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The program paired works of two living female composers with a suite of selections from Porgy and Bess, featuring star soprano Angel Blue.

Michael Daugherty’s Once Upon a Castle, composed in 2003, is the highlight of Edward Gardner's Philadelphia Orchestra debut.  

Herbert Blomstedt and Lise de la Salle proved an ideal pair in the rarely heard Piano Concerto no. 2 in D minor with the Philadelphia Orchestra.

Ravel’s L’enfant et les sortilèges made up for an uneven first half that jumped from Mozart to Harry Potter.

Emanuel Ax plays Beethoven's Second Piano Concerto and works by Di Castri and Lutosławski round out the program.

Daniil Trifonov's radiant reading of Beethoven's Emperor Concerto, and two impressive works by Lili Boulanger and Louise Farrenc, as Yannick Nézet-Séguin leads the Philadelphia Orchestra.

The first subscription concert at the Grand Old Lady of Locust Street since 2001 nodded to the institution's august history.

Bach's crowning musical achievement made a disappointing return to the Philadelphia Orchestra repertoire after a 34-year absence.

Guest conductor Susanna Mälkki also showed her mettle in a fully realized performance of Prokofiev's Fifth Symphony.

The Philadelphia Orchestra's principal guest conductor offered a typically diverse program of Stravinsky, Peter Lieberson and Lera Auerbach.

Louis Lortie amazes in the Schubert-Liszt Wanderer Fantasy, while The Philadelphia Orchestra under Nézet-Séguin struggles but ultimately triumphs with Mahler's Fifth.

When conducting Mozart, Nézet-Séguin rarely displayed the wit and insight he always brings to Bruckner and Mahler.

Yannick Nézet-Séguin has resisted specialist identification, but his finesse with Strauss suggests he's Austro-Germanic at heart.

Conductor-composer John Adams put his own work in conversation with Ravel and Stravinsky.

The program also featured a compelling world premiere from composer Valerie Coleman and a stirring performance of Dvořák's “New World” Symphony.

Yannick Nézet-Séguin and Kevin Newbury see Candide as a coming-of-age story, placing it in their own high-school years, specifically 1992, making Westphalia a USA knockoff.

The fast-rising Italian pianist Beatrice Rana offered a triumph of technique, but her playing lacked much emotional engagement or wit.

Mahler's farewell to the world emerged as a journey through stages of grief in a thrilling performance led by Music Director Yannick Nézet-Séguin. 

The 31-year-old Assistant Conductor approached a program of Beethoven, Weber and Schumann with confidence and a forceful hand.

Thrilling choreography reimagined for the 21st century.

Nico Mulhy's great gift as an orchestrator and his ability to construct colorful and suggestive textures are evident in Liar, presented by the Philadelphia Orchestra together with Schubert and Mendelssohn.

Nézet-Séguin leads Philadelphians and Joyce DiDonato in superb performances of Wagner, Bates, Chausson and Respighi.

The Philadelphia Orchestra's superb semi-staged production of Tosca. 

Stéphane Denève leads The Philadelphia Orchestra through transcendent Strauss and apocalyptic Ravel.

A première of Machover's latest City Symphony leaves its mark beyond works by Bernstein and Mussorgsky. 

Lahav Shani makes his Philadelphia debut with works by Prokofiev, Stravinsky and Lindberg. 

The Philadelphia Orchestra gives us convincing renditions of Bernstein, Schumann and Strauss.

Michael Tilson Thomas returned to Philadelphia, this time showing both facets of his artistic career.

After Joshua Bell's fine Wieniawski, the Philadelphia Orchestra's account of the Leningrad Symphony took this concert to a higher plane. 

We were drenched in all sorts of dreams about Scotland as the Philadelphia Orchetra celebrated the country in their British Isles Festival

The Philadelphia Orchestra's Winter Festival celebrates the British Isles. 

Three works performed by the Philadelphia Orchestra and Yannick Nézet-Séguin included few novel musical ideas relative to their lengths.

Runnicles presents a concert weighted towards a splendid second half.

There was lots to like in the Philadelphia Orchestra's All-American Celebration for Thanksgiving.

An energetic Haydn Seasons for the Philadelphia Symphonic Choir and Orchestra.

Yannick leads Philadelphia Orchestra on spiritual journey throug Bruckner's Eighth Symphony. 

Nézet-Séguin's West Side Story in concert mixes passion and politics in Philadelphia.

Yannick Nézet-Séguin's opens season with panache.

On 4th October, the Philadelphia Orchestra opened the Carnegie Hall season with an all 20th-century American program featuring George Gershwin and Leonard Bernstein.

The Philadelphia Orchestra presented an exciting and fresh performance of Swan Lake selections and Bluebeard's Castle, led by its energetic music director Yannick Nézet-Séguin.

Nezet-Seguin and his Philadelphians convey the brilliance and sophistication of France's undisputed "golden age" of classical music with works by six Parisian composers.

Sir Simon Rattle guest conducts the Philadelphia Orchestra in Mahler's Sixth Symphony at Carnegie Hall.

Musical Director Yannick Nézet-Séguin inspired wonderful performances from the American players on the last leg of their European tour. 

Joyce DiDonato is joined by Lawrence Brownlee and Laura Claycomb for an entertaining program of bel canto repertoire. 

In the spirit of Hallowe'en, Mahler’s Second Symphony focuses on the idea of Zombification; however, any mention of eating brains didn’t pass Mahler’s final edits. 

Lisa Batiashvili joins the Philadelphia Orchestra and Yannick Nézet-Séguin for smooth, suave Bartók, but Bruckner's Ninth doesn't quite cohere.

Stéphane Denève’s astute dramatic sensibilityis to the fore in dance-related Prokofiev, Poulenc and Stravinsky in Philadelphia.

The Philadelphia Orchestra doesn’t look much different from any other orchestra, but their most recent program at Carnegie Hall with conductor Yannick Nézet-Séguin produced at times unbelievable sounds.

The Philadelphia Orchestra was visibly enjoying their evening at Carnegie Hall with Sir Simon Rattle, their frequent guest conductor who nearly became their music director. In a program of early modern classics and a perennial Beethoven favorite, energy and spirits were high and in good supply.

Poor Ravel. He was expelled from the Conservatoire; he was consistently rejected for the Prix de Rome; he never married. Along with his contemporaries Stravinsky, Debussy and Satie, he made enormous strides in 20th-century music, but is unfortunately remembered best (when at all) for the plodding fifteen minutes of his 1928 composition Boléro.