Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
CHAMBER MUSIC SOCIETY OF LINCOLN CENTER at Alice Tully Hall (April 28, 5 p.m.). Mendelssohn is the focus of this concert, which features artists including the pianist Inon Barnatan and the violinist Cho-Liang Lin. Mendelssohn himself is represented by a brief “Lied Ohne Worte” for cello and piano and the Piano Trio No. 2; his influence, by pieces by Schumann, Brahms and Tchaikovsky.
NEW WORLD SYMPHONY at Carnegie Hall (May 1, 8 p.m.; May 2, 7:30 p.m.). Michael Tilson Thomas brings to New York an ensemble he helped found 31 years ago as a kind of finishing school for orchestral musicians. On Wednesday, they perform a big, traditional symphonic concert, with Berlioz’s “Symphonie Fantastique,” the New York premiere of Julia Wolfe’s “Fountain of Youth” and Prokofiev’s Piano Concerto No. 5, with the pianist Yuja Wang. On Thursday at Zankel Hall, in addition to a string-orchestra version of Schubert’s “Death and the Maiden” quartet, there are works by Tilson Thomas himself, including solo piano pieces performed by Wang and “Four Preludes on Playthings of the Wind,” written for the soprano Measha Brueggergosman.
[Read about the events that our other critics have chosen for the week ahead.]
NEW YORK PHILHARMONIC at David Geffen Hall (May 2, 7:30 p.m.; through May 4). Semyon Bychkov leads the Philharmonic for a second straight week, helming Bruch’s Concerto for Two Pianos, with Katia and Marielle Labèque at the keyboards, and Strauss’s “Ein Heldenleben.”
GARRICK OHLSSON at the 92nd Street Y (April 28, 3 p.m.). Ohlsson continues his survey of the piano works of Brahms with a concert focusing on works dedicated to, or in part about, Clara Schumann. The music stretches across Brahms’s life, as did his infatuation: the Sonata in F sharp minor, Op. 2; the Handel Variations, Op. 24; and the late, reflective sets of miniatures, Op. 117 and Op. 118.
THE ORCHESTRA NOW at Carnegie Hall (May 2, 7 p.m.). Only Leon Botstein, the conductor, could have come up with something like this — a concert made up of four settings of Psalm 130, “De Profundis,” all completely different. Virgil Thomson’s is for an a cappella choir, sung by the Bard Festival Chorale; Joachim Raff’s is for an orchestra, an eight-part choir and a soprano (here, Elizabeth de Trejo); Lera Auerbach’s is a violin concerto, with the soloist Vadim Repin; and, best of all, there’s a chance to hear the mighty version by Lili Boulanger, a prodigy who died far too young, at just 24, in 1918.
‘LA SUSANNA’ at BAM Fisher (May 2, 8 p.m.; through May 5). Heartbeat Opera has made a specialty of reinterpreting operas from the past in light of the present, and their staging here of Alessandro Stradella’s 1681 oratorio is no exception: It’s a tale of sex and power rethought for the #MeToo moment. Opera Lafayette provides the music, under the direction of Ryan Brown and Jacob Ashworth, with a cast that includes Sara Couden as Testo, the narrator who is recast here as a feminist scholar analyzing the piece in real time. Lucía Martín-Cartón is Susanna, Ariana Douglas is Daniel, and Patrick Kilbride and Paul Max Tipton are the Judges.
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