The Philadelphia Orchestra presents Gershwin and Bernstein

The demanding program, offered on four consecutive days, was certain to inspire reflection and consideration by audience members. The orchestra has changed dramatically in the half century that I have been attending concerts in Philadelphia. Gone are the dictatorial directors, the stern keepers of the classical flame; in their place, the smiling maestros eager to make challenging Western art music accessible to new and less experienced listeners.

These changes were demanded by audiences and sponsors, and are constantly revealing themselves, such as in palpable expressions of energy and emotive power that would put rock legends to shame. This ball-o’-fire dynamic delivered by Nézet-Séguin is the new face of a classical repertoire that wants to survive, at least in the United States. I, who once looked down on performances that were faster and louder than the usual pace, now cheer with the crowd (at least occasionally) at these accelerated pulse rates, provided other indicators of excellence are present throughout.

Chemistry, heartbreak, and delight

In this vein, the season closer program began with the aforementioned Concerto in F. I’m not particularly fond of Gershwin’s attempts to blend popular music with classical form, but it works when infused with real jazz spirit: elements of Charleston, blues, and plenty of attitude among the trumpets and percussion. Given that a soloist’s appearance and physical relationship to others on stage is part of their performance, Grimaud sparkled in sequins on black, a sleek ensemble that mirrored the dazzle of her playing. Yannick and Grimaud share a special chemistry, never more evident than in this high-octane presentation. There were a few sections where the piano was drowned out by the orchestra, but the overall momentum drove the work forward.

Following intermission, the orchestra performed Bernstein’s Symphony No. 1, “Jeremiah”, a work of profound sadness composed in 1942. Canadian soprano Emily D’Angelo offered a heartbreaking lament from the biblical book of Jeremiah as the composer reflected on the horrors of an encroaching war. D’Angelo’s voice has a smoky intensity honed into a clarion cry that emanates from the deepest recesses of the soul. This was her debut performance with the Philadelphia Orchestra, and we can only hope that there will be many others in the years to come.

Concluding the program was a suite of Symphonic Dances from Bernstein’s West Side Story, orchestrated by Sid Ramin and Irwin Kostal. After the hauntingly bleak landscape of the Jeremiah, this delightful assemblage was just the ticket to lift spirits and set toes tapping. Yannick brought out the swagger of the city gangs’ dance routines, the pathos of Maria and the tenderness of two lovers seeking a place where they can be themselves. Think you’d never hear bongos in the Philadelphia Orchestra? Think again.

The Philadelphia Orchestra’s 2026-2027 season begins September 24, 2026.