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Thomas Adès' score to Wayne McGregor's ballet The Dante Project transfers to the concert hall in Los Angeles. 

The soloists and LA Master Chorale lead the way in a performance of Mozart's “Great” C minor Mass conducted by Zubin Mehta. 

The Marsch in Berg's Three Orchestra Pieces was engulfed in the same chaos that devastated the composer's world a century ago and is now threatening to devastate ours.

Julia Adolphe's new violin concerto, Woven Loom, Silver Spindle built impact and structure out of the instability between the brightly spinning realm of the violin and the darker, all-encompassing framework of the orchestra. 

The crossed warning searchlights were out and aircraft mostly stayed away, as Gemma New and the Los Angeles Philharmonic got to know each better in Beethoven and Schumann.

Dudamel starts off the inaugural concert in the LA Phil’s Ives symphony cycle. 

The Los Angeles Philharmonic under Salonen look back at the dwindling twilight years of the Weimar Republic. 

The Los Angeles Philharmonic under Salonen inaugurates their musical retrospective of Weimar Germany. 

Zubin Mehta returns to Disney Hall, demonstrating the multifaceted implications of Wagner and his “music of tomorrow”.

Altogether it was the sort of music Gerard Hoffnung might have composed if he had ever held a serious music festival.

Andrew Norman's composition sustains interest alongside a powerful Bruckner 4 from Dudamel and the LA Philharmonic.

The LA Phil give us plenty of excitement in Stravinsky and Sousa and an orchestral surprise packet from Ginastera; Yuja Wang's superb pianism isn't enough to lift a disappointing Adams concerto.

The Los Angeles Philharmonic brought back its Conductor Emeritus, Zubin Mehta, for an outstanding performance of Mahler's “Resurrection” Symphony as part of its 100th anniversary celebrations. 

Guest conductor James Gaffigan celebrated musical Americana in a program of Copland, Barber, Ellington, and Karpman. 

Dudamel has the crowd eating out of his hand, though Adams' new piano concerto leaves doubts.

Mahler's Eighth was the composer’s “gift to the nation”; Dudamel’s performance was a gift to Los Angeles. 

Javier Perianes beguiles and Yulianna Avdeeva surprises in Beethoven’s last two piano concertos. 

When it was announced from the stage that Gustavo Dudamel would not be conducting due to a "family emergency," the orchestra played for Conducting Fellow Stephen Mulligan as if he were a maestro.

Inferno, after Dante's Divine Comedy, is a 46-minute ballet score rich in astounding, ingenious, sumptuous effects with a particular genius for unlikely combinations of instruments, and only a few obvious Lisztian references.

Salonen brings his Stravinsky retrospective to a close with a pair of Greek-inspired scores. 

Salonen and the Los Angeles Philharmonic, arguably the conductor and orchestra par excellence of Stravinsky performance, debuts the first of their three-concert series dedicated to the former Angeleno. 

This was Tchaikovsky raw and fierce as if he had written it, as he might have, for a young lover.

Adams has written a sprawling new tour de force that masterfully turned Walt Disney Concert Hall into an acoustic planetarium of glorious sound.

The Los Angeles Philharmonic under Gustavo Dudamel present Mahler’s Ninth Symphony as affirmation of life, rather than neurotic obsession over death. 

Works by Still and Ellington make their welcome appearance at Disney Hall, but the presentation left a bit to be desired. 

As a blend of music, song, and dance with a Cirque du Soleil joie de vivre, Buddha Passion was an unforgettable theatrical experience.

Elim Chan lead the Los Angeles Philharmonic through a high-powered program of Chinese and French music that began and ended with virtuoso showpieces written less than 30 years apart.

Mälkki triumphs in the subtleties of Saariaho, stumbles in the ecstasies of Messiaen. 

A rare misfire showcasing the music of minimalism’s all-stars. 

MTT was back in Los Angeles for another spell as guest, this time bringing to local audiences one of his specialties of the house. 

Susanna Mälkki’s choppy, uneven Mahler 5, preceded by a Steve Reich world première. 

Paolo Bortolameolli leads the LA Phil in a programme mixing the familiar with the obscure. 

Stéphane Denève and Augustin Hadelich each prove themselves to be at the very forefront of performers active today. 

Dudamel and the Los Angeles Philharmonic unleash the darkness of Verdi’s late masterpiece Otello upon the picnickers at the Hollywood Bowl. 

The audience responded as if they were hearing the Symphony for the first time. They were overwhelmed and let the musicians know it. Good start to the home stand.

What can multimedia wizardry add to Mahler's masterpiece? 

They hung over the fronts of their seats waiting for each movement to begin; they were silent, immovable once the music started. When the music stopped they exploded with joy. 

Blomstedt’s lean and athletic performances of Beethoven’s and Sibelius’ second symphonies go to show that age really is just a number. 

Salonen's tribute to Gehry, Yasuhisa Toyota and Deborah Borda seems to come more from his brilliant visual palette than his emotional heart. 

Esa-Pekka Salonen's return to Walt Disney concert hall highlighted his gifts as composer and conductor alike and underscored how an orchestra can sound genuinely 21st century.

The Los Angeles Philharmonic’s spotlight on Salonen the creative artist also imparted thoughts on our interconnected world. 

The Los Angeles Philharmonic proved that Bernstein's Mass, which had been dogged by critics at its première, has stood the test of time.

His fans presented him with not one but two impromptu birthday serenades before and after the Brahms. "I'm getting old," Gustavo admitted ruefully to his public. He's only 36. 

When Robert DeMaine fell ill, LA Phil got creative by rotating the soloist duties in Zimmermann’s Cello Concerto. 

MTT delivered a Bruckner Seventh equal parts lyricism and dramatic power, while guest soloist Khatia Buniatishvili beguiled with her graceful Mozart. 

Xian Zhang made her Los Angeles debut in a program of Tchaikovsky, Prokofiev,and Chen Yi.

Familiarity doesn't always breed contempt: Bach's famous Air proves the highlight of an enjoyable evening of Purcell, Bach and Pergolesi in the magnificent surroundings of Disney Hall.

Guest conductor Charles Dutoit returned to Los Angeles for a program devoted to one of the composers he is most closely associated with. 

Maestro Jordan did not present a cut down version of the score. Every instrument Wagner called for was on stage, even the six harps, but the only sung piece was Brünnhilde’s Immolation.