In this week’s The New Yorker, Alex Ross tweaks the nation’s flagship orchestra and opera company for their stale repertoire in this newly opened season. Conservative programming at major performing arts presenters is nothing new; but, I think Ross makes a clever connection to another kind of conservatism that lends a bit more bite to an otherwise worn critique.
As the nation contends with its racist and misogynist demons, New York’s leading musical institutions give us canonical pieces by white males, conducted by white males, directed by white males. The Met’s productions this season feature no female composers, no female conductors, and no women directing new stagings. The Philharmonic’s main schedule, at David Geffen Hall, has one female conductor and one female composer.