JAAP VAN ZWEDEN It is another year before this exacting Dutch maestro becomes the New York Philharmonic’s music director. But he has a strong presence this season, leading the opening-night gala and first subscription program, which features Mahler’s Fifth Symphony and Philip Glass’s Concerto for Two Pianos. In February, he pairs the first act of Wagner’s “Die Walküre” (starring Heidi Melton and Simon O’Neill) with the New York premiere of John Luther Adams’s “Dark Waves,” and two weeks later conducts Prokofiev and Brahms before leading the orchestra on an Asian tour. Season opens Sept. 19; nyphil.org.
OLIVIER PY The artistic director of the Avignon Festival in France, this outspoken artist has a seductive alter ego in the seen-it-all chanteuse Miss Knife. For “Les Premiers Adieux de Miss Knife,” she will be joined in the Brooklyn Academy of Music’s intimate BAM Fisher space by a four-piece jazz band and the special guests Joey Arias (Sept. 20), Angélique Kidjo (Sept. 21), Ute Lemper (Sept. 22) and Jo Lampert (Sept. 23). bam.org.
‘BLANK OUT’ A new chamber work by Michel van der Aa, known for experimenting with technology on the opera stage, demands that the soprano Miah Persson, singing live at the Park Avenue Armory, interact with a co-star, Roderick Williams, who is present only in a 3-D film. (One of Mr. van der Aa’s previous live-film amalgams, “Sunken Garden,” comes to the Dallas Opera in March.) Opens Sept. 21; armoryonpark.org.
‘CRAZY GIRL CRAZY’ For Barbara Hannigan’s first album as both singer and conductor, she has planned a characteristically daring program of women on the verge: Berg’s “Lulu” Suite, Berio’s “Sequenza III” and a new arrangement of music from Gershwin’s “Girl Crazy.” (She also sings Salvatore Sciarrino’s “La nuova Euridice secondo Rilke” with the Orchestra dell’Accademia Nazionale di Santa Cecilia at Carnegie Hall in October, and in November gives a two-night American recital debut at the Park Avenue Armory, devoting one program to the Second Viennese School and the other to Erik Satie, with Reinbert de Leeuw on piano.) Sept. 22; Alpha Classics.
SCIARRINO PIANO CONCERTO In addition to writing a piece for Barbara Hannigan, Mr. Sciarrino — the master of anxious near-silence — is the latest of the five composers from whom the pianist Jonathan Biss has commissioned concertos based on Beethoven’s. Mr. Biss will play the piece first with the St. Paul Chamber Orchestra (alongside Beethoven’s Fourth), and then, at the end of November, with the Cleveland Orchestra. Sept. 22-23, thespco.org.
NATIONAL SYMPHONY ORCHESTRA Gianandrea Noseda’s first season as the music director of this talented but chronically underachieving ensemble begins with a program of Bernstein and includes, in March, John Adams’s “The Gospel According to the Other Mary” and Verdi’s Requiem. Sept. 24, kennedy-center.org/nso.
‘NORMA’ The star soprano Anna Netrebko was originally supposed to take on the formidable title role of a Druid priestess torn between love and duty in this Bellini masterpiece, a one-time showcase for Callas and Ponselle. But she decided it wasn’t for her, leaving Sondra Radvanovsky — a chicory-dark and fluent, if blunt, Norma at the Metropolitan Opera four years ago — to open the company’s season, alongside Joyce DiDonato and Joseph Calleja. Carlo Rizzi, a journeyman who led the premiere of the disastrous former “Norma” production in 2001, conducts; David McVicar, the Met’s go-to for efficient realism, directs. (Angela Meade and Jamie Barton, exciting partners in this opera, sing five performances in December.) Opens Sept. 25; metopera.org.
‘VEXATIONS’ Satie’s instruction atop the score for this short piano piece — play it 840 times — may well have been a joke at the expense of the esotericism-obsessed Salon de la Rose + Croix in late-1890s Paris. “Complete” performances are, understandably, rare. But on the occasion of “Mystical Symbolism,” its exhibition about the salon, the Guggenheim Museum will field a host of pianists in the whole marathon, all 19-odd hours of it. Sept. 26; guggenheim.org.
‘FOR/WITH’ Organized by the vital trumpeter Nate Wooley, an artist of rare integrity and artistic ambition, this two-night mini-festival at Issue Project Room focuses on four composers — Christian Wolff, Ashley Fure, Michael Pisaro and Annea Lockwood — from whom he has commissioned works. Sept. 29-30; issueprojectroom.org.
THE STONE AT THE NEW SCHOOL The Stone, a tiny but influential East Village performance space founded by John Zorn, announced earlier this year that it would move into a permanent residence at the New School in Greenwich Village next March. Until then, concerts each Friday and Saturday at the school will give a taste of what is coming, including this twofer with the stylish guitarist Mary Halvorson. Sept. 29-30; thestonenyc.com.
MARYANNE AMACHER Specializing in haunting, fleeting acoustic experiments that sprawled through multiple rooms, this composer left little behind when she died in 2009. But there have been recent attempts to revive her work, including this performance of “Adjacencies,” for two percussionists (here from the group Yarn/Wire) and electronics, at the Kitchen. (Yarn/Wire returns there on Oct. 6 with the kaleidoscopically detailed music of Enno Poppe.) Sept. 29-30; thekitchen.org.
SABINE DEVIEILHE Increasingly prominent in Europe, this dramatically acute coloratura soprano makes her North American recital debut with a program of French songs in the ornate environs of the Board of Officers Room at the Park Avenue Armory. Oct. 1, 3; armoryonpark.org.
‘CROSSING’ Based on the war diaries of Walt Whitman, this somber chamber opera by Matthew Aucoin was acclaimed at its premiere in 2015. It arrives at the Brooklyn Academy of Music in Diane Paulus’s production; Rod Gilfry stars as Whitman. (“Orphic Moments,” a double bill of Mr. Aucoin’s “The Orphic Moment” and Gluck’s “Orfeo ed Euridice,” will be revived by MasterVoices in May.) Opens Oct. 3; bam.org.
PHILADELPHIA ORCHESTRA This burnished ensemble from down I-95 has become practically a house band at Carnegie Hall in recent years under its vibrant music director, Yannick Nézet-Séguin. It opens Carnegie’s season with lovable standards by Gershwin and Bernstein, then returns for three more dates, in December, March and April, including new works by Tod Machover and Michel van der Aa and a freshly expanded suite from Thomas Adès’s opera “Powder Her Face.” Bernstein is a recurring strand, too, with “Serenade (After Plato’s ‘Symposium’)” and the “Chichester Psalms.” Oct. 4; carnegiehall.org.
L’ARPEGGIATA Christina Pluhar’s ensemble plays early music with the offhand vitality of contemporary indie rock. It devotes one program at Zankel Hall to Luigi Rossi, and the next to a mélange of Cavalli, Cesti, Monteverdi and Italian folk tunes. Oct. 6-7; carnegiehall.org.
‘THE FORCE OF THINGS’ Music theater as immersive installation: This “opera for objects,” by the important young composer Ashley Fure (collaborating with her brother, the architect Adam Fure), makes sounds through unexpected connections, in a kind of vibrating stillness. Its American premiere, with the International Contemporary Ensemble, comes courtesy of the Peak Performances series at Montclair State University in New Jersey, devoted this season to works by women. Oct. 6-8; peakperfs.org.
‘RÉPONS’ A sweeping, complex amalgam of the acoustic and electronic, with the audience both surrounding and surrounded by sound, this Pierre Boulez work from the early 1980s strains the resources of traditional performance spaces. But it may well be perfect for the soaring Drill Hall at the Park Avenue Armory, where Boulez’s own Ensemble intercontemporain will play it twice at each of two performances, allowing listeners to hear the 45-minute piece from different perspectives. Oct. 6-7; armoryonpark.org.
MUSIC HALL OF CINCINNATI Everyone agrees that America’s concert halls, many built during eras of explosive interest in classical music, are now too large to fill consistently. But is there the money and the will to fix them? Cincinnati has found a way: The imposing Music Hall (from 1878), home to the meatily authentic Cincinnati Symphony Orchestra, closed for a year and reduced its capacity to around 2,400 from 3,400. It reopens, those seats (it is hoped) full, with works by Scriabin, Beethoven, John Adams and Jonathan Bailey Holland. Oct. 6-7; cincinnatisymphony.org.
NEW JERSEY SYMPHONY ORCHESTRA This underrated ensemble fields a particularly fine roster of piano soloists this season, opening with Jeremy Denk (and Beethoven’s “Emperor” Concerto) and also including Conrad Tao, Stephen Hough, George Li, Terrence Wilson, Sara Daneshpour and Robert Levin. Oct. 7-8; njsymphony.org.
PATRICIA KOPATCHINSKAJA AND JAY CAMPBELL This violinist and cellist come together in the snug Board of Officers Room at the Park Avenue Armory for a wide range of works — from early music to a premiere by Michael Hersch — that will test their shared taste for extremity. (Ms. Kopatchinskaja, a creative curator as well as an intense player, will get a more vast canvas for her talents next June as the music director of the 2018 Ojai Festival in California.) Oct. 9-10; armoryonpark.org.
‘CDMX’ FESTIVAL Boldly declaring irrelevant old distinctions between high and low art, the Los Angeles Philharmonic’s immersion in the music of today’s Mexico City includes commissions from Gabriela Ortiz and Arturo Márquez; an evening of brand-new chamber works conducted by Carlos Miguel Prieto; the Philharmonic and Gustavo Dudamel performing with Natalia Lafourcade and Café Tacvba; film music, including a screening of Alejandro G. Iñárritu’s “Birdman,” with live accompaniment; and organilleros (organ grinders) deployed through Walt Disney Concert Hall. Oct. 9-17; laphil.com.
AMERICAN SYMPHONY ORCHESTRA Leon Botstein’s ensemble goes where others fear to tread, devoting this season at Carnegie Hall to rarely heard music with a relationship to politics. “The Sounds of Democracy” features works by Roger Sessions, Aaron Copland and Leonard Bernstein, inspired by Franklin D. Roosevelt and John F. Kennedy. (“Triumph of Art” follows in December; “Hollow Victory: Jews in Soviet Russia After the World War,” in January; and, in March, a performance of Luigi Nono’s anti-fascist opera, “Intolleranza.”) Oct. 11; americansymphony.org.
LEIF OVE ANDSNES A thoughtful virtuoso, this pianist opens his season-long residency with the New York Philharmonic with Rachmaninoff’s Fourth Concerto. Later he plays Britten’s Concerto and Debussy’s “Fantaisie,” as well as a recital at David Geffen Hall. Oct. 12-17; nyphil.org.
SPHINX ORGANIZATION Devoted to promoting racial diversity in classical music through competitions, grants and educational activities, this invaluable entity also presents an annual concert at Carnegie Hall featuring its flagship orchestra, the Sphinx Virtuosi; this year it includes pieces old (Vivaldi, Beethoven, Vaughan Williams) and new (the New York premiere of a Jimmy López work for violin, cello and strings). Oct. 13; sphinxmusic.org.
NEW YORK EARLY MUSIC CELEBRATION Focused this year on Holland and Flanders, this citywide festival includes respected ensembles like the Sebastians and Pomerium. The schedule also features a presentation from the treasured series Music Before 1800 (“The Musical World of Hieronymus Bosch,” with Capella Pratensis) and, at the Morgan Library & Museum, Camerata Trajectina’s “Music From the Age of Vermeer.” Oct. 13-22; nyemc.com.
‘IL GRILLO DEL FOCOLARE’ Teatro Grattacielo, devoted to the revival of little-known Italian operas, turns to this tender 1908 adaptation of Charles Dickens’s sentimental story “The Cricket on the Hearth.” It made the career of Riccardo Zandonai, today (a bit) better known for “Francesca da Rimini.” Oct. 14; grattacielo.org.
PEOPLES’ SYMPHONY CONCERTS This venerable series — one of the best deals in classical music — presents world-class performers for less than $10 a ticket. The season begins with the pianist Shai Wosner and also includes the cellist Narek Hakhnazaryan; the pianists Vladimir Feltsman, Kirill Gerstein and Lise de la Salle; the Rosamunde, Dover and Juilliard quartets; the clarinetist Jörg Widmann with the pianist Gilles Vonsattel; and, in Ives sonatas, the violinist Stefan Jackiw and the pianist Jeremy Denk. Oct. 14; pscny.org.
MONTEVERDI TRIO The opportunity to hear Monteverdi’s three pathbreaking extant operas — “L’Orfeo,” “Il Ritorno d’Ulisse in Patria” and “L’Incoronazione di Poppea” — is rare enough, let alone all under the artful baton of John Eliot Gardiner, who founded his Monteverdi Choir in the 1960s and will open Lincoln Center’s annual White Light Festival at Alice Tully Hall. (In December, the brilliant vocal ensemble Tenet performs selections from Monteverdi’s “Selva morale e spirituale.”) Oct. 18, 19, 21; whitelightfestival.org.
WHITE LIGHT FESTIVAL With a perennially vague focus on spirituality and faith, Lincoln Center’s fall festival rightly has as its centerpiece, “The Psalms Experience,” performances of settings (some new, some old) of all 150 biblical psalms, by 150 composers. White Light also presents the Emerson String Quartet, Meredith Monk (with the Young People’s Chorus of New York City), the organist Bernard Foccroulle, the Swedish Chamber Orchestra and Radio Choir, Jordi Savall and, performing Messiaen’s “Vingt Regards sur l’Enfant-Jésus,” the pianist Steven Osborne. Oct. 18-Nov. 15; whitelightfestival.org.
JACK QUARTET For “Soundscape America,” a two-night celebration of the 20th- and 21st-century American string quartet at the Miller Theater, this endlessly curious group ranges from Ruth Crawford Seeger to Cenk Ergun, by way of Erin Gee, Anthony Braxton, Elliott Carter, Morton Feldman, John Zorn, Gloria Coates and more. (The JACK also joins So Percussion at Zankel Hall in March for an evening of premieres by Philip Glass, Donnacha Dennehy and Dan Trueman.) Oct. 19, 21; millertheater.com.
ÉLIANE RADIGUE This French composer, who combined her skills at synthesizer composition and her Tibetan Buddhist spiritual practice into hypnotic music, began working with acoustic instruments about 15 years ago. For a performance at Issue Project Room, part of the Austrian Cultural Forum’s Moving Sounds Festival, two recent pieces will be heard alongside a classic recording of “Mila’s Song in the Rain.” Oct. 20; issueprojectroom.org.
ORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA Antonio Pappano, the conductor of this healthy-voiced ensemble, has lured the elusive pianist Martha Argerich to Carnegie Hall for Prokofiev’s Concerto No. 3, part of a two-night stand that also includes works by Verdi, Respighi, Sciarrino and Mahler. (Mr. Pappano also makes a rare appearance with the New York Philharmonic in February with a keyboard fest: Britten’s Piano Concerto, with Leif Ove Andsnes, and Saint-Saëns’s Organ Symphony, with Kent Tritle.) Oct. 20-21; carnegiehall.org.
BERNSTEIN AT 100 If you think you’re hearing more “West Side Story” dances in concert halls than usual this season, you’re not crazy: It is part of the two-year celebration of the centennial of this quintessential figure of American music, born in August 1918. The New York Philharmonic’s “Bernstein’s Philharmonic” festival (Oct. 25-Nov. 14), including all his symphonies, is among many local and international tributes. leonardbernstein.com/at100.
‘THE EXTERMINATING ANGEL’ Thomas Adès conducts the Met premiere of his seething 2016 opera, based on the surreal Luis Buñuel film about an elegant dinner party whose guests find it — first oddly, then ominously — impossible to leave. Tom Cairns, who wrote the libretto, directs; the large ensemble cast includes Audrey Luna, Amanda Echalaz, Sally Matthews, Alice Coote, Iestyn Davies, Joseph Kaiser, Rod Gilfry and John Tomlinson. (On Oct. 15 at Zankel Hall, a few of the singers and Mr. Adès will perform songs by him and others.) Opens Oct. 26; metopera.org.
DANIIL TRIFONOV This dazzling pianist releases a Chopin album on Oct. 6, and that composer is a thread running through his Perspectives series this season at Carnegie Hall, which opens with “Hommage à Chopin,” a demonstration of the master’s influence. (He also performs his own concerto with the Mariinsky Orchestra; lieder with the baritone Matthias Goerne; piano duos with Sergei Babayan; more Chopin with Kremerata Baltica; and, in May, “Decades,” a solo program featuring a work from each decade of the 20th century, from Berg to Adès.) Oct. 28; carnegiehall.org.
MARC-ANDRÉ HAMELIN As technically accomplished as any pianist, Mr. Hamelin doesn’t rest on those laurels. He delves deeply into dusty corners of the repertory, and emerges, in this recital at Carnegie Hall, with rarities by Samuil Feinberg and Leopold Godowsky, alongside works by Liszt and the first book of Debussy’s “Images.” Nov. 1; carnegiehall.org.
92ND STREET Y Yet more choice pianists are the prime attractions next season at the Y, including Angela Hewitt, who continues her four-season survey of Bach’s complete keyboard works on Nov. 8. Benjamin Grosvenor, the 24-year-old British dynamo, will make his Y debut a week later, with works by Bach and Brahms, and Shai Wosner will play Schubert’s six final sonatas in three concerts. Nikolai Lugansky, Jeremy Denk, Alessio Bax and Inon Barnatan also appear. 92y.org.
‘THE MOTHER OF US ALL’ Virgil Thomson and Gertrude Stein’s quirkily heart-rending pageant-opera about Susan B. Anthony and the struggle for women’s suffrage will be staged by the searching young director R. B. Schlather in a site-specific production at the 19th-century Hudson Hall in Hudson, N.Y. (Schlather completists will want to check out his staging of a new piece, “Film Stills,” based on Cindy Sherman’s photographs, in the spring at National Sawdust in Brooklyn, alongside a new opera by Anna Clyne based on Eva Hesse’s diaries.) Opens Nov. 11; hudsonhall.org.
‘WAR OF THE WORLDS’ “Fake news” isn’t new: In 1939, Orson Welles co-opted the form of the radio news bulletin for a panic-sowing adaptation of H. G. Wells’s novel about an alien invasion. Bringing it into the 21st century, the composer Annie Gosfield, whose work has often been inspired by old transmissions, collaborates with the director Yuval Sharon, who plans to involve both the Los Angeles Philharmonic’s audience at Walt Disney Concert Hall and unsuspecting listeners in the streets; Christopher Rountree conducts the LA Phil New Music Group. Nov. 12, 18; laphil.com.
PAUL LEWIS Eloquent and restrained, this British pianist has provided some of New York’s most memorable concerts in recent years, with late sonatas of Schubert and Beethoven. He returns, to Zankel Hall, with more late Beethoven (the Opus 126 Bagatelles) as well as Brahms’s “Klavierstücke” (Op. 118) and two Haydn sonatas. (In April, he joins a frequent collaborator, the moving tenor Mark Padmore, at Alice Tully Hall for songs of Brahms and Schumann.) Nov. 15; carnegiehall.org.
COMPOSER PORTRAITS Miller Theater’s signature series of dives into one artist’s work at a time begins with the reactive music of Marcos Balter, with evenings of Chen Yi, Raphaël Cendo, Ann Cleare, Christopher Cerrone and Frederic Rzewski to follow. Nov. 16; millertheater.com.
CHAMBER MUSIC SOCIETY OF LINCOLN CENTER The New York premiere of John Luther Adams’s “… there is no one, not even the wind” is part of this concert of ensemble music focusing on the flute, a highlight of the society’s season at Alice Tully Hall, full of fine performers and staid programs. Nov. 19; chambermusicsociety.org.
‘GIRLS OF THE GOLDEN WEST’ The most eagerly anticipated new opera of the season, drawn from texts by the Forty-Niners of the California Gold Rush — particularly women — opens, appropriately, at San Francisco Opera, bringing together two longtime collaborators, the composer John Adams and the librettist and director Peter Sellars. Grant Gershon conducts a cast that includes Julia Bullock, Davóne Tines and J’Nai Bridges. Opens Nov. 21; sfopera.com.
VERDI REQUIEM Something of a lemonade-out-of-lemons situation: This year the Met canceled, for what it said were cost reasons, a planned new production of Verdi’s “La Forza del Destino” by the daring director Calixto Bieito. Taking its place are these four performances of the composer’s crushing choral work, conducted by James Levine and featuring a fine quartet of soloists in Krassimira Stoyanova, Ekaterina Semenchuk, Aleksandrs Antonenko and Ferruccio Furlanetto. Opens Nov. 24; metopera.org.
TALEA ENSEMBLE At the Italian Academy at Columbia University, this fearless ensemble takes on “Face,” a new evening-length work by the savage composer Pierluigi Billone that closely intertwines a vocalist (here, the soprano Anna Clare Hauf) with instrumentalists in a sound world that can be rough, even violent. Nov. 30; taleaensemble.org.
‘THE NUBIAN WORD FOR FLOWERS’ As a tribute to the composer Pauline Oliveros, who died last year, Experiments in Opera and the International Contemporary Ensemble present the premiere, at Roulette in Brooklyn, of her music-theater collaboration with her spouse, the writer and performance artist known as Ione. Called a “phantom opera” by its creators, the work is a kind of meditation on colonialism, loosely based on the story of Lord Horatio Herbert Kitchener, a brutal British Army commander in Africa; Ione directs. Nov. 30; roulette.org.
ALEXI KENNEY This gifted young violinist plays with a precision and purity of tone that are ideally suited to Bach. He comes to Weill Recital Hall with a program that includes the Partita No. 3 and works by Schubert, Respighi, George Crumb and Esa-Pekka Salonen. Dec. 1; carnegiehall.org.
JANINE JANSEN A few days later, another superb violinist arrives at Carnegie to start a Perspectives series: This one begins with two programs of chamber music, featuring the clarinetist Martin Frost and the cellist Torleif Thedeen. A concert with the pianist Jean-Yves Thibaudet and the Dover Quartet follows in January, as do concertos with expert orchestras: the Royal Concertgebouw (Bruch’s First) and Philadelphia (the New York premiere of a work by Michel van der Aa). Dec. 7, 9; carnegiehall.org.
‘MESSIAH’ Every December brings a wave of performances of this Handel favorite, and many (even the singalongs) have their charms. But those in the know seek out one in particular: Trinity Wall Street’s, led by Julian Wachner at Trinity Church with a sure sense of drama, and soloists drawn from its riveting chorus. Dec. 15-17; trinitywallstreet.org.
JAMIE BARTON Though her generous voice easily cuts through a Wagner orchestra, this mezzo-soprano can rein it in, too, as a potent recitalist. A new work by Iain Bell shares the program, at Zankel Hall, with pieces by Haydn, Ravel, Debussy, Schoenberg, Strauss and Libby Larsen. Dec. 18; carnegiehall.org.
‘TOSCA’ The Met’s much-anticipated new production of this Puccini classic lost its star tenor (Jonas Kaufmann) and its married soprano and conductor (Kristine Opolais and Andris Nelsons) to a variety of personal issues. An effort to replace a grim 2009 Luc Bondy staging that never caught on with audiences, it now fields Sonya Yoncheva and Vittorio Grigolo — dynamic singers, both new to their roles — and James Levine, returning to the work he conducted in his first Met outing, in 1971. David McVicar directs, on naturalistic sets that look more or less the same as the Franco Zeffirelli ones that were stalwarts for decades. (Ms. Yoncheva and Mr. Levine then collaborate on Verdi’s “Luisa Miller,” opening on March 29 and also starring Plácido Domingo and the classy tenor Piotr Beczala, who has a solo recital at Carnegie Hall on Feb. 28.) Opens Dec. 31; metopera.org.
PROTOTYPE: OPERA/THEATER/NOW Now in its sixth year, this festival of contemporary chamber opera and performance has become New York’s most dependable home for intriguing music theater. Presented by Beth Morrison Projects and Here Arts Center, this season’s offerings, a mixture of full productions, song cycles and works in progress, include Michael Gordon and Deborah Artman’s “Acquanetta”; “The Echo Drift,” a collaboration among Mikael Karlsson, Elle Kunnos de Voss and Kathryn Walat; and Gregory Spears and Greg Pierce’s “Fellow Travelers,” much praised at its premiere in Cincinnati last year. Jan. 9-20; prototypefestival.org.
ROOMFUL OF TEETH This vocal ensemble, specializing in a grab bag mixture of exotic approaches, comes to Zankel Hall for the premiere of a work by (and performed with) the jazz pianist Tigran Hamasyan, as well as a new piece by Ambrose Akinmusire, and “Partita,” the Pulitzer Prize-winning contemporary classic by Caroline Shaw, one of the group’s members. (The Teeth join the New York Philharmonic in May, under Semyon Bychkov, for a rare revival of Berio’s teeming “Sinfonia,” which he wrote for that orchestra in the late 1960s.) Jan. 11; roomfulofteeth.org.
BUDAPEST FESTIVAL ORCHESTRA Don’t be fooled by the sleepy repertory (standards by Bach, Beethoven and Rachmaninoff) in this program at David Geffen Hall. There are always tricks up the conductor Ivan Fischer’s sleeve, be they rearranging the sections of this crack ensemble or embedding a chorus in an innocent audience. Jan. 14; lcgreatperformers.org.
FOCUS! FESTIVAL The director of the New Juilliard Ensemble, Joel Sachs, acts more generally as the Juilliard School’s new-music magus and organizes this annual dive into slivers of the contemporary landscape. This year’s theme is “China Today: A Festival of Chinese Composition.” Jan. 19-26; juilliard.edu.
CLEVELAND ORCHESTRA Celebrating its centennial in 2018, this peerlessly refined ensemble — perhaps America’s best — arrives at Carnegie Hall under Franz Welser-Möst for a pair of programs that include a broad span of music, from Haydn’s oratorio “The Seasons” to a new work by Johannes Maria Staud, by way of Mahler’s Ninth Symphony. No flashy concertos here: The orchestra is the star. Jan. 23-24; carnegiehall.org.
‘HERE BE SIRENS’ Kate Soper’s funny, poignant music-theater work, a dazzling exploration and explosion of myth, finds room to include, as Steve Smith wrote in The New York Times, “stark chant, Baroque extravagance, modernist dissonance and pop-tune directness in collision and collusion.” National Sawdust hosts the premiere of its newest iteration. Jan. 28; nationalsawdust.org.
‘PARSIFAL’ Yannick Nézet-Séguin, a major presence in New York this season with his Philadelphia Orchestra, also has an extended residency at the Met, where he will be the next music director. First comes this meditative Wagner opera, in François Girard’s evocative production, with a stellar cast that includes Klaus Florian Vogt, Evelyn Herlitzius, Peter Mattei and René Pape. (Strauss’s raw “Elektra,” staged with restraint by Patrice Chéreau, follows on March 1, and boasts Christine Goerke, Elza van den Heever and Michaela Schuster.) Opens Feb. 5; metopera.org.
PHILIP GLASS Carnegie Hall celebrates this prolific artist, who holds its Debs Composer’s Chair this season, with a series of concerts. Most intimate may be a selection of Glass songs, arranged by Nico Muhly and performed by him and some close collaborators. Other programs feature the Philip Glass Ensemble (“Music With Changing Parts”), the Louisiana Philharmonic Orchestra (“Days and Nights in Rocinha” and the Concerto Fantasy for Two Timpanists and Orchestra) and the Pacific Symphony (“The Passion of Ramakrishna”). Feb. 8; carnegiehall.org.
CHICAGO SYMPHONY ORCHESTRA Over the past few years, Riccardo Muti has shaped an ensemble both powerful and lyrical. He brings it to Carnegie Hall in works by Stravinsky, Britten, Chausson (the “Poème de l’Amour et de la Mer,” with the juicy mezzo-soprano Clémentine Margaine), Verdi and Brahms, and new pieces by Jennifer Higdon (a concerto for low-brass quartet) and Samuel Adams. Feb. 9-10; carnegiehall.org.
‘SEMIRAMIDE’ Not revived at the Met since 1993, this grand Rossini opera returns with Angela Meade, who sang the title role at the Caramoor Festival a few years ago, alongside Elizabeth DeShong, the essential tenor Javier Camarena, Ildar Abdrazakov and Ryan Speedo Green; Maurizio Benini conducts. Opens Feb. 19; metopera.org.
ST. PAUL’S CHAPEL ORGAN The installation of a Noack pipe organ, rescued from a church in Boston and renovated, is a belated present for the 250th birthday, celebrated last season, of Trinity Wall Street’s intimate chapel. A week of concerts will put the instrument through its paces, as will a springtime Pipes at One series on Friday afternoons. Feb. 19-25; trinitywallstreet.org.
ANNA CATERINA ANTONACCI From a singer of exhilarating intensity, a characteristically sophisticated program of Nadia Boulanger, Respighi, Britten, Poulenc and Debussy for this recital with the pianist Donald Sulzen at Zankel Hall, presented by New York City Opera. Feb. 20; nycopera.com.
VIENNA PHILHARMONIC Gustavo Dudamel, a frequent partner of this storied orchestra, hews mostly to Vienna favorites — Brahms, Mahler, Tchaikovsky, even Berlioz’s “Symphonie Fantastique” — in these three concerts at Carnegie Hall. But he has one wild card, too: Ives’s Symphony No. 2, not new to these players but a rarity for them. Just imagine the warm urgency those strings will find in this music, and the joy of hearing bits of “Turkey in the Straw” from the Viennese. Feb. 23-25; carnegiehall.org.
MITSUKO UCHIDA The queen of pianistic subtlety delves into Schubert with a pair of Carnegie recitals devoted to his sonatas — three each night. Feb. 26, March 2; carnegiehall.org.
SIMON KEENLYSIDE After a long stretch of health-related cancellations, this energetic baritone has been returning to opera — and to recital, too: This program at Alice Tully Hall, with the pianist Malcolm Martineau, includes Sibelius, Schubert and Poulenc, with a set of songs from his native Britain by Vaughan Williams, Arthur Somervell, Peter Warlock and Percy Grainger. March 1; lcgreatperformers.org.
ANDREW NORMAN A composer whose turbulent works echo the way we live now — technological overdrive and political strife — will have two West Coast showcases: The first American performances of his children’s opera, “A Trip to the Moon,” come to the Los Angeles Philharmonic, and a new cello concerto, for Johannes Moser and the Seattle Symphony, follows in June. March 2-3; laphil.com.
‘COSÌ FAN TUTTE’ The Met’s last production of this Mozart opera, a study of love and betrayal, was merely decorative; this new one, directed by Phelim McDermott and conducted by David Robertson, sets the action in the seedy carnival that was Coney Island in the 1950s. Amanda Majeski, Serena Malfi, Ben Bliss and Adam Plachetka are the young lovers, with Christopher Maltman and the Broadway star Kelli O’Hara (game in the Met’s “The Merry Widow” a few years ago) setting the plot in motion. Opens March 15; metopera.org.
JENNIFER KOH One of our most probing artists, and a keen collaborator, presents “Limitless: On Stage Together,” two programs at National Sawdust of works commissioned by (and some performed in duo with) an enviable slate of composers: Zosha di Castri, Missy Mazzoli, Qasim Naqvi, Lu Wang, Lisa Bielawa, Vijay Iyer, Tyshawn Sorey, Nina Young and Du Yun. March 15, 31; nationalsawdust.org.
ALARM WILL SOUND An intriguing notion: This intrepid ensemble says that this program at Zankel Hall, a journey through the dramatic life and work of Gyorgy Ligeti, will blend music and recorded sounds into “a concert that resembles a live podcast.” March 16; carnegiehall.org.
‘RINALDO’ Harry Bicket, leading the latest installment in what has happily become an annual series of Handel operas in concert at Carnegie Hall with his English Concert ensemble, fields a superb cast in this exquisite score: Iestyn Davies, Jane Archibald, Joélle Harvey, Luca Pisaroni, Sasha Cooke and Jakub Józef Orliński. March 25; carnegiehall.org.
BAVARIAN STATE ORCHESTRA New York will get to take the measure of Kirill Petrenko, the next conductor of the Berlin Philharmonic, when he brings this ensemble, the exceptional house band of the Bavarian State Opera in Munich, to Carnegie Hall. Sure, go to the first night for Brahms’s Double Concerto (with Julia Fischer and Daniel Müller-Schott) and Tchaikovsky’s “Manfred” Symphony. But don’t miss the next: a concert performance of Strauss’s “Der Rosenkavalier,” starring Adrianne Pieczonka, Angela Brower, Hanna-Elisabeth Müller and Peter Rose. March 28-29; carnegiehall.org.
‘BECOME DESERT’ John Luther Adams’s patiently surging “Become Ocean,” from 2013, was both beautiful and ominous, a grandly eerie glimpse at our ecological future. It won a Pulitzer Prize and a Grammy Award, and spurred a $50,000 donation from Taylor Swift to the orchestra that commissioned it, the Seattle Symphony. That ensemble and its music director, Ludovic Morlot, now present the sequel. March 29, 31; seattlesymphony.org.
AMERICAN COMPOSERS ORCHESTRA This crucial contemporary-music ensemble’s 40th-anniversary season includes “Dreamscapes,” a concert at Zankel Hall that features the premiere of “Concerto to Scale,” by and for the outstanding jazz pianist Ethan Iverson; and Steve Lehman’s “Ten Threshold Studies,” alongside works by Clarice Assad, T J Anderson and Hitomi Oba. April 6; americancomposers.org.
SHIFT: FESTIVAL OF AMERICAN ORCHESTRAS After a successful inaugural run, this showcase for ensembles thinking outside the box — modeled on the Spring for Music festival at Carnegie Hall a few years ago — returns to the Kennedy Center in Washington. This time the featured orchestras, presenting both concerts and community events, will be the Fort Worth, Albany and Indianapolis symphonies, as well as Washington’s own National Symphony Orchestra. April 9-15; washingtonperformingarts.org.
BOSTON SYMPHONY ORCHESTRA After he canceled on the Met’s new “Tosca,” it became clear that Jonas Kaufmann’s opera engagements in New York might well be attenuated in coming years by family obligations. That ups the ante on his appearance with this pristine ensemble at Carnegie Hall in the lovelorn second act of Wagner’s “Tristan und Isolde,” a work he has not yet sung onstage, with the soprano Camilla Nylund and the conductor Andris Nelsons. The Bostonians and Mr. Nelsons play Bernstein, Shostakovich, Mozart, Strauss and Jörg Widmann in their other two programs at Carnegie (where Mr. Kaufmann will have appeared in recital in January). April 11-13; carnegiehall.org.
‘CENDRILLON’ Massenet’s plush take on the Cinderella fairy tale has long been a star vehicle for the silky-voiced mezzo-soprano Joyce DiDonato. She brings the work to the Met for the first time in Laurent Pelly’s charming, much-traveled production, with Bertrand de Billy conducting and a cast that also includes Alice Coote, Kathleen Kim and Stephanie Blythe. (A far rarer “Cendrillon” will have already hit the city in December, when the Manhattan School of Music gives what may be the American premiere of Nicolas Isouard’s 1810 version.) Opens April 12; metopera.org.
‘HIPPOLYTE ET ARICIE’ The vast resources of the Juilliard School’s historical-performance program have had a transformative effect on the early-music scene in New York. The school’s Juilliard415 ensemble collaborates with singers and dancers from the school in this Rameau opera, one of the French Baroque masterpieces heard too rarely here. Stephen Stubbs conducts; Stephen Wadsworth directs. April 17, 19, 21; juilliard.edu.
JULIA BULLOCK A deeply communicative singer in a range of styles, this young soprano unites classic lieder and a set of jazz and blues songs at Weill Recital Hall, joined by the pianist John Arida. April 20; carnegiehall.org.
LAWRENCE BROWNLEE This tenor, who spins out bel canto lines with controlled eloquence (and has a cameo as the Italian Tenor when the Bavarian State Orchestra performs “Der Rosenkavalier” in March), takes the night off from opera for a recital at Zankel Hall with the pianist Myra Huang, featuring a new work by Tyshawn Sorey and Schumann’s “Dichterliebe.” April 24; carnegiehall.org.
LOS ANGELES PHILHARMONIC Those who can’t make it out to California for this ensemble’s sensational season at Walt Disney Concert Hall will have to settle for this pair of programs at David Geffen Hall, led by Gustavo Dudamel and featuring a new work by Esa-Pekka Salonen, Edgard Varèse’s “Amériques,” Bernstein’s “Chichester Psalms” and two symphonies: Shostakovich’s Fifth and Beethoven’s Ninth. April 27, 29; lcgreatperformers.org.
GERALD FINLEY An artist of palpable intelligence and feeling, this baritone has been memorable at the Met in recent years as Stravinsky’s Nick Shadow and Rossini’s Guillaume Tell, and adds Athanaël in Massenet’s “Thaïs,” alongside Ailyn Pérez, in November. For a recital at Alice Tully Hall with the sensitive pianist Julius Drake, he ties a set of folk songs to a program of Beethoven, Schubert, Tchaikovsky and Rachmaninoff. May 2; lcgreatperformers.org.
LONDON SYMPHONY ORCHESTRA A few months after the Cleveland Orchestra brings Mahler’s Ninth Symphony to New York, this extroverted ensemble repeats it at David Geffen Hall under Simon Rattle, alongside its composer’s two other final masterpieces: “Das Lied von der Erde” (with Christian Gerhaher and Stuart Skelton) and the completed version of the Symphony No. 10. May 4, 6, 7; lcgreatperformers.org.
SOL GABETTA A cellist of style and focus, Ms. Gabetta appears at Alice Tully Hall with the pianist Bertrand Chamayou in a program of sonatas by Beethoven, Britten and Chopin. May 12; lcgreatperformers.org.
CHIARA STRING QUARTET Disbanding after 18 years so that its members can pursue their own projects, this adventurous group will play the New York premiere of a new piano quintet (with the pianist Paul Barnes) by Philip Glass at its last performance in the city. The program, at the Metropolitan Museum of Art, also includes works by Beethoven and Nico Muhly. May 12; metmuseum.org.
YUJA WANG Fiery and clever, this pianist had not yet announced her Carnegie Hall recital program when these listings went to press. But no matter the repertory, even if she’s not always successful, she’s always interesting. May 17; carnegiehall.org.
MET ORCHESTRA Returning for its customary post-opera-season stand at Carnegie Hall, this ensemble, buffed by James Levine over decades, will be led by Mirga Grazinyte-Tyla (in Debussy, Mussorgsky and Tchaikovsky); Gianandrea Noseda (Mozart and Mahler); and Mr. Levine (Mozart, Mahler and the premiere of Charles Wuorinen’s “Eros and Nemesis”). May 18, 30, June 5; carnegiehall.org.
FREIBURG BAROQUE ORCHESTRA One of Europe’s finest early-music ensembles arrives at Alice Tully Hall with its new director, the excellent, understated keyboardist Kristian Bezuidenhout, who will lead two Mozart concerts from the fortepiano, as well as symphonies by Haydn and Johann Christian Bach. May 19; lcgreatperformers.org.
‘BROKEBACK MOUNTAIN’ New York City Opera commissioned this Wuorinen opera more than a decade ago, but the company went bankrupt and closed before it could give the premiere. (The opera ended up opening in 2014 in Madrid.) The revived City Opera will now finally present the thornily noble piece at the Rose Theater at Jazz at Lincoln Center, as the culmination of a season that also includes Puccini’s “La Fanciulla del West”; a mariachi opera, José Martinez’s “Cruzar la Cara de la Luna”; and Montemezzi’s “L’Amore dei Tre Re.” Opens May 31; nycopera.com.