If you missed The Philadelphia Orchestra’s staging of Leonard Bernstein’s MASS, you didn’t miss a performance: You missed a major, major event.
How else can you describe the Kimmel Center’s Verizon Hall stage filled with not only the Philadelphia Orchestra, but the Westminster Symphonic Choir, the Temple University Concert Choir, The American Boychoir, members of the Rock School for Dance, and the Temple University Diamond Marching Band, plus nearly 20 Broadway actors and opera singers…all at once. Add the excitement of Yannick Nezet-Seguin at the podium, and you sort of wonder how the entire building didn’t shatter due the sheer insane sound and energy from this cast of hundreds (Fun fact: this production is the first time that Verizon Hall’s orchestra pit was used. There were so many people on the stage, they couldn’t fit everyone). Read more »
“The warm embrace of The Philadelphia Orchestra and its audiences has been humbling and exhilarating since I made my debut in 2008. Knowing that this love affair with the Orchestra and the City of Philadelphia will continue is an immense joy. I believe what we are doing artistically is so important, and it’s having a big impact on this community,” said Nezet-Seguin of the announcement. “But to do this work takes time, so I am thrilled that I will continue here as music director for at least another five years. Our work together is in many ways really just beginning, and now being able to settle in and think and plan long-term is really wonderful.”
The Board of Directors also renewed Chairman Richard B. Worley and Orchestra President & CEO Allison Vulgamore.
I don’t think you need a good reason to see The Philadelphia Orchestra play the breathtaking Verizon Hall, but over the next several weeks, the fabulous musicians are putting on quite a series of shows: The Saint Petersburg Festival, which celebrates great Russian composers, gives a compelling reason to take in some gorgeous classical music. But, if you need more convincing, here are five reasons why a trip to the Kimmel Center is in high order. Read more »
The members of the Philadelphia Orchestra will pack their bags this May for a voyage to Europe: It is the first time that the Fabulous Philadelphians will embark on a European tour with Music Director Yannick Nezet-Seguin.
“I have long anticipated the first tour of Europe that I will take with the musicians of The Philadelphia Orchestra,” said Nezet-Seguin. “At the conclusion of three years of our partnership I am proud to bring to European audiences this current embodiment of the great Philadelphia Sound that we have collaborated on together.” Read more »
And that tattoo is pretty sweet, too, if I do say so myself.
If you want to catch Yannick live in-action (and in a tux), check out the Orchestra’s upcoming St. Petersburg Festival, a three-week celebration of great Russian composers at the Kimmel Center. You can find out more info here.
My name is … Yannick Nézet-Séguin, since I was 16. I was born Yannick Séguin, but I decided to legally add my mother’s last name, Nézet, because we were the only family in North America with that name. And my mother is the only child of her family, so I wanted to make a future for that very strange name. People assume I am Egyptian or Hungarian or Turkish, but it is very plainly Celtic French.
My friends call me … Yannick. I was desperate when I was younger to get friends to call me Yan or Nick. But I never got anyone to do it.
I am a … lover of life.
I grew up in … Montréal, in the city and very close to everything — so much so that I never bothered to take driving lessons. I still don’t have a driver’s license. A conductor but not a driver.
My secret junk food obsession is … poutine. But the problem is, I am lactose-intolerant. So when I have those cheese curds and poutine, I assume the consequences.
The thing most people don’t understand about my job … is how much psychology is involved. I have a mysterious job to begin with, but everything has to do with using the right amount of psychology and diplomacy.
On Sunday, May 25, the Philadelphia Orchestra will be making history, but they won’t be at the Kimmel Center: they’ll be in China, and guess what? You’ll have a chance to be part of the milestone concert.
The Orchestra’s performance from the Shanghai Grand Theatre will mark the first symphonic webcast from China to an international audience. The concert, which takes place at 7:30 PM in China, can be streamed live at 7:30 AM EST via a-Peer Synergy Shanghai Culture and Technology’s newly developed digital platform; listeners must pre-register at www.yunbomedia.com. As an added bonus, those who “attend” this digital concert will have the opportunity to share up to three minutes of the concert via social media, which includes Mozart’s Symphony No. 41 (“Jupiter”) and Mahler’s Symphony No. 1.
The Philadelphia Orchestra has a long history with China that stems from President Nixon’s 1973 request to have the ensemble be the first American orchestra to perform in China. They have returned in 1993, 1996, 2001, 2008, 2010, 2012, and 2013.
Expect to hear the signature styles of music director Yannick Nezet-Seguin on the webcast; The Philadelphia Orchestra’s 2014 tour of Asia and China marks his inaugural tour with the company after becoming music director of the Orchestra in 2012.
For more information on The Philadelphia Orchestra, visit their website.
It sounds like a headline ripped from an episode of Nancy Graceor Law and Order: young female necromaniac flaunts her sexuality to get down and dirty with a corpse she’s got the hots for (and you thought opera was boring). But, in essence, that pretty much captures the plot of Strauss’s Salome, which, in it’s sold-out staging at the Kimmel Center, marks the first collaboration between The Philadelphia Orchestra and Opera Philadelphia. The production, which opened Thursday evening, features many solid moments, but the highlight clearly is the daunting performances of Camilla Nylund and Alan Held who play the title character and her soon-to-be dead lover, respectively.
Earlier this season, you hosted a “Tweet at the Opera” experiment and something called a “Robot Opera.” Do you worry that any of this stuff is going to look gimmicky? No, not at all. I mean, we’re not doing the “tweet seats” to be gimmicky. We are trying to do new things. We do them in a controlled way — the “tweet seats” were a section. We weren’t trying to get a headline out of it. We weren’t trying to be notorious. We wanted to do it in a way that wouldn’t disrupt patrons … and we were successful in doing that.
Your predecessor, Robert Driver, was once flagellated with a newspaper by a grumpy old patron unhappy with his attempts to innovate. Are you getting whacked, proverbially or literally, by more conservative opera-goers? No, I am not getting whacked by newspapers, frying pans or any other household objects from more traditional patrons. I think the reason is that we have been very respectful in our approach to innovation. The tweet seats are a great example. If you’re a 20-year subscriber and you don’t own a smartphone, you didn’t even know they were there.