Mr. Gilbert’s creative approach to programming combines works in fresh and innovative ways. He has also forged artistic partnerships, introducing the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence, held in the 2012–13 season by Christopher Rouse and pianist Emanuel Ax, respectively; an annual, multi-week festival, which this season is The Bach Variations in collaboration with 92nd Street Y; and CONTACT!, the new-music series in which Philharmonic musicians perform works by today’s leading and emerging composers in New York’s more intimate venues.

In the 2012–13 season, Alan Gilbert conducts world premieres by Anders Hillborg, Steven Stucky, and Christopher Rouse; presides over a cycle of Brahms’s complete symphonies and concertos; conducts Bach’s Mass in B minor and an all-American program that includes Ives’s Fourth Symphony; leads the Orchestra on the EUROPE / SPRING 2013 tour; and continues The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos, the first release of which was named by The New York Times as among the Best Classical Music Recordings of 2012. The season concludes with Gilbert’s Playlist, four programs showcasing themes and ideas that Alan Gilbert has introduced since becoming Music Director, including the season finale: a theatrical reimagining of Stravinsky’s Petrushka and The Fairy’s Kiss in collaboration with director/designer Doug Fitch that features New York City Ballet principal dancer Sara Mearns.

Last season’s highlights included performances of three Mahler symphonies, including the Second, Resurrection, on A Concert for New York on September 10; the Orchestra’s first International Associates residency at London’s Barbican Centre as part of its EUROPE / WINTER 2012 tour; the CALIFORNIA / SPRING 2012 tour; and Philharmonic 360, the Philharmonic and Park Avenue Armory’s acclaimed spatial music program featuring Stockhausen’s Gruppen, about which The New York Times said: “Those who think classical music needs some shaking up routinely challenge music directors at major orchestras to think outside the box. That is precisely what Alan Gilbert did.” Highpoints of Mr. Gilbert’s first two Philharmonic seasons included the acclaimed performance of Janáček’s The Cunning Little Vixen, hailed by The Washington Post as “another victory,” building on 2010’s wildly successful staging of Ligeti’s Le Grand Macabre, which The New York Times called “an instant Philharmonic milestone”; world premieres of works by Marie-Josée Kravis Composer-in-Residence Magnus Lindberg, John Corigliano, Christopher Rouse, and composers featured on CONTACT!; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; four concerts at Carnegie Hall; and four tours to Europe, as well as the Asia Horizons tour, which included the Philharmonic’s Vietnam debut at the historic Hanoi Opera House.

In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where he is also the first holder of Juilliard’s William Schuman Chair in Musical Studies. Conductor Laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, and the Berlin Philharmonic. His 2012–13 season engagements include appearances with the Boston Symphony Orchestra, Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra, NDR Symphony Orchestra, and Berlin Staatskapelle.

Alan Gilbert made his acclaimed Metropolitan Opera debut in 2008 leading John Adams’s Doctor Atomic; the DVD and Blu-ray of this production received the 2012 Grammy Award for Best Opera Recording. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. Earlier releases garnered Grammy Award nominations and top honors from the Chicago Tribune and Gramophone magazine.

Mr. Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). In May 2010 he received an Honorary Doctor of Music degree from Curtis, and in December 2011 he received Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.”

Visit Alan Gilbert's Official Website

Born in Flensburg, Germany, soprano Dorothea Röschmann made her critically acclaimed debut at the 1995 Salzburg Festival as Susanna in Mozart's The Marriage of Figaro with conductor Nikolaus Harnoncourt, and has since returned frequently to the festival. At The Metropolitan Opera she has sung the Mozartean roles of Susanna, Pamina (The Magic Flute), Donna Elvira (Don Giovanni), and Ilia (Idomeneo) with James Levine. Her roles at the Royal Opera House, Covent Garden, have included Pamina and Fiordiligi (Così fan tutte) with Sir Colin Davis, and Countess Almaviva (The Marriage of Figaro) with Antonio Pappano. She has also appeared at the Vienna Staatsoper, Munich's Bavarian Staatsoper, Berlin's Deutsche Staatsoper, Brussels's Théâtre de la Monnaie, and Paris's Opéra Bastille. Future engagements include her debut at Milan's Teatro alla Scala, and returns to the Salzburg Festival, Deutsche Staatsoper, and the Bavarian Staatsoper.

Recent concert engagements include appearances with the Concentus Musicus Wien and the Chamber Orchestra of Europe with Harnoncourt; the Orchestra Filarmonica della Scala with Daniel Barenboim; and the Vienna Philharmonic with Pierre Boulez. Her many recitals include performances in Antwerp, Lisbon, Madrid, Cologne, Brussels, New York, London, and Vienna, and at Amsterdam's Concertgebouw and the Edinburgh, Munich, and Schwarzenberg festivals. She has recorded opera roles by Mozart and Puccini; R. Strauss's Four Last Songs; Brahms's Ein deutsches Requiem (Grammy and Gramophone Awards); Mahler's Symphony No. 4; Pergolesi's Stabat Mater; and a disc of Schumann songs with tenor Ian Bostridge and pianist Graham Johnson. She appeared with the New York Philharmonic in the A Concert for New York performance of Mahler's Symphony No. 2, Resurrection, conducted by Alan Gilbert, in commemoration of the tenth anniversary of 9/11; the concert was telecast internationally and is available on DVD.

Tenor Steve Davislim began his musical training as a horn player before studying voice at the Victorian College of the Arts with Dame Joan Hammond. Twice awarded the Queen Elizabeth II Silver Jubilee Award and Australia Council scholarship, he began his professional career as an ensemble member of the Zurich Opera. A turning point in his career was his interpretation of Mozart's Idomeneo at the opening of Milan's Teatro alla Scala in 2005, conducted by Daniel Harding. He returned to La Scala in 2007 to sing the title role in the world premiere of Fabio Vacchi's Teneke, under Roberto Abbado, and Tamino in Mozart's The Magic Flute in 2011.

Mr. Davislim has performed with leading ensembles, including the Vienna Philharmonic, The Cleveland and Royal Danish Orchestras, and the symphony orchestras of San Francisco, Chicago, London, Zurich, Vienna, Turin, Madrid, Dresden, Paris, Rome (Santa Cecilia), and Brussels; he has appeared at the Lincoln Center, Mostly Mozart, Salzburg, and Lucerne festivals. Recently he performed Haydn's Creation with William Christie on tour, Tippett's A Child of Our Time with Sir Colin Davis at London's Barbican Centre, J.S. Bach's St. Matthew Passion in Munich and Boston with Bernard Haitink, and Handel's Messiah with the New York Philharmonic and in Washington, D.C. Mr. Davislim's recent engagements include Beethoven's Ninth Symphony with the Melbourne Symphony, London Symphony, and Radio France orchestras; Chausson's Poème de l'amour et de la mer with the Queensland Symphony; Schubert's Lazarus with the Deutsche Symphony Berlin; Vicente Martín y Soler's L'Arbore di Diana at the Montpellier Festival; and Dvorák's Stabat Mater with the National Symphony Orchestra. He made his Dresden debut as Titus in Mozart's La clemenza di Tito at the Semperoper.

Acclaimed for his commanding stage presence and inventive artistry, bass-baritone Eric Owens has carved a place on the opera stage as both a champion of new music and an impressive interpreter of classic works. He is equally at home in concert, recital, and opera performances, bringing his poise, expansive voice, and instinctive acting to stages around the globe.

Mr. Owens's career-making role was the title character in the world premiere of Elliot Goldenthal's Grendel with the Los Angeles Opera and Lincoln Center Festival, in a production directed and designed by Julie Taymor. Last season his portrayal of Alberich in Wagner's Das Rheingold at The Metropolitan Opera garnered universal praise. Mr. Owens created the roles of General Leslie Groves in Doctor Atomic and The Storyteller in A Flowering Tree, both by John Adams. He made his Boston Symphony Orchestra debut under the baton of David Robertson in Adams's El Niño.

Operatic highlights include debuts with the San Francisco Opera in Verdi's Otello; Royal Opera, Covent Garden, in Bellini's Norma, and Verdi's Rigoletto and Il Trovatore; Puccini's La Bohème at Los Angeles Opera; Mozart's The Magic Flute at Paris Opèra; Handel's Ariodante and L'incoronazione di Poppea at English National Opera; and the role of Aristotle Onassis in the world premiere of Michael Daugherty's Jackie O at Houston Grand Opera (recording available on the Argo label). He is featured on Atlanta Symphony Orchestra's recordings of Mozart's Requiem and scenes from Richard Strauss's Elektra and Die Frau ohne Schatten (Telarc).

This season Mr. Owens appears in recital with conductor Robert Spano at Carnegie Hall's Zankel Hall, and with The Cleveland Orchestra in a concert version of Salome, Boston Symphony Orchestra in Beethoven's Missa solemnis, National Arts Centre Orchestra in Verdi's Requiem, and in A Flowering Tree with the Atlanta Symphony Orchestra. This summer Mr. Owens will serve as artist-in-residence at the Glimmerglass Festival.

The New York Choral Artists, a professional chorus founded by Joseph Flummerfelt in 1979, appears regularly with the New York Philharmonic, including on the September 10, 2011 performance titled A Concert for New York, given on the eve of the tenth anniversary of 9/11. Recent performances with the Orchestra have included Janáček's The Cunning Little Vixen in June 2011; Ligeti's Le Grand Macabre in May 2010; Ravel's L'Enfant et les sortilèges in 2006 and at Carnegie Hall in February 2009; Puccini's Tosca in June 2008; Verdi's Requiem in 2006; the world premiere of John Adams's On the Transmigration of Souls in 2002; and Brahms's A German Requiem in September 2001, in commemoration of the events of September 11. Other performance highlights include celebrating the rededication of the Statue of Liberty in 1986 and the 100th anniversary of Carnegie Hall, and the U.S. premiere of Paul McCartney's Standing Stone with the Orchestra of St. Luke's. The New York Choral Artists have sung under the batons of Bernstein, Chailly, Sir Colin Davis, Leinsdorf, Masur, Muti, Nelson, Shaw, Slatkin, Tilson Thomas, and others.

The chorus's discography features many recordings with the New York Philharmonic, including On the Transmigration of Souls with Lorin Maazel and Mahler's Symphony No. 3 with Leonard Bernstein, both of which won Grammy Awards; Beethoven's Symphony No. 9 and Schoenberg's Gurrelieder with Zubin Mehta; Shostakovich's Symphony No. 13, Babi Yar, with Kurt Masur; and Stephen Sondheim's Sweeney Todd. Recordings with other orchestras include Stravinsky's Symphony of Psalms, Oedipus Rex, and Requiem Canticles; Beethoven's The Ruins of Athens; Gershwin's Porgy and Bess; an album of Christmas songs featuring soprano Kathleen Battle; and a Christmas album conducted by Joseph Flummerfelt.

The New York Choral Artists are managed by Jacqueline Pierce.

Named Conductor of the Year in 2004 by Musical America, Joseph Flummerfelt is the founder and musical director of the New York Choral Artists and an artistic director of Spoleto Festival U.S.A. He was conductor of the Westminster Choir for 33 years.

Mr. Flummerfelt has led more than 50 performances with the Spoleto Festival Orchestra in both Italy and the U.S. and has appeared as guest conductor with numerous American orchestras. He made his New York Philharmonic conducting debut in a performance of Haydn's The Creation, and in 2001 he led the Orchestra and the Westminster Choir in the world premiere of Stephen Paulus's Voices of Light. He has collaborated with such conductors as Claudio Abbado, Barenboim, Bernstein, Boulez, Chailly, Sir Colin Davis, Gilbert, Giulini, Maazel, Masur, Mehta, Muti, Ozawa, Sawallisch, Shaw, and Steinberg, among many others.

Joseph Flummerfelt's choirs have been featured on 45 recordings, including Grammy Award–winning versions of Mahler's Symphony No. 3 with Leonard Bernstein, Barber's opera Antony and Cleopatra, and John Adams's On the Transmigration of Souls. He has also received two other Grammy nominations, and his Delos recording of Brahms's choral works, Singing for Pleasure, with the Westminster Choir, was chosen by The New York Times as a favorite among Brahms recordings.

Mr. Flummerfelt's many honors include Le Prix du Président de la République from L'Académie du Disque Français and four honorary doctoral degrees. He is sought out as a guest conductor and master teacher of choral conducting, and also oversees most of the choral presentations of the New York Philharmonic.