“ Grimaud doesn't sound like most pianists,” proclaims The New Yorker, also calling her “a reinventor of phrasings” and “taker of chances;” here she opens the 2025 Festival season with Brahms’ monumental First Piano Concerto. Surrounding Brahms’ intense work are familiar showstoppers: Ravel’s famously unrelenting Boléro, a dreamy suite from the ballet Daphnis et Chloé, and fantastic musical fireworks by Stravinsky.

“ Grimaud doesn't sound like most pianists,” proclaims The New Yorker, also calling her “a reinventor of phrasings” and “taker of chances;” here she opens the 2025 Festival season with Brahms’ monumental First Piano Concerto. Surrounding Brahms’ intense work are familiar showstoppers: Ravel’s famously unrelenting Boléro, a dreamy suite from the ballet Daphnis et Chloé, and fantastic musical fireworks by Stravinsky.

The Philadelphia Inquirer calls violinist Benjamin Beilman “poised and monstrously talented;” Beilman takes the stage with Mozart’s Fifth Violin Concerto, best known for its final movement’s “Turkish” style. Guest conductor Chloé Van Soeterstède leads the Festival through this all-Mozart program, which also includes the composer’s animated Symphony No. 34 as well as overtures to two of his most popular operas, Don Giovanni and The Marriage of Figaro.

Beethoven’s Third Piano Concerto finds the composer moving toward his own personal style, displaying what would become his hallmark drama, spirit, and agitation; pianist Yeol Eum Son brings a “fearlessly fast articulation” (The Times) to the stage. Sofia Gubaidulina’s striking “Fairytale Poem” draws inspiration from a children’s story about creativity, and its music is fittingly full of color. Guest conductor Ryan Bancroft conducts this dynamic program, which also includes Shostakovich’s Tenth; written shortly after the Soviet dictator Stalin’s death, this symphony is rife with terror, passion, and oppression — until one final, hopeful ray of light.

Beethoven’s Third Piano Concerto finds the composer moving toward his own personal style, displaying what would become his hallmark drama, spirit, and agitation; pianist Yeol Eum Son brings a “fearlessly fast articulation” (The Times) to the stage. Sofia Gubaidulina’s striking “Fairytale Poem” draws inspiration from a children’s story about creativity, and its music is fittingly full of color. Guest conductor Ryan Bancroft conducts this dynamic program, which also includes Shostakovich’s Tenth; written shortly after the Soviet dictator Stalin’s death, this symphony is rife with terror, passion, and oppression — until one final, hopeful ray of light.

Classical guitarist Xuefei Yang, known for her “feisty virtuosity, impeccable technique and sensitive musicianship” (New York Times), performs Rodrigo’s florid Concierto de Aranjuez; Rodrigo set out to evoke “the fragrance of magnolias, the singing of birds, and the gushing of fountains” of a royal estate in the Spanish city of Aranjuez. Kodály’s beguiling Dances of Galánta, which adapts sprightly Hungarian folk tunes, makes an exuberant dance partner for Rodrigo’s Concierto. After intermission, Schubert breaks free of classical conventions with his light and airy Fifth Symphony.

Possibly the single most treasured symphony ever written — especially its beloved “Ode to Joy” — Beethoven’s influential Ninth Symphony celebrates brotherhood, forgiveness, and the quest for peace. Music Director Peter Oundjian conducts this masterwork, which also welcomes to the Festival stage soprano Lauren Snouffer, mezzo-soprano Abigail Nims, tenor Issachah Savage, bass Benjamin Taylor, and St. Martin’s Chamber Choir. Composer Michael Abels’ Amplify, co-commissioned by the Festival, opens the program; on top of his Pulitzer Prize-winning compositions for opera, audiences may recognize Abels’ work from film scores such as Get Out, Us, Chevalier, and more.