Guilty Pleasures
By Associated Press
Williams is back in center — only this time Lincoln Center for New York Philharmonic debut
NEW YORK | Bernie Williams was in the center, just like the old days at Yankee Stadium. Only this time he was at Lincoln Center alongside conductor Gustavo Dudamel and making his New York Philharmonic debut.
After spending 16 years gaining fame while roaming the grass where Joe DiMaggio and Mickey Mantle once trod, Williams was on the stage made famous by Leonard Bernstein and where guitar great Andrés Segovia once played.
Williams performed “Moving Forward,” a jazz-infused work he composed in 2009 that was newly arranged by Jeff Tyzik as part of the orchestra’s spring gala on Wednesday night at David Geffen Hall, a public exclamation of the former All-Star outfielder’s second career as a classical guitarist.
A day before the performance, he recalled going to the Manhattan School of Music from 2012-16 to learn his new trade and earn a bachelor’s degree.
“A lot of these people were running laps around me and I had to come to the realization that I had to work as hard as have I ever worked upon anything, including being a Major League Baseball player,” he said. “I had to put in the work, and none of that stuff that I did prior was going to help me here. I really had to reinvent myself. In learning all of the stuff that I learned being a professional baseball player, some of the stuff really helped me in performing under pressure, putting in the work in and being relentless.”
Dudamel, who becomes music director in 2026-27, gave Williams a glowing introduction that was repeatedly interrupted by applause as he recounted Williams’ background at an event to raise money for music education.
“Bernie grew up in Puerto Rico and I think that maybe he had some other opportunities outside music,” Dudamel said.
Wearing a dark suit and tie with patent leather loafers, Williams played his 4 1/2-minute composition backed by the Philharmonic, joined by student musicians.
Now 55, Williams signed with the Yankees on his 17th birthday in 1985, made it to the major leagues six years later and became a four-time World Series champion, five-time All-Star and the 1998 AL batting champion. He hit .297 with 287 homers, 1,257 RBIs and 147 stolen bases for the Yankees from 1991-2006.
He began playing guitar when he was 6 or 7 in Puerto Rico, learning from his mother’s friends, and listened to the guitar work of his dad, Bernabé. Bernie brought his guitar to the ballpark and played in the clubhouse lounge to MTV tunes picked by teammate Derek Jeter.
“When you’re on the road, there’s a certain amount of time that you spend in the room,” Williams said. “A lot of people play video games, a lot of people just watch TV. So I used to kind of like split time between watching TV, ordering room service and playing guitar between.”
He used to play in a paint room under the right-field stands at the old Yankee Stadium, where Ron Guidry had left a drum set that Paul O’Neill took over. Williams brought an amplifier, and they jammed after batting practice and during rain delays.
A particular thrill occurred before a game against Minnesota in 1998, when Bruce Springsteen walked into the clubhouse, spoke with some of the Yankees players and signed Williams’ guitar, writing: “To Bernie, If you ever get tired of baseball …” The two joined to play “Glory Days” at Joe Torre’s Safe at Home Foundation gala in 2007.
By 2003, Williams released his first recording, “The Journey Within.” His second, “Moving Forward,” earned a Latin Grammy nomination in 2009 for best instrumental album, and he’s contemplating his third, which he hopes will have more daring playing and writing.
“Anybody can enjoy a good piece of music and some of that music is able to move people in ways that nothing else can,” Williams said. “So understanding those emotions that come with being a musician I think has taken me in a great journey and it’s just such an awesome process to have in contrast to what I used to do in sports. It’s great to have an opportunity to do both things in one lifetime.”
His mother was adamant about him going to college. Williams received a degree in 2016 after the four-year undergraduate program. He studied guitar with Christopher Rosenberg, harmony, composition and improvisation with Garry Dial and writing with John Pagano. Williams now serves on the school’s board of trustees.
Ahead of this week’s performance, Williams spent from April 9-13 performing at the Café Carlyle, the celebrated Upper East Side nightspot where Bobby Short entertained New York’s high society from 1968-2004.
“Everybody’s so close and you hear a pin drop and everybody’s so attentive,” he said. “It’s such a unique experience, at least for me. I’m used to playing in front of 50,000 people, everybody yelling and screaming their hearts out. So it’s, yeah, quite a contrast.”
Philharmonic CEO Gary Ginstling said after Wednesday morning’s rehearsal that 30 orchestra musicians lined up to get balls, caps and shirts autographed by Williams as he posed for photos. Cellist Patrick Jee rehearsed in a Yankees jersey already signed by Torre and Jeter.
“I’ve never seen them all so giddy about one of our artists,” Ginstling said.
The Rolling Stones set to play New Orleans Jazz Fest 2024
NEW ORLEANS | It looks like the third time is the charm as the 2024 New Orleans Jazz & Heritage festival prepares, again, for The Rolling Stones to perform.
The festival, which spans two weekends, is set to open Thursday with dozens of acts playing daily on 14 stages spread throughout the historic Fair Grounds race course. The Stones play next Thursday, May 2, tickets for which have long been sold out.
In 2019, festival organizers thought they had landed the legendary rock band, but the appearance was canceled because lead singer Mick Jagger had heart surgery. They tried again in 2021, but a surge in COVID-19 cases ultimately forced the fest to cancel.
Now, says festival producer Quint Davis, “It’s gonna be special.”
This will be the first time the Stones play Jazz Fest.
Opening day acts include rock bands Widespread Panic and The Beach Boys, reggae artist Stephen Marley and jazz vocalist John Boutte.
“The talent is great, the weather is projected to be good and people’s expectations are going to be met,” Davis said.
Blue skies, sunshine and temperatures in the 80s were forecast for opening day Thursday. Similar weather was expected for the rest of the first weekend, which runs through Sunday and showcases performances by Grammy Award-winning singer-songwriter Jon Batiste, country megastar Chris Stapleton, R&B singer Fantasia, rock band Heart, Cajun fiddler Amanda Shaw and The Cute Guys, jazz pianist Patrice Rushen, and blues and folk artist Ruthie Foster.
Anticipation for the Stones’ performance is palpable, Davis said.
“All I’m hearing is ‘How can I get a ticket?’” he said of fans trying to see the marquee performance. “Unfortunately for some, that day sold out in like a day-and-a-half after tickets went on sale. I think people have just waited so long for this.”
The Rolling Stones in October released “ Hackney Diamonds,” their first album of original material since 2005 and their first without drummer Charlie Watts, who died in 2021. Though he hasn’t seen a set list, Davis said fans can expect to hear a mix of greatest hits and new releases. No special guests are expected to perform with the Rolling Stones, but Davis said “never say never.”
“Just expect euphoria,” he said laughing. “I think maybe we’re going to need some ambulances on site because people are going to spontaneously combust from the excitement. And, they’re playing in a daylight event. They’re gonna be able to make eye contact with the audience. That’s going to create a really special bond.”
Acts on the festival’s 14 stages usually play simultaneously beginning when gates open at 11 a.m. and continuing until the music ends at 7 p.m. But the other stages will shut down next week when the Stones take the stage.
“We didn’t want to have 13 empty stages and no people in front of them when the Stones start singing favorites like ‘(I Can’t Get No) Satisfaction’ and ‘Jumpin’ Jack Flash,’” Davis said. “Everyone who bought a ticket for that day primarily bought one to see The Stones.”
Davis said tickets for the festival’s other days remain available and can be purchased online through their website.
Much of Jazz Fest celebrates the Indigenous music and culture of New Orleans and Louisiana but the music encompasses nearly every style imaginable: blues, R&B, gospel, Cajun, Zydeco, Afro-Caribbean, folk, Latin, rock, rap, contemporary and traditional jazz, country, bluegrass and everything in between.
Colombia’s rhythms, from music to dance and food, also will be highlighted this year as part of the festival’s cultural exchange. Close to 200 Colombian artists are scheduled to participate, including headliners Bomba Estéreo on Saturday, ChocQuibTown’s lead singer Goyo in a guest appearance with local band ÌFÉ on Sunday, and salsa legends Grupo Niche closing the celebration on May 5.
And don’t forget the food. During the festival, food available on site includes crawfish bread, pecan catfish meuniere and catfish almondine, cochon de lait and turducken po-boys, boudin, crawfish étouffée, jambalaya, crawfish Monica and shrimp and grits.
The windmill sails at Paris’ iconic Moulin Rouge have collapsed
PARIS | The iconic windmill sails of the Moulin Rouge, a vibrant emblem of Paris’s bohemian lifestyle, collapsed Thursday after a show. No injuries were reported.
The incident took place shortly before 2 a.m., after the last performance of the night had ended and the audience had left the historic cabaret venue, renowned for its dazzling shows and can-can dancers.
Jean-Victor Clerico, the director of Moulin Rouge, told French media that a “technical problem” led to the windmill’s sails and part of the cabaret’s illuminated sign crashing to the ground.
Despite the setback, Clerico said that the show at Moulin Rouge will go on, emphasizing the cabaret’s resilience and commitment to continuing its legacy. “The show continues, that’s the most important thing,” he said.
Eric Lejoindre, mayor of Paris’s 18th district, confirmed on X that the structure was not in danger of further collapse. He conveyed relief over the safety of both Parisians and visitors.
Local Sylvain Lemerle said it was lucky no one was hurt.
“It will be strange for the tourists who will take pictures without the sails, it looks a bit naked but it will be replaced, and certainly quicker than Notre Dame,” he told The Associated Press, referring to the historic Paris cathedral that was ravaged by a fire in 2019.
The Moulin Rouge, which marks its 135th anniversary in October, primarily attracts tourists today. It was severely damaged by a fire in 1915 and was closed for nine years for renovations.
Stephane Cachelin, from a local shop-owners association, said it is “a symbol of Montmartre, of its village, the bohemian way of life, of Paris. The whole world comes here to take pictures.”
Countertenor Costanzo to become general director of Opera Philadelphia
Anthony Roth Costanzo was hired Thursday as general director and president of Opera Philadelphia and will continue his career as a leading countertenor while taking over an ambitious company dealing with post-pandemic economic challenges.
“Even though I’m an opera singer, it’s my job to ensure the health of this art form I love,” he said in an interview this week. “And the other side of the coin is that I’m frustrated by opera and its inability to always innovate in the ways I think can help it grow. So, it’s something I have been building a skill set for for a long time, and I have been waiting for an opportunity that feels right.”
Constanzo, who turns 42 on May 8, will start work on June 1 and replace David Devan, who is retiring after 13 seasons in charge. Music director Corrado Rovaris has a contract through 2026-27.
Opera Philadelphia for 2024-25 dropped its well-regarded season-opening festival, which began in 2017, and lowered next season’s budget to $10 million — of which $1,275,000 is projected to come from ticket revenue. There will be just three mainstage productions, starting with the U.S. premiere of Missy Mazzoli’s “The Listeners” on Sept. 25.
“They kept this season lean, which gives me some room to move around if I’m successful in bringing more resources,” Constanzo said. “I really feel like some of the future vision that we can build on at Opera Philadelphia is the idea of strategic partnerships and collaborations that help us pool resources and expand our wings beyond the world of opera.”
Costanzo raised the funding for “Glass Handel,” an art installation at Philadelphia’s Barnes Foundation as part of the O18 festival that featured the music of Philip Glass and George Frideric Handel. It included videos, live painting and dance.
“I put together the idea and the creative team, and then I built the budget,” he said in an interview this week. “I remember even driving the truck, the U-Haul truck with the sets in it.”
Board chairman Stephen K. Klasko said 42 people applied for the position. Costanzo impressed with “his optimism and charisma.”
“His ability to have raised a lot of contributor revenue for his programs was pretty incredible,” Klasko said. “We have to build new audiences that are excited about what we’re doing that aren’t necessarily coming out to see ‘Madame Butterfly.’”
Costanzo appeared this year in a new production of Thomas Adès’ “The Exterminating Angel” at the Paris Opéra, headlines Gluck’s “Orfeo ed Eurydice” at the Metropolitan Opera starting May 16 and is in the world premiere of Gregory Spears’ “The Righteous” at the Santa Fe Opera starting July 13.
Holding an administrative role while singing is rare but not unprecedented. Soprano Beverly Sills became general director of New York City Opera in 1979 and continued singing for the next year.
—From AP reports
