Pittsburgh Symphony Orchestra

Manfred Honeck is widely regarded as one of the world's leading conductors, celebrated for his distinctive and revelatory interpretations that have garnered international acclaim. As Music Director of the Pittsburgh Symphony Orchestra, where he is now in his 19th season, he continues to shape the orchestra’s artistic identity with a deep sense of purpose and passion. His tenure, recently extended through the 2032–2033 season, has seen the orchestra flourish artistically while strengthening its role as a cultural ambassador for the city of Pittsburgh. Celebrated at home and abroad, the orchestra has appeared at Carnegie Hall and Lincoln Center in New York, as well as at major venues throughout Europe and prestigious festivals such as the BBC Proms, Salzburg Festival, Musikfest Berlin, Lucerne Festival, Rheingau Music Festival, and Grafenegg Festival.

Manfred Honeck's acclaimed Pittsburgh tenure is reflected in an extensive discography on the Reference Recordings label, featuring works by Beethoven, Brahms, Bruckner, Shostakovich, Strauss, Tchaikovsky, and others. These recordings have received widespread critical acclaim and multiple GRAMMY® nominations, including a win for "Best Orchestral Performance" in 2018. In August 2025, he and the orchestra released Requiem: Mozart’s Death in Words and Music, an original concept reimagining a funeral mass for Mozart, combining the composer’s Requiem with Gregorian chant, poetry, and other choral works by Mozart. 

Born in Austria, Manfred Honeck completed his musical training at the University of Music and Performing Arts Vienna. His years as a violist with the Vienna Philharmonic and Vienna State Opera Orchestra have had a lasting influence on his work as a conductor, and his approach to interpretation is rooted in a desire to venture deep beneath the surface of the music. He began his conducting career as an assistant to Claudio Abbado and as director of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he was awarded the European Conducting Prize in 1993. He has since served as one of three principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm. In 2023, he was appointed Honorary Conductor by the Bamberg Symphony Orchestra, following decades of close collaboration.  

Manfred Honeck also enjoys a distinguished profile as an opera conductor. In his four seasons as General Music Director of the Staatsoper Stuttgart, he conducted premieres of operas by Berlioz, Mozart, Poulenc, Strauss, Verdi, and Wagner. He has also appeared as a guest conductor at major institutions such as Semperoper Dresden, Komische Oper Berlin, the Royal Opera of Copenhagen, and the Salzburg Festival. In 2020, Beethoven’s anniversary year, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien. In autumn 2022, he made his much-acclaimed debut at the Metropolitan Opera in New York, leading a revival of Mozart’s Idomeneo. Beyond the podium, Manfred Honeck has created a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra, Dvořák’s Rusalka, as well as Puccini's Turandot, which he regularly performs around the globe. The most recent arrangement, based on Strauss's Arabella, received its premiere with the Pittsburgh Symphony Orchestra in 2025.

As a guest conductor, Manfred Honeck appears regularly with many of the world's leading orchestras, including the Bavarian Radio Symphony Orchestra, the Berlin Philharmonic, the Gewandhausorchester Leipzig, the Staatskapelle Dresden, the Tonhalle-Orchester Zürich, the Royal Concertgebouw Orchestra, the Philharmonia Orchestra London, the Orchestre de Paris, and the Accademia Nazionale di Santa Cecilia. In the United States, he has conducted many of the nation’s most distinguished ensembles. He has also been Artistic Director of the International Wolfegg Concerts in Germany for over three decades. 

In summer 2026, he returns to the Salzburg Festival to conduct Ariadne auf Naxos with the Vienna Philharmonic. He will also lead the Pittsburgh Symphony Orchestra on a European festival tour, with appearances in Salzburg, Lucerne, Amsterdam, Hamburg, and at the opening concert of the season at the Vienna Konzerthaus. In the 2026/27 season, he will commemorate the 200th anniversary of Ludwig van Beethoven’s death with special programs and a new commission from Jüri Reinvere, to be presented worldwide.

Manfred Honeck holds honorary doctorates from several universities in the United States and has been awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him "Artist of the Year." In 2026, he received the Julio Kilenyi Medal from the American Bruckner Society, an honor bestowed on distinguished interpreters of Bruckner.

With his highly virtuosic yet unpretentious style, Martin Helmchen has taken his place among the great pianists of his generation. Born in Berlin, he has made a series of sensational U.S. orchestral debuts, beginning in 2011 at Tanglewood, performing the Schumann Concerto with the Boston Symphony Orchestra under Christoph von Dohnányi. Following this was his revelatory performance of the Dvorák Piano Concerto with the New York Philharmonic at Lincoln Center, his Symphony Hall Boston debut, performing Beethoven’s Emperor Concerto, and his debut with the Chicago Symphony, playing Beethoven’s Piano Concerto No. 2.

The 2021/2022 season includes return invitations to both the Boston and Chicago symphonies, as well as his debut with the Milwaukee Symphony under the baton of Ken-David Masur. Interrupted by the pandemic, Mr. Helmchen will now complete his project of performing all three Bartók concertos with three different German orchestras: the DSO Berlin, hrSymphony Orchestra/Frankfurt, and the Bielefeld Symphony. He will also continue his tour with violinist Frank Peter Zimmermann in venues throughout Europe, performing all ten Beethoven violin sonatas.

Other notable appearances in the U.S. include the symphonies of San Francisco, Saint Louis, Houston, Dallas, San Diego, and Oregon (Portland). Internationally, Mr. Helmchen has performed with the philharmonic orchestras of Berlin, Dresden, and Vienna, Leipzig Gewandhaus, the Danish National Symphony, Orchestre de Paris, Prague Symphony, Royal Stockholm Philharmonic, Oslo Philharmonic, BBC London, NDR/Hamburg, SWR/Stuttgart, and the NHK Symphony in Japan, among many others.

In addition to recital engagements at The Frick Collection/New York, Carnegie’s Weill Recital Hall (with cellist MarieElisabeth Hecker), San Francisco Performances, Wigmore Hall/London, and the Alte Oper in Frankfurt, he has appeared at literally every major festival in Europe. Now gaining momentum in North America, he has appeared several times at the Mostly Mozart Festival (Lincoln Center/New York), as well as the Blossom Festival with the Cleveland Orchestra and the Aspen Music Festival in Colorado. He will make his debut at the Chautauqua Festival in the summer of 2022.

Martin Helmchen won the 2001 Clara Haskil International Piano Competition at the age of nineteen, and as winner of the 2006 Credit Suisse Young Artist Award, he made his debut with the Vienna Philharmonic Orchestra under Valery Gergiev at the Lucerne Festival. His principal teachers include Galina Iwanzowa, Arie Vardie, and William Grant Naboré.

Recognized for her unique artistic curiosity in world-class performances spanning the music of Claudio Monteverdi and Johann Adolph Hasse through to Missy Mazzoli and George Benjamin, American Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage.

During the current season, Lauren Snouffer makes her debut at the Opernhaus Zürich in a new production by David Marton of Pergolesi’s L’Olimpiade conducted by Ottavio Dantone as well as role debuts as Ilia in Idomeneo at the Opernhaus Zürich conducted by Giovanni Antonini and Cleopatra in Giulio Cesare with the Moscow Chamber Orchestra at the Tchaikovsky Concert Hall.  Her calendar also includes Handel’s Amadigi di Gaula with Trinity Wall Street, Gluck’s Orfeo with Tulsa Opera, and Missy Mazzoli’s Breaking the Waves at Houston Grand Opera directed by Tom Morris under the baton of Nicole Paiement.  She was engaged for performances with Austin Opera, Cleveland Orchestra, Iceland Symphony Orchestra, Indianapolis Symphony Orchestra, Moscow Chamber Orchestra, Mostly Mozart Festival Orchestra, Orchestra of St. Luke’s, Toronto Symphony Orchestra, and with the San Francisco Symphony for Michael Tilson Thomas’ final concerts as Music Director.

Operatic performances on leading international stages have fortified the soprano’s place as one of the eminent interpreters of contemporary music; she sang the title role of Berg’s Lulu in a new production at the Teatro Municipal de Santiago conducted by Pedro-Pablo Prudencio and directed by Mariame Clément, and returned to Houston Grand Opera for the world premieres of The Phoenix by composer Tarik O’Regan and librettist John Caird and The House Without a Christmas Tree by Ricky Ian Gordon and Royce Vavrek.  Other appearances included Handel’s Serse for the Internationale Händel-Festspiele Karlsruhe directed by Max Emanuel Cencic and conducted by Georg Petrou and the role of Magnolia Hawks in Francesca Zambello’s production of Show Boat for The Glimmerglass Festival. 

Lauren Snouffer’s concert schedule has yielded collaborations with many of the world’s most distinguished conductors and orchestras including numerous performances with Franz Welser-Möst and The Cleveland Orchestra, Cristian Măcelaru and the Rotterdam Philharmonic, Krzysztof Urbański and the Indianapolis Symphony Orchestra, Edo de Waart and the New Zealand Symphony Orchestra, Bernard Labadie and Orchestra of St. Luke’s, Markus Stenz and the Baltimore Symphony Orchestra, with Patrick Dupré Quigley and the San Francisco Symphony, Harry Christophers of the Handel & Haydn Society of Boston, and with Marin Alsop and the Orquestra Sinfônica do Estado de São Paulo.

Past seasons include Houston Grand Opera performances of Le nozze di Figaro conducted by Harry Bicket in a production by Michael Grandage as well as presentations of Carousel, Show Boat, The Rape of Lucretia, and L’italiana in Algeri; Lyric Opera of Chicago performances of Rusalka, La clemenza di Tito, and a new production of Orphée et Eurydice directed and choreographed by John Neumeier under the baton of Harry Bicket; a Seattle Opera debut as La Comtesse Adèle in Rossini’s Le comte Ory conducted by Giacomo Sagripanti; Die Zauberflöte at Seattle Opera and Lyric Opera of Kansas City; a new Christopher Alden production of Handel’s Aci, Galatea, e Polifemo with Philharmonia Baroque Orchestra under the baton of Nicholas McGegan, and Max Emanuel Cencic’s new production of Hasse’s Siroe at the Opéra Royal de Versailles, with additional performances in Budapest and Vienna. 

Closely associated with George Benjamin’s Written on Skin, Lauren Snouffer has sung under the composer’s baton at the Tanglewood Festival of Contemporary Music and with the Théâtre du Capitole de Toulouse and Opera Philadelphia.  She has performed Ligeti’s Mysteries of the Macabre with the Aspen Contemporary Ensemble, presented the world premiere of Andrew Norman’s A Trip to the Moon with the Los Angeles Philharmonic, and joined Alan Gilbert and the New York Philharmonic in the title role of HK Gruber’s Gloria – A Pig Tale in a production staged by Doug Fitch.

An impactful discography includes Hasse’s Siroe and Handel’s Ottone with George Petrou for Decca, Gottschalk’s Requiem for the Living with Vladimir Lande on Novona Records, Grantham’s La cancíon desesperada conducted by Craig Hella Johnson on Harmonia Mundi, and Feldman’s The Rothko Chapel with Steven Schick for ECM.

An alumna of the Houston Grand Opera Studio, Lauren Snouffer was graduated from Rice University and The Juilliard School.

“Peter Sellars brings a message of love to Mozart’s Idomeneo at Salzburg Festival. There’s plenty to admire at the Felsenreitschule, but the evening belongs to soprano Ying Fang….This diminutive singer has a voice that can stop time, pure and rich and open and consummately expressive.” - Financial Times

Ms. Fang’s operatic season in 2019-20 is comprised of a house debut with Lyric Opera of Chicago as Zerlina in Mozart’s Don Giovanni led by James Gaffigan; a return to the Metropolitan Opera for a role debut as Sophie in Sir Richard Eyre’s production of Massenet’s Werther under the baton of Music Director Yannick Nézet-Séguin and Pamina in Julie Taymor’s magical production of Mozart’s Die Zauberflöte conducted by Lothar Koenigs, a role she will reprise for a house debut at Houston Grand Opera in a breathtaking production by Barrie Kosky and Suzanne Andrad with Jane Glover conducting; and finally Susanna in Mozart’s Le Nozze di Figaro at Los Angeles Opera directed by celebrated filmmaker James Gray and conducted by Music Director James Conlon which marks a third house debut for the season. Ms. Fang will sing concerts of Mahler’s Symphony No. 2 Resurrection led by Gianandrea Noseda at the Tsinandali Festival in Georgia, as well as song recitals for Philadelphia Chamber Music Society, Celebrity Series of Boston, and Parlance Chamber Concerts. The summer will mark her third return to the Verbier Festival as she performs a concert version of Don Giovanni under Gábor Takács-Nagy as well as a performance of Mozart’s Requiem conducted by Sir András Schiff.

In the 2018-19 season, Mozart was the foundation for two auspicious debuts for Ms. Fang. Her debut at the Salzburger Festspiele in a new production of Idomeneo reunited her with director Peter Sellars. She also returned to the Metropolitan Opera for a role debut as Servilia in the Jean-Pierre Ponnelle production La Clemenza di Tito. Another season highlight included Ms. Fang rejoining the Los Angeles Philharmonic at Walt Disney Hall, in collaboration with The Old Globe Theatre of San Diego, as Juno for performances of the incidental music to Shakespeare's The Tempest by Sibelius conducted by Susanna Mälkki. She made a return to the New York Philharmonic for performances of the Brahms Requiem under Jaap van Zweden. Ms. Fang debuted with several orchestras last season including the Cleveland Orchestra under the baton of Franz Welser-Möst as Echo in Strauss’s Ariadne auf Naxos; the Boston Symphony Orchestra under Andris Nelsons and the Hong Kong Philharmonic conducted by Jaap van Zweden for Mahler’s Symphony No. 2; the San Francisco Symphony and Houston Symphony with Jane Glover conducting Handel’s Messiah; the Malaysian Philharmonic under Roberto Abbado and North Carolina Symphony under Carlos Miguel Prieto for Orff’s Carmina Burana; and a Carnegie Hall concert with Orchestra of St. Luke’s under Bernard Labadie for Mozart’s "Venga la morte....Non temer, amato bene.”

The 2017-2018 season saw Ms. Fang’s house debut at Opernhaus Zürich as Pamina in Mozart’s Die Zauberflöte. She returned to the Metropolitan Opera to sing Noémie in a new production of Massenet’s Cendrillon directed by Laurent Pelly that was broadcast worldwide via Live in HD. Ms. Fang portrayed Morgana in Handel’s Alcina with Washington National Opera. She also made a house and role debut at Vancouver Opera as Adina in Donizetti’s L’Elisir d’Amore. Concert appearances included Schumann’s Das Paradies und die Peri with the Los Angeles Philharmonic under the baton of Gustavo Dudamel and directed by Peter Sellars; a recital with pianist Ken Noda at Carnegie Hall. Ms. Fang returned to the Verbier Festival for Mahler’s Symphony No. 4 conducted by Christoph Eschenbach; performances of the Fauré Requiem under Mark Minkowski; and a solo recital. She also appeared in concert with the Verbier Chamber Ensemble at Schloss Elmau.

Ms. Fang’s previous seasons have included performances conductors James Levine, Sir Andrew Davis, Carlo Rizzi, Alan Gilbert, William Christie, Emmanuelle Haïm, Jesús López Cobos, Bernard Labadie, Nathalie Stutzmann, and Manfred Honeck. She has sung at Opéra de Lille, Opera Philadelphia, Wolf Trap Opera Company, Aspen Opera Theater Center, and The Juilliard School in such varied operas as L’Italiana in Algeri (Elvira), Jenůfa (Jano), Le Nozze di Figaro (Susanna), Il Trionfo del Tempo e del Disinganno (Bellezza), Tannhäuser (Shepherd), Hänsel und Gretel (Dew Fairy), Iphigénie en Aulide, Falstaff (Nannetta), Giulio Cesare (Cleopatra), Il Viaggio A Reims (Contessa di Folleville), Zaïde (title role), The Nose (Madame Podtochina’s Daughter), Don Giovanni (Zerlina), La Cambiale di Matrimonio (Fanny), Die Entführung aus dem Serail (Konstanze), and Curlew River (Spirit of the Boy). Concert engagements have included appearances with the New York Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony, New World Symphony, National Symphony Orchestra, St. Luke’s Chamber Ensemble, and Music of the Baroque Orchestra in Mahler’s Symphony Nos.2 and 4, Handel’s Messiah, Telemann’s Der Tag des Gerichts, Handel’s Silete Venti, Bernstein’s West Side Story, and more. Ms. Fang has given performances at Carnegie Hall, Kennedy Center, and Alice Tully Hall, as well as with the Verbier Festival, Festival d’Aix-en-Provence, and Ravinia Festival.

A native of Ningbo, China, Ms. Fang is the recipient of the Martin E. Segal Award, the Hildegard Behrens Foundation Award, the Rose Bampton Award of The Sullivan Foundation, The Opera Index Award, and First Prize of the Gerda Lissner International Vocal Competition. In 2009, she become one of the youngest singers to win one of China’s most prestigious awards – the China Golden Bell Award for Music. She has been hailed as “the most gifted Chinese soprano of her generation” by Ningbo Daily.

Ms. Fang holds a Master’s degree and an Artist Diploma in Opera Study from The Juilliard School and a Bachelor’s degree from the Shanghai Conservatory of Music. She is a former member of the Metropolitan Opera’s Lindemann Young Artist Development Program.

Timothy Fallon, tenor has been hailed by the New York Times as possessing an "elegant sense of phrasing and luminous tone with his sure-handed control of timbre, from velvety pianissimos to bright confident high notes." He devotes time to both the operatic and concert stages. This January, BIS Records released his debut album LISZT 15 Songs with pianist Ammiel Bushakevitz, receiving much critical acclaim. Highlights of 2017 include making his London recital debut at Wigmore Hall as well as ma king his Dutch National Opera debut in Moritz Egger’s Caliban, a world premiere in the Opera Forward Festival in Amsterdam. From 2007-2013 he was part of the ensemble of the Oper Leipzig in Germany. There, his noted roles included Narciso in Rossini's Il turco in Italia , Count Almaviva in Il barbiere di Siviglia , Belmonte in Die Entführung aus dem Serail , Der Sänger in Schoenberg's Von heute auf morgen. Other performances include the title role in Offenbach's Orphee aux enfers, Belfiore in La finta giardiniera, Ferrando in Così fan tutte and Tonio in La fille du régiment. In the summer of 2013 he performed Baroncelli in Wagner’s Rienzi under Christian Thielemann for the Bayreuther Festspiele. Recent concert appearances include Bach’s B minor Mass in Helsinki as well as collaborating with the Israeli Schubertiade giving recitals throughout Israel, a Liederabend at the Rudolphe Kempe Society in Stratford-Upon-Avon, United Kingdom, Carmina Burana with the Dortmund Philharmoniker in Dortmund, Germany. Marilyne Horne, esteemed American mezzo-soprano is a mentor of his and he has sung recitals at Carnegie Hall for the Marilyn Horne Song Celebration. Other concerts have included St. Matthew Passion of J.S. Bach with the Danish National Symphony Orchestra in Copenhagen, Denmark as well as the world premieres of Sven David Sandström’s St. Matthew Passion and Messiah at the Berlin Philharmonic with consecutive concerts in Stockholm and Uppsala, Sweden. He collaborated with I Virtuosi ambulanti in Wertheriade, a salon opera devised for him of seldom performed pieces from the bel canto era, with concerts at the Baroque Theatre of Hanau Wilhelmsbad, Schlosskirche Bad Homburg for der Hohe, Schloss Esterhazy in Eisenstadt, Austria and in Madrid, Spain at the Auditorio Nacional. He has also collaborated with the 900 year old Thomanerchor of Leipzig on tour in Hong Kong and at the St. Thomas Church of Leipzig. He has performed internationally in some of the world’s esteemed concert halls with such conductors as Helmut Rilling, Herbert Blomstedt, Marin Alsop and Masaaki Suzuki. Mr. Fallon was born in Binghamton, New York. He holds a B.A. in Music from Westminster Choir College, a M.M. in Opera from Binghamton University and an Artist Diploma from the Juilliard School.

Baritone Alexander Birch Elliott continues to garner praise for his “heated intensity and beguiling timbre of mahogany.” (New York Times) Alexander made major debuts last season at both The Metropolitan Opera and Houston Grand Opera singing the role of Zurga in Les Pêcheurs de Perles. In the 2019-2020 season he debuts at Carnegie Hall with the American Symphony Orchestra for Elgar’s The Kingdom, as well as with New York’s PROTOTYPE Festival as Lucifer in Rev 23, directed by James Darrah and conducted by Daniela Candillari. He returns to Tulsa Opera for performances of Carmen, as well as to the Pittsburgh Symphony for Fidelio. (103)

Alexander made two significant festival debuts in the summer of 2018, both in celebration of Leonard Bernstein’s centennial. He appeared with the Ravinia Festival in June under the baton of Marin Alsop as a Street Singer in Bernstein’s Mass, followed by performances of Maximilian, the Sea Captain, and the Grand Inquisitor in Candide at the Tanglewood Festival. Recent operatic appearances include as Sonora in La fanciulla del West in his debut with New York City Opera; Figaro in Il barbiere di Siviglia with Opera Santa Barbara; Anthony in Sweeney Todd and the title role of Eugene Onegin with Portland Opera; and as Guglielmo in Cosi fan tutte with Opera Omaha. A proponent of contemporary works, he appeared as John Brooke in Little Women with Madison Opera and Annapolis Opera; Edward Kynaston in Carlisle Floyd’s Prince of Players with the Florida State Opera; Opera Omaha for his role debut as Silvio in Pagliacci; and in the role of Doug Hansen in Joby Talbot's Everest at The Dallas Opera. A frequent performer on concert stages around the United States, Alexander makes his debut with the Cleveland Youth Orchestra for Vaughan Williams’ Five Mystical Songs, in addition to returns to the Pittsburgh Symphony Orchestra in performances as Brander in Berlioz’s La Damnation de Faust and the Indianapolis Symphony Orchestra for Bruckner’s Te Deum. (220)

On the concert stage Alexander has appeared with The Knights for Master Peter's Puppet Show at the Brooklyn Academy of Music; Marcello in La boheme and Escamillo in Carmen with the Rochester Philharmonic Orchestra; Marcello with the Greater Bridgeport Symphony; Papageno in Die Zauberflöte with the Orlando Philharmonic; Haydn’s Creation, Handel’s Messiah, and Bach’s St. Matthew Passion with the Pittsburgh Symphony Orchestra; and in a concert of operatic and holiday duets with acclaimed soprano Leona Mitchell under the auspices of the Tulsa Opera. (83)

As a young artist with Portland Opera he performed the roles of Belcore in L'elisir d'amore, Le Dancaïre in Carmen, Frank in Die Fledermaus, and Sam in Pirates of Penzance. Other young artist performances include Il barbiere di Siviglia as Figaro and Rorem’s Our Town as Frank at Central City Opera, as well as the Captain in Eugene Onegin and Périchaud in La Rondine at Des Moines Metro Opera. In the 2013-14 season Alexander made his principal artist debut as Count Almaviva in Le nozze di Figaro with Tulsa Opera, having previously sung the roles of the Corporal in La Fille du Régiment and the Postman in Loesser’s Most Happy Fella as a 2012-13 studio artist. (116)

Alexander is a graduate of the prestigious Merola program at the San Francisco Opera, and is the recipient of the 2013 John Moriarty Award for his outstanding contribution to Central City Opera. (32)

Alexander attended Florida State University where he studied with David Okerlund. (11)

Audiences and critics alike have praised The Mendelssohn Choir of Pittsburgh’s programming, saying, “EXCEPTIONAL and MEMORABLE… I’m still talking about it,” “One of the finest music events I have ever attended,” and “the Mendelssohn never ceases to amaze me… This city should be proud of its choir” (Pittsburgh Post-Gazette). 

Critically acclaimed as one of the finest choruses in the country, MCP is the “voice of the greater Pittsburgh region” — whether premiering a choral work composed by Stewart Copeland of The Police at a rock venue, or performing Mozart with the Pittsburgh Symphony Orchestra (PSO) at Carnegie Hall in New York City. Unlike other professional arts organizations, MCP is proudly comprised of mostly amateur singers with professional-caliber talent, whose day jobs vary from postal clerk to physician to casino card dealer. MCP singers give generously of their talent, passion, and commitment to share the magic of live music with the widest possible audience, within Heinz Hall and throughout the community. 

For more than a century, MCP has proudly partnered with the PSO as its “chorus of choice,” bringing the joys of symphonic choral music to tens of thousands of people each year. MCP has performed under the batons of world-renowned conductors, including Lorin Maazel, Mariss Jansons, Rafael Frühbeck de Burgos, Michael Tilson Thomas, Claudio Abbado, Mstislav Rostropovich, Leonard Slatkin, Charles Dutoit, André Previn, Sir Neville Marriner, Yan Pascal Tortelier, Helmuth Rilling, Ingo Metzmacher, Richard Hickox, Zdenek Mácal, and Manfred Honeck.

MCP embraces its long legacy of performances, recordings, and commissions that reimagine choral music for today’s audiences and bring bold, unique programming to the Pittsburgh region, such as the recent world premieres of Satan’s Fall by the Police’s Stewart Copeland and The Times They Are A-Changin’ by composer and conductor Steve Hackman. Under the leadership of its new Robert Page Music Director Daniel Singer, MCP looks forward to continuing its tradition of excellence while seeking innovative ways to encourage broader community participation in MCP as singers and as members of the audience. 

MCP fosters the next generation of choral singers and audience members through its educational program, the Junior Mendelssohn Choir of Pittsburgh (JMCP). Founded in 1986, JMCP is the region’s premier high school choral training and performance program. Annually, JMCP attracts singers from more than a dozen school districts, providing youth with a challenging musical environment in which to develop their skills and encouraging them to be lifelong participants in the arts.