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Become a 2016–17 subscriber by purchasing 3 more subscription concerts. You'll get better seats and save on single ticket prices, unlimited free ticket exchange privileges (saving $20 per exchange), and much more.

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Calendar

Ode to Joy: Beethoven's Symphony No. 9

Location

David Geffen Hall

Directions
Price Range

$45-165

Duration

1 hour & 15 minutes without intermission

No Late Seating
Date & Times

3

May, 2017

Wednesday, 7:30 PM

4

May, 2017

Thursday, 7:30 PM

5

May, 2017

Friday, 8:00 PM

6

May, 2017

Saturday, 8:00 PM

9

May, 2017

Tuesday, 7:30 PM

Event Info

Alan Gilbert conducts Beethoven’s grand Ninth Symphony, with its iconic finale, “Ode to Joy.” This symphonic celebration of universal brotherhood transports us from anguish to joy, conflict to harmony. It’s perfectly paired with Schoenberg’s powerful A Survivor from Warsaw, as both works explore, in Alan Gilbert’s words, “the triumph of faith and the indomitable nature of the human spirit.”

Program To Include

Schoenberg

A Survivor from Warsaw

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Beethoven

Symphony No. 9

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Artists

Alan Gilbert

Conductor

Alan Gilbert

Conductor

Alan Gilbert

Conductor

The 2016–17 season marks Alan Gilbert’s eighth and final season as Music Director of the New York Philharmonic. The first native New Yorker to hold the post, he has sought to make the Orchestra a point of pride for the city and country. The Financial Times called him “the imaginative maestro-impresario in residence.”

Mr. Gilbert and the Philharmonic have 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 2016–17 season by Esa-Pekka Salonen and violinist Leonidas Kavakos, respectively — as well as Artist-in-Association, currently held by pianist Inon Barnatan, who inaugurated the role in the 2014–15 season; an annual festival, which this season is Beloved Friend — Tchaikovsky and His World, featuring Russian-born Semyon Bychkov conducting works by Tchaikovsky as well as composers he was influenced by and whom he influenced; CONTACT!, the new-music series; and the NY PHIL BIENNIAL, an exploration of today’s music by a wide range of contemporary and modern composers. During his tenure the Philharmonic launched the New York Philharmonic Global Academy, partnerships with cultural institutions to offer training of pre-professional musicians, often alongside performance residencies. These include the Shanghai Orchestra Academy and Residency Partnership and collaborations with Santa Barbara’s Music Academy of the West and the Shepherd School of Music at Rice University. Alan Gilbert and the Philharmonic also launched a five-year partnership with the University Musical Society at the University of Michigan.

Alan Gilbert concludes his final season as Music Director with four programs that reflect signature themes of his tenure, featuring works that hold particular meaning for him and musicians with whom he has formed close relationships. These include a pairing of Beethoven’s Ninth Symphony with Schoenberg’s A Survivor from Warsaw; Wagner’s complete Das Rheingold in concert; the New York Premiere of Composer-in-Residence Esa-Pekka Salonen’s Wing on Wing alongside Artist-in-Residence Leonidas Kavakos in Brahms’s Violin Concerto and the New York Premiere of Aeriality by Anna Thorvaldsdottir, the second Kravis Emerging Composer, an honor introduced during Alan Gilbert’s tenure; and an exploration of how music can effect positive change in the world. Other 2016–17 season highlights include three World Premieres; Dvořák’s Symphony No. 9, From the New World, as part of the New York Philharmonic’s 175th anniversary celebrations; Mahler’s Fourth Symphony and Handel’s Messiah; the World Premiere presentation of Gershwin’s score to Manhattan, performed live to the film; Ligeti’s Mysteries of the Macabre; a concert with friends celebrating his 50th birthday; works by John Adams marking the composer’s 70th birthday; and the EUROPE / SPRING 2017 tour. As part of the New York Philharmonic Global Academy, he will lead the Orchestra in its third annual performance residency through the Shanghai Orchestra Academy and Residency Partnership, and will lead the Philharmonic and Academy Festival Orchestra together in Santa Barbara through the partnership with Santa Barbara’s Music Academy of the West.

Last season’s Philharmonic highlights included R. Strauss’s Ein Heldenleben to welcome newly appointed Concertmaster Frank Huang; Carnegie Hall’s 125th anniversary Opening Night Gala; premieres by William Bolcom, Franck Krawczyk, Magnus Lindberg, and Marc Neikrug; works by Sibelius in celebration of the 150th anniversary of the composer’s birth; as well as Mahler’s Das Lied von der Erde and an all-Mozart program. He also co-curated the second NY PHIL BIENNIAL — during which he conducted works by Boulez and Stucky, in tribute to the late composers, as well as premieres by William Bolcom, John Corigliano, and Per Nørgård, the second recipient of The Marie-Josée Kravis Prize for New Music at the New York Philharmonic, an honor introduced during Alan Gilbert’s tenure. The Music Director also performed violin in Messiaen’s Quartet for the End of Time alongside Philharmonic principals and Mr. Barnatan. Under the New York Philharmonic Global Academy he led the Orchestra in its second performance residency in Shanghai and made his second appearance conducting the Music Academy of the West’s Academy Festival Orchestra.

Previous high points among Mr. Gilbert’s Philharmonic appearances include critically celebrated staged productions such as Ligeti’s Le Grand Macabre (2010) and Janáček’s The Cunning Little Vixen (2011), both cited as the top cultural events of their respective years; Philharmonic 360 at Park Avenue Armory (2012), the acclaimed spatial music program featuring Stockhausen’s Gruppen; A Dancer’s Dream: Two Works by Stravinsky (2013, and later presented in movie theaters internationally); a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson that was broadcast on Live From Lincoln Center, earning Mr. Gilbert an Emmy nomination for Outstanding Music Direction (2014); and the U.S. Premiere of a staging of Honegger’s Joan of Arc at the Stake featuring Oscar winner Marion Cotillard (2015). Other highlights include the first two editions of the NY PHIL BIENNIAL; World Premieres of works by Christopher Rouse, Magnus Lindberg, Peter Eötvös , and composers featured on CONTACT!; the score from 2001: A Space Odyssey, performed live to the film; Mahler’s Second Symphony, Resurrection, on A Concert for New York on September 10; the Verdi Requiem; the conclusion of The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; six concerts at Carnegie Hall; and ten tours around the world. In August 2015 he led the Mahler Chamber Orchestra in the U.S. Stage Premiere of George Benjamin’s Written on Skin, co-presented by the New York Philharmonic and Lincoln Center, the inaugural production of the Lincoln Center–New York Philharmonic Opera Initiative.

Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, The Philadelphia Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orchestre philharmonique de Radio France. He has appeared at The Metropolitan, Los Angeles, Zurich, Royal Swedish, and Santa Fe opera companies. This season Mr. Gilbert returns to the foremost European orchestras, records Beethoven’s complete piano concertos with the Academy of St Martin in the Fields and Inon Barnatan, and conducts Gershwin’s Porgy and Bess at Milan’s Teatro alla Scala, his first time leading a staged opera there.

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. He 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 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. He received his second Emmy nomination for Outstanding Music Direction for Sinatra: Voice for a Century, broadcast on Live From Lincoln Center in 2015. Mr. Gilbert conducted Messiaen’s Des Canyons aux étoiles on a recent album recorded live at the Santa Fe Chamber Music Festival.

Alan Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). He received Honorary Doctor of Music degrees from Curtis in May 2010 and from Westminster Choir College in May 2016, 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.” In 2014 he was elected to The American Academy of Arts & Sciences, in 2015 he received a Foreign Policy Association Medal for his commitment to cultural diplomacy and was named Officier de l’Ordre des Arts et des Lettres, and in 2016 he received New York University’s Lewis Rudin Award for Exemplary Service to New York City in recognition of his leadership in making New York one of the world’s great centers for music and the arts.

Visit Alan Gilbert's Official Website

Learn more about Alan Gilbert
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Camilla Tilling

Soprano

Camilla Tilling

Soprano

Camilla Tilling by Anna Hult

Soprano

Since her acclaimed 1999 debut as Corinna in Rossini’s Il viaggio a Reims at New York City Opera, Swedish soprano Camilla Tilling has appeared on the stages of the world’s most prominent opera houses and concert halls, and in regular collaborations with the greatest orchestras and conductors. Current season highlights include Berg’s Seven Early Songs with the London Symphony Orchestra led by Francois Xavier Roth and Schumann’s Faustszenen with the NDR Symphony Orchestra and Thomas Hengelbrock. She performs Brahms’s A German Requiem with Tonhalle-Orchester Zürich and with the orchestra of Teatro alla Scala, both conducted by Bernard Haitink, and also with the New York Philharmonic led by Christoph von Dohnányi. She also returns to the Los Angeles Philharmonic for Dutilleux’s Correspondances and concert performances as Mélisande in Debussy’s Pelléas et Mélisande conducted by Esa-Pekka Salonen. Consistently in demand for concert appearances, Ms. Tilling’s recent highlights include Strauss’s Four Last Songs at the Salzburg Festival with the Philharmonia Orchestra and Dohnányi, Mahler’s Symphony No. 4 at the BBC Proms with the London Symphony Orchestra and Haitink, and Beethoven’s Symphony No. 9 at Berlin’s Waldbühne with the Berlin Philharmonic and Simon Rattle.

Among Ms. Tilling’s many recordings are three recital discs with Paul Rivinius on the BIS label; the most recent, I Skogen, released in the summer of 2015, is dedicated to songs from Nordic composers. She appears on Die Schöpfung with the Bavarian Radio Symphony Orchestra, led by Haitink, and Mozart’s Mass in C minor, with Paul McCreesh. She performs the role of Ilia in Mozart’s Idomeneo on DVD from the Teatro alla Scala conducted by Daniel Harding.

Learn more about Camilla Tilling

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Daniela Mack

Mezzo-Soprano

Daniela Mack

Mezzo-Soprano

Mezzo-Soprano

In the 2015–16 season, mezzo-soprano Daniela Mack returned to the San Francisco Opera as Rosina in Rossini’s The Barber of Seville and created the role of Jacqueline Kennedy in the World Premiere of David T. Little and Royce Vavrek’s JFK at Fort Worth Opera. She also made her Arizona Opera debut in the title role of Bizet’s Carmen and performed in recital with tenor Alek Shrader at the Tucson Desert Song Festival. On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s The Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. Future seasons will include performances at The Metropolitan Opera, San Francisco Opera, Seattle Opera, Washington National Opera, Opera Philadelphia, English National Opera, and Royal Opera House, Covent Garden.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera, where she has appeared as Idamante in Mozart’s Idomeneo, Siebel in Gounod’s Faust and Lucienne in Korngold’s Die tote Stadt (for her house debut). She performed the title role of Rossini’s La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was a finalist in the 2013 BBC Cardiff Singer of the World  Competition.

Learn more about Daniela Mack

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Joseph Kaiser

Tenor

Joseph Kaiser

Tenor

Joseph Kaiser New York Philharmonic

Tenor

Tenor Joseph Kaiser has performed a broad range of opera roles, working with leading stage directors such as Robert Carsen, Christof Loy, David McVicar, Peter Sellars, and Stephen Wadsworth. In concert, Mr. Kaiser has appeared with the Berlin Philharmonic, Boston Symphony Orchestra, Orchestre symphonique de Montréal, Rundfunk-Sinfonieorchester Berlin, and Wiener Symphoniker. Concert highlights include Beethoven’s Fidelio with Le Cercle de l’Harmonie on a European tour; Mozart’s Requiem with the Wiener Symphoniker; Schumann’s Das Paradies und die Peri with Simon Rattle and The Philadelphia Orchestra; Berlioz’s Requiem under Marek Janowski with the combined forces of Zurich’s Tonhalle Orchestra and the Orchestre de la Suisse Romande, as well as with Donald Runnicles and both Atlanta Symphony Orchestra and the Berlin Philharmonic; Berlioz’s Te Deum with Charles Dutoit and the NHK Symphony Orchestra; and Bruckner’s Te Deum with Daniel Barenboim and the Orchestra and Chorus of Milan’s Teatro alla Scala. Past opera appearances include Britten’s Peter Grimes at Theater an der Wien; Stravinsky’s Oedipus Rex at the Festival d’Aix-en-Provence; Tchaikovsky’s Eugene Onegin and R. Strauss’s Capriccio at the Opéra National de Paris; Mozart’s The Magic Flute and R. Strauss’s Salome at the Royal Opera House, Covent Garden; Martinů's Juliette at Opernhaus Zürich; Handel’s Theodora and Tchaikovsky’s Eugene Onegin at the Salzburg Festival; and a wide array of titles at The Metropolitan Opera, including Gounod’s Roméo et Juliette, Mozart’s The Magic Flute, R. Strauss’s Salome, Handel’s Rodelinda, and Britten’s A Midsummer Night’s Dreamwww.josephkaiser.com

Learn more about Joseph Kaiser

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Eric Owens

Bass-Baritone

Eric Owens

Bass-Baritone

Eric Owens by Paul Sirochman

Bass-Baritone

The New York Philharmonic has named bass-baritone Eric Owens The Mary and James G. Wallach Artist-in-Residence for the 2015–16 season. In addition to appearing as soloist throughout the season, Mr. Owens will expand the role of the Philharmonic’s Artist-in-Residence by curating programs and participating in educational activities.

Mr. Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. Equally at home in orchestral, recital, and operatic repertoire, he brings his powerful poise, expansive voice, and instinctive acting faculties to stages around the world. In addition to numerous collaborations with the Philharmonic as part of his residency, Mr. Owens’ 2015–16 season features additional orchestral engagements including performances of Beethoven’s Symphony No. 9 with Markus Stenz and the St. Louis Symphony, as well as with Osmo Vänskä and the Minnesota Orchestra; Ravel’s L'enfant et les sortileges with Esa-Pekka Salonen and the Bayerische Rundfunk; Brahms’s Ein deutsches Requiem with Markus Stenz and the Baltimore Symphony Orchestra; and Dvořák’s Stabat Mater with Franz Welser-Möst and the Cleveland Orchestra. He will also join Music of the Baroque as Simon in concert performances of Handel’s Judas Maccabaeus conducted by Jane Glover.

Operatic highlights of Mr. Owens’ season include his return to the Metropolitan Opera as Orest in a new production of Strauss’s Elektra by legendary director Patrice Chéreau, conducted by Esa-Pekka Salonen, which will be broadcast on the Emmy and Peabody Award-winning Live in HD series to movie theaters around the world; he will also host the Metropolitan Opera’s Live in HD broadcast of Verdi’s Otello. He returns to the Santa Fe Opera for a role debut as La Roche in a new production of Strauss’s Capriccio directed by Tim Albery, and to Washington National Opera as Stephen Kumalo in Kurt Weill’s Lost in the Stars. At the Kennedy Center in Washington, D.C., he will perform an evening of jazz standards featuring the music of Billy Eckstine and Johnny Hartman, and he will also appear in recital under the auspices of the McCarter Theatre, the Green Music Center at Sonoma State University, Oberlin College and Conservatory, Troy Chromatic Concerts, and the Curtis Institute of Music.

Learn more about Eric Owens

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Westminster Symphonic Choir, Joe Miller, director

Chorus

Westminster Symphonic Choir, Joe Miller, director

Chorus

Chorus

Recognized as one of the world’s leading choral ensembles, the Westminster Symphonic Choir is composed of students at Westminster Choir College of Rider University in Princeton, New Jersey. It has recorded and performed with major orchestras under many internationally acclaimed conductors for the past 82 years, and the choir has sung more than 400 performances with the New York Philharmonic alone. The ensemble’s 2016–17 season includes Beethoven’s Symphony No. 9 with the New York Philharmonic conducted by Alan Gilbert; Mozart’s C-minor Mass and Ravel’s Daphnis et Chloé with The Philadelphia Orchestra, conducted by Yannick Nézet-Séguin; and Britten’s War Requiem with The Philadelphia Orchestra conducted by Charles Dutoit. Recent seasons have included performances of Bernstein’s Mass with The Philadelphia Orchestra and Yannick Nézet-Séguin; Villa-Lobos’s Choros No. 10 with the Simón Bolívar Symphony Orchestra of Venezuela and Gustavo Dudamel; and Christopher Rouse’s Requiem with the New York Philharmonic and Alan Gilbert at Carnegie Hall.

Westminster Choir College is a division of Rider University’s Westminster College of the Arts, which has campuses in Princeton and Lawrenceville, New Jersey. A professional college of music with a unique choral emphasis, Westminster prepares students for careers in teaching, sacred music, and performance.

Joe Miller is conductor of two of America’s most renowned choral ensembles: the Westminster Choir and the Westminster Symphonic Choir. He is also director of choral activities at Westminster Choir College of Rider University. He is also artistic director for choral activities for the Spoleto Festival USA and director of the Philadelphia Symphonic Choir. Mr. Miller’s 2016–17 season with the Westminster Choir includes a concert tour of the southern U.S., several national radio broadcasts, the ensemble’s annual residency at Spoleto Festival USA, and performances at the World Symposium on Choral Music in Barcelona. As conductor of the Westminster Symphonic Choir, Mr. Miller has collaborated with some of the world’s leading orchestras and conductors, earning him critical praise. Joe Miller is also founder and conductor of the Westminster Summer Choral Festival Chamber Choir, a program that offers professional-level choral and vocal artists the opportunity to explore challenging works for one week each summer on the Westminster campus in Princeton.

Learn more about Westminster Symphonic Choir, Joe Miller, director

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