Calendar

“My chief aim was to awaken and permanently instill spiritual feelings not only in the singers but in the listeners,” said Beethoven of his immense and moving Missa solemnis (“Solemn Mass”). Observing the structure of a traditional Catholic mass, Missa solemnis is a vibrant paean to faith but also to humanity. This concert concludes Music Director Ken-David Masur’s final season as well as the Milwaukee Symphony Chorus’ 50th anniversary celebration. As Beethoven penned at the top of his score: “From the heart: may it go to the heart.”

“My chief aim was to awaken and permanently instill spiritual feelings not only in the singers but in the listeners,” said Beethoven of his immense and moving Missa solemnis (“Solemn Mass”). Observing the structure of a traditional Catholic mass, Missa solemnis is a vibrant paean to faith but also to humanity. This concert concludes Music Director Ken-David Masur’s final season as well as the Milwaukee Symphony Chorus’ 50th anniversary celebration. As Beethoven penned at the top of his score: “From the heart: may it go to the heart.”

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

FRITZ KREISLER (1875–1962)

Marche miniature viennoise
Viennese Rhapsodic Fantasietta

DONGHOON SHIN (b.1983)

Sonnets to Orpheus for Mezzo-soprano and String Quartet 

U.S. Premiere | CMNW Co-Commission

JOHANNES BRAHMS (1833–1897)

Piano Quartet No. 1 in G Minor, Op. 25 (38’)
I. Allegro
II. Intermezzo: Allegro ma non troppo – Trio: Animato
III. Andante con moto
IV. Rondo all Zingarese: Presto

FRITZ KREISLER (1875–1962)

Marche miniature viennoise
Viennese Rhapsodic Fantasietta

DONGHOON SHIN (b.1983)

Sonnets to Orpheus for Mezzo-soprano and String Quartet 

U.S. Premiere | CMNW Co-Commission

JOHANNES BRAHMS (1833–1897)

Piano Quartet No. 1 in G Minor, Op. 25 (38’)
I. Allegro
II. Intermezzo: Allegro ma non troppo – Trio: Animato
III. Andante con moto
IV. Rondo all Zingarese: Presto

MAURICE RAVEL (1875–1937)

Chansons madécasses, M. 78
I. Nahandove: Andante quasi allegretto
II. Aoua: Andante
III. Il est doux: Lento

STEVEN BANKS (b. 1993)

New Work for Mezzo-soprano and Chamber Ensemble
West Coast Premiere | CMNW Co-Commission

TCHAIKOVSKY

String Sextet in D Minor, Op. 70, Souvenir de Florence (1892)
I. Allegro con spirito
II. Adagio cantabile e con moto
III. Allegro moderato
IV. Allegro vivace

MAURICE RAVEL (1875–1937)

Chansons madécasses, M. 78
I. Nahandove: Andante quasi allegretto
II. Aoua: Andante
III. Il est doux: Lento

STEVEN BANKS (b. 1993)

New Work for Mezzo-soprano and Chamber Ensemble
West Coast Premiere | CMNW Co-Commission

TCHAIKOVSKY

String Sextet in D Minor, Op. 70, Souvenir de Florence (1892)
I. Allegro con spirito
II. Adagio cantabile e con moto
III. Allegro moderato
IV. Allegro vivace

PURCELL
Four Songs (arr. Adès)
Come Unto these Yellow Sands
Full Fathom Five
An Evening Hymn
By Beauteous Softness

ADÈS
Concerto Conciso

BRAHMS
Piano Quintet in F Minor, Op. 34

LUTOSŁAWSKI
Variations on a Theme by Paganini

WILLIAMS
Quartet La Jolla (2011)

STEVEN BANKS
New Work (2026)

TCHAIKOVSKY
Souvenir de Florence

Adapted from the Oscar Wilde play of the same name, Salome has been thrilling and shocking audiences since its premiere in 1905. And it's easy to see why: a biblical story complete with a lecherous king, a willful princess, and an unyielding prophet is bound to get attention. Add in a power struggle, a dangerous obsession, and a dance that scandalizes audiences to this day, all set to Strauss's iconic music, and you're in for a wild and gripping performance.

Adapted from the Oscar Wilde play of the same name, Salome has been thrilling and shocking audiences since its premiere in 1905. And it's easy to see why: a biblical story complete with a lecherous king, a willful princess, and an unyielding prophet is bound to get attention. Add in a power struggle, a dangerous obsession, and a dance that scandalizes audiences to this day, all set to Strauss's iconic music, and you're in for a wild and gripping performance.

Adapted from the Oscar Wilde play of the same name, Salome has been thrilling and shocking audiences since its premiere in 1905. And it's easy to see why: a biblical story complete with a lecherous king, a willful princess, and an unyielding prophet is bound to get attention. Add in a power struggle, a dangerous obsession, and a dance that scandalizes audiences to this day, all set to Strauss's iconic music, and you're in for a wild and gripping performance.

Adapted from the Oscar Wilde play of the same name, Salome has been thrilling and shocking audiences since its premiere in 1905. And it's easy to see why: a biblical story complete with a lecherous king, a willful princess, and an unyielding prophet is bound to get attention. Add in a power struggle, a dangerous obsession, and a dance that scandalizes audiences to this day, all set to Strauss's iconic music, and you're in for a wild and gripping performance.

Adapted from the Oscar Wilde play of the same name, Salome has been thrilling and shocking audiences since its premiere in 1905. And it's easy to see why: a biblical story complete with a lecherous king, a willful princess, and an unyielding prophet is bound to get attention. Add in a power struggle, a dangerous obsession, and a dance that scandalizes audiences to this day, all set to Strauss's iconic music, and you're in for a wild and gripping performance.

World Premiere of a new Festival-commissioned song cycle by Gregory Spears

Michael Fabiano takes on the tour-de-force title role of what many consider the ultimate Italian opera, Verdi’s monumental Shakespearean tragedy. Beloved soprano Angel Blue make her company role debut as the long-suffering Desdemona, alongside baritone Amartuvshin Enkhbat as the sinister Iago. Daniele Rustioni leads the full forces of the Met Orchestra and Chorus in the exhilarating score.

Michael Fabiano takes on the tour-de-force title role of what many consider the ultimate Italian opera, Verdi’s monumental Shakespearean tragedy. Beloved soprano Angel Blue make her company role debut as the long-suffering Desdemona, alongside baritone Amartuvshin Enkhbat as the sinister Iago. Daniele Rustioni leads the full forces of the Met Orchestra and Chorus in the exhilarating score.