The season includes pianists Daniil Trifonov (Tchaikovsky, Chopin, Barber) and Yulianna Avdeeva (Chopin, Liszt), Mao Fujita (Yashiro, Scriabin, Beethoven, Liszt, Mozart), Mitsuko Uchida (Beethoven, Schubert, Kurtág, Schumann), Evgeny Kissin (Beethoven, Chopin, Shostakovich), and Nina Stemme with Roland Pöntinen (Elgar, Weill, Wagner). Major orchestras appear as well: the New York Philharmonic with Susanna Mälkki (Strauss, Francesconi, Ravel), Berlin Philharmonic with Hilary Hahn and Kirill Petrenko (Rachmaninoff, Korngold, Dvořák, Bruckner), Czech Philharmonic under Semyon Bychkov (Dvořák, Janáček), Chicago Symphony with Riccardo Muti (Bellini, Verdi, Tchaikovsky), Vienna Philharmonic with Muti (Schubert, Bruckner, Stravinsky, Dvořák), London Symphony with Antonio Pappano (Walker, Bernstein, Mahler, Rachmaninoff, Walton), Cleveland Orchestra with Franz Welser-Möst and Asmik Grigorian (Haydn, Strauss, Janáček, Puccini), and the Boston Symphony with Andris Nelsons plus Mitsuko Uchida and Yo-Yo Ma (Beethoven, Shostakovich). Chamber music highlights include Les Arts Florissants (Charpentier, Lully, Rameau), Concerto Copenhagen (Muffat, Handel, Bach), Yarn/Wire and Theatre of Voices with premieres by Wubbels, Iannotta, Gordon, Wolfe, and Adams, and an all-Shostakovich recital by Gidon Kremer, Maxim Rysanov, and Gautier Capuçon.
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Franz Welser-Möst + Cleveland Orchestra - Prokofiev
Rudolf Buchbinder, Pianist - Beethoven
Boulez - Mahler on High fidelity
Concert 2023-2024
The 2023–2024 concert season featured a stellar lineup of performers. Joyce DiDonato starred as Sister Helen Prejean and Ryan McKinny as Joseph De Rocher in Jake Heggie’s Dead Man Walking at the Met, conducted by Yannick Nézet-Séguin. Riccardo Muti led the Chicago Symphony Orchestra in Mendelssohn, Strauss, and the New York premiere of Philip Glass’s The Triumph of the Octagon. Pianists Jonathan Ware, Sergei Babayan, Anna Vinnitskaya, Schaghajegh Nosrati, and Sir András Schiff showcased programs spanning Liszt, Rachmaninoff, Schumann, Bach, Beethoven, Haydn, and Alkan. Joana Mallwitz conducted the Boston Symphony Orchestra in Kodály, Tchaikovsky, and Schubert, bringing vibrant energy and interpretive insight. These performances highlighted both established and emerging artists, emphasizing technical mastery, emotional depth, and a commitment to blending classical masterpieces with contemporary works, creating a dynamic and engaging season.
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Klaus Mäkelä, 28, to Lead American Top Orchestra
Mäkelä will become the music director of the Chicago Symphony Orchestra.
He said it has “that intensity — that same sound from the past.”
This is article from New York Times by Javier C. Hernández
“You felt as if anything you would ask, they could actually improve and do more,” he said, recalling his recent guest appearances there. “For a conductor, that is a very, very special feeling because you see that there really are no limits to what you can achieve.”
The orchestra hopes that Mäkelä can help attract new audiences to classical music, including younger concertgoers.
“There is nothing wrong with old people,” Mäkelä said. “But of course, ideally, we would have a very wide-ranging diverse audience.”
During his tenure, Mäkelä said he hoped to tackle standard repertoire like Mahler’s “Resurrection” Symphony and Bach’s St. Matthew Passion, as well as less commonly performed works like Monteverdi’s “Vespro della Beata Vergine” and William Walton’s choral work “Belshazzar’s Feast.”
He also said he would make commissioning new pieces a priority, naming Unsuk Chin, Thomas Larcher, Andrew Norman and Anna Thorvaldsdottir as some of his favorite contemporary composers.
“I feel that we can have a completely new chapter for the orchestra in terms of repertoire, in terms of developing the same amazing sound,” he said, “but having it as flexible as possible.”
The Chicago Symphony is also working to bring more women and people of color into the ensemble. The orchestra has 59 men and 34 women, and only a few Black and Latino members.
Because the pandemic delayed auditions, the orchestra has an unusually high number of vacancies, 15, which Mäkelä said was an “opportunity for change.” He will start weighing in on auditions immediately, the orchestra said.
Mäkelä, who trained at the Sibelius Academy in Helsinki, said some of his models were Esa-Pekka Salonen, a fellow Finn who recently announced he was stepping down from the San Francisco Symphony, pointing to his experiments with music and technology. And he expressed admiration for Kirill Petrenko, the chief conductor of the Berlin Philharmonic, saying he had shown courage in programming.
マケラがシカゴ交響楽団の音楽監督に就任する。
彼は「過去からのあの音、あの強烈さがある」と語った。
これはニューヨーク・タイムズのハビエル・C・ヘルナンデスによる記事である。
「何をお願いしても、オーケストラは実際にそれを改善し、さらに高めることができると感じました」と彼は最近の客演を振り返りながら述べた。「指揮者にとって、これは非常に特別な感覚です。達成できることに本当に限界がないとわかるのです。」
オーケストラは、マケラ氏が若い聴衆を含む新しいクラシック音楽のファンを引きつける手助けになることを期待している。
「年配の方々に問題があるわけではありません」とマケラは述べた。「しかし理想的には、幅広く多様な聴衆を迎えたいと考えています。」
就任期間中、マケラ氏はマーラーの『復活』交響曲やバッハの『マタイ受難曲』などの定番レパートリーに取り組むだけでなく、モンテヴェルディの『聖母マリアの晩課』やウィリアム・ウォルトンの合唱作品『ベルシャザールの饗宴』といった、あまり演奏されない作品にも挑戦したいと語った。
さらに、新作委嘱を優先事項とし、好きな現代作曲家としてチン・ウンスク、トーマス・ラルヒャー、アンドリュー・ノーマン、アンナ・ソルヴァルズドッティルの名前を挙げた。
「オーケストラにとって、レパートリーや音色の発展という面で、まったく新しい章を開くことができると感じています」と彼は述べた。「同じ素晴らしい音を保ちながら、可能な限り柔軟にしたいのです。」
シカゴ交響楽団はまた、女性や有色人種のメンバーを増やす取り組みも進めている。現在のメンバーは男性59人、女性34人で、黒人やラテン系のメンバーはわずかである。
パンデミックの影響でオーディションが遅れたため、オーケストラには通常より多い15の空席があり、マケラ氏はこれを「変革のチャンス」と語った。オーケストラによれば、彼はすぐにオーディションの審査に関わり始めるという。
ヘルシンキのシベリウス・アカデミーで学んだマケラ氏は、モデルとしてフィンランド出身のエサ＝ペッカ・サロネンを挙げた。サロネンは最近サンフランシスコ交響楽団を退任すると発表しており、音楽と技術の実験的取り組みを参考にしている。また、ベルリン・フィルの首席指揮者キリル・ペトレンコに対しては、プログラム編成において勇気を示したことに敬意を表している。
Balse Concerti 2025 LA
The LA Phil’s 2024–2025 season features Robin Ticciati with Lisa Batiashvili (Beethoven Violin Concerto, Dvořák Symphony No. 8), Susanna Mälkki (Schubert “Unfinished,” Saariaho HUSH, Strauss), Gustavo Dudamel with Sasha Cooke (Mahler songs and Symphony No. 5), and Joana Mallwitz with Augustin Hadelich (Tchaikovsky Violin Concerto, Schubert Symphony No. 9). Emmanuelle Haïm leads Le Concert d’Astrée in Handel’s The Triumph of Time and Disillusion, Esa-Pekka Salonen with Pierre-Laurent Aimard explores Boulez, Debussy, and La mer, and Evgeny Kissin gives a solo recital of Beethoven, Chopin, and Shostakovich.
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Original image by There Stands the Glass.
Tannhauser, the old-school at Met, proves just as presentable — and arguably more necessary in 2023
Schenk’s 2023 Met production of Tannhäuser showcased a thrilling contest of skill among singers, with each performer elevating the others. Andreas Schager (Tannhäuser) ranged from joy to despair; Christian Gerhaher (Wolfram) conveyed elegance and warmth; Ekaterina Gubanova (Venus) thrilled with her voluptuous tone; Elza van den Heever (Elisabeth) impressed with luminous, effortless singing. Donald Runnicles led the orchestra with color and clarity. The Pilgrims’ Chorus was overwhelming, leaving a lasting impression.
Read MoreBeglückt darf nun dich, o Heimat, ich schauen -Tannhauser
Beglückt darf nun dich, o Heimat, ich schauen,
und grüssen froh deine lieblichen Auen;
You can now be happy, O homeland, I look,
and greet your lovely meadows with joy;
nun lass' ich ruhn den Wanderstab,
weil Gott getreu ich gepilgert hab'.
now I'll let the walking stick rest,
because I have made a pilgrimage true to God.
Durch Sühn' und Buss' hab' ich versöhnt
den Herren, dem mein Herze frönt,
I have reconciled through atonement and repentance
the Lord, in whom my heart indulges,
der meine Reu' mit Segen krönt,
den Herren, dem mein Lied ertönt.
who crowns my repentance with blessing,
the Lord to whom my song sounds.
Der Gnade Heil ist dem Büsser beschieden,
er geht einst ein in der Seligen Frieden!
Salvation is granted to the penitent by grace,
He will one day enter blessed peace!
Vor Höll' und Tod ist ihm nicht bang,
drum preis' ich Gott mein Lebelang.
He is not afraid of hell and death,
Therefore I will praise God as long as I live.
Halleluja in Ewigkeit!
Halleluja in Ewigkeit!
O du, mein holder Abendstern - Tannhauser
O du, mein holder Abendstern,
wohl grüsst' ich immer dich so gern:
vom Herzen, das sie nie verriet,
grüss sie, wenn sie vorbei dir zieht,
wenn sie entschwebt dem Tal der Erden,
ein sel'ger Engel dort zu werden!
Oh thou my fair evening star,
I'm always happy to greet you:
from the heart that never betrayed her,
greet her when she passes you,
when she floats away from the valley of the earth,
to become a blessed angel there!
おお、我が美しい宵の明星よ、
いつも喜んでご挨拶させていただきます:
彼女を決して裏切らなかった心から、
彼女があなたとすれ違ったら挨拶してください。
彼女が地の谷から漂っていくとき、
そこで祝福された天使になるために！
Dich, teure Halle -Tannhauser
Dich, teure Halle, grüss' ich wieder,
froh grüss' ich dich, geliebter Raum!
I greet you again, dear Halle,
I greet you with joy, beloved space!
もう一度ご挨拶します、親愛なるハレ、
喜びをもってあなたをお迎えします、最愛の空間！
In dir erwachen seine Lieder,
und wecken mich aus düstrem Traum. -
Da er aus dir geschieden,
wie öd' erschienst du mir!
Aus mir entfloh der Frieden,
die Freude zog aus dir. -
His songs awaken in you,
and wake me from a dark dream. -
Since he left you,
how desolate you seemed to me!
Peace escaped from me,
the joy came from you. -
彼の歌があなたの中で目覚め、
そして暗い夢から私を目覚めさせてください。 -
彼があなたと別れてから、
あなたは私にはなんと寂しいように見えたのでしょう！
平和が私から逃げ出し、
喜びはあなたから来ました。 -
Wie jetzt mein Busen hoch sich hebet,
so scheinst du jetzt mir stolz und hehr;
der dich und mich so neu belebet,
nicht länger weilt er ferne mehr.
As my bosom now heaves high,
you now seem proud and noble to me;
that revitalizes you and me so much,
He no longer lingers far away.
私の胸が今高く盛り上がるにつれて、
あなたは今、私にとって誇り高く高貴に見えます。
それはあなたと私をとても活気づけます、
彼はもう遠くに留まることはありません。
Sei mir gegrüsst! sei mir gegrüsst!
Greetings! Greetings!
こんにちは！ こんにちは！
Geliebter, komm! Sieh dort die Grotte - Tannhauser
Geliebter, komm! Sieh dort die Grotte,
von ros'gen Düften mild durchwallt!
Beloved, come! See the grotto there,
Mildly suffused with rosy scents!
愛する人よ、来てください！ そこの洞窟を見て、
ほんのりバラの香りが漂います！
Entzücken böt selbst einem Gotte
der süss'sten Freuden Aufenthalt:
Even a god can be delighted
the sweetest joys stay:
神様も喜ぶ
最も甘い喜びが残ります:
besänftigt auf dem weichsten Pfühle
flieh' deine Glieder jeder Schmerz,
soothed on the softest of beds
flee your limbs from every pain,
最も柔らかいベッドで癒されました
あらゆる痛みから手足を逃れ、
dein brennend Haupt umwehe Kühle,
wonnige Glut durchschwell' dein Herz.
let coolness blow around your burning head,
blissful glow swells through your heart.
燃える頭の周りに涼しさを吹き込みましょう。
至福の輝きがあなたの心に広がります
Aus holder Ferne mahnen süsse Klänge,
dass dich mein Arm in trauter Näh' umschlänge:
Sweet sounds remind us from a gentle distance,
that my arm would wrap around you in intimate closeness:
優しい距離から甘い音が思い出させてくれる、
私の腕が親密にあなたを包み込みますように。
von meinen Lippen schlürfst du Göttertrank,
aus meinen Augen strahlt dir Liebesdank: -
from my lips you sip the drink of the gods,
Thanks to you shines from my eyes: -
あなたは私の唇から神の飲み物を飲みます、
あなたのおかげで私の目は輝きます: -
ein Freudenfest soll unsrem Bund entstehen,
der Liebe Feier lass uns froh begehen!
there shall be a celebration of joy for our covenant,
Let us celebrate the celebration of love with joy!
私たちの契約に対する喜びの祝賀が行われます。
愛の祭典を喜びをもって祝いましょう！
Nicht sollst du ihr ein scheues Opfer weihn, -
nein! - mit der Liebe Göttin schwelge im Verein.
You shouldn't offer her a shy victim, -
no! - revel in the association with the love goddess.
彼女に内気な犠牲者を差し出すべきではない -
いいえ！ - 愛の女神とのつながりを楽しみましょう。
Mein Ritter! Mein Geliebter! Willst du fliehn?
My knight! My beloved! Do you want to escape?
私の騎士よ！ 私の愛する人よ！ 逃げたいですか？
Contemporary Artist,Trifonov at New York
He was considered a classical music concert pianist, but just a contemporary artist to me. His live art would fundamentally change New York's commercial art scene, but it was taken place at Carnegie Hall on 12.12.2023.
Hammerklavier sounded like paint being thrown onto a huge canvas.
It was a sound installation that blew away my knowledge and experience.
"Finger is heart", he said in this interview. What I saw was like his spirit through Steinway.
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Bruckner 8th by Julliard Orchestra
Fresh Bruckner 8th by Juilliard Orchestra, conducted by Donald Runnicles. So precious to have their discovery and sensation together under amazing the maestro’s navigation.
Juilliard Orchestra
Donald Runnicles, Conductor
BRUCKNER Symphony No. 8 in C Minor
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In the Crypt Session
On a December Friday night in a Manhattan church basement, Andrew Ousley curated The Crypt Session, an intimate concert for 40–50 attendees. The program included David Lang’s Four Voces and Minimized Effective Instruments and The Little Match Girl Passion. Every detail of the performance, from the acoustics of the curved stone space to the musicians’ preparation, created a deeply immersive experience, connecting centuries of Western musical development and delivering an unparalleled, profoundly moving sound.
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Staatskapelle Berlin's Brahms, "Heart and Mouth and Deed and Life"
Brahms’s music, with its “subtle symmetries,” blends Bach’s structure, Beethoven’s dynamism, Schubert’s lyricism, Schumann’s romanticism, and German folk influences, while reflecting the modernity of Wagner and Strauss and admiration for Baroque composers. At Carnegie Hall, the Staatskapelle Berlin under Yannick Nézet-Séguin performed all Brahms symphonies, offering a rare view of his complete vision. Combining dark sonorities with sensuous brilliance, Brahms’s works—admired even by Schoenberg—came vividly to life through virtuosic solos, choral brass, and delicate wind blends, testifying to both his humanity and the shared artistry of musicians and audience.
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Bösendorfer by Schiff at Carnegie Hall
At András Schiff’s Carnegie Hall recital, given without a program, the atmosphere felt intimate, almost like being at home with the pianist. He spoke and played with remarkable presence, his Bach sounding spontaneous, as if the composer himself were improvising. This sense of immediacy shone in his Mendelssohn and Haydn, where he shaped each line with clarity and boldness, letting the music’s narrative emerge effortlessly and resonating with listeners of all tastes.
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Symphonic Artist, Schaghajegh Nosrati, Carnegie Debut
In her performance, the dynamics of her mentor Barenboim and the clarity of Schiff seemed to merge, while her own extraordinary humanity shone through, projecting a unique vision across the works. The depth of sound and harmonic richness she created was remarkable—not from volume or technical display, but from her profound connection to the music. From Beethoven’s Pastoral to Haydn’s tremolos and Alkan’s Piano Symphony, every passage revealed her insight and curiosity, bringing the Steinway at Weill Recital Hall to life in a way that felt both intimate and monumental.
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Anna Vinnitskaya at Boston 11.4.2023
The clip begins with Tchaikovsky’s Piano Concerto, featuring a “scherzo-like” interlude from Belgian soprano Désirée Artôt’s repertoire, highlighting Vinnitskaya’s emphasis on singing. In Boston, her performance conveyed a rhapsodic, selfless freedom. For the encore, she played Rachmaninoff’s Étude-tableau Op. 39, No. 5 as an eruptive inner monologue, reminiscent of Sergei Babayan’s New York recital, whose playing has been praised for its unmatched touch, phrasing, and virtuosity. The reviewer felt personally moved by Vinnitskaya’s passion.
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Mallwitz debut Boston Symphony with Schubert 9th
Mallwitz’s performance of Schubert captivates with its vibrant energy and masterful structure. In the Fourth Movement of the Ninth Symphony, strings and brass gradually intertwine, building into a massive wave of sound that fully realizes the work’s emotional scope. The lyrical melodies, sudden orchestral outbursts, the Allegro non troppo’s relentless energy, and unexpected harmonic shifts highlight the symphony’s dynamic contrasts. Mallwitz’s positive, lively interpretation vividly brings out Schubert’s free musical spirit, guiding the listener to the work’s exhilarating heights.
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