William Ford | 5 MAY 2026
Ahead of its 36th season, Spivey Hall, located just south of Atlanta on the campus of Clayton State University in Morrow, Georgia, recently announced a wide-ranging series of performances spanning classical, jazz, and vocal traditions. In a conversation with Executive and Artistic Director Katherine Lehman, the hall’s 2026-27 programming is is revealed, from major guest artists and premieres to a season-long emphasis on piano and the theme of “awe” as a guiding idea. The following Q&A offers highlights and context for the season, followed by a complete listing of all 22 scheduled concerts.
William Ford: What can you tell us about next season?
Katherine Lehman: We have 22 concerts scheduled, and I would begin with our special events.
Katie Lehman, Spivey Hall’s new Executive and Artistic Director (courtesy of Spivey Hall)
We open with Joyce DiDonato, mezzo-soprano, in Emily: No Prisoner Be (Sunday, October 11, 2026). It’s a staged production with music by Kevin Puts, performed with Time for Three—two violins and bass. It’s more than a concert; it’s a full theatrical experience, and bringing it to Spivey required adapting our space in creative ways.
Two weeks later, we present Hilary Hahn, violin, with Matthias Goerne, baritone, and Yeol Eum Son, piano (Saturday, October 24, 2026). The program includes a newly commissioned work by Reena Esmail, and we will host the world premiere.
We also welcome Daniil Trifonov, piano (Friday, December 4, 2026), returning after a performance that left audiences asking for more.
The “Year of the Piano”
WF: There seems to be a strong piano presence.
KL: Yes—this is very much the “Year of the Piano.” We have an unusually rich lineup this season, reflecting both the depth of the field today and the range of artistic voices within it.
We welcome Igor Levit, piano (Saturday, October 31, 2026), who stands apart not only as a performer but as a public intellectual. He brings an unusual depth of thought to his programming, particularly in Beethoven, where his interpretations reflect a sustained engagement with both the music and its broader cultural context.
Yulianna Avdeeva, piano (Sunday, January 17, 2027), offers a program built around Shostakovich’s Preludes and Fugues, paired with Chopin. The pairing has a conceptual elegance, connecting repertoire across traditions while also reflecting the historical link of Shostakovich’s participation in the first Chopin Competition.
The duo of Pavel Kolesnikov and Samson Tsoy, piano (Saturday, December 12, 2026), represents a different kind of artistry. Their collaboration is unusually integrated—two performers who seem to function as a single musical entity. Their programs move fluidly between four-hand repertoire and works for two pianos, taking full advantage of Spivey Hall’s instrument resources.
Paul Lewis, piano (Saturday, April 24, 2027), returns as an artist closely connected to the hall itself. His role in helping select one of the venue’s pianos adds another dimension to his performances—an ongoing dialogue between artist and instrument that deepens over time.
Yeol Eum Son, piano (Sunday, February 21, 2027), brings a distinct combination of technical command and interpretive clarity. She balances virtuosity with structural insight, presenting demanding repertoire with both precision and musical intelligence.
Finally, Carter Johnson, piano (Saturday, March 20, 2027), represents the next generation. His willingness to take risks in programming—moving beyond standard repertoire into more challenging territory—signals an artist already shaping a distinct artistic voice.
Chamber Music
WF: Chamber music remains central?
KL: Absolutely. It’s a passion point for me.
We present David Coucheron, violin, and Julie Coucheron, piano, with friends (Sunday, January 31, 2027), artists deeply connected to Atlanta in a way you rarely see. They have invested in this community over many years. David, as concertmaster of the Atlanta Symphony Orchestra, has shaped the sound of the ensemble and brings an extraordinary sense of responsibility toward his colleagues. Julie is a pianist of remarkable depth and versatility. Bringing them into a chamber setting allows them to step outside the orchestral framework and engage with repertoire they are deeply passionate about, and our audience responds strongly to that.
We also bring Benjamin Beilman, violin, with Steven Osborne, piano (Sunday, February 28, 2027). Beilman is in demand internationally and appears regularly at major festivals. This program is especially compelling in its range, placing Clara Schumann and Lili Boulanger alongside Brahms and Schumann, creating a dialogue across different voices and traditions.
The Takács Quartet (Saturday, April 10, 2027) returns at a moment of transition, with a new cellist joining the ensemble. What has always distinguished them is not only their technical excellence but their sense of musical community. Even as personnel changes, that identity continues, and it will be interesting to hear how the ensemble evolves while maintaining its core sound.
We also present Théotime Langlois de Swarte, violin, and Thomas Dunford, lute (Sunday, March 14, 2027), in a program rooted in the Italian Baroque. This is music of heightened expression—dramatic, virtuosic, and emotionally direct—centered on the figure of the disconsolate lover. It draws on a tradition of highly expressive violin writing and allows both performers to demonstrate not only technical brilliance but a strong sense of character and narrative.
Voice
WF: Voice seems to be a major thread.
KL: It is. Voice runs throughout the season in a variety of ways, not just in traditional recital formats but across different genres and collaborations.
We present the Blind Boys of Alabama, vocal ensemble (Saturday, November 21, 2026), celebrating Stevie Wonder’s Songs in the Key of Life. They are a group with an extraordinary history, spanning nearly nine decades, and they bring a depth of tradition and lived experience to everything they do. This program connects that tradition with a broader cultural context, creating something that is both rooted and expansive.
We also welcome Ian Bostridge, tenor, with Julius Drake, piano (Saturday, May 8, 2027), in an all-Schumann recital. Bostridge is one of the leading interpreters of the German Lied repertoire, and his work is defined by a deep intellectual and emotional engagement with the text. With Julius Drake—one of the great collaborative pianists in this repertoire—the result is a partnership that brings both clarity and depth to Schumann’s songs.
Jazz
WF: And jazz?
KL: We’re delighted to bring back Cécile McLorin Salvant, voice, with Sullivan Fortner, piano (Friday, January 15, 2027). She exists in a category of her own. Her work extends well beyond stylistic boundaries, and what distinguishes her is her ability to inhabit a wide spectrum of expressive states while maintaining a strong interpretive identity. By the end of a performance, you feel as though you’ve encountered a thousand shades of humanity.
Sullivan’s role is not merely accompaniment. The two operate as a true collaborative unit, with an almost intuitive responsiveness on stage. Their interaction is less about support than about shaping the music together, with him both following and provoking in equal measure.
We also present Christian Sands, piano, with his trio (Saturday, February 13, 2027). He is an artist in active evolution—someone whose trajectory is defined less by a fixed style than by continual reinvention. Each appearance offers a snapshot of an artist still defining his voice rather than consolidating it.
Organ
WF: And organ programming?
KL: We have four programs anchored by Alan Morrison, organ (Saturday, November 14, 2026; and Sunday, January 24, 2027 with friends). He is very much part of the fabric of Spivey Hall, with longstanding ties to the institution, while also being one of the leading organ pedagogues working today. His students are among the finest young players in the field, and he maintains an active performing career at a very high level. What makes his presence here especially meaningful is the way he brings those worlds together—teaching, performing, and curating programs with a deep understanding of the instrument.
We also feature Peter Richard Conte, organ (Friday, October 30, 2026), performing live improvisation to Dr. Jekyll & Mr. Hyde. These silent film programs have become something of a tradition and offer a different way of hearing the organ. Conte treats the instrument orchestrally, creating a wide range of colors and textures to shape character and narrative in real time.
Kimberly Marshall, organ (Saturday, April 3, 2027), presents a program spanning six centuries of repertoire, exploring themes of the cosmos, the divine, and the human. The organ is uniquely suited to that kind of scope, and her programming reflects both the historical breadth of the instrument and its capacity to engage with larger ideas.
On Awe
WF: You spoke about “awe” as a guiding idea.
KL: There’s increasing recognition that awe is one of the most powerful human emotions, not just psychologically but physiologically. It’s something we experience in the presence of great beauty, great artistry, or moments that feel larger than ourselves.
What we do at Spivey Hall is about creating those experiences—moments that remind us of what human beings are capable of at their best. We often think of awe in terms of the natural world, but it is equally present in what we create through music and art. At a time when we are also confronted with the destructive capacities of humanity, it becomes even more important to hold onto that other side—the ability to create something meaningful and lasting.
Experiencing that together, in community, is essential. It grounds us, connects us, and offers a different perspective on what it means to be human. That shared experience—of encountering something extraordinary together—is at the heart of what we try to do here. ■
Spivey Hall’s 2026-27 Season
- Sep. 27, 2026 @ 3 pm
Season Opening Celebration
Richard Goode, piano - Oct. 11, 2026 @ 3 pm
Emily: No Prisoner Be
Joyce DiDonato, mezzo-soprano
Time for Three - Oct. 24, 2026 @ 3 pm
Hilary Hahn, violin
Matthias Goerne, baritone
Yeol Eum Son, piano - Oct. 30, 2026 @ 7:30 pm
Dr. Jekyll & Mr. Hyde (1920)
Peter Richard Conte, organ - Oct. 31, 2026 @ 3 pm
Igor Levit, piano - Nov. 14, 2026 @ 3 pm
Alan Morrison, organ - Nov. 21, 2026 @ 7:30 pm
Blind Boys of Alabama - Dec. 4, 2026 @ 7:30 pm
Daniil Trifonov, piano - Dec. 12, 2026 @ 3 pm
Pavel Kolesnikov and Samson Tsoy, piano duo - Jan. 15, 2027 @ 7:30 pm
Cécile McLorin Salvant, voice
Sullivan Fortner, piano - Jan. 17, 2027 @ 3 pm
Yulianna Avdeeva, piano - Jan. 24, 2027 @ 3 pm
Alan Morrison, organ, with friends - Jan. 31, 2027 @ 3 pm
David Coucheron, violin
Julie Coucheron, piano
with friends - Feb. 13, 2027 @ 7:30 pm
Christian Sands Trio - Feb. 21, 2027 @ 3 pm
Yeol Eum Son, piano - Feb. 28, 2027 @ 3 pm
Benjamin Beilman, violin
Steven Osborne, piano - Mar. 14, 2027 @ 3 pm
Théotime Langlois de Swarte, violin
Thomas Dunford, lute - Mar. 20, 2027 @ 3 pm
Carter Johnson, piano - Apr. 3, 2027 @ 3 pm
Kimberly Marshall, organ - Apr. 10, 2027 @ 3 pm
Takács Quartet - Apr. 24, 2027 @ 3 pm
Paul Lewis, piano - May 8, 2027 @ 3 pm
Ian Bostridge, tenor
Julius Drake, piano
EXTERNAL LINKS:
- Spivey Hall: spiveyhall.org
Read more by William Ford.
RECENT POSTS
[display-posts exclude_current=”true” include_date=”true” date_format=” \• d M Y” offset=”0″ posts_per_page=”5″ image_size=”thumbnail” wrapper=”div” wrapper_class=”display-posts-listing image-left” meta_key!=”_thumbnail_id”
.png){kind=logo}