During Yuja Wang’s performance of Einojuhani Rautavaara’s Piano Concerto No. 1 at Philadelphia’s Kimmel Center, I realized something was changing in classical music. Wang’s right forearm struck the keyboard hard, while her left hand moved at an incredible speed. Although I have always loved classical music, I have never been a big fan of piano performances. They never moved me as much as an orchestra. But Wang challenged that view with this single concert—and the encores that followed.
Wang performed with the Curtis Symphony Orchestra, made up of students from the Curtis Institute of Music, where she herself studied from age 15. The conductor was Yannick Nézet-Séguin, a Canadian rising star and head of conducting at Curtis. On stage, they made a striking pair. Wang wore a magenta evening gown with crystals and a high slit. Nézet-Séguin wore a leather Nehru-collared shirt, silver cufflinks, black tailored trousers, black Christian Louboutin slippers with diamond bows, and shiny silver fingernails.
Both artists are dedicated to attracting new audiences to classical music. Their bold fashion choices—and Nézet-Séguin’s frequent hair color changes—are part of an effort to break down the old-fashioned image that can make classical music and opera seem unwelcoming. Wang calls this approach a “Gesamtkunstwerk,” a German term meaning a “total work of art” that combines many art forms. “It’s about being whole. It’s not just about being on stage. Otherwise, people would just listen to recordings or streaming services. There is energy in a live performance,” she said.
Both Wang and Nézet-Séguin are also Rolex ambassadors—Wang since 2009, Nézet-Séguin since 2024. They are part of Rolex’s Perpetual Arts Initiative, which has supported artists and institutions in music, dance, theater, cinema, literature, and architecture for over fifty years. The first Rolex ambassador in classical music was Dame Kiri Te Kanawa in 1976.
Since then, many well-known names have joined, including mezzo-soprano Cecilia Bartoli and conductor Gustavo Dudamel. Rolex also supports prestigious organizations like the Vienna Philharmonic, Salzburg Festival, Paris Opera, Teatro alla Scala, Teatro Colón, the Royal Ballet, and the Royal Opera in London. Wang emphasized how important this support is. “Even since Bach’s time, classical music has depended on patronage. Without commissions, we wouldn’t have Mozart’s symphonies. We always need that support,” she said.
One of Rolex’s major partnerships is with the Metropolitan Opera in New York, North America’s largest classical music institution. According to its general manager, Peter Gelb, it is the world’s largest purpose-built opera house.
I visited the United States at Rolex’s invitation to meet Gelb, Wang, and Nézet-Séguin and see how the Perpetual Arts Initiative supports the arts. The day after the Philadelphia concert, I watched Nézet-Séguin lead the Metropolitan Opera Orchestra in Verdi’s Aida in New York. Before the performance, I spoke with Gelb in his office, where a large abstract painting by Rashid Johnson hung on the wall.
Gelb said attracting new, younger, and more diverse audiences is vital for the future of opera. “We need operas that tell today’s stories,” he said. “This year we premiered three new operas. One was Jake Heggie’s Moby-Dick from 2010. Our season opener was Grounded by Jeanine Tesori, a celebrated composer. It’s about a female fighter pilot who becomes a drone operator.” Tesori is the first female composer to open a season at the Met in its 141-year history.
Gelb explained that keeping the art form moving forward is essential. “No art form can survive if it is stuck in the past.” For him, the arts are more than culture—they are fundamental to civilization. “Civilization without art is not very civilized. Today, art and culture are often undervalued. It is our duty to keep them alive.”
The Met receives no government funding, so Rolex’s support is crucial. “Their partnership has a direct economic impact, but more importantly, they help develop artists in a significant way,” Gelb said.
Rolex is better known for its presence in sports, like tennis and endurance racing, than on the stage. Still, the connection between music and sports came up repeatedly during my visit. Wang said being a musician is like being an athlete. “You try to get in the zone. It’s very physical. You must be in good shape.”
Nézet-Séguin’s conducting is also highly physical. Watching him lead Aida is like watching a three-and-a-half-hour marathon. “Conducting is intense,” he said. “I sweat a lot. It’s athletic.” He follows a strict regimen to stay fit. “I treat myself like an athlete. I don’t drink much. I eat well. I take care of myself.”
Nézet-Séguin holds several roles. He is head of conducting at Curtis, music director of the Philadelphia Orchestra, Orchestre Métropolitain in Montreal (a lifetime position), and the Metropolitan Opera. He divides his time between three cities and travels constantly. He says this keeps him energized. The only downside is missing his three cats in Canada. To comfort them, he made a Spotify playlist just for cats.
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