19 Captivating Classical Music Performances This February
A curated selection of the month’s standout concerts and performances.
10 minute read.
This month spans string quartets, chamber opera, symphony orchestras, and a performance upstate. Here’s what’s on:
Beethoven Quartet Cycle IV
Alice Tully Hall, Lincoln Center — February 4
Beethoven’s middle quartets are the Empire Strikes Back of his trilogy: ambitious, demanding, and focused at achieving mastery—like Luke honing the Force with Yoda. The Calidore String Quartet channels this energy into the Harp (Op. 74), captures the concentrated intensity of the Serioso (Op. 95), and reveals the expansive ideas of Op. 127, the first of his late quartets. Catch all three at Alice Tully Hall to experience Beethoven—like Luke—at his most transformative.
Richard Strauss’s Salome: A Heartbeat Opera Production
Irondale Center, Clinton Hill, Brooklyn — February 4–16
Heartbeat Opera, celebrated for its daring reimaginings of opera classics, presents a bold new adaptation of Strauss’s Salome, sung in English. Set within a decaying, volatile palace at the edge of the world, this production distills one of opera’s most extravagant scores into a razor-sharp 10-instrument orchestration by Dan Schlosberg. Director Elizabeth Dinkova fine-tunes the story’s unrelenting drama with a tight-knit cast of seven singers, led by soprano Summer Hassan in the title role, creating a production that evokes the scandal and allure of Strauss’s masterpiece. Whether you’re a seasoned opera-goer or a curious newcomer, Heartbeat Opera delivers a performance that entertains, challenges, and stays with you long after the final note.
Composer Portraits: Lisa Streich
Miller Theatre at Columbia University, Upper West Side — February 6
If you’re curious about where contemporary music is heading, this Composer Portrait at Miller Theatre offers a glimpse into the future. Swedish composer Lisa Streich plays with contrasts—delicate strings against motorized instruments, moments of stillness with sudden bursts of motion. Her Orchestra of Black Butterflies makes its U.S. premiere, featuring ethereal piano preparations followed by Falter for solo violin and Safran for violin and motorized piano. The performance brings together violinist Miranda Cuckson and acclaimed percussion and piano quartet Yarn/Wire, known for pushing the boundaries of experimental music.
and we, each — a new opera by Michael Hersch
National Sawdust, Williamsburg — February 6
Michael Hersch’s fourth opera, and we, each, confronts the raw and often unbearable complexities of human relationships—the connections we make, break, and sometimes mourn. Inspired by Shane McCrae’s poetry, whose work navigates race, power, and trauma with an unflinching eye, the opera intricately weaves the personal and universal together. This gripping New York premiere features soprano Ah Young Hong and baritone Jesse Blumberg, with Tito Muñoz conducting. Expect a performance that doesn’t shy away from difficult truths, but finds beauty in the act of wrestling with them.
Anthony McGill & Emanuel Ax
Zankel Hall, Carnegie Hall, Midtown — February 6
This concert feels like a night out at a restaurant where the table next to you is having the kind of conversation you can’t help but tune into. That table? Emanuel Ax, legendary pianist/Carnegie Hall regular and Anthony McGill, the New York Philharmonic’s brilliant principal clarinetist teaming up for the first time. Schumann’s introspective Fantasiestücke sets the tone of the evening, while McGill’s clarinet brings warmth to Schubert’s Arpeggione Sonata and Bernstein’s Clarinet Sonata. The program rounds out with Beethoven’s Moonlight Sonata alongside works by Florence Price, Jessie Montgomery, and James Lee III. Here’s a rare opportunity to experience two musical giants in a setting that feels refreshingly close and personal.
Holst’s The Planets and Arnold’s Duo Piano Concerto
St. Ann and the Holy Trinity Church, Brooklyn Heights — February 7
The Brooklyn Chamber Orchestra offers a thoughtful program pairing Malcolm Arnold’s Concerto for Orchestra and Piano Duet with Gustav Holst’s The Planets. Pianists Konstantin Soukhovetski and Slava Gryaznov join forces for the Arnold, and Holst’s cosmic suite is accompanied by projections of outer space that bring the music’s themes to life. The setting? A stunning Brooklyn church that’s grand enough to impress but cozy enough to feel like you belong. If you’re into music that makes you feel grounded or out of this world—this one’s worth your evening.
The Harlem Chamber Players’ 17th Annual Black History Month Celebration
Schomburg Center for Research in Black Culture, Harlem — February 13
The Harlem Chamber Players return with a program of homage and discovery, featuring works by cellist-composer Akua Dixon and soprano Candice Hoyes in the Schomburg Center’s iconic setting. Expect the New York premiere of Dixon’s We the People, the luminous Zora’s Moon by Hoyes, and selections from Dixon’s opera Marie Laveau. Hosted by Terrance McKnight, the evening also includes Chausson’s Chanson perpetuelle and Dixon’s Afrika! Afrika!. It’s classical music that bridges tradition and innovation, bringing past and present into conversation.
Brentano String Quartet
Zankel Hall, Carnegie Hall, Midtown — February 13
If Haydn’s Op. 20 quartets were the celebrated debut that put the string quartet on the map, Op. 33 marks the evolution—sharper writing, bigger risks, and moments that keep you hooked. These six quartets combine elegance with sly humor that feel as fresh now as they did centuries ago. The Brentano String Quartet performs the full set in Zankel Hall’s in-the-round space, perfect for catching every detail, whether it’s the mischievous pauses of The Joke or the vibrant melodies of The Bird.
Canellakis Conducts Messiaen and La Mer
David Geffen Hall, Lincoln Center — Feb 13, 15, 18
Think of this concert like a novel where every chapter takes on a different mood—lyrical, raw, sweeping, contemplative—but somehow fits together effortlessly. Karina Canellakis and the New York Philharmonic open with Saariaho’s Lumière et pesanteur, a modern meditation on light and gravity that’s all about tension and release. Berg’s Violin Concerto follows, a deeply personal memorial, blending modernist techniques with haunting beauty. Messiaen’s Les Offrandes oubliées follows, a heartfelt offering of faith from a 22-year-old composer still discovering his voice. Finally, Debussy’s La Mer pulls you into its shifting, mysterious currents, capturing the ocean’s unpredictability. It’s a journey through time and emotion, led by Canellakis with precision and care.
John Zorn & Laurie Anderson Duo
Roulette Intermedium, Downtown Brooklyn — February 15
John Zorn and Laurie Anderson, two icons of New York’s experimental art scene, reunite for an evening of fearless collaboration. Zorn’s saxophone work defies categories—jazz, klezmer, classical, you name it—while Anderson’s use of voice, violin, and electronics has reshaped what performance art can be. This performance at Roulette offers a rare chance to see these two creative forces in an intimate, unfiltered setting.
Hagen Quartet at 92NY
92nd Street Y, Upper East Side — February 18
The 92NY has a way of making every performance feel immediate and engaging. Hearing the Hagen Quartet in this space is a special treat—the ensemble, now in its fifth decade, has become a benchmark of chamber music excellence. The program balances Haydn’s sophistication in his String Quartets Op. 54, Nos. 1 & 3 with the rich emotions of Schumann’s String Quartet No. 3, offering an intriguing exploration through the classical and Romantic eras.
The Tongue & The Lash and A Return to Civic Discourse
The Town Hall, Midtown — February 18
The Town Hall marks James Baldwin’s iconic 1965 debate with William F. Buckley, Jr. with the New York premiere of The Tongue & The Lash. This chamber opera, created by Damien Sneed and Karen Chilton, imagines the fiery conversation Baldwin and Buckley might have had after their televised clash over race in America. Directed by opera star Denyce Graves, the evening also features a pas de deux by Tony Award-winning choreographer George Faison along with The Town Hall’s signature A Return to Civic Discourse panel discussion and Q&A. It’s Baldwin’s legacy brought to life—bold, thought-provoking, and unforgettable.
Yuja Wang & Víkingur Ólafsson
Carnegie Hall, Midtown — February 19
When two of the most electrifying pianists on the planet share a stage, it’s not just a concert—it’s an event. Yuja Wang and Víkingur Ólafsson deliver a program that evolves from Rachmaninov’s lush Symphonic Dances (in his own two-piano arrangement) to Schubert’s lyrical Fantasie in F Minor. They venture into the 20th century with John Cage’s meditative Experiences No. 1, a Nancarrow study reimagined by Thomas Adès. Works by Berio, John Adams, and Arvo Pärt explore the edges of harmony, texture, and space, guided by two boundary-pushing artists at the helm.
Rouvali Conducts Prokofiev and Shostakovich
David Geffen Hall, Lincoln Center — February 20–22
Santtu-Matias Rouvali leads the New York Philharmonic in Shostakovich’s Symphony No. 15, a piece that feels like the composer is reflecting on his life with humor, nostalgia, and a few surprises—like playful nods to Rossini’s William Tell and Wagner’s operas. Pianist Seong-Jin Cho tackles Prokofiev’s Piano Concerto No. 2, a no-holds-barred showstopper veering from delicate introspection to thunderous intensity. Add in some lighter selections from Shostakovich’s Moscow Cheryomushki Suite, and you’ve struck the right balance between depth and levity.
Manhattan Chamber Players
Baruch Performing Arts Center, Kips Bay — February 24
The Manhattan Chamber Players bring a dynamic program to Baruch Performing Arts Center, featuring both timeless classics and a contemporary NYC premiere. The evening opens with Mozart’s lively String Quartet in E-flat major, K. 428, followed by the New York premiere of Seth Grosshandler’s Suite for Clarinet Quintet (2023). After intermission, Mark Dover joins the ensemble for Mozart’s beloved Clarinet Quintet in A major, K. 581—a piece that has charmed audiences for centuries.
Haydn’s String Quartet Op. 76, No. 1
Kaufman Music Center, Upper West Side — February 24
This concert brings February’s theme of Haydn quartets to a close with Op. 76, No. 1, a work that highlights the composer’s ingenuity and wit. Rob Kapilow hosts the evening, unpacking the plot twists and intricate musical language that made Haydn a favorite among 18th-century audiences. Performing the work is the Balourdet Quartet, a rising ensemble praised for their energy, precision, and thoughtful artistry. Expect a blend of insight and exceptional music that offers a fresh perspective on Haydn.
Tiler Peck & Hilary Hahn
David Geffen Hall, Lincoln Center — February 27
Following their sold-out collaboration in January 2024, New York City Ballet principal dancer Tiler Peck and violin virtuoso Hilary Hahn reunite for another late-night performance that weaves together music and movement. Joined by musicians from the New York Philharmonic, this edition of the Kravis Nightcap Series offers an up-close and captivating evening of artistry. Program details to come.
Spring Benefit: TŌN + ABT Studio Company
Fisher Center at Bard, Annandale-on-Hudson, New York — February 28, March 1
If you’re considering a weekend trip to the Hudson Valley, this event might just tip the scales. The Orchestra Now (TŌN) pairs up with the American Ballet Theatre Studio Company for an evening where live music and dance meet in unexpected ways. Balanchine’s Tarantella (set to Gottschalk) and Kevin McKenzie’s Swan Lake Act III Pas de Deux (Tchaikovsky) sit alongside fresh creations by rising choreographers like Madison Brown (Crimson Flame with Philip Glass) and Houston Thomas (U Don’t Know Me with Arvo Pärt). It’s a mix of old-world grandeur and modern minimalism.
Vienna Philharmonic
Carnegie Hall, Midtown — February 28–March 2
Riccardo Muti and the Vienna Philharmonic kick off their three-night residency at Carnegie Hall with a program that feels as expansive as their legacy. They open with Schubert’s Symphony No. 4, “Tragic”, a work that’s less about tragedy and more about a teenager trying on the weight of the world. It’s dramatic, stormy, and full of unpolished brilliance. Then comes the centerpiece: Bruckner’s Symphony No. 7, know for all its soaring brass and lush strings. Few orchestras share the Vienna Philharmonic’s profound connection to Bruckner’s music—it’s practically in their DNA. This is one of the world’s finest ensembles playing to their greatest strengths.
Good, comprehensive roundup, Owen.