The world-renowned Philadelphia Orchestra strives to share the transformative power of music with the widest possible audience, and to create joy, connection, and excitement through music in the Philadelphia region, across the country, and around the world. Through innovative programming, robust education initiatives, a commitment to its diverse communities, and the embrace of digital outreach, the ensemble is creating an expansive and inclusive future for classical music, and furthering the place of the arts in an open and democratic society.

Yannick Nézet-Séguin is now in his 12th season with The Philadelphia Orchestra, serving as music and artistic director. His connection to the ensemble’s musicians has been praised by both concertgoers and critics, and he is embraced by the musicians of the orchestra, audiences, and the community.

Your Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia year-round, in Verizon Hall and around the community, in classrooms and hospitals, and over the airwaves and online. The orchestra’s award-winning education and community initiatives engage more than 50,000 students, families, and community members of all ages through programs such as PlayINs; side-by-sides; PopUP concerts; Our City, Your Orchestra Live; School Concerts; sensory-friendly concerts; open rehearsals; the School Partnership Program and School Ensemble Program; All City Orchestra Fellowships; and residency work in Philadelphia and abroad. The orchestra’s free online video series, Our City, Your Orchestra (OCYO), uncovers and amplifies the voices, stories, and causes championed by unique Philadelphia organizations and businesses. Joining OCYO in connecting with the community is HearTOGETHER, a free monthly podcast featuring artists and activists who discuss music, social justice, and the lived experiences that inform the drive to create a more equitable and inclusive future for the arts.

Through concerts, tours, residencies, and recordings, the orchestra is a global ambassador and one of our nation’s greatest exports. It performs annually at Carnegie Hall, the Mann Center, the Saratoga Performing Arts Center, and the Bravo! Vail Music Festival. The orchestra also has a rich touring history, having first performed outside Philadelphia in its earliest days. In 1973, it was the first American orchestra to perform in the People’s Republic of China, launching a five-decade commitment of people-to-people exchange.

Under Yannick’s leadership, the orchestra returned to recording with 13 celebrated releases on the Deutsche Grammophon label, including the Grammy Award–winning Florence Price Symphonies Nos. 1 & 3. The orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit philorch.org.

Nathalie Stutzmann began her role as The Philadelphia Orchestra’s principal guest conductor with the 2021–2022 season; she holds the Ralph and Beth Johnston Muller Chair. The three-year contract involves a regular presence in the orchestra’s subscription season and at its summer festivals in Vail, Colorado, and Saratoga Springs, New York. She is also music director of the Atlanta Symphony Orchestra, only the second woman in history to lead a major American orchestra.

Ms. Stutzmann made her debut at the 2023 Bayreuth Festival with Wagner’s Tannhäuser, which led to her being named Best Conductor at the 2024 Oper! Awards. The 2022–2023 season also saw her debut at the Metropolitan Opera with productions of both Mozart’s The Magic Flute and Don Giovanni. This season, she leads the Atlanta Symphony Orchestra in 12 programs at home and on a West Coast tour; debuts with the Swedish Radio Symphony Orchestra, and returns to the London Symphony Orchestra for Bruckner’s Te Deum and his Seventh and Ninth symphonies; conducts Wagner’s Der fliegende Holländer at the Teatro Regio Torino; and returns to Bayreuth in summer 2024. Throughout the season, she maintains a strong presence at the Philharmonie de Paris, where she appears with the Orchestre de Paris and the Orchestre national du Capitole de Toulouse; she also chaired the La Maestra Competition jury.

An exclusive recording artist for Warner Classics / Erato, Ms. Stutzmann was awarded the 2023 Opus Klassik Concerto Recording of the Year for the Glière and Mosolov harp concertos with Xavier de Maistre and the WDR Symphony Orchestra Cologne on Sony. Her recording of the complete Beethoven piano concertos with Haochen Zhang and The Philadelphia Orchestra for BIS was released in 2022.

Ms. Stutzmann began her studies in piano, bassoon, and cello at a young age, and she studied conducting with the legendary Finnish teacher Jorma Panula. As one of today’s most esteemed contraltos, she has made more than 80 recordings and received the most prestigious awards. Recognized for her significant contribution to the arts, she was named a Chevalier de la Légion d’Honneur, France’s highest honor, and a Commandeur dans l’Ordre des Arts et des Lettres by the French government.

Erin Morley is one of today’s most sought-after lyric coloratura sopranos. A recipient of the Beverly Sills Award and a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, she regularly appears on the greatest opera stages, including the Vienna and Bavarian state operas, Opéra national de Paris, Glyndebourne Opera, Santa Fe Opera, Los Angeles Opera, and Metropolitan Opera, where she has now sung more than 100 performances and been featured in five Live in HD broadcasts. This season, she makes her debut at the Royal Opera House, Covent Garden, as Gilda in Verdi’s Rigoletto and returns to the Bavarian State Opera as the Chief of Police and Venus in Ligeti’s Le grand macabre. Highlights of previous seasons include appearances at the Met as Sophie in Strauss’s Der Rosenkavalier and Pamina in a new production of Mozart’s The Magic Flute conducted by Nathalie Stutzmann, as well as Gilda in Rigoletto at the Vienna State Opera.

Equally at home on the concert stage, Ms. Morley has appeared with The Cleveland Orchestra, Chicago and Boston symphony orchestras, New York and Los Angeles philharmonics, Rotterdam Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, and Staatskapelle Dresden. In 2019, she performed a signature role, Cunegonde in Bernstein’s Candide, with Yannick Nézet-Séguin and The Philadelphia Orchestra. Concert highlights this season include a CD-release tour as Morgana in Handel’s Alcina with Les Musiciens du Louvre and Marc Minkowski to venues that include the Teatro alla Scala in Milan, Concertgebouw in Amsterdam, and Barbican Centre in London. Further concert engagements include Orff’s Carmina Burana with the Orchestre de Paris and Andrés Orozco-Estrada, Mozart’s Requiem with the Ensemble Pygmalion for her BBC Proms debut, and a gala concert with Washington Concert Opera.

Ms. Morley has appeared in recital around the world with pianist Vlad Iftinca and with pianist Ken Noda. Her many recordings include Isabelle in Meyerbeer’s Robert le diable at Opéra National de Bordeaux on the Bru Zane label, and Sophie in the Met’s Grammy-nominated Der Rosenkavalier on DVD/Blu-Ray for Decca.

One of today’s rare true altos, contralto Sara Mingardo is a highly sought-after and greatly appreciated interpreter of a vast repertory. She has worked with conductors such as Rinaldo Alessandrini, Ivor Bolton, Riccardo Chailly, Myung-Whun Chung, Paul Daniel, Colin Davis, John Eliot Gardiner, Emmanuelle Haïm, Marc Minkowski, Riccardo Muti, Sir Roger Norrington, Trevor Pinnock, Maurizio Pollini, Christophe Rousset, Jordi Savall, Peter Schreier, and Jeffrey Tate. Ms. Mingardo has performed with many prestigious international orchestras, including the Berliner Philharmoniker, London and Boston symphony orchestras, Orchestre National de France, Les Musiciens du Louvre, Monteverdi Choir & Orchestras, Concerto Italiano, Les Talens Lyriques, and Academia Montis Regalis. She enjoyed a particularly intense and fruitful collaboration with Claudio Abbado, who conducted her in important operas, concerts, and recordings.

Ms. Mingardo’s vast concert repertoire includes works by Pergolesi, J. S. Bach, Beethoven, Brahms, Dvořák, Mahler, and Respighi, and she has appeared in operas by Gluck, Monteverdi, Handel, Vivaldi, Rossini, Verdi, Cavalli, Mozart, Donizetti, R. Schumann, and Berlioz. She studied with Franco Ghitti at the Conservatorio di Musica Benedetto Marcello in Venice, her native city, and completed her studies with a scholarship at the Accademia Musicale Chigiana in Siena.

Winner of several national and international vocal competitions, Ms. Mingardo made her debut as Fidalma in Cimarosa’s Il matrimonio segreto and in the title role of Rossini’s La Cenerentola. In 2001, she won two Grammy Awards, and in 2009 the Association of Italy’s Music Critics awarded her the prestigious “Premio Abbiati.”

An internationally renowned bel canto specialist, tenor Kenneth Tarver has performed at the Vienna, Berlin, Hamburg, and Bavarian state operas; Deutsche Oper Berlin; Semperoper Dresden; Royal Opera House, Covent Garden; Gran Teatre del Liceu in Barcelona; Metropolitan Opera; and Aix-en-Provence and Edinburgh festivals. His repertoire includes major operatic roles by Mozart, Rossini, Donizetti, Gluck, Berlioz, and Verdi, as well as concert works by J. S. Bach, Handel, Beethoven, Debussy, and Stravinsky.

Mr. Tarver’s recent engagements include Beethoven’s Symphony No. 9 with the SWR Symphonieorchester under Jean-Christophe Spinosi; Tippett’s A Child of Our Time with the London Philharmonic Orchestra and Edward Gardner; Handel’s Messiah with the North Carolina Symphony; and Haydn’s L’anima del filosofo, ossia Orfeo ed Euridice with the Danish Chamber Orchestra and Ádám Fischer. Major highlights of his career include Mozart’s Don Giovanni under Claudio Abbado and Daniel Harding in Aix-en-Provence; Mozart’s Così fan tutte at the Teatro San Carlo in Naples and the Royal Opera, Covent Garden; Mozart’s Die Entführung aus dem Serail with Colin Davis and the New York Philharmonic; and Gluck’s Orfeo ed Euridice with Marc Minkowski and Les Musiciens du Louvre. He sang Rodrigo in Rossini’s Otello under Gianluigi Gelmetti and made a guest appearance as Almaviva in Rossini’s Il barbiere di Siviglia at the Metropolitan Opera under the baton of Maurizio Benini.

Mr. Tarver has appeared on numerous recordings on such labels as Deutsche Grammophon and Decca, including Berlioz’s Les Troyens, Béatrice et Bénédict, and Roméo et Juliette with Colin Davis and the London Symphony Orchestra and Les nuits d’été and Roméo et Juliette with Pierre Boulez and The Cleveland Orchestra. Les Troyens was awarded Grammy Awards for Best Opera Recording and Best Classical Recording. Additional recordings include Rossini’s Il viaggio a Reims under Jesús López Cobos; Verdi’s Falstaff under Bernard Haitink; two recordings as Don Ottavio in Don Giovanni, one under René Jacobs for Harmonia Mundi and the other under Teodor Currentzis for Sony; and Ferrando in Così fan tutte as part of the Mozart / Da Ponte cycle by Musica Aeterna released on Sony.

Bass Harold Wilson has been a member of the Deutsche Oper Berlin for five seasons and has sung more than 30 roles with the company, including Arkel in Debussy’s Pelléas et Mélisande, Raimondo in Donizetti’s Lucia di Lammermoor, Sarastro in Mozart’s The Magic Flute, Zuniga in Bizet’s Carmen, and the Hermit in Weber’s Der Freischütz. In the United States, he can often be seen on the stage of the Metropolitan Opera, where he has been part of more than a dozen productions.

Highlights of Mr. Wilson’s 2023–2024 season include a return to the Metropolitan Opera as Reinmar in Wagner’s Tannhäuser. He also joins the company for Verdi’s Nabucco and Puccini’s Turandot. This spring, he reprises the role of Daland in Wagner’s Der fliegende Holländer with Opera Colorado. Last season he returned to the Met as the Speaker in The Magic Flute, Hobson in Britten’s Peter Grimes, and Ramfis in a performance of Verdi’s Aida. He also made his Canadian Opera Company debut as Daland in Der fliegende Holländer and returned to Bard Summerscape as the Duke of Norfolk in Saint-Saëns’s Henry VIII. Mr. Wilson was featured with the Metropolitan Opera during the 2021–2022 season for multiple productions, including Mussorgsky’s Boris Godunov, Wagner’s Die Meistersinger von Nürnberg, Stravinsky’s The Rake’s Progress, and Strauss’s Elektra. He also sang Sir Morosus in R. Strauss’s Die schweigsame Frau at Bard Summerscape. Other engagements at the Met have included Puccini’s Tosca, Rossini’s Armida, Gounod’s Roméo et Juliette, Verdi’s Don Carlos and Macbeth, Berlioz’s Les Troyens, Wagner’s Der fliegende Holländer and Das Rheingold, Prokofiev’s The Fiery Angel, and Tchaikovsky’s Iolanta.

Mr. Wilson has also appeared with Opera Delaware, Baltimore Concert Opera, Tulsa Opera, Opera Birmingham, Hawaii Opera Theatre, Opera Memphis, Chautauqua Opera, Sarasota Opera, Palm Beach Opera, and the Caramoor Festival. On the concert stage, he has performed Handel’s Messiah with the Seattle Symphony, Verdi’s Requiem at Carnegie Hall and with the Grand Junction Symphony Orchestra, Mozart’s Requiem with Manhattan Concert Productions, and Beethoven’s Ninth Symphony with the Greensboro Symphony Orchestra and the Brandenburg State Orchestra Frankfurt.

The Philadelphia Symphonic Choir made its debut in December 2016, performing in three programs with The Philadelphia Orchestra that season. Consisting of talented vocalists auditioned from around the country, the ensemble was created to marry gifted and unique voices of Philadelphia and beyond with the legendary Philadelphia Sound. Last season, the choir appeared in The Philadelphia Orchestra’s performances of Handel’s Messiah, Bruckner’s “Christus factus est” and Te Deum, and Holst’s The Planets. Other recent highlights with the orchestra include the world premiere of the concert version of Kevin Puts’s opera The Hours in Verizon Hall and performances of Beethoven’s Missa solemnis in Philadelphia and at Carnegie Hall. The ensemble has also sung in performances of Haydn’s The Seasons; Puccini’s Tosca; Bernstein’s Symphony No. 3, “Kaddish”; and Rossini’s Stabat Mater, as well as holiday performances of Menotti’s Amahl and the Night Visitors. This current season also marks the premiere of the film Maestro, a collaboration with Bradley Cooper and Netflix featuring the Philadelphia Symphonic Choir and the music of Leonard Bernstein.

The Philadelphia Symphonic Choir is directed by Joe Miller, professor of conducting and director of choral studies at the University of Cincinnati College–Conservatory of Music (CCM). He is also artistic director of choral activities for the Spoleto Festival USA in Charleston, South Carolina. He has served as conductor of the Philadelphia Symphonic Choir since 2016 and made his conducting debut with The Philadelphia Orchestra in 2021, leading Handel’s Messiah. Featured concerts in the 2023–2024 CCM season include J. S. Bach’s St. Matthew Passion featuring stage direction by James Alexander, Gregory Spears’s The Tower and the Garden, and collaborations with Gallicantus. Mr. Miller closes the season with the world premiere of Layale Chaker and Lisa Schlesinger’s Ruinous Gods at the Spoleto Festival USA and Vaughan Williams’s A Sea Symphony with Berkshire Choral International. From 2006 to 2020, he served as professor of conducting and director of choral activities at Westminster Choir College of Rider University. His debut recording with the Westminster Choir, Flower of Beauty, received four stars from Choir & Organ magazine and earned critical praise from American Record Guide.