Program: Jerry Goldsmith: Fireworks: A Celebration of Los Angeles; Alexander Tsfasman: Jazz Suite; Bernard Herrmann: Scène d’Amour from Vertigo; Leonard Bernstein: Prelude, Fugue and Riffs; Michael Tilson Thomas: Lope; Samuel Barber: Two movements from Piano Concerto, Op. 38 Performers: Los Angeles Philharmonic; Teddy Abrams (conductor); Yuja Wang (piano); Boris Allakhverdyan (clarinet) Celebrate the LA Phil’s 2026/27 season gala with an evening of dazzling music and excitement. Teaming up with conductor Teddy Abrams and the Los Angeles Philharmonic, Yuja Wang returns to Walt Disney Concert Hall as “Houdini and Horowitz rolled into one” ( Los Angeles Times ), bringing her mesmerizing playing and stage presence to Tsfasman’s scintillating Jazz Suite and selections from Barber’s exhilarating Piano Concerto. The program highlights the passion and pizzazz of Hollywood with Goldsmith’s Fireworks and Herrmann’s Vertigo score, while also paying tribute to American luminaries Leonard Bernstein and Michael Tilson Thomas. Hear LA Phil Principal Clarinet Boris Allakhverdyan playing Bernstein’s Prelude, Fugue and Riffs back-to-back with a performance of MTT’s curious and fun-loving Lope .
Program: Wolfgang Amadeus Mozart: Rondo in D major, K. 485; Ludwig van Beethoven: Piano Sonata No. 8 in C minor, Op. 13, “Pathétique”; Ludwig van Beethoven: Piano Sonata No. 31 in A-flat major, Op. 110; Isaac Albéniz: Selections from Suite española No. 1, Op. 47; Enrique Granados: Quejas, o la maja y el ruiseñor from Goyescas (Los majos enamorados) , Op. 11; Franz Liszt: Consolations , S. 172, No. 2: Un poco più mosso; Franz Liszt: Tarantella from Venezia e Napoli, Supplément aux Années de pèlerinage II , S. 162 Performers: Lang Lang (piano) From performing at the 2008 and 2026 Olympics and collaborating with Metallica to playing for Pope Francis and topping Billboard charts, Lang Lang remains one of the leading figures in expanding classical music’s reach. The global piano star returns to Walt Disney Concert Hall for a highly anticipated solo recital, performing Mozart’s playful Rondo along with two of Beethoven’s most beloved piano sonatas—the “Pathétique” and his emotionally charged penultimate sonata. After intermission, Lang Lang invites us on a romantic getaway to Spain via Albéniz’s flamenco-flavored Suite española as well as the chivalrous yet somber “Quejas” from Goyescas , Granados’ collection of pieces inspired by Spanish painter Francisco de Goya. Lang Lang closes out the recital with two works by his personal piano hero, Franz Liszt: the lightning-fast Tarantella and the deeply moving Consolation No. 2—the piece Lang Lang describes as “a whispered prayer that suddenly opens up into something universal.”
Performers: Ludovico Einaudi (piano) Ludovico Einaudi’s meditative, emotionally rich compositions have made him one of classical music’s most popular pianists. For the first time since his sold-out 2019 appearance, he returns to Walt Disney Concert Hall this October in support of his forthcoming album Solo Piano , his first-ever collection of solo works. See him perform new versions of pieces from across his career like “Experience” and “Elegy for the Arctic”—just himself and his piano in the most intimate of settings.
Program: Dmitri Shostakovich: Piano Trio No. 1 in C minor, Op. 8; Claude Debussy: Piano Trio in G major, L. 5; Antonín Dvořák: Piano Trio No. 3 in F minor, Op. 65 Performers: Lisa Batiashvili (violin); Gautier Capuçon (cello); Jean-Yves Thibaudet (piano) “Jean-Yves Thibaudet’s piano, Lisa Batiashvili’s violin and Gautier Capuçon’s cello [stitch] their individual strands of sound into a sumptuous fabric” ( The Arts Desk ) during a night of Russian, French, and Czech music. Join three of the Los Angeles Philharmonic’s most beloved guest soloists as they come together for a selection of expressive chamber works. Shostakovich’s trio evokes the agitated yearning of teenage romance, while Debussy’s trio brings out the “sweet, sentimental and sugared” ( The New York Times ) aspects of youth. Thibaudet, Batiashvili, and Capuçon close out their recital with a dark, aggressive, and fast-paced Dvořák trio from the era critic Eduard Hanslick deemed “the pinnacle of his career.”
Program: Donghoon Shin: Dance Card; Franz Liszt: Piano Concerto No. 2; Pyotr Ilyich Tchaikovsky: Suite from Swan Lake Performers: Los Angeles Philharmonic; Elim Chan (conductor); Yefim Bronfman (piano) Tchaikovsky’s Swan Lake bursts with unflinching beauty, passion, and drama that is known the world over, but when Elim Chan performed a version of the suite in San Francisco last year she compiled herself and structured almost like a symphony, critics praised Chan’s ability to transform the familiar into something both new and timeless. With the ability to “bring out the best in a top-rank orchestra” and a presence that is “as communicative as a dancer,” the San Francisco Chronicle wrote that Chan shaped Tchaikovsky “as if she were born to conduct ballet,” making her performance with the Los Angeles Philharmonic a can’t-miss occasion. Like Swan Lake , Liszt’s Second Piano Concerto exudes unapologetic Romantic indulgence—though with more of Liszt’s trademark showmanship and musical fireworks. Yefim Bronfman performed the concerto at age 15 in an audition that helped catapult his career. Since then, Bronfman has shown an uncommon attunement for the piece’s technical and artistic challenges, leading Bachtrack to say Liszt’s “manic, head-banging moments...were delivered with punch and flair, but it was the poetry [Bronfman] found in the concerto’s opening sections which made one listen with new ears.” The program begins with Dance Card , a new waltz-inspired piece by Donghoon Shin, the South Korean composer admired for his “taste for the esoteric—a love of labyrinths, literary puzzles, and contradictory aspects of the self” ( The Arts Desk ).
Program: Donghoon Shin: Dance Card; Franz Liszt: Piano Concerto No. 2; Pyotr Ilyich Tchaikovsky: Suite from Swan Lake Performers: Los Angeles Philharmonic; Elim Chan (conductor); Yefim Bronfman (piano) Tchaikovsky’s Swan Lake bursts with unflinching beauty, passion, and drama that is known the world over, but when Elim Chan performed a version of the suite in San Francisco last year she compiled herself and structured almost like a symphony, critics praised Chan’s ability to transform the familiar into something both new and timeless. With the ability to “bring out the best in a top-rank orchestra” and a presence that is “as communicative as a dancer,” the San Francisco Chronicle wrote that Chan shaped Tchaikovsky “as if she were born to conduct ballet,” making her performance with the Los Angeles Philharmonic a can’t-miss occasion. Like Swan Lake , Liszt’s Second Piano Concerto exudes unapologetic Romantic indulgence—though with more of Liszt’s trademark showmanship and musical fireworks. Yefim Bronfman performed the concerto at age 15 in an audition that helped catapult his career. Since then, Bronfman has shown an uncommon attunement for the piece’s technical and artistic challenges, leading Bachtrack to say Liszt’s “manic, head-banging moments...were delivered with punch and flair, but it was the poetry [Bronfman] found in the concerto’s opening sections which made one listen with new ears.” The program begins with Dance Card , a new waltz-inspired piece by Donghoon Shin, the South Korean composer admired for his “taste for the esoteric—a love of labyrinths, literary puzzles, and contradictory aspects of the self” ( The Arts Desk ).
Program: Donghoon Shin: Dance Card; Franz Liszt: Piano Concerto No. 2; Pyotr Ilyich Tchaikovsky: Suite from Swan Lake Performers: Los Angeles Philharmonic; Elim Chan (conductor); Yefim Bronfman (piano) Tchaikovsky’s Swan Lake bursts with unflinching beauty, passion, and drama that is known the world over, but when Elim Chan performed a version of the suite in San Francisco last year she compiled herself and structured almost like a symphony, critics praised Chan’s ability to transform the familiar into something both new and timeless. With the ability to “bring out the best in a top-rank orchestra” and a presence that is “as communicative as a dancer,” the San Francisco Chronicle wrote that Chan shaped Tchaikovsky “as if she were born to conduct ballet,” making her performance with the Los Angeles Philharmonic a can’t-miss occasion. Like Swan Lake , Liszt’s Second Piano Concerto exudes unapologetic Romantic indulgence—though with more of Liszt’s trademark showmanship and musical fireworks. Yefim Bronfman performed the concerto at age 15 in an audition that helped catapult his career. Since then, Bronfman has shown an uncommon attunement for the piece’s technical and artistic challenges, leading Bachtrack to say Liszt’s “manic, head-banging moments...were delivered with punch and flair, but it was the poetry [Bronfman] found in the concerto’s opening sections which made one listen with new ears.” The program begins with Dance Card , a new waltz-inspired piece by Donghoon Shin, the South Korean composer admired for his “taste for the esoteric—a love of labyrinths, literary puzzles, and contradictory aspects of the self” ( The Arts Desk ).
