Upcoming Concerts & Performances
5 upcoming concerts and performances from Lexington Symphony, with dates, venues and ticket links taken from the organization’s own pages and refreshed weekly. All classical in Greater Boston →
Sat Nov 7 · 7:30pm
Three orchestral depictions: Richard Strauss's tone poem Till Eulenspiegel's Merry Pranks, about the German folk prankster, Debussy's La Mer, and Giya Kancheli's Styx, which portrays the crossing of the river to the land of the dead. Styx is scored for solo viola, chorus and orchestra; the orchestra's principal violist, Emily Rideout, is the soloist, with the New World Chorale under artistic director Holly Krafka.
Sat Dec 5 – Sun Dec 6 · 7:30pm/3pm
Sat Dec 5 · 7:30pm / Sun Dec 6 · 3pm
Regie Gibson, the first Poet Laureate of Massachusetts, returns to narrate Howard Blake's The Snowman, the orchestral telling of Raymond Briggs's story about a little boy who builds a snowman that comes to life. Soprano Teresa Winner Blume and the Lexington High School Choruses join the orchestra for other holiday favourites, with Santa Claus as a special guest. A separate, shorter Kids Pops! performance is also scheduled.
Sat Feb 6 · 7:30pm
John Adams's The Chairman Dances, the foxtrot he drew from his opera Nixon in China, opens a programme built around music crossing cultures. Ravel's Mother Goose Suite, written first for piano duet on French fairy tales, follows, and the evening closes with a Symphony No. 1 by a composer the orchestra lists only as Zhao. The concert continues the orchestra's collaboration with the Chinese American Association of Lexington.
Sat Mar 13 · 7:30pm
Edmund Jenkins's Rhapsodic Overture, in an arrangement by T. Zimbabwe, opens the programme; the orchestra describes Jenkins as a Black jazz musician from Charleston who lived in Europe. Irina Muresanu is the soloist in Sibelius's Violin Concerto in D minor, Op. 47, and the evening ends with Tchaikovsky's Symphony No. 5, which the orchestra calls “a deeply personal musical exploration of his soul.” A conductor's talk precedes it.
Sat Apr 10 · 7:30pm
Three scores with lives in the theatre: Debussy's Prélude à l'après-midi d'un faune, which Nijinsky turned into his scandalous 1912 ballet; Rodion Shchedrin's Carmen Suite for strings and percussion, a reworking of Bizet made for Maya Plisetskaya's ballet; and Copland's Rodeo, written for Agnes de Mille in 1942. The orchestra bills them as music that “inspired genius on the stage and controversy in the world beyond it.”
