Classical Concerts in Los Angeles

Bizet's immortal opera introduces Carmen: desirable, defiant, and dangerous. She thinks nothing of charming a soldier to escape a spot of trouble, never expecting that he would leave his childhood sweetheart and desert his post to follow. But Don José is a jealous lover, and as Carmen begins a new relationship with bullfighter Escamillo, his passion turns dark—and deadly.

Beethoven — Violin Sonata No. 9 in A major, Op. 47, Kreutzer, arranged for violin/string orchestra by Nemanja Radulović; Bach — Chaconne, Partita No. 2 in D minor, BWV 1004; Concerto for Violin, Strings and Basso continuo in D minor, BWV 1052R. Album/review concerto references are not this programme. Published public Ticket prices $89. Advertised seat-price band, not a subscription/member/student benefit; fees, current stock and seat availability unconfirmed. Year comes from the publisher’s explicit 2026-27 season and uniquely matching printed weekday/month/day/clock, not current-year, biography or photo dates. Slot key is a stable reviewed observation, not a claimed ticket-vendor instance. Physical venue is The Soraya in Northridge, a Los Angeles neighborhood. No campus mailing street, end/runtime, related-show card, film cast or biographical collaborator is inferred. Sold Out is availability, not cancellation; confirm presenter terms.

Music by Omar Thomas, David Maslanka and Frank Ticheli; individual work titles unannounced. Numeric general-public admission is unconfirmed; no price is inferred from placeholder free flags or a student/USC-ID benefit. One record per exact native physical instance. Related-event blurbs, ticketing windows, livestreams and unspecified date ranges are not additional performances. End time is not inferred.

Program: Betsy Jolas: Latest; Leonard Bernstein: Symphony No. 1, “Jeremiah”; Johannes Brahms: Piano Concerto No. 2 in B-flat major, Op. 83 Performers: Los Angeles Philharmonic; Daniel Harding (conductor); Leif Ove Andsnes (piano); Avery Amereau (mezzo-soprano) Experience a first look at the LA Phil’s next chapter with incoming Music Director Daniel Harding as he conducts his first Walt Disney Concert Hall program of 2026. Celebrated by Bachtrack for his “high-definition reading” and close attention to “contrast, detail, and thrills,” Harding teams up with acclaimed Norwegian pianist Leif Ove Andsnes for Brahms’ Second Piano Concerto. Andsnes calls this concerto “glorious and happy music” that sets soloist and orchestra in a perfectly balanced dialogue. Despite its fiendish technical difficulty and symphony-like scale, Brahms’ Second doesn’t wear its heart on its sleeve but instead glows with carefully crafted elegance—especially in Andsnes’ capable hands, which “[blend] intimacy and bravura” in the piece ( Chicago Classical Review ). By contrast, Bernstein’s Symphony No. 1, nicknamed “Jeremiah” for the Biblical prophet, bristles with raw emotional power. Daniel Harding leads the Los Angeles Philharmonic through Bernstein’s haunting and poetic First, expressing the composer’s self-described “crisis of faith” in a modern and tumultuous world. The concert begins with the colorful, jazz-infused Latest by Paris-based composer Betsy Jolas, who turns 100 years old in 2026. Aptly titled, this percussive piece is one of Jolas’ more recent works, but certainly not her last. “Old age has fortunately not diminished my curiosity,” she says. “I’m still learning and I’m still trying things I’ve never done before.”

Program: Betsy Jolas: Latest; Leonard Bernstein: Symphony No. 1, “Jeremiah”; Johannes Brahms: Piano Concerto No. 2 in B-flat major, Op. 83 Performers: Los Angeles Philharmonic; Daniel Harding (conductor); Leif Ove Andsnes (piano); Avery Amereau (mezzo-soprano) Experience a first look at the LA Phil’s next chapter with incoming Music Director Daniel Harding as he conducts his first Walt Disney Concert Hall program of 2026. Celebrated by Bachtrack for his “high-definition reading” and close attention to “contrast, detail, and thrills,” Harding teams up with acclaimed Norwegian pianist Leif Ove Andsnes for Brahms’ Second Piano Concerto. Andsnes calls this concerto “glorious and happy music” that sets soloist and orchestra in a perfectly balanced dialogue. Despite its fiendish technical difficulty and symphony-like scale, Brahms’ Second doesn’t wear its heart on its sleeve but instead glows with carefully crafted elegance—especially in Andsnes’ capable hands, which “[blend] intimacy and bravura” in the piece ( Chicago Classical Review ). By contrast, Bernstein’s Symphony No. 1, nicknamed “Jeremiah” for the Biblical prophet, bristles with raw emotional power. Daniel Harding leads the Los Angeles Philharmonic through Bernstein’s haunting and poetic First, expressing the composer’s self-described “crisis of faith” in a modern and tumultuous world. The concert begins with the colorful, jazz-infused Latest by Paris-based composer Betsy Jolas, who turns 100 years old in 2026. Aptly titled, this percussive piece is one of Jolas’ more recent works, but certainly not her last. “Old age has fortunately not diminished my curiosity,” she says. “I’m still learning and I’m still trying things I’ve never done before.”

Program: Betsy Jolas: Latest; Leonard Bernstein: Symphony No. 1, "Jeremiah"; Johannes Brahms: Piano Concerto No. 2 Performers: Los Angeles Philharmonic; Daniel Harding (Conductor); Leif Ove Andsnes; Avery Amereau Leif Ove Andsnes calls Brahms’ Second Piano Concerto “glorious and happy music” that sets soloist and orchestra in a perfectly balanced dialogue. Despite its fiendish technical difficulty and symphony-like scale, Brahms’ Second doesn’t wear its heart on its sleeve but instead glows with carefully crafted elegance—especially in Andsnes’ capable hands, which “[blend] intimacy and bravura” in the piece ( Chicago Classical Review ). By contrast, Bernstein’s Symphony No. 1, nicknamed “Jeremiah” for the Biblical prophet, bristles with raw emotional power. Daniel Harding leads the Los Angeles Philharmonic through Bernstein’s haunting and poetic First, expressing the composer’s self-described “crisis of faith” in a modern and tumultuous world. The concert begins with the colorful, jazz-infused Latest by Paris-based composer Betsy Jolas, who turns 100 years old in 2026. Aptly titled, this percussive piece is one of Jolas’ more recent works, but certainly not her last. “Old age has fortunately not diminished my curiosity,” she says. “I’m still learning and I’m still trying things I’ve never done before.”

Bizet's immortal opera introduces Carmen: desirable, defiant, and dangerous. She thinks nothing of charming a soldier to escape a spot of trouble, never expecting that he would leave his childhood sweetheart and desert his post to follow. But Don José is a jealous lover, and as Carmen begins a new relationship with bullfighter Escamillo, his passion turns dark—and deadly.

Program: Betsy Jolas: Latest; Leonard Bernstein: Symphony No. 1, “Jeremiah”; Johannes Brahms: Piano Concerto No. 2 in B-flat major, Op. 83 Performers: Los Angeles Philharmonic; Daniel Harding (conductor); Leif Ove Andsnes (piano); Avery Amereau (mezzo-soprano) Experience a first look at the LA Phil’s next chapter with incoming Music Director Daniel Harding as he conducts his first Walt Disney Concert Hall program of 2026. Celebrated by Bachtrack for his “high-definition reading” and close attention to “contrast, detail, and thrills,” Harding teams up with acclaimed Norwegian pianist Leif Ove Andsnes for Brahms’ Second Piano Concerto. Andsnes calls this concerto “glorious and happy music” that sets soloist and orchestra in a perfectly balanced dialogue. Despite its fiendish technical difficulty and symphony-like scale, Brahms’ Second doesn’t wear its heart on its sleeve but instead glows with carefully crafted elegance—especially in Andsnes’ capable hands, which “[blend] intimacy and bravura” in the piece ( Chicago Classical Review ). By contrast, Bernstein’s Symphony No. 1, nicknamed “Jeremiah” for the Biblical prophet, bristles with raw emotional power. Daniel Harding leads the Los Angeles Philharmonic through Bernstein’s haunting and poetic First, expressing the composer’s self-described “crisis of faith” in a modern and tumultuous world. The concert begins with the colorful, jazz-infused Latest by Paris-based composer Betsy Jolas, who turns 100 years old in 2026. Aptly titled, this percussive piece is one of Jolas’ more recent works, but certainly not her last. “Old age has fortunately not diminished my curiosity,” she says. “I’m still learning and I’m still trying things I’ve never done before.”