Sunday Afternoons

Ramón Tebar, conductor

Benjamin Beilman, violin

Sibelius’s First Symphony arrives with the composer’s icy and expansive musical language fully formed, forged from influences by Strauss, Tchaikovsky, Berlioz and Beethoven. Violinist Benjamin Beilman joins the CSO for Saint-Saëns’ Third Concerto, a piece that oozes melodic and technical exuberance. Wang Lu’s Surge bottles the rush of hearing an orchestra for the very first time.

Marin Alsop, conductor

May Festival Chorus

Conductor Marin Alsop leads the CSO in essential classics by Leonard Bernstein and Dmitri Shostakovich. The May Festival Chorus joins for Bernstein’s Chichester Psalms, sacred music that illuminates a path to eternal peace, and which notably includes music cut from the Prologue of West Side Story. Shostakovich’s Leningrad martials every artistic defense, and might of the whole Orchestra, against a merciless and tyrannical siege threatening to consume all. 

Matthias Pintscher, conductor

George Li, piano

Rachmaninoff’s Third Piano Concerto churns with uber-romantic melodies and Unsuk Chin’s music delights in contrasts. Copland’s last symphony, ringing with bells and brass, brings us home. The finale builds on Fanfare for the Common Man — an enduring masterpiece written for and premiered by the CSO at Music Hall — signaling the culmination and convergence of the composer’s entire career.

Cristian Măcelaru, conductor

Randall Goosby, violin

Dvořák’s New World Symphony moves with magnificent energies and melodies that feel like home. Hearing it performed by the CSO at Music Hall is a must-have experience. Randall Goosby, a new champion of Florence Price’s solo works, returns for the composer’s Second Violin Concerto plus Chausson’s most popular work. Selections from Wynton Marsalis Blues Symphony trace the blueprints of a quintessential American style.

Giancarlo Guerrero, conductor

Masabane Cecilia Rangwanasha, soprano

Take a musical tour of Rome with the Cincinnati Symphony Orchestra. Two of Respighi’s epic showpieces bring rushing fountains, towering pines, mysterious catacombs, and triumphant Roman legions to Music Hall. Richard Strauss’ final work, four hauntingly beautiful last songs, sing of acceptance, transformation, and fruition at the end of one’s long journey.

Sir Donald Runnicles, conductor
Maria Ioudenitch, violin

Sir Donald Runnicles leads a peak orchestral experience. Violinist Maria Ioudenitch brings elegance and poise to Mendelssohn’s soaring violin concerto. Strauss’ An Alpine Symphony follows the path of a mountain ascent, from dawn until night, through mist and storms, darkness and unfathomable heights, taking you to another world from the very first chords. Where it leads is nothing less than a total exploration of the possibilities of sound and the CSO at Music Hall.