New York Philharmonic, David Geffen Hall, Lincoln Centre, New York City

I’ve watched New York shows time and again on the telly.  So it’s a delight to be able to go to the fabulous Lincoln Centre and see and hear these performances live.  I know I’ll enjoy future concerts later having been there.  Hopefully I’ll return and now know where the best seats are, not to say I didn’t do amazingly well ordering on line.
I really like looking down on the symphony and Laura liked being face on in the first tier.  The sound in the David Geffen Hall is the best. Might as well be wearing earphones.
Copland and Marsalis..  I didn’t know either and didn’t know what to expect. I’m a more traditional classical fan but loved that the Margolis Jungle Jazz premiere was on simply because Jazz is the uniquely American contribution to classical music. Further I really like horns in the Christmas season. Strings seem to flaunt the rigors of social justice in symphony work and horns, sometimes wind or even the drums are often second class citizens.
I loved the Copland’s  Quiet City (1939/40)  in the first section.  Grace Shryock played the English Horn and Christopher Martin the Horn. This was a truly elegant performance.
Joseph Alessi played the trombone solo In William Bolcom’s (1938) piece. I really was something. How often do you see that?  I’ve never before heard a trombone solo symphony. It was great.
Jungle by Marsalis was the best though.  Every aspect of jazz seemed represented.  It was perfection.  The piano was truly amazing. The horn ending was spectacular.
There were encores and more. The whole of the Lincoln Centre, a huge venue,  rose to it’s feet clapping and cheering.   Alan Gilbert, the Conductor, was amazing.
And a really special treat.
The trombone soloist joined with the other trombones in the symphony to give a regular "duelling trombone"number. We really felt special to be there that night. The crowd roared even louder.
The lovely older lady behind me, and I’m old, cleverly commented, “It wasn’t 76 trombones but it surely was the best!”  Yes, indeed!
Thank you New York Philharmonic!

Salome, Metropolitan Opera at Lincoln Centre, New York City

The Lincoln Centre is unsurpassed. What a lovely site.  The Metropolitan Opera is truly beautiful.  What a great venue. I loved the seating and chandeliers and acoustics.  The best was a little read out on the back of the chair showing you the words in English or German.
We loved Salome.  Richard Strauss’s score and Oscar Wilde’s drama. We’d just seen Reginaud’s Salome at the MET Museum.  It’s an incredible Biblical story.  So much of the message was carried through.  Patricia Racette played the lead role of Salome and her voice and acting was stupendous. I loved her dance. It was truly Oscar Wilde, top hat and tails, with layers lost, one tantalizing piece at a time.  I loved her whole performance.  I loved her voice, the range, the character.
Herodius was played by Nancy Herrera who really was great as well. Her drunken portrayal of Salome’s mother was perfect.  Greer Grimsley’s voice and performance was so powerful. He played John the Baptist. I loved his voice.  But  Gerhard Siegel who played Herod was my favourite after Salome. Kang Wang played Narraboth but he died too soon and I missed his suicide as Salome’s performance  overshadowed it. Which was rich and no doubt meant to.   Then there were the Rabbis and Christians. What a comic relief and so well choreographed. The orchestra conducted by Johannes Debus was perfect.  I loved the timing.   Costume and set were incredible.
The trouble with opera though is the macabre themes. The last opera we attended was about cannibalism and this one was about necrophilia. What’s with opera?