ALARM WILL SOUND Donnacha Dennehy’s somber 2016 oratorio, “The Hunger,” about the devastating 19th-century Irish famine, returns for concert performances by this intrepid ensemble and the acclaimed original soloists, the British soprano Katherine Manley and the expressive Irish folk singer Iarla O Lionaird. After a performance at Princeton University on Sept. 17, the work will open the 10th season of the Ecstatic Music Festival at Merkin Concert Hall in New York on Sept. 19. alarmwillsound.com.
PAUL JACOBS This stylish organist travels among several instruments in New York for a deep dive into the French organ tradition: Messiaen, Vierne, Widor and others. He plays the Church of St. Mary the Virgin in Midtown Manhattan on Sept. 17, then St. Ignatius Loyola on the Upper East Side on Sept. 24. stmvirgin.org, stignatiusloyola.org.
O19 A few years ago, facing financial pressures, Opera Philadelphia revamped, compressing most of its offerings into a start-of-season burst. Its 2019 festival, the third iteration of O, includes two new pieces — Philip Venables and Ted Huffman’s “Denis & Katya,” about Russian political violence, and Joseph Keckler’s performance piece “Let Me Die” — along with productions of Prokofiev’s “The Love for Three Oranges” and Handel’s “Semele.” (“Madama Butterfly” follows in the spring.) Sept. 18-29; operaphila.org.
JAAP VAN ZWEDEN One of the surprises of this conductor’s first season as music director of the New York Philharmonic was that he seemed more adept at contemporary music than at the standard repertory with which he’s more closely associated. His embrace of the new continues: He opens the Philharmonic’s season on Sept. 18 with the premiere of Philip Glass’s “King Lear Overture,” then turns on the 26th to staged performances of Schoenberg’s “Erwartung” and Bartok’s “Bluebeard’s Castle.” Oct. 7 brings Beethoven — whose 250th birthday will make him even more omnipresent than usual this season, around the world — and Lang Lang, who also plays Carnegie Hall on May 7. Another brilliant pianist, Daniil Trifonov, joins at the end of November for Scriabin’s Romantic but unassuming concerto. (Mr. Trifonov plays arrangements of Bach and “The Art of Fugue” at Alice Tully Hall on March 3.) As part of the Philharmonic’s Project 19 series of commissions from female composers, Mr. van Zweden also leads new works by Nina C. Young, Tania León and Ellen Reid, as well as lots of Mahler and the music of Steve Reich, Nico Muhly and John Adams (his luminous early choral work “Harmonium”). nyphil.org.
EMPAC The experimental arts center at Rensselaer Polytechnic Institute in Troy, N.Y., has recently hired a new curator of music, Anne Leilehua Lanzilotti, whose first program, on Sept. 20, will be a solo concert by the sound artist and vocalist Ken Ueno. (A concert by Sarah Hennies, a composer and percussionist whose works explore intimacy and transgender identity, follows on Dec. 4; Ms. Hennies’s work will also be featured as part of the Ferus Festival at National Sawdust in Brooklyn on Jan. 10-14.) empac.rpi.edu.
ODYSSEY OPERA One of the nation’s most intriguing opera companies starts a season devoted to the Tudor dynasty — and repertory obscurities — on Sept. 21 with Saint-Saëns’s “Henry VIII.” Other offerings include Pacini’s “Maria, Regina d’Inghilterra”; the premiere of Arnold Rosner’s “The Chronicle of Nine,” about Lady Jane Grey; Rossini’s “Elisabetta, Regina d’Inghilterra”; Britten’s “Gloriana,” with Anna Caterina Antonacci making a rare American appearance as Elizabeth I; and Edward German’s “Merrie England.” odysseyopera.org.
ST. LOUIS SYMPHONY Welcoming its new music director, Stéphane Denève, with a program called “Bienvenue Stéphane” (Sept. 21-22), it’s clear what this superb orchestra is highlighting: Mr. Denève’s French background (Debussy, Connesson, Ravel); his curiosity about contemporary music (Jennifer Higdon, Kevin Puts); and his considerable energy (“An American in Paris”). March brings a concert version of Berlioz’s “La Damnation de Faust” — a work that the Metropolitan Opera has demoted from full production to concert performances at the end of January. slso.org.
SILENCE Christopher Rountree, of the ensemble Wild Up, and Anna Bulbrook, of the festival Girlschool, have teamed up to organize this series of meditative performances outdoors at Descanso Gardens in Los Angeles. It includes works by Anna Thorvaldsdottir, Julia Holter, Pauline Oliveros, Lisa E. Harris and others. Sept. 21 and 28; descansogardens.org.
JULIUS EASTMAN Mr. Rountree’s Wild Up begins a four-year exploration of the pulsating music of this long-neglected composer, who’s found a posthumous renaissance; “Joy Boy” and the gleaming “Femenine” are on the bill at the National Gallery in Washington on Sept. 22. (On Oct. 27, the Isabella Stewart Gardner Museum in Boston hosts a program including Eastman’s seething 10-cello “The Holy Presence of Joan d’Arc,” with new choreography by Kyle Marshall, and in April, the Talea Ensemble plays “Femenine” with the Harlem Chamber Players at Harlem Stage.) wildup.la.
‘PORGY AND BESS’ Last performed at the Metropolitan Opera in 1990, this sprawling drama by the Gershwins and DuBose Heyward, set in early-20th-century coastal South Carolina, arrives to open the company’s 2019-20 season at a very different moment for racial representation. Eric Owens and Angel Blue lead the cast; David Robertson conducts, and James Robinson directs. Opens Sept. 23; metopera.org.
THE ANGEL’S SHARE A haunting spot — a narrow catacomb at Green-Wood Cemetery in Brooklyn — has become the site of an unsurprisingly dramatic performance series, opening this year with the pianists Adam Tendler and Jenny Lin in Liszt’s cycle “Harmonies Poétiques et Religieuses.” (Pergolesi’s “Stabat Mater” follows in October.) Sept. 24-27; deathofclassical.com.
LISETTE OROPESA Fresh off two prestigious prizes — the Richard Tucker Award and the Met’s Beverly Sills Artist Award — this lucid soprano stars at the Met in Massenet’s “Manon,” beginning on Sept. 24. (She also sings at the Richard Tucker Gala on Oct. 27 and takes on “La Traviata” at the Met in February and March.) metopera.org.
COMPOSER PORTRAITS The Miller Theater at Columbia University hosts its signature series of deep dives into a single composer at a time, starting on Sept. 25 with Anthony Braxton, and continuing on to Vijay Iyer, Annea Lockwood, Bright Sheng, Caroline Shaw, Oscar Bettison and Dai Fujikura. millertheatre.com.
‘MACBETH’ As of this writing, Plácido Domingo was still scheduled to sing the title role in Verdi’s chilling opera, as the Met awaited the results of Los Angeles Opera’s investigation into accusations of sexual harassment against this superstar singer. As Lady Macbeth, Anna Netrebko reprises perhaps her most electrifying role; Marco Armiliato conducts. Opens Sept. 25; metopera.org.
CLAIRE CHASE This magnetic flutist and tireless advocate of new music performs near the start of National Sawdust’s fifth season in Brooklyn. The program includes five works from the Sydney Conservatorium of Music’s Composing Women project. Sept. 29; nationalsawdust.org.
CLEVELAND ORCHESTRA Carnegie Hall’s season opens on Oct. 3 and 4 with a visit by this ensemble, America’s most poised and pearlescent. It will play Beethoven, Strauss, Jörg Widmann and Mahler under its music director, Franz Welser-Möst. (In February, Mr. Welser-Möst returns, after 20 years, to the New York Philharmonic; in Cleveland in May, he leads concert performances of Berg’s “Lulu,” starring Barbara Hannigan, as part of a festival featuring roughly contemporaneous works that were deemed “degenerate art” under Nazi rule.) carnegiehall.org.
BOSTON MODERN ORCHESTRA PROJECT Always delving into corners of the repertory, this ensemble opens its season with “Sirens,” a new theremin concerto by Dalit Warshaw, alongside Jazz Age works that complement that eerily whistling instrument. Oct. 4; bmop.org.
RHYS CHATHAM A fixture of the New York avant-garde, this composer and performer will present the premiere of “The Sun Too Close to the Earth,” which combines notation and improvisation, Minimalism and punk, in a nine-musician reflection on environmental destruction. The program, at Issue Project Room in Brooklyn, also includes Mr. Chatham’s bass flute solo “Le Possédé” and a performance by the harpist Zeena Parkins and the drummer Jonathan Kane. Oct. 4 and 5; issueprojectroom.org.
GLENN BRANCA On what would have been the 71st birthday of this influential composer, an early Rhys Chatham collaborator who married super-saturated noise rock with classical rigor and died in 2018, a small but loud ensemble will play his darkly surging, pummeling yet meditative “Third Ascension” and “The Light (for David),” a Bowie tribute, at Saint Vitus Bar in Greenpoint, Brooklyn. Oct. 6; brancatribute.eventbrite.com.
MUSIC BEFORE 1800 This artfully selected early-music series begins on Oct. 6 with the ensemble Acronym; other season highlights include Cappella Pratensis (singing Jacob Obrecht’s monumental early-16th-century “Missa Maria Zart”); the flutist Emi Ferguson; Blue Heron; Sequentia; and Stile Antico (music of the Renaissance, by and for women). mb1800.org.
SPHINX VIRTUOSI This vibrant ensemble — formed by the Sphinx Organization, devoted to increasing diversity in classical music — plays “For Justice and Peace,” a program including works by Xavier Foley, Philip Herbert, Jessie Montgomery and Michael Abels, at Peak Performances at Montclair State University in New Jersey. Oct. 6; peakperfs.org.
THE CROSSING Based in Philadelphia, this astonishing new-music choir will give the premiere of Gavin Bryars’s “A Native Hill” on Oct. 13; “Knee Plays,” with music by Philip Glass and David Byrne, in February; and, in June and July, three fresh programs as part of its annual “Month of Moderns.” In March, Michael Gordon’s “Travel Guide to Nicaragua,” a collaboration with the dramatic cellist Maya Beiser, brings the group to Zankel Hall. crossingchoir.org.
BARBARA HANNIGAN The programs for this dazzling soprano’s pair of recitals in the Park Avenue Armory’s Board of Officers Room include the New York premiere of John Zorn’s staggering “Jumalattaret,” with the pianist Stephen Gosling, and Schoenberg’s String Quartet No. 2, with the Emerson String Quartet. (The Emerson players return for three Beethoven and Bartok concerts in the spring at Alice Tully Hall.) Oct. 15 and 17; armoryonpark.org.
YANNICK NÉZET-SÉGUIN The energetic maestro of the Northeast Corridor continues shuttling between his music directorships with the Philadelphia Orchestra and the Metropolitan Opera. In Philadelphia, he leads Bach’s Mass in B Minor in December, and staged performances of Strauss’s “Elektra,” starring the formidable Christine Goerke, in May. Starting on Oct. 15, he also brings that orchestra to Carnegie Hall, where he is a Perspectives artist next season, for performances of works by Valerie Coleman, Bartok and Strauss, as well as all nine Beethoven symphonies. At Carnegie he leads the Orchestre Métropolitain of Montreal and the Met Orchestra, too, and collaborates with Joyce DiDonato. At the Met, he’s on the podium for a new production of Berg’s “Wozzeck” and revivals of “Turandot” and “Werther,” as well as a New Year’s Eve gala featuring Anna Netrebko in acts from three Puccini operas. philorch.org, metopera.org, carnegiehall.org.
VIOLA VISIONS A notoriously underloved instrument gets a whole festival in its honor, courtesy of the New World Symphony in Miami, which hosts an explosion of concerts, master classes and talks, the first in a planned series of similar annual immersions. (Trombone Time, anyone?) Oct. 15-19; nws.edu.
‘DESIRE’ The JACK Quartet and three singers are the only performers in Hannah Lash’s intimate new chamber opera at the Miller Theater, an allegory of creativity set in a luxuriant garden; Rachel Dickstein directs, and Daniela Candillari is music director. Oct. 16 and 17; millertheatre.com.
LENA HERZOG “Last Whispers,” a film-and-sound performance organized by this multimedia artist, has at its core an oratorio about the widespread disappearance of indigenous languages, captured in historical recordings. Oct. 16-20; peakperfs.org.
CONCERTS AT ST. IGNATIUS The choral season at the ornate Church of St. Ignatius Loyola, under the artistic direction of K. Scott Warren, begins with Rossini’s “Petite Messe Solennelle,” a grand yet tender masterpiece of its composer’s late career. Oct. 17; ignatius.nyc.
ORCHESTRA OF ST. LUKE’S This ensemble’s Carnegie Hall season under its principal conductor, Bernard Labadie, begins on Oct. 17 with works by Mendelssohn and Bach (two keyboard concertos with the impressive Beatrice Rana as soloist). Feb. 6 brings works by Handel and Vivaldi for double orchestra; March 5, Beethoven’s “Choral Fantasy” and Mass in C. oslmusic.org.
CAROLINE SHAW Particularly gifted at choral work, this composer has written “The Listeners,” a brimming new piece inspired by Carl Sagan, for Nicholas McGegan, his Philharmonia Baroque forces in San Francisco, the contralto Avery Amereau and the bass-baritone Dashon Burton. (The Attacca Quartet plays Ms. Shaw’s music at the David Rubinstein Atrium at Lincoln Center on Nov. 14.) Oct. 17-20; philharmonia.org.
COLLECTIO MUSICORUM Led by the musicologist Jeff Dailey, this ensemble explores early music from Scotland on Oct. 18 at Christ and St. Stephen’s Church on the Upper West Side, focusing on the Renaissance composer Robert Johnson — rarely if ever performed in this country — but also including works dating back to the 12th century. collectio-musicorum.blogspot.com.
GEORGE LEWIS At N.Y.U. Skirball in Manhattan, the International Contemporary Ensemble performs “Soundlines” and “P. Multitudinis,” two recent works by this fiercely virtuosic composer that demand spatialized electronics and intricate group communication. Oct. 18 and 19; nyuskirball.org.
SUSANNA MALKKI This incisive conductor returns to the New York Philharmonic on Oct. 18 with a program that includes “Su,” Unsuk Chin’s concerto for sheng and orchestra. Ms. Malkki is part of a season — led by Deborah Borda, the Philharmonic’s chief executive — with a far more interesting set of faces on the podium than usual, including Gustavo Dudamel (for two consecutive weeks), Santtu-Matias Rouvali, Jakub Hrusa, Stéphane Denève, Philippe Jordan, Daniel Harding, Simone Young, Louis Langrée, Valery Gergiev, Andrés Orozco-Estrada and John Adams. nyphil.org.
PEOPLES’ SYMPHONY CONCERTS Fighting a lonely battle on one of the most crucial fronts in live music — ever-escalating ticket prices — this invaluable series offers access to star performers for around $ 20 a ticket. (Buying a subscription brings that to less than $ 10, and a student pass to all 18 concerts is just $ 25.) The Juilliard String Quartet opens the season on Oct. 19; other performers include the pianist Benjamin Grosvenor; the violinist Augustin Hadelich and the pianist Orion Weiss; the tenor Mark Padmore and the pianist Ethan Iverson (an intriguing pairing); and the pianist Marc-André Hamelin. pscny.org.
WHITE LIGHT FESTIVAL Lincoln Center’s annual spirituality-tinged series, opening on Oct. 19, includes Jordi Savall’s “Journey to the East” (Oct. 24); Mahler songs with the baritone Christian Gerhaher and the pianist Gerold Huber, as profound a pair as lieder offers today (Oct. 29); “Zauberland,” a theatrical adaptation of Schumann for the soprano Julia Bullock and the pianist Cédric Tiberghien (Oct. 29 and 30); choral works by James MacMillan (Nov. 7); Wynton Marsalis’s “Abyssinian Mass” (Nov. 21-23); and the Los Angeles Philharmonic in Bruckner (Nov. 24; the Philharmonic also performs John Adams’s new piano concerto and Stravinsky’s “The Rite of Spring” on Nov. 25). lincolncenter.org.
LES ARTS FLORISSANTS Led by Paul Agnew, this lively yet elegant early-music ensemble performs works by Gesualdo in an evocative setting: the Fuentidueña Chapel at the Met Cloisters, the Metropolitan Museum of Art’s medieval outpost in Upper Manhattan. Oct. 20; metmuseum.org.
JACK QUARTET This voracious new-music quartet, starting a residency this fall at the Mannes School of Music, gives the New York premiere of John Luther Adams’s “Lines Made by Walking” on Oct. 21 as part of the Crypt Sessions series, which takes place below the Church of the Intercession. On Nov. 16 at the 92nd Street Y, the group joins the percussionist Colin Currie for works by Xenakis, Suzanne Farrin and Simon Holt. And they perform the complete quartets of John Zorn at National Sawdust on March 13 and 14. The JACK’s cellist, Jay Campbell, joins the pianist Conor Hanick for premieres by Mr. Zorn and Marcos Balter at the Y on Feb. 14. (Mr. Hanick, as it happens, also goes down to the crypt, on Sept. 18, with the cellist Joshua Roman and works by Pärt and Schnittke.) jackquartet.com.
MARC-ANDRÉ HAMELIN Few pianists have the technical prowess and adventurousness of this one, who plays Carnegie Hall with a program of Scriabin, Prokofiev, Samuil Feinberg (the brooding, insanely virtuosic Sonata No. 3) and Schubert (the great late sonata in B flat). Oct. 22; carnegiehall.org.
IAN BOSTRIDGE AND BRAD MEHLDAU A promising pairing of ever-curious artists, this tenor-piano recital sets Mr. Mehldau’s new song cycle, “The Folly of Desire,” opposite Schumann’s “Dichterliebe.” (Mr. Mehldau also plays the premiere of his own piano concerto with Gustavo Dudamel and the Los Angeles Philharmonic in May.) Oct. 24; carnegiehall.org.
NE(X)TWORKS This veteran experimental-music, composer-performer ensemble is calling it quits, and will play a final concert during Issue Project Room’s “10 Years Alive” tribute to the space’s founder, Suzanne Fiol; the program includes graphic works, spatialized music and pieces by members of the group, including one of its founders, Joan La Barbara. (She also has a premiere as part of the New York Philharmonic’s Sound On series on Feb. 10.) Oct. 24; issueprojectroom.org.
‘SAUL’ In Barrie Kosky’s extravagantly theatrical take on this biblical oratorio — opening at Houston Grand Opera on Oct. 25, conducted by Patrick Summers and starring Christopher Purves — America gets the first of a pair of director-driven Handel productions this season. The second is Christopher Alden’s staging of “Partenope,” which arrives at San Francisco Opera in June. (Houston also offers a luxuriously cast run of Donizetti’s “La Favorite,” starring Jamie Barton and Lawrence Brownlee, in January, when Ms. Barton will be fresh from Gluck’s “Orfeo ed Euridice” at the Met.) houstongrandopera.org.
NEW ENGLAND PHILHARMONIC Adroitly mixing music new, newish and old, this ensemble’s season begins on Oct. 26 with 21st-century scores by Hilary Purrington, Gunther Schuller and Hannah Lash, alongside classics by Ravel and Schoenberg. April 25 brings the premiere of a violin-clarinet double concerto by Eric Nathan, who also has his Concerto for Orchestra premiering with the Boston Symphony at the start of the season. nephilharmonic.org.
TENET VOCAL ARTISTS Venice is the inspiration for this polished and passionate ensemble’s season, starting on Oct. 26 with a 400th-birthday tribute to the composer Barbara Strozzi. The new year brings the final performances, after a decade, of the group’s annual Green Mountain Project, devoted to Monteverdi’s Vespers, as well as performances of Schütz and Charpentier. tenet.nyc.
SHAI WOSNER Christopher Cerrone’s new piano concerto, “The Air Suspended,” inspired by weather-related writings by Ben Lerner and Elena Ferrante, is a vehicle for the discerning Mr. Wosner and the East Coast Chamber Orchestra, who play it in Memphis, Philadelphia and New York (at the 92nd Street Y on Oct. 27). shaiwosner.com.
GEORGE CRUMB Written in 1969 and inspired by Apollo 11, this composer’s cryptic chamber work “Night of the Four Moons,” set to texts by Federico García Lorca, is aptly revived 50 years later at National Sawdust. Oct. 28; nationalsawdust.org.
MARY HALVORSON AND JOHN DIETERICH Two artful guitarists come together in their live debut as a duo at Roulette, in Brooklyn, to celebrate the release of “A Tangle of Stars,” their new album on New Amsterdam Records. Oct. 28; roulette.org.
AMERICAN SYMPHONY ORCHESTRA The conductor Leon Botstein boldly argues for the expansion of the repertory. He opens his ensemble’s Carnegie Hall season with Elgar’s grand oratorio “The Kingdom,” on Oct. 31, before moving on to programs that explore Bach’s sons, Beethoven’s influence and Duke Ellington’s symphonic works. carnegiehall.org.
GOLDA SCHULTZ After singing Clara in “Porgy and Bess” at the Met, this sensitive soprano appears at Weill Recital Hall in Carnegie Hall with a program of Schubert, Strauss, Ravel, Amy Beach and John Carter (his only published work, “Cantata”). Nov. 1; carnegiehall.org.
ANDREW NORMAN This season, the Los Angeles Philharmonic demonstrates a remarkable commitment to the music of this composer, whose command of orchestral color and vibrancy may well be unmatched today. The orchestra plays his “Sustain” (Nov. 1-3), “Unstuck” and “Suspend,” and gives the premiere of his cello concerto (with Johannes Moser) in May. The Utah Symphony is another artistic home for Mr. Norman, presenting “Sacred Geometry,” “Spiral” and “Unstuck.” laphil.com, utahsymphony.org.
ANGELA HEWITT Concluding her four-year cycle of Bach’s keyboard works at the 92nd Street Y, this modest yet magisterial pianist includes, among other pieces, three of the English Suites, the French Overture and “The Art of Fugue” in a trio of performances. Nov. 2, April 30 and May 2; 92y.org.
GENEVA CAMERATA This lively ensemble, directed by the pianist David Greilsammer, makes its American debut at the 92nd Street Y with a program that reimagines works by Lully and Mozart through collaboration with the choreographer and dancer Juan Kruz Díaz de Garaio Esnaola. Nov. 6; 92y.org.
MAXIM LANDO A devilishly difficult program brings this 16-year-old pianist, announced on Sept. 5 as the winner of a prestigious Gilmore Young Artist Award, to Zankel Hall for his New York recital debut. Presented by Young Concert Artists, he’ll play dizzying pieces by Kapustin, Scriabin, Lyapunov, Medtner and Rachmaninoff; a Beethoven sonata; then toss in Liszt’s hourlong “Transcendental Études” for good measure. Nov. 7; yca.org.
‘AKHNATEN’ Philip Glass’s bronzed, hypnotic opera — a stylized meditation on the pharaoh who pioneered monotheism — receives a staging, by Phelim McDermott, that reflects the slowly unfolding music as aptly as his affecting production of Mr. Glass’s “Satyagraha.” Karen Kamensek conducts a cast led by the countertenor Anthony Roth Costanzo, sensationally focused and gold-painted in the title role. Opens Nov. 8; metopera.org.
CAROL WINCENC This flutist begins a season-long celebration of her 50th year of performance with a concert at the Morgan Library & Museum. It includes works by Debussy and Mozart alongside premieres of a Jake Heggie trio (with the composer on piano) and a Pierre Jalbert quintet (with the Escher String Quartet). Nov. 12; themorgan.org.
AMERICAN COMPOSERS ORCHESTRA An indispensable incubator for new music, this ensemble, led by its music director, George Manahan, plays pieces by Hilary Purrington, Matthew Aucoin and Ives (new orchestrations of songs, with Jamie Barton as soloist) at Carnegie Hall on Nov. 13. On April 2, at Carnegie, the program includes works by John Luther Adams (the New York premiere of “Become River”), Mark Adamo and Nina C. Young. carnegiehall.org.
MINNESOTA ORCHESTRA Osmo Vanska, who announced late last year that he would step down as this ensemble’s music director in 2022, will lead the American premiere of Brett Dean’s Cello Concerto, with Alban Gerhardt as soloist, Nov. 14-16. (The concerto and Mr. Gerhardt will travel to the New York Philharmonic, under Simone Young, in January; Rafael Payare will conduct Mr. Dean’s “Testament,” a response to Beethoven, in May, as part of Mr. Payare’s first season as music director of the San Diego Symphony.) minnesotaorchestra.org.
FOR/WITH The searching experimental trumpeter Nate Wooley gets a two-night canvas for his talents as both a performer and a curator at Issue Project Room, with works for himself and other musicians by Sarah Hennies, Eva-Maria Houben, Katherine Young and Ryoko Akama. Nov. 15 and 16; issueprojectroom.org.
SARAH CAHILL This intrepid pianist arrives at Carolina Performing Arts in Chapel Hill, N.C., with “The Future Is Female,” billed as “a ritual installation and communal feminist immersive listening experience.” It’s a performance of dozens of works by women, lasting four and a half hours, during which the audience is encouraged to come and go. Nov. 16; carolinaperformingarts.org.
NEW YORK FESTIVAL OF SONG A highlight of Steven Blier and Michael Barrett’s venerable, vibrant series is an evening of rarely heard, politically charged music-theater pieces by Marc Blitzstein (“No for an Answer”) and Kurt Weill (“Der Silbersee”). Nov. 19; nyfos.org.
‘REQUIEM’ The galvanizing conductor Teodor Currentzis leads his MusicAeterna orchestra and chorus, from Perm, Russia, in Verdi’s Requiem. In the collaboration-obsessed style of the Shed, the new performance space at Hudson Yards, the music accompanies work by the film artist Jonas Mekas, who died in January. Nov. 19-24; theshed.org.
ISABELLE FAUST This stylish, subtle violinist and her longtime collaborator, the pianist Alexander Melnikov, bring Beethovenian bona fides to their performance, at Alice Tully Hall, of the three Opus 30 sonatas: Their 2009 recording of the complete sonatas is a delight. Nov. 20; lincolncenter.org.
CONRAD TAO This gifted pianist and composer makes his debut at Weill Recital Hall on Nov. 20 with a program that reaches from Bach to the Bang on a Can composers David Lang and Julia Wolfe, as well as Schumann (“Kreisleriana”). On March 10, he performs Frederic Rzewski’s mighty set of variations on “The People United Will Never Be Defeated” as part of the Los Angeles Philharmonic’s Power to the People festival; and on March 29, at the 92nd Street Y, he participates as both composer and performer in Anthony de Mare’s “Liaisons2020,” a continuing series of adaptations of Sondheim songs for solo piano. carnegiehall.org.
TED HEARNE Using lush yet distorted vocals and rock-infused music, this composer has limned the blurry boundary between the personal and the political in works like “The Source” and “Sound From the Bench.” He will also be, for a change, the vocal soloist in the premiere of his “Live Things,” set to poetry by Dorothea Lasky about the balance of intellect and wildness, at the Walker Art Center in Minneapolis. Nov. 21 and 22; walkerart.org.
LEILA JOSEFOWICZ Jump at the opportunity to see this magnetic violinist in the close quarters of the Park Avenue Armory’s Board of Officers Room for a recital, with the pianist John Novacek, that features works by Stravinsky, Janacek, Knussen, Kurtag and Ravel. Nov. 21 and 22; armoryonpark.org.
‘AN ARTHURIAN REFRACTION’ This program, from the ensemble Alkemie, combines 13th- and 14th-century vocal works with the composer and vocalist Elliot Cole’s new settings of Middle English texts; it plays in Staten Island and Brooklyn under the auspices of Five Boroughs Music Festival. Nov. 23 and 24; 5bmf.org.
MAGDALENA KOZENA Anchoring her recital at Alice Tully Hall on Nov. 26 with settings of Shakespeare by Stravinsky, Strauss and Brahms, this acute mezzo-soprano is accompanied by a chamber ensemble that includes her husband, Simon Rattle, at the piano. She and Mr. Rattle also collaborate in “Der Rosenkavalier” at the Met, opening on Dec. 13, in which he conducts and she sings Octavian, alongside Camilla Nylund’s Marschallin and Golda Schultz’s Sophie. lincolncenter.org, metopera.org.
‘LA STORIA DI ORFEO’ This mash-up of three Orpheus adaptations from opera’s earliest years, by Claudio Monteverdi, Antonio Sartorio and Luigi Rossi, is a vehicle for the floating, plangent tone of the star countertenor Philippe Jaroussky, joined by the soprano Amanda Forsythe and the Boston Early Music Festival Chamber Ensemble at the Morgan Library & Museum. Nov. 26; themorgan.org.
‘THE QUEEN OF SPADES’ For this revival of Tchaikovsky’s fervid opera of obsession and madness, all ears at the Met will be on Lise Davidsen, the 32-year-old soprano who, in the wake of European acclaim, will be making her company debut as Lisa. The tenor Aleksandrs Antonenko, whose voice has frayed in recent years, sings Hermann; in another important house debut, Vasily Petrenko conducts. (Those mad for this riveting opera will rejoice at another take, starring Sondra Radvanovsky and Brandon Jovanovich, at Lyric Opera of Chicago in February and March.) Opens Nov. 29; metopera.org.
TALEA ENSEMBLE David Adamcyk’s “Father, My Father” combines music and visual elements, even spilling into the lobby of the Americas Society in Manhattan, on Dec. 3; it’s an ideal vehicle for this agile, theatrically inclined, immaculately virtuosic group. (Talea also plays works by Toshio Hosokawa and George Benjamin at the 92nd Street Y in March; a piece by Manos Tsangaris at Baruch College in April; and Oscar Bianchi’s audience-participation “Orango” at the DiMenna Center for Classical Music in May.) taleaensemble.org.
HEARTBEAT OPERA Having quickly gained a reputation for canny, committed adaptations of classic operas that highlight contemporary social issues, this young company turns to Carl Maria von Weber’s “Der Freischütz” (opening Dec. 4 at Baruch Performing Arts Center) and Verdi’s “Macbeth” (May 7, at Irondale in Brooklyn). heartbeatopera.org.
SO PERCUSSION The title of the program “A Century of Percussion” says it all: This venturesome ensemble, along with some guests, runs the gamut of Varèse, Chávez, Cage and Xenakis before ending in the present day with the New York premiere of a piece by Julia Wolfe. Dec. 7; carnegiehall.org.
BEHZOD ABDURAIMOV After playing Tchaikovsky’s Piano Concerto No. 1 with a close collaborator, Valery Gergiev, and the Munich Philharmonic at Carnegie Hall on Oct. 25, this young, thoughtful pianist returns there with stalwarts by Chopin, Debussy and Mussorgsky. Dec. 10; carnegiehall.org.
SHEKU KANNEH-MASON Just 20, this talented cellist found a worldwide audience playing at the televised wedding of Prince Harry and Meghan, Duchess of Sussex. The crowd at Weill Recital Hall will be considerably smaller — just over 250 — when he makes his New York recital debut with his sister, the pianist Isata Kanneh-Mason, in works by Beethoven, Lutoslawski, Barber and Rachmaninoff. Dec. 11; carnegiehall.org.
EYBLER QUARTET A program at the Americas Society (produced with Gotham Early Music Scene) includes rarities written in Latin America in the 18th and early 19th centuries, including a quartet by Pedro Ximénez Abril Tirado with a slow movement based on traditional Andean music. Dec. 12; as-coa.org.
JOHN ZORN A prolific doyen of the daunting, this composer, who has straddled notated and improvised music, makes that divide the subject of the works on this program at Roulette: Stephen Gosling, on piano, and Sae Hashimoto, on vibraphones, play precisely notated scores as the bassist Jorge Roeder and the drummer Tyshawn Sorey improvise. Dec. 14; roulette.org.
TYSHAWN SOREY Mr. Sorey is also a superb composer in his own right. The McGill/McHale Trio (the brothers Anthony McGill, clarinet, and Demarre McGill, flute, with the pianist Michael McHale) give the premiere of one of his pieces on their Dec. 19 program at the 92nd Street Y. Mr. Sorey also writes new works this season for Alarm Will Sound (Nov. 9, in St. Louis) and the Seattle Symphony and its new music director, Thomas Dausgaard (a cello-orchestra composition, in June). 92y.org.
‘MESSIAH’ For a stunning reintroduction to the elemental power of this overplayed Christmas standby, head to St. Paul’s Chapel at Trinity Church, where Julian Wachner and Trinity’s orchestra and choir storm through Handel’s score. Dec. 20-22; trinitywallstreet.org.
‘WOZZECK’ The polymathic visual artist and director William Kentridge has made his most coherent and crushing opera staging yet in this production of Berg’s raw exploration of an exploited underclass. In Mr. Kentridge’s teeming vision, full of his signature smudgy charcoal animations, it’s also a brutal indictment of war. Yannick Nézet-Séguin conducts Peter Mattei (in his first time singing the title role) and Elza van den Heever. Opens Dec. 27; metopera.org.
PROTOTYPE: OPERA/THEATER/NOW This festival has brought to New York two pieces that went on to win the Pulitzer Prize in Music: Du Yun’s “Angel’s Bone” and, this year, Ellen Reid’s “prism.” (Both works were produced by Beth Morrison Projects, which presents Prototype with HERE, the arts center in SoHo.) This year includes the composer Ricky Ian Gordon and the poet Frank Bidart’s one-act “Ellen West,” based on accounts of an early psychoanalytic patient, and five other pieces. Jan. 9-18; prototypefestival.org.
JUILLIARD FOCUS FESTIVAL Organized by Joel Sachs, a longtime force for new music at the Juilliard School, and the conductor and composer Odaline de la Martinez, this year’s deep dive into modern repertory is “Trailblazers: Pioneering Women Composers of the 20th Century.” Special attention is paid to Sofia Gubaidulina, Thea Musgrave, Betsy Jolas and Jacqueline Fontyn, all still composing. Jan 24-31; juilliard.edu.
PITTSBURGH SYMPHONY ORCHESTRA As aristocratic — in the best, most vibrant sense — in the standard repertory as any orchestra in America, this ensemble and its music director, Manfred Honeck, add to Beethoven’s birthday celebration large-scale performances of “Fidelio” (Jan. 24 and 26) and the “Missa Solemnis” (April 17 and 19). pittsburghsymphony.org.
JÖRG WIDMANN This fluent composer (and extraordinary clarinetist) holds the Debs Composer’s Chair at Carnegie Hall this season. His music is scattered throughout the programs, with special events including an immersion in his work with the International Contemporary Ensemble on Jan. 28. carnegiehall.org.
‘EURYDICE’ Commissioned with the Metropolitan Opera, this new work by the talented young composer and conductor Matthew Aucoin delves into the Orpheus myth at Los Angeles Opera. It offers a poignant contemporary spin and a libretto by Sarah Ruhl, who adapted her witty, aching play — tinged with the kind of stage magic that is the stock in trade of the director Mary Zimmerman. Danielle de Niese sings the title role. Opens Feb. 1; laopera.org.
SUSAN GRAHAM Earnest yet sophisticated, this mezzo-soprano is poised in art song recitals, like this one at Alice Tully Hall, with the pianist Malcolm Martineau. The program features Schumann’s cycle “Frauenliebe und -leben,” intertwined with other pieces. Feb. 4; lincolncenter.org.
‘AGRIPPINA’ In the Met’s promotional materials for David McVicar’s new production of Handel’s opera, the star mezzo-soprano Joyce DiDonato is posed — with martini — to look like the boozy Karen Walker from “Will & Grace,” giving a sense of the tone of this coal-black satire of power games in ancient Rome. Harry Bicket conducts a cast that also includes Brenda Rae, Kate Lindsey and Iestyn Davies. (Ms. DiDonato’s season-long Perspectives series at Carnegie Hall includes appearances with the Chicago Symphony Orchestra and Orchestre Métropolitain of Montreal; concerts of French and Baroque music; educational activities; and Schubert’s “Winterreise,” with Yannick Nézet-Séguin at the piano.) Opens Feb. 6; metopera.org.
CHICAGO SYMPHONY ORCHESTRA Turning from his trademark Verdi, Riccardo Muti, the music director of this powerful ensemble, conducts concert performances of Mascagni’s meaty “Cavalleria Rusticana,” starring the mezzo-soprano Anita Rachvelishvili, the tenor Piero Pretti and the baritone Luca Salsi. (Mr. Muti also takes on more unexpected repertory in April, pairing Brahms’s Violin Concerto with works by William Grant Still and Florence Price.) Feb. 6-8; cso.org.
ALEXI KENNEY This elegant young violinist turned up at Lincoln Center this spring as a guest concertmaster with the Pittsburgh Symphony. He returns to New York as a solo recitalist at the 92nd Street Y, playing a rich program of Kurtag, Nicola Matteis, Saariaho, Reich, Salonen and Thuridur Jonsdottir — interspersed with pieces by one of Mr. Kenney’s specialties, Bach. Feb. 7; 92y.org.
DANISH STRING QUARTET Under the auspices of the Chamber Music Society of Lincoln Center, this vigorous ensemble plays the complete Beethoven quartet cycle over six concerts, Feb. 7-18. Among other chamber society highlights are the annual spirited presentations of Bach’s “Brandenburg” Concertos (Dec. 13, 15 and 17); an exploration of music for percussion and electronics through Stockhausen, Saariaho and Thomas Meadowcroft (Jan. 16); a jazz-flavored program of Ravel, Milhaud, Gershwin and Wynton Marsalis (April 19); and music of Anna Clyne, Joan Tower, Sofia Gubaidulina and Conlon Nancarrow (April 30). cms.org.
ESA-PEKKA SALONEN The Weimar Republic, a mini-festival with his old band, the Los Angeles Philharmonic (Feb. 7-16), focuses on Kurt Weill and also includes Hindemith’s “Mathis der Maler” Symphony — which Mr. Salonen will conduct with the New York Philharmonic in November, alongside his own works. His two weeks in February with the San Francisco Symphony, which he will take over next year, include Britten, Ravel, Nielsen and his own Violin Concerto. esapekkasalonen.com,
‘THE MOTHER OF US ALL’ An opera needed now more than ever, Virgil Thomson and Gertrude Stein’s funny, heartbreaking Americana fantasia on the life of Susan B. Anthony — and the broader possibilities of social change — comes to the Charles Engelhard Court, the doorstep to the American wing at the Metropolitan Museum of Art. The production is directed by Louisa Proske, conducted by Daniela Candillari and presented by the MetLiveArts series, the New York Philharmonic and the Juilliard School. Opens Feb. 8; nyphil.org.
SPEKTRAL QUARTET This exciting ensemble revives a commission: Alex Temple’s surreal, stylistically eclectic suite “Behind the Wallpaper,” a collaboration with the singer-songwriter Julia Holter. (At the end of January, Isabel Leonard sings Ms. Temple’s “Liebeslied” with the Detroit Symphony Orchestra, which also opens a celebration of the centennial of its Orchestra Hall on Oct. 23 with a re-creation of its first concert there.) Feb. 9; spektralquartet.com.
GRAND BAND Six pianos, arranged in a mighty circle, come to Peak Performances at Montclair State with works by Kate Moore, Julia Wolfe and Missy Mazzoli, as well as Julius Eastman’s pounding “Gay Guerrilla.” Feb. 14 and 15; peakperfs.org.
ORCHESTRE RÉVOLUTIONNAIRE ET ROMANTIQUE Under its founder, John Eliot Gardiner, this dashing period-instrument ensemble has made extraordinary recordings of Beethoven’s symphonies; its performances of the nine at Carnegie Hall will lift the spirits of even the most jaded observer of the master’s birthday. Feb. 19-24, carnegiehall.org.
KIRILL GERSTEIN This seriously playful pianist brings to Zankel Hall an extroverted program of Schubert and Haydn, Kurtag and Adès (variations inspired by the opera “The Exterminating Angel”), as well as Liszt, Brahms, Busoni and Bartok. Feb. 20; carnegiehall.org.
BUDAPEST FESTIVAL ORCHESTRA This spirited ensemble’s repertory tends toward the standard, but the performances, down to idiosyncratic seating plans for the musicians, always surprise. Dvorak and Mahler are on the docket this season. Feb. 23 and 24; lincolncenter.org.
ANN HALLENBERG Appearing rarely in the United States, this superbly stylish mezzo-soprano pays tribute to her fellow Swede, the great 19th-century singer Jenny Lind, with exuberant Baroque arias and the fiery Venice Baroque Orchestra at Zankel Hall. Feb. 27; carnegiehall.org.
CINCINNATI SYMPHONY ORCHESTRA Celebrations of Beethoven’s 250th are a dime a dozen, but this burnished ensemble is really going for it with a re-creation of the remarkable, epically long December 1808 concert that featured the premieres of the Fifth and Sixth Symphonies, the Fourth Piano Concerto and the “Choral Fantasy,” as well as other pieces. Louis Langrée conducts the two-part performance, four hours of music separated by a dinner break. (This season also introduces the CSO Proof series, onstage events created by guest artists.) Feb. 29 and March 1; cincinnatisymphony.org.
MISSY MAZZOLI AND KELLY MORAN Two open-eared musicians unveil solo sets, as well as a new collaboration, as part of the Ecstatic Music Festival at Merkin Hall. Feb. 29; kaufmanmusiccenter.org.
‘SWEET LAND’ Founded by the director Yuval Sharon, the Industry, an experimental opera company, has specialized in sprawling, nonlinear experiences. This new production, involving a kaleidoscope of perspectives on the founding of America and westward expansion, is no exception. Feb. 29-March 22; theindustryla.org.
‘DER FLIEGENDE HOLLÄNDER’ Bryn Terfel hasn’t appeared at the Met since the rocky unveiling of Robert Lepage’s “Ring” cycle in 2012, but he’s back in more Wagner: this intermissionless gulp of propulsive, doleful drama. Anja Kampe makes a belated Met debut as Senta; Valery Gergiev conducts; François Girard, whose “Parsifal” is among the company’s most intelligent stagings, directs. (Mr. Terfel also appears in recital at Carnegie Hall on Feb. 9.) Opens March 2, metopera.org.
PIATIGORSKY INTERNATIONAL CELLO FESTIVAL A few months after Viola Visions in Miami, the far more popular cello gets a bonanza of its own in Los Angeles, where the University of Southern California hosts a dizzying 10-day schedule devoted to this most admired of instruments. March 13-22; piatigorskyfestival.usc.edu.
ROTTERDAM PHILHARMONIC ORCHESTRA Just 30 but already building an enviable portfolio of podium positions, Lahav Shani, the chief conductor of this energetic ensemble, brings it to David Geffen Hall with two works by Brahms: the Piano Concerto No. 1 (with Emanuel Ax) and the Fourth Symphony. March 15; lincolncenter.org.
SAN FRANCISCO SYMPHONY As part of Michael Tilson Thomas’s goodbye to this splendid orchestra after 25 years as its music director, he brings the group to Carnegie Hall for two programs, anchored by Stravinsky’s “The Firebird” and — an M.T.T. specialty — Mahler’s Sixth Symphony. March 17-18; carnegiehall.org.
NASHVILLE SYMPHONY To accompany Beethoven’s “Pastoral” Symphony, this orchestra and its music director, Giancarlo Guerrero, turn to pastoral’s opposite: Gabriela Lena Frank’s “Conquest Requiem,” an oratorio about the violent clash between the Old and the New Worlds. March 19-21; nashvillesymphony.org.
NEW JERSEY SYMPHONY ORCHESTRA This excellent ensemble and its music director, Xian Zhang, celebrate the composer of the season with the eloquent pianist Louis Lortie, who performs Beethoven’s five piano concertos over four days, across New Jersey. March 19-22; njso.org.
GERALD FINLEY AND JEAN-YVES THIBAUDET A pairing of classical celebrities — baritone and pianist — at Carnegie Hall is sure to marry intelligent sensuality to songs by Schubert, Schumann, Fauré and Ravel. March 22; carnegiehall.org.
SHIFT This festival, which brings American orchestras to Washington for mini-residencies of creative concerts and community activities, hosts the Jacksonville Symphony, the Knoxville Symphony Orchestra, the Orpheus Chamber Orchestra and, if its labor woes are resolved, the Baltimore Symphony Orchestra. March 23-29; kennedy-center.org.
MITSUKO UCHIDA A week or so before this supremely poised pianist unleashes Beethoven’s “Diabelli” Variations on Carnegie Hall (on April 7), she appears with the Mahler Chamber Orchestra in two Mozart concertos. March 28; carnegiehall.org.
PIERRE-LAURENT AIMARD In a pair of recitals at the 92nd Street Y, this vividly articulate pianist presents three Beethoven sonatas alongside works by Schoenberg, Stockhausen (the relentless, resonant “Klavierstück IX”), Sweelinck, Berg and George Benjamin (“Shadowlines”). April 2 and 4; 92y.org.
‘THE ROMANCE OF THE ROSE’ The composer Kate Soper yet again turns a dense, thorny, seemingly unmusical source into art. Premiering at Peak Performances at Montclair State University in New Jersey, her new opera looks to the very long medieval allegory in verse “Le Roman de la Rose.” Michael Rau directs; the Wet Ink Ensemble and a small group of singers perform. April 2-5; peakperfs.org.
DAVÓNE TINES This bass-baritone is an adept and inventive presence in staged productions, but even without lights and costumes, he’s a compelling presence and a rich voice. At Weill Recital Hall, with the pianist Adam Nielsen, he offers a program that will include beloved lieder as well as works by Julius Eastman and Caroline Shaw. April 3; carnegiehall.org.
THE ‘RING’ CYCLE The director David Pountney — with a forceful backstage-at-the-theater concept — and the conductor Andrew Davis lead three cycles of Wagner’s four-opera saga at Lyric Opera of Chicago. Anchoring the cast are Christine Goerke’s charismatic Brünnhilde and Eric Owens’s Wotan. Opens April 13; lyricopera.org.
BOSTON SYMPHONY ORCHESTRA If 15 hours of Wagner is not enough, head to Carnegie Hall, where the climax of this refined ensemble’s three concerts next season is Act III of “Tristan und Isolde,” starring Jonas Kaufmann and Emily Magee, on April 15. (Completists will also visit David Geffen Hall on Nov. 17, for the opera’s second act with Stephen Gould, Christine Goerke and the National Symphony Orchestra under Gianandrea Noseda; they will also want to go to Georgia, where the Atlanta Symphony Orchestra and Robert Spano do the whole opera over three performances in June.) carnegiehall.org.
ZLATOMIR FUNG The winner of a top prize at the International Tchaikovsky Competition this summer, this rising cellist can be seen in intimate surroundings as part of the Morgan Library & Museum’s series of lunchtime concerts, presented with the organization Young Concert Artists. April 15; themorgan.org.
CANTATA PROFANA This ensemble creates performances that juxtapose music new and old with theatrical flair. It is organizing a festival at Irondale, in Brooklyn, teasing out the ancient and modern influences in Michael Hersch’s unremittingly grim oratorio about cancer, “On the Threshold of Winter.” April 17-19; cantataprofana.com.
RENÉE FLEMING AND EVGENY KISSIN It’s hard to imagine a starrier soprano-pianist pair than this set of veteran artists, applying themselves at Carnegie Hall to standards by Schubert, Liszt, Debussy and Duparc. April 23; carnegiehall.org.
‘MARTHA’ Friedrich von Flotow’s 1847 operatic romance, set at the court of Queen Anne, is a charmer, and was once a repertory staple. It will get a welcome rehearing at the Manhattan School of Music, where it will be conducted by Daniela Candillari and directed by Jay Lesenger. Opens April 23; msmnyc.edu.
MATTHIAS GOERNE AND JAN LISIECKI An intense veteran baritone and a young pianist come together for a program of, yes, Beethoven songs at Alice Tully Hall on April 28. (Mr. Lisiecki also plays Mendelssohn with the Orpheus Chamber Orchestra at Carnegie Hall on Sept. 26, a program that includes a premiere by Jessie Montgomery as well.) lincolncenter.org.
TIMO ANDRES Works by John Adams, Philip Glass, Nico Muhly, Louis Andriessen and others fill this graceful pianist’s recital at Zankel Hall. It also includes a premiere by Gabriella Smith, Copland’s Piano Sonata, Frederic Rzewski’s churning “Winnsboro Cotton Mill Blues” and music by Mr. Andres, who is also an elegant composer. April 29; carnegiehall.org.
‘KAT’A KABANOVA’ Janacek’s operas — arresting dramas that unfold with the relentless energy of procedurals — rarely fail to seize their audiences. Lothar Koenigs conducts a revival of Jonathan Miller’s production; Susanna Phillips sings the title role of a tormented young woman trapped in a loveless marriage. Opens May 2; metopera.org.
THE ENGLISH CONCERT This sparkling ensemble’s concert performances of Handel’s stage works, led by Harry Bicket, have become stalwarts of the Carnegie Hall season. “Rodelinda,” on May 3, will star Lucy Crowe in the title role, alongside two distinguished countertenors, Iestyn Davies and Anthony Roth Costanzo. (Other Handelian concert highlights: Juilliard415’s “Rinaldo,” conducted by Nicholas McGegan on Feb. 17; and Boston Baroque’s “Ariodante,” April 24 and 25.) carnegiehall.org.
LONDON SYMPHONY ORCHESTRA Arriving at David Geffen Hall with its music director, Simon Rattle, this powerhouse ensemble will sting in a Bartok program (the Concerto for Orchestra and “Bluebeard’s Castle”) the day before a fascinating juxtaposition: Ligeti’s Violin Concerto, with the no-holds-barred Patricia Kopatchinskaja, and Mahler’s Fourth Symphony, with the graceful soprano Camilla Tilling. May 3 and 4; lincolncenter.org.
BENJAMIN APPL One of the most compelling storytellers among the rising generation of lieder singers, this baritone plays the intimate Weill Recital Hall after a well-received American debut this year. The program, “Nocturne,” focuses on music of the night. (For yet more of this theme, check out the Chamber Music Society of Lincoln Center’s concert on May 3, culminating in Schoenberg’s “Verklärte Nacht.”) May 14; carnegiehall.org.
JEREMY DENK This keen pianist has long included Bach in mixed recitals, but at Alice Tully Hall this spring, the only thing on the agenda is Book 1 of “The Well-Tempered Clavier,” the magisterial series of preludes and fugues progressing through all the major and minor keys. May 14; lincolncenter.org.
MET ORCHESTRA Sharing conducting duties for this ensemble’s annual three-concert stand at Carnegie Hall, after the end of the opera season, are Gianandrea Noseda (Shostakovich and Stravinsky on May 15) and its music director, Yannick Nézet-Séguin (Beethoven and Prokofiev on June 12; Jörg Widmann and Strauss on June 16). carnegiehall.org.
ST. PAUL CHAMBER ORCHESTRA The violinist Pekka Kuusisto, an artistic partner of this fine conductorless ensemble, joins it at Alice Tully Hall for a program of Bach’s “Brandenburg” Concerto No. 3 and a piece composed in response, Anders Hillborg’s “Bach Materia,” alongside symphonies by Haydn and Prokofiev. May 16; lincolncenter.org.
‘AWAKENINGS’ Tobias Picker’s most recent stage works (“An American Tragedy,” “Dolores Claiborne”) have tended to be slack and muddled. But in this adaptation of Oliver Sacks’s real-life account of catatonic patients revived after decades, made into a hit film in 1990 and premiering in a new form at Opera Theater of St. Louis, he and the writer Aryeh Lev Stollman have the kind of ready-made ensemble drama that opera lives on. Opens June 7; opera-stl.org.
TWELVE NIGHTS FESTIVAL The musical forces of Trinity Wall Street flex considerable muscle in this new season-ending series; the plan is for the event to alternate annually between new and old music. It starts with the old: Highlights include a staging of Rameau’s “Dardanus” and, in concert, Handel’s “Deborah,” as well as Beethoven’s complete string quartets (with the Attacca Quartet) and Bach’s “Brandenburg” Concertos. June 17-28; trinitywallstreet.org.
VIENNA PHILHARMONIC Mahler has been a focus of Daniel Barenboim’s concerts with this venerable, glowing orchestra over the past few years; they bring Carnegie Hall’s season to a close with the Fifth, Seventh and Ninth symphonies. June 19-21; carnegiehall.org.