The best of Los Angeles’ classical music scene in 2025

No one needs reminding that 2025 began in an L.A. aflame. Musicians didn’t escape the fires, especially in Altadena. Concerts were canceled but then became events of communal healing, a process that continues.

There were further troubling signs. Institutions continued to struggle to bring audiences back to pre-COVID numbers. Major orchestras and opera companies — San Francisco Symphony, Metropolitan Opera, New York Philharmonic, Baltimore Symphony, among them — feared fraught contract negotiations. Government funding for the arts dried up. Censorship, new to modern America, appeared a threat. And a military presence on downtown L.A. streets made trips to the Music Center and elsewhere in DTLA less inviting.

Our picks for this year’s best in arts and entertainment.

Still, classical music’s survival instincts proved reliable. New leaders of L.A.’s arts institutions are bringing vitality to the region, empowering musicians and giving fans hope and optimism. Here are my Los Angeles classical music highlights of 2025.

Coachella phenom of the year

It has been a year of transition for Gustavo Dudamel. The long “Gracias Gustavo” goodbye to the Los Angeles Philharmonic music and artistic director has begun. For its part, the New York Philharmonic, where Dudamel is headed next season, wonders how it can ever top the L.A. Phil visit to Coachella in April. Pop music crowds, 100,000 strong, shouted, “L.A. Phil! L.A. Phil!” and “Gustavo! Gustavo!” Big cheers rang as well at Walt Disney Concert Hall, the Hollywood Bowl and on an Asia tour, particularly for Dudamel’s increasingly rich Mahler performances. In late winter he led an impressive Mahler Grooves festival; the summer brought an exhilarating performance of Mahler’s First Symphony and the fall an extraordinary Second Symphony.

Gustavo Dudamel stands in front of a multihued video screen at Coachella.

Orchestral visionary of the year

In his own transitional year, Esa-Pekka Salonen finished an unhappy five-year tenure as music director of a San Francisco Symphony that foolishly failed to share his vision with a startlingly dramatic Mahler Second — known, tellingly, as “The Resurrection.” That was followed three months later by the L.A. Phil announcing it was all in with its transformative former music director and had created a new position of creative director in which he would rethink the role of the symphony orchestra in society. As a preview, Salonen had conducted a revelatory performance of Pierre Boulez’s “Rituel” in the spring, with the L.A. Phil musicians and L.A. Dance Project dancers spilling around the Disney Hall stage.

Esa-Pekka Salonen conducts the Los Angeles Philharmonic surrounded by dancers from L.A. Dance Project.

L.A. opera director of the year, although you’d never know it in L.A.

Peter Sellars was barely home in 2025, although that is certain to change with the return of Salonen. Among his newsworthy projects in New York, France and Italy, a busy Sellars collaborated with Salonen on an unflinching, intense and unforgettable staging of two end-of-life monologues: Schoenberg’s “Erwartung” and, with yet more Mahler, the end of “Das Lied von der Erde.” On opening night, it left a gala audience stunned.

Former L.A. opera director of the year, although you’d never know it in L.A.

L.A.’s next-generation opera revolutionary, Yuval Sharon, bid his own farewell to the city where he founded the experimental company the Industry, and where he became L.A. Phil’s first artist collaborator. He now serves as artistic director of Detroit Opera and has relocated to New York City as he prepares to mount Wagner’s “Tristan und Isolde” at the Metropolitan Opera in March. But Sharon carried L.A. with him in 2025 to the University of Chicago, where he delivered the annual Berlin Family Lectures, and in which he considered opera from an anarchistic point of view, inspired by John Cage. He also staged in Chicago Cage’s “Europera 5,” completing a project he had begun in L.A., where, in collaboration with the L.A. Phil,” he had mounted “Europeras 1 & 2” on a Sony Pictures sound stage.

Uncompromising opera administrator of the year

While serving as interim managing director of Long Beach Opera in 2025, board chair Marjorie Beale put her company on the line by boldly devoting the entire season to the open-ended, deep listening music of the late Pauline Oliveros. While Oliveros worked little in opera and never in a remotely traditional manner, Beale felt the spiritual operatic substance of Oliveros’ work was what the company needed and what the world needs. Inspired, unexpected productions by the company’s artistic director and chief creative officer, James Darrah, and conducted by music director Christopher Rountree were staged in operatic byways (parks and the Queen Mary) as ear-opening, mind expanding experiences. It was a sell-out sensation season that may not have paid the bills, requiring some cutting back for next season as the company catches its breath but Beale has shown what it means to stand for something and why Long Beach Opera matters.

Wilding Wild Up

Along with his Long Beach Opera gig, Rountree is founder and music director of Wild Up, the avant-garde chamber orchestra of virtuoso musicians, all of whom happen to be progressive composers as well. For 15 years, Wild Up has been a crucial component in the grander L.A. vision of orchestral, operatic and dance reinvention. This year it found infectious joy in the music of Julius Eastman; it significantly helped the Martha Graham Dance Company remain relevant, and it began new series at the Nimoy in Westwood and Sierra Madre Playhouse.

More Pauline

Claire Chase, who has been one of the most influential instigators of the Pauline Oliveros revival, was this year’s Ojai Festival energizer bunny. Her flutes — from piccolo to bass and all in between — and friends became magic makers in this numinous physical and musical landscape. Oliveros’ deep listening and that of other composers of her environmental ilk, particularly the atmospherically ethereal sound worlds of Annea Lockwood, were made for Ojai.

Mark Morris Dance Group performs the world premiere of "MOON" at the Kennedy Center Eisenhower Theater

Saving the Kennedy Center (for a couple of days, anyway)

Choreographer Mark Morris staved off the federal government’s arts wrecking ball by salvaging his latest work, “Moon,” a commission for the Kennedy Center’s Earth to Space festival in April. The institution’s dance team hadn’t yet been fired. And Morris displayed, in this marvelous outer-space dance adventure, that wonder could exist in what had become the most unlikely of places.

Handel Heroine

French harpsichordist and conductor, Emmanuelle Haïm, the latest L.A. Phil artist collaborator, began a three-year Handel festival with a dazzlingly sung and played performance of the oratorio “Triumph of Time and Disillusion.” This study of extravagance and sanctity made Handel seem utterly relevant in his attempt to thwart early 18th century censorship and say something important.

Mehta and MTT

There are no words for what Zubin Mehta and Michael Tilson Thomas have meant for L.A. over the past three-quarters of a century. Native Angeleno and former music director of the San Francisco Symphony, MTT, who suffers from glioblastoma, retired from conducting with an 80th birthday celebration, hosted by the San Francisco Symphony, in a profoundly moving and musically fulfilling exhibition of valedictory resilience. Although Mehta, the L.A. Phil’s 89-year-old conductor emeritus, has canceled concerts that require travel, he took on Bruckner’s massive Eight Symphony with his old band. His movements are limited. He reportedly has difficulty with vision and hearing. Beyond all that, though, an orchestra that knows and loves him brought into existence, especially in the slow movement, an inner Mehta vista that felt like a world unto itself.

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