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January 31, 2018

Yannick Nézet-Séguin’s Seventh Season as Music Director is an Exploration of Depth and Versatility, Spanning New Commissions and Premieres to

Symphonic Masterworks Made Famous by the Fabulous Philadelphians


2018-19 Commissions Include Healing Tones by The Philadelphia Orchestra’s

Music Alive Composer-in-Residence Hannibal Plus Two New Works by Nico Muhly


Yannick Continues a Multi-Year Exploration of American Sounds and Concludes the Celebration of Leonard Bernstein’s Centenary with a Stunning Candide


Principal Guest Conductor Stéphane Denève Leads a Two-Week Festival Focused on Two Philadelphia Artistic Titans—Leopold Stokowski and Albert Barnes


Orchestra Responds to Recently Completed Patron Survey by Shifting Season Dates to Accommodate Broader Schedule of Exceptional Performances and

Additional Community Service in Philadelphia


All-Star Roster of Guest Soloists and Conductors, Plus

Philadelphia Orchestra Principal Musicians Take Center Stage



(Philadelphia, January 31, 2018)—The Philadelphia Orchestra and Music Director Yannick Nézet-Séguin today announced the Orchestra’s 2018-19 season, an exploration of depth and versatility, encompassing a world of nationalities and cultures, groundbreaking new works, collaborations, and an all-star roster of guest soloists and conductors. The Philadelphia Orchestra’s 119th season launches Nézet-Séguin’s seventh as music director and celebrates the 10th anniversary of his debut with the Orchestra, with programming that reflects his professional passions and the Orchestra’s many strengths. 

“I am very happy that The Philadelphia Orchestra can offer its unique sound, talent, and excellence in every area of repertoire, in every corner of every genre,” said Nézet-Séguin. “It is a joy to provide these musical experiences not only in our hall, but also throughout our community, where we hope to reach everyone possible. We believe that our music can truly make life even more beautiful.”

The Orchestra’s 2018-19 season structure is shifting to accommodate growing initiatives and to meet audience desires, as articulated in a recently completed comprehensive patron and market study. The shift in the season also will accommodate a fall tour of the Midwest United States (details to be announced at a later date).

The Orchestra will now be with its Philadelphia-based audiences through June, while building in additional time to expand the work of the HEAR (Health, Education, Access, and Research) initiative. Community service is an integral component of the Orchestra’s mission, and the HEAR programs connect the Orchestra with various communities in neighborhoods, schools, hospitals, non-profit centers, and more, to share the enriching power of music.

Yannick Nézet-Séguin at the Helm

Nézet-Séguin will conduct 14 weeks of programming in the 2018-19 season, including commissions and premieres that continue the Orchestra’s legacy as a musical pioneer, as well as symphonic masterworks made famous by the ensemble. The season brings unique benefits stemming from Nézet-Séguin’s role as music director at both The Philadelphia Orchestra and the Metropolitan Opera in New York, where he is currently music director-designate. The Philadelphia Orchestra’s first subscription concert features the world premiere of Muhly’s orchestral suite from his sensational opera Marnie, also receiving its U.S. premiere at the Met in the 2018-19 season. Nézet-Séguin’s connection with vocal stars will also take center stage, as the Orchestra welcomes renowned singers including American mezzo-soprano Joyce DiDonato.


2018-19 Season Highlights

¨       Nézet-Séguin leads the world premiere of the Orchestra’s Music Alive Composer-in-Residence Hannibal’s Healing Tones, a powerful, trailblazing work commissioned by The Philadelphia Orchestra (March 28-30).

¨       Nézet-Séguin leads two new works by exciting young composer Nico Muhly: the world premiere of the suite from his opera Marnie, a Philadelphia Orchestra commission (September 14-16 at Verizon Hall, March 8 at Carnegie Hall), and the East Coast premiere of his Organ Concerto, a Philadelphia Orchestra co-commission (March 14 & 16).

¨       Nézet-Séguin completes the Orchestra’s exploration of Leonard Bernstein’s symphonies with No. 3 (“Kaddish”), a dramatic, spiritual work based on the Jewish prayer for the dead, funded in part through support from the Presser Foundation (January 24 & 25).

¨       In a spectacular finale to the Orchestra’s Bernstein Centenary celebration, Nézet-Séguin closes the 2018-19 season with a symphonically staged version of his sparkling operetta Candide (June 20-22).

¨       Beyond Bernstein, the Orchestra’s multi-year exploration of American Sounds continues with works by Aaron Copland, Samuel Barber, and Mason Bates, among others.

¨       Several works and events are part of the Fred J. Cooper Memorial Organ Experience (Frederick R. Haas, Artistic Advisor), generously funded by the Wyncote Foundation. These include:


Poulenc’s Organ Concerto with Peter Richard Conte (October 19-21)


An Organ and Orchestra Halloween concert (October 30)


Respighi’s The Fountains of Rome (November 8-10)


Walton’s Crown Imperial (Coronation March) (December 13 & 15)


An Organ and Brass Christmas concert (December 14)


Strauss’s Also sprach Zarathustra (February 14-16)


Janáček’s Taras Bulba (February 21-23)


Nico Muhly’s new Organ Concerto with James McVinnie (March 14 & 16)


Hannibal’s Healing Tones (March 28-30)


Mozart’s Requiem (April 11-13)

¨       Principal Guest Conductor Stéphane Denève leads three weeks of subscription programming, including a two-week festival examining the relationship between two titans of art in Philadelphia: Albert Barnes and Leopold Stokowski (October 11-21). This festival will also include special events surrounding both concert weekends (to be announced at a later date).

¨       Nézet-Séguin conducts an extended concert version of Prokofiev’s Romeo and Juliet featuring Brian Sanders’ JUNK, a Philadelphia-based contemporary dance company that blends traditional dance theater with inventiveness and physicality (April 4-6).

¨       Highlighting his role as music director-designate at the Metropolitan Opera, Nézet-Séguin brings opera stars to the Verizon Hall stage, including American mezzo-soprano Joyce DiDonato, who performs Chausson’s Poème de l’amour et de la mer (November 8-10). Future stars nurtured by the Met’s Lindemann Young Artist Development Program join the Orchestra for Menotti’s Christmas television classic, Amahl and the Night Visitors (December 13 & 15).

¨       The 2018-19 season highlights symphonic masterworks made famous by The Philadelphia Orchestra, including Rachmaninoff’s Symphonic Dances, written for the ensemble; Stravinsky’s The Rite of Spring, brought to the U.S. by Leopold Stokowski; and many other iconic works embedded in the Orchestra’s DNA, including symphonies by Brahms, Beethoven, Haydn, Schubert, Tchaikovsky, Dvořák, and Sibelius.

¨       Seven principal players of The Philadelphia Orchestra appear as soloists:


Principal Harp Elizabeth Hainen in Ginastera’s Harp Concerto (given its world premiere by The Philadelphia Orchestra in 1965) (October 4-6)


Concertmaster David Kim in Chausson’s Poème (October 11-13)


Principal Viola Choong-Jin Chang in Bartók’s Viola Concerto (February 14-16)


Principal Clarinet Ricardo Morales in Weber’s Clarinet Concerto No. 2 (February 21-23)


Principal Clarinet Ricardo Morales, Principal Bassoon Daniel Matsukawa, Principal Horn Jennifer Montone, and former Principal Oboe Richard Woodhams (returning from retirement) for a special performance of Mozart’s Sinfonia concertante for winds and orchestra (June 15-16).

Hannibal: Healing Tones

Composer and accomplished jazz trumpeter Hannibal, The Philadelphia Orchestra’s Music Alive Composer-in-Residence, has a long history with the ensemble. He was one of eight composers commissioned to create works honoring the Orchestra’s Centennial Celebration, and the resultant work, One Heart Beating, premiered in 1999. In 2015, the Orchestra premiered Hannibal’s One Land, One River, One People. In the 2018-19 season, Nézet-Séguin and The Philadelphia Orchestra give the world premiere of Hannibal’s new oratorio, Healing Tones (March 28-30). The program also includes Sibelius’s Symphony No. 2.

Healing Tones is a community commission that takes a visceral look into what it means to be human, exploring experiences of peace, war, motherhood, suffering, and longing. Healing Tones addresses the Philadelphian––and human––experience through three movements, or “veils.” Week-long residencies have helped to provide inspiration for this piece, including partnerships with schools, churches, prisons, maternity care centers, and social service agencies.

The commission is made possible thanks to one of the Orchestra’s must generous supporters and previous Board members, Carole Haas Gravagno, and is part of the Orchestra’s HEAR initiative. Hannibal’s role as Music Alive Composer-in-Residence is supported by the League of American Orchestras and New Music USA.

“I am so grateful that The Philadelphia Orchestra and I have had the opportunity to collaborate with Hannibal on so many truly meaningful projects that bring us closer to our community and help our community grow closer to us,” said Nézet-Séguin. “In Healing Tones, audiences can expect something extremely powerful with a message of hope and light for the world.”


Candide, the Leonard Bernstein Centenary, and American Sounds

The Philadelphia Orchestra concludes its celebration of the 100th anniversary of the birth of Leonard Bernstein with a symphonic staging of his operetta Candide, led by Nézet-Séguin (June 20-22).

“We chose this piece to culminate our tribute because it is a very funny, witty piece. After MASS and West Side Story, Candide will give a nice idea of the spectrum and the breadth of Bernstein’s writing,” said Nézet-Séguin. “I can’t wait to have the sound of our Orchestra and great voices collaborating to make this a very special event.”

Nézet-Séguin also completes the Orchestra’s exploration of all of Bernstein’s symphonies with No. 3 (“Kaddish”), a dramatic, spiritual work based on the Jewish prayer for the dead (January 24-25). The Philadelphia Symphonic Choir and Director Joe Miller join the performances, which also include Rossini’s Stabat Mater.


One of America’s most legendary composers, Bernstein was a giant of works for stage, screen, and concert hall. His ties to Philadelphia include attending the Curtis Institute of Music and performing with The Philadelphia Orchestra, appearing with the ensemble as pianist and conductor, both at the Academy of Music and the Robin Hood Dell West (now the Mann Center). The Theodore Presser Foundation has supported the Orchestra’s Bernstein Centenary celebration with a generous gift.

In addition to works by Bernstein, Hannibal, and Muhly, the Orchestra’s multi-year exploration of American Sounds includes the following performances:

¨       Miguel Harth-Bedoya leads Gershwin’s Cuban Overture (October 4-6).

¨       Nézet-Séguin conducts Mason Bates’s Anthology of Fantastic Zoology, exploiting the virtuosity of the Orchestra to evoke what Bates calls a “psychedelic bestiary” (November 8-10).

¨       Cristian Măcelaru returns to lead the complete, large orchestra version of Copland’s Appalachian Spring. The program also features two other distinctly American works: Barber’s Piano Concerto, with returning guest soloist Garrick Ohlsson; and Jake Heggie’s Moby-Dick Orchestral Suite, arranged by Măcelaru (November 23-24).

The Barnes/Stokowski Festival

Principal Guest Conductor Stéphane Denève leads two weeks of concerts tied to the glorious art of the Barnes Foundation. Albert Barnes and Leopold Stokowski were both importing the best of European culture into Philadelphia in the 1930s, with a shared desire to make that culture accessible to the public and students. They debated art and music in a series of letters; Stokowski even spoke at the dedication of the original Barnes Foundation building in Merion. The Barnes/Stokowski Festival includes:

¨       Performances of two works orchestrated by Stokowski: Palestrina’s “Adoramus te Christe” and Debussy’s “The Sunken Cathedral,” from Preludes; plus Debussy’s La Mer and Chausson’s Poème for violin and orchestra, featuring Concertmaster David Kim (October 11-13).

¨       Milhaud’s The Creation of the World, Stravinsky’s The Rite of Spring, and Poulenc’s Organ Concerto with guest soloist Peter Richard Conte (October 19-21).

Additional festival events surrounding both concert weekends will be announced in summer 2018.

Season Spotlights


André Watts joins Nézet-Séguin and The Philadelphia Orchestra for concerts featuring Grieg’s Piano Concerto, Rachmaninoff’s Symphonic Dances, and the world premiere of Muhly’s Suite from Marnie. Watts soloed at Nézet-Séguin’s Philadelphia Orchestra debut in 2008; he celebrates the 10th anniversary with these Opening Weekend performances (September 14-16).


Lisa Batiashvili returns for four performances of Tchaikovsky’s Violin Concerto, on two varied programs––both led by Nézet-Séguin––that also include Dvořák’s Othello Overture, Rachmaninoff’s Symphonic Dances, Berwald’s Symphony No. 3 (“Sinfonie singulière”), and Sibelius’s Symphony No. 7 (September 20-22 & 29).


Miguel Harth-Bedoya returns to lead Ginastera’s Harp Concerto with Principal Harp Elizabeth Hainen, plus Gershwin’s Cuban Overture, Piazzolla’s Tangazo, and López’s Perú negro (October 4-6).


Louis Langrée returns to conduct Saint-Saëns’s Danse macabre, Franck’s The Accursed Huntsman, Dukas’s The Sorcerer’s Apprentice, and Ravel’s Suite No. 2 from Daphnis and Chloé. Kirill Gerstein joins for Ravel’s Piano Concerto in G major (October 25-27).


David Afkham makes his Philadelphia Orchestra debut conducting Beethoven’s Coriolan Overture, Brahms’s Symphony No. 1, and Mozart’s Piano Concerto No. 20, K. 466 with Seong-Jin Cho, also making his debut (November 1-3).

¨       Nézet-Séguin welcomes mezzo-soprano Joyce DiDonato in her subscription debut for performances of Chausson’s Poème de l’amour et de la mer in a program that also includes Wagner’s Prelude to Act I of Lohengrin, Bates’s Anthology of Fantastic Zoology, and Respighi’s The Fountains of Rome (November 8-10).

¨       Emmanuelle Haïm makes her conducting debut leading selections from Purcell’s The Fairy Queen plus Handel’s Music for the Royal Fireworks and Il delirio amoroso, a cantata for soprano and orchestra, with guest soloist soprano Erin Morley (November 16-18).

¨       The Orchestra’s good friend Emanuel Ax returns for performances of Brahms’s Piano Concerto No. 2 paired with Dvořák’s Symphony No. 7 led by Nézet-Séguin (November 29-December 1).

¨       Philadelphia Orchestra Assistant Conductor Kensho Watanabe, whose role as assistant conductor has been extended through the 2018-19 season, leads an all-Tchaikovsky program. The program includes Capriccio italien; Rococo Variations, for cello and orchestra with debut artist Edgar Moreau; and Symphony No. 1 (“Winter Daydreams”) (January 31-February 2).

¨       Cristian Măcelaru leads a program of Chabrier’s España; Falla’s El amor brujo; Ravel’s Rapsodie espagnole; and Rodrigo’s Concierto andaluz, for four guitars and orchestra, featuring the Los Angeles Guitar Quartet in its Philadelphia Orchestra debut (February 7-9).

¨       Esa-Pekka Salonen returns to lead Strauss’s Also sprach Zarathustra, Bartók’s Viola Concerto with Principal Viola Choong-Jin Chang, and Bartók’s Suite from The Miraculous Mandarin (February 14-16).

¨       Andrés Orozco-Estrada returns to conduct Janáček’s Taras Bulba, Brahms’s Symphony No. 3, and Weber’s Clarinet Concert No. 2 with Principal Clarinet Ricardo Morales (February 21-23).

¨       Nathalie Stutzmann returns for her subscription conducting debut, leading Haydn’s Symphony No. 94 (“Surprise”), Beethoven’s Symphony No. 4, and Beethoven’s Piano Concerto No. 1 with Benjamin Grosvenor making his debut (February 28-March 2).

¨       Nézet-Séguin leads a program including Haydn’s Overture to L’isola disabitata and Schubert’s Symphony in C major (“Great”). Jan Lisiecki returns to perform Mendelssohn’s Piano Concerto No. 1 (March 7 & 9-10).

¨       Nézet-Séguin conducts Muhly’s Organ Concerto with James McVinnie in his Philadelphia Orchestra debut on a program that also includes Tchaikovsky’s Manfred Symphony (March 14 & 16).

¨       Bernard Labadie returns for an all-Mozart program featuring the Masonic Funeral Music, Symphony No. 25, and the Requiem, in Robert Levin’s completion, with the Westminster Symphonic Choir directed by Joe Miller (April 11-13).


¨       Myung-Whun Chung returns after an absence of over 20 years to conduct Beethoven’s Symphony No. 3 (“Eroica”), Beethoven’s Overture to Egmont, and Schumann’s Piano Concerto with returning soloist Jonathan Biss (April 25-27).

¨       Stéphane Denève welcomes returning soloist Nikolaj Znaider for Elgar’s Violin Concerto on a program that also includes Tchaikovsky’s Symphony No. 5 (May 2-4).

¨       Nézet-Séguin conducts Mahler’s incredible Symphony No. 9, his last complete symphony (May 9-10 & 12).

¨       Nézet-Séguin welcomes Beatrice Rana in her subscription debut, performing Prokofiev’s Piano Concerto No. 3 in concerts that also include Stravinsky’s Funeral Song and Rachmaninoff’s Symphony No. 1 (June 6 & 8).

¨       Nézet-Séguin conducts Rachmaninoff’s Symphony No. 1 on a program with Mozart’s Sinfonia concertante for winds and orchestra featuring four Philadelphia Orchestra musicians (June 15 & 16).

Special Events


Nézet-Séguin begins his seventh season leading the spectacular Opening Night Concert and Gala, featuring André Watts in a celebratory program marking the 10th anniversary of Yannick’s Philadelphia Orchestra debut. The program features musical masterworks and audience favorites, including Rossini’s famous Overture to William Tell and Strauss’s Don Juan (September 13).


Bugs Bunny at the Symphony IIcelebrates the world’s favorite classic Looney Tunes, projected on the big screen. The Philadelphia Orchestra performs their exhilarating, original Carl Stalling scores live under the baton of guest conductor George Daugherty (January 4-6).

¨       The Academy of Music celebrates its 162nd Anniversary with the annual Concert and Ball, conducted by Nézet-Séguin (January 26). 


The Philadelphia Orchestra welcomes the return of Cirque de la Symphonie for two special performances featuring aerialists, contortionists, dancers, strongmen, and special surprises combined with great symphonic masterworks performed live by the Orchestra. (June 13-14).

Holiday Traditions


An Organ and Orchestra Halloween concert showcases the awesome power of the Fred J. Cooper Memorial Organ in a fun and irreverent night with the Philadelphians (October 30).

¨       Nézet-Séguin leads three performances of Handel’s Messiah with soprano Carolyn Sampson, countertenor Christophe Dumaux, tenor Jonas Hacker, bass-baritone Philippe Sly, and the Westminster Symphonic Choir led by director Joe Miller (December 6, 8, 9).

¨       Bramwell Tovey conducts Walton’s Crown Imperial (Coronation March), Britten’s The Young Person’s Guide to the Orchestra, which Tovey also narrates; and Menotti’s Amahl and the Night Visitors, joined by the Philadelphia Symphonic Choir led by director Joe Miller. Once an annual staple on network television, Amahl tells the story of Christmas through a crippled boy’s encounter with the Magi (December 13 & 15). 


The Orchestra’s amazing brass section teams up with the Fred J. Cooper Memorial Organ for the all-new Organ and Brass Christmas, featuring music spanning hundreds of years, from the Renaissance to today’s beloved carols (December 14).


The Glorious Sound of Christmas concerts are an annual Philadelphia tradition. The popular Bramwell Tovey returns to lead four performances (December 20-23).


Nézet-Séguin and the Fabulous Philadelphians will ring in 2019 with the annual New Year’s Eve concert (December 31).

HEAR Initiative Programs

In support of its commitment to community service, the Orchestra will continue to connect with audiences of all ages and backgrounds through its HEAR initiative, a portfolio of programs that promotes Health, champions music Education, enables broad Access to Orchestra performances, and maximizes impact through Research. The Orchestra’s second annual “We’re HEAR Week” will take place March 18-24, 2019, bringing musicians to locations throughout the city for public performances, side-by-side rehearsals, music therapy sessions, instrument donations, master classes, and more. In addition, the Orchestra has shifted the timing of its season to allow for additional community service activities in September. Further details will be announced at a later date.

Also part of the HEAR initiative, the Orchestra offers Family Concerts throughout the 2018-19 season. These fun and engaging programs, tailored for children ages six to 12, ignite the imagination and inspire a lifelong love of music. The 2018-19 season offers five Saturday morning programs designed to introduce young people and their families to classical music:


Halloween Tricks and Treats: Kensho Watanabe conducts a program of spooktacular classics (October 27).


Christmas Kids’ Spectacular: Kensho Watanabe leads a festive celebration featuring everyone’s favorite sounds of the season (December 15).


Morning at the Movies: Directed by Aram Demirjian, the Orchestra brings favorite silver-screen themes to the stage (February 23).


Sheherazade: The Orchestra, led by Kensho Watanabe, and Enchantment Theater Company bring to life the legendary stories of the heroine Sheherazade and her tales of 1,001 Arabian nights (April 27).


The Animated Orchestra: A Sensory-Friendly Concert: Gregory Smith’s The Animated Orchestra invites audience members to put on their imagination caps and be part of the story as Ari, a playful ferret, goes on an adventure through an instrument repair shop. This concert has been designed to create a welcoming environment for families with children with special needs and sensory sensitivities, and anyone who may benefit from a more relaxed environment.

All Family Concerts are preceded by Pre-Concert Adventures, interactive explorations of music tied to the theme of the concert.

The Orchestra also will present School Concerts throughout the season. Introducing 10,000 students in grades 3-5 to the powerful art form of live orchestral music and The Philadelphia Orchestra, these 45-minute full Orchestra performances integrate musical concepts into existing classroom curriculum. School Concerts are open to school groups and home schools throughout the Delaware Valley area. Concerts are free-of-charge to School District of Philadelphia Schools thanks to a gift from Billy Joel.

The Philadelphia Orchestra Returns to Carnegie Hall, Strathmore, and NJPAC

The Philadelphia Orchestra gave its first performance at Carnegie Hall in 1902. In the more than 100 years since, it has enjoyed a long and celebrated relationship with the world-famous venue and now returns annually for a subscription series. In the 2018-19 season, Nézet-Séguin and the Fabulous Philadelphians will present the following concerts at Carnegie Hall:


Mezzo-soprano Joyce DiDonato joins the Orchestra for Chausson’s Poème de l’amour et de la mer on a program with Wagner’s Prelude to Act I of Lohengrin, Bates’s Anthology of Fantastic Zoology, and Respighi’s The Fountains of Rome (November 13).


Jan Lisiecki performs Mendelssohn’s Piano Concerto No. 1 on a program that also includes Muhly’s Suite from Marnie and Schubert’s Symphony in C major (“Great”) (March 8).


Pianist Beatrice Rana performs Prokofiev’s Piano Concerto No. 3 in a concert that also includes Stravinsky’s Funeral Song and Rachmaninoff’s Symphony No. 1 (June 7).

The Philadelphia Orchestra will also return to the Music Center at Strathmore in North Bethesda, MD, and NJPAC in Newark, NJ. Additional programming details will be announced at a later date.

Summer with The Philadelphia Orchestra

The Philadelphia Orchestra is proud to have long-standing relationships with its three summer homes, where it returns in the summer of 2019. Tickets for these residencies will go on sale at a later date.

¨       The Orchestra joins its Philadelphia summer home, the Mann Center for the Performing Arts in the heart of Fairmount Park, for special performances under the stars. For more information, visit manncenter.org/.

¨       High atop the Rocky Mountains, the Orchestra marks its 13th summer at the Bravo! Vail festival in Colorado. Hailed as one of the Top 10 “Can’t Miss” Classical Music Festivals in the U.S. by NPR, Bravo! Vail is the only festival in North America to host four acclaimed orchestras in a single season. For more information, visit bravovail.org.

¨       Opened for The Philadelphia Orchestra and the New York City Ballet in 1966, the Saratoga Performing Arts Center (SPAC) in upstate New York was named Best Outdoor Music Venue by USA Today in 2015. For more information, visit spac.org.


The Philadelphia Orchestra’s innovative LiveNote app, a platform that allows concertgoers to access custom-created information about the performed musical works in real time on their mobile devices, will be enabled for specifically selected concerts throughout the 2018-19 season. The app presents users with a variety of musical, emotional, and historical highlights, as well as libretto text and translations. Use of the app is optional for patrons and is not necessary to enjoy the performances. LiveNote can be downloaded in the Apple App Store or Google Play Store. LiveNote is funded by the John S. and James L. Knight Foundation, National Endowment for the Arts, and the William Penn Foundation.

Beginning in 2018, the Orchestra will launch LiveNote® 2.0, making the technology accessible from standard cellular connections as well as WiFi connections in the Orchestra’s home in Verizon Hall and other venues. This new version of the app will enable LiveNote to travel where the Orchestra performs. In addition, concertgoers will benefit from an enhanced user experience and interface redesign that improves the delivery of program notes.

2018-19 Season Subscriptions

Subscriptions for the 2018-19 season are now on sale. New and renewing subscribers may purchase subscriptions through Ticket Philadelphia by calling 215.893.1955 or by visiting philorch.org/subscribe. Renewing subscribers will receive a special mailing of renewal information and can renew now.

Subscribers will continue to have the benefit of fee-free exchanges on all subscription tickets for the 2018-19 season. A monthly payment plan is available for subscribers, which allows them to split their subscription payment into monthly installments and an option to pay half now and half later. Other subscriber benefits include free ticket replacement, priority seating, and special promotional offers. Subscribers also have the option of purchasing additional individual tickets to any of the season’s subscription concerts or special concerts now with their series purchase prior to individual concert tickets going on sale to the general public. Discount parking is also available to subscribers.

Orchestra subscribers may renew their subscriptions through the end of April. Individual concert tickets will go on sale to the public in August. The Orchestra offers subscription packages of six concerts for Thursday, Friday, and Saturday evenings as well as Sunday matinees. Packages of nine concerts are offered for Friday afternoons and Saturday evenings. Also available at this time are the popular Create-Your-Own 6-concert series, designed for audiences who like the flexibility of choosing their own concerts, and the Family Concert series.

Subscription packages range from as little as $30 for Family Concert 3-concert series seats in the 3rd Tier, to $1,257 for a Saturday evening, 9-concert series, with premium box seats located in Tier 1. A Ticket Philadelphia processing fee of $20 is added to each subscription order.

To access the full press kit for the 2018-19 season, including a complete chronological calendar, visit philorch.org/press-room.

About The Philadelphia Orchestra

About Yannick Nézet-Séguin

About HEAR




Ashley Berke



Amanda N. Conte