The Israel Philharmonic, born out of persecution and exile, dedicates a performance of Ben-Haim’s works, conducted by Lahav Shani, at Carnegie Hall. Ben-Haim masterfully integrated the musical traditions of different Jewish communities into Western structures, achieving a refined and richly expressive synthesis of ethnic elements.
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Labor Day long talk
—“A continuous effort to illuminate the fragile, ever-evolving human form.”
It is a landscape I have been observing myself in. I remembered August 4th, the day tickets for Carnegie Hall went on sale—a launch day for boarding the “time machine” that spans three venues of the world. At the head of the waiting line were the usual Russian ladies.
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Nelsons and Boston Symphony tell Shostakovich's Nabat
At Carnegie Hall, the BSO and Andris Nelsons performed an all-Shostakovich program with Yo-Yo Ma in the Cello Concerto No. 1 and the Symphony No. 11. Before playing, Ma said, “We play Shostakovich so that no death is ever just a statistic.” The concerto’s D-S-C-H motif, ironic colors, and Russian soul resonated deeply, honoring the composer’s legacy.
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Boston Symphony and Nelsons tell Shostakovich's magic spel at Carnegie Hall
4.23.2025. Andris Nelsons led the BSO with Mitsuko Uchida in Beethoven’s Piano Concerto No. 4, her quiet intensity evoking a sense of struggle, fragility, and resolve. Shostakovich’s final Symphony No. 15 followed—whimsical, grotesque, and haunted by death. The concert felt less about form than shared spirit, Boston’s essence shining through.
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Mitsuko Uchida Carnegie Hall Recital
Pianist Uchida's recital (Apr 9) paired Beethoven’s Sonata Op.90, Schoenberg’s atonal Op.11, Kurtág’s elegy, and Schubert’s final Sonata D960. With clarity and depth, she traced battles of head and heart, Schoenberg’s freedom, Kurtág’s grief, and Schubert’s fragile late beauty—an intimate journey across centuries of sound.
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Chochieva's Carnegie Debut
Zlata Chochieva’s Carnegie Hall debut (Apr 2) showcased Bach, Schumann, Brahms, Rachmaninoff, and Mendelssohn. Her delicate tone, deep expression, and nuanced control brought out both youthful intensity and mature depth. The recital, capped by Rachmaninoff and Villa-Lobos encores, was a masterful and memorable debut.
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Welser-Möst and Cleveland Orchestra's 23rd years fate at Carnegie Hall
Franz Welser-Möst and the Cleveland Orchestra performed at Carnegie Hall on March 19, presenting Stravinsky’s Petrushka and Tchaikovsky’s Symphony No. 5. Mösto’s passionate direction revealed every nuance, from Petrushka’s playful mischief to Tchaikovsky’s portrayal of fate. The orchestra’s precision, expressive solos, and vivid storytelling made for an emotionally powerful, masterful evening.
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Franz Welser-Möst and the Cleveland Orchestra - Fighter for freedom at Carnegie Hall
Möst and the Cleveland Orchestra faced challenges but triumphed in their 23rd New York concert. They opened with Beethoven’s “Fate” Symphony, performed Janáček’s poignant suite from From the House of the Dead, and ended with Beethoven’s Leonore No. 3, celebrating freedom, courage, and human dignity with deep sincerity and passion.
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Globe: Muti and Vienna unified us at Carnegie by Mozart and Dvorak last Symphonies
On March 3 at Carnegie Hall, Muti and the Vienna Philharmonic paired Mozart’s Jupiter Symphony with Dvořák’s New World. Their Mozart shone with golden string tone, lyrical winds, and a finale fugue evoking an ideal society. Dvořák unfolded with grandeur and suspense, uniting audience, orchestra, and maestro in a profound global communion.
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Muti brings out the best in Venna at Carnegie Hall
Riccardo Muti, 83, led the Vienna Philharmonic at Carnegie Hall on March 1 in the second of a three-day series. Catalani’s Contemplazione glowed warmly, Stravinsky’s Divertimento sparkled with fairy-tale color, and Schubert’s “Great” Symphony unfolded at a steady, poetic pace—Vienna’s unique tone making it unforgettable.
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Assertion, Sympathy, and Harmony: Riccardo Muti and Vienna Philharmonic at Carnegie Hall
Muti, 83, has led the Vienna Philharmonic annually since 1971. Their decades-long bond shone in Schubert’s Symphony No. 4, where solos blended into lyrical unity, full of empathy and charm. Bruckner followed with vast landscapes and glowing string tremolos. Smiling, Muti closed within Vienna’s circle, radiating joy.
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Scandinavian Trouvères, Concerto Copenhagen and Lars Ulrik Mortensen's DNA
Concerto Copenhagen and Lars Ulrik Mortensen performed at Zankel Hall on Feb 25, bringing Muffat’s Armonico Tributo alongside Handel and Bach. The ensemble’s vivid, empathetic playing fused German, French, and Italian styles into living music—by turns joyful, sorrowful, and full of human spirit—capturing Baroque internationalism with fresh vitality.
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Brahms’s Clarintet Quintet, Maria Ioudenitch, 1st Violin, Stephanie Zyzak, 2nd, Hiroki Kasai, Viola, Peter Stumpf, Cello
Frei aber froh, Marlboro Musicians at Weill Recital Hall
Marlboro Musicians at Carnegie Hall (2.21.25). Schumann’s Fairy Tale opened with clarinet warmth, viola’s insect-like calls, and piano evoking Marlboro’s pastoral sound. Kurtág’s Homage to Schumann (1990) contrasted fragile stillness with Florestan’s eruptions—an intense, fleeting soundscape. Schumann’s String Quartet No. 2 followed with lyric exchanges and athletic drive. Brahms’s Clarinet Quintet closed, highlighting Maria Ioudenitch’s luminous violin, her Adagio evoking a Tchaikovsky concerto. Across eras, the ensemble revealed connections, vitality, and new possibilities.
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2025-2026 Carnegie Hall Concerts
The 2025–2026 season at Carnegie Hall features the Israel Philharmonic Orchestra with Lahav Shani and Pinchas Zukerman, pianist Sir András Schiff, the Estonian Festival Orchestra with Paavo Järvi, the Estonian Philharmonic Chamber Choir with Tõnu Kaljuste, the Philharmonia Orchestra with Marin Alsop and Santtu-Matias Rouvali, accordionist Ksenija Sidorova, the Modigliani Quartet, and violinist Kyung Wha Chung with pianist Kevin Kenner, and more.
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Theatre of Voices at Carnegie Hall
Founded in 1990 by Paul Hillier, Theater of Voices performed at Zankel Hall, Carnegie Hall. Their uniform, refined, and expressive singing highlighted each piece’s unique character, freeing listeners from familiar musical patterns. Michael Gordon’s A Western, John Luther Adams’ A Brief Descent into Deep Time, and Julia Wolfe’s Italian Lesson were on the program.
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Metropolitan Opera Orchestra's Brahms at Carnegie Hall
The Met Opera Orchestra performed Brahms’ Symphony No. 4 at Carnegie Hall under Myung-Whun Chung. The performance showcased the symphony’s rich interplay of strings and winds, featuring medieval motifs and complex patterns. Dynamic tempos and unified energy brought out Brahms’ romantic depth, with the orchestra’s expressive precision making the music vividly immediate and engaging.
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Muti and Chicago symphony's Verdi at Carnegie
Riccardo Muti and the Chicago Symphony Orchestra performed Verdi’s rare ballet The Four Seasons at Carnegie Hall, blending vivid orchestral colors with expressive solos. Muti’s touch brought warmth, nostalgia, and lyricism, culminating in Martucci’s heartfelt Notturno. The performance showcased the orchestra’s artistry and cultural depth, leaving a lasting, precious impression.
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Asmik Grigorian at Carnegie Hall
Asmik Grigorian and Lukas Geniušas gave a powerful Carnegie Hall recital in a 600-seat underground space. Performing Tchaikovsky and Rachmaninoff, they created intensely dark, personal, and lyrical worlds. Asmik’s rich vocals and Lukas’ commanding piano transformed each song into a confession, earning stormy bravos and a heartfelt, joyous audience response.
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100 Years of Czech Music at Carnegie Hall, Bychkov's Glagolitic Mass
Trifonov and the Czech Philharmonic brought Dvořák and Janáček to life at Carnegie Hall. The oboe sang like a bird, the bass turned like a waterwheel, and Janáček’s Glagolitic Mass conveyed passion, homeland, and Slavic spirit.
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100 Years of Czech Music, Shaham, Bychkov at Carnegie Hall,
To celebrate the conclusion of the "Czech Music Centennial Year," Bychkov and the Czech Philharmonic appeared at Carnegie Hall. Gil Shaham’s performance of Dvořák’s Violin Concerto was electrifying—brilliant in every solo, flowing seamlessly with the orchestra, like a game of music in motion. Bychkov, still recovering from back surgery, conducted Mahler’s Fifth with heartfelt intensity, drawing a warm, rich sound that mirrored the shifting currents of Mahler’s music. The orchestra’s breathing and awareness brought Prague and Moravia to life in every note. Having heard six orchestras recently, this performance reminded me how profoundly music can challenge and renew one’s own perspective.
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