 great spots to eat your fill.
The Los Angeles Philharmonic’s departing music director Gustavo Dudamel will return to the Hollywood Bowl next week.
Dudamel, the face of the classical music world in L.A. since his 2009 debut as music director, is in his penultimate season here before departing to lead the New York Philharmonic. Given recent federal travel bans on Venezuelans, he was forced to cancel local dates with his Simón Bolivar Symphony Orchestra in August, and he only had one week planned for conducting during the Bowl’s summer season this year.
The season’s opening night at the Bowl was “a relatively somber occasion, which, despite the lovely atmosphere, fit the mood of the times,” as Times critic Mark Swed said.
So this one-week return with an exceptionally diverse bill will be a welcome occasion to see him in the twilight of his tenure in L.A.
On Aug. 5, Dudamel (with pianist Seong-Jin Cho) will lead a program pulled from jazz giant Duke Ellington and French composer Maurice Ravel, including Ellington’s “Harlem” and “Black, Brown and Beige” and Ravel’s Piano Concert for the Left Hand and Piano Concert in G. The pairing will show how American jazz and the Harlem renaissance influenced and expanded possibilities for Ravel and European music of the era.
He’ll follow that up on Aug. 7 with Mahler’s bombastic Symphony No. 1 “Titan,” with Vilde Frang playing Erich Korngold’s violin concerto (a fitting spotlight on a golden-era Hollywood score legend). On Aug. 8-9, Dudamel will conduct John Williams’ crowd-favorite “Jurassic Park” score over a live screening of the summer blockbuster.
Dudamel recently debuted with the L.A. Phil at Coachella, a long-awaited crossover event where the orchestra collaborated with pop stars including Dave Grohl, Zedd, Laufey and LL Cool J. For Los Angeles music fans who want to see Dudamel in the Bowl before he departs after next year’s season, these are some of the best chances to do so in 2025.
Tuesday night the Los Angeles Philharmonic opened its 103rd season at the Hollywood Bowl. It was a beautiful evening. Lustrous twilight. Bright moon. Paradisal weather. Unusually light traffic. A program featuring Rachmaninoff and Prokofiev favorites. Cares could easily slip away once walking through welcoming and efficient security.
Still, the real world is never far away from the Bowl. One of the highlights of this season has fallen victim to a baffling Venezuela travel ban. Gustavo Dudamel can no longer bring his Simón Bolivar Symphony Orchestra in August. That now means that Dudamel will spend only a single week at the Bowl during his penultimate summer as L.A. Phil music director.
Some of the Bowl’s facilities have been dolled up a bit, but the amphitheater feels fragile after the January wildfires. The military on our streets has produced an L.A. edginess. Could that have contributed to the Bowl’s unusually low opening-night attendance? Ticket sales were said to have been strong, making the many empty seats worrisome no-shows.
What Tuesday night did herald was an L.A. Phil summer season with fewer splashy events than usual (no opera, for one), several conductors making their Bowl debuts and a good deal of Russian music. It was, moreover, a Tuesday that proved a relatively somber occasion, which, despite the lovely atmosphere, fit the mood of the times.
Danish conductor and Minnesota Orchestra Music Director Thomas Sondergard made his L.A. Phil debut. There is temptation to place every debut, along with every conductor invited back to the Bowl, as a potential candidate for the long list, short list or whatever list to be the L.A. Phil’s next music director after Dudamel departs for New York next year. But Bowl concerts tend to be hit-and-run events.
Sondergard demonstrated a sense of grandeur, sometimes shattering, other times starchy. But there were all the opening-night kinks to be worked out with audio, video, an orchestra just coming back from vacation and coping with minimal rehearsal time.
None of this played into Sondergard’s or the Bowl’s strengths as Samuel Coleridge-Taylor’s Ballade in A Minor opened the program. The bland Ballade is a lesser score by the late 19th and early 20th century British composer who deserves a revival for his more substantial works.
Pianist Kirill Gerstein performs with the L.A Phil on opening night Tuesday at the Hollywood Bowl.
(Gina Ferazzi / Los Angeles Times)
For Rachmaninoff’s Rhapsody on a Theme of Paganini, the subdued blue shell lighting suddenly turned a shockingly vivid orange. Amplification met the glaring illumination with the evening’s piano soloist, Kirill Gerstein, unnaturally dominating a sonically repressed orchestra. The video monitors went their own crazy way, whether unmusically flipping from close-ups of fingers and lips or attempting surreal cornball special effects.
It was all too much (and in the orchestra’s case, too little), but Gerstein is a gripping pianist in any situation. He has just released an iridescent recording of a piece written for him and vibraphonist Gary Burton by the late jazz great Chick Corea. Thomas Adés wrote his heady Piano Concerto for him. Of all the great recordings of Rachmaninoff’s over-recorded Second Piano Concerto, Gerstein’s recent one with the Berlin Philharmonic may be the most powerful.
Every note, important or incidental, he hit in the Rhapsody had a purposeful intensity. What you could hear of Sondergard’s contribution was a starkly effective percussive response from the orchestra. It was, under any conditions, a striking performance.
Video and audio settled down for Prokofiev’s Fifth Symphony, which was written in 1944, a decade after Rachmaninoff wrote his Rhapsody. The world had momentously changed in those 10 years.
Both composers fled Russia after the 1917 revolution, but their relationships with their native land was very different. Although Rachmaninoff never returned, he remained thoroughly old-world Russian. He wrote his Rhapsody in idyllic Switzerland, before immigrating to the U.S., where he died in Beverly Hills in 1943.
Prokofiev spent years in Paris and in the U.S. as a modernist, but ultimately Mother Russia was too strong of a pull, and he returned despite the artistic restrictions of Stalinist Russia. His Fifth is a war symphony, written at a time of great nationalism, and it premiered in Moscow in January 1945 just after Russia had routed the Nazi invaders.
Sondergard’s performance lacked the soul of, say, André Previn. (Previn performed the Fifth at his first concert as L.A. Phil music director in 1985). Here, threatening thunder of the monumental first movement was followed by threatening lightning in the faster scherzo followed by the threateningly dark cloudy skies in the slow movement followed by the victorious bombing of the final movement.
The overpowering bigness of this performance happened on the day that the U.S. reaffirmed its commitment to Ukraine in its war with Russia. Three years ago, some questioned whether Russian music should be performed at all. Several other orchestras canceled performances of Tchaikovsky’s “1812 Overture.” The Bowl’s annual “Tchaikovsky Spectacular” retained the Overture although the program began with the Ukrainian National Anthem.
This summer Russian music abounds at the Bowl with the usual Tchaikovsky (which will be part of the “Classical Pride” program Thursday), a full week of Rachmaninoff, along with more Prokofiev, Shostakovich and Stravinsky. It was with Tchaikovsky that Dudamel made his U.S. debut at the Bowl, the rest being history.
Russian music has, in fact, been a mainstay of the Bowl for 103 years. Russian performers and composers helped to make L.A. what it is artistically today. And how Russian composers, those who stayed and those who left, dealt with militarism, nationalism and the threat of repression has never felt more relevant.
