The violins had been tuning, the woodwinds warming up and the trumpets blaring bits of Mahler. Then the musicians of the New York Philharmonic started to whistle and cheer.
Gustavo Dudamel, some of the international’s greatest undertaking stars, strode onto the degree this month for his first practice session with the Philharmonic since being named the ensemble’s subsequent song director. On this system used to be Mahler’s epic Ninth Symphony.
“I will have the opportunity in the next few days to hug everybody,” he informed the musicians, smiling and pumping his fist. “I’m very honored to become part of the family.”
As it took place, the orchestra’s new corridor, the not too long ago renovated David Geffen Hall at Lincoln Center, used to be occupied that day, so Dudamel’s first practice session happened at its previous house, Carnegie Hall. Dudamel mentioned he felt a connection to Mahler, who performed the Philharmonic at Carnegie when he used to be its song director from 1909 to 1911.
“This was Mahler’s orchestra,” he mentioned, noting Mahler’s ties to New York when he wrote it. “Even if they are not the same musicians, they have that heritage of Mahler.”
While Dudamel does no longer take the rostrum in New York till 2026, his 5 days with the Philharmonic this month, for rehearsals and performances of the Mahler, had been an unofficial get started. They got here at a second of transition for him in extra tactics then one: per week later he would announce that he used to be resigning as song director of the Paris Opera. But New York felt like a brand new starting, and as he were given to grasp the orchestra and the town, he introduced a mantra for his tenure: “We will have a lot of fun.”
There had been Champagne toasts and rites of passage. In his dressing room Dudamel tested a Mahler rating that after belonged to Leonard Bernstein, a predecessor and famous Mahlerian. There had been hours of intense rehearsals, all through which Dudamel suggested the avid gamers to embody Mahler’s operatic impulses and his numerous taste.
“It’s not bipolar, it’s tripolar,” he mentioned of 1 passage. “This is Freud. A new character — a new spectrum of humanity.”
When Dudamel and the orchestra were given again to Geffen Hall for the overall rehearsals and performances, there have been some surprises.
After a spectral whirring sound surfaced all through an open practice session, he became to the target audience. “Maybe it’s Mahler,” he mentioned.
Throughout his talk over with, Dudamel used to be greeted as a rock big name, with musicians lining up for selfies and hugs.
“You’re part of my family,” Cynthia Phelps, the fundamental violist, informed him at a reception. “Welcome.”
Dudamel thanked the musicians, pronouncing he by no means imagined he would in the future lead some of the international’s best orchestras.
“To arrive here, to achieve this connection with you, is for me a prize of life,” he mentioned. “We will develop this love, this connection.”
At the hole live performance, Dudamel used to be fearful. As is his customized, he performed the symphony, some of the repertory’s maximum sweeping and profound works, from reminiscence. At the top of the piece, Dudamel abstained from solo bows, gesturing as a substitute to spotlight the contributions of the participants of the orchestra.
Backstage, an aide passed Dudamel a tumbler of scotch.
“My God,” he mentioned. “What a journey.”
