This subscription package includes performances that feature chorus and therefore Conductor’s Circle seating is not available for one or more event. For your convenience we will seat you in Orchestra Tier or Tier 1 at no additional price for these performances.
Yannick and Lisa Batiashvili have enchanted concert audiences all over the world; she returns to the Orchestra with Tchaikovsky's spectacular Violin Concerto anchoring two different programs over two weekends. In this concert, Lisa reprises the Tchaikovsky Concerto, bookended by Dvorák's Othello Overture (a moving musical exploration of Shakespeare's tragedy) and Rachmaninoff's Symphonic Dances, the composer's final piece, written expressly for The Philadelphia Orchestra.
Louis Langrée returns to lead this feast of French favorites, some of them especially attuned to the spooky season! Dukas's The Sorcerer's Apprentice, immortalized in Fantasia, returns on subscription. The Saint-Saëns is delightfully macabre. And Franck's Accursed Huntsman tells the cautionary tale of a hunter who broke the Sabbath, to his eternal regret.
Don't miss hearing this powerful musical partnership. The legendary Emanuel Ax solos in Brahms's stirring Second Piano Concerto (he seems “to enfold every listener in a metaphorical embrace”—The Seattle Times). And Yannick and the Orchestra present Dvorák's Seventh Symphony, inspired by Brahms (and by Dvorák's intense Czech patriotism).
Cristian Macelaru returns to take us to sunny Spain, joined by the Grammy™-winning Los Angeles Guitar Quartet. They star in Rodrigo's Concierto andaluz, a sparkling blend of Baroque music and traditional Spanish sounds. Chabrier may have been a Frenchman, but his España was inspired by a trip to Spain; this piece will take you there.
A piano prodigy returns! Jan Lisiecki may be young, but he's already a seasoned master at the keyboard (and a regular with the Orchestra—he made his debut at age 18). He'll shine in Mendelssohn's innovative Piano Concerto No. 1. Yannick also brings us Haydn's stirring Overture to the opera L'isola disabitata, part of his focus on that composer's music, as well as Schubert's Symphony in C major, his final completed symphony, and absolutely deserving of its less formal title: the “Great.”
Mozart's haunting Requiem is accompanied by glimpses of the composer at different stages of his all-too-brief life. He was only 17 when he wrote his Symphony No. 25. (You may know it from the opening of the film Amadeus.) The Masonic Funeral Music is a product of his late 20s, composed in memory of two of his fellow Masons, both Viennese aristocrats. And of course, the Requiem came at the very end of Mozart's life: He died before he could finish it. The version heard on these concerts was completed by the brilliant Mozart scholar Robert Levin.