I'm Simon O'Neill and I'm saying hi from my home here in Auckland, New Zealand, in the South Pacific.

This is Fritz.

It's and you lash schnauzer.

He loves Wagner, particularly loved Tristan, but I've been getting him onto lighter stuff like party Fallon's ignorant lately, but he absolutely loved it anyway.

Welcome to this broadcast of the New York Philharmonic playing vagueness ec One developed really go crazy.

Such a thrill in an honor to make my day boo with the orchestra in a role that I guess is my signature role.

That of signal now to be onstage with Maestro.

Yeah, from Sweden and my colleagues, highly singing as Englander and dancing in the menacing bonding with your great orchestra, a great orchestra.

The New York Philharmonic is such such a thrill.

So I hope you enjoy it.

And thanks very much for having me all the best up there in New York.

Hi, this is Timothy Cop, principal base of the New York Philharmonic.

I want to thank you for joining us tonight to watch this Facebook protest.

In fact, one of developed, very connected by the often said, having served his principal base of the Metropolitan Opera before joining the Phil Develop Tereza piece I've played in many times.

You know very well I can tell you for double bases.

There's hardly anything in the literature more upsetting than the opening of develop.

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I hope you enjoyed tonight's performance.

Thanks for watching.

Hi, everyone.

This is Rob Body second host of the New York Philharmonic.

Welcome to tonight's performance of Act one from Dev.

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One of my favorite moment is actually at the very beginning after one opens with these repetitive, ascending and descending lines in the Jell O's and basis.

This is soon followed by some very frenzied scales and then winds and upper strings that's layered underneath the thematic material in the brass.

It's just ominous and foreboding sounding amazing music.

And I've always found it incredibly thrilling.

I'll be watching tonight and joining in the comments.

I hope you enjoy it.

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