On March 26, a day after the premiere of the new season of “Mad Men,” a group of New Yorkers packed into Lincoln Center’s Avery Fisher hall to soak up another dose of mid-century nostalgia: the New York Philharmonic’s spring gala program “Anywhere I Wander: The Frank Loesser Songbook,” featuring the works of the Jewish composer and lyricist who reigned during the glitzy heyday of the American musical comedy.
It was Marvin Hamlisch who wrote that “everyone is beautiful at the ballet” — no one, to my knowledge, has ever claimed the same about the philharmonic — and yet on this chilly spring evening an air of old-fashioned glamour wafted through the hall. Women wore furs; champagne was sipped. As the orchestra noodled onstage, the trumpeter practicing not a tough lick from Tchaikovsky but rather the swelling, love-struck strains of Loesser’s “Rosemary,” something like titillation rippled through the crowd.
I suspect that certain people like hearing the Philharmonic — in this case led by Ted Sterling with a lineup of Broadway veterans and opera superstar Bryn Terfel — play this sort of thing more than they care to admit. Broadway tunes are what orchestras trot out for outdoor picnics and the pops concerts that make classical music purists wince, and yet it’s significant that the Philharmonic has chosen to feature musical theater composers (Loesser this year, Stephen Sondheim the past two) when the goal is to delight its most generous patrons, who are ostensibly devotees of more serious fare.