From the Stage Door: Getting Our Steps In

But Beethoven was just the start: Across six concerts, the Orchestra performed cornerstone masterworks, music by living composers, and voices too long overlooked — and each performance, the sum of countless hours to get there. On the flight home, I reflected on what defines great artistry. Talent matters, but the magic comes from the steps the ensemble takes to prepare, listen to each other, and share their passion long before the audience arrives.  

Following these spectacular performances and a few high-altitude hikes, the Orchestra made its way back to Philadelphia for part two of our summer residency at Highmark Mann, where we delivered a little bit of everything, with a Philly flair. The run featured a beautiful Tchaikovsky performance with Curtis graduate and pianist Eric Lu and conductor Xian Zhang. We were honored to welcome Ravi Coltrane to Coltrane 100: Legacy, a powerful celebration of his father’s enduring artistry and one of Philadelphia’s most influential musical voices, whose impact continues to shape jazz around the world. Days later, the Orchestra brought Star Wars: The Empire Strikes Back in Concert to Highmark Mann. Not many cities get to watch their orchestra move from Coltrane to Tchaikovsky to Star Wars in a single week, but Philly does. Stay tuned for the final chapter in this year’s summer residencies for our Orchestra: SPAC at Saratoga Springs, New York.

On the court or in the concert hall, we know a great performance when we see one. So, I was thrilled to learn that another GOAT will be joining Philadelphia’s ranks. Our friends at WRTI recently reported that King James often turns to classical and jazz to get in the zone before a game. It struck me that even at the highest levels of achievement, excellence is built through preparation. Whether it’s Beethoven, Gregory Porter, or Mamma Mia!, or anything else on our stages—we’ve got you covered. Welcome to Philly, LeBron. We’ll always have a seat here waiting for you.

July also welcomed one of America’s most cherished love stories to the Academy of Music stage through Noah and Allie in The Notebook (apologies, Taylor and Travis). What makes their story land isn’t the grand romantic gesture—it’s the quiet, everyday moments of choosing the same person, again and again, across a lifetime. Love like that is the kind worth writing down and passing on. None of it works without a cast that can carry that weight, and this one did, bringing real tenderness to every stage of Noah and Allie’s life together. A member of the Ensemble Arts Philly team chatted with one cast member, who, as an understudy, gives his teammates the confidence to know someone has their back if anything goes wrong, a job that takes more heart than the spotlight ever shows.

Versatility like that is a Philadelphia signature, and it’s exactly what our High School Summer Arts Sessions (HSSAS) students are training for—learning to sing, dance, and act all at once. I had the chance to spend time with our HSSAS students, who are rising 9th through 12th graders putting in the hours over three weeks through master classes and rehearsals culminating in a full production of Disney’s High School Musical, Jr., in Perelman Theater. This year, our new “Behind the Curtain” track also opened the door for kids who see themselves making a show run, from directing and choreography to lighting, sound, and event management. I had the chance to address these amazing teens and heard their determination and passion firsthand. Programs like this reach more than 40,000 young people each year. For some, that first rehearsal, first backstage job, or first performance will be the first step toward who they’re meant to become.

I closed out July with a remarkable performance at Marian Anderson Hall by none other than Herbie Hancock—jazz legend, and in my family, renowned baby whisperer. My son is a well-adjusted software engineer now, but as a colicky infant, he cried endlessly, and nothing we tried could calm him. Until one day, we played “Watermelon Man” for him, and his crying immediately stopped. We had found our magic weapon that got us through those early months. Meeting Herbie backstage afterward, my son got to thank him for those extra hours of sleep—and I was reminded how lucky we are to present living legends still inspiring audiences across generations.

That night will be forever etched into my memory along with every other detail, including the meal, which my family and I enjoyed at Leo, our restaurant and bar serving Mediterranean-inspired fare. Deservingly so, this month, Leo was recognized twice for its culinary excellence: in Philadelphia magazine’s 2026 “Best of Philly” list for “Best Dinner After a Show,” and named one of Modern Luxury’s 2026 “Best of Style” destinations under its “Food and Drink” category. This honor points to a truly spectacular evening in store for anyone visiting us on the Avenue of the Arts—dinner, drinks, and the moment the curtain rises. And if you want to see what that curtain will reveal, check out ABC’s FYI Philly with Alicia Vitarrelli and Tharonda Thomas, who gave a behind the scenes look into our 2026–27 season.

Finally on a more somber note, this month we said goodbye to two great friends. Our own Booker Rowe, beloved member of the second violin section for nearly 50 years, who, in 1968, made history as the first Black musician to perform in The Philadelphia Orchestra, passed on July 31. Booker was a warm and steadying presence in our orchestra, and a pioneer who paved the way for future Black musicians. We are also mourning the loss of Ambassador Nicholas Platt, the career diplomat who helped arrange our historic 1973 tour of China, the first by an American orchestra, and who guided our work there for decades after. We owe both Booker and Ambassador Platt a tremendous debt, and I send my deepest condolences to their families. They both leave legacies that remind us why this work matters and why the connections we make, on stage and off, are worth it.