As Gustavo Dudamel begins his season as the Oscar L. Tang and H.M. Agnes Hsu-Tang Music & Artistic Director Designate of the New York Philharmonic, what are the musicians thinking? What do they think of his leadership and programming? Three members of the Orchestra provide some clues.
Tabitha Rhee, who joined the viola section in 2023, says: “Dudamel allows us to feel connected with the music, to him, to our instruments, and to the audience. He brings a beautiful light, and it’s as though he shapes it to his personality and the members of the Orchestra. He never lets go of the music; he keeps you constantly engaged; every note is interesting.” She happily recalls a passage featuring the viola in Ravel’s Daphnis et Chloé performed this past March. “At the transition, he gave us his attention,” she explains. “I felt at that moment — the way deep down he communicates music — he inspires trust. You really wanted to do your best. For me, that is his magic."
Violinist Audrey Wright, who joined the Philharmonic in 2022, also shares a Ravel memory—this one from 2024 performances of Boléro. Although the Orchestra has played it often, “We were actually rehearsing Boléro,” she marvels. “He cares about every nuance and turn of phrase. We delved into the music more than we ever had. It gave me a new perspective on the music itself; I felt I was hearing it for the first time. He pushes the boundaries of color, texture, and dynamics and has a very clear idea of everything he wants. You have to have a lot of focus when playing under his baton!”
For Pascual Martínez Forteza, Dudamel’s arrival has effects that are both professional and personal — they are friends. How did this happen? “I think it’s the language,” says the Spanish-born clarinetist who joined the Orchestra in 2001. “When Dudamel first conducted us, in 2007, his English wasn’t as good as it is now, and I was the only Spanish-speaking person in the Orchestra. We connected very well; we’re in the same generation, and we became good friends.” They have socialized with their wives (who are both from Spain) over meals, and they get together whenever possible. “We talk about music and normal things: sports, the kids. Of course, we always have the tendency to talk about music, because that’s our life.”
The 2025–26 season with Dudamel will offer the challenge of new works and the pleasure of familiar favorites, and the musicians are intrigued. Rhee has her sights set on Beethoven. “We’re doing his Third Symphony, Eroica,” she says. “That piece speaks to me already, and I’m really excited that Dudamel will make it his own.”
“What’s really fun about Dudamel is that he’s equally impressive with standard repertoire and new music,” notes Wright, who in addition to looking forward to Beethoven is eager to perform John Corigliano’s Symphony No. 1, which is totally unknown to her. “I think we have a nice mix of both of those worlds. One of the best things about working with Dudamel is how much he trusts the Orchestra,” she adds. “This allows us to listen and play together with confidence and joy. Performances feel so alive and inspired!”
“Every single week will be an event,” says Martínez Forteza. “We’re doing repertoire that we’ve never played — world premieres and new music. Gustavo is very smart and he is always trying to promote Latin composers or those not well known, so it’s always interesting to be part of these projects. The Spanish Harlem Orchestra— I’m sure it will be amazing!” As for the overall experience of performing with the Venezuelan conductor, the clarinetist has his own personal view. “The first time and every time he is always very prepared. He has a special chemistry with the Orchestra. I’ve been here 25 years, and I have never felt that kind of connection with anyone. It’s that body language magic — he makes you play better. It’s crazy how he gets the best out of the Orchestra!"
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