Berlin Philharmonic, Nov. 18-20

When I went to Berlin last year for Kirill Petrenko’s debut concerts as the Philharmonic’s chief conductor, I was struck by the excitement he generated among its players. Now New Yorkers will be able to judge for themselves. This program, featuring the great dramatic soprano Nina Stemme singing Brünnhilde’s Immolation Scene from Wagner’s “Götterdämmerung,” gives him a chance to show off his operatic chops, which he honed during a memorable run at the Bavarian State Opera in Munich. (In a rarity for Carnegie, this program is played twice, on Nov. 18 and 20; on the 19th, the Philharmonic performs Webern, Mendelssohn and Brahms.) MICHAEL COOPER

Ksenija Sidorova, Feb. 3

The Carnegie lineup is full of superb voices, violinists, pianists — the meat and potatoes of classical music. So less conventional instruments pop out, like the accordion played by this Latvian virtuoso. “Revelatory,” according to my colleague James R. Oestreich, Ms. Sidorova will perform arrangements of Bach, Mozart and Tchaikovsky alongside works tailor-made for accordion by Sofia Gubaidulina, Alfred Schnittke and others. ZACHARY WOOLFE

Louisville Orchestra, Feb. 20

Go ahead and call the Louisville Orchestra a “regional” (as opposed to “major”) ensemble. That’s a meaningless distinction for the many people excited by the adventurous programs the dynamic young conductor Teddy Abrams and his excellent players have been giving. For example, the concert they will present at Carnegie will offer Andrew Norman’s “Sacred Geometry,” Copland’s “Appalachian Spring” (with dancers from Louisville Ballet) and Jim James’s song cycle “The Order of Life,” performed with its composer, a Louisville native and the leader of the rock band My Morning Jacket. ANTHONY TOMMASINI

Boston Symphony Orchestra, April 14

For all my worries about the direction that the Boston Symphony has taken under its music director, Andris Nelsons, there have been two pluses during his tenure so far: his Shostakovich survey (steadily being released on record to considerable acclaim) and his opera. A Shostakovich opera, then, ought to come off well, especially this composer’s best, “Lady Macbeth of Mtsensk.” The soprano Kristine Opolais is scheduled as Katerina, with Brandon Jovanovich as Sergey. DAVID ALLEN