the cinematic orchestra tour 2023

The Cinematic Orchestra - Every Day (20th Anniversary Edition)

'every day (20th anniversary edition)', out now on ninja tune., the cinematic orchestra, man with a movie camera / 20th anniversary edition out now.

2LP limited edition ashen and pewter grey 140g vinyl. Housed in a rigid tip-on foiled, embossed and debossed gatefold sleeve with new liner notes and updated artwork. Black paper inners and unseen session photography presented on a 12” double sided art card insert. Download code included.

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3LP limited edition translucent red 140g vinyl featuring four bonus tracks from the time, some not released on vinyl before. Housed in a gatefold sleeve and black paper inners with photography presented on a 12” double sided art card insert. Download code included.

Ma Fleur / 2021 Reissue Out Now

Limited edition double clear 140g vinyl featuring three bonus tracks from the time that have never been released on vinyl before. Housed in a gatefold sleeve with four double sided art cards. Download card included.

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The Cinematic Orchestra tour dates 2024

The Cinematic Orchestra is currently touring across 1 country and has 1 upcoming concert.

The final concert of the tour will be at KüçükÇiftlik Park in Istanbul.

Currently touring across

Upcoming concerts (1) See nearest concert

Greenify Festival

Past concerts

Auditorium Parco della Musica - Cavea

Cortile Delle Armi, Castello Sforzesco

Salle Louis-Fréchette, Grand Théâtre de Québec

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Recent tour reviews

As far as I know, they haven't played here for 12 years. I'm surprised the Regency wasn't sold out, but I got to enjoy them more with less hassle. The band opened with a song from their newest release and quickly moved into an all-time favorite 'Man with a movie camera'. They are all very good musicians and singers and put on a great performance without antics. The lighting technician also did excellent work by casting shadows at important moments. J Swinscoe introduced all the players at the end and they all took a final bow, which was pleasantly unusual for bands these days.

I will not reccommend The Regency Ballroom as the prices for drinks are high, as anywhere, but they measure the quantity to the smallest amount possible. (Must be corporate owned)

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Great show by a great group! :)

At last I could see them in concert which is a thing I had been waiting for forever.

A good balance between "old" (and so good!) classics and titles from the last album, which is great by the way.

The concert hall was quite small, which enhanced the intimate ambiance of the show, so that's a really good thing as it was a really nice place.

The only thing I would notice as a minus from my experience is that they pushed the sound level too high which revealed the limitations of their sound system, that gave me some ringing in the ears for a few hours after the show.

Given the size of the stage they could have easily lowered the sound by 10% and we still would have had enough sound to hear everything, without the saturation and distortion we had during some high energy moments of the show.

Other than that I really enjoyed the show and will go again listen to this great group as soon as they come back in the area! :)

The sound quality made listening to the music like listening to a reversing bin lorry filled with dog toys. On top of that, the balcony at the venue was like a Tokyo crossroad in rush hour. They sold way more tickets than they have seats, so we were stood at the back, near the bar, listening to music that sounds like it's being shouted through a motorola held near a megaphone, looking at the backs of the heads of other disappointed people. I drank a blue WKD out of sheer boredom, and in the vain hope my pancreas would fail and I'd be allowed to leave. In the end my wife and I agreed we should just go home 30 minutes into their set. We weren't the only ones.

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The Cinematic Orchestra

Latest setlist, the cinematic orchestra on october 30, 2023.

Aula Magna, Lisbon, Portugal

Selective Memory

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THE CINEMATIC ORCHESTRA

SELECTIVE MEMORY PRESENTS

Man With A Movie Camera 20th anniversary tour 02 OCTOBER 2023 NATIONAL CONCERT HALL

Tickets: €34.50 – On Sale now

The Cinematic Orchestra unveils the 20th Anniversary Man With A Movie Camera Tour & Deluxe LP Reissue. As part of this tour the band will be performing in Dublin’s National Concert Hall for one night only on 02 October 2023.

Listen to ‘Man With A Move Camera’ now

“ You can perform an autopsy on the jazz instruments, DJ Shadow-like grooves and repeating chord sequences, yet come away scratching your head as to how they make such heartfelt music ”   The Guardian

This will be their first Irish show since their sold out date at Vicar St in 2019.

Tickets are on now from the NCH Box Office 

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About the band and the show

Since debuting with “Motion”, in 1999, The Cinematic Orchestra have sold hundreds of thousands of albums, generated over a billion streams and enjoyed critical support from the likes of Pitchfork, The Guardian, New York Times, Le Monde, Resident Advisor, Fader, Crack, Rolling Stone, Gilles Peterson, Benji B, Jason Bentley and Mary Anne Hobbs . 

The band have performed to larger and larger audiences and sold out the likes of London’s Royal Albert Hall, Philharmonie de Paris, Rome’s Auditorium Park Della and the Sydney Opera House. Coachella, Glastonbury, Fuji Rock, Montreux and Sonar have all played host to the band’s much loved live performances.

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Website: https://www.cinematicorchestra.com/

The Cinematic Orchestra

Man with a movie camera 20th anniversary tour view all concerts, oct 2, 2023.

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You’ll be excited to know that The Cinematic Orchestra is on tour in 2024. If you’ve waited a long time to see The Cinematic Orchestra live, the wait is over. Check The Cinematic Orchestra tour dates to find all tour stops on the upcoming tour & get tickets to see The Cinematic Orchestra live on tour at a show near you.

The Cinematic Orchestra has been topping the charts with their exciting and entertaining shows that will sure to thrill all The Cinematic Orchestra fans. Be sure to be first in line for tickets for The Cinematic Orchestra tickets for all tour dates so you don’t miss out. Make sure to take a look at other  concerts ,  sports , and  theater  tickets as well as there are many top events to watch this year!

The Cinematic Orchestra Tour Schedule

Are you looking for the The Cinematic Orchestra tour schedule? Look no further. Simply take a look above to find the The Cinematic Orchestra tour schedule as it’s quite possible that The Cinematic Orchestra will be stopping in your city while on their next tour.

Which City Can I See The The Cinematic Orchestra Tour?

You may be able to see the The Cinematic Orchestra tour to shows in Greensboro, Fresno, Ontario, Albany, Concord, Bethel, Memphis, Atlanta, Bangor, or Holmdel by buying tickets now.

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The Cinematic Orchestra tour tickets range in price depending on the event. Such as shows in Tampa, Dallas, Orlando, Tulsa, Detroit, Philadelphia, Buffalo, Denver, Wheatland, or Raleigh may be different in price compared to other tour shows in other cities.

Can I Buy The Cinematic Orchestra Tickets?

Yes, you can buy The Cinematic Orchestra tour tickets to shows in Lincoln, Columbus, Birmingham, Jacksonville, Albuquerque, Cincinnati, Sacramento, Louisville, Charlotte, or Brooklyn online with the click of a button.

Can You Find The Cinematic Orchestra Tour Tickets Near Me?

Yes, you can find The Cinematic Orchestra tour tickets to events in Chicago, Seattle, Inglewood, Nashville, Scranton, Camden, Houston, Cleveland, Ridgefield, or Wichita via premiumseating.com.

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You can buy cheap The Cinematic Orchestra tour tickets online for the following cities Baltimore, Boston, Minneapolis, Pittsburgh, Rosemont, Phoenix, Tennessee, Indianapolis, Hershey, or Tacoma from premiumseating.com.

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The Cinematic Orchestra may be touring in Columbia, Oakland, Hartford, Saratoga, Rogers, Anaheim, Austin, Newark, Miami, or Portland and you can buy tickets online from us.

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You can buy The Cinematic Orchestra tour tickets online to events in Irvine, Spokane, Milwaukee, Chula Vista, Darien Lake, Ft Lauderdale, Grand Prairie, Grand Rapids, Green Bay, or Kansas City with the click of a button.

Which Tour Stops Will The Cinematic Orchestra Be Performing At And Can I Buy Tickets?

The Cinematic Orchestra may be stopping at Las Vegas, Los Angeles, New Orleans, New York, Oklahoma City, Salt Lake City, San Antonio, San Bernardino, San Diego, or San Francisco on their next tour. Be sure to buy tickets right away.

What’s The Best Place To Get The Cinematic Orchestra Tour Tickets From?

The best place to get The Cinematic Orchestra tour tickets for the San Jose, St Louis, Virginia Beach, Washington DC, West Palm Beach, Sioux Falls, Grand Prairie, Grand Rapids, Atlantic City shows is from premiumseating.com

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The Cinematic Orchestra

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Past Events

Here are the most recent UK tour dates we had listed for The Cinematic Orchestra. Were you there?

October 2023

• Sun 1 Oct Manchester, New Century Hall The Cinematic Orchestra

September 2023

• Fri 29 Sep London, Royal Festival Hall The Cinematic Orchestra
• Wed 20 Sep Gateshead, The Glasshouse International Centre for Music The Cinematic Orchestra
• Tue 19 Sep Edinburgh, The Queen's Hall The Cinematic Orchestra

August 2022

• Fri 26 Aug Edinburgh, Leith Theatre The Cinematic Orchestra

September 2021

• Sun 5 Sep London, Brockwell Park Cross The Tracks 2021 Lianne La Havas, The Cinematic Orchestra, En Vogue, Jordan Rakei, Sister Sledge…

August 2021

• Fri 20 Aug → Sun 22 Aug Birmingham, Moseley Park & Pool Mostly Jazz Funk & Soul 2021 The Cinematic Orchestra, Cymande, Mr Jukes, Barney Artist, Hot Chip DJ Set…
• Sun 15 Aug London, Crystal Palace Bowl South Facing 2021 - The WWFM 5th Birthday The Cinematic Orchestra, The Comet Is Coming, Kokoroko, Yazmin Lacey, Gilles Peterson…
• Sun 6 Jun London, Brockwell Park Cross The Tracks 2021 Khruangbin, The Cinematic Orchestra, Sister Sledge, Tinariwen, Shabaka & The Ancestors…

January 2021

• Fri 29 Jan Online / Streaming Events The Cinematic Orchestra at the Royal Festival Hall

December 2020

• Fri 11 Dec Online / Streaming Events The Cinematic Orchestra at the Royal Festival Hall

February 2020

• Sat 22 Feb London, O2 Academy Brixton The Cinematic Orchestra
• Fri 5 Jul → Mon 8 Jul Glynde Place Love Supreme Jazz Festival 2019 Ms. Lauryn Hill, Gladys Knight, The Cinematic Orchestra, Jamie Cullum, Snarky Puppy…
• Sun 30 Jun Bristol Amphitheatre & Waterfront Square The Cinematic Orchestra, Ghostpoet
• Sun 31 Mar Liverpool, Eventim Olympia 6 Music Festival By Night Hot Chip, The Cinematic Orchestra, Chali 2na, Krafty Kuts, Jungle
• Sat 30 Mar Manchester Academy The Cinematic Orchestra, Joe Louis
• Fri 29 Mar Birmingham, O2 Institute The Cinematic Orchestra, Joe Louis
• Wed 27 Mar Gateshead, The Glasshouse International Centre for Music The Cinematic Orchestra, Joe Louis
• Tue 26 Mar Glasgow, Royal Concert Hall The Cinematic Orchestra, Joe Louis
• Fri 22 Mar London, The Roundhouse The Cinematic Orchestra
• Thu 21 Mar London, The Roundhouse The Cinematic Orchestra
• Wed 20 Mar London, The Roundhouse The Cinematic Orchestra

September 2017

• Thu 7 Sep → Sun 10 Sep Portmeirion, Festival Site Festival No.6 Flaming Lips, Bloc Party, Mogwai, The Royal Liverpool Philharmonic Orchestra (RLPO), The Bootleg Beatles…
• Sat 8 Jul London, Somerset House The Cinematic Orchestra, Moses Sumney
• Fri 7 Jul → Sun 9 Jul North Sea Jazz Festival 2017 Jamie Lidell & The Royal Pharaohs, Cory Henry, Steve Winwood, Avishai Cohen, Lee Ritenour…
• Thu 6 Jul → Sat 8 Jul Winchester, Vicarage Farm Blissfields 2017 DJ Yoda, The Cinematic Orchestra, Metronomy, Lady Leshurr, Shura…
• Sat 24 Jun Cardiff, Tramshed The Cinematic Orchestra
• Wed 21 Jun → Sun 25 Jun Glastonbury, Worthy Farm Glastonbury Festival 2017 Radiohead, The xx, Royal Blood, Kris Kristofferson, First Aid Kit…

November 2016

• Fri 11 Nov London, Eventim Apollo The Cinematic Orchestra, Moses Sumney, Thundercat, Rival Consoles
• Thu 10 Nov London, Eventim Apollo The Cinematic Orchestra, Thundercat, Gilles Peterson
• Wed 9 Nov Birmingham, O2 Institute The Cinematic Orchestra
• Tue 8 Nov Nottingham, Rock City The Cinematic Orchestra, Submotion Orchestra
• Mon 7 Nov Bristol Beacon The Cinematic Orchestra, Jameszoo
• Sat 5 Nov O2 Apollo Manchester The Cinematic Orchestra, Mr Scruff, Submotion Orchestra
• Fri 4 Nov O2 Academy Glasgow The Cinematic Orchestra, Kathryn Joseph
• Thu 3 Nov Gateshead, The Glasshouse International Centre for Music The Cinematic Orchestra

November 2015

• Sat 28 Nov London, Eventim Apollo The Cinematic Orchestra, Thundercat, Miguel Atwood-Ferguson, Benji B, Moses Sumney
• Fri 27 Nov Manchester, Albert Hall The Cinematic Orchestra, Benji B, Moses Sumney
• Thu 16 Jul → Sun 19 Jul Colours Of Ostrava 2015 Bjork, Kasabian, Rudimental, St Vincent, Mika…
• Sat 23 May London, The Roundhouse The Cinematic Orchestra

October 2011

• Sat 1 Oct London, Barbican Centre The Cinematic Orchestra
• Fri 1 Jul → Sun 3 Jul Birmingham, Moseley Park & Pool Mostly Jazz Festival The Cinematic Orchestra, Gilles Peterson, Alice Russell, Brandt Brauer Frick, No Fakin' DJs…
• Thu 30 Jun Brighton, Concorde 2 The Cinematic Orchestra, Kutmah

November 2010

• Sun 14 Nov London, Royal Albert Hall The Cinematic Orchestra, London Metropolitan Ensemble, Amon Tobin, Dorian Concept

November 2009

• Fri 6 Nov London, The Roundhouse The Cinematic Orchestra

September 2009

• Thu 17 Sep London, Union Chapel The Cinematic Orchestra

October 2008

• Fri 10 Oct London, The Roundhouse The Cinematic Orchestra

November 2007

• Fri 2 Nov London, Royal Albert Hall The Cinematic Orchestra

October 2007

• Mon 29 Oct Leeds University Union The Cinematic Orchestra, Kid Kanevil Kidkanevil
• Sat 27 Oct Manchester Academy The Cinematic Orchestra

August 2007

• Fri 3 Aug → Sun 5 Aug Ledbury, Eastnor Castle Kruder & Dorfmeister, Earl Zinger, Isaac Hayes, Mike, The Go! Team, The Cinematic Orchestra, Mr Scruff, Seasick Steve, Norman Jay, Many many more! …
• Tue 1 May The Cinematic Orchestra
• Thu 26 Apr Edinburgh, Liquid Rooms The Cinematic Orchestra, Fitkin Wall

• Life & Culture

Behind the scenes as Florida’s largest pro orchestra starts a new season

• Michelle Stark Times staff

ST. PETERSBURG — The off-beats were a little, well, off.

The Florida Orchestra was gathered at the Mahaffey Theater in September for a rehearsal of its first official concert of the season, and they were going over was a particularly precarious passage of The Planets.

Gustav Holst’s seven-movement piece features some difficult sections, including one in “Jupiter” that asks certain musicians in the orchestra to play beats that are syncopated, or off the usual on-beat, while others are playing traditional on-beats. It makes for a compelling dissonance that can sound wrong even when it’s right.

As the music director of Florida’s largest professional orchestra, Michael Francis was prepared. He’s conducted this piece, a standard for classical musicians, before, so he knew they would have to spend some time going over this part.

A digital clock marked in bright red numbers the beginning of rehearsal, part of a set of rules that ensures the unionized orchestra works punctually. This was the group’s first time gathering to practice for the 2023-24 season, and it’s kind of like the first day of school.

They spent the next 2 1/2 hours playing through each of the seven movements in The Planets. Francis listened to five seconds of music and picked up on the tempo, dynamics and inconsistencies of the sounds. It felt like a magic trick.

They started with “Neptune,” a quiet, ethereal piece featuring lots of flutes and oboes and strings, and a vocal accompaniment performed by the Master Chorale of Tampa Bay. When it was time to begin, Francis raised his arms, baton in hand, and flicked his wrist ever so slightly to indicate the start of each passage. From a seat on the side of the stage, it was a barely perceptible movement. But the 92 musicians sitting in curved rows around him were dialed in.

“Keep it on the front of the beat,” he said to the strings in “Mercury.” “Make sure that you don’t luxuriate here. This is snail mail, not email.”

In another passage, Francis told a tuba player his part should feel like riding a horse.

“So if it feels like I’m chasing you, that’s good,” he said.

In “Mercury,” he worked with the strings to get the style and volume just right, having them play the first note of the section over and over until it locks in. Then he had them play the part as written, paying particular attention to the balance of the sound.

“If you hear yourself, you’re too loud,” he said.

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Resident conductor Chelsea Gallo sat in the center of the vacant theater. One body in a sea of empty red chairs, she was acting as the ears of the audience that would be there in a couple of days.

“Mars” was powerful and ear-shatteringly loud, full of booming low brass and percussion. It was clear listening to it why so many musicians were wearing ear plugs on stage. Those sitting in front of large brass instruments are especially careful to protect their hearing. Some even have a custom set, designed to block out certain decibels and allow others through so they can hear themselves play.

This is one of just four rehearsals leading up to the orchestra’s 56th season that runs through the end of May and will feature more than 120 concerts and 300 different works. There are the Masterworks shows, made up of a variety of classical pieces from well-known composers, plus shows that feature film scores, Broadway music, rock songs and mashups like last month’s Tchaikovsky and Drake concert.

It’s a big year for the organization, which features 71 full-time professional musicians and conductors who come from all over the United States and even the world. They welcomed a new president and CEO over the summer, 36-year-old Ignacio Barron Viela. They’ve also added nine new musicians, including the first new principal bass player in nearly 50 years. In many ways, this year marks a true return to form after the pandemic curtailed the performing arts in 2020.

When they’re not performing for Tampa Bay residents at the Straz Center, Mahaffey Theater and Ruth Eckerd Hall, musicians are rehearsing in their houses or apartments, refreshing their ears with pieces they’ve played before and mastering new ones they haven’t.

When they come together for that first rehearsal, it’s the result of hours of independent work.

For some new members like Ryan Sujdak, the orchestra’s principal bass, the learning curve is a little steeper.

“Most everyone who’s been in this orchestra for five years or more has played (The Planets) at least once,” he said. “I guarantee they still went home and looked at it. But I’m learning most of this repertoire for the first time. So I’m practicing the part, physically being able to play it, but also looking at the score and trying to figure out entrances and when I’m supposed to come in.”

A lot of the work is done outside of the rehearsal hall, he said.

“The first rehearsal is seriously, seriously good,” Francis said. “And then we fine-tune it. Rehearsals are for establishing a longer growth of excellence. ... You’re harnessing these incredibly gifted, motivated musicians. They need me and I need them.”

For the dozens of musicians who win highly competitive auditions to play with this orchestra, this is their full-time job.

“It’s at such an exceptionally high level,” Francis said. “Most of these people, they’ve been doing this for 17 years, even if they’re in their early 20s. The gestation period of excellence is way longer than being a doctor or even in sports. In music, you’re getting your first big job in your early 20s.”

Sujdak is 25, and playing for the first time with a professional orchestra. He replaces Dee Moses, the orchestra’s first and only principal bass player who has retired. After studying at the Manhattan School of Music, then Yale, then Colburn, Sujdak flew around the world auditioning for nine orchestras in nine months, from Indiana to Toronto to Sweden.

“In my world, for bass players, the dream is to always play with an orchestra professionally,” he said. “It’s hard to make a living as a pro chamber music, and a soloist, for bass specifically, impossible to make a living. Orchestra is the only option if you want a steady living.”

Matthew Melillo is another new member this year, coming from Northwestern University, where he got bachelor’s and master’s degrees in bassoon performance. He plays contrabassoon, a large woodwind instrument that’s quite singular.

“I’m in one of those seats where I’m the only one doing my job,” he said. “There’s only one contrabassoon in most pieces of music. I really have to make sure that I’m present in the sound of the orchestra, and be really careful where I’m breathing because I don’t have other people to cover me.”

Melillo lives in a house in St. Petersburg where he spends most of his time practicing alone. As a double-reed player, Melillo crafts parts of his instrument himself from scratch. All woodwind instruments (clarinets, saxophones, oboes) use reeds in their mouthpieces, thin strips usually made from wood that produce a signature sound. Unlike a clarinet reed, bassoon reeds are made from just one piece of cane wood that is shaped down a certain way: formed over a mandrel, wrapped with wires and string, shaped and clipped at the tip.

“Most of the reason we make them is it gives you the ability to tailor it to your own preferences,” Melillo said. “A lot of commercial reeds are either not good or super expensive. So it makes sense to do it yourself.”

He’s performed everywhere from Colorado to Switzerland, and similar to other new musicians went to a dozen auditions before landing the Florida Orchestra spot.

“I believe this is an orchestra that plays well above its station,” he said. “I’m super excited about the programming this year because this isn’t one of those orchestras where they fall into the same standards. This is really exciting and novel programming. We have a good mix of contemporary stuff.”

Francis works with the orchestra’s artistic advisory committee and others to plan the music for each season, crafting a lineup that will enlighten and entertain.

“We want music that’s appealing to our community, that reflects the time in which we live,” said Francis. “We look at a great masterpiece and think, ‘Why are they relevant today?’ ... That’s very important, the here and now, so the audience can sympathize, emphasize and develop compassion for their composers, for people who lived different lives than they did.”

With the Masterworks shows especially, it’s important to Francis that there is variety.

“I want to have some that are a salad. I need a ceviche, I need a roast beef, both in one meal and across the whole season,” he said.

Something like The Planets contains “the entire panoply of the human psyche,” Francis said. “You want to tell a story that’s as engaging today as when it was written.”

At the Ruth Eckerd Hall performance of that first Masterworks show, the crowd was indeed engaged, laughing at Francis’ many cheeky asides and leaping to their feet after the show ended. And the hall was packed, with a concessions line so long at intermission it looped back on itself twice.

The show featured the Percussion Collective in the first half, a smaller group of musicians who took to the front of the stage for a mesmerizing rendition of Christopher Theofanidis’ “Drum Circles.” Then came The Planets, starting with the thundering “Mars” and ending gently with “Neptune.” And those off-beats in “Jupiter”? They were right on.

If you go see The Florida Orchestra

The Florida Orchestra’s 56th season runs through May, with shows in Tampa, Clearwater and St. Petersburg. Find the full schedule of performances at floridaorchestra.org . Tickets for all Masterworks and Pops concerts start at $28. Morning Matinee prices range from $25 to $47. There are deals on tickets for kids, teens, students, teachers, first responders and military. 727-892-3331. The next Masterworks show is Brahms’ Symphony No. 1, featuring Chopin’s Piano Concerto No. 2: 8 p.m. Nov. 17 at the Straz Center, 8 p.m. Nov. 18 at the Mahaffey Theater and 7:30 p.m. Nov. 19 at Ruth Eckerd Hall.

Michelle Stark is the assistant editor overseeing the life and culture reporting team. Reach her at [email protected].

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THE FLORIDA ORCHESTRA BENEFIT CONCERT

Friday, may 10 at 8pm.

The Florida Orchestra Benefit Concert

Friday, May 10 at 8pm

Iconic artist Sting returns to The Florida Orchestra for an intimate performance of his most celebrated songs from an illustrious career, including  Every Little Thing She Does Is Magic ,  Englishman In New York ,  Fields of Gold  and many more. Michael Francis conducts.

Create moments of a lifetime as you celebrate and support your Florida Orchestra at this benefit concert.

Tickets: $100, $200, $300 $400, $550 and $750; fees apply All sales final. No exchanges. Sorry, no refunds.

Limited Gold Patron seats  are available now and include concert seats in the first four rows and other benefits: $1,500. Contact Chief Development Officer Susana Weymouth:  [email protected]  or 727.362.5430.

Sting’s first performance with TFO is legendary – a magical night celebrating the orchestra’s 50 th  anniversary in 2017. Fans lined up around the block, and tickets sold out in days. Rave reviews called the concert “magical,” “mesmerizing” and “tremendously moving.”

In Sting’s distinguished career, the Rock and Roll Hall of Famer has received 17 GRAMMY Awards® and sold 100 million albums worldwide from his combined work as one of the most distinctive solo artists in the world and former front man of The Police. A composer, singer-songwriter, actor, author and activist, Sting also has received a Golden Globe, four Oscar nominations, a Tony nomination, Billboard Magazine’s Century Award and Kennedy Center Honors.

All cameras and recording devices are strictly prohibited.

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Critic’s Notebook

Lincoln Center’s Rebranded Orchestra Settles Into Its Debut Season

Compared with previous seasons, recent concerts by the Festival Orchestra of Lincoln Center were refreshingly casual, but also more mixed.

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By Oussama Zahr

With a new name and a new music director, Lincoln Center’s summer orchestra is getting a fresh start this season. On the evidence of three concerts over the past week and a half, though, the newly minted Festival Orchestra of Lincoln Center is turning its focus to an element that has always been there: the players themselves.

Last year was the final summer of the Mostly Mozart Festival Orchestra, which for 21 years had been led by the beloved Louis Langrée. The renamed ensemble’s music director, Jonathon Heyward, was a companionable host recently at the first concert of its season, which allowed audience members to vote on the pieces they’d like to hear. Between movements, Heyward called on a few players at their music stands to talk about their love of the composers. Some remarks seemed well-rehearsed, others extemporaneous. But all of them were sweet.

There has been some worry about the organization’s legacy — that change represents a repudiation of the orchestra’s repertoire and mission. At his final concerts , Langrée himself pleaded with the audience to return and support the players.

This year, the onstage conversations felt calculated to build a rapport between the players and the audience. Attendees were also invited to mingle with the musicians in the lobby of David Geffen Hall after each concert. All that talking had an interesting outcome: It left me more invested in individual musicians when they eventually played.

As in years past, each program was performed twice on consecutive nights. Avoiding heavy material, the concerts felt like a linen suit designed for comfort, ease and a touch of class on balmy days. There’s still substance, but it comes in the pleasing form of Mozart, Mendelssohn and Schumann (a Heyward favorite), rather than the portentous, densely textured works of Mahler and Strauss.

On July 27, I went to Geffen Hall to hear Kazem Abdullah conduct a program of Brahms’s Violin Concerto, Louis W. Ballard’s “Incident at Wounded Knee” and Stravinsky’s eccentrically witty “Pulcinella.” A couple of days later, Carlos Miguel Prieto similarly didn’t try to force any connections among Haydn’s Symphony No. 49, Peter Lieberson’s song cycle “Neruda Songs” and Alberto Ginastera’s prismatic “Variaciones Concertantes.” And, on Friday, I heard the early-music specialist Jeannette Sorrell lead a program narrowly focused on Mozart and his contemporary Joseph Boulogne.

“Pulcinella” and “Variaciones Concertantes” were highlights, and whether by accident or by design, the pieces had plenty of solo opportunities for the players to shine.

With a musical language conscientiously molded from the clay of Baroque music, “Pulcinella” represents Stravinsky’s pivot into Neo-Classicism, a blending of his piquant harmonic and rhythmic styles with the structures and sounds of older eras. From the cutely bumptious overture to the triumphant all’s-well finale, the Festival Orchestra played handsomely, dashing off Baroque felicities with plump horns and fizzy strings. Abdullah downplayed the piece’s intentionally garish, broadly comic moments. Trombone fillips drew audience laughter.

The Ginastera is something of a concerto for orchestra, with soloists taking turns with variations. The ensemble’s principals rose to the occasion. The flutist Jasmine Choi played with impishness as well as body, and the clarinetist Jon Manasse could vacillate between leanness and curvaceousness. The oboist Ryan Roberts, something of an M.V.P. across the concerts, played silkily in his duet with Marc Goldberg’s rich, seamless bassoon. The concertmaster Ruggero Allifranchini’s violin irradiated the peculiar beauty of a rainbow on an oil slick. All the players came together for a sparking finale.

Shanta Thake, Lincoln Center’s chief artistic officer, has been angling to use her Summer for the City programming, of which the Festival Orchestra is a part, to foster a sense of community among New Yorkers. In 2022 and 2023 , she led a call-and-response from the stage before each Mostly Mozart concert. This time, the music handled most of the engagement, and it felt genuine.

Classical-era pieces on the programs sounded distinguished, even if the guest conductors couldn’t quite summon the polish and élan that Langrée did in his farewell season. Sorrell led the orchestra in a splendid romp through the overture of Mozart’s “Le Nozze di Figaro,” with a quick strike on downbeats that lent fresh mischief to the iconic curtain-raiser. Her traversal of Mozart’s “Haffner” Symphony might have benefited from that assertive shape. Prieto’s rendition of Haydn’s Symphony No. 49 was all suppleness and delicacy. His approach may have been too light for the horn section, which flubbed some attempts at wispiness, but he produced a lovely weightlessness. Still, these performances lost some luster by the end.

Aside from the Stravinsky and the Ginastera, the other 20th- and 21st-century pieces were a mixed bag. The orchestra seemed wayward in a murky rendition of “Neruda Songs.” Ballard’s “Incident at Wounded Knee,” in its first New York City performances in 25 years, was the opposite: vivid in its depiction of dignity and plaintiveness in the face of an existential threat.

This year’s crop of guest soloists made a muted impression compared with the past two seasons. The quality of the singing in “Pulcinella” varied a bit too widely by Lincoln Center’s standards. In the exquisite “Neruda Songs,” the mezzo-soprano J’Nai Bridges, perhaps distracted by her reliance on the score in front of her, sounded uncertain in the deployment of her opulent voice. The soprano Sonya Headlam’s pretty tone wavered in held notes and drooped in coloratura passages in Mozart’s radiant “Exsultate, jubilate” and a simple aria from Boulogne’s “L’Amant Anonyme.” Benjamin Beilman played Brahms’s Violin Concerto with a sweetly focused timbre, captivatingly fine phrasing and somewhat blurred rhythms.

After Sorrell’s concert, I headed down to the lobby gathering, which was so casual I almost missed it. A few players and audience members milled about, joined by Heyward on his night off. There was no sense of holding court; it was just music lovers sharing a drink after a night spent mostly with Mozart.

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• October 30, 2023 Setlist

The Cinematic Orchestra Setlist at Aula Magna, Lisbon, Portugal

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• Song played from tape The Projectionist Play Video
• Song played from tape Melody Play Video
• Dawn Play Video
• The Awakening Of A Woman (Burnout) Play Video
• Reel Life (Evolution II) Play Video
• Postlude Play Video
• Evolution (Porto edit) Play Video
• Work It! (Man With the Movie Camera) Play Video
• Song played from tape Voyage Play Video
• Odessa Play Video
• Thème de Yoyo ( Art Ensemble of Chicago  cover) Play Video
• The Magician Play Video
• Theme Reprise Play Video
• Yoyo Waltz Play Video
• Drunken Tune Play Video
• Song played from tape The Animated Tripod Play Video
• All Things to All Men Play Video
• Necrology Play Video
• Ode to the Big Sea Play Video

Edits and Comments

2 activities (last edit by pedrodmgarcia , 5 Nov 2023, 22:45 Etc/UTC )

Songs on Albums

• Drunken Tune
• The Magician
• Theme Reprise
• Work It! (Man With the Movie Camera)
• All Things to All Men
• Reel Life (Evolution II)
• The Awakening Of A Woman (Burnout)
• Ode to the Big Sea
• Evolution (Porto edit)
• Thème de Yoyo by Art Ensemble of Chicago

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The Cinematic Orchestra Gig Timeline

• Oct 02 2023 National Concert Hall Dublin, Ireland Start time: 9:00 PM 9:00 PM
• Oct 29 2023 Casa da Música Porto, Portugal Add time Add time
• Oct 30 2023 Aula Magna This Setlist Lisbon, Portugal Start time: 9:15 PM 9:15 PM
• Jul 06 2024 Festival International de Jazz de Montréal 2024 Montreal, QC, Canada Add time Add time
• Jul 07 2024 Festival d'été de Québec 2024 Quebec City, QC, Canada Add time Add time

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