The Philadelphia Orchestra is proud to welcome active military, veterans, and their families to the concert hall.
Beginning on November 11, 2016, is a new discount ticketing option for veterans and active military. The Philadelphia Orchestra’s Military Discount offers veterans and active military with valid ID special ticket rates to select concerts at Kimmel Center’s Verizon Hall.
Ticket savings range from 10-30% for most concerts in the season. Tickets must be purchased in person at the Kimmel Center Box Office with valid Military ID.
Discounted Concerts include:
Yannick brings two masterworks by Ravel to this program. Each movement of his intimate Le Tombeau de Couperin is dedicated to a friend who died in the First World War, but as a whole, the composition is a tribute to the splendors of French music, which may be best embodied in Ravel’s ballet Daphnis and Chloé, a work Yannick calls “very dear to my heart.” He leads the complete version of this sparkling and sensual orchestral showpiece, bringing to vivid life the mythological story of the goatherd Daphnis and the shepherdess Chloé. It’s a hedonistic tale, with a musical bacchanal in the garden of Pan. Curtis grad and rising star violinist Benjamin Beilman made his Philadelphia Orchestra debut in 2015, performing with “polish and power” (The Philadelphia Inquirer). He returns with Prokofiev’s ethereal Violin Concerto No. 1.
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Pulitzer Prize-winning composer Christopher Rouse summons breathtaking texture, color, and volume—much like Verizon Hall’s 7,000-pipe Fred J. Cooper Memorial Organ. In celebration of the magnificent instrument’s 10th anniversary, Rouse has been commissioned to write a new concerto for the King of Instruments. Grammy Award-winning organist Paul Jacobs returns as Yannick leads the Philadelphians in this world premiere.
Newly appointed music director of the National Symphony, Gianandrea Noseda returns to lead a program that whirls from dance to jazz to Beethoven. The Milanese maestro has been sharing his love of underappreciated Italian repertoire with our audiences for the past two seasons (with the music of Casella inspiring wild ovations). This season he enchants us with Goffredo Petrassi, whose 1932 Partita celebrates traditional Italian dance forms.
“O Fortune! Like the moon ever-changing,” the massive choir bellows amidst the opening clash of cymbals and banging of drums, but ever-constant is the enduring popularity of Carmina burana, Orff’s heart-pounding and tantalizing tale of drinking and debauchery. It was a hit from the start. Whether you know it from the movies or TV commercials, rappers or Philadelphia’s own Mummers, nothing can quite prepare you for The Philadelphia Orchestra’s live and lusty delivery, vigorously led in these performances by the Orchestra’s own Cristian Macelaru, whose career has quickly taken on international proportions. Beethoven was having his own showdown with fortune when he composed his Second Symphony. He might justifiably have manifested despair in the early stages of hearing loss, but instead wrote one of his most ebullient and life-affirming works.
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Maybe you’re new to The Philadelphia Orchestra’s holiday music. Or maybe Eugene Ormandy’s 1962 The Glorious Sound of Christmas album is a prize in your record collection. Either way, we invite you to make us part of your annual traditions. Our Christmas concerts feature the full Orchestra, choir, and special guests, all led this year by the irresistible Thomas Wilkins, principal conductor of the Hollywood Bowl Orchestra. Buy your tickets early and put this heartwarming holiday break on your calendar now. Come December, you’ll be glad you did. ’Tis the season!
It wouldn't be the holiday season without Handel's divine Messiah. French conductor and vocalist Nathalie Stutzmann—who made her U.S. conducting debut with Messiah performances in Detroit and at the Kennedy Center—makes her Philadelphia Orchestra conducting debut leading this most famous of oratorios. With one performance only, this is guaranteed to sell out. Don't miss your chance to be in the hall when the audience stands for the “Hallelujah” Chorus. Wonderful!
Celebrate the arrival of 2017 with the Fabulous Philadelphians! The perennially popular Bramwell Tovey (“… please borrow, steal, and BEG BEG Bramwell Tovey to come back!” one fan implored us) leads the festivities with “his Noël Coward-esque wit and solid command of the Philadelphia Orchestra.” (The Philadelphia Inquirer) The Grammy-winning guest conductor promises an evening of delicious music—spiced with a dash of irreverence. Ring in the New Year in style!
There’s no denying Mozart was a genius in the most literal sense of the word. Here’s an opportunity to experience the full sweep of his astonishing talent, from his first symphony, composed when he was just eight years old, to his last, the complex and majestic “Jupiter.” In between he produced a staggering body of work, including his first woodwind concerto, composed at age 18. “We are honored as bassoonists that he chose us first among all the woodwind instruments. It’s a masterwork. And it’s written for us and such a fantastic privilege!” says Principal Bassoon Daniel Matsukawa, comparing his role in these concerts to “the lucky tenor or soprano who gets to sing the arias” in the midst of two great symphonic works. The esteemed British conductor and Mozart specialist Jane Glover makes her subscription debut in this effervescent program.
Paris is home to one of the world’s richest mixtures of culture and music. This first of three Festival programs celebrates composers who were based in the City of Light. At the heart of the concert are the gorgeous selections from Joseph Canteloube’s Songs of the Auvergne, a work often requested by our audience. Mezzo-soprano Susan Graham will float the exquisite melodies straight into your heart while showcasing the extraordinary chemistry she enjoys with Yannick. Chabrier was a composer’s composer; his Joyeuse Marche is a jaunty parade through the boulevards of Paris. Fauré’s haunting Pavane has delighted Parisiens (and everyone else) since its first performances in the 1880s. Saint-Saëns’s “Bacchanale” is a raucous episode from his opera Samson and Delilah. Ravel’s Menuet antique is perhaps inspired by Chabrier, an early supporter. And Florent Schmitt’s Suite from La Tragédie de Salomé anticipates the work of another Paris resident, Stravinsky. The lives (and works) of these composers intertwined; we know you’ll relish the musical riches that could only have been born in Paris.
On our second visit to Paris, Yannick and the Orchestra feature two brilliant musical expats who made the French capital their home, while never forgetting their native land. Frédéric Chopin wrote his Piano Concerto No. 1 before he left Poland in 1830; political upheaval drove him to Paris, where he remained for the rest of his life, dazzling the city (and audiences and critics throughout the world) with his extraordinary performing and composing skills. The Concerto is thus a fascinating look at a genius in transition. Our soloist, Chopin-specialist Louis Lortie, will bring out all the riches of this piano masterwork. Igor Stravinsky enjoyed remarkable success and support in Paris, but kept strong ties to his roots. His music for the ballet Petrushka, based on Russia’s version of Punch and Judy, premiered in Paris in 1911, with the immortal Nijinsky in the title role.
Our final visit to Paris celebrates two composers who reached outside their rich musical milieu to find inspiration around the Mediterranean. Hector Berlioz’s Harold in Italy, inspired by Lord Byron’s poetry, was written for the devilishly talented Niccolò Paganini. He decided the viola part wasn’t prominent enough, and rejected the piece. His loss is the music world’s gain; the work is now at the heart of the viola repertoire. Our principal viola, Choong-Jin Chang, steps out front to shine in this wonderful piece. From Italy to Spain, a frequent creative wellspring for Maurice Ravel (his parents both had Spanish roots): Alborada del gracioso uses Spanish musical themes; Rapsodie espagnole celebrates all things Spanish, especially music and dance; and then there’s the stunning Bolero. Deceptively simple, yet utterly compelling, it was a sensational success at its Paris Opera premiere in 1928 and brings our Paris sojourn to an ecstatic finale.
The distinguished pianist André Watts regrets that he must withdraw from his upcoming concerts with The Philadelphia Orchestra because he is not yet sufficiently recovered from prostate cancer treatments. Instead, Lise de la Salle, one of today's most exciting young keyboard artists, will perform Beethoven's Piano Concerto No. 4, the originally scheduled work.
In advising The Philadelphia Orchestra of his inability to perform this week, Mr. Watts expressed his sincere regret to the Orchestra and its audiences, saying, “Philadelphia is such a special place to me, and I deeply regret not being well enough to celebrate my 60th anniversary with them.” The Philadelphia Orchestra is deeply grateful that Lise de la Salle has agreed to perform in place of Mr. Watts this week. All of us at The Philadelphia Orchestra join in wishing him a full and swift recovery, with best musical wishes for the future!
The legendary Herbert Blomstedt turns 90 this season, returning to our podium to celebrate the 30th anniversary of his Philadelphia Orchestra debut. Continuing this season’s cycle of Brahms symphonies, he leads Brahms’s lush Third Symphony, hailed by a critic of the composer’s time as “a feast for the music lover and musician … artistically the most perfect.” The feuding partisans of Wagner and Brahms nearly came to blows at the premiere, but the work survived its boisterous birth, and is now a cornerstone of the great Germanic symphonic repertoire. The main theme of the third movement is Brahms at his brooding, moving best. Blomstedt is joined by another great friend of the Orchestra, the brilliant pianist Garrick Ohlsson. They’ll collaborate on Mozart’s Piano Concerto No. 25. It’s among the Austrian master’s finest creations, the great piano concertos he wrote in Vienna in the 1780s.
Yannick has spoken often of his great passion for Brahms, possibly his favorite composer. The culmination of this season’s symphonic cycle features selections from his final musical work, the Eleven Choral Preludes, as well as his last symphony and the Bach cantata that inspired it. The Choral Preludes, originally written for organ, are a natural companion to Bach, the master of sacred organ and choral music, who is represented here by his Cantata No. 150. And in an homage across time, Brahms based the final movement of his majestic Fourth Symphony on the final movement of the same Bach Cantata. Hear the Choral Preludes in beautiful new transcriptions by Detlev Glanert alongside the original organ works in this varied presentation featuring the Fred J. Cooper Memorial Organ. Marvelous works on their own; even better in context with each other; sublime with Yannick and the Philadelphians!
Indulge in Yannick’s passion for opera in these three evenings of pure spine-tingling drama! Yannick pairs some surprising selections from Tchaikovsky’s dark and gorgeous ballet score with Bartók’s sinister one-act opera. If you think the Black Swan is harrowing, wait until you see what happens when Bluebeard’s suspicious bride insists on seeing what’s behind seven locked doors in her new husband’s castle. The electrifying mezzo-soprano and frequent Metropolitan Opera performer Michelle DeYoung is the newlywed Judith, whose high C will give you chills; Metropolitan Opera regular John Relyea sings the brooding Duke Bluebeard. Spoiler alert: Judith might not want to open that last door.
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“At the end of his life when asked which was his favorite work, [Beethoven] unhesitatingly said, the ‘Eroica,’” says Michael Tilson Thomas. “It’s a real epic for orchestra, but it’s also a vast and contradictory masterpiece.” The charismatic conductor returns to lead Beethoven’s landmark—and truly heroic—Symphony No. 3. Greek violinist Leonidas Kavakos left Verizon Hall audiences rapturous after his 2015 performance of the Sibelius Concerto. He also returns, applying his “off the charts” technique (The Philadelphia Inquirer) to another early-20th-century masterpiece, Berg’s Violin Concerto. The daring American composer Ruth Crawford Seeger dropped in—unannounced—on Berg while in Vienna on a Guggenheim Fellowship. It was shortly after that meeting—and before her immersion in the folk movement that would make her stepson Pete the famous one in the family—that she was composing the experimental music from which her Andante for Strings is plucked. Her concise and compact piece opens these enthralling concerts.
Conductor Laureate Charles Dutoit returns to lead a massive ensemble in one of the greatest masterpieces in the history of music: Britten’s War Requiem
Principal Percussion Christopher Deviney calls 20-time Grammy winner Pat Metheny and his composing partner Lyle Mays the “most important duo to come along since George and Ira Gershwin.” Deviney has orchestrated three Metheny jazz tunes into an all-new percussion concerto starring She-e Wu on marimba and himself on vibraphone. “To have a solo is a dream come true but to then premiere it with The Philadelphia Orchestra—my own orchestra—is beyond what I ever thought would happen,” he says. Audience favorite conductor Bramwell Tovey brings his impresario’s touch to a clever program that combines the world premiere with Dvorák’s lofty final symphony—“From the New World” indeed, as it was written in New York City—and Bernstein’s jazz-infused Prelude, Fugue, and Riffs, a jazz-hall style work for clarinet and orchestra premiered by Benny Goodman
While the young Russian prodigy Daniil Trifonov is busy becoming an international celebrity, Philadelphia Orchestra audiences already know and love him: In 2015 he made his subscription debut and recorded the Grammy-nominated Rachmaninoff Variations with the Philadelphians. He returns to perform Mozart’s “Jenamy” Concerto, as technically demanding as it is joyous. American composer Mason Bates will also be on stage activating the electronica elements of his fascinating and futuristic Alternative Energy. And speaking of energy, Prometheus stole fire from the gods and gave it to man; Beethoven and Liszt give us equally inspiring gifts in their tellings of his tale, as ballet music and symphonic poem.
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Principal Guest Conductor Stéphane Denève brings his considerable flair to this musical buffet. We begin with Finnish composer Esa-Pekka Salonen’s symphonic poem Nyx (she’s the Greek personification of the night). Salonen says he aspired to convey Nyx’s elusive character; if you see shadows flickering around Verizon Hall, well, don’t say we didn’t warn you. To Norway and Edvard Grieg, whose Piano Concerto is one of the most popular works in the keyboard canon. Soloist Lars Vogt will scale its soul-stirring heights. We return to Finland for our finale from Jean Sibelius. Coming at a time of Russian oppression, his Second Symphony boosted his patriotic credentials. Today we can appreciate this wonderful work on its own terms, as simply great music.
We honor the composer with perhaps the closest ties to The Philadelphia Orchestra, presenting all four of Rachmaninoff’s piano concertos, with two dynamic and contrasting soloists: the renowned Russian Nikolai Lugansky (Concertos 2 and 3) and the Chinese phenom and Curtis-trained Haochen Zhang (Concertos 1 and 4). For good measure, Lugansky will also solo in the gorgeous Rhapsody on a Theme of Paganini. Principal Guest Conductor Stéphane Denève also leads the Orchestra in the Symphonic Dances. In a perfect world you’ll hear all three concerts and all four concertos. Additional Rachmaninoff Festival events surrounding the concerts will be unveiled in 2017. Join us for these unforgettable nights and revel in the heavenly Philadelphia Sound!
Looking ahead to the 100th anniversary of the birth of Leonard Bernstein in 2018, Yannick conducts the great American composer’s first symphony, “Jeremiah,” based on the prophet’s lamentations “as he mourns his beloved Jerusalem, ruined, pillaged, and dishonored after his desperate efforts to save it” (Leonard Bernstein), and the young composer’s own struggles with faith. Critics extol Radu Lupu, the “enigmatic and almost willfully individualistic pianist” (The New York Times), as an artist who simply must be heard live. A leading interpreter of Mozart’s music, he performs the mesmerizing Piano Concerto No. 24, in which the composer makes full use of the orchestra. We conclude with Schumann’s Symphony No. 2, which includes “probably the most profound music Schumann ever wrote for orchestra,” says Yannick, “on the one hand very simple, but also heartbreaking in its depth and richness of harmonies."