American music, Symphony Hall's 125th anniversary, and the natural world: Inside the Boston Symphony Orchestra's 2025-26 season
Moreover, he said, the upcoming season 'represents the beginning of a deep exploration of the humanities' in the orchestra's work, with more supplementary events hosted by the BSO's humanities institute to be announced at a later date. 'We're beginning to weave big ideas and big questions into our work, as a way for our art form to have a dialogue between the past and present,' Smith said.
Get Starting Point
A guide through the most important stories of the morning, delivered Monday through Friday.
Enter Email
Sign Up
The 'E Pluribus Unum' programming is dispersed throughout the season, beginning with an all-American gala with music director Andris Nelsons on the podium during the season's opening weekend (Sept. 19), and concluding with John Adams's 'Harmonium' in the final program of the season, paired with Beethoven's Symphony No. 9 and conducted by Dima Slobodeniouk, a frequent guest whom Smith described as a 'great friend of the orchestra.' (April 30 - May 3)
Advertisement
However, many of the 'E Pluribus Unum' highlights are concentrated in January 2026, including concert performances of Samuel Barber's 'Vanessa' presented in collaboration with Boston Lyric Opera, conducted by Nelsons with soprano Jennifer Holloway in the title role and Marshfield-grown mezzo-soprano Samantha Hankey as Erika (Jan. 8 & 10); an all-John Williams program, also conducted by Nelsons and featuring pianist Emanuel Ax (Jan. 22 - 25), and the Boston premiere of BSO composer chair Carlos Simon's gospel-inspired 'Good News Mass,' conducted by BSO artistic partner and youth and family concerts conductor Thomas Wilkins (Jan. 29-31).
Nelsons is helming 14 different programs during the season, his twelfth as music director. His dance card includes 'Missa solemnis' (Oct. 9-11), Bernstein's 'Chichester Psalms' (Jan. 15 & 17), John Adams's Violin Concerto, featuring Augustin Hadelich (Oct. 16-18), and a shared date with 2025 Tanglewood Music Center conducting fellows Leonard Weiss and Yiran Zhao (April 3).
The season's lineup of guest conductors includes Jonathon Heyward and Nodoka Okisawa, making BSO debuts; Andrey Boreyko and BSO assistant conductor Anna Handler, making planned Symphony Hall debuts; and several familiar faces including Herbert Blomstedt, Domingo Hindoyan, Thomas Adès, Susanna Mälkki, and Esa-Pekka Salonen. Scheduled soloists with the BSO in the coming season include Yuja Wang, Seong-Jin Cho, Midori, Yunchan Lim, and Joshua Bell, among others.
Hadelich, who made his BSO debut in 2012, performs several times in the coming season as artist in residence, offering a solo recital (Oct. 19) and chamber performances with pianist Orion Weiss (Feb. 1) and the Boston Symphony Chamber Players (Feb. 15) in addition to appearing in two programs with the orchestra.
Advertisement
In addition to its subscription programming, the BSO is also hosting three touring orchestras for single dates at Symphony Hall. The Puerto Rico Symphony Orchestra makes its Boston debut on Nov. 14; Nelsons brings the Vienna Philharmonic and soloist Lang Lang through on March 3, in a co-presentation with Celebrity Series of Boston; finally, the orchestra of Interlochen Arts Academy visits on March 15 with Cristian Măcelaru conducting a program including a new work for cello and orchestra by Wynton Marsalis, featuring Yo-Yo Ma.
The Boston Pops also have several dates – most of them conducted by Keith Lockhart – dispersed throughout the season, presenting programs that will celebrate the work of Lin-Manuel Miranda (Sept. 20), Day of the Dead (Nov. 1), Lunar New Year (Feb. 21), and Irish musical traditions (March 14). 'We're finding opportunities to weave Boston Pops programming into the season broadly,' Smith said, 'anchored by Holiday Pops and Spring Pops.'
The season's opening festivities commence on Sept. 17 with a free Concert for the City, featuring the BSO, Pops, and Tanglewood Festival Chorus with Nelsons, Lockhart, and Wilkins sharing the podium. As has become custom, a plethora of Boston-based groups will be offering pre-concert performances around Symphony Hall.
Subscriptions are available now, with single tickets on sale July 31.
BOSTON SYMPHONY ORCHESTRA
Begins September. 617-266-1200, www.bso.org
A.Z. Madonna can be reached at
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
34 minutes ago
- Yahoo
Comedian to bring Edinburgh Fringe show to Oxford
A comedian nominated for the Edinburgh Comedy Award in 2023 will take his newest show on the road later this year. Ian Smith will tour the UK with his latest stand-up hour, Foot Spa Half Empty, from the end of 2025 until March 2026. The show will arrive at The Glee Club in Oxford on February 26, 2026, after Mr Smith takes it to the Edinburgh Fringe Festival later this year. Ian Smith will perform in Oxford next year (Image: Matt Stronge) Ian Smith will perform in Oxford next year (Image: Matt Stronge) Foot Spa Half Empty explores Mr Smith's attempts to relax, his Northern identity, and the everyday stresses of life. Mr Smith, who grew up in the north of England but has spent years living in London, jokes about the tension between his roots and his slow drift towards the middle-class. The show has been described by Fest, who awarded it four stars, as "an outstanding and stressed-out hour of stand-up". Ian Smith will perform in Oxford next year (Image: Matt Stronge) Mr Smith is known for his appearances on TV shows Live at the Apollo, Have I Got News For You, and The Stand Up Sketch Show. He is the co-host of the Northern News podcast and is also a regular voice on BBC Radio 4. His 2023 Edinburgh Fringe show, Crushing, was named one of The Guardian's Top 10 Comedy Shows of the year and one of British Comedy Guide's Top 50 Shows of 2023. His tour will begin at Soho Theatre in November and continue until March next year.


USA Today
15 hours ago
- USA Today
Logic explains how therapy and J.J. Abrams led to his directorial debut 'Paradise Records'
Logic explains how therapy and J.J. Abrams led to his directorial debut 'Paradise Records' Show Caption Hide Caption Logic makes directorial debut with 'Paradise Records' The Rapper Logic sat down with Ralphie Aversa to talk about his directorial debut in new semi-autobiographical film, 'Paradise Records.' NEW YORK – What do J.J. Abrams, Seth MacFarlane and Kevin Smith have in common? They all endorsed Logic, the multi-platinum hip hop star, in his application to join the Directors Guild of America. Now the artist, born Sir Robert Bryson Hall II, makes his directorial debut in the Tribeca Film Festival with "Paradise Records," a workplace comedy that pays homage to movies like Smith's 1994 cult classic "Clerks." It was a big undertaking for Logic: He wrote, directed and starred in the movie. But besides the literal co-signings from established names in film and television, Logic's journey from the stage to the silver screen wouldn't have been possible without a series of events that took place almost five years ago. In July 2020, at the height of his career and in the middle of the COVID-19 pandemic, the hip hop star decided to "retire" from music. Logic wanted to focus on his family. He also went to therapy. "It's been such an incredible internal and spiritual journey," Logic, 35, tells USA TODAY. "I've learned things like the power of no, literally just how to say 'no.' I used to not do that because I wanted to people-please." Through conversations with his therapist, Logic also came to the realization that he should stay off social media. The artist says he hasn't been on any network in "almost eight years." What started as a personal journey also turned into a professional revelation. Logic parted ways with Def Jam Records, the label on which he recorded seven albums with including the Grammy-nominated single, "1-800-273-8255." The artist now releases music independently and no, he wouldn't divulge a date for his tenth LP "Sidequest." After Smith cast Logic in his 2024 semi-autobiographical film "The 4:30 Movie," he urged Logic to pursue filmmaking. Smith also presented an offer: he would serve as executive producer, editor and reprise his role of Silent Bob alongside Jason Mewes' Jay. Logic stars in the film with his real life best friend, Tremayne Hudson. Other actors who make cameos include Ron Perlman, Rainn Wilson and Joseph Gordon-Levitt in addition to rapper Juicy J and comedian Donnell Rawlings. Logic's family, including his father, oldest son and wife Brittney also appear in the project. The artist credits his wife with supporting his latest endeavor. The advice he received from Abrams helped too. The "Star Wars" director reminded Logic that he's "literally making a movie," so the top priority should be to have fun. "(Abrams) said, 'The second thing is you're gonna have every (department) coming to you, all these people constantly asking you for stuff,'" Logic recalls. "'At times it's going to feel overwhelming. Never forget that you're a human being and you have the power to say, "Give me five minutes," walk around your set and figure it out.'" That's what Logic did whenever there was an issue, from an actor getting COVID to an equipment malfunction. He took a break, walked and figured it out. Turns out Abrams was right after all.

Miami Herald
19 hours ago
- Miami Herald
How the ‘billionaire lifestyle' at a Park City, Utah, mansion fueled a new movie by the creator of ‘Succession'
How the 'billionaire lifestyle' at a Park City, Utah, mansion fueled a new movie by the creator of 'Succession' The old saying in real estate - that the three most important things are "location, location, location" - also applies to making movies, as evident in the new film, "Mountainhead," shot this spring near Park City, Utah. The dark comedy - which debuts Saturday evening on HBO (at 6 or 9 p.m. Mountain time, depending on your provider) and starts streaming Saturday at 1:01 a.m. Mountain time on Max (soon to be rebranded, again, as HBO Max) - centers on four tech moguls, three multibillionaires and their half-billionaire host, during what's supposed to be a luxurious guys' weekend in the Utah mountains. The fun stops when news comes in of global riots and turmoil, all blamed on misinformation generated by new social media tools just released on a platform owned by the richest of the four men (Cory Michael Smith). Smith's character, Venis (pronounced "Venice"), tries to minimize his responsibility, all while trying to talk his friend-rival, Jeff (Ramy Youssef), into selling his new A.I. system, which Jeff says is less prone to spewing lies and fascism. The group's elder statesman, Randall (Steve Carell), muses about how they can leverage the impending apocalypse to take over a few countries, while the house's less-rich owner, Souper (Jason Schwartzman), pitches a meditation app - as if it can help fend off the toxicity boiling out of everyone's smartphones. If the story feels close to current events, that's because writer-director Jesse Armstrong worked on a fast schedule. The "Succession" creator wrote the script for his first feature film in January and February, then filming happened over five weeks, mostly in March. The movie's release date, Saturday, is the last day of eligibility for this year's Emmy Awards. Central to the movie is Souper's house, named Mountainhead. The house sits at 3566 W. Crestwood Court, in the gated Deer Crest neighborhood on the northeast side of Deer Valley in Wasatch County. It made news last fall when it was listed at $65 million - then considered a record for a single-family home in Utah. At 21,000 square feet, the house boasts an NBA-regulation basketball court, a two-lane bowling alley and a two-story climbing wall, all of which are deployed in the movie. What's not in the movie is one of the house's signature amenities: a private ski gondola. In interviews last week, Schwartzman and Smith each said "the house is a character" in the movie. They, along with Carell and Youssef, remarked on how it added to Armstrong's examination of the super-rich - a subject that fueled "Succession" over four Emmy-winning seasons. The Salt Lake Tribune interviewed the actors over Zoom - Carell and Schwartzman in one session, and Youssef and Smith in another. Their comments have been lightly edited for clarity. Did the house help you get into character? Carell: My character is very passé about all of it. Seen bigger, seen better. None of the trappings mean anything, really, to any of these guys, except maybe [Schwartzman's] character. Material things just have no meaning, the nice cars or whatever. They're so far beyond that, their lives aren't even about that. That's just incidental. Smith: Jesse [Armstrong] said this early on: "When you walk in, there's nothing impressive about this." As the wealthiest man in the world, you're just constantly in impressive environments, so you're numb to being wowed by a $65 million overpriced piece of real estate, because it's on a mountain with its own private ski lift. Like it's cool, convenient, fun. But it's not an amazing house. [When Armstrong said] that to me early on, when I was walking in, I was, like, "Oh, that's just really helpful." Just for a person to have lost all sense of awe over really extraordinary things. Carell: It [has this] vastness, and there's a solitary nature to that house, too. You feel like you're away from everything in that house. It is your own world, right there. As the story progresses, and they become more and more isolated from the rest of the world, you really feel like this is their bunker, in a way. Schwartzman: It has a feeling like it's the only home there, at the top of the mountain. It has an unobstructed view, which I always found haunting in the movie. You just see the emptiness, and when we cut outside and you see the camera coming in, there's like this creeping feeling. When we read the script, the whole thing was in this house. And when they showed us the photos of the house, I was, like, "There it is. That's done." If it wasn't that house, it wouldn't have been this movie. Carell: It benefited the story and the shooting, because there were so many different places to film in the house. Different vibes, different rooms, for different types of scenes. Schwartzman: That spiral staircase that goes from floor 1 to 7 in a straight shot - it just became a weird physical metaphor of the movie for me. Kind of a downward spiral. That shape is the movie to me. This story was produced by The Salt Lake Tribune and reviewed and distributed by Stacker. © Stacker Media, LLC.