“I had to learn how to go back to the Hollywood Bowl.” Essential COVID safety precautions, while a challenge for conductors and orchestra musicians everywhere, proved especially discombobulating for Dudamel. “Doing this was a discovery for me, completely new,” Dudamel explained. When not possible, the winds and brass played behind plastic barriers. He also hosted a TV series for PBS from the Hollywood Bowl, which was followed by a series of streamed concerts filmed on the Bowl stage, without an audience and with an orchestra that was distanced and masked when possible. He took on unfamiliar roles, first by hosting a radio series on KUSC speaking with musicians to whom he is close. “I did that before, but most of my job was musical.” “I had to make calls every day talking to donors,” he recounted.
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He jumped in full time to find financial support for the world’s most ambitious orchestral institution and the largest, which faced an incomprehensibly enormous loss of revenue that could reach $100 million. Meanwhile, his goal became to keep the L.A.
There was the compensation of being home with his wife, Spanish actress María Valverde, and his son, Martín. “I was always trying to avoid routine, but you get in a routine you can’t help that.” “Before, I knew that I had a concert the next day and then the next day,” he said. The world in which he lived instantly vanished. “And then you say, ‘My God, how do we digest all this?’ There is no question that, for all of us, whether or not you lost family or friends, this was a trauma.” Then the virus was supposed to go away in a few months, and I would do my tours. I remember hearing that they would be a few days. “We were here doing the ‘Power to the People!’ festival, and people were talking about something that was happening in Europe,” he said. Phil began its regular season in the hall, I met with Dudamel after morning rehearsal in the small garden adjoining his office and dressing room. In the natural acoustic of Disney this month, the startling sound of the orchestra turned nuclear.įive days after the gala, on the day the L.A. Phil was attention getting and immersive. In the Bowl, the excellently amplified L.A. No note was left to evaporate without consequence in the placid summer air.īut the full realization that something is up had to wait until the season opening gala at Walt Disney Concert Hall, where the orchestra hadn’t played in the flesh for the public in 19 months. Despite the vagaries of the amphitheater, with its typically limited rehearsal time and easily distracted audiences, the Los Angeles Philharmonic displayed in his performances a singular urgency. All summer at the Hollywood Bowl, Gustavo Dudamel showed signs of a new gravitas.
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