Reigning violin virtuoso Itzhak Perlman shares film music composed or arranged by John Williams. Witness the performer who enjoys superstar status rarely afforded a classical musician—plus, come early and stay late for festivities!

Just before Halloween, take a chance to dance on the wild side as three composers entangle with one of the most notable figures in storytelling—Death. The hooded figure is raised by the sounds of the symphony (by way of the recognizable Dies Irae theme from the Latin Mass for the Dead repeated in each work), with Rachmaninoff’s towering Symphony No. 2, Liszt’s eerie Totentanz performed by audience-favorite Joyce Yang, and Saint-Saëns’ Danse Macabre—which, from its cry on the solo violin to its bone-rattling finale, is all too ready to summon spirits.

Just before Halloween, take a chance to dance on the wild side as three composers entangle with one of the most notable figures in storytelling—Death. The hooded figure is raised by the sounds of the symphony (by way of the recognizable Dies Irae theme from the Latin Mass for the Dead repeated in each work), with Rachmaninoff’s towering Symphony No. 2, Liszt’s eerie Totentanz performed by audience-favorite Joyce Yang, and Saint-Saëns’ Danse Macabre—which, from its cry on the solo violin to its bone-rattling finale, is all too ready to summon spirits.

This performance is part of our Masterworks Magnified series, designed to invite audiences to experience our music in new ways—with added elements like video projections and special lighting in the concert hall, conversations with the performers, and fun lobby activities on theme with the concert.

Just before Halloween, take a chance to dance on the wild side as three composers entangle with one of the most notable figures in storytelling—Death. The hooded figure is raised by the sounds of the symphony (by way of the recognizable Dies Irae theme from the Latin Mass for the Dead repeated in each work), with Rachmaninoff’s towering Symphony No. 2, Liszt’s eerie Totentanz performed by audience-favorite Joyce Yang, and Saint-Saëns’ Danse Macabre—which, from its cry on the solo violin to its bone-rattling finale, is all too ready to summon spirits.

This performance is part of our Masterworks Magnified series, designed to invite audiences to experience our music in new ways—with added elements like video projections and special lighting in the concert hall, conversations with the performers, and fun lobby activities on theme with the concert.

In the epic finale, the battle between good and evil forces of the wizarding world escalates into an all-out war! Harry Potter and the Deathly Hallows™ Part 2 in Concert brings the final chapter to the big screen as the Utah Symphony performs every note of the epic score from Alexandre Desplat. The stakes have never been higher!

In the epic finale, the battle between good and evil forces of the wizarding world escalates into an all-out war! Harry Potter and the Deathly Hallows™ Part 2 in Concert brings the final chapter to the big screen as the Utah Symphony performs every note of the epic score from Alexandre Desplat. The stakes have never been higher!

In the epic finale, the battle between good and evil forces of the wizarding world escalates into an all-out war! Harry Potter and the Deathly Hallows™ Part 2 in Concert brings the final chapter to the big screen as the Utah Symphony performs every note of the epic score from Alexandre Desplat. The stakes have never been higher!

Conceived by Creative Partner David Robertson, this extraordinary program leads toward Beethoven’s idealized vision of the human experience in the incomparable Ninth Symphony—with its famous “Ode to Joy” featuring the Utah Symphony Chorus. The chorus also shines in the first half, with a Bruckner motet examining spirituality and a semi-staged presentation of Act III from Berg’s Wozzeck. Starkly opposite Beethoven’s Ninth, this opera depicts the grimmest sides of humanity—altogether, delivering a concert that represents the entirety of the mortal condition, creates new understanding of Beethoven’s masterpiece, and inspires us to turn toward a better version of ourselves.

Conceived by Creative Partner David Robertson, this extraordinary program leads toward Beethoven’s idealized vision of the human experience in the incomparable Ninth Symphony—with its famous “Ode to Joy” featuring the Utah Symphony Chorus. The chorus also shines in the first half, with a Bruckner motet examining spirituality and a semi-staged presentation of Act III from Berg’s Wozzeck. Starkly opposite Beethoven’s Ninth, this opera depicts the grimmest sides of humanity—altogether, delivering a concert that represents the entirety of the mortal condition, creates new understanding of Beethoven’s masterpiece, and inspires us to turn toward a better version of ourselves.

Grammy, Emmy, and six-time Tony Award-winning artist Audra McDonald returns to Utah! Known for her amazing voice and skillful storytelling on Broadway (and recently noted for her role on HBO’s The Gilded Age), Audra’s singular talent will light up our stage in this unforgettable collaboration with the symphony.

With Grammy, Tony, and Emmy Awards as evidence of her amazing soprano voice and skillful storytelling, Audra McDonald’s singular talent takes our stage.

With Grammy, Tony, and Emmy Awards as evidence of her amazing soprano voice and skillful storytelling, Audra McDonald’s singular talent takes our stage.

Bubbly and vivacious, Brahms’ cheery Symphony No. 2 is the music you’ll want to try and capture in a bottle for a rainy day! Strauss’ Death and Transfiguration is a powerful tone poem exploring the ultimate mystery of what lies beyond earthly existence, elegantly moving from the trials of mortality to the lightness and peace of heavenly immortality. Mathilde Wantenaar’s Prélude à une nuit américaine (“Prelude to an American night) was envisioned as “an unabashed grand romantic gesture” with jazzy harmonies and dancing rhythms that create its “American touch.”

Bubbly and vivacious, Brahms’ cheery Symphony No. 2 is the music you’ll want to try and capture in a bottle for a rainy day! Strauss’ Death and Transfiguration is a powerful tone poem exploring the ultimate mystery of what lies beyond earthly existence, elegantly moving from the trials of mortality to the lightness and peace of heavenly immortality. Mathilde Wantenaar’s Prélude à une nuit américaine (“Prelude to an American night) was envisioned as “an unabashed grand romantic gesture” with jazzy harmonies and dancing rhythms that create its “American touch.”

This longtime tradition spotlights extraordinary rising talent that you have to see to believe! Following a rigorous audition process, Utah’s most talented young musicians have the once-in-a-lifetime chance to play a concerto movement alongside the Utah Symphony—and audiences have the chance to witness greatness!

All are invited to share in the joy of singing Handel’s masterpiece and its famous “Hallelujah” Chorus! Ranked as one of the “Top 100 Things to do in Salt Lake City,” this is a Thanksgiving weekend tradition.

All are invited to share in the joy of singing Handel’s masterpiece and its famous “Hallelujah” Chorus! Ranked as one of the “Top 100 Things to do in Salt Lake City,” this is a Thanksgiving weekend tradition.

Trail-blazing pianist Awadagin Pratt brings a delightful mix of old and new with a keyboard concerto by Baroque master Bach and Rounds by Jessie Montgomery—a work both energetic and contemplative, written specifically for Pratt, who improvises the conclusion. Teddy Abrams conducts the overture to his own rap-opera about American boxing legend Muhammad Ali, while Copland’s orchestral suite from his ballet Appalachian Spring tells another story of the American dream—a young frontier couple working together toward a brighter future.

Trail-blazing pianist Awadagin Pratt brings a delightful mix of old and new with a keyboard concerto by Baroque master Bach and Rounds by Jessie Montgomery—a work both energetic and contemplative, written specifically for Pratt, who improvises the conclusion. Teddy Abrams conducts the overture to his own rap-opera about American boxing legend Muhammad Ali, while Copland’s orchestral suite from his ballet Appalachian Spring tells another story of the American dream—a young frontier couple working together toward a brighter future.