Cso Audio Program Notes

Riccardo Muti leads an evening of dramatic and evocative works, pairing Respighi’s captivating Pines of Rome with a rare performance of Bizet’s own portrait of the great city. Celebrated mezzo-soprano Joyce DiDonato returns for Berlioz’s poignant cantata based on the ill-fated Cleopatra. “The staggering, joyful artistry of Joyce DiDonato—one of the finest singers of our time—compels us to listen actively, to hear things anew” (Gramophone). Tickets and more info: https://cso.org/ticketsandevents/production-details-2018-19/chicago-symphony-orchestra/muti-pines-of-rome/

Riccardo Muti leads a wide-ranging program featuring music from Rossini’s witty comic opera Il viaggio a Reims and Wagner’s Overture to Tannhäuser. Also on the program are two virtuosic concertos—one baroque and one contemporary—featuring CSO Piccolo Jennifer Gunn, and Beethoven’s cheerful Second Symphony.

David Afkham makes his highly anticipated return to conduct the CSO in Beethoven’s noble Emperor Concerto and Dvořák’s dramatic Seventh Symphony. “Afkham rocked Orchestra Hall with an exciting debut. The audience was up on its feet in an instant, roaring for more” (Chicago Tribune).

Spanish conductor Pablo Heras-Casado leads a program of Russian masterworks including Tchaikovsky's First Symphony, which showcases the composer's sense of drama, orchestral color and melody. Simon Trpčeski brings his “electrifying virtuosity” (The London Times) to Rachmaninov’s formidable Third Piano Concerto.

"In song, you have one of the most amazing diaries of any generation's culture at a given time," states Thomas Hampson. The esteemed baritone joins Bramwell Tovey for a concert of American music and songs, followed by Elgar's portraits of his own circle of friends in the Enigma Variations.

Since its premiere in 1742, Handel’s Messiah has brought audiences to their feet with its triumphant choruses and dazzling arias. Witness this glorious oratorio—performed by the combined forces of the Chicago Symphony Orchestra and Chorus and an exceptional cast of soloists—as part of a stirring holiday celebration.

"Music is life, and, like life, inextinguishable" wrote Danish composer Carl Nielsen of his Fourth Symphony, written during the early years of World War I. His life-affirming composition is preceded by Strauss' poignant Four Last Songs, which has been called "the most beautifully delivered farewell in all of music."

CSO Concertmaster Robert Chen leads his fellow orchestra members in a delightful all-Mozart program featuring some of the composer’s most popular music. Chen and CSO Principal Flute Stefán Ragnar Höskuldsson will each be featured in one of the composer’s brilliant early concertos. Tickets and more info: https://cso.org/ticketsandevents/production-details-2018-19/chicago-symphony-orchestra/chen-leads-all-mozart/

Danish conductor Thomas Søndergård leads two Russian masterpieces: Rachmaninov's powerful First Symphony, imbued with heroism and pathos, and Tchaikovsky's First Piano Concerto. Alexander Gavrylyuk, a pianist who "enchants with his incredible virtuosity and thought-provoking playing" (De Telegraaf), makes his CSO debut with this monumental work.

Daniel Barenboim makes his highly anticipated return to the Orchestra Hall podium. He conducts Smetana's landmark set of six symphonic poems that weave a rich tapestry celebrating the composer's native Bohemia. https://cso.org/barenboimconductssmetana

“There could be no more impressive demonstration of modern orchestral virtuosity at its committed best than the pairing of Haitink and the Chicago Symphony Orchestra” (Chicago Tribune). Former principal conductor Bernard Haitink, renowned for his transformative interpretations of symphonic masterworks with the CSO, returns to lead Bruckner’s rich, kaleidoscopic Sixth Symphony. These performances are the conductor’s only U.S. concert engagement this season. Paul Lewis, “a defining interpreter of Beethoven” (Chicago Tribune), joins forces with the orchestra and Haitink to perform the composer’s triumphant Second Piano Concerto. https://cso.org/haitinkbrucknerbeethoven

Brahms' lively Hungarian Dances are paired with Hindemith's symphony Mathis der Maler (Matthias the Painter), a work that explores the role of an artist in society. David Fray performs Beethoven's dramatic Third Piano Concerto.

Riccardo Muti leads two of Mozart's most popular works, followed by Rimsky-Korsakov's mesmerizing tone poem inspired by The Arabian Nights. Experience an evening of dramatic masterpieces, filled with vivid orchestral color and memorable themes that highlight Maestro Muti’s assertion that "the essence of our spirit is melody."

"If one function of art is to make us ponder difficult questions, there could not be a more potent example than Shostakovich's 13th" (The Guardian). Zell Music Director Riccardo Muti opens a season of reflection with Shostakovich's gripping setting of poetry by Yevgeny Yevtushenko condemning anti-Semitism and the barbarous acts that took place near Kiev in September 1941.

"Rossini's Stabat mater is a longstanding specialty of Mr. Muti's. It moves in several directions at once: the arias are as operatic as can be, yet the two unaccompanied choruses are sublimely devotional. The music is unquestionably dramatic: not the extroverted drama of a costumed operatic pageant, but of a prayerful supplicant's interior passion" (The New York Times). Riccardo Muti leads the CSO, Chicago Symphony Chorus and internationally celebrated singers in Rossini's dramatic and thrilling Stabat mater. Lovers of opera and choral works alike will not want to miss this remarkable program that also features Mozart's Kyrie in D Minor and the haunting Chant sur la mort de Joseph Haydn by Cherubini, whom Beethoven considered the greatest of his contemporaries.

When Riccardo Muti and Yo-Yo Ma join forces, it is "music-making at the highest level" (Chicago Tribune). The incomparable cellist, renowned for his "technical command, purity of tone and generosity of spirit" (Chicago Sun-Times), collaborates with Muti and the CSO in Shostakovich's introspective and dark-hued Second Cello Concerto. This program of works by 20th-century Russian masters also features Shostakovich's buoyant Festive Overture and Prokofiev's thrilling Third Symphony, a work of dramatic climaxes, rich melodies and vivid orchestral color.

"Superstar mandolinist" (The New York Times) Avi Avital and Italian conductor Giovanni Antonini make their CSO debuts with an exceptional program featuring rarely heard Baroque masterpieces, including the first CSO performances of mandolin concertos by Bach and Vivaldi. "Avital's mandolin breathes captivating new life into Vivaldi's music, giving it a luminous performance with a lovely lyrical jeu d'esprit" (The Daily Telegraph). Haydn's Drumroll Symphony brings the concert to an enchanting close.

Conductor Marek Janowski and the CSO, both great masters of music from the Austro-German tradition, perform a program of works by Weber, Beethoven and Wagner. Janowski, in his subscription series debut, leads the CSO in glorious orchestral excerpts from two of Wagner's grandest operas. Also on the program is Beethoven's sunny Fourth Symphony, a work imbued with romantic pathos.

Esa-Pekka Salonen leads a program that pairs Brahms' captivating Variations on a Theme by Haydn with Schoenberg's hauntingly beautiful Transfigured Night and Bartók's serene and expressive Third Piano Concerto, featuring Mitsuko Uchida. “It was in the otherworldly slow movement that Uchida's profound poetic sensibility rose to the fore, building to an eloquent emotional climax from the simple, hushed chords of the opening bars—atmospheric yet as clear as ice water” (Chicago Tribune).

Emmanuel Krivine leads the CSO in the shimmering and majestic Organ Symphony. After completing his third and final symphony, Saint-Saëns declared: "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again." Also on the program is Brahms’ turbulent Tragic Overture and Schumann's heart-wrenching Violin Concerto with Isabelle Faust, an artist of "disarming warmth and sweetness who can unveil hidden strains of lyricism" (The New York Times).