Dating in the odyssey years
A recent structural analysis of the pavilion — the building opened in 1976 — led to renovations this spring that will continue into 2018 and may cost .5 million to million.But the Mann is not giving up on orchestras, even if they don’t have the presence they once did.
The Mann, a nonprofit with little endowment and a relatively weak tradition of philanthropy, still struggles to end in the black each year.“The Mann has its eye on the ball and on the future.” Among the questions: What is the Mann’s part in the city’s larger arts education scene? “I think there’s no question that, historically, the Mann was not always perceived to be the most welcoming for all constituencies, and we are trying to change that.” Williams himself answers the puzzle of mission aptly, if more poetically, in his song cycle, where he adapts a line from Max Ehrmann’s debuts at the Mann Center, 52nd and Parkside Ave., Tuesday at 8 p.m.The program, with the Philadelphia Orchestra plus vocal soloists and four choirs led by Cristian Măcelaru, also includes works of John Williams, Bernstein, Puccini, Dvorak, and others.Falla’s managed to be both a popular and a critical success, beautifully showing a record crowd of more than 10,000 just how powerfully orchestral music can advance story, fine-tune emotion, and quicken the pulse.This season, the Mann likes to say it programmed four of Philadelphia’s orchestras: the Philadelphia Orchestra, which will perform the score to ; and a Curtis Institute of Music orchestra concert that opened the season (even if it had to be moved to Curtis, because of a cold spring rain, and heard only as an online experience). A summer venue can dream, and the Mann is having some ambitious visions. Commercial music presenters have come into the Philadelphia market in a big way, giving the Mann some competition.