Taipei Symphony Orchestra

As “day” and “night” alternate, a love that cannot be contained by the real world moves step by step toward an irreversible end. Taipei Symphony Orchestra’s (TSO) 2026 annual opera, Wagner’s Tristan und Isolde, will be presented at the Grand Theatre of the Taipei Performing Arts Center on September 16 and 19. Three days before the performances, TSO completed its final dress rehearsal, bringing together the stage set, lighting, singers, and orchestra in full. The production’s highly charged stage imagery was also revealed for the first time.Led by Chief Conductor Alexander Liebreich, the production features Swedish tenor Michael Weinius as Tristan, Armenian soprano Lianna Haroutounian as Isolde, and a staging by German director Christian Räth. This timeless opera of love and death is now entering its final countdown toward its Taipei performances.Michael Weinius and Lianna Haroutounian Face Wagner’s Most Demanding CharactersDuring the final dress rehearsal, the performers did not rely on dramatic gestures to build emotional intensity. Instead, through subtle changes in their gazes, physical distance, and body language, they gradually accumulated the tension between two people who long to draw closer yet remain unable to do so.One of the greatest challenges of the production lies precisely in the long and physically and emotionally demanding journeys undertaken by the characters of Tristan and Isolde.Michael Weinius draws on his extensive experience in Wagnerian repertoire to portray Tristan’s journey—from the repression of Act I, to the love released under cover of night in Act II, and finally to the madness and longing that consume him as he approaches death in Act III. The character is given virtually no true emotional respite.Lianna Haroutounian’s Isolde follows an equally intense emotional trajectory: from her initial anger and hatred, to the irresistible passion unleashed by the love potion, and finally to her breakdown and transcendence as she confronts Tristan’s death in Act III.In the final dress rehearsal, the two performers did more than simply “sing” their love. Their emotions continued to unfold beyond the vocal lines. Every approach and separation between them became another narrative thread alongside the music. When the final Liebestod emerges, nearly four hours of accumulated longing, suffering, and waiting erupt in a single, culminating moment.The Orchestra Is Not a Background—It Is the Inner Voice of the CharactersUnder Alexander Liebreich’s direction, TSO brings to the stage both the vast orchestral sound of Wagner and another voice—that of the characters’ inner worlds.In Tristan und Isolde, many of the most important emotions are never spoken directly by the characters. Instead, they are carried by the orchestra. Before the characters have spoken, the orchestra already knows what they are longing for; when the characters stop singing, the music continues its search.At the final dress rehearsal, TSO and the singers on stage became deeply intertwined. At times, the orchestral sound drove the drama forward like an undercurrent; at other moments, it lifted and sustained the characters at their most vulnerable. Ultimately, in the Liebestod, the orchestra drives the entire work toward its emotional culmination.On September 16 and 19, TSO will present this theatrical journey through love and death in its entirety at the Grand Theatre of the Taipei Performing Arts Center. With the final dress rehearsal now complete, the stage lights are about to come on—and the story of Tristan and Isolde is about to begin in Taipei.Fo 

Wagner’s Tristan und Isolde is one of the most revolutionary works in the history of Western music. It not only transformed the language of opera, but also made “desire” itself a direct and profound subject of music. In September 2026, Taipei Symphony Orchestra (TSO), led by Chief Conductor Alexander Liebreich and joined by German director Christian Räth, will present this monumental late work by Wagner at the Grand Theatre of the Taipei Performing Arts Center, inviting audiences on a profound journey through love, desire, life, and death.“This Tristan Will Be a Terrible Thing!” — Wagner Himself on the Weight of the WorkTristan und Isolde has long been regarded as an opera that can “devour singers.” Its extraordinary length, immense vocal demands, and almost continuously unfolding musical lines test not only the singers’ voices, but also their physical stamina, willpower, and emotional commitment. Wagner himself knew better than anyone just how “terrible” the work could be.Upon completing Act II, Wagner described it as the “artistic culmination” of his career up to that point. Yet as he gradually completed Act III, he exclaimed: “My child! This Tristan will be a terrible thing!”A composer of remarkable versatility, Wagner wrote both the libretto and the music for Tristan und Isolde. He transformed his own painful and impossible love for Mathilde Wesendonck—a married woman with whom he could not openly pursue a relationship—into artistic creation, ultimately giving birth to Tristan und Isolde.A Work That Changed the History of Opera, Making “Desire” AudibleTristan und Isolde was premiered on June 10, 1865, at the Munich National Theatre, conducted by Hans von Bülow. The theatre, located in Munich, was also the birthplace of TSO Chief Conductor Alexander Liebreich, giving him a particularly profound connection to the work.Among the opera’s most famous musical innovations is what later came to be known as the “Tristan Chord.” Through harmonies that continually delay resolution and never quite seem to arrive at a final resting point, Wagner inscribed the very experience of “desire” into the music itself. The melody seems forever to move forward in search of an answer, yet never truly reaches its destination.This musical language of perpetual anticipation not only transformed 19th-century opera, but also profoundly influenced generations of composers who followed. From harmony and melody to dramatic structure, Tristan und Isolde became a crucial turning point in the development of Western music toward modernity.For Liebreich, what makes Tristan und Isolde truly moving is not whether the music provides an answer, but how it keeps us searching for one.Christian Räth: The Stage Is Not a Recreation of the Story, but a Journey into the Characters’ Inner WorldsDirector Christian Räth approaches Tristan und Isolde through the inner worlds of its characters, viewing the opera as a drama that unfolds deep within the human psyche.In Räth’s theatrical language, “day” and “night” are more than changes in time. They symbolize the tension between social conventions and inner desire. Day represents responsibility, order, and the external world; night allows the characters to temporarily shed their identities and constraints and return to their most authentic selves.The stage therefore does not seek to recreate a realistic historical setting. Instead, it becomes a visualization of the characters’ psychological and subconscious worlds. Brangäne and Isolde, as well as Kurwenal and Tristan, mirror one another, as though reflecting different facets of the same soul.A World-Class Wagnerian Cast Brings a Tidal Wave of Sound and EmotionBringing this profound journey of the soul to the stage demands exceptional performers. For this production, TSO has assembled two distinguished singers whose careers have placed them among the leading Wagnerian artists of their generation.Swedish tenor Michael Weinius, who sings the role of Tristan, won First Prize at the International Wagner Competition in 2008. He has performed at leading opera houses including Deutsche Oper Berlin, the Paris Opera, Zurich Opera, and the Vienna State Opera. In recent years, his interpretation of Tristan has further established him as one of today’s important Wagnerian tenors.Joining him is Armenian soprano Lianna Haroutounian, who has appeared on the stages of major opera houses around the world, including the Royal Opera House, the Metropolitan Opera, the Vienna State Opera, the Paris Opera, and the Teatro Real in Madrid. Last season, she made a celebrated debut as Isolde at the Opéra Royal de Liège. During the 2025/26 season, she reprised the role in the opening production at Teatro Cervantes in Málaga, captivating audiences once again.From the “Tristan Chord” to the Liebestod: A Journey Through Love and LifeFrom the opening “Tristan Chord” to Isolde’s final Liebestod, Tristan und Isolde traces a profound emotional journey: one embodies an unspoken and seemingly unattainable desire, while the other carries love toward a state beyond life and death.In September 2026, TSO invites audiences to experience the profound emotional tides of Wagner’s music and to follow the deepest desires within ourselves.

If you think symphonic music is all about sitting still and behaving properly, the Taipei Symphony Orchestra’s (TSO) upcoming concert on June 7 may well change your mind. Asian and Taiwan Premieres Showcase Contemporary Music The concert will feature two major premieres: the Asian premiere of “Concerto Grosso” by American composer Nico Muhly, and the Taiwan premiere of “Rapids of Life” by Finnish composer Outi Tarkiainen. The program will be led by acclaimed Finnish violinist, conductor, and musical innovator Pekka Kuusisto, one of today’s most imaginative and versatile musicians. Commissioned jointly by the Taipei Symphony Orchestra and the Los Angeles Philharmonic, Muhly’s “Concerto Grosso” places four distinctive solo instruments—flute, trombone, cello, and percussion—at its center. Rather than highlighting a single soloist, the work explores shifting relationships among the four performers through competition, alliance, dialogue, and collaboration. Muhly, whose work spans concert music, opera, theatre, and film—including scores for “The Reader” and the BBC adaptation of “Howards End”—is known for his ability to create emotionally nuanced and richly textured sound worlds. Reflecting on the work’s premiere in Los Angeles, Muhly remarked that one of its most unexpected outcomes was allowing audiences to “rehear the orchestra.” By bringing orchestral musicians to the foreground, listeners become aware not only of individual virtuosity but also of the intricate web of interactions and collective energy that animate an orchestra from within. The four soloists for this performance are all distinguished members of the TSO: flutist Liu Chao-Che, trombonist Lee Shyan-Jer, cellist Jan Shu-Ting, and percussionist Chen I-Ju. Stepping from their usual orchestral roles into the spotlight, they will reveal a different dimension of artistry through Muhly’s innovative concerto. The contemporary focus of the evening continues with Outi Tarkiainen’s “Rapids of Life”, receiving its Taiwan premiere. Inspired by the primal forces surrounding birth and creation, the work unfolds through flowing textures and layered orchestral colors, evoking both the mystery of nature and the power of life itself. Pekka Kuusisto: A Musical Visionary Beyond BoundariesCurrently Artistic Co-Director of the Helsinki Philharmonic Orchestra and Artistic Director of the Norwegian Chamber Orchestra, Kuusisto will become Chief Conductor of the Tokyo Metropolitan Symphony Orchestra in 2028. Kuusisto moves effortlessly between classical repertoire, contemporary music, improvisation, and composition. His collaborations with Nico Muhly span many years, and “Concerto Grosso” emerged from the strong artistic rapport between the two musicians. With Kuusisto conducting the work’s Asian premiere, the performance promises an interpretation deeply connected to the composer’s original vision. From the Flight of Swans to the Gates of Heaven: Sibelius’s Symphony No. 5Concluding the evening is Jean Sibelius’s monumental Symphony No. 5, one of the defining orchestral masterpieces of the twentieth century. Sibelius famously described the work as a moment when “God opened His door for a moment and His orchestra played the Fifth Symphony.” Driven by radiant orchestral sonorities and powerful rhythmic momentum, the symphony captures the grandeur of the Nordic landscape and the pulse of life itself. Its celebrated “swan theme” remains one of the most iconic moments in symphonic literature. TSO Continues to Build an International Showcase for Contemporary MusicIn recent years, TSO has steadily developed its Contemporary Music Showcase initiative, bringing world premieres, Taiwan premieres, and international co-commissions to local audiences. Bringing together Nordic landscapes, contemporary creativity, and symphonic tradition, this concert reflects TSO’s ongoing commitment to expanding its artistic horizons and introducing audiences to the most exciting musical voices of our time. Audiences are invited to experience an evening where contemporary music and the symphonic imagination meet in powerful and unexpected ways.

In the first complete performance of the work in Taiwan, Taipei Symphony Orchestra (TSO) proudly presents Kaddish, the third symphony by the great American composer and conductor Leonard Bernstein. Combining narrator, soprano, chorus and full orchestra, this large-scale work carries considerable historical significance. Using a highly theatrical structure and deeply probing text, the work confronts humanity’s ultimate questions about God, faith and the meaning of existence.From Chichester Psalms to KaddishAccording to TSO Director Kuo Pey-yu, planning for this ambitious project actually began back in 2020, when Maestro Eliahu Inbal assumed the post of principal conductor. Despite the disruptions caused by the Covid pandemic and the many difficulties coordinating singers’ schedules, the Taiwanese premiere finally came to fruition this year. Following the 2008 performance of Bernstein’s Chichester Psalms, TSO has now, eighteen years later, completed Taiwan’s presentation of the composer’s major Jewish-inspired works, demonstrating its ability to master the demanding large-scale repertoire of the twentieth century.A Cross-Generational Bond Between Inbal and BernsteinAt the press conference, Inbal spoke emotionally about his connection with his mentor Bernstein. In 1958, while still serving in a military band, the young Inbal performed despite running a 40°C fever. Bernstein was deeply moved by the performance, took him aside afterwards, told him he was destined for greatness, and wrote him a recommendation letter to support his studies abroad.The maestro also recalled attending several days of the rehearsals of Kaddish in Israel, where Bernstein gave him direct insight into the work’s original and deepest interpretive essence.“Heavy Metal Rock Within Classical Music”Named after the Jewish prayer of mourning, Kaddish is a highly provocative work. Inbal explained that when the narrator questions God about why humanity must endure war and suffering, the music uses twelve-tone techniques to convey intense resistance and radicalism, “like the heavy metal of classical music”.However, once humanity joins hands with God in a dream and reaches reconciliation, the music transforms into passages that are more tonal, lyrical and inspired, ultimately arriving at love and peace. “The philosophical questions raised by this work are real for everyone,” Inbal underlined. “Music teaches us how to love. Even when it expresses darkness, it ultimately leads us back to peace.”International Cast and Cultural CollaborationSoprano Sara Cortolezzis described her role as a “caller for peace”, set in counterpoint to the angry narrator, restoring hope through the beauty of prayer. Narrator Jaye Ladymore described the relationship between the character and God as one of mutual dependence, inviting the listener to consider whether this reflects the illusion of control or a higher form of faith.Ku Yu-chung, director of the Taipei Philharmonic Chorus, noted that in this work the chorus functions as “the masses”, facing major challenges including Hebrew pronunciation and complex “Tower of Babel”-like rhythms, before ultimately bringing forth a hopeful ray of light from the darkness.The performance also received extensive cultural support from the Jewish Taiwan Cultural Association, including guidance in Hebrew diction, as well as presentations and sharing of cultural insights into Jewish traditions. Association spokesperson Alex Su noted that the core of Kaddish lies in “reflection and discussion”, and that the spirit of constantly asking “why?” is central to the way Jewish culture connects art and society.The Taiwanese premiere of Kaddish transcends barriers of religion and nationality, as TSO poses profound questions about love, peace and faith. In a turbulent world, the work uses music to rediscover the power of mutual respect and the mystery of creation. Maestro Inbal stressed that the work can connect people to “a higher power”, regardless of the audience’s religious background. More than half a century after its creation, this cross-cultural musical event is not to be missed in Taiwan. Listeners are warmly invited to experience the performance in person and seek their own resonance and hope within the music. 

The groundbreaking ceremony for the “Taipei Public Library New Main Branch and Taipei Concert Hall Construction Project” was held on March 16, with the Taipei Symphony Orchestra (TSO) invited to perform. Led by Chief Conductor Alexander Liebreich, the orchestra presented “Fanfare for the Common Man” by Aaron Copland, opening the ceremony with a ceremonial and resonant musical statement marking a key milestone in Taipei’s cultural development.Taipei Mayor Chiang Wan-An noted that upon completion, the Taipei Concert Hall will serve as the home venue for both TSO and the Taipei Chinese Orchestra. The project will feature an approximately 1,500-seat vineyard-style concert hall, along with rehearsal facilities, backstage support, and administrative spaces to support professional performance and ongoing artistic activity.The ceremony commenced with TSO’s performance, creating a formal and celebratory atmosphere as attendees witnessed a significant moment in the city’s cultural evolution. Liebreich remarked that the new venue will “give us renewed energy” and represents a clear commitment by the city to cultural development, adding that TSO “will soon have a home of its own.”The hall’s acoustics are designed by renowned acoustician Albert Xu, his final project, which he had expressed a wish to dedicate to Taipei. Mayor Chiang noted that the hall will integrate architecture and music, allowing sound to move naturally within the space.From the ceremonial performance at groundbreaking to the future opening of the hall, TSO will continue to contribute to Taipei’s evolving cultural landscape, with plans to bring audiences high-quality performances in its future home.

The Taipei Symphony Orchestra (TSO) launched a new artistic chapter with a sold-out, full-house concert at the National Concert Hall on March 11, led by newly appointed Chief Conductor Alexander Liebreich. The program featured renowned French cellist Gautier Capuçon and Italian violinist Francesca Dego. Marking Liebreich’s inaugural appearance with TSO, the performance drew a capacity audience, while the post-concert autograph session and photo activities were met with enthusiastic participation.The first half opened with Dego and Capuçon in “The Muse and the Poet”, followed by the world premiere of “Poème du Silence”, a rhapsody for violin, cello, and orchestra by Richard Dubugnon. Their refined musical dialogue and stylistic cohesion shaped an elegant, imaginative soundscape. An encore of Passacaglia elicited prolonged applause and cheers from the audience.In the second half, Liebreich led TSO in Symphony No. 4 in E minor, offering a performance distinguished by structural clarity and interpretive depth. The reading reflected a forward-looking artistic vision rooted in the classical tradition.Distinguished guests in attendance included Taipei Deputy Mayor Lin Yi-hua, representatives of the German Institute Taipei, and architect Kris Yao, marking the occasion as a significant milestone for TSO.Following the concert, audiences actively participated in autograph and interactive sessions. A themed photo installation featuring Liebreich proved especially popular, and a limited-edition TSO lightbox giveaway was quickly fully claimed, reflecting strong public enthusiasm and support.Liebreich’s appointment brings renewed artistic momentum to TSO. The orchestra will continue to expand its artistic reach through diverse programming and international collaborations, further connecting Taipei’s musical stage with the global community. 

Fresh from the 2025 Asia Tour through five cities—Fukuoka, Kumamoto and Hofu in Japan, and Bucheon and Tongyeong in Korea—the Taipei Symphony Orchestra (TSO) has returned home to strong acclaim for its refined sound and deeply considered interpretations. Back in Taipei, the TSO is announcing the launch of a 2026 season that promises a broader perspective and a curatorial approach that will continue to map the city’s sonic identity.Building on the concept of the “curated-season” introduced in 2023, next year’s programme will span both a classical and contemporary repertoire, keeping Taipei’s musical window onto the world wide open. Under its new Chief Conductor, Alexander Liebreich, the TSO is starting a new chapter, bringing fresh energy to theatrical, vocal and large-scale collaborative projects.The Chief Conductor Series has European tonal aesthetics at its foundation and contemporary cultural dialogue at its core. With a set of high-profile collaborations, the season-opening concerts feature Gautier Capuçon and Lisa Batiashvili in the world premiere of Richard Dubugnon’s Le poème silencieux; pianist Paul Lewis joins Liebreich to explore Mozart’s Piano Concerto No. 27; and further partnerships with leading European musicians such as Sergey Khachatryan and Jean-Guihen Queyras present Schumann, Brahms and Zemlinsky’s Lyric Symphony, alongside Bruckner’s Symphony No. 4 and Richard Strauss’s Don Juan.Every concert in the series will be conducted by Grammy nominee, two-time International Classical Music Awards (ICMA) winner and former Artistic Director of the Tongyeong International Music Festival Alexander Liebreich, whose detailed, layered grasp of each score will shape the distinctive TSO sound he has envisioned.Led by Laureate Conductor Eliahu Inbal, the Master Series offers a season-long journey into late-Romantic and twentieth-century traditions. Widely regarded as one of the most magisterial conductors working today, Inbal has twice recorded the Mahler and Shostakovich symphony cycles in their entirety and is the first to have recorded the full set of original-version Bruckner symphonies. Continuing the Mahler project he launched in 2025, Maestro Inbal and the TSO will perform, in turn, Mahler’s Sixth, Seventh, and First (Titan) symphonies, followed by the Ninth—a measured advance in the orchestra’s second Mahler cycle. Not only did Mahler reshape the symphony as a form, but the emotional and intellectual depths he opened up continue to define music worldwide.Beyond Mahler, audiences can look forward to the Taiwan premiere of Bernstein’s Kaddish Symphony—a large-scale work of considerable spiritual intensity—and Stravinsky’s The Rite of Spring, with its striking rhythms and primal energy. Inbal joins forces with Edgar Moreau, Lilya Zilberstein, Vadym Kholodenko and others to offer a richly varied interpretative landscape.The TSO’s spirit of exploration continues in 2026 with works by leading contemporary composers that revealing the evolving language of global music. Highlights in the Maestro Series include the Asian premiere of a Nico Muhly concerto, co-commissioned with the Los Angeles Philharmonic; Outi Tarkiainen’s Rapids of Life; and Donghoon Shin’s Of Rats and Men. These works position Taipei as a city where the pulse of contemporary creation can be felt directly, keeping the musical avant-garde in step with the city itself.As a key force behind Taipei’s classical season and its opera productions, TSO is also announcing a full staging of Wagner’s Tristan und Isolde next year, conducted by Maestro Liebreich. The work marks the pivot from Romantic to modern musical language and signals the next horizon that the new Chief Conductor and the TSO will chart together.With an international outlook and contemporary voice, the 2026 TSO season will continue to expand the identity of the capital’s orchestra. Tickets for the Chief Conductor Series, Master Series and Maestro Series are now on sale. Early-bird discounts (25% off) will be available until 2 pm on 26 December. For full programme and ticketing details, visit OPENTIX or the TSO website.

The Taipei Symphony Orchestra (TSO) successfully concluded its Japan–Korea tour this October, marking a significant milestone in its international journey. The tour covered Fukuoka, Kumamoto, Hofu, Bucheon, and Tongyeong, completing a cross-border musical voyage that resonated with audiences across Asia.   Led by Laureate Conductor Eliahu Inbal, the orchestra presented Mahler’s Symphony No. 5 as the central piece of the program. In Korea, TSO also collaborated with distinguished pianist Kun Woo Paik to perform Chopin’s Piano Concerto No. 2, creating an unforgettable musical experience to Asian audiences.  “This is the Mahler realm that only Inbal, at 89, can reach. Without hearing this concert, one cannot truly speak of Mahler.” The performances across the five cities were highly anticipated, adding a memorable new chapter to TSO’s artistic journey. Mahler Resonates Across Japan — Thunderous applause in Three Cities From October 10 to 12, TSO performed in Fukuoka Civic Hall, Kumamoto Prefectural Theatre, and Hofu City Public Hall in Yamaguchi Prefecture. Under Inbal’s baton, the orchestra opened each concert with Mahler’s grand and powerful symphony, captivating audiences with its depth and precision. Tickets for the Hofu performance were nearly sold out even before the concert, with organizers mentioned that a “strategy meeting” had to be held beforehand due to the overwhelming interest.  The enthusiastic applause and cheers that followed each concert spoke for themselves. One audience member shared, “The sound and emotions I remembered from childhood came vividly back to me.” Another expressed, “It is deeply moving to finally welcome the TSO and Maestro Inbal to perform Mahler’s Fifth Symphony in my city.” The atmosphere in each hall was heartfelt, and the music rekindled a timeless emotional connection between performers and listeners. Magnificent Debut in Korea — Cultural Exchange Through Music  On October 17 and October 19, TSO made its debut in Korea, performing at the Bucheon Art Center and Tongyeong Concert Hall. Both cities are recognized by UNESCO as Creative Cities—Bucheon for culture Tongyeong for music, the latter also hosting the renowned Tongyeong International Music Festival.  The concerts, conducted by Mahler expert Eliahu Inbal and featuring Korea’s leading pianist Kun Woo Paik, were met with great anticipation. Tickets sold out before the performances, reflecting the excitement surrounding TSO’s first appearance in Korea.  According to the General Manager of the Bucheon Art Center, few Asian orchestras have ever performed in Korea, making the TSO’s visit a milestone event for Bucheon. The CEO of Tongyeong Concert Hall noted that Tongyeong has long maintained positive exchanges with Taiwan and was delighted to host this collaboration between two masters and the TSO.  As the final notes faded, the audience’s applause filled the hall, with Inbal and Paik returning to the stage for multiple curtain calls.  Coincidentally, the Federation for Asian Cultural Promotion (FACP) annual meeting was being held at the Bucheon Art Center at the same time. Many Taiwanese and international arts professionals attended the concert and offered their congratulations to both the organizers and the orchestra for their outstanding performance. Representatives from Taiwan’s diplomatic missions in Korea—Deputy Representative Kuo Chiu-Wen from the Taipei Mission and Director Kuo Cheng-Kai from the Taipei Office in Busan—also attended, adding symbolic significance to this first TSO tour in Korea as a highlight of bilateral cultural exchange. Connecting Asian Cities Through Music And A Step Forward for Taipei’s Cultural Presence in Asia  Since 1985, the Taipei Symphony Orchestra has performed in 13 countries and 40 cities, continuously expanding its international network. The 2025 Japan–Korea tour not only showcased the orchestra’s artistic maturity but also served as a cultural bridge linking Asian cities through music.  The experience at the Bucheon Art Center provided valuable inspiration for the future development of Taipei’s own concert hall, further demonstrating how Taiwan’s cultural vitality continues to connect and align with the international stage. Inbal said, “The TSO has grown remarkably in recent years. Through this tour, I hoped to let audiences in different countries experience the true spirit of the TSO, and to deliver our most sincere and dedicated performances.”  Having extensive experience performing in Japan and Korea, Inbal chose Mahler’s Symphony No. 5—departing from his Beethoven or Tchaikovsky repertoire—to offer something profound and powerful to audiences. The sincere and enthusiastic responses of audiences deeply moved him. The 2025 Japan–Korea tour reaffirmed TSO’s artistic excellence. It also built new cultural bridges for Taipei City within the Asian classical music landscape.  Moving forward, TSO will continue to use music as a shared language to promote exchange and collaboration between cities, embracing an ever-wider international stage. 

Taipei, March 3, 2024 – The Taipei Symphony Orchestra (TSO) has announced the appointment of internationally acclaimed conductor Alexander Liebreich as its new Chief Conductor, beginning in the 2026 season. This milestone marks a significant step in the orchestra’s ongoing artistic growth and global outreach.Leading the TSO in the continuous pursuit of greatness,At a press conference at the National Theater, the Department of Cultural Affairs, Taipei City Government Commissioner Tsai,Shih-Ping emphasized the importance of TSO’s role in the city’s cultural landscape and global presence. “TSO is not only Taipei’s most distinguished symphonic institution but also a cultural brand recognized on the international stage,” said Tsai. “We are honored to welcome Maestro Liebreich as our new Chief Conductor and look forward to his leadership in elevating TSO’s artistic achievements.”Liebreich, who has collaborated with TSO since 2008, expressed excitement about his new role: “It is personally meaningful to me to have received the democratic consensus of the TSO and its musicians for the position of chief conductor, especially given my 17-year relationship with the orchestra. I have had the pleasure of performing many outstanding concerts with them, which remain deeply engraved in my memory. I am thrilled to embark on this new musical journey with the TSO.”Thanksgiving Performance: A Prelude to a New JourneyBefore officially taking on his new role, Liebreich will conduct TSO on November 27, 2025, for a special Thanksgiving concert. The program will feature two German masterpieces—Webern’s arrangement of Bach’s Ricercar from The Musical Offering and Mendelssohn’s Symphony No. 5 in D Major, “Reformation”. In line with TSO’s Shostakovich commemorative project, the concert will also include Shostakovich’s Cello Concerto No. 1 in E-flat Major, featuring celebrated German cellist Alban Gerhardt.A Conductor with Global PrestigeLiebreich’s impressive credentials include his current role as Chief Conductor of the Orquestra de València and Artistic Advisor of the Palau de la Música Valencia. He has also served as Chief Conductor of the Munich Chamber Orchestra, Polish National Radio Symphony Orchestra, and Prague Radio Symphony Orchestra. His extensive achievements have earned him a Grammy nomination and two International Classical Music Awards (ICMA).TSO’s Future Under Liebreich’s LeadershipTSO General Director Kuo Pey-yu expressed high hopes: “Liebreich’s artistic vision aligns perfectly with TSO’s aspirations. Renowned for his dynamic interpretations and dedication to both classical and contemporary music, Liebreich is expected to bring a fresh artistic perspective to TSO, further positioning it as a leading force in the global symphonic community.Concertmaster Roger Chih-I Chiang echoed these sentiments: “Through the years, TSO has developed a wide-ranging musical identity, shaped by a variety of artistic influences. Liebreich brings unparalleled insight and elegance to his conducting, and his deep understanding of repertoire and clear artistic direction will inspire the orchestra to new artistic heights.”A Next Milestone in Taipei’s Cultural LandscapeAmong the highlights not to be missed, a grand season opening concert will take place on next spring to celebrate Alexander Liebreich's inauguration alongside Lisa Bathiasvili and Gauthier Capuçon who will present the world premiere of the new piece of French-Chinese composer Qigang Chen. In addition tothe-upcoming symphonic concerts of their initial year together Alexander Liebreich and the TSO will also be presenting a staged production of theopera Tristan und lsolde.Under Liebreich’s baton, TSO is set to broaden its programming, foster international partnerships, and cultivate emerging musical talent. As the orchestra embarks on this exciting journey, TSO invites music lovers worldwide to witness the next era of symphonic excellence in Taipei. 

In celebration of the 200th anniversary of Bruckner’s birth, this year (2024) Taipei Symphony Orchestra (TSO) is launching a series of concerts featuring Bruckner symphonies, including Symphony No. 2, No. 4 ‘Romantic’, No. 5, No. 6 and No. 7. Each symphony is a vast cosmos of dense, intricate, deeply emotional music, and together they constitute an expansive symphonic universe. Internationally acclaimed authority on Bruckner TSO Conductor Laureate Eliahu Inbal with TSO released the 2023 album, featuring Brahms’ Symphony No. 1 in C minor and Bruckner’s Symphony No. 3 in D minor (1873 version).  To introduce Bruckner to a wider audience, TSO is launching the Bruckner 200 Special Project. In addition to Inbal’s master series, the dedicated website details Bruckner-anniversary events in Austria, Germany, the Netherlands, and elsewhere.  The website offers rich, exciting content, with introductions into Inbal’s Bruckner recordings, exclusive interviews with the conductor himself, and friends in the arts sharing their listening experiences and recommendations of Bruckner’s symphonies, also the special project website have simple yet profound explanations of Bruckner's symphonies. For further information, visit the official website【Bruckner 200】:[Link]   TSO has also created fantastic chibi-style Bruckner and Inbal cardboard cutouts to give Bruckner fans an unforgettable experience. Standing outside the concert venue, the cutouts are ready to take photos with fans to give them souvenirs to cherish and bring more people into Bruckner’s symphonic world. 【Album Link: Stream Music Preview】Eliahu Inbal with Taipei Symphony Orchestra released the 2023 album, featuring Brahms’ Symphony No. 1 in C minor and Bruckner’s Symphony No. 3 in D minor (1873 version).1.Apple Music： [Link]2.Spotify： [Link]3.YouTube Music： [Link]4.KKBOX： [Link]