The Friday, May 2, 2025, matinee performance of the Philadelphia Orchestra had a fascinating program featuring works by Wagner, Liszt, and Richard Strauss, whose lives spanned 1811 to 1949.

As you may already know, Verizon Hall has been renamed Marian Anderson Hall thanks to the generosity of donors.

All four pieces were expansive works featuring large orchestral forces. The afternoon began with Wagner’s Overture to Tannhauser. Conductor Tugan Sokhiev led a rich, full interpretation of this popular piece. The complex plot concerns Tannhauser’s dilemma: to choose unbridled sensual pleasure living with the Goddess Venus, or love with Saint Elizabeth. 

Next was Liszt’s Piano Concerto No. 1 in E-flat Major, with soloist Haochen Zhang. We soon realized Mr. Zhang was warmly greeted by the orchestra as he appeared onstage, and for good reason. He wasn’t a barn-burning artist like Lazar Berman. Rather, he dazzled with keen musical introspection and sumptuous sensuality of tone. One could of heard a pin drop in the hall during the performance. Naturally, the audience went wild with applause at its  conclusion. The soloist was recalled several times, and rewarded us with an encore.

After intermission, the orchestra performed Richard Strauss’ Till Eulenspiegel’s Merry Pranks, Op. 28. To many an ear, it was one of the finest realizations of the piece heard in years, anywhere. It was simply magnificent. Startling nuances inextricably wed to excellent musicianship created in the mind a benchmark which all others should strive to attain. The audience applause was polite, rather than incendiary, as one would have expected.  Perhaps the abandoned response to the Liszt concerto before intermission tuckered the audience out. 

Immediately, the conductor launched into “The Dance of the Seven Veils,” from Salome, Op. 54. The energy of the performance could have launched passengers to Mars. A few listeners were even lost in reveries. Some may have conflated the sensational news of the day with the sensational subject matter of the music. Karoline Leavitt was Salome, while Jochanaan (John the Baptist) was Pete Hegseth, cursing in the cistern, his naked tattooed body pale and glistening from a gallon of Astroglide poured onto him. It could have been Swiss Navy Silicone lubricant, as well. Herodias could have been J.D. Vance. The beguiled Tetrarch could have been President Trump, without white peacocks. For some, Elon Musk was the Executioner, wielding his famed chainsaw. And so on. 

Tumultuous applause for the excellent Philadelphia Orchestra and conductor concluded the matinee.

The Philadelphia Orchestra season continues for several more weeks. Their new season already beckons for subscribers. Has it been thirteen years for Yannick’s leadership of the Orchestra? Zut alors!

For information on the current season. their summer appearances at Vail and Saratoga, or next season, visit www.philorch.org .