February 25, 2026, saw the New York Philharmonic toast to the Lunar New Year with a gala and concert. Held at their home venue of David Geffen’s Hall’s Wu Tsai Theater, the event was a highly-captivating assortment of Eastern and Western works to welcome the Year of the Horse, with Starr International Foundation serving as the Presenting Sponsor of the Gala.
Leading the orchestra this evening was Long Yu, who is the current artistic director and chief conductor of China Philharmonic and the Shanghai Symphony Orchestra. His experience showed itself in spades as he brought great depth and insight to the varying styles of music, whether it be a more traditional Rossini aria, or a piece evoking the natural sights and scenes of different regions in Asia.
Opening the program was Aaron Copland’s ‘Fanfare for the Common Man.’ This striking piece effectively seized the audience’s attention through its resounding, brassy textures, making for a truly fitting welcome to the new year. Following this was Li Huanzhi’s ‘Spring Festival Overture.’ This fun and flighty piece opened with great energy from the flutes and strings, bolstered by the crashing cymbals and moments of dense, tutti chords from the orchestra. These aspects settled beautifully into more relaxed measures with lyrical phrases from the winds as they elaborated on themes drawing from North Shaanxi folk songs.
Next on the bill were four selections from Elliot Leung’s 2024 cycle ‘Chinese Kitchen.’ First up on this sampler was ‘Deep Fried River Prawns,’ where the constant percussion from the bells evoked the feelings of a busy harbor against the wave-like swells from the drums, with moments of stormy tumult featuring driving lines from the lower brass. After this was ‘Buddha Jumps over the Wall,’ which made a fine contrast due to its entrancing, relaxed nature, featuring extended lyrical themes decorated with rolling chimes and harp glides to lend a dreamy, nostalgic quality. The next selection ‘Organic Vegetables in Soup,’ started with gentle pizzicato and briefer phrases from the strings and winds which, as It elaborated its theme, seemed to pick up more weight from the orchestra, much like a soup that grows in richness the more it boils. Last of this section was ‘Deep Fried Sesame Balls/ Finale,’ which opened with a fun verve due to its jaunty wind measures. As the other instruments joined this speed, the running texture grew to one of great expressivity across its bold theme, tinged with powerful chords, cymbals, and other dynamic effects.
Due to the recent blizzards, a canceled flight prevented baritone Changyong Liao from being able to travel and perform this evening. Filling in was Andrzej Filonczyk, making his company debut with ‘Largo al factotum’ from Rossini’s ‘The Barber of Seville.’ His rendition was well-handled balancing energy with humor through the relishing phrases, and all the while displaying a clarity of tone and diction. These qualities came together nicely for the ensuing patter section, allowing Filonczyk to launch into the conclusion with an excellent charge.
Following this was Phil Young’s arrangement of the Korean folk song ‘Arirang.’ Sung by soprano Kathleen Kim, this number was replete with a nostalgic beauty evidenced by its text of parted lovers, and made all the more touching by Kim’s pristine, affectionate tones. This delicacy shone at the forefront of the musical texture as the piece built to a nearly-exultant close. Next from Kim, and continuing the Rossini, was ‘Una voce poco fa.’ Rosina’s aria was an excellent fit for Kim’s bright and articulate soprano, which carried with a fun, mischievous flair and highly-charming coloratura to bring it all together.
While Lu Zaiyi’s ‘Prelude to the Water Melody’ was not performed due to the change in roster, the audience was instead treated to a surprise in the form of ‘Lippen schweigen’ from Lehar’s ‘Die lustige Witwe.’ This selection made for a breathtaking moment of tenderness from Kim and Filonczyk, and given the comedic aspects of their earlier Rossini numbers, this made for an excellent showcase of affection and sincerity, much like the moment between Hanna and Danilo finally alone from the rest of the party and at truth with their feelings.
Rounding out the program were three powerful works. The overture from ‘Candide’ was a exciting display of artistry, and a fitting nod to the company’s Laureate Conductor. The next, Huang Haihuai’s ‘Horse Racing,’ featured tremendous drive from the downbeat to simulate the running of horses, along with dynamic, rising figures which lent an even further charge. Bringing this all together was Zou Ye’s arrangement of Hasibagen’s ‘Rhapsody for Morin Khuur and Orchestra: Longing.’ This fascinating work showcased the eponymous Mongolian instrument, as well as traditional throat singing. Through the use of a technique named “khoomei,” deep, almost guttural drones are set against oscillating overtones, making for a striking impression when given with the placid bowing from the khuur. This itself led into a grand, expansive theme from the orchestra, kept at a more contemplative tempo before the various parts resurged with great energy. The result was a finale that was as dynamic as it was opulent, making for a thrilling close to this program and opening for the new Lunar Year.
In store that night were two encores from Long Yu and the orchestra. The first was Copland’s ‘Hoe-Down’ from ‘Rodeo.’ “We heard from the Chinese horse, the Mongolian horse,” began the conductor. “Now I’d like to bring the American horse. So let’s listen to the horse of the cowboys.” This selection carried with sprawling measures from the strings and percussions which easily conjured up colors of the American frontier, along with cantering hoofbeats and other charming effects. Last of the evening’s encores was an arrangement of the traditional song ‘Jasmine Flower,’ a charming piece which carried across its affectionate themes to modulate into Sousa’s ‘Stars and Stripes Forever.’ As many companies celebrate the 250th Anniversary of the Declaration of Independence, this selection made for a fine ode and was expertly-delivered by the orchestra.
Wednesday’s gala was successful affair thanks to the artistry of the musicians and the fascinating line-up of works in store. Despite some minor changes to the program, what was performed was still a highly enjoyable line-up of works which displayed some of the treasures to be found in Eastern and Western music. After the gala, Long Yu and Starr International Foundation President Courtney O’Malley were honored by NY Phil President and CEO Matias Tarnopolsky and Board Co-Chairman Oscar L. Tang, being presented crystal Baccarat Fire Horses. All Gala Co-Chairs were also presented with Fire Horse Statues as gifts from the Chinese Consulate. The event also raised $1.5 million to provide valuable support for the NY Phil as they present world-class performances.