But much the same thing can be said of London, with its array of orchestras, opera and dance companies and, of course, the West End. Stiff cultural competition did not prevent Simon Rattle, whose tenure at the helm of the Berlin Philharmonic is nearing its end, from signing on as the next music director of the London Symphony Orchestra. His announcement this month that he would take the job was greeted there with something approaching euphoria.

Image Ludovic Morlot, a dark horse. Credit... Brian Harkin for The New York Times

Can the New York Philharmonic woo someone who can thrill New Yorkers as much? Someone who can help raise funds in the nine figures for the coming renovation and who can keep audiences in the fold when the orchestra must play elsewhere in New York during at least two seasons of construction? Here, classical music critics for The New York Times weigh in with some of their thoughts on who the orchestra should look for — and who it should avoid. MICHAEL COOPER

California Star

The job title is music director, not exalted interpreter of Beethoven, Brahms and Mahler. Of course, the New York Philharmonic needs an accomplished conductor who can inspire the players to give bracing performances of the great repertory works. Still, the larger visionary, cultural-leadership components of the role are at the core of the position’s responsibilities. I want someone who can excite audiences about classical music as a living, breathing art form. I would be disappointed if the Philharmonic goes with an eminent maestro who has not demonstrated palpable involvement with contemporary music and living composers.

Of the names that have slipped out so far, the one best suited to my take on the job is Esa-Pekka Salonen. He is not just involved with living composers, he is one, and with an extensive personal network of composer colleagues. In comparison with the charismatic Gustavo Dudamel, Mr. Salonen’s successor at the Los Angeles Philharmonic, he may seem more laconic. But in his Finnish way, Mr. Salonen is a dynamo who enticed concertgoers in Los Angeles and never programmed down to people. That the Walt Disney Concert Hall was built on his watch, thanks in part to his galvanizing energy, is a tribute to his influence. I bet he would bond with New York City just as he did with West Coast culture and musical traditions.