Lifestyle
Conductor Andrew Davis, who headed orchestras on 3 continents, dies at 80
Conductor Andrew Davis, right, raises his arms as he takes a bow, accompanied by Renee Fleming, and Peter Rose, center, during the final dress rehearsal of Richard Strauss’s Capriccio in the Metropolitan Opera at New York’s Lincoln Center, March 25, 2011.
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Conductor Andrew Davis, right, raises his arms as he takes a bow, accompanied by Renee Fleming, and Peter Rose, center, during the final dress rehearsal of Richard Strauss’s Capriccio in the Metropolitan Opera at New York’s Lincoln Center, March 25, 2011.
Richard Drew/AP
Andrew Davis, an acclaimed British conductor who was music director of the Lyric Opera of Chicago and orchestras on three continents, has died. He was 80.
Davis died Saturday at Rusk Institute in Chicago from leukemia, his manager, Jonathan Brill of Opus 3 Artists, said Sunday.
Davis had been managing the disease for between 1 1/2 and 2 years, but it became acute shortly after his 80th birthday on Feb. 2. He had conducted the Chicago Symphony Orchestra last December in the U.S. premiere of his own orchestration of Handel’s “Messiah.”
“A consummate musician, incredibly versatile and a phenomenal colleague, as well,” soprano Renée Fleming said in an email to The Associated Press. “It takes a special kind of command to be a great conductor, the power to make close to a hundred musicians (each one, at heart, a diva or divo) hang on your tiniest gesture. So it is remarkable that even with that strength, Andrew’s primary quality was his innate happiness. He was gifted with an infectious joy that somehow came through in every bar of music he made.”
As his 80th birthday approached, Davis was invigorated by the challenge of molding an orchestra, especially young players.
“Harnessing all that energy and that enthusiasm and that passion, and galvanizing it into a totally, totally unified conception and not just conception but — what’s the word? — realization,” he said during an interview with the AP last July after rehearsing the National Youth Orchestra of the United States of America in workshops and then at New York’s Carnegie Hall. “I berate them more than I would, but I hope always with a twinkle in my eye.”
Davis was music director of the Toronto Symphony Orchestra from 1975-88 and Britain’s Glyndebourne Festival from 1988-2000; chief conductor of the BBC Symphony Orchestra from 1989-2000 and the Melbourne Symphony Orchestra from 2013-19; then music director of the Lyric Opera from 2000-21.
Davis made his Lyric Opera debut in 1987 and led about 700 performances of 62 operas by 22 composers.
“He was a true artistic partner to me and a shining light for so many of us,” Lyric Opera general director Anthony Freud said in a statement. “We will miss his incredible artistry, his extraordinary wisdom, his irrepressible humor, his unfettered zest for life and his devotion to the arts and the humanities.”
Davis conducted a dozen Last Night of the Proms concerts, an annual celebration of Britain at London’s Royal Albert Hall. He twice gave the customary speech in the patter of the Major General’s song from Gilbert and Sullivan’s “The Pirates of Penzance.”
Born in Ashridge, in the Hertfordshire county of England, Andrew Frank Davis played organ for his parish choir and joined the choir at the Watford Grammar School for Boys. He studied piano at London’s Royal Academy of Music in London, became an organ student at King’s College Cambridge, and played piano, harpsichord and organ with the Academy of St. Martin in the Fields from 1966-70.
He made his conducting debut with the BBC Symphony in 1970, became an assistant conductor with the BBC Scottish Symphony Orchestra and Philharmonia Orchestra, then in 1971 made his North American debut with the Detroit Symphony Orchestra.
“One of the finest conductors of his generation,” Carnegie Hall executive and artistic director Clive Gillinson said. “I worked with him on an ongoing basis at the London Symphony Orchestra, and the players and I were always totally engaged by his superb musicianship.”
Davis made his opera-conducting debut in Strauss’ “Capriccio” at the Glyndebourne in 1973 and the following year met his future wife, soprano Gianna Rolandi, when she sang Zerbinetta in performances of Strauss’ “Ariadne auf Naxos” that he led at New York’s Metropolitan Opera. They got married in 1989 and had a son, composer Edward Frazier Davis.
Davis became a Commander of the British Empire in 1992 and a Knight Bachelor in 1999. The family moved to Chicago when he was hired by the Lyric Opera.
During the pandemic, Davis translated Virgil’s “Aeneid” from Latin into English verse.
“I took an entrance exam in classics in New College, Oxford,” he told NPR, “but then a couple of weeks later I took the organ scholarship trials at King’s College, Cambridge, which much to my surprise I won, so that was the end of classics for me.”
His wife died in 2021. In addition to his son, he is survived by a sister, Jill Atkins, and brothers Martin Davis and Tim Davis. Funeral services will be private.
Lifestyle
After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’
Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.
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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’
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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today
From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.
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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.
Scenes from the new installment feel almost too recognizable to many doctors.
The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.
Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.
Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.
So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.
That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.
To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?
I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.
OK, but is every shift really that chaotic?
I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”
As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?
There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.
Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?
I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.
If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.
As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.
Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.
The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.
2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?
I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.
There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.
In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?
The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.
The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.
A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?
Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.
Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.
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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?
Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.
But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”
The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.
Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.
In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.
There are so many more themes explored this season. What else should viewers look forward to?
I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.
I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.
But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.
Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.
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