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The Finnish conductor values attention to detail across three disparate 20th-century pieces, highlighting the uniform strength of the Chicago musicians.

The CSO's newly minted Music Director Emeritus for Life conducts a programme of Italian-themed works at Carnegie Hall. 

Riccardo Muti selects Beethoven’s daunting Missa solemnis for his final performance as Music Director of the Chicago Symphony, a performance that proves worthy of his remarkable tenure.

Jurowski and Martin Helmchen underline how much Mozart's Piano Concerto no. 25 in C major looks forward to the “Jupiter” Symphony and to Beethoven. 

Musicians from the Chicago Symphony showed their mettle as chamber players in a Mozart serenade and a Brahms sextet.

Contrasting Gounod, Mozart and Ravel works were combined into an exhilarating package of technical virtuosity and musical finesse.

Naples was the first Italian date for the conductor who is leading the CSO on a European tour which includes 10 concerts all over Europe.

A decade after Riccardo Muti was appointed CSO’s Music Director, the chemistry between conductor and ensemble couldn’t be more evident.

A sublime performance of Berlioz' La Mort de Cléopâtre by Joyce DiDonato, Riccardo Muti and the Chicago Symphony Orchestra overshadows the rest of a Rome-inspired concert at Carnegie Hall.

Showcases of pure virtuosity by Denis Matsuev and the Chicago Symphony Orchestra, under Leonard Slatkin, in performances of both Rachmaninov’s Third Piano Concerto and Rimsky-Korsakov’s Scheherazade at Ravinia.

Dame Mitsuko Uchida again brought out her outstanding musicality and special charisma in Bartók’s Third Piano Concerto.

Riccardo Muti brought a Verdian quality to Brahms’ Second Symphony, adding a certain Italian volatility and declamatory grandeur to the music.

The Chicago Symphony make up for the loss of their city's other team earlier in the week, knocking one out of the ballpark in the heart of Los Angeles.

Celebrating its 60th anniversary, the Chicago Symphony Chorus made this evening truly distinctive.

For the final week of the CSO season, Muti led a stirring program of operatic excerpts by Verdi, Puccini and Mascagni, along with a rarity by Boito.

A new score by Melinda Wagner, concertante pieces for saxophone and orchestra with Branford Marsalis, and works of Bizet and Debussy comprised Susanna Mälkki’s CSO program, intriguing in its eclecticism.

Juraj Valčuha’s CSO debut was an evening of diverse repertoire, from Haydn to Strauss (both Johann II and Richard) to Szymanowski, the latter featuring a memorable performance by Christian Tetzlaff.

Jesús López-Cobos returned to the CSO with works of Turina and Dvořák flanking Gershwin’s Concerto in F with Inon Barnatan.

CSO concertmaster Robert Chen took the spotlight in two 20th-century works with Neeme Järvi conducting; anchoring the program was Beethoven’s Pastoral.

A religious-themed program made for a particularly moving Easter weekend concert from Dutoit and the CSO, highlighted by the serenity of Fauré’s Requiem.

Dutoit’s CSO program was highlighted by the US première of an intriguing discovery –Stravinsky’s long-lost Chant funèbre – complemented by Prokofiev and Dvořák with Truls Mørk.

James Conlon led the CSO in Schubert’s Unfinished symphony and Mahler’s Das Lied von der Lied.  Mixed fortunes were had for the singers in the latter, but Conlon and the orchestra provided probing performances throughout.

Esa-Pekka Salonen’s Cello Concerto received a successful world première with Yo-Yo Ma and the Chicago Symphony, the composer conducting, richly complemented by works of Adams and Stravinsky.

Esa-Pekka Salonen’s colorful program included the first Chicago performance of John Adams’ Scheherazade.2 with dedicatee Leila Josefowicz, along with works of Debussy and Stravinsky.

The CSO’s season-long celebration of Prokofiev’s 125th birthday had its watershed moment with the composer’s monumental score to Ivan the Terrible.

The chemistry between Muti and the CSO continues to sizzle in a Rossini overture, a Mendelssohn symphony, and a Beethoven piano concerto with Yefim Bronfman.

Conductor and violinist Fabio Biondi led the CSO in works of Corelli and Vivaldi, while Vivica Genaux served as an impressive soloist in a selection of Baroque arias.

On the second leg of its current European tour, the Chicago Symphony Orchestra and Riccardo Muti fail to scale the heights in an acoustically problematic venue.

MTT and the CSO were energetic partners from Stravinsky's obscure Scènes de ballet to Prokofiev's familiar Romeo and Juliet, and a Saint-Saëns cello concerto with Gautier Capuçon served as a sumptuous interlude.

Neeme Järvi’s authoritative CSO appearance was grounded by two major scores of Sibelius, preceded by a Prokofiev violin concerto with Vadim Gluzman and a rarely heard work of Glazunov.

Nicholas Kraemer led the Chicago Symphony in a spirited program of Handel that included some rarely heard vocal works with the chorus and soprano Amanda Forsythe.

A Liszt tone poem, a Prokofiev piano concerto, and a Dvořák symphony made for a high-octane CSO program with conductor Emmanuel Krivine and pianist Denis Kozhukhin.

Jaap van Zweden returned to the CSO with a probing account of Brahms’ German Requiem, along with shorter but no less moving works of Mozart and Wagner.

James Levine’s excellent CSO appearance included a first half juxtaposing Mozart and Schoenberg anchored by a memorable Symphonie fantastique, and even a tribute to the victorious Chicago Cubs.

Mixed results in Andrés Orozco-Estrada’s weighty program of Kodály, Ives, and Strauss alongside the Sibelius Violin Concerto with Baiba Skride. 

David Afkham scored a successful CSO debut in Shostakovich’s Tenth Symphony and Beethoven First Piano Concerto with Emanuel Ax.

One day short of 125 years to the day, Muti presented the same program the CSO gave on their opening concert, with Daniil Trifonov as soloist in Tchaikovsky Piano Concerto no. 1.

Carl Vine's Five Hallucinations received its world première with dedicatee and CSO trombonist Michael Mulcahy. Gaffigan's diverse program also included a Franck tone poem and Prokofiev's Cinderella.

Joyce DiDonato made her Chicago Symphony debut in a rarely heard song cycle of Giuseppe Martucci, while more familiar territory was to be found in Beethoven's Seventh Symphony.

Riccardo Muti inaugurated the Chicago Symphony's season with what they do best: two orchestral showpieces and a magisterial Bruckner symphony.

At the Ravinia Festival, David Zinman conducts the Chicago Symphony Orchestra and the eminent violinist Gil Shaham in music by Prokofiev and Brahms.

David Zinman marked his own 80th birthday and the CSO's 80th Ravinia season with Bernstein's The Age of Anxiety featuring the formidable Misha Dichter, and Brahms' bucolic Second Symphony.

James Levine returned to Ravinia to conduct the Chicago Symphony for the first time since stepping down as music director in 1993 in a monumental performance of Mahler’s Second Symphony – the same piece with which he debuted in 1971.

In the final weekend of season, Muti led the CSO in a divinely inspired Bruckner Ninth, fittingly paired with the Te Deum.

Riccardo Muti presented a serene program of Beethoven's Violin Concerto, with Julia Fischer, and Brahms’ Serenade no. 1.

Christoph von Dohnányi conducted the CSO in a pair of Mozart symphonies along with a Beethoven piano concerto, the latter with Martin Helmchen in an impressive CSO debut.

Symphonies of Mozart and Beethoven bookended a Mozart horn concerto featuring CSO principal Daniel Gingrich.

Lang Lang's Prokofiev was ostentatious, but it was Duoit's visionary take on The Firebird that was truly the standout.

Charles Dutoit's mostly Spanish program was highlighted by two major scores of Manuel de Falla.