The Chicago Symphony Orchestra may cancel more concerts after striking musicians rejected what it calls its last, best and final offer on a new contract.
Chicago Symphony Orchestra
The Chicago Symphony Orchestra said in a Wednesday statement that it and the Chicago Federation of Musicians have “mutually agreed” to continue negotiations Friday.
Instead of being in rehearsal Tuesday morning with their superstar conductor Riccardo Muti, most of the Chicago Symphony Orchestra’s 106 musicians joined forces with him on the sidewalk outside the concert hall.
While saying their negotiations have been “respectful and cordial,” the musicians of the Chicago Symphony Orchestra and their management dug in Monday in what could be a prolonged strike.
The CSO’s current program features two radically different pieces: American composer William Schuman’s haunting “Symphony No. 9” and Mozart’s glorious “Requiem in D Minor.”
A wide array of concerts designed “to explore (Ludwig van Beethoven’s) individuality, power and genius” highlight the Chicago Symphony Orchestra’s 2019-2020 season.
Verdi’s monumental and altogether ravishing “Requiem” is a signature work of Maestro Riccardo Muti and the Chicago Symphony Orchestra and Chorus. In light of recent shootings, Thursday’s performance brought even greater potency and fire to this work.
You have just one more chance to catch a concert at Symphony Center that brings you into direct contact with absolute genius. Beg, borrow (or maybe even steal) a ticket to hear 27-year-old Russian pianist Daniil Trifonov in an electrifying performance.
This past weekend saw the last Chicago Symphony Orchestra concerts to be conducted by Maestro Riccardo Muti until November, and they should not go without notice for several reasons.
Music is not apolitical. The Chicago Symphony Orchestra’s season opening concerts take note of this, with impassioned comments made by Maestro Riccardo Muti.
Chicago Symphony Orchestra music director Riccardo Muti joins Hedy Weiss in conversation.
Just as many Italian Renaissance paintings of the crucifixion possess a breathtaking beauty that defies the brutality of the event, this music continually captures a vivid sense of transcendence.
The often stormy and repressive nature of life in the Soviet Union clearly infused the music of Sergei Prokofiev and Dmitri Shostakovich.
Although I don’t ordinarily write about fundraisers, the 29th annual Corporate Night concert at Symphony Center on Monday was so beguiling that it deserves attention.
Here is the formula for an astonishing evening of music: Take Bela Bartok’s Piano Concerto No. 3 and put it in the astonishing hands of pianist Mitsuko Uchida, the Chicago Symphony Orchestra and conductor Esa-Pekka Salonen.