Due to technical difficulties, the New York Philharmonic Customer Relations department phone lines are temporarily down. Please email customerservice@nyphil.org and a representative will be happy to contact you.

We apologize for any inconvenience.

The New York Philharmonic

Update Browser

Pages don't look right?

You are using a browser that does not support the technology used on our website.

Please select a different browser or use your phone or tablet to access our site.

Download: Firefox | Chrome | Safari

If you're using Internet Explorer, please update to the latest version.

CYO

Become a 2016–17 subscriber when you purchase 3 or more eligible concerts and enjoy exclusive benefits including unlimited no-fee ticket exchanges.

×

Calendar

Ode to Joy: Beethoven's Symphony No. 9

Location

David Geffen Hall

Directions
Price Range

$59-165

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

SOLD OUT. Additional tickets may be released as concert dates near. Subscribers for the 2016–17 season can be placed on a purchase-only wait list by calling Customer Relations at (212) 875-5656.

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

Listen
×

Beethoven

Symphony No. 9

Listen
×
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 four 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
×

Gabriel Ebert

Narrator

Gabriel Ebert

Narrator

Narrator

Gabriel Ebert is a Tony and Obie Award–winning actor. A native of Colorado, he is a graduate of the Drama Division of The Juilliard School. He has appeared at Lincoln Center Theater, starring in Amy Herzog’s 4,000 Miles (for which he received the Obie Award for Best Actor) and most recently Dave Malloy’s Preludes at LCT3. Mr. Ebert’s Broadway credits include Harvey Fierstein’s Casa Valentina, Tim Minchin’s Matilda the Musical (2013 Tony Award for Best Featured Actor in a Musical), Noël Coward’s Brief Encounter with the Kneehigh Theatre Company, Helen Edmundson’s adaptation of Therese Raquin, and John Logan’s Red. Off-Broadway he has appeared in Peer Gynt at Classic Stage Company, The Heart of Robin Hood, Suicide Incorporated, Prometheus Bound, and a site-specific production of Anton Chekhov’s The Seagull. He is currently starring in Martin Sherman’s new play Gently Down the Stream with Harvey Fierstein. As a vocalist, Mr. Ebert has performed at Carnegie Hall and London’s Royal Albert Hall. Last spring he appeared as part of a benefit performance for The Juilliard School alongside fellow alumnus Alan Gilbert.

Learn more about Gabriel Ebert

×

Camilla Tilling

Soprano

Camilla Tilling

Soprano

Camilla Tilling by Anna Hult

Soprano

Soprano Camilla Tilling’s early debut at New York City Opera launched her two-decades-long career that has since seen performances on the world’s major opera, concert, and recital stages while simultaneously building an impressive discography.

A highly regarded concert performer, Camilla Tilling is a regular guest with many of the world’s leading orchestras. Recent concert highlights include J.S. Bach’s St. Matthew Passion with the Berlin Philharmonic and Simon Rattle, Schumann’s Faustszenen with NDR Elbphilharmonie Orchestra and Thomas Hengelbrock, Brahms’s A German Requiem with both the New York Philharmonic under Christoph von Dohnányi and with the Zurich’s Tonhalle Orchestra under Bernard Haitink, Dutilleux’s Correspondances with the Los Angeles Philharmonic and Esa-Pekka Salonen, J.S. Bach’s Mass in B minor with the Vienna Radio Symphony Orchestra and Philippe Jordan, and Berg’s Seven Early Songs with Sydney Symphony Orchestra under Christoph von Dohnányi, Orchestre National de France under Daniele Gatti, and the London Symphony Orchestra under François-Xavier Roth.

Current season opera highlights include a house debut at Royal Swedish Opera as Countess Almaviva in Mozart’s The Marriage of Figaro, while in concert she performs Mahler’s Symphony No. 4 with the Berlin Philharmonic and Rattle, Beethoven’s Missa solemnis at Milan’s Teatro alla Scala with Haitink and also with the Royal Stockholm Philharmonic Orchestra under Michael Tilson Thomas, A German Requiem with the Boston Symphony Orchestra and Andris Nelsons, and Beethoven’s Symphony No. 9 with the New York Philharmonic and Alan Gilbert.

Ms. Tilling’s many recordings include three recital discs with Paul Rivinius on the BIS label: the most recent, I Skogen (July 2015), is a celebration of Nordic composers. She appears on Haydn’s The Creation with the Bavarian Radio Symphony Orchestra and Haitink, and Handel’s The Resurrection with Le Concert d’Astree and Emmanuelle Haim, and she performs the role of Ilia in Mozart’s Idomeneo on DVD from Teatro alla Scala conducted by Daniel Harding.

Learn more about Camilla Tilling

×

Daniela Mack

Mezzo-Soprano

Daniela Mack

Mezzo-Soprano

Mezzo-Soprano

This season mezzo-soprano Daniela Mack makes her debuts with the New York Philharmonic, in Beethoven’s Symphony No. 9 led by Alan Gilbert; at the Royal Opera House, Covent Garden, as Rosina in Rossini’s The Barber of Seville; at The Metropolitan Opera, as the Kitchen Boy in Mary Zimmerman’s new production of Dvořák’s Rusalka; and at Florida Grand Opera as the title role in Bizet’s Carmen. Ms. Mack also returns to Arizona Opera as Angelina in Rossini’s La Cenerentola and Santa Fe Opera as Bradamante in Handel’s Alcina. Recently, she was seen at San Francisco Opera as Rosina in 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 Carmen and was seen in recital with tenor Alek Shrader at the Tucson Desert Song Festival. In concert Ms. Mack made debuts 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 made her MDR Leipzig Radio Symphony Orchestra debut in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. 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 La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut on 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

×

Joseph Kaiser

Tenor

Joseph Kaiser

Tenor

Joseph Kaiser New York Philharmonic

Tenor

Tenor Joseph Kaiser enjoys success in opera, oratorio, and concert appearances throughout North America and Europe. With his versatility and strength as an actor, he has worked with leading stage directors including Robert Carsen, Christof Loy, David McVicar, Peter Sellars, and Stephen Wadsworth.

He regularly appears with the Berlin Philharmonic and the Boston, Montreal, Berlin Radio, and Vienna Radio symphony orchestras. Concert highlights include Beethoven’s Fidelio with Jérémie Rhorer conducting Le Cercle de l’Harmonie on a European tour; Mozart’s Requiem with Ivor Bolton and the Vienna Radio Symphony Orchestra; Schumann’s Das Paradies und die Peri with Simon Rattle and The Philadelphia Orchestra; Berlioz’s Requiem, both with Marek Janowski and the combined forces of Zurich’s Tonhalle Orchestra and the Orchestre de la Suisse Romande, and with Donald Runnicles both with the 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 have included 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 Richard Strauss’s Capriccio at the Opéra National de Paris; Mozart’s The Magic Flute and Richard Strauss’s Salome at the Royal Opera House, Covent Garden; Martinů’s Juliette at the Opernhaus Zürich; Eugene Onegin and Handel’s Theodora at the Salzburg Festival; and many appearances at The Metropolitan Opera including in Gounod’s Roméo et Juliette, The Magic Flute, Salome, Handel’s Rodelinda, and Britten’s A Midsummer Night’s Dream.

Learn more about Joseph Kaiser

×

Eric Owens

Bass-Baritone

Eric Owens

Bass-Baritone

Eric Owens by Paul Sirochman

Bass-Baritone

Bass-baritone Eric Owens launched the 2016–17 season with his role debut as Wotan in David Pountney’s new production of Wagner’s Das Rheingold at Lyric Opera of Chicago. He sings a trio of operas at The Metropolitan Opera: the house’s premiere of Kaijo Saariaho’s L’Amour de Loin, a new production of Dvořák’s Rusalka under Mark Elder, and a revival of Mozart’s Idomeneo conducted by James Levine. Other highlights include recitals with Susanna Phillips at Carnegie Hall and Lawrence Brownlee at Lyric Opera of Chicago, The Metropolitan Opera’s 50th anniversary at Lincoln Center gala, and, for the third time, he joins the Chicago Symphony Orchestra’s Negaunee Music Institute to present an interactive recital for incarcerated youth with Riccardo Muti and Joyce DiDonato. He rounds out his season singing Rimsky-Korsakov’s Le Coq d’Or at Santa Fe Opera.

Mr. Owens collaborates regularly with Muti, Simon Rattle, Michael Tilson Thomas, Alan Gilbert, Esa-Pekka Salonen, Franz Welser-Möst, Andrew Davis, Osmo Vänskä, and Donald Runnicles. In addition to performing with leading opera companies in Europe and North America, he has appeared with orchestras including the New York, Berlin, and Los Angeles philharmonic orchestras; Chicago, Boston, Toronto, Bavarian Radio, Atlanta, St. Louis, Baltimore, and Swedish Radio symphony orchestras; and the Cleveland and Minnesota Orchestras. Mr. Owens is featured on several recordings including excerpts from Richard Strauss operas (Telarc) and John Adams’s A Flowering Tree (Nonesuch Records) and Doctor Atomic (Sony).

A Philadelphia native, Eric Owens began studying piano at age six, and at eleven began formal oboe training under Lloyd Shorter of the Delaware Symphony and Louis Rosenblatt of The Philadelphia Orchestra. He studied voice while an undergraduate atTempleUniversity and as a graduate student at the Curtis Institute of Music. He currently studies withArmen Boyajian. He serves on the boards of the National Foundation for Advancement in the Arts and Astral Artistic Services.

Learn more about Eric Owens

×

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 83 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 Mass in C minor 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

×
×

Purchase 3 or more eligible concerts & save.

About Create Your Own Series:

Pick three (or more) concerts and and enjoy exclusive Subscriber Benefits including unlimited free ticket exchange. Ideal for concertgoers who want the ultimate in flexibility and the benefits of being a subscriber.

Subscriber Benefits:

  • Free, easy ticket exchange (available online or by phone)
  • Save on subscription concerts all year long
  • Priority notice on special events

How it Works:

  1. Look for the Create Your Own Series icon CYO eligible icon next to a concert and add it to your cart.
  2. Simply follow the directions in the shopping cart and enter promo code CREATE3 at check out.
Go to top