92nd Street Y will present an afternoon recital featuring violist Richard O’Neill and pianist Garrick Ohlsson at Kaufmann Concert Hall on Friday, 8 February 2026, at 2pm. The concert forms part of the New York cultural institution’s winter programme and reflects its continued investment in internationally recognised artists with established recording and touring profiles. Tickets are priced from $45 for in-person attendance, with livestream access available from $25.
The event brings together two musicians whose careers span major orchestras, global tours and longstanding relationships with leading classical music organisations. For 92NY, the programme underscores the commercial and reputational value of presenting artists whose work resonates with both traditional audiences and the wider global classical music market.
O’Neill, a Grammy Award-winning soloist and violist with the world-renowned Takács Quartet, joins Ohlsson for a programme of viola-piano duets and solo works. Hailed by The Times (London) for his “ravishing” playing, O’Neill has built a career that combines solo performance, chamber music and recording projects across Europe, Asia and North America. His collaborations include appearances with Danil Trifonov, Emanuel Ax and Steven Isserlis, positioning him among a small group of instrumentalists with sustained international demand.
The programme centres on core European repertoire with enduring commercial appeal. Works include Franz Schubert’s Impromptu in C Minor, Op. 90, No. 1, D. 899, the song transcriptions Du Bist die Ruh and Nacht und Träume, and the Sonata in A Minor, Op. posth., D. 821, commonly known as the “Arpeggione” Sonata. The second half features Sergei Rachmaninoff’s Étude-Tableau in E-flat Minor, Op. 39, No. 5 and the Sonata in G Minor for Cello and Piano, Op. 19, adapted for viola. Together, the selections highlight repertoire staples that continue to perform strongly with audiences and recording buyers.
O’Neill’s career credentials extend beyond performance. In 2021, he won the Grammy Award for Best Classical Instrumental Solo Performance, becoming only the second violist to receive the honour. The award followed earlier nominations and recognised his recording of Christopher Theofanidis’ Concerto for Viola and Chamber Orchestra, produced with conductor David Alan Miller and the Albany Symphony Orchestra. Inspired by Navajo poetry and the composer’s response to the September 11 attacks, the work has contributed to O’Neill’s reputation for championing contemporary repertoire alongside established classics.
His professional profile includes solo appearances with orchestras such as the London and Los Angeles Philharmonics, the Seoul Philharmonic Orchestra, and the BBC Symphony Orchestra. In addition to his role as an artist of the Chamber Music Society of Lincoln Center, he serves as principal violist of Camerata Pacifica and has held leadership positions in international chamber music initiatives. His recording output, released under the Universal Music/Deutsche Grammophon banner, has achieved multiple platinum sales, reinforcing his market presence beyond the concert hall.
Ohlsson brings comparable stature. Since winning the 1970 Chopin International Piano Competition, he has been widely regarded as one of the foremost interpreters of Frédéric Chopin, with a repertoire exceeding 80 concertos. In October 2025, he became the first American invited to chair the jury of the Chopin Competition, reflecting his standing within the international piano community.
The 2025–26 season sees Ohlsson returning as guest soloist with The Cleveland Orchestra and the National Symphony Orchestra in Washington, DC, alongside a US tour with O’Neill that culminates in New York. His recording catalogue spans labels including Hyperion and Bridge Records, with recent releases featuring major concerto repertoire recorded live with Australian symphony orchestras.
For 92NY, the recital represents a convergence of artistic excellence and brand alignment. By presenting performers with established global reputations and commercially viable repertoires, the institution continues to strengthen its position within New York’s competitive cultural economy while attracting audiences both in person and online.
