Dubbed a musician of “probing intellect and open-hearted vision” by The New York Times, Conrad Tao has been playing Gershwin’s 1924 rhapsody with orchestras across the country for nearly two decades. “It’s emblematic of the time and place, but it’s also timeless,” says Tao. “Improvisation is baked into Rhapsody in Blue. There are places in the score where the orchestra rests, and the pianist just takes off. That’s one of the reasons it continues to resonate with audiences today.”

In the same vein, Marin Alsop says, “in a world where sound bites dominate and categorization abounds, Shostakovich presents a challenge to define.” She returns to the Hollywood Bowl stage with the composer’s power-packed Fifth Symphony as well as Anna Clyne’s short but sweet party piece. “Masquerade has the style and sound of old English music hall, a little like the nostalgic sounds on ‘Sgt. Pepper’s Lonely Hearts Club Band.’ It is a noisily delightful aperitif” (The Berkshire Eagle).