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26 MARCH 2018
On April 6 & 7, Alan Gilbert comes to Hamburg to conduct the NDR Elbphilharmonie Orchestra in Mahler's Third Symphony. Alan states: "Conducting the Mahler 3 in April at the Elbphilharmonie Hamburg will be an exciting moment – it will be the first time I'm conducting the orchestra since it was announced that I'll be the chief conductor. It's a piece that I feel very close to and it certainly will exploit the range of possibilities that this new hall offers an orchestra."

In summer 2019, Alan officially succeeds Thomas Hengelbrock as Principal Conductor of the NDR Elbphilharmonie Orchestra for a term of five years. Read here for more info.
26 FEBRUARY 2018
After launching the new year in Europe, Alan Gilbert returns to the States for a pair of major guest-conducting engagements, joining the Boston Symphony for Sibelius, Debussy, and John Adams with Leila Josefowicz (March 1–3) and the Cleveland Orchestra for Dvořák and Barber with Alisa Weilerstein (March 15–18).

It was at the New York Philharmonic that Alan commissioned John Adams's Scheherazade.2, a "dramatic symphony" for violin and orchestra, written, like Rimsky-Korsakov's symphonic suite, in response to the Arabian Nights. In 2015, when Alan and the orchestra premiered the work with its dedicatee, Leila Josefowicz, the New York Times applauded her "dazzling and inspired performance, backed by the glittering, rhapsodic and supremely confident playing of the orchestra under Mr. Gilbert." Now the conductor and violinist reunite to reprise the four-movement work with the Boston Symphony Orchestra, concluding a program that opens with Alan's leadership of Sibelius's En Saga and Debussy's luminously orchestrated Jeux.

Next, Alan returns to the Cleveland Orchestra, where more than two decades ago he launched his career with a two-year apprenticeship as assistant to Christoph von Dohnányi. Celebrating the orchestra's centennial season, they reconvene for performances of Barber's Cello Concerto with MacArthur Award-winner Alisa Weilerstein, bookended by Dvořák's Eighth Symphony and Carnival Overture.
26 JANUARY 2018
Alan Gilbert conducts the Munich Philharmonic on Feb 1, 2, & 4. Together, they perform Elgar's Symphony No. 1 in A-flat major. The concerts feature soloist Lisa Batiashvili, who performs the Sibelius Violin Concerto. The Georgian violinist is a regular collaborator who was among those Alan invited to celebrate his 50th birthday in a special New York Philharmonic concert last season.
16 JANUARY 2018
On January 25-27 Alan conducts the Orchestre National de Lyon, presenting Brahms's Third Symphony, Martinů's First Cello Concerto featuring soloist Sol Gabetta, and Bach's Third Orchestral Suite.

On the program, Gilbert stated, "I've always enjoyed conducting the Orchestre National de Lyon – both because it's a wonderful orchestra and also because it makes it possible for me to collaborate with my sister, who is the concertmaster there. We're doing an unusual program in that it starts with the largest work and it works down to the smallest piece. The Bach packs a great punch and I think it'll be an inspiring way to close out the evening."
19 DECEMBER 2017
This month, Alan Gilbert travels to Germany to join the Gewandhausorchester for their annual New Year's celebration concerts from Dec 29-31. Onstage, they perform Beethoven's Ninth Symphony, joined by the MDR Rundfunkchor, GewandhausChor, and GewandhausKinderchor, along with soprano Genia Kühmeier, alto Gerhild Romberger, tenor Klaus Florian Vogt, and bass John Relyea.

Regarding this occasion, Gilbert states: "The Gewandhausorchester Leipzig has a long tradition of playing Beethoven's Ninth Symphony at the end of the year. Especially after having done that piece with them on tour three years ago, it's thrilling to be going back to take part in this annual celebration."

Click here for more information.
12 OCTOBER 2017
This fall, Alan Gilbert reunites with the New York Philharmonic for the Bernstein Centennial and the Philharmonic's 175th Anniversary. He also embarks on a tour of China with Yundi and the Dresden Staatskapelle, along with engagements in France and Germany.

On October 11 & 12, Gilbert conducts the Orchestre de Paris for Schumann's Symphony No. 4 and Varèse's Ameriques. They are joined by Marc-André Hamelin for Ravel's Left Hand Piano Concerto.

In New York, Gilbert reunites with the New York Philharmonic in occasion of the Bernstein Centennial. Presenting a program in honor of Bernstein's 100th Birthday, Gilbert leads violinist Joshua Bell and mezzo-soprano Kelly O'Connor in Bernstein's Serenade and Symphony No. 1: Jeremiah. Performing October 25, 26, 27, 28, & 31, Gilbert and the Philharmonic also present the U.S. premiere of Joey Roukens' Boundless (Homage to L.B.).

Gilbert continues on November 2-4 in concert with the New York Philharmonic, performing Bernstein's Prelude, Fugue, and Riffs, Gershwin's Rhapsody in Blue, and Bernstein's Symphony No. 2: The Age of Anxiety.

With the Dresden Staatskapelle, Gilbert presents Strauss's Sinfonia Domestica on November 10-12, and is joined by Yundi for Mozart's Piano Concerto No. 23. They take the repertoire on a tour across China, first to Shanghai on November 15, Hangzhou on November 16, Wuhan on November 17, and finally to Beijing on November 19.

Gilbert then returns to New York to celebrate the Philharmonic's 175th Anniversary, performing Beethoven's Symphony No. 5. Also on the program are Weber's Oberon Overture and Mozart's Sinfonia concertante for Winds.

Returning to Germany, Gilbert conducts the WDR Cologne on December 15 & 16 in Anatol Liadov's The Enchanted Lake, Op. 62 and Tchaikovsky's Fourth Symphony. Austrian pianist Rudolf Buchbinder joins them for Mozart's Piano Concerto No. 20 in D minor, K. 466. From December 29-31, Gilbert and the Gewandhaus Leipzig join forces for Beethoven's Ninth.
23 JUNE 2017
As announced at a press conference in Hamburg's newly reconstructed concert hall, Alan Gilbert has been appointed the NDR Elbphilharmonie Orchestra's Chief Conductor beginning in the 2019-20 season.

"First of all, this is a group of musicians that I already know so well and love dearly. The musicians and I have shared a very special rapport and musical chemistry for many years," says Alan. "Furthermore, the environment surrounding the orchestra is uniquely exciting. The Elbphilharmonie is the perfect and already iconic physical space in which to play and present music, and the management team, headed by Achim Dobschall and Sonja Epping of the orchestra and Christoph Lieben-Seutter at the Elbphilharmonie, is the most inspired, ambitious, and forward-looking in the world of music."

Alan leads the final concerts of his tenure as Music Director of the New York Philharmonic this July in August, visiting Shanghai, the Bravo Vail! Music Festival, and Music Academy of the West in Santa Barbara, CA.
31 MAY 2017
To conclude his tenure with the New York Philharmonic, Alan Gilbert brings musicians from around the world to David Geffen Hall for his final subscription concerts as Music Director on June 8, 9, and 10. The ensemble will perform Mahler's Symphony No. 7, complemented by Kinan Azmeh's Ibn Arabi Postlude and Edward Perez's The Latina 6/8 Suite on June 8 with cellist Yo-Yo Ma and Alan Gilbert on violin, and a performance by Wynton Marsalis on June 9. The finale performance on June 10 will be broadcast live on the New York Philharmonic's Facebook page.

In advance of the concerts, Alan participates in a symposium, "What Is Cultural Diplomacy" on June 7 with moderator Fareed Zakaria and panelists Yo-Yo Ma, Debora Spar, Karim Wasfi, and Irina Bokova. The event is free and open to the public and takes place at the Stanely H Kaplan Penthouse at Lincoln Center.

Read more about the season finale concerts from the New York Philharmonic.
23 MARCH 2017
In his final season as music director of the New York Philharmonic, Alan Gilbert brings the orchestra on tour across Europe. Highlights of the spring tour include The orchestra brings fourteen concerts to nine cities, highlights including Prokofiev's Violin Concerto No. 1 with soloist Frank Peter Zimmerman, soprano Christina Lanshamer in Mahler's Symphony No. 4, and the European premiere of Esa-Pekka Salonen's Cello Concerto performed by Yo-Yo Ma.

On April 3, the orchestra brings a program of Salonen and Mahler to Hamburg's new concert hall the Elbphilarmonie, and returns the following evening to perform John Adams's Harmonielehre.

Explore the New York Philharmonic's European tour schedule.
8 MARCH 2017
This month, Alan Gilbert leads two programs of works by John Adams, celebrating the American composer's 70th birthday year. The New York Philharmonic String Quartet makes its debut with Adams's Absolute Jest on March 9, 10, and 11, in a program that also includes the landmark, Schoenberg-inspired orchestral work, Harmonielehre. The following week, Alan Gilbert returns to the podium to conduct Adams's The Chairman Dances, Berlioz's Symphony fantastique, and the New York Premiere of Esa-Pekka Salonen's Cello Concerto with soloist Yo-Yo Ma. The program runs from March 15 to 18 – find tickets and information here.
1 MARCH 2017
The New York Philharmonic has announced the program for the final subscription concerts of Alan Gilbert's tenure as Music Director. The groundbreaking concert series will highlight the transformational and global power of music, with musicians invited from all around the world – Cuba, Iran, Iraq, Israel, Lebanon, Mexico, Russia, South Africa, Turkey, Venezuela, and more.

Inspired by his communications with Jan Eliasson, former Deputy Secretary-General of the United Nations, Alan Gilbert developed the program to bring together musicians from across borders to encourage peace and unity during times of hardship.

"Music has a unique capacity to connect people's hearts and souls," Alan Gilbert said. "How can we, as musicians, do our small part to be a positive forum, to help effect social change and respond to adversity in a world faced with unprecedented challenges? The New York Philharmonic, which has always been an international ensemble, has done so much as a global ambassador throughout its history, and I am honored to showcase this message with this great Orchestra in my hometown of New York City."

The program, which runs June 8 to 10, includes Mahler's Symphony No. 7 and features soloist Yo-Yo Ma on June 8 and Wynton Marsalis on June 9. Read more about the concerts and Alan Gilbert's new global initiative.
28 FEBRUARY 2017
Alan Gilbert leads the New York Philharmonic in the World Premiere of Lera Auerbach's "NYx: Fractured Dreams" – a Philharmonic commission written for Artist-In-Residence Leonidas Kavakos – on March 1, 2, and 3. The program also includes Mahler's Symphony No. 4 with soprano Christina Landshamer.

"NYx: Fractured Dreams" is Auerbach's fourth concerto, and finds inspiration in Nyx, the Greek goddess of the night and New York City. Information and tickets here.
Alan Gilbert's busy December at the New York Philharmonic begins with five seasonal performances of Handel's Messiah December 13 through 17, in which his "decisive phrasing, generally brisk pacing and insistence on crystalline textures" previously impressed the New York Times as "magical". Christina Landshamer, Tim Mead, Matthew Polenzani and John Relyea perform as soloists alongside the Concert Chorale of New York.

Marking the first in The New York Commissions – a trio of works commissioned from composers based in the city, writing on New York themes, to be premiered over three seasons – Alan conducts the world premiere of The Jungle (Symphony No. 4) by Pulitzer Prize-winner Wynton Marsalis, the Managing & Artistic Director of Jazz at Lincoln Center, which joins the New York Philharmonic in the performances on December 28, 29, and 30 as well as January 3. Also on the program are William Bolcom's Trombone Concerto with New York Philharmonic principal Joseph Alessi as soloist and Copland's Quiet City featuring principal trumpet Christopher Martin and English horn player Grace Shryock.

At the New York Philharmonic's annual New Year's Eve celebration, Alan leads the New York Philharmonic and mezzo-soprano Joyce DiDonato in an evening of American classics, including works by Rodgers & Hammerstein and others.
23 NOVEMBER 2016
A regular guest of the Berlin Philharmonic, Alan Gilbert returns to the celebrated orchestra December 2 through 4 for concerts at the Berliner Philharmonie. The program includes Tchaikovsky's Fourth Symphony, of which Alan's "hypercharged" account was a highlight of the New York Philharmonic's "blistering Disney Hall debut" (Los Angeles Times). Juxtaposed with the feverish despair of that Russian masterwork are Short Ride in a Fast Machine and Lollapalooza by John Adams – the Berlin Philharmonic's current Composer-in-Residence – and Bartók's Second Violin Concerto with Frank Peter Zimmermann as soloist. Alan's association with the German violinist is of long standing. It was he who appointed Zimmermann as the New York Philharmonic's 2011-12 Artist-in-Residence, when their concerto collaborations included a performance of the Bach "Double" with the Music Director himself on violin; as the New York Times wrote, "the interplay between them was graceful ... and took on an appealing visceral quality." After their Berlin engagement, the two look forward to reuniting once again on the New York Philharmonic's upcoming European tour.

Find more information and tickets here to Alan's performances with the Berlin Philharmonic. The December 3 performance can be streamed here live via the orchestra's Digital Concert Hall starting at 1pm ET/7pm CT.
Alan Gilbert makes his return to the Teatro alla Scala on November 13, when he helps premiere a new semi-staged production of Porgy and Bess by stage director Philipp Harnoncourt. Starring bass Morris Robinson and soprano Kristin Lewis in the title roles, with original video design by Max Kaufmann and Eva Grün, this marks the first time that the original version of Gershwin's score will be presented at the Milan house in its entirety. Alan made his debut with the Filarmonica della Scala last fall, leading Beethoven's Symphony No. 6, "Pastoral" and Bartok's one-act opera Bluebeard's Castle. Find tickets and more information here about Porgy and Bess performances, which take place on November 13, 15, 17, 18, 20, 22, and 23.
19 OCTOBER 2016
Alan Gilbert reunites the Leipzig Gewandhaus Orchestra this fall, leading the ensemble in three performances taking place Thursday, October 20 through Saturday, October 22.Beethoven's Piano Concerto No. 2 opens the program featuring soloist Inon Barantan, the Israeli pianist who is now launching his third and final season as the New York Philharmonic's inaugural Artist-in-Association. The two long-time collaborators are presently in the process of recording Beethoven's complete piano concertos with London's Academy of St. Martin in the Fields, representing the first time that ensemble will have captured the full cycle on disc.

The first two programs at the Leipzig Gewandhaus also include Bartok's one-act psychological thriller Bluebeard's Castle, sung in concert by Mikhail Petrenko as Bluebeard and Michelle DeYoung as Judith. Alan's final Leipzig Gewandhaus Orchestra concert on October 22 is followed by a special “talk and performance” event for which he and Inon join German TV personality Malte Arkona. Find tickets and more information here.
14 OCTOBER 2016
The National Arts Club has bestowed Alan Gilbert with its Medal of Honor in Music as he begins the final season of his tenure with the New York Philharmonic. The award recognizes Alan's wide-ranging contributions to the Philharmonic and symphonic music in the 21st century, from creating new ways for audiences to experience the art form to music education though his position as Director of Conducting and Orchestral Studies at the Juilliard School. Past honorees of the award include Placido Domingo, James Levine, Daniel Barenboim, Van Cliburn, Isaac Stern, and Emanuel Ax.

The awards presentation on Thursday, October 13 included speeches by Deputy Secretary-General of the United Nations H.E. Mr. Jan Eliasson and Juilliard School Provost and Dean Ara Guzelimian, as well as a short performance by pianist and New York Philharmonic Artist-in-Association Inon Barnatan.
5 OCTOBER 2016
Alan Gilbert leads the New York Philharmonic in Beethoven's Piano Concerto No. 4, with Lang Lang as soloist; Bartók's Music for Strings, Percussion, and Celesta; and Ligeti's Mysteries of the Macabre, with Principal Trumpet Christopher Martin as soloist, Thursday, October 6, through Saturday, October 8. In an additional performance on Wednesday, October 5, Beethoven's piano concerto is replaced with his Symphony No. 5.

An arrangement of three arias from Ligeti's Le Grand Macabre, these performances of Mysteries of the Macabre recollect a signature moment from Alan Gilbert's inaugural season, when he led a sold-out staged production of the opera, later named named New York Magazine's number one classical music event of 2010 and "the greatest triumph achieved by any New York musical institution in 2010" by the New York Times.

Find tickets and more information here for the October 5 program and here for the concerts on October 6, 7, and 8.
Alan Gilbert leads New York Philharmonic and mezzo-soprano Magdalena Kožená in Les Nuits d'été, Hector Berlioz's song cycle of love and loss, Thursday, September 29 through Saturday, October 1 at David Geffen Hall.

This work is paired with Rimsky-Korsakov's symphonic suite Scheherazade, which Alan and the New York Philharmonic performed in October 2012 to the following praise from the New York Times: "The orchestra sounded superb here as elsewhere; Mr. Gilbert led a full-blooded and kaleidoscopic rendition, with sensuous string playing and alluring woodwind solos that vividly evoked languid Arabian nights." Find tickets and more information here.
In seven years as Music Director of the New York Philharmonic, Alan Gilbert has continued to evolve the role of the modern orchestra; as the New York Times put it, "helping to change the template for what an American orchestra can be." The eighth and final season of Gilbert's tenure, which also marks the Philharmonic's 175th anniversary season, not only honors their shared hometown, but also celebrates this extraordinary legacy. Thus world premieres of new Philharmonic commissions rub shoulders with iconic masterworks and an adventurous opera performance; artistic residencies continue to forge and nurture meaningful musical partnerships; innovative programming explores the ways music can foster global community and positive change; and the conductor and orchestra once again take their vision overseas on their seventh and final European tour together.

To launch his farewell season at the Philharmonic, Gilbert leads the Opening Gala Concert on September 21 that pays tribute to their native city. The New York premiere of John Corigliano's Stomp, for Orchestra shares the program with two key New York works of the past: Gershwin's Concerto in F, which the Philharmonic commissioned and premiered, with American jazz virtuoso Aaron Diehl, and Dvorák's Symphony No. 9, "From the New World," which the Philharmonic premiered in 1893. This work forms the centerpiece of the orchestra's season-long New World Initiative, which seeks to make the beloved symphony a cultural touchstone for as many New Yorkers as possible. By way of an upbeat to the new season, for the fourth edition of The Art of the Score: Film Week at the Philharmonic, Gilbert and the Philharmonic – the orchestra that anchored the film's original soundtrack recording – accompany a screening of Woody Allen's Manhattan on September 16 and 17 with the first live-to-film performance of its classic Gershwin score.

For the season's first subscription concerts, accounts of Dvořák's New World Symphony are paired with Tchaikovsky's Violin Concerto featuring former Artist-in-Residence Lisa Batiashvili on September 22, 23, and 24 and with Corigliano's Stomp and Mozart's Clarinet Concerto performed by Principal Clarinet Anthony McGill on September 27.
25 AUGUST 2016
Alan Gilbert visits Lucerne, Switzerland August 29 through September 4 for a week of conducting masterclasses and concerts with Lucerne Festival Academy musicians. He leads the summer finale concert of the Orchestra of the Lucerne Festival Academy on Sunday, September 4 at the KKL Luzern with a program looking back at the beginnings of modernism and the musical context from which it emerged. Arnold Schoenberg's symphonic poem Pélleas et Mélisande, written in the musical language of late Romanticism, is preceded by two works that feature soloist Anne-Sophie Mutter: Alban Berg's moving Violin Concerto, "To the memory of an angel," and Norbert Moret's En rêve, which was composed in 1988 for the violinist. An additional short concert on Friday, September 2 features only Berg's Concerto.
5 AUGUST 2016
Last summer, as Artist-in-Residence of the Santa Fe Chamber Music Festival, Alan Gilbert led an all-star orchestra of 44 superlative musicians in an account of Olivier Messiaen's monumental and otherworldly twelve-movement, 90-minute orchestral masterpiece, Des canyons aux étoiles... (From the Canyons to the Stars...). Marking a major milestone in the festival's history, the performance – featuring the largest ensemble ever gathered there for a single work – was recorded live for release and is now available on the Entertainment One Music label.

On the recording, Alan conducts an orchestra that includes many of his close musical friends and collaborators. In a work requiring staggering virtuosity from all players, his frequent collaborator Inon Barnatan plays the notoriously challenging piano part, including the fourth and ninth movements (Le cossyphe d'Heuglin "The white-browed robin-chat" and Le moqueur polyglotte "The mockingbird"), which are scored for solo piano.

Commissioned by art patron Alice Tully for the U.S. bicentennial and premiered at Lincoln Center in 1974, Canyons celebrates the awe-inspiring beauty of the great canyons of southwest Utah, which include Cedar Breaks, Bryce Canyon, and Zion National Park. Encompassing a characteristically Messiaenic mix of birdsong, modernist experimentalism, and religious mysticism, the work expresses the composer's faith in the power of nature to communicate the very essence of God.

Listen to Des canyons aux étoiles... here on iTunes, here on Amazon, and here on Spotify.
23 JULY 2016
Alan Gilbert makes his return to Japan in July, conducting the Tokyo Metropolitan Symphony Orchestra on two consecutive evenings at Suntory Hall. Mozart's Symphony No. 25 is paired with Mahler's Symphony No. 5 in both concerts. Find tickets and more information here about these performances on Sunday, July 24 and Monday, July 25.

Just two days later, Alan takes the helm of the New York Philharmonic at Bravo! Vail in Colorado for the first of three concerts as part of the orchestra's 14th annual summer residency. The Wednesday, July 27 performance features New York Philharmonic Principal Trombone Joseph Alessi as soloist in William Bolcom's Trombone Concerto, followed by Richard Strauss's Ein Heldenleben. Leila Josefowicz is soloist on Thursday, July 28 in Prokofiev's Violin Concerto No. 1, with Beethoven's Symphony No. 3, "Eroica" also on the program. The New York Philharmonic's residency culminates with a final concert on Friday, July 29, featuring bass-baritone and New York Philharmonic Artist-in-Residence Eric Owens alongside soprano Heidi Melton in selections from Wagner's Tristan and Isolde and Die Walküre.
17 JULY 2016
Alan Gilbert has been nominated for the 2016 Emmy Award in Best Musical Direction for Sinatra: Voice for a Century, which was broadcast nationwide by PBS's Live From Lincoln Center on December 18, 2015.

Co-presented by the New York Philharmonic and Lincoln Center, the gala concert on December 3, 2015 celebrated the music of Frank Sinatra on the occasion of the American musical icon's 100th birthday through performances of songs with which he was closely associated. Alan led the orchestra and a lineup of performers including Seth McFarlane (who also served as host), Christina Aguilera, Chris Botti, Fantasia, Sutton Foster, Bernadette Peters, Sting, Billy Porter, and Kyle Dean Massey. Alan was nominated in 2015 for an Emmy Award in the same category for his leadership of Stephen Sondheim's thriller Sweeney Todd: The Demon Barber Of Fleet Street with the New York Philharmonic and special guests, also featured on Live From Lincoln Center. Watch Sinatra: Voice for a Century now on
14 JULY 2016
As part of an ongoing partnership between the New York Philharmonic and Santa Barbara's Music Academy of the West, Alan Gilbert is spending a week at the festival as a Luria Foundation Artist in Residence, a program that focuses on artists who bring forward-thinking perspectives across all disciplines and areas of classical music training. His activities include coaching and instruction with festival fellows, culminating in a performance with members of the Academy Festival Orchestra on Saturday, July 16 featuring Berg's Three Pieces for Orchestra, "The Representation of Chaos" from Haydn's The Creation, and Beethoven's Symphony No. 3, "Eroica". Alan is accompanied by five New York Philharmonic musicians, who are performing and training fellows in collaboration with Music Academy faculty, including masterclasses, chamber music coachings, private lessons, and lectures. Find tickets and more information about Alan's performance with the Academy Festival Orchestra here.
23 JUNE 2016
Alan Gilbert and the New York Philharmonic undertake their second annual performance residency in Shanghai July 2 through 8 under the auspices of the Shanghai Orchestra Academy and Residency Partnership. This joint endeavor with the Shanghai Symphony Orchestra includes a two-year program designed to address the need for advanced, postgraduate orchestral training in China in partnership with the Shanghai Conservatory as well as annual performance residencies by the New York Philharmonic in Shanghai through the 2017-18 season. The residency follows a trip earlier this month by Shanghai Orchestra Academy students to New York City to participate in the New York Philharmonic Global Academy Fellowship Program as the first international Zarin Mehta Fellows.

While in Shanghai, Alan conducts the New York Philharmonic in Prokofiev's Piano Concerto No. 2 with soloist Daniil Trifonov and R. Strauss's Ein Heldenleben on July 2 at Shanghai Symphony Hall and on July 4 at the Shanghai Poly Grand Theatre. The July 4 program also includes Beethoven's Fidelio Overture. Alan also leads Boulez's Messagesquisse with Philharmonic cellist Eric Bartlett as soloist along with Philharmonic cellists Patrick Jee, Qiang Tu, Sumire Kudo, Maria Kitsopoulos, and Alexei Yupanqui Gonzales and guest cellist Wendy Sutter as the ensemble; Mendelssohn's Violin Concerto with soloist Gil Shaham; and Beethoven's Symphony No. 3, "Eroica" on July 8 at Shanghai Symphony Hall.

Other activities associated with the Shanghai Orchestra Academy (SOA) include master classes, lessons, coachings, and a side-by-side Philharmonic rehearsal with Academy students; a Very Young Composers workshop and performance; and a free, public, outdoor concert featuring the New York Philharmonic Principal Brass Quintet. Find more information about the Shanghai Orchestra Academy and Residency Partnership here.
14 JUNE 2016
Alan Gilbert leads the New York Philharmonic in five free outdoor concerts throughout New York City as part of the orchestra's annual Concerts in the Parks series, now in its 51st season. Performances take place in Manhattan's Central Park on June 15 and 16, Brooklyn's Prospect Park on June 17, Cunningham Park in Queens on June 20, and the Bronx's Van Cortlandt Park on June 21, all starting at 8pm.

"We at the New York Philharmonic are planning to dedicate tonight's concert in Central Park to the victims in Orlando," says Alan. "As human beings, as musicians, and as an institution, we categorically denounce intolerance and violence of any kind."

The varied programs feature Mozart's Clarinet Concerto, with Principal Clarinet Anthony McGill as soloist; R. Strauss's Ein Heldenleben; Wagner's Prelude and Liebestod from Tristan und Isolde; Beethoven's Symphony No. 3, "Eroica"; Rossini's La gazza ladra Overture, and Beethoven's Fidelio Overture. Fireworks shows by Bay Fireworks bring a grand finale to each concert.

Find more information at
24 MAY 2016
Alan Gilbert leads the New York Philharmonic in Brahms's Symphony No. 2 and "Lord God of Abraham, Isaac, and Israel" from Mendelssohn's Elijah on Monday, May 30 at the orchestra's 25th Annual Free Memorial Day Concert at the Cathedral Church of Saint John the Divine. This year's concert will be dedicated to the New York Philharmonic's late Music Director Emeritus Kurt Masur, who inaugurated the annual tradition in 1992 as a gift to the people of New York City.

Alan will present an address in Masur's memory alongside trumpet player and Jazz at Lincoln Center Artistic and Managing Director Wynton Marsalis as well as baritone Thomas Hampson, who will be the soloist in the Mendelssohn work. Seating is on a first-come, first-served basis; tickets will be handed out at 6pm on the day of the performance at the Cathedral Church of Saint John the Divine. Audio of the performance will be broadcast onto the adjacent Pulpit Green, weather permitting. Find more information here.
22 MAY 2016
Alan Gilbert has co-curated the second NY PHIL BIENNIAL, a wide-ranging exploration of today's music by an array of contemporary and modern composers taking place From May 23 to June 11. A flagship project that marks one of the most significant innovations of his tenure, the NY PHIL BIENNIAL is a kaleidoscopic, citywide new-music immersion that proved a resounding success at its launch two years ago, when the New York Times called it "perhaps the most ambitious and extensive contemporary-music festival yet overseen by an American orchestra."

June 3 through 5, Alan conducts the Ensemble of the Lucerne Festival Alumni at the Metropolitan Museum of Art in "Ligeti Forward", three programs exploring György Ligeti as a fountainhead of modern music ten years after the composer's death. Three of Ligeti's concertos — featuring pianist Conor Hanick, cellist Jay Campbell and violinist Pekka Kuusisto, respectively — are paired with works by composers including Marc-André Dalbavie and John Zorn. All three concerts will be webcast live on Find more information here about program I, program II, and program III.

Alan and the New York Philharmonic present works by two American composers of the same generation on June 10 at David Geffen Hall. Opening the program is the world premiere of a Trombone Concerto by William Bolcom featuring Philharmonic Principal Trombone Joseph Alessi. The New York Premiere of John Corigliano's Conjurer follows with percussionist Martin Grubinger as soloist. Find more information here about this program.

Alan and the New York Philharmonic present the 2016 NY PHIL BIENNIAL finale on June 11 at David Geffen Hall. Per Nørgård's Symphony No. 8 has its US premiere, followed by Messagesquisse by former New York Philharmonic Music Director Pierre Boulez, in tribute to the late composer/conductor and champion of the music of our time. The evening closes with New York premiere of the Second Concerto for Orchestra by Pulitzer Prize winner Steven Stucky, in honor of the late composer. More information can be found here.
19 MAY 2016
Alan has been presented with New York University's Lewis Rudin Award for Exemplary Service to New York City, recognizing his leadership in making New York one of the world's great centers for music and the arts. He received the prize at a special ceremony proceeding the university's commencement exercises. The event's other honorees included scientist Emmanuelle Charpentier, actor and director Billy Crystal, congressman and civil rights leader John Lewis, Judge Margaret Marshall, and businesswoman Chandrika Tandon. Find more information here.
3 MAY 2016
Alan Gilbert leads the New York Philharmonic on tour — his ninth with the orchestra — to California, with stops in Costa Mesa, San Diego, and San Francisco Tuesday, May 3 through Saturday, May 7.

The concerts feature two programs, the first one spotlighting Principal Cello Carter Brey performing the Schumann concerto coupled with two works by Schumann's protégé, Brahms: the Tragic Overture and Symphony No. 2. This program bookends the tour, and is presented on May 3 at Costa Mesa's Segerstrom Center for the Arts and on May 7 at San Francisco's Davies Symphony Hall, the last of two concerts presented by the San Francisco Symphony. The second program pairs Beethoven's Egmont Overture and Symphony No. 7 with two masterworks by Sibelius — the Symphony No. 7 and Finlandia — extending the orchestra's season-long celebration of the 150th anniversary of Sibelius's birth to California. These works are performed on May 4 at San Diego's Jacobs Music Center-Copley Symphony Hall and on May 6, again at Davies Symphony Hall in San Francisco. Find more information about the New York Philharmonic's California 2016 tour here.
27 APRIL 2016
Alan Gilbert leads the New York Philharmonic in the world premiere of Franck Krawczyk's Après Wednesday, April 27 though Saturday, April 30 at David Geffen Hall. This work was was commissioned as part of the New York Philharmonic's Marie-Josée Kravis Prize for New Music, awarded every two years to a composer for extraordinary artistic endeavor in the field of new music. The third movement of Après was written in homage to the late Henri Dutilleux, with whom Krawczyk shared the inaugural Prize in 2011.

"Being one of those whom Maître Henri Dutilleux honored with this prize is priceless to me," says Franck Krawczyk. "He kept a relationship to truth in everything he perceived. He wrote with the constant worry that it should sound true, which is what had probably kept him away from the sirens of a certain easy modernity, in favor of a staggering dive into his own personal language." Après is followed by Schumann's Cello Concerto with soloist Principal Cello Carter Brey. Symphony No. 2 by Brahms, Schumann's protégé, closes the program. Find tickets and more information here.
11 APRIL 2016
Alan Gilbert returns to the New York Philharmonic with performances of Mahler's Das Lied von der Erde, featuring baritone Thomas Hampson and tenor Stefan Vinke, Wednesday, April 20, through Friday, April 22 at David Geffen Hall. "Thomas Hampson's interpretation of Mahler is unbelievably distinctive — he has such an affinity for this music," says Alan of the acclaimed Mahler interpreter and former New York Philharmonic Artist-in-Residence. "The tenor part is enormous and fiendishly difficult, so we are delighted to have engaged Stefan Vinke, who has the power and agility that Das Lied requires."

The program also includes Sibelius's Symphony No. 7, as part of a season-long celebration honoring the Finnish composer's 150th birthday. "Sibelius's music says something very true about all of humanity," says Alan. "His Seventh Symphony is an amazing piece, in part because of its enigmatic ending — it is difficult to decide whether it is happy or sad, a dilemma that is so true of life." Find tickets and more information here.
31 MARCH 2016
Alan Gilbert makes his London Symphony Orchestra debut with a pair of programs at the Barbican Centre that couple the music of Scandinavia – long one of his fields of expertise – with Russian concertos that showcase star soloists Joshua Bell and Daniil Trifonov.

For his first appearance with the London Symphony Orchestra on April 3, Alan pairs Tchaikovsky's iconic Violin Concerto, featuring superstar violinist Joshua Bell, with Sibelius's classically economical Third Symphony, the overture to Nielsen's opera Maskarade, and Exquisite Corpse (2002) by Sweden's Anders Hillborg. Commissioned for the Royal Stockholm Philharmonic's 75th anniversary, Hillborg's work is dedicated to the conductor, and it was he who recorded it for the BIS label. Find more information and tickets to this concert here.

For their second program together on April 7, Gilbert conducts the English orchestra in Nielsen's mighty Fourth Symphony, "The Inextinguishable", of which he recently led a "searing, well-paced, and deeply organic" (Cleveland Plain Dealer) account with the Cleveland Orchestra, together with Sibelius's stirring tone poem En Saga, and Prokofiev's Second Piano Concerto. For the latter, he reunites with Daniil Trifonov – "without question the most astounding young pianist of our age" (The Times, London) – who triumphantly headlined the New York Philharmonic's recent Rachmaninoff Festival; when he and Gilbert first collaborated on Prokofiev, they "clearly had chemistry" (New York Times). More information and tickets can be found here.
15 MARCH 2016
Alan Gilbert leads the New York Philharmonic in the New York Premiere of Composer-in-Residence Esa-Pekka Salonen's Karawane — a co-commission with the Tonhalle Orchestra, Swedish Radio Symphony Orchestra, Bamberg Symphony, and Finnish Radio Symphony Orchestra — Thursday, March 17 through Saturday, March 19. The program also includes Sibelius's Violin Concerto with soloist Leonidas Kavakos and Shostakovich's Suite from The Age of Gold.

"I have often spoken about how we combine pieces to create programs, and that process is all the richer when one is able to speak with composers about their thoughts on how we should present their works," says Alan. "In talking about Karawane, the quality Esa-Pekka Salonen and I both felt should guide our programming choices was its light-hearted humor, which we also both see in Shostakovich's The Age of Gold — Esa-Pekka believed that they would work very well together." Karawane is based on the poem of the same name by Hugo Ball, a founder of the Dada movement. Find tickets and more information here.
9 MARCH 2016
Alan Gilbert performs on violin alongside New York Philharmonic principals and Artist-in-Association Inon Barnatan in a special performance of Messiaen's Quartet for the End of Time at the Metropolitan Museum of Art's Temple of Dendur. The Sunday, March 13 concert also features Principal Cello Carter Brey and Principal Clarinet Anthony McGill. It will be livestreamed to the Metropolitan Museum of Art's Grace Rainey Rogers Auditorium, free to attend with museum admission. Find more information here.

"Messiaen is one of my heroes," says Alan. "His music touches a spiritual side that is important to explore whether or not you are religious." As a violinist and violist, Alan has performed chamber music with New York Philharmonic musicians almost every season since 2009.

Quartet for the End of Time brings the culmination of the New York Philharmonic's Messiaen Week (March 7-13), which honors the legacy of French composer and organist Olivier Messiaen through performances of his works, from the symphonic to solo works, as well as music by those whom he influenced.
2 MARCH 2016
Alan Gilbert returns to the Cleveland Orchestra to conduct Carl Nielsen's vivid and dynamic Symphony No. 4, "The Inextinguishable" on Thursday, March 3, Saturday, March 5, and Sunday, March 6. The program also includes Schumann's Manfred Overture and the rarely heard Piano Concerto of Antonin Dvořák with soloist Stephen Hough.

"No one could come in and create the exquisite sound Gilbert drew out of the orchestra without knowing its capabilities and strengths," declared Cultured Cleveland of Alan's last visit to the Cleveland Orchestra in 2013, continuing to say that "It's not often that one gets to hear the vocabulary of 20th-century music so well-understood and eloquently expressed." Alan served on the conducting staff of the storied orchestra from 1994 to 1997, serving as assistant conductor to former Music Director Christoph von Dohnányi. Find tickets and more information here.
23 FEBRUARY 2016
Alan Gilbert last conducted the Leipzig Gewandhaus Orchestra during the launch of its 2014-15 season, when he stepped in for the eminent ensemble's music director, Riccardo Chailly to lead a tour to the Lucerne Festival, Musikfest Berlin, and London's BBC Proms. Upon his return to Leipzig on February 25 and 26, Alan commemorates the 150th anniversary of the birth of Jean Sibelius with the Finnish composer's mighty yet enigmatic Symphony No. 7. Celebrated Norwegian pianist Leif Ove Andsnes performs as soloist in Robert Schumann's Piano Concerto in A minor, with Schumann's Symphony No. 1, "Spring Symphony" and Métaboles by Henri Dutilleux rounding out the program. More information and tickets can be found here.
Alan Gilbert and the the New York Philharmonic have announced the orchestra's 2016-17 season, which marks his eighth and final season in his tenure as Music Director. During this farewell season, Alan will lead programs that represent the breadth of innovative programming, adventurous productions, and forward-thinking initiatives that have been a hallmark of his tenure, and will be joined by many of his close collaborators.

Alan will conduct world, US, and New York premieres by Lera Auerbach, John Corigliano, HK Gruber, Wynton Marsalis, Esa-Pekka Salonen, and Anna Thorvaldsdottir. He will lead masterworks that include Mahler's Symphony No. 4; Brahms's Symphony No. 3; John Adams's Harmonielehre, Absolute Jest, and Short Ride in a Fast Machine; Bartók's Music for Strings, Percussion, and Celesta; Ligeti's Mysteries of the Macabre; and Handel's Messiah. In the spring of 2017, Alan will embark on his fifth and final European tour with the orchestra. To conclude his final subscription season, he will lead the orchestra and guest artists from around the world in performances that highlight important international issues and foster the idea of a global community that shares a common humanity. These concerts include a pairing of Beethoven's Symphony No. 9 and Schoenberg's A Survivor from Warsaw, the New York Premiere of Emerging Composer Anna Thorvaldsdottir's Aeriality, the New York Premiere of Composer-in-Residence Esa-Pekka Salonen's Wing on Wing, Brahms's Violin Concerto with Artist-in-Residence Leonidas Kavakos as soloist, and Wagner's complete Das Rheingold in concert.

Other new programs at the New York Philharmonic will include the New World Initiative, with a focus on the theme of "home" through performances, education projects, and community outreach, as well as the New York Commissions, featuring world premieres by New York-themed works by New York-based composers including Wynton Marsalis, Sean Shepherd, and Julia Wolfe. Violinist Leonidas Kavakos has been named Artist-in-Residence for the 2016–17 season. Esa-Pekka Salonen will begin the second of his three seasons as Composer-in-Residence and Inon Barnatan will begin his third and final season as the New York Philharmonic's inaugural Artist-in-Association.

"The New York Philharmonic has always been and will always be my musical home," Alan says. "My final season as Music Director — and the Philharmonic's 175th anniversary season — will present music that the orchestra and I love, and will celebrate New York City, our shared hometown. Looking back on my tenure, I am particularly proud that the projects and collaborative approach I introduced in my first season are now woven into the fabric of the Philharmonic. I will always treasure the sense of warmth and family with the musicians of the orchestra: there's nothing better than to share the stage with friends. My final weeks encapsulate some of my musical aspirations, with the final subscription program examining a question I see as crucial to the future: how music can be a positive force in a world faced with crises. It speaks in part to what I hope I have accomplished at this great orchestra — to make music an essential part of this city, our world, and people's lives."

Read more here about what's planned for the New York Philharmonic's 2016-17 season.
"The work, in three continuous movements interrupted only by an extended cadenza, is big and attractive, deeply satisfying in its proportions and contours," wrote the New York Times of Magnus Lindberg's Violin Concerto No. 2, which Alan presented with the New York Philharmonic and Frank Peter Zimmermann in its US premiere. Two months later on February 19, Alan and Mr. Zimmerman take the stage of the Philharmonie de Paris with the Orchestre Philharmonique de Radio France in the French premiere of the work, a co-commission written for the violinist. Also included on the evening's program are two works by Robert Schumann: Manfred Overture and Symphony No. 1, "Spring Symphony". Find tickets and more information here.
24 JANUARY 2016
Alan Gilbert ends January with a visit to Japan, where he leads the Tokyo Metropolitan Symphony Orchestra in three concert halls across the city. January 26 and 27 brings A Ring Synthesis — his own arrangement of selections from Wagner's "Ring" cycle — plus Sibelius's tone poem En Saga and Takemitsu's Twill by Twilight to Suntory Hall and Tokyo Opera City.

Alan then reunites with New York Philharmonic Artist-in-Association Inon Barnatan on January 30 for Beethoven's Piano Concerto No. 3, not long after the duo's performance of this work with the Academy of St. Martin in the Fields and subsequent recording sessions of the full Beethoven piano concerto cycle. The evening's program at the Tokyo Metropolitan Theatre is rounded out by Beethoven's Symphony No. 7. Find tickets and more information here.
14 JANUARY 2016
Alan Gilbert leads the New York Philharmonic and soloist Frank Peter Zimmermann in the US premiere of Magnus Lindberg's Violin Concerto No. 2 — a New York Philharmonic co-commission written for the violinist — Thursday, January 14 through Saturday, January 16 at David Geffen Hall. Also included on the program are Stravinsky's seminal Rite of Spring as well as Respighi's Church Windows, inspired by Italian stained glass.

During Magnus Lindberg's tenure as the New York Philharmonic's Composer-in Residence from 2009 to 2012, Alan conducted many works by the Finnish composer including world premieres of the composer's EXPO, Al largo, Souvenir, and Piano Concerto No. 2 with Yefim Bronfman, plus the Clarinet Concerto with Kari Kriikku and Kraft at Volkswagen's Transparent Factory in Dresden. In October 2015, Alan led the New York Philharmonic in the world premiere of Lindberg's Vivo at Carnegie Hall's opening night gala. Find tickets and more information here.
6 JANUARY 2016
Alan Gilbert leads bass-baritone and New York Philharmonic Artist-in-Residence Eric Owens in songs by Richard Strauss songs — "Ruhe, meine Seele," Op. 27, No. 1; "Cäcilie," Op. 27, No. 2; "Pilgers Morgenlied," Op. 33, No. 4 — and the Final Scene from Act III of Wagner's Die Walküre alongside with soprano Heidi Melton, with performances January 7 through 9 and 12. The program also includes Wagner's Ride of the Valkyries and Sibelius's tone poem En saga, one of several programs this season honoring the 150th anniversary of the Finnish master's birth. At an additional matinee concert on January 9, Alan reprises his "exciting account" (New York Times) of Sibelius's Symphony No. 4, precluded by Grieg's String Quartet performed by New York Philharmonic principal musicians.

"Eric is the quintessential Wotan," says Alan of the bass-baritone, who is widely acclaimed for his mastery of the German Romantic repertoire. "His voice is perfect for the role, and he can bring out its complexity — its heroism, but also its vulnerability. Performing it without staging can be a challenge, but Eric's singing is so expressive that he will bring the character to life through his voice alone. In this he will be helped by the Philharmonic musicians, who can play Wagner's technically difficult passages not only with flair but also with amazing tonal depth. Conducting Wagner with this orchestra is more than a dream-come-true; they have a quintessential way with his music." Find tickets and more information here.
26 DECEMBER 2015
In honor of of the 150th birthday of Sibelius, Alan Gilbert joins the New York Philharmonic for the composer's The Swan of Tuonela, Symphony No. 4, and Finlandia. The evening's program — on December 29 and 30 as well as January 2 — also includes guest soloist Joshua Bell performing Mendelssohn's Violin Concerto. "Sibelius is one of the great 20th-century symphonists, and the 150th anniversary of his birth is an event to be celebrated by orchestras that have been enriched by his music. His music says something very true about all of humanity," says Alan. "The Fourth Symphony is deeply pessimistic and profoundly tragic, and deciding to perform it is a commitment to a very difficult emotional road, but its evocation of a powerfully visceral, emotional landscape is what makes it so astonishing." Find more information about the Sibelius program here.

To close out 2015, Alan conducts the New York Philharmonic's annual New Year's Eve concert. "La Vie Parisienne" includes Artist-in-Association Inon Barnatan and Makoto Ozone performing Saint-Saëns's Carnival of the Animals, which features the world premiere of a new narration written by Laurence O'Keefe and Nell Benjamin and performed by Tony Award-winning actor Nathan Lane. Alan and the New York Philharmonic are also joined by mezzo-soprano Susan Graham — performing works including Edith Piaf's "La Vie en rose" and Offenbach arias — as well as Makoto Ozone for Ravel's Pavane pour une Infante défunte. Find tickets here. "La Vie Parisienne" will be telecast nationally on December 31 by PBS's Live From Lincoln Center, beginning on New York City's WNET at 8pm ET. Check your local listings for more information.
Alan Gilbert makes his debut leading London's Academy of St. Martin in the Fields on December 13, in a program that features Inon Barnatan performing Beethoven's Piano Concerto No. 3. Rounding out the evening are Brahms's Variations on a Theme of Joseph Haydn and Haydn's Symphony No. 90. Find tickets and more information here. Alan then records the complete Beethoven piano concertos with the same soloist and orchestra — marking the first time the ensemble has put the full cycle on disc — before continuing his collaboration with Inon Barnatan in New York, where the pianist serves as the New York Philharmonic's first Artist-in-Association.

During this European visit, Alan also returns to the Sinfonieorchester des Bayerischen Rundfunks on December 10 and 11, leading accounts of Carl Nielsen's Symphony No. 3, "Sinfonia espansiva" with soloists Christina Landshamer and Michael Nagy, Christopher Rouse's Rapture, and Mozart's Piano Concerto No. 24 with Lars Vogt. Find tickets to the December 10 concert here and to the December 11 concert here.
Alan Gilbert leads the New York Philharmonic and a lineup of performers including Christina Aguilera, Chris Botti, Fantasia, Sutton Foster, Bernadette Peters, Sting, Billy Porter, and Kyle Dean Massey in Sinatra: Voice for a Century, a gala concert fundraiser for the new David Geffen Hall on Thursday, December 3. Seth MacFarlane hosts the event, which celebrates the music of Frank Sinatra on the occasion of the American musical icon's 100th birthday and follows David Geffen's $100 million gift to Lincoln Center to lead a complete renovation of the concert hall that now bears his name. Tickets and more information can be found here.
12 NOVEMBER 2015
Back in New York after his debut with the Staatskapelle Dresden and concerts with Hamburg's NDR Symphony, Alan Gilbert conducts the Juilliard Orchestra in their only Carnegie Hall appearance of the season on Tuesday, November 24. Schumann's Manfred Overture and Berg's Three Pieces for Orchestra are paired with A Ring Synthesis, Alan's own arrangement of selections from Wagner's "Ring" cycle, on the Perelman Stage. Alan holds the position of Director of Conducting and Orchestral Studies at Juilliard and is an alumnus of the school's college and pre-college programs. Find tickets and more information here.
Alan Gilbert leads the New York Philharmonic at David Geffen Hall in an all-Mozart program on four consecutive evenings, running Wednesday, November 4 through Saturday, November 7. The Austrian composer's Divertimento in D major, K.136/125a opens the program, followed by the Horn Concerto No. 2, with Principal Horn Philip Myers as soloist. The New York Philharmonic woodwinds then present the magisterial Serenade for 13 Winds, Gran partita. "I am glad to be able to present the Gran partita, which, although performed by a smaller ensemble, is so epic in its scope and so orchestral in its sound quality that it absolutely fills the hall," says Alan. "It truly is a standout masterpiece." Find tickets and more information here.
22 OCTOBER 2015
Following triumphant season-opening concerts with the New York Philharmonic at David Geffen Hall and Carnegie Hall, Alan Gilbert heads to Germany to make his debut with the Staatskapelle Dresden October 23 through 25, followed by concerts with the Hamburg's NDR Symphony October 29 through 31. With both orchestras, Gilbert joins Frank Peter Zimmermann for Shostakovich's Violin Concerto No. 2. In Hamburg, the concerto will be recorded for future album release, when it will be coupled with the Russian composer's First Violin Concerto. This work was also previously captured live in concert with Gilbert, Zimmermann and the NDR Symphony, prompting the Hamburger Abendblatt to praise the "momentum and enthusiasm, perfection and beauty of sound" the conductor inspired.

In his Staatskapelle Dresden debut, Alan also leads Kurtág's Grabstein für Stephan, Op. 15c and Tchaikovsky's Symphony No. 4. Find tickets and more information here. With Hamburg's NDR Symphony, where he has served as Principal Guest Conductor for more than a decade, the program also includes Beethoven's Symphony No. 3, "Eroica". Tickets are available here for the performances in Hamburg on October 29 and 30, and here for the October 31 concert in Bremen.
15 OCTOBER 2015
Alan Gilbert leads Maurizio Pollini and the New York Philharmonic in a one-night-only performance on Friday, October 16. The storied pianist's return to the New York Philharmonic after 21 years features Chopin's Piano Concerto No. 1, the work that launched his career — he played the work when he won the 1960 International Fryderyk Chopin Piano Competition — and the concerto he performed when he made his New York Philharmonic debut in 1969. "I've always felt that Maurizio Pollini is one of history's legends on the piano," said Music Director Alan Gilbert. "If I need a musical pick-up, I listen back-to-back to his recordings of Chopin's Études. It is an incredible honor to be able to perform with him. How great it is for the New York Philharmonic and for our audiences that he is coming here to play this iconic masterpiece." The evening's program also includes Berlioz's Le Corsaire Overture and Tchaikovsky's Romeo and Juliet, Overture-Fantasy. Find tickets and more information here.
8 OCTOBER 2015
October 9 through 11 brings Alan Gilbert and the New York Philharmonic's first residency in Ann Arbor, launching an ambitious five-year partnership with the University of Michigan's University Musical Society that focuses on performances and educational opportunities.

In the opening performance on Friday, October 9, Alan leads Magnus Lindberg's Vivo — which just received its premiere at Carnegie Hall's 125th anniversary Opening Night Gala — and Beethoven's Piano Concerto No. 1 with Artist-in-Association Inon Barnatan as soloist. Beethoven's Symphony No. 7 rounds out the program. The second concert on Saturday, October 10 features Composer-in-Residence Esa-Pekka Salonen's LA Variations and Richard. Strauss's Ein Heldenleben. Learn more about these performances here. Alan delivers a keynote speech on Thursday as part of the residency, reprising his lecture "Orchestras in the 21st Century: A New Paradigm." Focusing on the changing roles of orchestras in the new millennium, this talk was originally delivered in April in London under the auspices of the Royal Philharmonic Society. On Friday, he leads a conducting seminar with University of Michigan students. Alan conducts the New York Philharmonic brass section alongside the Michigan Marching Band — a group of more than 1,000 musicians — at the halftime show of the University of Michigan's homecoming football game on Saturday, October 10.
4 OCTOBER 2015
Alan Gilbert leads the New York Philharmonic in Carnegie Hall's Opening Night Gala Concert on Wednesday, October 7, launching the celebrated hall's 125th anniversary season. The program features the world premiere of Magnus Lindberg's Vivo, a Carnegie Hall co-commission; Tchaikovsky's Piano Concerto No. 1, with Evgeny Kissin as soloist; and Ravel's Daphnis et Chloe Suite No. 2. The performance will be livestreamed by, where it will be available to watch for 90 days free of charge. Listeners can also tune in to a live broadcast by New York City's WQXR, available at 105.9 FM and The coming season marks Gilbert's seventh as Music Director of the New York Philharmonic, where, as the New Yorker observes, he "has made an indelible mark on the orchestra's history and that of the city itself."

More information can be found here.
Opening the New York Philharmonic's 2015-16 season in its newly named home, David Geffen Hall, Alan conducts the orchestra and soloist Lang Lang in a gala concert on Thursday, September 24. Grieg's Piano Concerto and Beethoven's Symphony No. 7 will be nationally telecast that night on PBS's Live From Lincoln Center at 9:00pm ET (check local listings) and broadcast live via WQXR and Find more information about the gala concert here.

Then, in the season's first subscription program the following night on September 25, Alan launches the tenure of new Composer-in-Residence Esa-Pekka Salonen with the composer's LA Variations. Audiences will be introduced to newly appointed concertmaster Frank Huang playing the solos in Richard Strauss's Ein Heldenleben. A repeat performance of this program takes place on Saturday, September 26.

Says Alan of newly appointed Concertmaster Frank Huang, "Strauss's Ein Heldenleben is the best possible way to welcome Frank Huang as the new concertmaster of the New York Philharmonic. There is a subtlety to the art of being a great concertmaster. He or she must be a great instrumentalist — a soloist, a technical wizard — while also being a strong leader and a strong follower, a strong consensus builder, and, at times, a forceful presence. Happily, Frank Huang fits the description." Tickets and more information about these performances can be found here.
Leading three performances at Milan's storied Teatro alla Scala opera house, Alan Gilbert makes his debut with the Filarmonica della Scala on September 15, followed by repeat performances on September 17 and 18. Beethoven's Symphony No. 6, "Pastoral" opens the program, followed by Bartok's harrowing one-act psychological thriller Bluebeard's Castle, sung in concert by John Relyea as Bluebeard and Ildikó Komlósi as Judith. These Italian performances begin a 2015-16 season that sees Alan also make guest conducting debuts with three other European ensembles – the Staatskapelle Dresden, London Symphony Orchestra, and Academy of St. Martin in the Fields. Tickets to the Filarmonica della Scala concerts and more information can be found here.
20 AUGUST 2015
Following a successful run leading the American production debut of George Benjamin's opera Written on Skin in New York, Alan returns to the Santa Fe Chamber Music as this year's Artist-in-Residence.

After conducting Mozart's "Gran Partita" wind serenade on Saturday, August 22, he joins 43 musicians – the largest ensemble ever gathered at the festival for a single work – for a performance of Messiaen's otherworldly Des canyons aux étoiles ("From the Canyons to the Stars") the following night. Inspired by Utah's Bryce Canyon, the French composer's twelve-movement masterpiece draws on a characteristic mix of birdsong, modernist experimentalism, and religious mysticism.

Alan is a favorite guest at the Santa Fe Chamber Music Festival; three years ago, when he helped celebrate its 40th anniversary, the Santa Fe Reporter noted: "For the near-capacity audience, it was love at first hearing. But the grinning, foot-stamping ovation his 16 musicians gave Gilbert? That was the tribute to remember." He has deep ties to the city of Santa Fe; like both his parents, he played in the Santa Fe Opera orchestra, where he served as assistant concertmaster, before becoming the company's first music director in 2003.

Find more information about Alan's Santa Fe Chamber Music Festival performances and buy tickets here.
10 AUGUST 2015
Making his Mostly Mozart Festival debut, Alan Gilbert leads the Mahler Chamber Orchestra in the American production debut of George Benjamin's much-heralded 2012 opera Written on Skin. With a libretto by Martin Crimp and a striking score that showcases a diverse range of instruments — including a glass harmonica, pebbles, viola da gamba, tabla, and mandolins — Written on Skin tells a visceral tale of tale of submission, desire, and liberation. It is the first opera to be presented as part of a new artistic partnership between Lincoln Center and the New York Philharmonic with the aim of staging important new works not yet seen in New York.

Described by the New York Times as a "psychologically gripping, emotionally heart-pounding and viscerally satisfying drama," Written on Skin is inspired by a 13th-century story by Occitan poet Guillem de Cabestany about a rich and powerful landowner in the Provence region of France who commissions a young artist to write a book about his riches and status. The landowner, referred to as "The Protector" in the piece and portrayed by Christopher Purves, invites The Boy (Tim Mead) to stay with him and his wife, Agnès (Barbara Hannigan), so that he might further celebrate his property and legacy. Agnès becomes drawn to the boy, and an affair ensues, with shocking consequences for all parties. The opera features a cast of five, including three Angels who double as the Boy, Agnès's sister Marie (Victoria Simmonds), and Marie's husband John (Robert Murray). The Angels themselves serve to frame the story as a sort of cautionary tale. Crimp also uses a self-narrating device with all of the characters to remind the audience that both the present and the past exist in the piece. This production, directed by Katie Mitchell, further explores the connection between the three main characters and the Angels as interplay between our world and days gone by.

More information about Written on Skin, which will be presented on August 11, 13, and 15 at Lincoln Center's David H. Koch Theater, can be found from Mostly Mozart and the New York Times.
26 JULY 2015
Returning to Bravo! Vail in Colorado with the New York Philharmonic for the orchestra's 13th annual summer residency, Alan conducts three concerts at the festival's outdoor Gerald R. Ford Amphitheater, including an all-American program and works by Mendelssohn, Mahler, Mozart, and Shostakovich.

Wednesday, July 29 features Mendelssohn's Violin Concerto, with Midori as soloist, followed by Mahler's Symphony No. 5. The next evening's program on Thursday, July 30 includes Barber's The School for Scandal Overture; Copland's Appalachian Spring Suite; Leroy Anderson's Fiddle-Faddle; Rodgers's The Carousel Waltz; Bernstein's West Side Story Concert Suite No. 1, performed by soprano Julia Bullock and tenor Ben Bliss; Gershwin's Lullaby; and Sousa's The Washington Post. The New York Philharmonic's residency culminates with a final concert on Friday, July 31 of Mozart's Sinfonia concertante for Violin and Viola, with Acting Concertmaster Sheryl Staples and Principal Viola Cynthia Phelps as soloists, and Shostakovich's Symphony No. 10.

More information about Alan's summer performances at Vail can be found here.
17 JULY 2015
Alan Gilbert has been nominated for the 2015 Emmy Award in Outstanding Music Direction for his role as as Conductor and Music Director of Stephen Sondheim's grisly thriller Sweeney Todd: The Demon Barber Of Fleet Street, broadcast nationwide by PBS's Live From Lincoln Center on September 26, 2014. The Academy Award-winning actress Emma Thompson has also received a nomination for her performance as the vengeful baker Mrs. Lovett in the category of Outstanding Lead Actress In A Limited Series Or A Movie. The production has also been nominated for the Outstanding Special Class Program award.

The New York Philharmonic's production of the Tony and Drama Desk Award-winning musical was met with a chorus of critical praise. Said New York Magazine, "Alan Gilbert has already shown that the Philharmonic can be the best opera company in town; now he's put Broadway on notice, too." Bryn Terfel starred as the title character alongside Emma Thompson, telling the story of the eponymous barber who seeks vengeance on what he sees as a merciless world by murdering his customers and, with the help of his landlady, bakes their bodies into meat pies, which are fed to London's avid and unknowing populace.

The 67th Emmy Awards will take place on Sunday, September 20 at 8pm ET and 5pm PT, airing live on in the US on FOX. More info is available here.

3 JULY 2015
Alan Gilbert travels to Shanghai in July to kick off the four-year Shanghai Orchestra Academy and Residency Partnership, a joint endeavor of the New York Philharmonic and Shanghai Symphony Orchestra that was launched in 2014. In the first of four performances, he conducts an all-American program featuring works by Barber, Copland, Bernstein, Gershwin, and Sousa — including Bernstein's West Side Story Suite for violin and orchestra, with Joshua Bell as soloist — on July 4 at Shanghai Symphony Hall followed by a repeat of the program July 6 at the Shanghai Poly Grand Theatre. Two more concerts at Shanghai Symphony Hall follow: a Young People's Concert on July 9, titled Journey to New York and celebrating music composed in and about New York; and a performance featuring Mozart's Piano Concerto No. 14 with soloist Emanuel Ax and Mahler's Symphony No. 5 on July 10.

The Shanghai Orchestra Academy and Residency Partnership is a program of the New York Philharmonic's Global Academy, a series of customized collaborations with partners worldwide that offer intensive training of pre-professional musicians by members of the New York Philharmonic. More information about this summer's Shanghai residency — during which New York Philharmonic musicians also take part in educational activities including masterclasses, lessons, and coachings — can be found here.

17 JUNE 2015
Kicking off the 50th anniversary of the New York Philharmonic's Concerts in the Parks, the annual series of free outdoor performances that has been enjoyed by more than 14 million concertgoers since it was introduced in 1965, Alan leads a free concert tonight at the Great Lawn in Manhattan's Central Park with soloist Joshua Bell. The all-American program features the violinist performing the suite from Bernstein's West Side Story, plus performances by the orchestra of Barber's The School for Scandal Overture, Gershwin's Lullaby, Copland's Appalachian Spring, Leroy Anderson's Fiddle-Faddle, Rodgers's The Carousel Waltz, and Sousa's The Washington Post.

Repeat concerts take place at Cunningham Park in Queens on June 22 and at the Bronx's Van Cortlandt Park on June 23, at which the Bernstein work will be replaced by his West Side Story Concert Suite No. 1 with soprano Julia Bullock and tenor Ben Bliss as soloists. All three concerts will be followed by a fireworks show by Bay Fireworks. Charles Dutoit leads two more concerts as part of the Concerts in the Parks series, first at Central Park's Great Lawn on June 18 and then at Brooklyn's Prospect Park on June 19, both performances boasting a Franco-Russian program.

More information about this year's 50th anniversary season of Concerts in the Parks can be found here. Crowdsourcing Memories: 50 Years of the Philharmonic in New York City's Parks, an online portal through which the public can share their personal Concerts in the Parks memories, can be visited at

2 JUNE 2015
The final recording and complete four-CD box set of the Nielsen Project, Alan and the New York Philharmonic's acclaimed multi-season survey of the six symphonies and three concertos by Danish composer Carl Nielsen, is being released worldwide on June 9 in celebration of the composer's 150th birthday. The new recording features live recordings of the composer's three concertos, with Principal Flutist Robert Langevin, Principal Clarinetist Anthony McGill, and violinist Nikolaj Znaider as soloists. "Sensational music, superbly played, and a fitting conclusion to an impressive new Nielsen cycle," exclaimed the Arts Desk.

Released on the Dacapo and distributed by Naxos, the box set also includes a recording of Nielsen's Symphony No. 2, The Four Temperaments, and Symphony No. 3, Sinfonia espansiva, which was selected by the New York Times as one of the Best Classical Music Recordings of 2012; 2014's release of Symphonies No. 1 and No. 4, The Inextinguishable; and early 2015's Symphony No. 5 and Symphony No. 6, Sinfonia semplice. A devotee of the Danish composer, Alan Gilbert launched the Nielsen Project in the 2010–11 season. More information is available at

Alan will be interviewed from the stage by WWFM's David Osenberg at a launch party on June 15 celebrating the new releases at New York's SubCulture. Co-presented by the New York Philharmonic, Dacapo Records, and the Consulate General of Denmark, the event will also include performances by Robert Langevin and Anthony McGill, additional New York Philharmonic musicians, the Nightingale String Quartet, and DJ Katrine Ring. Tickets and more information about the celebration can be found here.

1 JUNE 2015
To close out the New York Philharmonic's 2014-15 season, Alan Gilbert takes the podium for the U.S. premiere of Côme de Bellescize's staged treatment of Honegger's Joan of Arc at the Stake. A depiction of the French martyr's final moments, the dramatic oratorio is, Gilbert believes, "probably Honegger's greatest work." In the hands of award-winning French director de Bellescize, it places Joan on a platform at the heart of the orchestra, where she recalls her life through a series of flashbacks. French movie icon Marion Cotillard, who considers the role "one of my greatest experiences as an actress," was pronounced "captivating" (Public magazine, France) as Joan when she toured France with the production, following its debut at Seiji Ozawa's Saito Kinen festival in 2012. Cotillard heads a strong cast that also features members of the Comédie-Francaise. Performances run June 10-13. Find tickets and more information here.

24 MAY 2015
On Monday, May 25, Alan Gilbert leads the New York Philharmonic in the orchestra's 24th Annual Free Memorial Day Concert at the Cathedral Church of Saint John the Divine, a tradition was begun in 1992 as a gift to the people of New York City. This year's program includes Beethoven's Egmont Overture as well as Shostakovich's tragic and powerful Symphony No. 10, of which Alan and the orchestra gave a "wrenching, blazing and vehement account" (New York Times) last month at Avery Fisher Hall and toured during EUROPE / SPRING 2015. Seating is on a first-come, first-served basis; tickets will be handed out at 6pm on the day of the performance at the Cathedral Church of Saint John the Divine. The concert, which will be presented without an intermission, begins at 8pm. Audio of the performance will be broadcast onto the adjacent Pulpit Green, weather permitting. Find more information here.

22 MAY 2015
Alan Gilbert has been presented with the Foreign Policy Association Medal, an honor recognizing individuals who demonstrate responsible internationalism and who are working to expand public knowledge of international affairs. At the Foreign Policy Association's Annual Awards Dinner at the Pierre Hotel on May 21, Alan was honored alongside two other distinguished honorees, Columbia University President Lee C. Bollinger and Louis Bacon, who serves as Moore Capital Management Founder, Chairman and CEO as well as LP and President of the Moore Charitable Foundation, Inc.

As the principal public forum in New York City for foreign policy addresses, the Foreign Policy Association's annual meetings program and World Leadership Forum gives members access to discussion and debate on critical issues facing America today. With support from The Moore Charitable Foundation, the FPA has also convened a Task Force on Climate Change to make recommendations for a North American strategy to abate global warming and make climate change a priority for U.S. foreign policy. Past recipients of the Foreign Policy Association Medal include the former New York City Mayor Michael Bloomberg, former US Secretary of the Treasury and Federal Reserve Bank of New York Chairman Timothy Geithner, and former Australian Prime Minister Kevin Rudd.

19 MAY 2015
In his only appearance with the Juilliard Orchestra this season, Alan Gilbert leads the ensemble's annual commencement concert featuring the Juilliard School's graduating class of instrumentalists at Alice Tully Hall on Thursday, May 21. The program include Richard Strauss's Don Juan and Beethoven's Symphony No. 7 in A Major. Alan will also be the speaker at the Juilliard School's Pre-College Commencement Ceremony, which will be held on Saturday, May 23 in Juilliard's Peter Jay Sharp Theater. He holds the position of Director of Conducting and Orchestral Studies at Juilliard and is an alumnus of the school's college and pre-college programs.

Tickets to the Juilliard Orchestra's Commencement Concert are available only for Juilliard students, faculty and staff. Find more information here.

15 MAY 2015
Alan Gilbert's lecture "Orchestras in the 21st Century; a new paradigm", which was delivered on April 15 in London under the auspices of the Royal Philharmonic Society's annual lecture series, is available to read online and may be downloaded here.

According to the New York Times, the presentation "touched on the changing roles being embraced by some orchestras as they adapt to new challenges, the importance of forging connections with audiences and communities and how to keep expanding the repertoire with new music without alienating audiences." Alan illuminates his points with descriptions of ways in which the New York Philharmonic has evolved under his leadership and mentions other innovative ensembles including the Detroit Symphony Orchestra, Louisville Orchestra, and Manchester Camerata.

"The growing-pains of this seismic shift have led to there being two competing choruses: the chorus of 'Things must change' and the chorus of 'Things must stay the same,' " Alan says. "It's a little bit like the Matthew Passion gone wrong. However it's also a bit of an artificial conflict, since clearly things must adapt while we at the same time fight to preserve much of what has characterized orchestras for centuries."

An edited version of the lecture is also available from the Guardian.

5 MAY 2015
Following their recent return from a seven-city tour across Western Europe in late April, including a residency at London's Barbican Centre and the first performances by a US orchestra at the newly opened Philharmonie de Paris, Alan Gilbert and the New York Philharmonic reprise two programs from their trip at Avery Fisher Hall.

On May 6, Alan leads a trio of master works, all of which date from 1911: Ravel's Valses nobles et sentimentales, Richard Strauss's Der Rosenkavalier Suite, and the original version of Stravinsky's Petruskha. Of their performance of these works at the Barbican Centre, "an adrenaline boost for musical life in London," the UK's Arts Desk observed that "the orchestral playing here was excellent, Ravel's full spectrum of tone colours projected in dazzling clarity. ... joie de vivre of each ensuing waltz [in the Rosenkavalier Suite], it was hard not to feel that Gilbert and his New York players had fully captured the spirit of the opera."

The first American performances of Peter Eötvös's Senza sangue on May 8 and 9 follow on the heels of its world premiere in Cologne. Both premieres feature Grammy Award-winning mezzo Anne Sofie von Otter and baritone Russell Braun. Juxtaposed with Schubert's "Unfinished" Symphony in the upcoming concerts, the Hungarian composer's new opera is the latest in a string of important new works that Gilbert and the Philharmonic have commissioned, premiered, and championed.

23 APRIL 2015
APRIL 25 PHILHARMONIE DE PARIS CONCERT WITH NEW YORK PHILHARMONIC AND JOYCE DIDONATO WEBCAST LIVE ON MEDICI.TV will present a free webcast of a Alan's April 25 concert with the New York Philharmonic and mezzo-soprano Joyce DiDonato live from the Philharmonie de Paris. The performance, one of twelve as part of the New York Philharmonic's EUROPE / SPRING 2015 tour, will include Esa-Pekka Salonen's Nyx, Ravel's Shéhérazade (with DiDonato as soloist) and Valses nobles et sentimentales, plus Richard Strauss's Suite from Der Rosenkavalier. Starting at 2:30pm EDT, this will be the first appearance by an American orchestra at the acclaimed new Parisian venue, now in its inaugural season.'s webcast will be available free to audiences worldwide for 90 days after the initial live showing. Find more information here.

15 APRIL 2015
Alan Gilbert takes the New York Philharmonic on their eighth international tour together this month when they embark on EUROPE / SPRING 2015. From April 15 through May 1, they make visits to Dublin, London, Amsterdam, Luxembourg, Paris, Frankfurt, and Cologne, juxtaposing canonical masterworks with a theatrical collaboration, the world premiere of a new commission, and other examples of key initiatives introduced during Alan's tenure.

Alan kicks off the tour on April 15 with the annual Royal Philharmonic Society Lecture, speaking on "Orchestras in the 21st Century; a new paradigm" at London's Guildhall School of Music & Drama. Along with the New York Philharmonic, he presents Giants Are Small's theatrical reimagining of Stravinsky's Petrushka during a residency at London's Barbican Centre under the auspices of its International Associates initiative. Other tour highlights include the orchestra's first visit to Dublin in 19 years; accounts of Ravel's Shéhérazade with Joyce DiDonato and of Esa-Pekka Salonen's Nyx; the world premiere of Peter Eötvös's one-act opera, Senza sangue, starring Anne Sofie von Otter and Russell Braun; performances at the newly opened Philharmonie de Paris, which will be webcast live by; and Alan hosting a concert of highlights from the Philharmonic's recent concerts as part of CONTACT!, the new-music series.

Says Alan, "I am thrilled to be going back to Europe with the New York Philharmonic, playing music that the orchestra can perform with such flair and brilliance. There are a number of highlights that I'm looking forward to. Bringing Doug Fitch's Petrushka project to London is definitely one of them, and so is playing French music in Paris, where we will perform Ravel's Shéhérazade with Joyce DiDonato and Debussy's Jeux. I love that we're going back to Luxembourg and Frankfurt. Cologne will be special, as we will be presenting the world premiere of Peter Eötvös's Senza Sangue. It's not common for an orchestra to play a piece for the first time on tour, and mezzo Anne Sofie von Otter and baritone Russell Braun will be joining us for the debut of this one-act opera in the marvelous Kölner Philharmonie."

Follow the tour and find more information here.

[View older entries]
9 June 2017Financial Timesread more
New York Philharmonic/Gilbert, Geffen Hall, New York — passion and precision

Gilbert turned super-serious with a suave yet gutsy performance of Mahler's Seventh Symphony. Lasting nearly 90 minutes, it was ferocious one moment, dreamy the next, just as the composer prescribed.

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9 June 2017New York Classical Reviewread more
From Ma to Mahler, Gilbert concludes Philharmonic tenure with friends old and new

Once again this was a chance to hear the conductor's great strength in holding the long view and seeing that everything supported it. His pace throughout was deliberate not lethargic, the music unfolding and putting itself together in front of the listener.

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8 June 2017Vultureread more
On Alan Gilbert's New York Philharmonic, and Why It Mattered

Gilbert gave each of these events an intimate physicality: When the orchestra galloped, you could feel the heat rising from its haunches.

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7 June 2017Opera Wireread more
New York Philharmonic 2016-17 Review: Alan Gilbert Says Goodbye With a Grandiose 'Das Rheingold'

Since Gilbert has been leading the Philharmonic, there has been a sense of rejuvenation as the orchestra is now playing with more energy and force than audiences had seen in years and that was demonstrated on the final performance of "Das Rhiengold."

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2 June 2017New York Timesread more
Review: The Philharmonic Makes Wagner's Gods Chillingly Human

So nothing stands in the way of an extraordinary — indeed, flawless — young Anglo-American cast. Mr. Owens lends weary, granitic power, but the moral — that is to say, amoral — center is provided by Christopher Purves, who plays the bitter, grasping Alberich as chillingly human.

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31 May 2017New York Timesread more
Alan Gilbert Made the New York Philharmonic 'a Bigger Box'

...Mr. Gilbert has expanded the mind-set of the Philharmonic — the major legacy of his tenure. His artistic priorities now seem embedded in the orchestra's identity. It must champion contemporary music. It must foster associations with living composers and maintain the composer-in-residence position...

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4 May 2017New York Classical Reviewread more
Gilbert and Philharmonic provide a searing, uplifting night with Schoenberg, Beethoven

The orchestra played with an exceptionally warm sound and blend, with individual voices and statements floating above the textures. Gilbert's attention to phrasing and form added an elegance to the middle two movements. The trio in the scherzo and the cantabile section of the slow movement took notable shape and emphasis by emerging out of the cornucopia of ideas and reveries in the music.

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2 April 2017The Guardianread more
New York Philharmonic/Gilbert review – a measured approach to heavenly visions

...the orchestra's luminous strings, pristine woodwind, vibrant brass and dashing percussion underpinned Gilbert's realisation of Mahler's complex and rewarding vision.

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2 April 2017Bachtrackread more
New York Philharmonic opens its residency with polished Bartók and Mahler

The third movement of Music for Strings, Percussion and Celesta was a revelation, conjuring up an image of walking through a graveyard at night as the skeletons below ground spring to life, before dying away again into nothingness.

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1 April 2017The Arts Deskread more
Landshamer, New York Philharmonic, Gilbert, Barbican

...there were many moments of magic, especially in the last two movements, welcome reminders of the orchestra's considerable form with this music.

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10 March 2017New York Timesread more
Review: John Adams Wrestles the Ghosts of His Musical Fathers

In "Harmonielehre," a gleamingly confident work completed in 1985, Mr. Adams's influences are absorbed more fluidly without the clean-edged quotations of "Absolute Jest." Structured in three parts, with an achingly beautiful slow movement at the center, it's a tour de force of Technicolor orchestration and ample melodicism....

Under the careful stewardship of Mr. Gilbert, the Philharmonic played it with passion and elegance. The ensemble's sound in Part 2, where a high fluted trumpet floats above languid strings, carried with it the memory of Mahler's Fourth Symphony, which the orchestra played the previous week. As the melody seemed to climb and climb, tone colors grew ever brighter, with metallic reflections bouncing off the vast sea of thick-flowing strings.

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2 March 2017New York Classical Reviewread more
Gilbert, Philharmonic at their finest in Mahler, Auerbach premiere

Gilbert's unusual level of animation on the podium seemed to indicate how involved he was in the music making. But nothing was overdone or mannered, the pace was ideal throughout, leisurely and bucolic as per Mahler's tempo markings, with finely judged modulations and devotion to every marking in the score. The orchestra played phrases all the way through, with attention to each grace note, adjustment in bowing, 16th note rest, or expressive hesitation—all the things that matter in Mahler.

Best of all was the sound. Mahler was the greatest orchestrator, and to play him honestly means capturing his sound. Other of his symphonies have more astonishing effects, but the Fourth has the finest orchestration throughout, every bit of it expressing a sense of strangeness like nothing else in classical music. The Philharmonic's sound was wonderful, from the four flutes who played with one unified color, to concertmaster Frank Huang's keening scordatura violin in the second movement.

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2 March 2017New York Timesread more
Review: The New York Philharmonic Plays a Piece Inspired by Night

Ms. Auerbach's rich harmonic language and feeling for color came through vividly when the music shifted into a pastoral, lilting stretch. Fidgety stirrings in the violin hovered over plush orchestra chords, until those chords splintered into clusters of piercing high tones.

Other episodes turned frantic, with dizzying outbursts from the violin — trying to escape, it seemed, an ominous, enveloping orchestra. For all the pungent sonorities and eerie atmosphere, stretches of the piece had playful charm, with rippling marimba figures and, best of all, the angelic sounds of a musical saw, played here by Dale Stuckenbruck. Who needs electronics when you have this strangely alluring instrument?

After intermission Mr. Gilbert conducted an impressively played and sensitive account of Mahler's Fourth Symphony...Mr. Gilbert reconciled the disparate elements into a glowing, sunlit performance. Even the scherzo, with its demonic tinge, had an innocent character. The melancholic slow movement was played with great breadth and radiant string sound. And Christina Landshamer brought a sweet soprano voice to the final movement, a setting of the poem "Das Himmlische Leben," a child's naïvely poignant vision of heavenly life.

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March 2017BBC Music Magazineread more
Shostakovich: Violin Concertos 1 & 2: BBC Music Magazine's "Best of the Month" for March, 5-star review

BBC Music Magazine: "[these recordings] stand out as formidable achievements. They match technical mastery at the highest level with profound insight. No less impressive is the compelling interaction between Zimmermann and the excellent NDR Elbphilharmonie under Alan Gilbert, a crucial component in music that is so symphonic in design"

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14 November 2016Financial Timesread more
Porgy and Bess, La Scala, Milan — 'No weak links'

La Scala has fielded a cast with no weak links. Chauncey Packer's Sportin' Life pushes "Happy Dust" with winning pizzazz. Mary Elizabeth Williams's Serena and Lester Lynch's Crown were faultless. Alan Gilbert pulled the tempo around indulgently, beaming from ear to ear. Has La Scala ever witnessed a conductor having so much fun? [Five stars]

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4 November 2016 New York Times read more
Just Why Does New Music Need Champions?

A new generation of performers and composers, especially some idealistic conductors who hold influential posts at major orchestras, are talking up the adventurousness of new music, without overpromising. They're simply presenting all the strange, wild new pieces that excite them and letting audiences see what they think. If a new piece baffles you, even bothers you, what's wrong with that? Welcome to modern art. Embrace the experience.

This is precisely the attitude the conductor Alan Gilbert has tried to convey as music director of the New York Philharmonic. He presents major modern and contemporary scores not as the next monuments of music history, but as exhilarating in-the-moment opportunities — for example, the ingeniously staged, sold-out run of Ligeti's bleakly satirical opera "Le Grand Macabre" during his first season. (His tenure ends in the spring.) When Mr. Gilbert introduced the NY Phil Biennial in 2014, he modeled that two-week festival on the Venice Biennale, where what's going on in international art is simply put on display for the curious to look at, enjoy or argue about. The NY Phil follow-up last spring was as diverse and full as the first.

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22 October 2016Leipziger Volkszeitungread more
Through Light into Darkness

Because of the musical journey Bartok uses [in Bluebeard's Castle], scenery is basically not required, provided you have the emotion, violence, narrative and sensitivity of the Gewandhausorchester under Gilbert... This performance was as grand as it was precise. These two things were emphasized by Gilbert and the ensemble, which painted the luminous and bright colours of Bartók's score. The energy never sagged, not even for a second.(translation from German)

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16 October 2016Office for the Arts at Harvardread more
Cosmic Hum

"While I think a lot about practical elements of conducting, in terms of how to motivate people to play well and within a certain artistic vision, at the end of the day it really is all about the story," said Gilbert.

For Beethoven's 9th Symphony, the story lies both in the music itself and in the composer's personal experiences. Both Gilbert and Kelly walked the class through the symphony's cryptic departures from traditional form. For instance, the fast scherzo movement precedes the slow adagio movement, and Beethoven's overall style begins to abandon a clear structure, resembling a stream-of-consciousness style known as through-composed.

Gilbert also pointed to a specific section in the symphony where the timpani are not tuned to the rest of the orchestra, creating a shocking dissonance. Many orchestras today modify the timpani tuning so that it sounds more pleasant, which "takes out the blood and guts from the music," he said. "Life is not that sanitized, and I think Beethoven was really writing about life."

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6 October 2016NYC-ARTSread more
NYC-ARTS Profile: Alan Gilbert

In conversation with Paula Zahn about this farewell season at the New York Philharmonic, upcoming performance highlights, and the role of orchestras in the 21st century.

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20 July 2016Santa Barbara Independentread more
Academy Festival Orchestra with Alan Gilbert: Music Academy Orchestra Revels in Works by Berg, Beethoven

How is it possible that the most exciting musician in America right now performs without making a sound? That's easy — Alan Gilbert is a conductor. ...Through a combination of period practice in the seating of the strings and a tempo that was steady and forceful without being overly fast, Gilbert brought these excellent young musicians together in a thoroughly joyous achievement in music making. The juxtaposition of Beethoven's second movement, marked "Marcia funebre: Adagio assai" with the recent memory of Berg's third movement "Marsch" called forth a seemingly endless set of thoughts and ideas about not only symphonic music but also the role of conflict in history and the future of Europe. It's hard to imagine a more pertinent form of musical expression for today, and the spirit with which it was performed made this evening unforgettable.

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6 July 2016Associated Pressread more
Summer Symphony: NY Philharmonic in Central Park (360 video)

Experience the view from the conductor's podium yourself in 360 degrees at a New York Philharmonic concert on Central Park's Great Lawn.

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27 June 2016New Yorkerread more
Map of the New

Gilbert's record with new music is unambiguously formidable, rivalling that of Leonard Bernstein and Pierre Boulez, the two great visionaries in Philharmonic history. Indeed, Gilbert may have been a more persuasive advocate than either of them, since, not being a composer himself, he could not be accused of serving his own agenda...

Steven Stucky's Second Concerto for Orchestra, which won the 2005 Pulitzer Prize but had never been played in New York ... has the exuberance of the great American symphonies of the mid-twentieth century, its swaggering brass choirs and lunging string melodies well suited to the Philharmonic's muscular sound. Gilbert conducted it as if it had been in the repertory for a hundred years. As the Biennial came to a triumphant end, I wondered again, Why is this man leaving?

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20 June 2016Peopleread more
12 Powerful Musical Tributes to the Pulse Nightclub Victims

New York Philharmonic: Instead of the opening piece scheduled to kick-off their annual free concert, the Philharmonic performed Barber's poignant "Adagio for Strings" for a packed Central Park crowd.

"It's a joyous occasion when we can all gather on such a wonderful night, unfortunately the entire country is suffering in the aftermath of the horrific attacks in Orlando a few days ago," music director Alan Gilbert told the audience of 50,000. "The musicians of the New York Philharmonic and I would like to perform Barber's Adagio for Strings instead of the scheduled Rossini overture and we would like to dedicate the concert not just to the memory of the victims, but to the idea that we are all part of a shared humanity."

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17 June 2016New York Timesread more
The New York Philharmonic Pays Tribute to Orlando

The scene always feels festive when the New York Philharmonic presents its annual free concerts in the city's parks. But as Alan Gilbert, the Philharmonic's music director, said in welcoming the crowd of some 50,000 on the Great Lawn in Central Park on Wednesday for the summer series's opening, the "entire country is suffering in the aftermath of the horrific attacks" at a gay nightclub in Orlando.

He and the musicians dedicated the concert "not just to the memory of the victims," but also to "the idea that we are all part of a shared humanity." In place of the scheduled opening work, a Rossini overture, Mr. Gilbert conducted Barber's solemnly beautiful Adagio for Strings. It felt consoling to be amid tens of thousands of New Yorkers listening to a beloved work by an American master. That Barber was openly gay lent further resonance to the moment.

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13 June 2016The Wall Street Journalread more
'Conjurer' by John Corigliano and 'Switch' by Andrew Norman: Reviews

Mr. Gilbert brought insight and precision to this finely crafted, 35-minute score. The first section, Cadenza I: Wood, was more cohesive and exciting than David Alan Miller's recording for Naxos with Ms. Glennie and the Albany Symphony, thanks in part to Mr. Grubinger's astonishing ability to perform at high velocity while maintaining beauty of tone.

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12 June 2016New York Timesread more
Review: NY Phil Biennial's Ambitious Wrap-Up, From Boulez to Bolcom

Mr. Boulez was acknowledged with a performance of "Messagesquisse" for Solo Cello and Six Cellos, music of wondrous precision and vibrant colors, featuring the cellist Eric Bartlett. Then the Philharmonic presented the belated New York premiere of Mr. Stucky's Second Concerto for Orchestra, which was awarded the 2005 Pulitzer Prize for Music. This dazzling 27-minute score explores the sonic capacities of the orchestra with bracing imagination and sizzling energy. Under Mr. Gilbert, the Philharmonic gave an electrifying performance.

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10 June 2016New York Timesread more
10 Things to Do Now in NYC

As a child, Alan Gilbert, whose parents were violinists with the New York Philharmonic, loved attending the orchestra's popular, free outdoor concerts in the city's parks. As he enters his final season as music director, Mr. Gilbert leads the Philharmonic in two programs in Central Park to start this summer's tour. Wednesday's features the superb clarinetist Anthony McGill in Mozart's Clarinet Concerto, and on Thursday, it's Beethoven's "Eroica" Symphony.

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7 June 2016Financial Timesread more
New York Philharmonic/Gilbert, Met Museum, New York — review

Undeniable star power supplanted mere ensemble virtue in the complicated concerto, with Pekka Kuusisto making the impossible solo challenges seem rapturously easy, and Gilbert beating time efficiently while providing careful cues for a Lucerne alumni band. The seemingly selfless, profoundly gifted maestro, not incidentally, will soon abandon his Philharmonic post, for reasons still unclear. He will be missed.

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6 June 2016Wall Street Journalread more
'The Importance of Being Earnest' Review: A Wilde and Crazy Opera

We can thank the New York Philharmonic and its soon-to-depart music director, Alan Gilbert, for bringing some of the most imaginative opera events of recent years to New York.

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21 April 2016New York Timesread more
Review: The Grandeur of Sibelius and Mahler at the New York Philharmonic

Sibelius thought of calling this work a "Fantasia sinfonica." The score abounds in rustic heartiness and the "joy of life" Sibelius spoke of. ... These qualities came through in the vibrant performance Mr. Gilbert drew from the Philharmonic players, which balanced glowing sound and gnashing intensity, and animated every disruptive turn while somehow projecting the symphony as a cogent narrative.

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21 April 2016New York Classical Reviewread more
Gilbert, Philharmonic find cosmic balance with Mahler, Sibelius

The juxtaposition and pairing of Sibelius' Symphony No. 7 and Das Lied Von Der Erde from Mahler is immediate; two later masterpieces that distill each composer's art and are full of mystery. With Alan Gilbert conducting, and tenor Stefan Vinke and baritone Thomas Hampson singing the Mahler, the music-making was skillful, beautiful, and deeply moving.

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4 April 2016Evening Standardread more
London Symphony Orchestra and Alan Gilbert, tour review

It's taken a long time for the London Symphony Orchestra to book New York-based conductor Alan Gilbert, but to judge from his debut concert, a long-term relationship seems likely. His programme included Sibelius's Third Symphony, home turf for the LSO, whose principal conductors have included the late Colin Davis, a magnificent Sibelius interpreter.

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24 March 2016WQXRread more
Maximum Messiaen: A 24-Hour Marathon with Alan Gilbert

Stream audio insights on-demand from Messiaen champion Alan Gilbert as part of Q2 Music's Maximum Messiaen, a 24-hour marathon stream of the composer's expansive, intimate and uniquely spiritual music hosted by Phil Kline.

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23 March 2016WQXRread more
Listen: Messiaen's 'Quartet for the End of Time' with New York Philharmonic All-Stars

Recorded live at the Metropolitan Museum of Art's Temple of Dendur on March 13 as part of the New York Philharmonic's Messiaen Week, this all-star performance features the philharmonic's principal clarinetist and cellist, Anthony McGill and Carter Brey, respectively, alongside music director Alan Gilbert in a rare appearance as violinist. Pianist Inon Barnatan, who is currently the philharmonic's artist-in-association, fills out the foursome.

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4 March 2016The Plain Dealerread more
Cleveland Orchestra thrives in eclectic program under former assistant Alan Gilbert (review)

One can take the man out of the Cleveland Orchestra but not the Cleveland Orchestra out of the man. Such, at least, seems to be true in the case of Alan Gilbert, guest conductor this week at Severance Hall.

Leading the group he once served as assistant Thursday, the music director of the New York Philharmonic fell right back into place, evincing levels of comfort and mutual understanding enjoyed only by the initiated. His history here doesn't explain the successes he had with Schumann, Dvorak and Nielsen, but it certainly contributed.

To pronounce another official-sounding rule: one doesn't simply show up at Severance Hall and deliver the kind of searing, well-paced, and deeply organic performance of Nielsen's "Inextinguishable" Symphony No. 4 Gilbert gave Thursday. Such a feat demands a cultivated relationship.

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17 February 2016New York Timesread more
2015 Spring Highlights: Making Musical Connections

Few of Alan Gilbert's initiatives as the New York Philharmonic's music director have been as ambitious, and as successful, as the NY Phil Biennial. It's not just an extended immersion in contemporary music — that would be admirable enough — but also an endeavor that connects the orchestra with a range of spaces and cooperating organizations.... It all promises to be a welcome burst of energy, as well as a fond farewell for Mr. Gilbert, a few months before his final season as music director begins.

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11 February 2016Charlie Rose Showread more
Alan sat for an hour-long interview with Charlie Rose, which was broadcast nationwide on PBS.

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4 February 2016New York Classical Reviewread more
Gilbert's final Philharmonic season looks to be a year of transition

At a press conference in the Rubinstein Atrium at Lincoln Center, Gilbert remarked on what will be his final season as music director. "I like the idea of combining older and newer works," he said, and the season draws a consistent, continuous line from the past to the present and through to the future. There will be four world premieres and almost a dozen American or New York premieres, with almost all the new works appearing in juxtaposition with older music.

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3 February 2016New York Timesread more
New York Philharmonic Announces Its 175th-Anniversary Season

"There were years where it wasn't quite clear what the Philharmonic stood for," Mr. Gilbert said in a telephone interview. "It's always been a great orchestra, but probably the thing I'm most proud of is the central place in the musical dialogue that I think the New York Philharmonic is unquestionably occupying now."

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27 January 2016New Yorkerread more
The New York Philharmonic Makes Its Choice

The Gilbert era, which will end in the spring of 2017, has been the most intellectually lively in the recent history of the orchestra. The engagement of Salonen as composer-in-residence is typical of Gilbert's spirit: unconcerned with being overshadowed, he has made his colleague a partner in an expansive, modern-minded vision. During a Messiaen week in March, Salonen will conduct the "Turangalîla Symphony," while Gilbert will play the violin part in the "Quartet for the End of Time." Later that month, Gilbert will present the local première of Salonen's riotous choral-orchestral work "Karawane," and in June, as part of the new-music Biennial, he will introduce a Salonen piece for orchestra. From week to week, Gilbert has fashioned programs that have news value and that add to the sum of knowledge. He has kept alive Boulez's vision of a "musical life that is part of genuine culture." Enjoy it while it lasts.

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16 January 2016New York Classical Reviewread more
Old worlds collide and make the strongest impact with Gilbert, Philharmonic

Placed not side by side but as bookends to another opus, the odd couple made great sense, with conductor Alan Gilbert going all in and eliciting impassioned, fully invested accounts of both works as well as the newer entry: the U.S. premiere of Magnus Lindberg's Violin Concerto No. 2, a Philharmonic co-commission.

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15 January 2016New York Timesread more
Review: The New York Philharmonic Offers Works by Modern Masters

The program closed with Stravinsky's "Rite of Spring," a blockbuster that Mr. Gilbert has made a specialty in recent years, with the Philharmonic and the Juilliard Orchestra. His affinity tells, and he conducted a white-hot performance here, with every yawp and shriek given its due. Judith LeClair, the principal bassoonist, was wonderful at the start and throughout, but this was a tour de force for the whole orchestra and Mr. Gilbert.

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6 January 2016WQXRread more
9 'Mozart in the Jungle' Scene-Stealing Cameos from Season 2

8. Though he's not identified by name, it's a pleasure to see New York's home-town conductor Alan Gilbert refereeing squabbles between classical music superstars and piling into a photo booth. We suspect that the maestro didn't get a larger role to avoid any confusion between the real New York Philharmonic and the fictional symphony.

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6 January 2016Wall Street Journalread more
Conductor, Composer Pierre Boulez Dies at 90

"Pierre Boulez was a towering and influential musical figure whose Philharmonic leadership implicitly laid down a challenge of innovation and invention that continues to inspire us to this day," said New York Philharmonic Music Director Alan Gilbert. "To me, personally, he also was an unfailingly gracious mentor.... I will miss his musicianship, kindness, and wisdom."

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2 January 2016Washington Postread more
New York Philharmonic makes good on World Series bet against Kansas City

New York is still smarting over the Mets' World Series loss to the Kansas City Royals last season. The New York Philharmonic, however, will be able to finally move on after making good on a bet with the Kansas City Symphony, but not without a bit of embarrassment.

"This is very painful to me," Alan Gilbert, the renowned orchestra's music director, said after taking the stage in a Royals jersey and cap to conduct a special rendition of "Everything's Up to Date in Kansas City" from the musical "Oklahoma!"

The performance was all in good fun, though. It featured Kansas City singer Joyce DiDonato, who jazzed up the ditty with a few special lyrics.

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30 December 2015New York Timesread more
Review: The Philharmonic Hails Sibelius, and Offers Joshua Bell on a Mendelssohn

Though "The Swan of Tuonela," based on a mythical tale, is indebted to Liszt's harmonically murky late tone poems, the tremulous stirrings and elusive episodes of this mysterious 10-minute score sounded utterly original in the glowing performance Mr. Gilbert drew from his players.

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30 December 2015New York Classical Reviewread more
Gilbert, Philharmonic wrap year with dark Sibelius, popular Mendelssohn and unexpected encore

The Swan of Tuonela set the predominant tone, literally and figuratively. The orchestra's sound was gorgeous; a rich, emulsified shimmer from which the individual voices of cello and English horn gradually emerged and subsided. Gilbert kept everything in a pool of sound so that the soloists pressed above the overall texture without ever standing apart from it; even the timpani was an unobtrusive pitched rumble that added depth and weight while never disrupting the flowing pulse.

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26 December 2015NCAAread more
College marching bands: The best halftime shows of 2015

Michigan with the New York Philharmonic: This one won't blow you away with the moves like the Southern band, but the music is among the best you'll hear on any football field. Members of the New York Philharmonic's brass section joined the Michigan band for music from Beethoven's Ninth Symphony and other classical pieces.

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23 December 2015New York Classical Reviewread more
Top Ten Performances of 2015

Evgeny Kissin with Alan Gilbert and the New York Philharmonic at Carnegie Hall's Opening Night: On opening nights at the major concert halls, a really excellent performance is often too much to hope for–a splashy experience for elite donors tends to take priority over artistic vigor. Carnegie Hall's first item of the season this year was more than a pleasant surprise: Evgeny Kissin gave a rendition of Tchaikovsky's Piano Concerto No. 1 for the ages, and the New York Philharmonic turned in some of their very best work under Alan Gilbert in Ravel's Daphnis et Chloé Suite No. 2. All this, and the premiere of Magnus Lindberg's intriguing Vivo, the first fruit of what promises to be a rewarding five-year commissioning program at Carnegie Hall. (ES)

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15 December 2015 Seen and Heard Internationalread more
Alan Gilbert's Stylish Debut with The Academy of St Martin in the Fields

It was soon clear that Gilbert has the ability to obtain a highly disciplined response from his players through his expressive and elegant baton-less gestures. Many conductors possess this technical expertise, of course, but Gilbert combines it with a scarcer quality, which may be described inadequately as that of somehow being able to give his musicians room to play, to express themselves, within a given framework. Conducting is a mysterious and sometimes intangible art.

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14 December 2015 The Guardianread more
The best (and worst) US culture 2015: classical music

I hope the transition works out for the Philharmonic (and for Gilbert, too). But I already know that I'll greatly miss the specific spirit of innovation that he has brought to my hometown orchestra. Who else but Gilbert would have given us such committed performances of the Dallapiccola one-act Il prigioniero? And it's thanks to his encouragement that the Philharmonic has a new-music series (titled Contact!), which has recently programmed the chamber music of Bryce Dessner (he of the National) and rising-star New York composer-performer Kate Soper...

A 2014 concert that paired Mahler's Symphony No 1 with a riotous new clarinet concerto by Unsuk Chin is just one of the great Gilbert-led concerts that didn't grab enough attention....Meantime, the Gilbert projects that did attract a lot of ink – like a staged version of Ligeti's Le Grande Macabre – have deserved all the testimonials they received.

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9 December 2015 New York Magazineread more
The 10 Best Classical Performances of 2015

1. Written on Skin: Leave it to the Mostly Mozart Festival to sneak the year's boldest musical stroke into the space left by that word mostly. George Benjamin's 2012 opera is distantly Mozartian in the precision of its craft and the way the score elaborates the characters' emotional logic. That justified a quick summer run — one of perfectionist bravado, stunningly performed. With one foot in a medieval tale and the other in the present, it celebrates and warns against the scorching power of creative work and the destructive power of talent. A wealthy boor with a bored wife makes the mistake of hiring a cultivated young man to do what he cannot: write and illustrate a book. The result is a domestic boil of lust, envy, and hate. At the same time, the production pointed up the chasms in our operatic terrain. We have no natural habitat for works too specialized for the Met and too daunting for pebble-size companies.

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9 December 2015 New York Timesread more
The Best Classical Music of 2015

Written on Skin: Thanks to a recording and DVD of Katie Mitchell's production of George Benjamin's "Written on Skin," it was already clear that this harrowing work, about a love triangle in the Middle Ages, is one of the first masterpieces of the 21st century. Lincoln Center's Mostly Mozart Festival brought that production to the David H. Koch Theater in August with a riveting cast. Alan Gilbert drew a surging and nuanced performance from the Mahler Chamber Orchestra.

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25 November 2015 New York Timesread more
Review: Juilliard Orchestra, Grabbing the 'Ring' Cycle

To his credit, while Alan Gilbert, the music director of the New York Philharmonic, who will step down from that role in 2017, regularly makes important guest appearances, he has made teaching his other main activity. For the most part, when he is not working with the Philharmonic at David Geffen Hall, Mr. Gilbert can be found just across the street at the Juilliard School, where he is director of conducting and orchestral studies.

That the students are grateful for his dedication came through on Tuesday evening at Carnegie Hall in an exciting concert by the Juilliard Orchestra. Mr. Gilbert led the ensemble in vibrant and accomplished performances of Schumann's "Manfred" Overture, Berg's Three Pieces for Orchestra and "A Ring Synthesis," a 40-minute compilation of excerpts from Wagner's "Ring" cycle, arranged by Mr. Gilbert.

...The hall was packed; the final ovation was tremendous and deserved.

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6 November 2015 New Yorkerread more
Alex Ross's Recent Feature on the New York Philharmonic

Alan Gilbert assumed the music-director post in 2009, and has invigorated the institution as no conductor since Boulez has done. He inaugurated the New York Philharmonic Biennial, a new-music festival; led a spectacular production of Ligeti's "Le Grand Macabre"; made unlikely audience hits out of such fare as Stockhausen's "Gruppen" and Magnus Lindberg's "Kraft."

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24 October 2015 Wall Street Journalread more
World Series Wagers From Two Orchestral Leaders

Gung-ho mayors are usually to blame for food-related sports wagers. But this World Series has stirred the civic passions of two orchestral leaders: Michael Stern, music director of the Kansas City Symphony, and Alan Gilbert of the New York Philharmonic. Both, it should be noted, are native New Yorkers.

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24 October 2015 New York Classical Reviewsread more
Philharmonic Biennial to offer a smorgasbord of new music

Earlier this week the Philharmonic announced the full Biennial schedule, and a series designed to broaden the range of the orchestra and audiences is set to carve out substantial and unexpected new territory in its second iteration. Music director Alan Gilbert and Salonen are co-curating the Biennial, and their choices range from the acoustic to the electronic, the new and the familiar, the old and the very young.

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12 August 2015 New York Timesread more
Review: In 'Written on Skin,' George Benjamin Creates an Unusual Love Triangle

All the intricacy, beauty and strangeness of the music come through in the assured and colorful performance that the conductor Alan Gilbert, at his most brilliant, draws from the Mahler Chamber Orchestra, the ensemble that gave the 2012 premiere of this opera.

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12 August 2015 New York Magazineread more
Opera Review: The Staying Power of George Benjamin's Written on Skin

Three years after its world premiere, George Benjamin's Written on Skin has already tattooed itself indelibly onto the story of opera. In a saner world, a piece this good would make its American stage debut in a generous run at the Met. As it is, we who caught one of three performances during a festival in the dead of summer will have to tell everyone else what they missed: a work of perfectionist bravado, stunningly performed. On a sturdy frame of plot, Benjamin stretches 90 minutes of music as taut as drum leather.

The score leaves no room for sloppiness, and Alan Gilbert extracts a performance of acid-etched precision from the Mahler Chamber Orchestra.

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12 August 2015 WQXRread more
Review: Ravishing 'Written on Skin' Delivers Creepy Violence But to What End?

Benjamin's score is the essential catalyst here. It has well-placed, long-held chords or notes, acting almost like passive observers that give episodes continuity and focus. You're less likely to appreciate that on the opera's DVD (shot at the 2013 Royal Opera performances) – one of several reasons why Written on Skin makes so much more sense in person. The composer's tactile orchestration is packed with hard-to-define effects achieved by blending conventional instruments with rarer birds, such as the glass harmonica and steel drum. This is the soul of the opera, and conductor Alan Gilbert revealed it with particular mastery and wizardry.

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12 August 2015 New York Classical Reviewread more
Benjamin's "Written on Skin" flays opera conventions in U.S. premiere

Throughout, the music has a brittle quality that makes one want to hold it carefully in one's hands. Gilbert was excellent leading the singers and the great Mahler Chamber Orchestra in this New York Philharmonic co-presentation. This performance was a reminder of how strong Gilbert is with both opera and contemporary music, and how much he will be missed in those genres.

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16 June 2015 The Wall Street Journalread more
'Joan of Arc at the Stake' Review

Staged productions have been one of the New York Philharmonic's most imaginative initiatives under its current music director, Alan Gilbert. Its most recent offering, Arthur Honegger's "Joan of Arc at the Stake" (1938/44), a dramatic oratorio, proved well-suited to this treatment, particularly in the vivid production directed by Côme de Bellescize, originally from the Seiji Ozawa Matsumoto Festival in Japan. It also allowed the Philharmonic to present the scintillating movie actress Marion Cotillard (unforgettable as Edith Piaf in "La Vie en Rose") in the title role.

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15 June 2015 The New York Timesread more
Classical Live Offers Orchestras Another Internet Stage

The first batch of Classical Live recordings will include Andris Nelsons conducting the Boston Symphony Orchestra in Bartok and Tchaikovsky; Franz Welser-Möst conducting the Cleveland Orchestra in Beethoven's "Eroica" Symphony; John Eliot Gardiner leading the London Symphony Orchestra in Mendelssohn; Alan Gilbert conducting the New York Philharmonic in the Verdi Requiem and in new music from the New York Philharmonic Biennial; and Mariss Jansons leading the Concertgebouw in Bruckner's Symphony No. 9.

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12 June 2015 The New York Timesread more
Celebrating 50 Years of New York Philharmonic Outdoor Concerts

The Gilbert Era and Beyond: "I love the New York Philharmonic, I love New York, I love Central Park, and I love the Philharmonic's concerts in the parks," Alan Gilbert, the current music director, proclaimed to the Great Lawn in 2008. His parents were violinists in the orchestra, and he had attended the summer series since childhood.

"We'd go sometimes if my mom wasn't playing," he said in a phone interview. "We'd sit on a blanket out in the audience like everybody else and take a picnic." Even as the Philharmonic's next steps are unknown, the future of the parks concerts seems assured. "I'm profoundly aware of how wonderful it is that we connect with the city in this way," Mr. Gilbert said. "I know that for many New Yorkers, it's what they think of when they think of the New York Philharmonic."

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11 June 2015 The New York Timesread more
Review: In 'Joan of Arc at the Stake,' Beasts With Burden of Judging

Once again, this was not a typical subscription-series program at the Philharmonic. Since arriving as the orchestra's music director in 2009, Alan Gilbert has given audiences many adventurous nights like this one. Starting that first season with an audaciously theatrical staged performance of Ligeti's bleakly satirical opera "Le Grand Macabre," directed by Doug Fitch, Mr. Gilbert has shown several times that the dully conventional Avery Fisher Hall could be turned into an effective space for opera.

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4 June 2015 The New York Timesread more
'Joan of Arc at the Stake,' Distilled to Her Essence at the New York Philharmonic

"The way Honegger employs flashback and has children singing naïve folk songs is extremely moving," Mr. Gilbert said. The composer scored a mix of Baroque, plainchant, pop and jazz elements for adult and children's choirs and for a large ensemble that includes piano, saxophone and the eerie, airy tones of the ondes Martenot.

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10 May 2015 The New York Times read more
Review: A Peter Eotvos Premiere and Schubert at the New York Philharmonic

On Friday night, Alan Gilbert, continuing a hot streak of exciting commissions for the New York Philharmonic, conducted the American premiere of Mr. Eotvos's 10th opera, "Senza Sangue" ("Without Blood"), in a concert performance at Avery Fisher Hall. (Mr. Gilbert recently conducted its world premiere on tour with the Philharmonic in Cologne, Germany.) "Senza Sangue," based on a 2002 Italian novella by Alessandro Baricco, tells of a troubled woman bent on seeking revenge over the men who murdered her father and brother during a civil war in an unspecified country.

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29 April 2015 Frankfurter Rundschauread more
Die Süße vor dem Sturm

Gilbert dirigiert (...) als eleganter Luftmaler.

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18 April 2015 The Arts Desk read more
DiDonato, NYPO, Gilbert, Barbican: Sensual colours and spirited waltzes from the New York orchestra

But everything came together for the solo number, Joyce DiDonato singing Ravel's Shéhérazade. She is the perfect partner for this orchestra, with a voice that projects effortlessly at any dynamic, mingling and blending with the woodwind and string colours, but never disappearing into them. DiDonato does not have a conventionally beautiful tone, but she makes up for that in the flexibility and expressiveness of her singing. She also has excellent diction, putting the text at the forefront of the performance. The orchestral playing here was excellent, Ravel's full spectrum of tone colours projected in dazzling clarity.

The second half was dominated by waltzes. Ravel's lucid orchestral colours continued in Valses nobles et sentimentales, but with the tempos moved up a gear. Alan Gilbert took care in defining the rhythmic profiles here, ensuring that attacks were emphatic enough to drive the music, but without the waltz figures ever becoming too insistent. So too in the 1944 arrangement, putatively by conductor Artur Rodziński, of a suite from Richard Strauss's Der Rosenkavalier, a continuous assemblage of the orchestral sections, mostly waltzes, from the opera. It's brutally done, splicing the sections together with abrupt jump cuts rather than smooth fades. Even so, Gilbert was able to maintain (or perhaps impose) a sense of coherence, allowing each waltz to effortlessly spiral out of the last.

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15 April 2015 The Guardian read more
Alan Gilbert: Orchestras in the 21st Century - a new paradigm

Music helps to define what it means to be human, and orchestras will continue to do what we have always done: play powerful, intriguing, uplifting, thought-provoking music. But the challenges facing people in today's world call for something new in the way that music and musicians can touch people's lives on all levels: emotionally and spiritually, of course, but also socially, psychologically. What orchestras can be for their audiences is changing, and that actually presents a wonderful opportunity for us to grow. The new generation of emerging orchestra musicians and conductors can approach things with an optimism that is unburdened by any sense of historical limitation. Music has an eternal power to move us, and increasingly, schools and professional music groups are embracing the new role that musicians can fill in touching people's lives both in and out of the concert hall.

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9 April 2015 The New York Times read more
Review: With Bach as a Catalyst, Thierry Escaich's Lavish Concerto

I could devote a whole report to the wrenching, blazing and vehement account of Shostakovich's Symphony No. 10 in E minor that Mr. Gilbert conducted after intermission. The composer completed this hourlong symphony months after the death of Stalin. How explicitly it was intended as bitter commentary on Stalinist repression is a topic of debate. Whatever one's take, Mr. Gilbert led a commanding performance, especially the spacious gravity he summoned during the expansive opening movement and the intensity bordering on sheer terror of the short Allegro.

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29 March 2015 Financial Times read more
New York Philharmonic/Adams, Avery Fisher Hall — Review

Gilbert revelled in the sonic jokes, the sardonic flights and dynamic punctuation. He stressed acidic nuances as if they were primary impulses, sustaining precarious precision and delicate balances even when the plot dictated raucous outbursts and macabre punctuation. The result, wild yet never reckless, defined fine frenzy. And it was good to experience this massive challenge performed by a big symphony orchestra rather than the puny pit-bands drafted when the epochal ballet is staged in theatres. Heard but not seen, Stravinsky's perky puppet has never appeared so cheeky, or so poignant."

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27 March 2015 The New York Times read more
Review: John Adams Unveils 'Scheherazade.2,' an Answer to Male Brutality

Mr. Gilbert began the program with a short, sumptuous 1909 tone poem, "The Enchanted Lake," by a Rimsky-Korsakov student, Anatoly Lyadov. He then led an organic, insightful account of Stravinsky's "Petrushka," a performance full of ideas. He had the piece sounding almost as radical as Stravinsky's "The Rite of Spring."

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27 March 2015 New York Classical Review read more
Aided by Josefowicz's fire, Adams returns to form with "Scheherazade.2"

The concert opened with Alan Gilbert leading a lovely performance of Lyadov's miniature tone-poem, The Enchanted Lake. The playing was graceful and sensitive, with a wonderfully silky sonority. Instrumental solos emerged like morning mist off the water.

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23 March 2015 Audiophile Audition read more
Nielsen: Symphony No. 5; Symphony No. 6 "Sinfonia semplice" – NY Philharmonic/Gilbert – DaCapo

Gilbert milks the Manichean struggle as it moves to a wild polyphony in modal harmonies – gorgeously captured in concert by Recording Producer and Sound Engineer Preben Iwan – a seeming confirmation of the severe criticisms first launched against this music as "impure trench music." The light-footed Presto proffers a fugue, diaphanous and diabolical. Tympani and clarinet conspire to add more dizzy mania that collapses into an illumined, first-movement opening theme, pianissimo. The gentling down of formerly hostile forces plays as if Nielsen were the Danish Faure. The luminous quality of the New York Philharmonic strings and brass enjoys a vivacity I have not relished so thoroughly since the Dimitri Mitropoulos and Leonard Bernstein days of committed leadership.

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14 February 2015 The Arts Desk read more
Classical CDs Weekly: Nielsen

Gilbert's weighty, serious approach is effective. The extended static passages are unusually ominous, brass and percussion letting rip to deafening effect. The improvised side drum solo is terrifying. The first movement's pale, exhausted close is wonderful, preceding a second movement where Gilbert's well-chosen tempo allows his players to articulate the notes. The symphony's dizzying ending rightly astonishes, Nielsen avoiding the expected peroration with an abrupt, ecstatic screeching of brakes. Sensational music, superbly played, and a fitting conclusion to an impressive new Nielsen cycle.

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14 January 2015 The New York Times Book Review read more
Alan Gilbert: By the Book

The conductor and music director of The New York Philharmonic says that after his cameo appearance on "30 Rock," he read Tina Fey's "Bossypants": "It is brilliant, insightful and spot on in its crazy observations about life."

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7 January 2015 The New York Times read more
Cultivating a More Youthful Orchestra

Alan Gilbert, the Philharmonic's music director, welcomed the new players at Tuesday's rehearsal as they sat among the orchestra's members in the percussion, brass, wind and string sections, telling them "It's great to have you here." He gave a downbeat and the strains of Tchaikovsky filled the hall. The rehearsal proceeded with much more playing than talking, with Mr. Gilbert occasionally stopping to ask for more articulation here, or more clarity there, or to work on the "echo" effect in the well-known cygnets dance. The students, who will be in New York for 10 days, got to witness moments of collegiality that audiences rarely see: lush solos by Nancy Allen, the principal harp, and Sheryl Staples, the acting concertmaster, were embraced by their fellow musicians, who shuffled their feet as they jumped into playing the next sections.

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18 December 2014 The New York Times read more
Classical Critics Pick the Top Music Recordings of 2014

Alan Gilbert again proves an inspired conductor of the visionary Danish composer Carl Nielsen in this impressive live recording with the New York Philharmonic, part of the Nielsen Project, Mr. Gilbert's survey of the six symphonies and three concertos. Here are gripping, insightful accounts of the First and Fourth Symphonies.

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12 December 2014 NPR read more
Best Classical Albums Of 2014

Carl Nielsen: Symphonies Nos. 1 & 4 "The Inextinguishable": As a kid, Carl Nielsen made music by pounding on logs in the family woodpile. He'd grow up to become one of the most important, if still undervalued, symphony composers of the 20th century. Conductor Alan Gilbert and the New York Philharmonic have been making a case for Nielsen, recording live performances of all six of the great Danish composer's symphonies. Pairing the First and Fourth shows both how bracing and fresh the works sound and how Nielsen's symphonic language developed. The first, even with its whiffs of Dvorak, reveals the characteristic Nielsen rhythmic life force and harmonic personality. The Fourth, from 1916, subtitled "The Inextinguishable," unfolds in one continuous flow, with episodes of rambunctious glee (lots of fun for two timpanists), potent introspection and, ultimately, triumph. — Tom Huizenga

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5 November 2014 The New York Times read more
Classical Playlist

Carl Nielsen: Symphonies No. 1 and No. 4, "The Inextinguishable": Sometimes a musician just "gets" a composer's music, for example, the conductor Alan Gilbert and the Danish composer Carl Nielsen (1865-1931). When Mr. Gilbert began the Nielsen Project at the New York Philharmonic in 2011, a multiyear venture to perform and record the composer's six symphonies and three concertos, it was immediately clear that he had a special affinity for Nielsen's visionary music. The symphonies combine seemingly disparate qualities of late Romantic fervor, rustic colors, folksy elements, advanced chromatic harmonic writing, mystical strangeness and spurts of wildness, all conveyed in Mr. Gilbert's vivid readings. Yet he manages to make these score seem structured and inevitable. This exciting new recording pairs the First Symphony with the Fourth, "The Inextinguishable," recorded live at Avery Fisher Hall last March. (Tommasini)

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20 October 2014The New Yorkerread more
Sound and Fury

The New York Philharmonic, keeping up the exploratory urge that it displayed in its inaugural Biennial festival, last spring, remains the most progressive institution on the Lincoln Center plaza. In the first weeks of the season, it offered a vibrant new clarinet concerto by Unsuk Chin, with ear-cleansing solos by the Finnish virtuoso Kari Kriikku; and a concert devoted to the perennially neglected Danish master Carl Nielsen, part of the orchestra's multi-year Nielsen Project, which also includes recordings for the Dacapo label. Alan Gilbert, the Philharmonic's music director, has a flair for devising programs that extend and refresh the repertory rather than recycle it ad nauseam.

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9 October 2014Philadelphia Inquirerread more
Orchestra takes a wild ride with Janacek

Thursday's performance will likely stand among the more thrilling of the season.

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2 October 2014The New York Timesread more
A Flair for the Dramatic Is Paired With a Venture Into Danish Modernism: New York Philharmonic Plays Carl Nielsen

Before Alan Gilbert began championing the Danish composer Carl Nielsen (1865-1931), his 150th birthday next year would have probably passed unnoticed amid the blitz of anniversaries celebrated each year by ensembles in New York. ...The players clearly share Mr. Gilbert's enthusiasm for the composer, conveying the music with a commitment and attention to detail.

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1 October 2014ConcertoNet.comread more
There Is Nothing Like A Dane

Last night was (in Mr. Gilbert's words) wall-to-wall Nielsen', and it attracted an almost full house....He conducted the Maskarade overture like it was a circus parade. He conducted the very polarized Fifth Symphony with bravado...But it was in the Sixth Symphony that Mr. Gilbert gave a performance I could never even imagine....Mr. Gilbert rode the orchestra like it was a mad bull, with burlesque trombone glissandi, percussion and flatulent sounds which should never be heard in a proper concert hall.

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13 September 2014Bachtrackread more
Prom 75: A joyous Ninth from Alan Gilbert and the Gewandhaus

The finale was easily the best part this performance, confident, bold, assertive, and above all, joyous. ... This was a grand finale to a proper, big-boned Beethoven Nine, old-fashioned in all the best senses.

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12 September 2014The Telegraphread more
BBC Proms 2014: Mahler's Third Symphony, Royal Albert Hall, review: 'wonderful' Mahler's mighty Third Symphony received an overwhelming performance from the Leipzig Gewandhaus Orchestra, says John Allison

Before Alan Gilbert began championing the Danish composer Carl Nielsen (1865-1931), his 150th birthday next year would have probably passed unnoticed amid the blitz of anniversaries celebrated each year by ensembles in New York. ...The players clearly share Mr. Gilbert's enthusiasm for the composer, conveying the music with a commitment and attention to detail.

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2 June 2014The Wall Street Journalread more
The New-Work Philharmonic: a review of HK Gruber's Gloria — A Pig Tale as part of the NY Phil Biennial

Mr. Gilbert kept the whole thing together with great control and good humor. It was his idea, after all.

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2 June 2014Gothamread more
5 New York Men on Fatherly Advice

In honor of Father's Day, we asked five accomplished New York men about the lessons they learned from their fathers.

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30 May 2014The New York Timesread more
Beauty Is in the Eye of Your Fellow Swine: 'Gloria — A Pig Tale' Brings Opera to the Met Museum

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30 May 2014New York Classical Reviewread more
Gilbert, AXIOM Ensemble ham it up with Gruber's "Gloria"

Of the myriad roles that Alan Gilbert plays at the New York Philharmonic, one that suits him comfortably is the ham. From his heart-to-hearts with the Grim Reaper, which were posted on YouTube in advance of performances of Le Grand Macabre, to appearances on Sesame Street, he's been refreshingly game for hijinks rarely undertaken by classical conductors.

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28 May 2014NPR's All Things Consideredread more
State Of The Art: New York Philharmonic's Biennial

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27 May 2014WNYC's Soundcheckread more
Alan Gilbert Launches New York Philharmonic's New Biennial

Alan speaks about New York Philharmonic Biennial, the future of classical music, and new paradigms for the modern orchestra.

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27 May 2014The New York Timesread more
Cosmic Sounds, Divine Setting: The Philharmonic's Free Concert at St. John the Divine

The ovation was enormous. People rushed up to the makeshift stage to take photos. If you visited the cathedral today, I wouldn't be surprised if you could still hear lingering sounds from this Tchaikovsky performance.

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26 May 2014New Yorkerread more
BIG DEAL: A first-time festival from the Philharmonic offers new music from around the world.

The New York Philharmonic will soon launch its inaugural "NY Phil Biennial" (May 28-June 7), a glorious, eleven-day festival of new music from around the world. Alan Gilbert's keen interest in contemporary sounds has been a historic aspect of his term as music director: you have to go back to the days of Pierre Boulez and Leonard Bernstein to find a similar level of enthusiasm.

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26 May 2014The Wall Street Journalread more
Biennial Is a 'Snapshot' of New Music: New York Philharmonic's First Biennial Begins Wednesday

"We wanted to spread our tentacles out into the city," said the Philharmonic's music director, Alan Gilbert, "and have the philosophical hope that we can be a kind of hub and nexus for collaboration between different New York City organizations."

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25 May 2014Star-Ledgerread more
New York Philharmonic launches its first Biennial

"We very consciously wanted to take a page from the visual art world," Gilbert says. "What we're hoping to do is present a snapshot of what is going on in contemporary music today."

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22 May 2014The New York Timesread more
What's New? Ask the Philharmonic: Times Critics Preview the NY Phil Biennial

"It's a little bit cheeky, I realize, to call something a 'biennial' the first time around," Alan Gilbert, the Philharmonic's music director, said in a recent interview. "But the idea was, in a short period of time, to let people in New York, or people who come to New York, see a wide range in some of the new music threads that we consider exciting and important."

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14 May 2014The New York Timesread more
Philharmonic Transformation, From Members to Mission: New York Philharmonic Faces Big Orchestra Hiring Decisions

The New York Philharmonic is looking to Mr. Gilbert, 47, a native New Yorker whose parents both played in the orchestra, to help it navigate the changed environment. In the interview, in his studio at Avery Fisher Hall, he said that hiring was his "biggest responsibility," and that he was looking for players who would energize the ensemble while maintaining its traditions. He spoke of the way the orchestra continues to be influenced in some repertoire — he singled out Mahler — by music directors who led it decades ago, including Dimitri Mitropoulos and Leonard Bernstein.

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2 May 2014The New York Timesread more
Springtime at Carnegie Hall

Mr. Gilbert will finally take on Christopher Rouse's Requiem, a big, long, difficult work and a project he has been toying with for several years.


1 May 2014The Wall Street Journalread more
Juilliard Alums Revisit the Past
Renée Fleming, Susanna Phillips and More Come Out for the Juilliard School


25 April 2014Financial Timesread more
Power Dressing: conductor Alan Gilbert

Alan speaks about his fashions of choice, both onstage and off.

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24 April 2014The New York Timesread more
From Japan, a Jazzy Interpretation of Gershwin
Makoto Ozone Plays With the New York Philharmonic

On Tuesday evening, Mr. Ozone gave a thrilling, virtuosic and unabashedly personal rendition of "Rhapsody in Blue" that was the highlight of a Gershwin and Bernstein program. The orchestra... played with palpable enthusiasm.


21 March 2014The Wall Street Journalread more
Artists on the Arts Season Ahead
...a look at the arts and cultural events that New York's taste makers will be lining up—or programming their DVRs—to see this season

Alan Gilbert:
First of all, I'm so happy that James Levine is back in the saddle at the Met. He embodies opera more than anyone else alive. No matter what he does, it's so deeply considered and profound.

The new Muppets movie is coming out. My kids love Tina Fey, so I'm looking forward to that.

Audra McDonald, a dear friend, is always incredible. She's singing Billie Holiday in this production of "Lady Day at Emerson's Bar & Grill." She's scintillating in everything she does.

13 March 2014The New York Timesread more
Grandeur, Delicacy and Duels in Nielsen Symphonies
New York Philharmonic Continues an Exploration

The program opened with an account of the mysterious, Greek-inspired "Helios" overture, an immediate show of Mr. Gilbert's sympathetic mastery...


6 March 2014read more
Raves for Sweeney Todd

"Alan Gilbert has already shown that the Philharmonic can be the best opera company in town; now he's put Broadway on notice, too."
—New York Magazine [Read...]

"Under Mr. Gilbert's direction, the performance was remarkable for the clarity it brought to Jonathan Tunick's sumptuous but delicately textured orchestrations... Such details can easily be blurred, but came through incisively here."
—The New York Times [Read...]

"The glory that is the New York Philharmonic, playing Jonathan Tunick's orchestration, makes you realize just how great this score is; a large chorus added to its grandeur. Bernadette Peters, Barbara Cook, and yes, Stephen Sondheim were in the audience (he was brought on stage for a curtain call). All seemed overjoyed by Gilbert's reading and the superb work of the cast"
—ClassicsToday [Read...]

"...the orchestra sounded excellent, especially during the more chaotic moments..."
—Playbill [Read...]

"Jay Armstrong Johnson, a Broadway up-and-comer who played the role of Anthony Hope, said performing with the full sound and power of the New York Philharmonic is unlike anything he had experienced onstage: 'It lifts you.'"
—The Wall Street Journal [Read...]

"...this is one you're not going to want to miss..."
—Woman Around Town [Read...]

20 February 2014The New York Timesread more
A Dane Is Getting His Due
Works by Carl Nielsen Keep Popping Up in Concerts

Alan Gilbert's most important efforts as music director of the New York Philharmonic have been in the realm of new music, hoisting the orchestra into the 21st century with initiatives like the Contact! series and the forthcoming NY Phil Biennial. But some of his biggest successes have been with a composer who died in 1931, the Danish symphonic master Carl Nielsen.


4 January 2014The New York Timesread more
Reprising a Lindberg: Same Cast, New Date
Yefim Bronfman Performs With the Philharmonic

Credit...goes to Alan Gilbert and the New York Philharmonic, who have provided a chance to hear one of the 2011-12 season's most prominent new works...


23 November 2013The New York Timesread more
Heart in Mouth, for a Taxing Rarity

This program was a significant contribution to the Britten year.


17 November 2013The New York Timesread more
Shifting Gears to Explore the Realm of the Oboe

Liang Wang Performs Christopher Rouse's Oboe Concerto


23 October 2013The New York Timesread more
Student Ensemble's Sound Belies Its Origin

Juilliard Orchestra, Playing at Carnegie Hall


17 October 2013The Wall Street Journalread more
The Maestro's Beethoven

Ralph Gardner Jr. Speaks With the New York Philharmonic's Music Director, Alan Gilbert


4 October 2013The New York Timesread more
What to Do When Asked to Accent Beethoven
New York Philharmonic Plays Beethoven and Turnage

Orchestra programs that pair a new work with a Beethoven symphony have become increasingly common. For the New York Philharmonic's concert at Avery Fisher Hall on Thursday night, the conductor Alan Gilbert took that idea to another level.

[Read more...]

29 Septebmer 2013The New York Timesread more
Giddy Freedom (a Little Mambo!), as Well as Pianistic Elegance and Wit
Yefim Bronfman Joins Philharmonic for Tchaikovsky Concerto

...there were many moments during this first subscription concert, in which Alan Gilbert conducted works by Ravel, Bernstein and Tchaikovsky, when the musicians seemed to be having far too much fun to justify the word "work."

[Read more...]

22 Septebmer 2013The New York Timesread more
With Feet on the Ground, the Orchestra Travels Through Space
New York Philharmonic Plays '2001: A Space Odyssey'

..."exciting" and "enjoyable" hardly do justice to the thrilling experience of watching Stanley Kubrick's sci-fi masterpiece, "2001: A Space Odyssey," on Friday night at Avery Fisher Hall, with Mr. Gilbert conducting the Philharmonic...

[Read more...]

16 July 2013The New York Timesread more
A Conductor Puts Himself Out There, Beyond the Parks
Alan Gilbert Shapes a Legacy of Change at the Philharmonic

...he is building a legacy that matters and is helping to change the template for what an American orchestra can be.

[Read more...]

30 June 2013New York Magazineread more
The Invisible Revolution
Alan Gilbert's unflashy radicalism is re-creating the Philharmonic

[Read more...]

29 May 2013The Rest is Noiseread more
NY Phil Biennial

The New York Philharmonic has found a splendid way to mark the anniversary of the Rite. No, they're not playing the piece; rather, they have announced details of the new-music Biennial, to be held in late May and early June, 2014.

[Read more...]

28 May 2013The New York Timesread more
The Holiday Masses Descend, and Bruckner Reverberates

There may be some systemic problems within the field of classical music. But now and then something happens that makes you feel proud of institutions and the music-loving public. One such event is the New York Philharmonic's annual free Memorial Day concert at the Cathedral Church of St. John the Divine, which took place on Monday night.

[Read more...]

15 May 2013Reutersread more
Conductor Gilbert fights 'Bolero effect' - in a car factory

A concert in a car factory using parts of a luxury sedan as percussion instruments is one thing, but a Volkswagen suspended above the New York Philharmonic creates another level of musical drama entirely.

[Read more...]

29 April 2013The New York Timesread more
Ruminating on Love and Desire

Whenever the New York Philharmonic takes a break from Lincoln Center to play at Carnegie Hall there is usually a special program suited to the occasion. So it was on Friday night for a concert conducted by Alan Gilbert.

[Read more...]

8 April 2013The New York Timesread more
Contact! Without Connection

Mr. Gilbert explained: "These are pieces we really wanted to play." ... As programming themes go, that one is hard to top.

[Read more...]

24 March 2013Cultured Clevelandread more
Cleveland Orchestra/Severance Hall/March 21

It's not often that one gets to hear the vocabulary of 20th-century music so well-understood and eloquently expressed.

[Read more...]

23 February 2013The New York Timesread more
Crystal Goblets Set Stage for Whimsy and Religion

The composer Christopher Rouse, in residence with the New York Philharmonic this season, has referred to his orchestral work "Phantasmata" as one of his "rabble-rouser pieces." Like many of his scores, this triptych, inspired by dreams and completed in 1985, weaves lively rhythms, vivid colors and elements of popular music into a tightly wrought canvas.

[Read more...]

9 February 2013Leipziger Volkzeitungread more
Great expert in a great concert

A really great 'Great Concert', with a great conductor, who hopefully isn't standing for the last time at the Gewandhaus stand.

[Read more...]

23 January 2013The New York Timesread more
Philharmonic Steals a Page From the Art World With a New-Music Biennial

Canals don't run by Lincoln Center, and you would be hard-pressed to find a beach near Broadway, but the New York Philharmonic has notions to do for classical music what the Venice Biennale and Art Basel Miami Beach have done for art.

[Read more...]

10 January 2013classicalsource.comread more
Boston Symphony Orchestra/Alan Gilbert – Métaboles, Symphony in Three Movements, La valse – Julian Rachlin plays Tchaikovsky

Alan Gilbert, who has appeared with the BSO on three previous occasions, led a vivid and finely detailed performance...

[Read more...]

30 November 2012The New York Timesread more
A New Work Bares Its Secrets, With Feeling

Before conducting the New York Philharmonic in the New York premiere of Steven Stucky's Symphony on Thursday night at Avery Fisher Hall, Alan Gilbert asked Mr. Stucky a simple but challenging question: What makes a piece a symphony? Or, as Mr. Gilbert added, invoking what he called a loaded term: What makes a piece "worthy" to be called a symphony?

[Read more...]

17 November 2012The New York Timesread more
Ah, Love: Fidelity Test Backfires on Soldiers
'Così Fan Tutte,' at Peter Jay Sharp Theater

Under Mr. Gilbert, the overall structure and shape of the opera came through with new vitality. Only after a few of the showcase arias did the audience break into applause. Otherwise, this "Così" just swept forward, never hard-driven, just urgent and natural.

[Read more...]

15 November 2012Associated Pressread more
Collaborative 'Cosi' scores at Juilliard

Talk about a high-powered collaboration: Artists from three of Lincoln Center's cultural institutions joining forces to perform one of Mozart's operatic masterpieces.

[Read more...]

7 November 2012Berliner Morgenpostread more
Pride and Voice: Unforgettable evening at the Philharmonic

To say it straight away: the performance of Alan Gilbert, chief conductor of the New York Philharmonic, was a great event in the Berlin concert-life.

[Read more...]

24 October 2012Associated Pressread more
NY Philharmonic renews director Gilbert's contract

The New York Philharmonic announced Wednesday that it is extending the contract of Music Director Alan Gilbert through the 2016-17 season.

[Read more...]

1 October 2012The New York Timesread more
A Young Virtuoso Makes His Philharmonic Debut

The orchestra and the soloist clearly had chemistry, sounding completely in sync even during the trickiest passages. Their vivid dialogues unfolded with both verve and spontaneity, at brisk tempos that stopped short of breathless.

[Read more...]

23 September 2012Financial Timesread more
NY Philharmonic/Gilbert/Andsnes, Avery Fisher Hall, New York
An astonishing peformance of 'The Rite of Spring' capped a memorable evening

Gilbert paid masterly attention to Stravinsky's cataclysmic climaxes, jagged rhythms, thumping compulsions and hysterical dynamics without slighting thematic focus or dramatic transition in the process. His trusty ensemble made the massive challenge sound easy, even natural.

[Read more...]

20 September 2012The New York Timesread more
A Restrained Leap Into the Stravinsky-thon

Mr. Gilbert and his players brought alluring restraint, exacting execution, myriad colorings and character to this performance. The result was a "Rite" so lucid and lean it sounded newly wild and ingenious.

[Read more...]

2 July 2012The Wall Street Journalread more
Sound in the Round

The beginning of summer is high season for corporate team-building exercises involving a change of location and a brisk injection of adrenaline. The New York Philharmonic is unusual in that it invites the public along: Friday night's "Philharmonic 360" program at the Park Avenue Armory offered the musical equivalent of team skydiving, with an emphasis on 20th-century works that were risky, thrilling and offered stunning changes of perspective.

[Read more...]

1 July 2012The New York Timesread more
Surround Sound Through the Centuries
Alan Gilbert's 'Philharmonic 360' at Park Avenue Armory

Those who think classical music needs some shaking up routinely challenge music directors at major orchestras to think outside the box. That is precisely what Alan Gilbert did on Friday night for an exhilarating concert with the New York Philharmonic in the Drill Hall of the Park Avenue Armory.

[Read more...]

21 June 2012The Wall Street Journalread more
N.Y. Philharmonic Sees Triple

"Gruppen" will be the centerpiece, so to speak, of the New York Philharmonic's "Philharmonic 360," a two-night event featuring four pieces of "spatial music," with like-minded works by Mozart, Pierre Boulez and Charles Ives. ... At the epicenter will be conductor and New York Philharmonic music director Alan Gilbert, who devised the program in an effort to elevate the expressly spatial aspirations at work in the Stockhausen piece.

[Read more...]

15 June 2012The New York Timesread more
Revisiting a Passion of the Past

Bringing renewed attention to Nielsen may seem a surprising priority for a New York-born conductor. But music directors should have personal passions, and it is heartening to see Mr. Gilbert turning one of his into a major statement.

[Read more...]

21 May 2012The New York Timesread more
Bartok in the Throes of a Love Unrequited

Hail the conquering heroes.

The New York Philharmonic, having met with acclaim during a seven-concert sweep through California, its first domestic tour since Alan Gilbert became its music director in 2009, returned to Avery Fisher Hall on Saturday for a program of works presented during that excursion: Dvorak's concert overture "Carnival," Bartok's Violin Concerto No. 1 and Tchaikovsky's Symphony No. 4.

[Read more...]

10 May 2012Los Angeles Timesread more
The New York Phil makes a blistering Disney Hall debut

The wow factor is considerable as the New Yorkers — podium in tow — blow out the L.A. venue with their powerful sound and virtuosity in a wide-ranging program.

[Read more...]

6 May 2012Los Angeles Timesread more
Alan Gilbert adds his personal touch to New York Philharmonic

In his third year as music director, he has taken it in new directions and developed a collegial approach to his job. They will perform in Los Angeles and Orange County.

[Read more...]

17 April 2012The New York Timesread more
Lured Back to Opera by 'Lohengrin'

His "Lohengrin" proved well worth the trip to Stockholm. His treatment of the Prelude, with its ethereal, shimmering strings, captures the music's dreaminess yet has a rhythmic vitality that forecasts the robust, surely paced, drama-oriented performance that followed. The orchestra plays beautifully for him, but equally fine is his work with the chorus, which sings with tonal richness yet, as guided by Mr. Gilbert, shades the music expressively.

[Read more...]

20 February 2012The Telegraphread more
New York Philharmonic Orchestra/Gilbert, Barbican, review

After three nights of the New York Philharmonic Orchestra, it's time to go on the wagon. My ears are saturated, and the emotional stimulus has been intoxicating, like walking down Fifth Avenue on a sunny morning.

[Read more...]

27 January 2012The New York Timesread more
Uncommon Trick in a Common Concerto

[Mr. Zimmerman] mastered the uncommon trick of sounding simultaneously authoritative and impulsive; in Fritz Kreisler's cadenzas he was positively incandescent. Mr. Gilbert and the orchestra provided expertly calibrated accompaniment, with playing in the Larghetto so dewy that it threatened to evaporate outright. At the conclusion the audience responded tumultuously.

[Read more...]

8 January 2012Financial Timesread more
New York Philharmonic/ Gilbert, Avery Fisher Hall, New York:
A study in contrasts: Thomas Adès's brief, glittery 'Polaris' has its New York premiere as a prelude to Mahler's sprawling Ninth Symphony

The New York Philharmonic – emphatically Alan Gilbert's Philharmonic – offered an intriguing juxtaposition of opposites on Thursday.

[Read more...]

14 November 2011The Plain Dealerread more
Performance by Alan Gilbert with Cleveland Orchestra resonates on two fronts

[Gilbert] managed, perhaps inadvertently, to do something else, something just as important: model a new, refreshing way forward for conductors of major orchestras.

[Read more...]

6 October 2011The New York Timesread more
Conductor Replaces Baton With Violin, for an Evening

...though he has played in the Philharmonic's chamber concerts, [Gilbert's] appearance alongside the violinist Frank Peter Zimmermann in Bach's Double Concerto on Wednesday evening at Avery Fisher Hall was his solo debut with the orchestra.

[Read more...]

2 October 2011The New York Timesread more
Song Cycle Places One Indelible Day Along History's Bleak Continuum

In a free preseason concert last month to commemorate the 10th anniversary of the Sept. 11 attacks Alan Gilbert conducted the New York Philharmonic in Mahler's "Resurrection" Symphony at Avery Fisher Hall, with the performance relayed to Lincoln Center Plaza. That great, tumultuous and, finally, exhilarating work was a fitting choice for the solemn occasion. The Philharmonic also wanted to commission a new work for the anniversary. The composer John Corigliano took on that project.

[Read more...]

23 September 2011Financial Timesread more
New York Philharmonic/ Gilbert, Avery Fisher Hall, New York:
Alan Gilbert mustered massive dynamic contrasts

Eliciting virtuosic precision and propulsion from his orchestra, he mustered massive dynamic contrasts. He gauged the cumulative climaxes with careful bravado. He savoured Mahler's cataclysmic outbursts, whimsical digressions, introspective interludes and reverential resolutions; still, he avoided lingering over minutiae, kept the line taut, the attacks sharp, the nuances subtle and the pauses tense.

[Read more...]

11 September 2011The New York Timesread more
New York Exhales With Mahler's 'Resurrection,' Symphonic Salve

This 90-minute Mahler symphony, which plumbs "every aspect of life, from its agonies to its joys to its profound sense of hope," as Mr. Gilbert said in his eloquent spoken comments to open the program, was an ideal choice to help New Yorkers reflect, heal and persevere.

[Read more...]

24 June 2011New York Magazineread more
A Joyous Racket

The mission is to make symphonic music not a precious pursuit of specialists but a crucial part of a complex culture. At the end of his second year as music director, Alan Gilbert is renewing the genre's claim for attention rather than dwelling on its eroded prestige.

[Read more...]

24 June 2011MusicalAmerica.comread more
A Stunning Little "Fox"

The New York Philharmonic is ending its season June 22-25 in Avery Fisher Hall with an extravagant flourish: four fully staged and costumed performances of Leoš Janácek's animal fantasy "The Cunning Little Vixen." Are such costly adventures now to become an annual tradition at the Philharmonic? Let us pray.

[Read more...]

23 June 2011The New York Timesread more
An Impish Creature That Won't Be Fenced In

The highlight of last season, Mr. Gilbert's first as music director, was the Philharmonic's presentation of Ligeti's apocalyptic comic opera "Le Grand Macabre," also directed by Mr. Fitch. And it really was a staged production, ingeniously conceived, involving puppets, projections, live videos and wild costumes. The project was driven by Mr. Gilbert's convictions that American orchestras must reinvent themselves and that the Philharmonic could turn Avery Fisher Hall into a suitable site for a major 20th-century opera in its first New York staging.

Mr. Gilbert and Mr. Fitch have another success with this "Cunning Little Vixen," featuring a large, winning cast of singers; the New York Choral Artists; and a dozen sweet-voiced members of the Metropolitan Opera Children's Chorus, who crawled, hopped and scampered around the extended stage, dressed as a frog, a moth, a rabbit, a beetle, a mosquito, a butterfly and other creatures.

[Read more...]

23 June 2011Opera Newsread more
The Cunning Little Vixen

Who would have guessed that two women dressed in fox costumes, whose courtship involves the gift of a dead rabbit, and whose spur-of-the-moment wedding ceremony is officiated by a woodpecker, would be the romantic opera couple of the year? That's the only way to describe the irresistible spell cast by Isabel Bayrakdarian and Marie Lenormand as, respectively, the happily married Vixen and Fox of Leoš Janáček's The Cunning Little Vixen, staged and designed by Doug Fitch, and conducted by the New York Philharmonic's music director, Alan Gilbert...

[Read more...]

23 June 2011The Associated Pressread more
Forest comes alive in Philharmonic 'Vixen'

With giant sunflowers popping up in back, a forest bed of moss in front, and animals and insects darting about in eye-popping costumes, the New York Philharmonic turned its stage into the set for what's becoming an annual excursion into opera.

The woodland creatures — along with several human characters — made up the cast of Leos Janacek's fable, "The Cunning Little Vixen," which received the first of four performances at Avery Fisher Hall on Wednesday night.

Alan Gilbert conducted the orchestra to ravishing effect in this quicksilver score, which is spiky and astringent one minute and meltingly lyrical the next, filled with the composer's trademark densely compressed melodies.

[Read more...]

23 June 2011The Washington Postread more
New York Philharmonic hits another winner with 'Cunning Little Vixen'

Would the Dream Team repeat? Do you believe in miracles? Talk of coming opera productions does not typically mirror the phraseology of sports-world triumphalism, although the analogy seems apt when it comes to the New York Philharmonic and its operatic ambitions.

On Wednesday, just a little more than a year after their surprise-hit staging of Gyorgy Ligeti's neglected "Le Grande Macabre," conductor Alan Gilbert and director Doug Fitch presented Leos Janacek's "The Cunning Little Vixen."

[Read more...]

22 June 2011The Wall Street Journalread more
The Vixen Diaries

Last spring, the New York Philharmonic offered a spectacular staging of "Le Grand Macabre," György Ligeti's opera about the end of the world. Directed by Doug Fitch, it was artistically profound, fitfully funny and consistently surprising. The obvious question was, how could the orchestra's music director, Alan Gilbert, possibly follow it up?

[Read more...]

20 June 2011The New York Timesread more
Working With Whimsy Fit for the Philharmonic

Among the many novel ideas implemented at the New York Philharmonic since Alan Gilbert took the reins as its music director in 2009, one has come to loom larger than all the rest. "Le Grand Macabre," a musically unorthodox, wickedly funny absurdist opera by Gyorgy Ligeti, represented a substantial risk when the Philharmonic mounted a series of performances of it at Avery Fisher Hall in May 2010, imaginatively and resourcefully staged by Doug Fitch, a designer and director with whom Mr. Gilbert had worked in opera houses.

When the production was hailed as a stunning success among audiences and critics alike, "Le Grand Macabre" came to represent Mr. Gilbert's vision for the institution at its most audacious. But when you've brought down the house with the end of the world — at least as Ligeti imagined it — what do you do for an encore?

[Read more...]

3 June 2011The New York Timesread more
A Couple of First Encounters, One Including Musicians

Though the brilliant German violinist Anne-Sophie Mutter has been artist in residence at the New York Philharmonic all season, she had never worked with Alan Gilbert until Thursday night. In fact, this was the first time these two artists in their 40s had ever collaborated, which was surprising, since they have long traveled the byways of the international orchestra world.

They certainly seemed to relish their overdue musical date. Ms. Mutter brought glowing elegance to Beethoven's Romance in F for Violin and Orchestra. She was riveting in the premiere of the American composer Sebastian Currier's "Time Machines."

Mr. Gilbert, a consistently impressive conductor of contemporary music, drew assured and rapturous playing from the orchestra in Mr. Currier's demanding 30-minute score, composed in 2007. The program also offered the Philharmonic's first performance in 40 years — an inexplicable gap — of Bruckner's Symphony No. 2 in C minor, which proved a surprisingly right piece to hear along with "Time Machines."

[Read more...]

29 April 2011The New York Timesread more
A Slide Show for the Ear, Given by Emanuel Ax

There were really two programs at the New York Philharmonic on Thursday night. In the second half, Alan Gilbert conducted a strongly conceived, vigorous performance of Mahler's Fifth Symphony.

In the first half, the admired pianist Emanuel Ax gave his 100th performance with the orchestra, having made his debut at 28 in 1977 with Mozart's Piano Concerto in D minor, an event he recounts in an interview published in the program. For this milestone on Thursday, Mr. Ax engaged Mr. Gilbert and the Philharmonic in an adventurous musical experiment.

[Read more...]

24 January 2011Philadelphia Inquirerread more
Alan Gilbert conducts Philadelphia Orchestra at Kimmel

Gilbert has returned to the Philadelphia Orchestra this week as a guest conductor in a state of high acclaim for bringing visceral and intellectual excitement to the New York Philharmonic in his second season as music director.

[Read more...]

12 January 2011The New York Timesread more
Gilbert to Head Juilliard's Conducting Program

Juilliard said on Wednesday that it had appointed Alan Gilbert, who is in his second season as the Philharmonic's music director, to the post of director of conducting and orchestral studies. It is the first time, Julliard officials say, that the same person will have both jobs.

[Read more...]

7 January 2011The New York Timesread more
A Soundtrack for the Chaos, Light and Dark of Creation

Word must be getting around that when Alan Gilbert presents one of his ambitious contemporary-music projects at the New York Philharmonic, like the staged production of Ligeti's bleakly comic opera "Le Grand Macabre" last season, these programs are not to be missed. So it was on Thursday night when Mr. Gilbert conducted the New York premiere of the British composer Thomas Adès's "In Seven Days (Concerto for Piano With Moving Image)."

[Read more...]

2 January 2011The New York Timesread more
Need a Gala? Tchaikovsky Is a Go-To Guy were confronted with the Philharmonic that Mr. Gilbert has worked toward since his start: a brilliant organization in which individual virtuosity and ensemble unanimity are a given, resulting in music enlivened without need for excess or distortion.

[Read more...]

16 December 2010The New York Timesread more
Philharmonic Renewed Under a Bold Conductor

With the arrival of Alan Gilbert as the music director of the New York Philharmonic in 2009 came the promise of youthful vigor and bold initiatives. But who could have anticipated that by the midpoint of Mr. Gilbert's second season the Philharmonic would be a potent, even groundbreaking force for contemporary music?

[Read more...]

16 December 2010The New York Timesread more
'LE GRAND MACABRE' Avant-garde and Avery Fisher Hall aren't usually mentioned in the same breath, but Alan Gilbert, the music director of the New York Philharmonic, turned the usually decorous space into a haven for the quirky characters of Ligeti's surrealist, modernist opera. The work was vividly realized by Mr. Gilbert and a fine cast of singers in a sold-out production designed and directed by Doug Fitch, featuring imaginative multimedia and fantastical costumes by Catherine Zuber.
—Vivien Schweitzer
29 November 2010The New Yorkerread more
A Good Year for Weird Music in New York (excerpt)

It has been a good year for weird music in New York. Works from the avant-garde end of he spectrum, long deemed a ghastly mutation of the great classical tradition, have lately made some headway with the public. In May, Alan Gilbert and the New York Philharmonic sold out three performances of Gyorgy Ligeti's absurdist opera 'Le Grand Macabre,' which bears about the same relation to Puccini as Francis Bacon does to Norman Rockwell. The same orchestra played an all-Varese program at the Lincoln Center Festival in July, to an exuberant crowd... And last month Gilbert's Philharmonic delivered an explosive rendition of Magnus Lindberg's 1985 piece 'Kraft,' which raises a din not only from conventional instruments but also from discarded auto parts. (Edkins Auto Scrap, on Staten Island, was the chief supplier.). A few people fled the hall at the first brightly screaming chords, but the vast majority stayed and, in a scene seldom witnessed at Avery Fisher Hall, lingered to discuss what they had heard. Zarin Mehta, the Philharmonic's president, was sitting behind me, and afterward an elderly woman approached him, wagging her finger. 'Fant-tas-tic,' she said. Perhaps audiences are finally beginning to approach twentieth-century music with the same open-mindedness that they have long accorded twentieth-century painting.
—Alex Ross
14 November 2010The New York Timesread more
Philharmonic at Carnegie: What a Difference a Hall Makes

...on Friday night the Philharmonic played one of its occasional concerts at Carnegie Hall. What a difference! Alan Gilbert conducted an Apollonian account of Beethoven's Violin Concerto with Midori as soloist, followed by an exhilarating performance of John Adams's restless, rapturous "Harmonielehre."

[Read more...]

8 October 2010The New York Timesread more
A Night for a Rhapsodic Violin And an Old Brake Drum

On Thursday night, right behind my regular seat at Avery Fisher Hall for the New York Philharmonic, there was an ominous shiny steel tank labeled "Refrigerated Liquid Nitrogen." Two full rows of seats behind mine had been removed to accommodate this (presumably empty) tank, a makeshift percussion instrument for the Philharmonic's performance of Magnus Lindberg's "Kraft," in its New York premiere, conducted by Alan Gilbert.

[Read more...]

8 October 2010Capital New Yorkread more
'Kraft' is a challenging, and a worthwhile, night with the New York Phil

There is no good reason to fear Kraft, which is often noisy, and not always pleasant, but always interesting and entertaining. The Phil's music director, Alan Gilbert, makes it even less intimidating with some brilliant programming.

[Read more...]

17 July 2010The Wall Street Journalread more
Revisiting A Revolution

Mr. Gilbert, whose highly touted accomplishments this season included the New York premiere of György Ligeti's fascinating opera, "Le Grand Macabre," puts his Varèse project on an equal footing with that landmark event. "Varèse's music is dazzling," he explains. "I want the New York Philharmonic to own it."

[Read more...]

14 July 2010The New York Timesread more
Bagels and Books (and a Few Scores)

Alan Gilbert, 45, the music director since September of the New York Philharmonic, doesn't listen to much classical music on Sundays. Instead, he and his wife, Kajsa William-Olsson, 39, devote the day to their daughters, Noemi, 6, and Lia, 5 months, and their son, Esra, 4.

[Read more...]

28 June 2010The New Yorkerread more
Music in Motion (excerpt)

Last fall, I reported that the New York Philharmonic, under the canny and courageous direction of Alan Gilbert, was waking up. At the end of May, with a wildly entertaining concert-hall staging of György Ligeti's absurdist opera "Le Grand Macabre," the orchestra bolted out of bed. Inevitably, skeptical mutterings preceded the project; about a thousand subscribers turned in their tickets, and the Times asked, "What are they thinking over there at Avery Fisher Hall?" With the help of some creative marketing—in one promotional video, Gilbert met the Grim Reaper by the Hudson River for an ice-cream cone—all three nights sold out, and by the final night "Le Grand Macabre" had become an improbable sensation, with scalpers in evidence outside. When Gilbert took his bow, the crowd made a thunderous, hero-welcoming noise.

Doug Fitch, the director, created a gaudy, antic production, deploying live animation to evoke Ligeti's tale of political intrigue and sexual perversion in the face of apocalypse. Eric Owens, as the death-dealing Nekrotzar, led a strong-voiced cast. Gilbert conducted with unwavering precision and deadpan flair. Best of all, the orchestra threw itself into the enterprise, gamely undertaking such non-union assignments as hurling balled-up pieces of paper. At one point, Owens, in full Death regalia, proceeded slowly down one aisle of Avery Fisher Hall, trailed by attendants waving ghoulish banners and a quartet of players, with the violinist Michelle Kim reading off of music taped to the back of the bassoonist Roger Nye. It was an exhilarating moment of defamiliarization for a place that has so often seemed to drip with ennui. To have worked such a transformation is an almost necromantic feat on the part of the new music director. The project is ongoing: at the Lincoln Center Festival, in July, Gilbert will lead the orchestra in a concert of Edgard Varèse, who once described himself as a "diabolic Parsifal," searching for the bomb that would "blow wide open the musical world."
—Alex Ross
10 June 2010 read more
Alan Gilbert reflects on his inaugural season with the New York Philharmonic

As he prepares for the final three programs of his first season as the Music Director of the New York Philharmonic, Alan Gilbert took a few moments to look back over his achievements with the orchestra, including the recent headlines they made together with their wildly successful performances of Ligeti's opera Le Grand Macabre.

[Read more...]

1 June 2010 read more
Critics respond to the Philharmonic's production of Le Grand Macabre

The critics have responded with great enthusiasm to the New York Philharmonic's production Le Grand Macabre — the New York premiere of György Ligeti's landmark work — led by Alan Gilbert and directed by Doug Fitch. A compilation of review excerpts follows...

[Read more...]

28 May 2010MusicWeb Internationalread more
Seen and Heard International: Le Grand Macabre the end, Gilbert was the night's hero. Who would have expected, when he announced plans to do a "semi-staged version" of Ligeti's wild, sometimes touching score, that he would complete it with such utter command. (And PS, all three performances ended up being sold out.) It is not hyperbole to say that this production telegraphed a new chapter in the orchestra's distinguished history.

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28 May 2010New York Magazineread more
Eye of the Storm

The New York Philharmonic's brilliant production of Ligeti's bizarre opera Le Grand Macabre brings rigor to chaos.

Led by its quietly revolutionary new music director Alan Gilbert, the orchestra performed the semi-staged production to a sellout crowd that evidently relished the opera's flamboyant unconventionality, the insanely high caliber of the performance, and the evidence of a cultural institution that has shed its stodgy past. It was a marvelous night for New York.

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28 May 2010The New York Timesread more
The Philharmonic's Challenge: Merely the End of the World

... The hero of this production, of the whole endeavor, is Mr. Gilbert, who conducted the score with insight, character and command. The Philharmonic players seemed inspired as they executed this complex music with skill and conviction. Mr. Gilbert brought out Ligeti's wildness. Yet moment after moment was ravishing, like the fractured, hazy, strangely elusive scene when Piet, Astradamors and Nekrotzar drink themselves into a stupor, which causes Nekrotzar to bungle his chance to destroy the world. instant Philharmonic milestone.

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29 April 2010The Wall Street Journalread more
Gilbert's Home Improvement

In the seven months that he's been the music director of the New York Philharmonic, Alan Gilbert has made some changes. The first native New Yorker to serve as the Philharmonic's music director, Mr. Gilbert speaks to the audience during performances and plays violin in chamber concerts alongside other Philharmonic musicians. He's thinking of bringing the Philharmonic to modern venues, like downtown art galleries or the Greenwich Village music club (Le) Poisson Rouge. Now he's about to try his most dramatic experiment for the Philharmonic so far...

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19 April 2010The New York Timesread more
3 Premieres Highlight New-Music Concert

The New York Philharmonic's sold-out concert in its new-music series "Contact!" at Symphony Space on Friday evening had an air of excitement and a refreshing informality. Alan Gilbert inaugurated the admirable series this season, his first as music director of the Philharmonic. He has said that the Philharmonic musicians expressed interest in forming a contemporary-music group, and to judge from the eclectic and youthful crowd on Friday there is certainly an audience eager to hear them.

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22 March 2010The New Yorkerread more
Battle of the Bands (excerpt)

What I missed most was novelty in the programming. Of thirty-two works, only five were written after 1945. Perhaps, in this cost-conscious time, it makes economic sense to stick with the warhorses, yet one of the loudest ovations of the month went to the New York Philharmonic, when it presented the American première of Magnus Lindberg's Clarinet Concerto. The Finnish clarinettist Kari Kriikku gave a transcendent virtuoso performance, raucous and rhapsodic by turns, and Alan Gilbert and the orchestra supported him avidly. Afterward, there was a surprised buzz in the auditorium as listeners confessed to loving a sometimes furiously dissonant piece. It was auspicious to see the formerly backward-looking Philharmonic embracing new music amid a slew of greatest hits.
—Alex Ross
13 February 2010ConcertoNet.comread more
Invader from Outer Space

We don't get many visitors from other galaxies these days, so it was a pleasure to welcome Kari Kriikku to the Earth. ...he had a quartet of advantages to make this visit successful. First, a concerto written for him about seven years ago, by the New York Phil's own composer-in-residence, Magnus Lindberg. Second, the New York Phil itself at their very best with a very dynamic conductor. Third, the acoustics of Carnegie Hall, which make resounding notes resound, and make the thickest orchestration sound transparent.

[Read more...]

4 February 2010The Gramophone Blogread more
A new era begins at the New York Phil

...the NYPO has made a magnificent choice: energising, contemporary, inclusive and, if tonight's combination of great programming and superb playing is anything to go by, hugely positive for the future.

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9 January 2010The New York Timesread more
Casting New Light on Russian Works

On paper, the two Russian works that Alan Gilbert conducted with the New York Philharmonic in an impressive concert on Thursday night at Avery Fisher Hall might seem unlikely choices to be included in programs for the orchestra's important tour of Europe, which begins on Jan. 17. ... Though full of lush orchestral writing and alluring, long-spun melodies, [Rachmaninoff's Symphony No. 2] can come across as padded and aimless. Not this time, however. Mr. Gilbert drew a revelatory performance from the Philharmonic.

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7 January 2010The Guardianread more
In the New York Philharmonic hot seat

Mahler, Toscanini and Bernstein may precede him, but the New York Phil's new music director Alan Gilbert says he's not fazed

... At 42, Gilbert is one of the prestigious orchestra's youngest leaders – boyish, charming, informal and anything but the classical cliche of the grand old maestro. He's also the first native New Yorker to hold the position and, since he took over in September, he's been seriously busy on and off the podium – including last year's Asian tour, and a European tour which brings the orchestra to London in February.

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2 November 2009The New York Timesread more
Gilbert Finds Surprises in Familiar Orchestra Fare

By all rights the concert the New York Philharmonic presented at Avery Fisher Hall on Friday night could have been a drowsy walk-through. After all it was not supposed to happen. The Philharmonic intended to spend the end of October in Havana, where it had been invited to perform. When that trip was canceled, after the State Department refused permission for moneyed patrons to tag along, the orchestra filled the gap in its schedule with concerts at home. ... But the concert indicated that a growing bond between Alan Gilbert and the Philharmonic players continues to yield substantial dividends.

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23 October 2009Santa Fe New Mexicanread more
New old boy Alan Gilbert returns to the NY Philharmonic

Reaching Alan Gilbert when he was Santa Fe Opera music director was easy, especially during summers... Since Gilbert became music director of the New York Philharmonic last month, conducting his first concert on Sept. 16, you would think that getting hold of him would involve negotiating 16 rather than six degrees of separation. Fortunately, it only took an e-mail to his media representative, followed by a few unavoidable weeks waiting for an open slot on the intelligent, affable, and artistically intense 42-year-old's schedule.

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22 October 2009The New York Timesread more
The New World on the Two Coasts

When a music director takes the helm of a major American orchestra, the inaugural concert should be not just a musical celebration but a statement of artistic mission. The recent debuts of Alan Gilbert at the New York Philharmonic and Gustavo Dudamel at the Los Angeles Philharmonic both showed how this can be done.

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19 October 2009The New Yorkerread more
Waking Up: Alan Gilbert takes over at the New York Philharmonic

For those who have followed Gilbert's career, neither his anti-aristocratic stance nor his lively intellect comes as a surprise. The real news is the sound of the Philharmonic itself. Simply put, the orchestra is playing better than it has in the seventeen years that I've been a critic in New York.

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4 October 2009New York Magazineread more
A Velvet Revolution: Alan Gilbert starts reforming the New York Philharmonic. Quietly.

After a few weeks as music director of the New York Philharmonic, Alan Gilbert answered the question of what his tenure would bring – with Charles Ives's The Unanswered Question. It was a sly and lovely way of hinting that the relationship between an orchestra and its resident maestro coalesces over years, but that in the meantime, uncertainty has a beauty of its own.

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2 October 2009The New York Timesread more
A New Tone Is Part of a New Tenure

Alan Gilbert undoubtedly knows that as the New York Philharmonic's new music director, he will have a honeymoon period during which everyone — his orchestra as well as his audience — will be wishing him the best while also focusing intently on what he is doing and how. He seems comfortable with that scrutiny and is keeping his listeners guessing how he will present himself and his orchestra.

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25 September 2009The New York Timesread more
First a Lesson and Then a Challenge

The program that Alan Gilbert conducted with the New York Philharmonic on Thursday night was only his third as music director. So it is probably too early to make overall assessments of changes he may be bringing to the orchestra. But the performance that Mr. Gilbert drew from the Philharmonic of Schoenberg's formidable 45-minute "Pelleas und Melisande" was urgent, assured and luxuriously beautiful.

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23 September 2009The New York Timesread more
A Conductor's Lair, Informal but Not Too

Just last Wednesday, a few hours before he was to take up the baton for the gala first night of his first full season at the New York Philharmonic, Alan Gilbert, the orchestra's 42-year-old conductor, came offstage, ducked into his suite at Lincoln Center and, opening a bottle of Poland Spring, dropped down onto his month-old, royal blue, velvet-covered couch.

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22 September 2009The New York Timesread more
New Face at Philharmonic Alters the Seating Chart

The Alan Gilbert era at the New York Philharmonic has barely hatched, and it is far too early for a full assessment. But some changes, large and small, have already come to light.

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21 September 2009The Star Ledgerread more
New York Philharmonic, Alan Gilbert conducts Mahler's Third Symphony

Leading Mahler's monolithic Third Symphony, Alan Gilbert continued to prove his gifts at his first subscription concert as the music director of the New York Philharmonic.

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19 September 2009The New York Timesread more
Exploring Labyrinthine Passages

There is nothing cautious about the way Alan Gilbert has begun his tenure as music director of the New York Philharmonic. First, for the season-opening gala concert on Wednesday, he conducted a boldly adventurous program that included a new work and a seldom-heard Messiaen song cycle. Then on Thursday night, for his first subscription program, Mr. Gilbert chose the longest of Mahler's nine symphonies, the Third, an elusive and complex score full of treacherously exposed passages.

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18 September 2009The Wall Street Journalread more
An Upbeat Downbeat in New York

Back in 2002, five years before his death, the cellist and conductor Mstislav Rostropovich told me that as a child he was "crazy to become a conductor." Instead, his father gave him a miniature cello, saying, "First make your career as a performer, because only when an orchestra trusts you as a performer can you conduct." This story came to mind on Wednesday night as the conductor Alan Gilbert, 42—who is also a pianist, violinist and violist—began his first season as music director of the New York Philharmonic. If one thing seems apparent at the start of his tenure, it's that Mr. Gilbert is quickly forging that collegial trust.

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18 September 2009The New York Timesread more
Gilbert Debuts as Philharmonic's Director

There were no speeches on Wednesday night when Alan Gilbert conducted his first concert as the music director of the New York Philharmonic. Many words have been spoken and written about the significance of Mr. Gilbert's appointment since it was announced two years ago. For this season-opening concert, broadcast on public television's "Live From Lincoln Center" series and relayed on an outdoor video screen to Lincoln Center Plaza, music would have to do the talking. And it did, eloquently and excitingly.

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18 September 2009Financial Timesread more
NY Philharmonic Opening/ Gilbert, New York

New Yorkers love fussy galas, lofty statistics and conspicuous changes of the cultural guard. The devout were suitably happy at Avery Fisher Hall on Wednesday when the Philharmonic opened its 168th season with its 14,870th concert, an event marking the succession of a brave young man to what had been Lorin Maazel's august podium. Alan Gilbert's time had come.

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13 September 2009The New York Timesread more
The New Guy on the Philharmonic Block

The classical music world will be looking with intense interest to the New York Philharmonic this season. Now there is a sentence I never thought I would write. Alan Gilbert takes over as the orchestra's music director with an opening-night program on Wednesday. There are enticing offerings all over New York this season. But nothing will matter more than the Philharmonic's attempt to reinvigorate itself with Mr. Gilbert.

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11 September 2009Associated Pressread more
Alan Gilbert, new NY Phil conductor, comes home

After studying at Harvard University, the Juilliard School and the Curtis Institute, and spending eight years as music director with the Royal Stockholm Philharmonic, Gilbert has come home. On Wednesday night, before a nationally televised PBS audience, he takes the baton as music director of the New York Philharmonic, stepping up to a podium once occupied by such titans as Mahler, Toscanini and Bernstein.

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10 September 2009Playbill Artsread more
A New Day Looms on the Horizon: The Start of the Alan Gilbert Era

Nurturing tradition and innovation, pursuing partnership as well as leadership. Gilbert talks with Robin Tabachnik about his plans as he becomes the New York Philharmonic's next Music Director.

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8 September 2009The Wall Street Journalread more
He Has an Eye as Well as an Ear

"I'm feeling like a kid in a candy shop," says conductor Alan Gilbert to his wife, cellist Kajsa ­William-Olsson. "A very privileged kid." We are walking, through the soothingly empty halls of New York's Metropolitan Museum of Art, en route upstairs to one of Mr. Gilbert's favorite galleries, containing works by Jan Vermeer and other 17th-century Dutch painters.

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25 August 2009 read more
Catching up with Alan

In a few weeks, Alan Gilbert begins his tenure as the new Music Director of the New York Philharmonic. In the first of a series of monthly (and possibly more frequent) chats with him, he talks about the first two programs he'll be playing with the orchestra in 2009-10, including the season-opening gala on Wednesday, September 16 with soprano Renée Fleming.

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16 July 2009The New York Timesread more
Courting the Hometown Audience in Central Park, With Mozart and Beethoven

Alan Gilbert, the incoming music director of the New York Philharmonic, has a markedly different idea of what that post should encompass than his predecessor, Lorin Maazel, did. In a recent interview with the news channel NY1, Mr. Gilbert, who will also teach and conduct at the Juilliard School this fall, said he felt "a very sincere hope that we can make connections to the city and mean something for individuals in the city."

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13 July 2009NY1read more
One On 1: Alan Gilbert Orchestrates Lifelong Dream

Conductor Alan Gilbert will officially take over as music director of the New York Philharmonic in September, fulfilling a lifelong dream that has been more than a decade in the making. NY1's Budd Mishkin filed the following "One On 1" report. Follow the link below for a transcript, or view the original segment at the NY1 website.

[Read transcript...]

10 July 2009The Wall Street Journalread more
Passing the Baton

The New York Philharmonic—once led by such greats as Leonard Bernstein and Gustav Mahler, and most recently by veteran Lorin Maazel—is about to pass its baton to a lesser-known name in the music world: Alan Gilbert.

For two years, the Philharmonic has been grooming Mr. Gilbert, who will be the first native New Yorker to conduct the country's oldest orchestra, and one of the youngest ever in the post. At age 42, Mr. Gilbert is nearly four decades younger than Mr. Maazel, who led the Philharmonic for seven years and ended his tenure last month.

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2 May 2009The New York Timesread more
At Avery Fisher, the (Possible) Sound of Things to Come

As Alan Gilbert readies himself to take over as music director of the New York Philharmonic in September, he understands that a large segment of its audience is still trying to get a reading on him. On Thursday night he conducted the first performance of an unusual and surprisingly revealing program, his next-to-last guest appearance before becoming the boss.

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22 April 2009Varietyread more
Gilbert brings youth to Philharmonic

In the world of classical music, orchestra audiences -- or at least the boards of such institutions -- would often rather hedge their bets and hire music directors in their 70s or even 80s than take their chances by looking for long-term relationships with younger conductors. So when the New York Philharmonic, an orchestra that in recent years has had something of a reputation for playing it safe, announced that 42-year-old conductor Alan Gilbert would be its next music director with a five-year contract beginning this September, it felt to many observers that the winds of change were finally blowing into Lincoln Center.

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20 March 2009The Standard (Vienna)read more
Alan Gilbert Conducts the Vienna Symphony

It was not necessarily a foregone conclusion that this concert would turn out to be without a doubt one of the most important of the season so far. ... The evening's not infrequent special moments came from the stirring impetus of Alan Gilbert, the 42 year-old conductor from New York.

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6 March 2009The Boston Globeread more
Gilbert leads BSO in Ives's epic Fourth Symphony

Next fall the young conductor Alan Gilbert will be taking up the reins of the New York Philharmonic as its 25th music director and there are high hopes that he will bring that magnificent yet artistically staid orchestra a sense of freshness and new life. Focused yet unflashy on the podium, he is unquestionably a thoughtful musician with engaging ideas about the music of today and how it connects to the great masterpieces of the past.

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27 February 2009The Boston Globeread more
Young conductor takes a leap

Alan Gilbert stands on the threshold of the greatest challenge of his young career. In a little more than six months, the 42-year-old will take over as music director of the New York Philharmonic, one of the youngest conductors ever and the first New York native to hold the position.

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13 January 2009The New York Timesread more
For the Philharmonic, Next Stop, Vietnam

On the heels of its attention-grabbing trip to North Korea last February, the New York Philharmonic is planning another high-profile visit for next season: to Vietnam. The stop, part of an Asian tour in October, will be a splashy opening to Alan Gilbert's tenure as the orchestra's new music director.

The tour was announced on Monday during a presentation of Mr. Gilbert's programming for his first season in charge of the Philharmonic. The orchestra plans to play in Japan on that tour as a nod to the Japanese side of Mr. Gilbert's heritage.

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15 December 2008New York Magazineread more
The Big Entrance

When Alan Gilbert, the New York Philharmonic's music-director-in-waiting, led a free concert in Central Park last summer, he mentioned to the audience that his mother was a member of the violin section. Then, turning back to the orchestra with a little wave, he said, "Hi, Mom," eliciting 60,000 guffaws. (He didn't add that his dad, now retired, had also been a Philharmonic violinist.) Gilbert doesn't take over the Philharmonic until September, but he's already starting to feel like a member of the family.

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28 October 2008The New York Timesread more
Philharmonic Offers Taste of Next Season's Banquet

A composer in residence. A new-music ensemble. A commissioned work for the New York Philharmonic's opening gala concert. Maybe, just maybe, throwing out the first ball at Yankee Stadium.

Alan Gilbert, the Philharmonic's music-director-in-waiting, let drop some news tidbits on Monday at a lunch with reporters and music critics organized by orchestra officials. It was a step in the orchestra's efforts to present Mr. Gilbert to the public before he takes over from Lorin Maazel next season.

[Read more...]

15 October 2008The New York Timesread more
Faust Unleashing a Destroyer of Worlds

After the premiere of John Adams's "Doctor Atomic" at the San Francisco Opera in October 2005, the original staging by the director Peter Sellars made its way to the other two companies that produced the work: the Netherlands Opera in Amsterdam and the Lyric Opera of Chicago. Most composers would consider that a terrific send-off for a new opera.

Peter Gelb, the general manager of the Metropolitan Opera, wanted to bring "Doctor Atomic" to New York.

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15 March 2008The New York Timesread more
More Than a Few Encouraging Signs From a Conductor Waiting in the Wings

The classical music world is counting on Alan Gilbert to bring fresh vision and youthful excitement to the New York Philharmonic when he takes over as music director in 2009. That he is poised to do so came through palpably on Thursday night at Avery Fisher Hall when he conducted an urgent, richly colorful and unusually lucid account of Strauss's opulent tone poem "Ein Heldenleben" ("A Hero's Life").

What came through as well is how assured and dynamic the relationship already is between this 41-year-old conductor and the Philharmonic players.

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3 March 2008New York Magazineread more
Taking Over the Family Business

Born to two New York Philharmonic violinists, Alan Gilbert will soon pick up its baton. which is good news, because it may take one of the orchestra's own to launch the revolution it needs.

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9 February 2008Philadelphia Enquirerread more
Gilbert shows his way with composers

Whatever else Alan Gilbert reveals about himself next month in his first concerts as music director-designate of the New York Philharmonic, it seems safe to say now that he knows how to rehearse, and put a personal imprint, on a difficult program.

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December 2007Gramophone Awards 2007read more
New York awaits a homegrown chief

Technically, Alan Gilbert may still be on vacation, but that doesn't mean he's not thinking about work. Ever since July, when the New York Philharmonic announced that music director Lorin Maazel will be passing the baton to Gilbert at the end of the 2008-09 season, the 40-year-old conductor has generated considerable attention.

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7 October 2007The New York Timesread more
Forged in Sweden, Bound for New York

Alan Gilbert stood before the Royal Stockholm Philharmonic last month in one of the most difficult moments he has faced as the orchestra's chief conductor. An hour before, the players learned that a well-liked former member had committed suicide.

"It feels strange to rehearse," Mr. Gilbert quietly told them as they sat on the stage without instruments, looking stricken. Some held each other. Several sobbed. "On the other hand, not to rehearse, not to do what we do as musicians, is even stranger," Mr. Gilbert added. "It's a shame that it takes sometimes a terrible thing like this to remind us that we are a family."

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18 July 2007The New York Timesread more
The Philharmonic Picks New Music Director

The New York Philharmonic reached into its family tree and plucked Alan Gilbert, the 40-year-old son of two Philharmonic musicians, as its next music director, making him the first native New Yorker in the position and a rare American in the job.

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23 March 2007The Plain Dealerread more
Guest conductor shares his gifts with vitality

More than a few young conductors have been privileged to learn from the Cleveland Orchestra and move on to fine careers elsewhere. The biggest success is James Levine, an assistant conductor here in the 1960s and now music director both of the Metropolitan Opera and the Boston Symphony.

Another Cleveland alum is rising fast in the east, west and other directions. Alan Gilbert served on the orchestra's conducting staff for three years in the mid-1990s and holds major posts in Sweden, Germany and New Mexico. His frequent guest-conducting stints with top American orchestras make him a possible candidate to take over one of those ensembles in the not-too-distant future.

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22 March 2007Akron Beacon Journalread more
Maestro on the go: Hectic concert schedule no problem for former Cleveland Orchestra veteran

Alan Gilbert is a man in demand. After a week of New York Philharmonic concerts, his second such week in as many months, the former Cleveland Orchestra assistant conductor sounded happy but a little tired. A steady ratcheting up of conducting engagements has meant less family time with his wife, Kajsa William-Olsson, a cellist, and their two children, daughter Noemi (almost 3) and son Esra, 18 months, back home in Stockholm, Sweden, where the native New Yorker is music director of the Royal Stockholm Philharmonic.

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15 March 2007National Public Radio: All Things Consideredread more
Alan Gilbert interviewed on All Things Considered

Alan Gilbert grew up with the New York Philharmonic in his blood. He is the son of two Philharmonic musicians: His father played violin with the orchestra for 30 years, and his mother is a longtime member of the first violin section.

Gilbert's childhood was filled with music and musicians.

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10 February 2007The New York Timesread more
A Guest's Youthful Vigor at the Podium

The New York Philharmonic is cultivating relationships with a handful of young (or youngish) conductors, and one of them, Alan Gilbert, returned to Avery Fisher Hall on Thursday for the first of two visits this season.

Not surprisingly, Mr. Gilbert, who turns 40 this month, is keen to show what he can do. So the three substantial works in his program, drawn from vastly different worlds, offered a concise tour of his directorial sensibilities. The news is good.

[Read more...]