The Israel Philharmonic, born out of persecution and exile, dedicates a performance of Ben-Haim’s works, conducted by Lahav Shani, at Carnegie Hall. Ben-Haim masterfully integrated the musical traditions of different Jewish communities into Western structures, achieving a refined and richly expressive synthesis of ethnic elements.
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Met’s Don Giovanni, or Yourself
Even you rely on laws and rules for your protection, yet establish your freedom at the expense of others, this opera is for you. Because you will see yourself reflected in the human nature that Mozart portrays. Conductor Yannick brings difficult classical music to life in an accessible, discovery-filled way, revealing your treasure. Director Hove drives a wedge into your hardened heart, using the interplay of power and redemption to enhance the music. Now, let us go witness the filth of humanity that thrives in every age.
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LIVE FROM TROUTMAN Yarn/Wire, Sarah Davachi, Igor Santos
The latest works by Canadian composers Sarah Davachi and Igor Santos at Yarn/Wire’s studio in New York. Davachi’s Feedback Studies for Percussion (2022) creates a meditative soundscape using percussion and feedback, minimizing melody and rhythm while exploring resonance and overtones. Performers do more than follow the score, shaping sound in response to the acoustics, immersing listeners in the subtle shifts and flow of time. Santos’ living to fall [music and rain] (2022) blends sound and visual media around the theme of water, employing piano, keyboards, percussion, and visuals to evoke thunder and rain, symbolizing both violence and healing. Yarn/Wire delivers precise and expressive performances of both works, offering a profound encounter with the possibilities.
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Kavalier & Clay Met Opera Guide
If one listens closely, the orchestration’s structure, the thematic content of each scene, and the musical context emerge, revealing the composer’s intentions. Moreover, the ingenuity of the librettist and production team, the conductor’s interpretation, and the performers’ expressiveness also become apparent. Why was a particular instrument assigned to a specific scene? Why does bassoonist Billy’s tone always shine so brightly, producing textures entirely different between Dead Man Walking and familiar Italian opera? Why is the Maroon unison always precise? Why is Silvio’s timing and reed work on the clarinet impeccable? Why can Yannick infuse infinite emotion into the violin tutti? The answers are evident when you watch.
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The five must-see works at the Metropolitan Opera in 2025-26
The Met’s 2025–26 must-sees: Tchaikovsky’s Onegin with a world-renowned diva, Wagner’s Tristan under Yannick and Sharon’s new staging, Strauss’ poignant Arabella, Saariaho’s contemporary Innocence, and a fresh production of Mozart’s Don Giovanni.
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Riccardo Muti and Chicago Symphony Orchestra at Carnegie Hall
Revered conductor Riccardo Muti leads the Chicago Symphony Orchestra in Mendelssohn’s Italian Symphony, Strauss’s Aus Italien, and a New York premiere by Philip Glass, inspired by Italy and written in honor of Muti. Mendelssohn’s sunny Fourth Symphony remains a beloved favorite, serving as a companion to Strauss’s rarely performed “symphonic fantasy,” last heard at Carnegie Hall nearly 50 years ago. In both works, these great German composers transform their eye-opening travels through Italy into vividly evocative music.
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Jake Heggie's Dead Man Walking
The opera follows Prejean’s introduction to the world of capital punishment, portraying the moral complexity and inner lives of its characters rather than debating the issue directly. Heggie’s score uses an American musical vernacular to reflect character and conflict. Sister Helen is written for a lyric mezzo-soprano, expressing both grounded realism and idealism, while Joseph De Rocher evolves from a hardened criminal to reveal vulnerability and humanity. Mrs. De Rocher’s role conveys deep pathos. Ambient elements—including car radio songs, Elvis-style rock, and an original hymn—enhance the drama, with their impact shifting depending on the context and performers.
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Giuseppe Verdi, Falstaff at Met
Verdi’s Falstaff is a masterful comic opera portraying the vain, indulgent, yet philosophically curious Falstaff. Set in post–WWII England, it eschews traditional arias, relying on naturalistic ensembles and sophisticated counterpoint to depict human folly and interconnected lives. The opera blends comedy, lyricism, and ritualistic moments, culminating in a fugue that unites chaotic energy and guides the younger generation to reconciliation and love, showcasing Verdi’s inventive expansion beyond tragic drama.
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