On March 10, 2026, at Carnegie Hall, Yannick Nézet-Séguin led the Philadelphia Orchestra in Mahler’s Symphony No. 2. From anxious violins to radiant brass, each movement shimmered with detail. Joyce DiDonato’s mezzo soared in Urlicht, and the Resurrection finale proclaimed, “Rise again!” A vivid, masterful 90-minute performance.

Strauss’s Also sprach Zarathustra translates Nietzsche’s philosophy into music, using organ, harps, and tubas to depict sunrise, human longing, and life’s highs and lows. Steude and fellow musicians transform the piece through precise playing and dance, creating a transcendent experience. Sibelius’s Symphony No. 2 follows, capturing the breath of the earth, tension, and hope, with sweeping, cosmic gestures. Vienna 2026’s New York performances closed with Strauss’s existential questions and Sibelius’s natural imagery, and the encore waltz brought the three-day musical journey to a luminous, celebratory conclusion.

Wien and Nelsons at Carnegie Hall 2026, Day 2: from the gravity of Kurtág to Mozart’s elegant Vienna, and finally to Dvořák in a Vienna fraught with ethnic tensions, where the voices and dances of the local populace express strong national consciousness.

Wien and Nelsons performed at Carnegie Hall on February 27, 2026. The concert opened with Bartók’s Piano Concerto No. 3, with Lang Lang weaving each note with improvisatory freedom. Nelsons let the music breathe; the second movement felt tender, a quiet entrusting of the heart. The encore dissolved softly into space. Mahler’s Symphony No. 1 followed, with shimmering strings, resonant horns, and colorful percussion creating a cosmic expanse. Nelsons precisely unified veterans and young musicians, tracing a journey from Bartók’s inner light to Mahler’s vast currents, an experience where sound and silence intertwined, leaving the listener introspective and awed.

Since first hearing the Chicago Symphony Orchestra under Daniel Barenboim in the 2000s and later under Riccardo Muti, I’ve known the Orchestra’s power and elegance. But this evening, with 30-year-old Finnish conductor Klaus Mäkelä at the podium, Chicago felt freshly alive.

Budapest Festival Orchestra and conductor Iván Fischer performed Mahler's Symphony No. 3 at Carnegie Hall on 2.6.2026. Mahler's nature finds a voice, speaking profound secrets that man can only foresee in dreams. Running over 100 minutes, it depicts divine beauty and harshness, human sin and salvation.

A horn fanfare awakens Pan, god of the hall, on a January day at -15°C. Brass responds, joined by bass drum and solo trombone. The orchestra’s noble spirit reflects the earth’s breath, chaos, destruction, and creation. Double basses and percussion are placed around the hall, making Carnegie’s 2,800 seats breathe as one living creature. A march begins, life surging forth; Fischer draws crystal-clear sound, stirring the heart.

At Carnegie Hall on 2.6.2026, the Budapest Festival Orchestra, led by Iván Fischer, opened with Pärt’s Summa, singing a Credo—“I believe.” Their voices, simple yet prism-like, created a wave of quiet light through the hall. In Tchaikovsky’s Violin Concerto, Vengerov’s eloquent solo and the orchestra engaged in a lively dialogue. Brahms’ Symphony No. 2 revealed transparent interplay, with lines ascending and descending like light, while a Hungarian folk medley returned the music to its roots, inviting audience participation and joy.

Verdi’s Requiem resonated deeply. With the Cleveland Orchestra, Most, and the Cleveland Choir, the opening Requiem aeternam felt as if the sound arose from behind me. In Dies iræ, the intense orchestra conveyed the fear of sin, while the trumpet in Tuba mirum echoed through Carnegie Hall. In Recordare, the solo voice quietly pleaded for remembrance, and in Lacrimosa, the final Amen felt intimate and personal. In Offertorio and Sanctus, prayer and praise seemed to emerge from within; in Agnus Dei and Lux Æterna, voices and strings purified the heart. Finally, in Libera me, the fear of death and longing for salvation resonated powerfully through orchestra, choir, and solo singers—an unforgettable spiritual experience.

New York’s choral and orchestral ensemble Musica Sacra performed “Classics for Christmas” at Carnegie Hall on December 17, 2025. The program featured Christmas-related works by Bach, Thompson, Corelli, and Handel, with soprano Kathryn Lewek and harpist Mariko Anraku as soloists. Highlights included Bach’s Gloria in excelsis Deo, excerpts from Handel’s Messiah, and Rachmaninoff’s Bogoroditse Devo, creating a rich, festive, and deeply moving concert. The performance was led by conductor Kent Tritle.

Trifonov’s program traced Russian modernism and Romantic expression, opening with Taneyev’s Prelude and Fugue, where he highlighted clarity, restrained lyricism, and transparent counterpoint. Prokofiev’s Visions fugitives revealed fleeting humor and delicacy, while Myaskovsky’s single-movement Sonata conveyed shadow, tension, and virtuosity with precise control. In Schumann’s Sonata, he contrasted Florestan and Eusebius through agile scherzos, lyrical arias, and a spirited finale, uniting improvisatory freedom with poetic depth. Across the program, Trifonov balanced technical mastery, expressive nuance, and psychological insight, illuminating the music’s inner voice and emotional breadth.

Chamber Orchestra of Europe and Yannick Nézet-Séguin's All Brahms at Carnegie Hall on December 9, 2025.

Chamber Orchestra of Europe

Yannick Nézet-Séguin, Conductor

Veronika Eberle, Violin

Jean-Guihen Queyras, Cello

Program

ALL-BRAHMS PROGRAM

Tragic Overture

Double Concerto

Symphony No. 1

Three Latvian musicians, Gidon Kremer, Giedrė Dirvanauskaitė, and Georgijs Osokins, had a trio recital at Zankel on 12.4.2025

11.21.2025 Musicians From Marlboro at Weill Recital Hall. A chamber music group made up of young musicians associated with the Marlboro Music Festival in the United States. The festival, established in 1951, is known as a place where young and experienced musicians come together to study and perform chamber music. Selected members of the group give concerts both in the U.S. and abroad.

The world of Nicolas Altstaedt, Cello and Thomas Dunford, Lute's "viol x cello x lute x Bach x modern."that means all contemporaries, an intimate and stimulating dialogue between the two and the audience. The Bourbon sophistication and Bach. It continues with Pärt and then Marais.

Christian Măcelaru and the Orchestre National de France at Carnegie Hall on 11.9.2025. The program began with Elsa Barraine’s Symphony No. 2, Voïna (War), composed in 1938, just before the outbreak of World War II. Barraine’s work captivates with its modern French transparency condensed into a stable structure.

At 77, Giant Violinist, Chung Kyung Wha once again stood at Carnegie Hall. This marked the culmination of her musical career. After a long career, a quiet flame and prayer resonated in the hearts of the enthusiastic audience gathered in the dry Stern Hall. There was no hesitation in the rise of each note, but the quiet determination and resolve that accompanied each note. It wasn't the fiery passion of her youth, but the power to burn like a quiet flame. The violin spoke of strength and kindness that transcend technique. Each time she drew her bow, the silence seemed to breathe, as if decades had passed. And after the sound faded, a prayer lingered. Kevin Kenner let each note speak as if it were a serene melody. Their breathing overlapped, creating a conversation through sound. Kenner added a soft glow to Chung's single note, and Chung responded to Kenner's silence with a prayerful echo—a dialogue that transcended.

Ksenia Sidorova gave her debut recital at Carnegie Hall's Weill Recital Hall on 11.5.2025. Almost the entire program was arranged by Ksenia and friends, overflowing with respect for the works, musicians, and friends. As a result, the pieces were deeply connected, and Sidorova's world transcended time and style, unfolding through the accordion.

The program encompassed a wide range of genres, from American minimalism to Bach and numerous folk pieces, imitating a variety of instruments and voices, including organ, folk instruments, orchestra, and voice. The final piece was Schnittke's polystylism, the opera of satire and humor.

At Carnegie Hall on October 31, 2025, The Philadelphia Orchestra with Emanuel Ax offered a luminous journey through Still, Beethoven, and Brahms—a concert where nature, spirit, and human expression intertwined. William Grant Still’s Wood Notes (1947), inspired by Shelby Steele’s nature poetry, shimmered with dialogue between instruments like rippling water, blending blues, jazz, and Romantic colors into warmth reminiscent of Dvořák and Sibelius. Beethoven’s Piano Concerto No. 3 followed—Ax’s 50th anniversary with the orchestra, and Yannick Nézet-Séguin’s birth year—bridging generations. Ax’s playing, breathing between each phrase, revealed Beethoven’s humanity with timeless tenderness, his cadenza rising to a Largo so intimate it brought tears. The finale’s laughter between violinist Kim and Yannick felt like Beethoven smiling from within. Ax’s encore, Schubert’s Serenade, was a whisper of love returned. After intermission, Brahms’s Symphony No. 4 unfolded as a spiritual heir to Bach’s Cantata No. 150, its sound rising and vanishing like mist. Yannick’s refined bass lines and luminous phrasing wove Still’s nature and Beethoven’s soul into Brahms’s deep serenity—a seamless celebration of Ax, Philadelphia, and the living continuum of music itself.

The Philharmonia’s 80th anniversary concert on 10.29.2025 opened with Gabriela Ortiz’s If Oxygen Were Green, a vivid 21st-century exploration of light, water, carbon dioxide, consonance, and dissonance. Beethoven’s Piano Concerto No. 5 followed, with Víkingur Ólafsson’s playful, defiant piano weaving through the orchestra, while principal cellist Tim Hugh and the basses created tender, whispering tones that blended woodwinds and strings in intimate dialogue. Under Santtu-Matias Rouvali, the orchestra breathed with distinct shapes, colors, and intentions, alternating freedom and discipline like a modern Beethoven. Sibelius’s Symphony No. 5 unfolded with microtonal patterns, off-beat syncopations, and evolving themes; bass and cello provided a living pulse, while horns, winds, and strings conversed with microscopic detail, merging human emotion and natural sublimity. The Andante mosso recalled Beethoven’s Ninth, the third movement rose like a creature shedding its skin, and the finale’s deep cello-flute resonance and bass drum strokes created a timeless, awe-filled silence. Over two days, the warmth of cello and double bass, especially in the Sibelius waltz encore, revealed the orchestra’s capacity to transform controlled technique into simple, joyful, Karajan-like radiance.

The Philharmonia Orchestra celebrated its 80th anniversary with a three-week US tour, culminating in its final performance at Carnegie Hall. It was a performance that captured the breath and heart trembling of their past. The lustre of the strings, the warm breath of the woodwinds, and the brilliance of the brass—the gentle light of old recordings—represented the love, death, and salvation of Romeo and Juliet. The loneliness beneath Prokofiev's brightness, particularly the momentary silence in the second movement, seemed to stand still. And then, Kantorow's Wagner/Liszt rendition of Tristan's Death of Love from Isolde, which released this loneliness, projected the light and shadow of the Philharmonia Orchestra's lifelong love and death, forever etched in the hearts of the audience.