SSO's 2026/7 Season
This is a bunch of loose, unorganised thoughts.
Link to season: https://issuu.com/ssogroup/docs/singapore_symphony_2026_27_season_brochure
Overall context
This is the first season programmed by Christopher Cheong, a good friend. I have high expectations.
SSO is doing a China tour.
2027 is the 200th anniversary of Beethoven's death.
SSO has a new Music Director, Hannu Lintu.
On Hannu Lintu
- In a November 2025 interview, he said that his ambition is to create a distinctive sound for SSO:
But I think what they need – and what will happen – is that I will work with their sound. I want people to hear a recording and immediately say ‘Oh, this is the Singapore Symphony Orchestra’.
- In terms of programming, he said:
In the beginning we are going to concentrate on composers like Beethoven, Schumann, Brahms and Richard Strauss [...] One of my main projects is to build some kind of a contemporary music profile for the orchestra.
- Indeed, the programming does reflect these intentions.
Season Booklet
As usual, SSO booklets are pleasant to look at. They make nice coffee table brochures.
I would have liked to read more of Hannu Lintu's intentions and goals for the orchestra. The welcome message simply summarises what he will be doing, but nothing on the why's. Maybe some of the stuff he said in his Bachtrack interview would have fit nicely here.
Similar to the recent years: there's no overview of the pieces that are showcased in the season. It used to exist. I liked that list, I used it to figure out what concerts I might enjoy watching. But whatever, since it's 2026, one can easily ask Claude to extract the data. Here's the generated spreadsheet in case anyone's interested.
No acknowledgement of Hans Sorensen, the previous head of artistic planning who passed away last month. I see concerts dedicated to Choo Hoey and Goh Keng Swee, so the orchestra is definitely into the idea of dedicating concerts to people. Maybe the booklet went on print before the news came out, but I didn't see anything in the digital edition either.
On musicians
Guests
Quite a few big names, as usual. Good mix of established ones and rising stars.
Lots of strings, keyboards, and vocalists. Slightly lacking in winds and brass soloists.
Local representation is not bad, as usual. The ones more prominently featured (i.e. outside of the "local content" concerts) are Chloe Chua, Wang Chenwei, Zechariah Goh and Tan Chan Boon.
Wang Chenwei's Sisters' Island being the featured local piece for the China tour is such a cliche, but I kinda like it. The music is great and easily enjoyable; I'm sure the Chinese audience would love it.
Orchestra
New concertmaster Andrew Beer: finally the position is filled! It's been empty (ignoring the interim guest concertmasters) since Igor Yuzefovich left in 2019. Now time to sort out the vacant principal 2nd Violin and principal Double Bass positions.
Notable appointment changes: New associate conductor Nathanaël Iselin. Associate Concertmaster from Kong Zhao Hui -> no one yet. Clarinet principal from Ma Yue -> Chiang Yung-Yuan.
On music
Lots of Beethoven, as expected
Quite a few John Adams. Understandably, since he's turning 80 in 2027
A healthy number of contemporary works and premieres.
Isserlis and Schubert's Unfinished. Déjà vu. Where's your completed version eh, Hannu?
Hadelich playing Tchaik VC. I'm sure there will be comparisons to Chloe Chua's performance last year.
As usual and expected, not a lot of early music by the orchestra.
What I think many would be interested in
TwoSet's Sacrilegious Games
Hannu Lintu's opening concert with Gil Shaham.
Vasily Petrenko and Gautier Capuçon
Hadelich's Tchaik VC
Nathania Ong. National pride woo!
Nobuyuki Tsujii's Rach 3
What I'm interested in
Gil Shaham and Akira Eguchi playing the Beethoven Violin Sonatas. I like the idea of listening to the same musician(s) presenting a cycle, it allows one to be more immersed into understanding the composer's development and intentions over time.
Agape, though it feels like it's not fully fleshed out yet.
Hadelich's recital.
Máté Szücs playing Bartók. As a violist I'm obliged to be interested in this.
Ehnes' Elgar. With Marin Alsop!
What makes a season good?
Honestly, I don't know.
Obviously there are some goals to meet (maybe the KPIs from MCCY/NAC?) like box office performance, diversity of artists, diversity of audience, local representation.
What are other positive indicators to consider? Maybe star power? Diversity of the composers and type of works presented? Audience development and responsiveness? Orchestra development? Maybe I should read Aubrey Bergauer's book.
Maybe it's simply about whether this programme can help to achieve the goals of the orchestra. Which is to develop a unique, recognisable sound, and develop a more contemporary profile.
And with a new music director, maybe the first year is all about culture and taste alignment. It will take time for Hannu Lintu to know the musicians. It will take time for the orchestra to get into his head. And the programme is the substrate for this process.