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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Julia Fischer and Jan Lisiecki's Spring battle in New York
Julia Fischer and Jan Lisiecki performed at the newly renovated David Geffen Hall on April 1st. Their program featured Mozart, Beethoven, and Schumann, highlighting the evolving violin-piano dialogue: Mozart’s piano leads, Beethoven balances both, and Schumann favors the violin. The hall’s intimate acoustics enhanced the purity of Mozart, the expansiveness of Beethoven, and the passion of Schumann, while the performers’ interplay created a thrilling, deeply expressive evening, capped by two encores.
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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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London principals' autographs from the left, Julián Gil Rodríguez, Second Violin, Patrick Laurence, Double Bass(center top), Eivind Ringstad, Principal Viola(the center middle), Andrej Power, Concertmaster(the center bottom), Rebecca Gilliver, Principal Cello(the right)
Londonians Sparkle with Pappano at Carnegie Hall
The London Symphony Orchestra with Antonio Pappano performed Rachmaninoff’s Piano Concerto and Walton’s Symphony No. 1 at Carnegie Hall on March 6. Rachmaninoff’s concerto glowed with lyrical flow, sublime solos, and shimmering orchestral detail, while Walton’s rarely heard symphony brought restless rhythms, fierce dissonances, and a Sibelius-like finale. A fresh, masterful program.
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London Symphony and Antonio Pappano at Carnegie Hall
Antonio Pappano led the London Symphony Orchestra at Carnegie Hall on March 5, marking the final concerts of his first US tour as music director. Refined dynamics, unity, and stellar musicians defined the evening. Walker’s Sinfonia No. 5, Bernstein’s Serenade, and Mahler’s Symphony No. 1 revealed LSO’s distinctive timbre and virtuosity, leaving a rare, unforgettable evening.
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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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Hagen Quartet's last session in New York
Hagen Quartet, formed 43 years ago in Salzburg, gave its final New York concert on Feb 19 before disbanding in 2026. In Haydn’s Op. 54, Lucas’s soaring violin ignited a flame, melodies shifting like new landscapes, hidden passages glowing like distant stars. Schumann’s No. 3 followed, restless with sighing motifs, urgent rhythms, and a cello’s lovesick song. In the Adagio, voices intertwined until Schmidt’s dotted ostinato pulsed into the finale—Schumann’s truth revealed at last.
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ekmeles: Stockhausen's Stimmung
The vocal group ekmeles performed Stockhausen’s Stimmung at St. Paul’s Chapel, Columbia University, on Feb 14. Over 70 minutes, six singers explored 51 models, layering hums, whispers, and chants of gods’ names to create elusive overtone fusions. The piece, written in 1968, evokes calming, ever-changing vitality, inspired by Stockhausen’s son’s crib hums, medieval church singing, and his time among Mexican ruins.
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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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Juilliard Orchestra Conducted by Ruth Reinhardt
Ruth Reinhardt led the Juilliard Orchestra at Alice Tully Hall, featuring Gaeun Kim’s passionate Martinu cello solo, superb ensemble playing, and Clara Neubauer’s Brahms solo. Reinhardt drew rich tones, creating flow across classical and modern works, offering fresh, engaging interpretations of familiar and new pieces.
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Handel's Organ Concerti by Corti and the BEMF Chamber Ensemble in Boston
On February 8, Francesco Corti and the BEMF Chamber Ensemble performed Handel’s Organ Concerto at First Lutheran Church, Boston. Corti’s brilliant organ and harpsichord playing evoked Mozart, Beethoven, Brahms, and Mahler, showcasing Handel’s lasting influence. The period sound, expressive passages, and engaged audience made the performance a profoundly moving, communal experience.
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Corti was fixing the parts of the Harpsicod during his concert
Francesco Corti's Winged Hands in New York
Francesco Corti’s harpsichord at the Morgan Library transformed each piece into a vivid, international journey. From Handel to Bach, his precise, expressive playing evoked orchestral colors, dance, and vocal lines. Ornamented, flowing, and dynamic, the performance revealed music’s timeless charm, bridging eras and stirring imagination.
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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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