Having shortened the current season due to disruptions caused by the coronavirus pandemic, Carnegie Hall announced on Tuesday that it will return to full programming next season, with more than 150 shows planned.
The 2022-2023 season, which is scheduled to run from September to June, will feature a variety of soloists and ensembles typical of a host, with a particular focus on female musicians and composers.
“We wanted to show that in every area of music, whether it be jazz, classical or world music, there are truly outstanding women recognized as such on the world stage,” Clive Gillinson, executive and artistic director of Carnegie, said in an interview. .
The season’s line-up includes prominent pianist Mitsuko Uchida and singer-songwriter Rhiannon Giddens, each hosting the Perspectives concert series; flutist Claire Chase as an artist in residence; and performances by conductors including Marin Alsop, who will conduct the São Paulo Symphony in its Carnegie debut, and Suzanne Mälkki, who will conduct the Helsinki Philharmonic Orchestra, which is going to Carnegie for the first time in more than half a century.
The programming was also inspired by the war in Ukraine. In February, the Lviv National Philharmonic Orchestra of Ukraine will perform in the hall, performing Tchaikovsky’s First Piano Concerto with the participation of Ukrainian-American pianist Stanislav Khristenko.
“This is a turning point in history,” Gillinson said. “It is very important that the dictator does not win. We felt we needed to openly support Ukraine.”
According to Gillinson, Carnegie originally planned to open the season with three concerts by Russian conductor Valery Gergiev and the Mariinsky Theater Orchestra. But Hall abandoned those plans after Russia’s invasion of Ukraine in February, when Gergiev, a longtime friend and supporter of Russian President Vladimir Putin, became the target of universal condemnation.
Instead, the Philadelphia Orchestra and its music director Yannick Nézet-Séguin will take the stage on opening night on September 29, performing Ravel’s Waltz; Chasky by Gabriela Lena Frank from Leyenda: A Walk in the Andes; Symphony No. 8 by Dvořák; and Liszt’s Piano Concerto No. 1 featuring Russian pianist Daniil Trifonov. (The Philadelphians rescheduled their premiere to invite Carnegie to one of the many performances in the hall next season; this is not the first time during the war in Ukraine that Nézet-Séguin has come to the aid of the audience.)
Gillinson said he was optimistic about the audience. Attendance since the venue reopened in October has been relatively high, at about 88 percent, compared to 91 percent before the pandemic, although there have been fewer concerts overall.
Among the suggestions, here are 15 highlights selected by New York Times critics and writers.
Maurizio Pollini, 16 October.
Pollini turns 80 this year, so take every opportunity to hear from this most inspiring pianist, especially in the repertoire he has built over six decades of his career. He plays Schumann’s Arabesque and Fantasia in C major before Chopin’s second half, including Ballade No. 4 and Scherzo No. 1. DAVID ALLEN
Birmingham Symphony Orchestra, 22 October.
Although the outgoing musical director of this ensemble, Mirga Gražinytė-Tila, has no plans to climb the podium of another orchestra anytime soon, she is at least taking over the baton for this tour stop, which includes Elgar’s Cello Concerto with the charismatic Sheku. Kanne-Mason; “Sea” Debussy; and, most importantly, the New York premiere of Thomas Ades’ “Angel Destroyer” symphony. JOSHUA BARON
Los Angeles Philharmonic, October 25-26.
The Philharmonic, absent from Carnegie for over three decades, is more likely to perform at Lincoln Center instead. The orchestra will now premiere in New York “Cayumari” and the Violin Concerto by Gabriela Ortiz with Maria Dueñas as soloist, as well as “Fandango” by Arturo Marquez. for violin and orchestra” with the participation of Anna Akiko Meyers. JAVIER C. HERNANDEZ
Jean Rondo, 27 October.
This harpsichordist’s recent recording of Bach’s Goldberg Variations is meditative, sensual even when awake, and is an hour and 45 minutes long. Variations become worlds to get lost in, less intense dramas than thrilling explorations of texture and sound, an effect that may well be heightened when he plays the piece in Weill’s intimate concert hall. Zachary Woolf
Beatrice Rana, 28 October.
Praise be to Beatrice Rana, a sensitive, insightful pianist who begins to do the hard work of challenging the prejudices of the inherited repertoire. She will play the Clara Schumann Youth Piano Concerto with Nézet-Séguin and the Philadelphia Orchestra. Rana returns with a comparatively traditional recital by Bach, Debussy and Beethoven on 20 April. ALLEN
Davone Tynes, November 3
His voice and presence are both serene yet seething, this bass-baritone creative programmer as well as a gifted singer has toured with his reimagining of the traditional Mass, which includes music past and present including works by Caroline Shaw, Bach, Margaret Bonds and Julius Eastman, as well as spirituals reimagined by Moses Hogan and Tyshawn Sorey. WOLF
Berlin Philharmonic, November 10-12
When this distinguished orchestra last performed at Carnegie in 2016, it performed Mahler’s Seventh Symphony. Performing there for the first time under the baton of his current chief conductor Kirill Petrenko, he returns the Seventh, and two days later he does it again. Between them is the program of Andrew Norman, Mozart and Korngold – the big Symphony in F sharp, which Petrenko recently defended. WOLF
Cleveland Orchestra, January 18th.
America’s Best Orchestra will perform just once next season, but with a program that draws fascinating parallels between two of his music director Franz Welser-Möst’s favorite composers. Berg’s Lyric Suite intertwines with Schubert’s darkly unfinished Symphony No. 8 before a rare performance of Schubert’s late, brooding Mass in E-flat. ALLEN
Third Coast Percussion, January 20
In collaboration with dance organization Movement Art Is, this reliably innovative percussion quartet will continue to innovate their repertoire. Already well-acquainted with the works of John Cage, Steve Reich and Dev Hines, at Carnegie the band will perform Thiondai Braxton’s “Sunny X”, Jlean’s “Perspective” and their own arrangements of excerpts from Philip Glass’s “Aguas da Amazonia”. SETH COULTER WALLS
Philadelphia Orchestra, January 28
One piano concerto by Rachmaninoff is frightening. But all four in one evening, and his “Rhapsody on a Theme of Paganini”? This Herculean task has never been solved at Carnegie, but Yuja Wang will take on keyboards under Nézet-Séguin in the composer’s 150th birthday program. HERNANDES
Lviv National Philharmonic Orchestra of Ukraine, February 15
After the Russian invasion, many members of the Lviv National Philharmonic Orchestra of Ukraine were separated – some remained in the country, others fled as refugees. At Carnegie, they will unite to play Brahms’ Tragic Overture, Tchaikovsky’s concerto with Khristenko, and Dvorak’s New World Symphony as part of a tour led by Ukrainian-American conductor Teodor Kuchar. HERNANDES
Mitsuko Uchida February 24
One of our leading and most sensitive pianists, Uchida’s most recent performances at Carnegie were in works by Schubert and Mozart, two composers on whom she has built her reputation. More underestimated, but no less perfect, are her interpretations of Beethoven, an excerpt from which is included in the program of his cosmic final piano sonatas. BARON
Ensemble Intercontemporain, March 25
The musical director of this group, Matthias Pintscher, will perform Schoenberg’s Five Pieces, Op. 16 and Pincher’s Sonic Eclipse. But the real succulent is Derive 2, the grandiose (and long overdue) work of Pierre Boulez, the avant-garde artist who founded Ensemble Intercontemporain. WALLS
Philadelphia Orchestra, March 31
As in recent months, Nézet-Séguin and this ensemble – one of three he directs, including the Metropolitan Opera Orchestra, another Carnegie piece – will actually be in residence next season. Their most intriguing program is the contrast between that of John Luther Adams. climate meditation “Vespers of the Blessed Land” with the participation of the choral group “Crossing” and “The Rite of Spring” by Stravinsky. WALLS
Claire Chase, 25 May.
Chase’s Density 2036, a multi-year initiative to commission a new flute repertoire to coincide with the centenary of Varèse’s Density 21.5, has so far failed to please Carnegie fans. But the project is moving from the Kitchen to the city center, with Parts I and II coming out on May 18, followed by Part X a week later: Anna Thorvaldsdottir’s world premiere. BARON