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The 2026 Festival opens with a once-in-a-generation violinist: Himari, a 14-year-old phenomenon who has already collected substantial awards and recognition, performs Sibelius’s Concerto for Violin, full of Nordic snow and moody skies. Just as Sibelius invokes his native Finland, Tchaikovsky’s dramatic Fifth Symphony is infused with Russian colors. Composer Carter Pann also unveils a brand new piece of music to celebrate the start of the Festival season.

“Pianist Yuja Wang is a dazzler,” claims Cleveland Classical. “She has a way of dressing, of taking the stage, and of bowing that bespeaks confidence and star quality.” In her Festival debut, Wang plays Barber’s Pulitzer Prize-winning Piano Concerto, a spectacular rainbow of sound. Music Director Peter Oundjian leads Bernstein’s vibrant Symphonic Dances from West Side Story, as well as short works from Prokofiev and Saint-Saëns.

“Pianist Yuja Wang is a dazzler,” claims Cleveland Classical. “She has a way of dressing, of taking the stage, and of bowing that bespeaks confidence and star quality.” In her Festival debut, Wang plays Barber’s Pulitzer Prize-winning Piano Concerto, a spectacular rainbow of sound. Music Director Peter Oundjian leads Bernstein’s vibrant Symphonic Dances from West Side Story, as well as short works from Prokofiev and Saint-Saëns.

Former Colorado Symphony Music Director Jeffrey Kahane returns to the Festival stage to lead all six of Bach’s celebrated Brandenburg Concertos with the help of “brilliantly stylish” trumpeter Caleb Hudson (New York Times). Possibly the most revered of all Baroque music, this complete set of Bach’s masterpieces should be on every music-lover’s bucket list.

Six-time Grammy-winning conductor and Music Director Laureate of the Detroit Symphony Orchestra Leonard Slatkin joins the Festival for a program celebrating the distinctive American sound. This spotlight on American composers begins with Aaron Copland’s Rodeo with its iconic “Hoedown,” followed by a chaconne from John Corigliano’s romantic score for the film The Red Violin. After the break: Ron Nelson’s paean to the South’s Savannah River, a haunting adagio by “unmistakably American-sounding” Cindy McTee (Washington Post), and finally George Gershwin’s jazzy symphonic poem An American in Paris.

Six-time Grammy-winning conductor and Music Director Laureate of the Detroit Symphony Orchestra Leonard Slatkin joins the Festival for a program celebrating the distinctive American sound. This spotlight on American composers begins with Aaron Copland’s Rodeo with its iconic “Hoedown,” followed by a chaconne from John Corigliano’s romantic score for the film The Red Violin. After the break: Ron Nelson’s paean to the South’s Savannah River, a haunting adagio by “unmistakably American-sounding” Cindy McTee (Washington Post), and finally George Gershwin’s jazzy symphonic poem An American in Paris.

Music Director Peter Oundjian begins this all-Mozart marvel with a mysterious serenade for winds, which broods before turning suddenly buoyant. At the keyboard for Mozart’s Piano Concerto No. 20 is Tony Siqi Yun, a nuanced performer who plays with “every note personalized” (Musical America). Closing this revel of Mozart’s genius is his Haffner Symphony, a staggering work of energy and invention.

Conductor Gemma New returns to lead a varied program, beginning with Prokofiev’s cheerful “Classical” Symphony, which he referred to as “a symphony as Mozart or Hayden might have written it.” Ricardo Morales joins the Festival Orchestra to perform Copland’s Clarinet Concerto — penned during a four-month tour of Latin America, the pulsing rhythms of Brazil are woven throughout Copland’s trademark jazz and lyricism. Morales continues with one of music’s finest showcases for the clarinet, Rossini’s challenging Introduction, Theme, and Variations. The program concludes with Ravel’s beloved Ma mère l’oye (Mother Goose) suite, where we meet Sleeping Beauty, Tom Thumb, Beauty and the Beast, and more.

Music Director Peter Oundjian continues his tradition of closing the Festival season with a massive Mahler symphony. Mahler referred to his sunny Third as “A Summer’s Midday Dream,” and was aware he was defying symphonic convention as he wrote it, saying, “But to write a symphony means, to me, to construct a world with all the tools of the available technique.” Grammy Award-winning mezzo soprano Fleur Barron and the Boulder Children’s Chorus join the Festival Orchestra to give this epic symphony its voice.