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Partner Content

Curtis Institute: Philadelphia’s classical music powerhouse marks 100 years of excellence

Courtesy of Curtis Institute of Music
Courtesy of Curtis Institute of Music
Partner Content
Curtis Institute of Music
Updated
October 3, 2024

Philadelphia’s music scene has long been a stage for exceptional talent — home to the soulful power of Billie Holiday, the funky rhythms of The Roots, the R&B brilliance of Jill Scott, and many others honored along the Avenue of the Arts. Amid this rich musical landscape, the Curtis Institute of Music, one of the city’s hidden gems, is hitting a crescendo in 2024 as it celebrates its centennial, leaving an indelible mark on classical music and producing some of the world’s finest musicians.

Nestled in the heart of one of America’s oldest cities, Curtis was founded in 1924, following the establishment of the Philadelphia Orchestra in 1900 and the Philadelphia Opera Company in 1908. This prestigious conservatory rivals Juilliard and Berklee, but what truly sets Curtis apart is its philanthropic tradition, initiated by the institute’s founder, Mary Louise Curtis Bok: Every student receives a full scholarship, ensuring that raw talent — not financial means — shapes the future of classical music.

Walking through Curtis’s storied halls, you’re enveloped by a legacy of greatness. From Leonard Bernstein and Anna Moffo to Hilary Hahn and Yuja Wang, Curtis has shaped the careers of some of the world’s most influential musicians. Curtis alumni are found in orchestras worldwide, including a remarkable 45% of the Philadelphia Orchestra. This legacy underscores Curtis’s profound impact on classical music, a legacy that continues to grow with each generation.

The Curtis Institute’s main building on Rittenhouse Square feels like a portal to the past, where history lingers in the air and invites you to step into its timeless embrace. Once a grand mansion constructed in the 1890s, it now serves as a cornerstone of classical music education, with its blend of Romanesque and Renaissance architectural details providing a striking backdrop for the institution’s rich heritage. Film buffs will recognize the building’s exterior from 1983’s Trading Places, where Dan Aykroyd’s character first confronts Eddie Murphy’s.

As Roberto Díaz, Curtis’s president and CEO since the 2006–07 school year and an internationally acclaimed violist, reflected, “You just walk into the building and start to think of who’s been here and the history of the place.”

Celebrating its 100th year with a full calendar of events this season, Curtis invites the public to explore its remarkable history and ongoing contributions to the world of music.

Courtesy of Curtis Institute of Music

A stage for excellence

Curtis Symphony Orchestra and Curtis Opera Theatre are vital training grounds, offering students hands-on experience in orchestral and operatic performance while preparing them for careers on the world’s grandest stages.

Amy Beth Kirsten, the multidimensional composer and director who joined Curtis in 2022, views teaching as guiding students in crafting their unique musical blueprints. “Part of the learning process is figuring out who you are,” said Kirsten. “At Curtis, it’s such a curated, individual experience that we can lift up individual voices and help them to do the things they want to do.”

Curtis’s commitment to nurturing artistic individuality is reflected in its 2024–25 season. Dubbed Great to Groundbreaking, the series features over 150 performances — ranging from orchestra and opera to chamber music — across Philadelphia and beyond through May 2025. It launches with Founder’s Weekend from October 11–13, 2024, bringing alumni and supporters together to celebrate the school’s storied history and future.

Highlights include GRAMMY Award-winning faculty member Yannick Nézet-Séguin leading the Curtis Symphony Orchestra in its debut at Lincoln Center’s David Geffen Hall. He will also join acclaimed pianist and Curtis alumna Yuja Wang in the spring of 2025 for a tour de force performance of Einojuhani Rautavaara’s Piano Concerto No. 1 — a work of striking contrasts, blending raw, primal energy with cinematic grandeur and moments of quiet, ethereal beauty.

Curtis’s greatest legacy is perhaps embodied by Leonard Bernstein, one of its most illustrious alumni. Known globally for composing West Side Story, Bernstein’s influence endures. That same spring, the Curtis Opera Theatre will present his timeless masterpiece, Candide.

Courtesy of Curtis Institute of Music

The future of classical music in your backyard

In addition to these paid events, Curtis opens its doors to the public with over 100 free recitals held annually in the intimate 240-seat Field Concert Hall adjacent to the main campus. On most Monday, Wednesday, and Friday evenings at 7:30 p.m., this distinguished institution opens its doors to showcase emerging stars and seasoned artists.

In these performances, the Curtis teaching philosophy comes to life. Violinist Benjamin Beilman, a 2012 graduate who returned to teach in 2022, said, “The foundation of the school is chamber music. It’s about knowing exactly when to pop out of the texture, how to rely on other members of the group to enhance your artistic vision.”

This spirit of collaboration isn’t confined to the classroom — it shines in every recital, where students learn not just to play, but to listen, adapt, and engage with others’ perspectives. 

Whether you’re elevating a date night or introducing a young mind to the world of classical music, Curtis offers an unparalleled experience right around the corner. Tickets are complimentary but require advance registration, limited to four per request. Curtis also livestreams Friday recitals on Facebook and YouTube at 7:30 p.m. for those who can’t attend in person.

For a complete listing of upcoming performances and to secure your tickets, visit curtis.edu/calendar.

Curtis Institute of Music
Published by INQStudio
October 3, 2024
This content was produced by The Philadelphia Inquirer’s INQStudio in collaboration with the advertiser. The news and editorial departments of The Philadelphia Inquirer had no role in its production or display.
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