Classical Music to See and Hear in Spring 2023

It was a hint about as subtle as a siren when the New York Philharmonic announced its current season a year ago: Gustavo Dudamel, the superstar conductor of the Los Angeles Philharmonic, would be coming to New York as a guest in May 2023 to lead Mahler’s Ninth Symphony.

One of the repertory’s most sprawling and profound works, Mahler’s Ninth has been played by the Philharmonic almost exclusively under the batons of its music directors. It’s not an assignment the orchestra gives rising hotshots or conductors it sees once a decade. It’s the kind of musically knotty, deeply emotional score you want led by the artists closest to you.

That was just one of many suggestions that Dudamel, 42, would, before too long, join the ranks of New York music directors, a group that has included eminences like Mahler, Toscanini, Bernstein and Boulez. And so it came to pass: Earlier this month, the Philharmonic said that he would succeed Jaap van Zweden in the position, for a five-year term beginning — because of classical music’s oddly glacial planning cycles — in the 2026-27 season.

But before all that comes Mahler’s Ninth, which Dudamel has convincingly, with tenderness and naturally unfolding intensity, recorded with the Los Angeles Philharmonic. The three New York performances, May 19-21, were already sure to be well attended, given the famous conductor and the beloved piece. Now, since the concerts will be Dudamel’s first appearances on the Philharmonic’s podium since the announcement, these will be some of the hottest tickets in town this spring.

When Terence Blanchard’s “Fire Shut Up in My Bones” opened the Metropolitan Opera’s 2021–22 season, in a run that sold out several performances, it was a landmark: the first time the company had put on the work of a Black composer. Now Blanchard’s earlier opera, “Champion,” from 2013, is coming to the house, beginning April 10.

As in “Fire,” themes of identity, sexuality and the negotiation of traumatic memories dominate. “Champion” tells the true story of the closeted gay boxer Emile Griffith, who knocked out his opponent, Benny Paret, during a 1962 title bout; Paret never recovered consciousness and died 10 days later. At the Met, two bass-baritones share the role of Griffith: Ryan Speedo Green plays him as a young athlete in his prime, and Eric Owens, as an aging man looking back on his complicated past.

In the wake of the box-office success of “Fire,” the Met — which has been struggling with ticket sales and said in December that it would withdraw $30 million from its endowment to cover costs — rushed “Champion” into production, part of a coming burst of contemporary operas aimed at broadening the audience. The staging reunites members of the team that helped make “Fire” vivid: the director James Robinson, the choreographer Camille A. Brown — the step dance routine that she conceived for “Fire” stopped the show — and the Met’s music director, Yannick Nézet-Séguin. Three veterans, Latonia Moore, Stephanie Blythe and Paul Groves, round out the cast.

It is unusual for the Met (or any company) to unveil two new productions of Mozart operas back to back. And even rarer for both to be led by one conductor: in this case, Nathalie Stutzmann, a former mezzo-soprano turned maestro making her Met debut on the podium for “Don Giovanni” and “Die Zauberflöte.”

Replacing a dreary, unilluminating Michael Grandage production on May 5, the new “Giovanni” is an import from the Paris Opera, where the much-discussed Dutch director Ivo van Hove and his colleagues put onstage what Joshua Barone described in The New York Times as “a de Chirico-like set populated by handsomely dressed people in a state of sexy desperation.” (It can hardly help but be an improvement on the Grandage.)

Stutzmann, who started at the Atlanta Symphony this season — the only female music director leading one of the 25 largest American orchestras — conducts a promising cast, including Peter Mattei, a star in the title role at the Met for the past 20 years, as well as Adam Plachetka, Federica Lombardi, Ana María Martínez, Ying Fang and Ben Bliss.

The situation with “Die Zauberflöte,” opening on May 19, is slightly complicated. The Met is planning to retain its existing production — which the director Julie Taymor and the designer George Tsypin filled with plexiglass and fanciful puppets — in its abridged, English-language, family-friendly form as “The Magic Flute,” now a holiday-season tradition.

Performed in full and in German, the new-to-the-company “Die Zauberflöte,” a much-traveled staging directed by Simon McBurney, has the orchestra spilling over onto risers placed onstage and contemporary-style costumes. Stutzmann’s cast here includes Erin Morley, Lawrence Brownlee, Thomas Oliemans, Kathryn Lewek and Stephen Milling.

Dudamel’s appointment is perhaps the biggest news in music this season: a new beginning. But the other crucial conductor move in America this spring signals the end of an era.

At 81, Riccardo Muti — a fixture on the country’s major podiums since the 1970s and the music director of the Philadelphia Orchestra during the ’80s — is bringing to a close a 13-year tenure at the Chicago Symphony Orchestra with performances of Beethoven’s “Missa Solemnis,” June 23-25.

Despite being an experienced Beethoven interpreter and a specialist in huge choral works, Muti stayed away from the notoriously thorny “Missa Solemnis” for decades, until he led it — with radiant dignity and grandeur — at the Salzburg Festival in 2021.

“I always felt too small,” he said in an interview last year on Chicago radio, “never I felt ready to perform this huge monument, because it’s so deep, so vast.” Muti and other great conductors are not known for this kind of humility or patience, so these performances will be the fruit of uncommonly many years of study and thought.

Given that the Chicago Symphony has not yet appointed his replacement, Muti will remain a crucial presence next season, and possibly beyond. But this “Missa Solemnis” — with the chorus coached by a distinguished guest, Donald Palumbo, the chorus master at the Met — is nevertheless sure to be a love fest between a superb orchestra and a conductor it has revered.