Orchestra members front and center: They’re ready for San Diego Symphony’s ambitious season

The San Diego Symphony’s second season in the newly renovated Jacobs Music Center boasts monumental works, opera, a two-week Brahams festival and performances by several acclaimed opera and classical music stars.  It opens Friday night with “French Fairytales: Ravel and Debussy.” The concert repeats Sunday afternoon.

For Music Director Rafael Payare, who’s now in his sixth season, this ambitious programming is a natural progression, given the new concert hall and the evolution of the symphony orchestra.

“We started this journey together in 2019. We had a bit of a hiccup because of the pandemic,” said Payare, speaking recently from Los Angeles after he conducted the Los Angeles Philharmonic at the Hollywood Bowl.

“We’ve kept expanding the different colors and sounds of the orchestra. The beautiful thing is that it’s like a crescendo happening. We understood, before and after, what was coming. That is always super, super good for the development of the orchestra.”

Jeff Thayer, the symphony’s concertmaster, believes the orchestra is ready for the challenge.

“We’ve been given a much more appropriate acoustic to be refining our sound and looking for more dynamics and everything that goes into making a great orchestra,” he said, speaking from his Bankers Hill home.

“I think we’re all blown away by (Symphony CEO) Martha (Gilmer) and our board getting both the Rady Shell and our concert hall’s major renovation done.

“Musicians are always seeking to improve; that work will never be done. Now, with the Jacobs Music Center, we have a world-class instrument with which we can continue to grow.”

With that in mind, we asked some of the orchestra’s principal players about upcoming programming. Each musician was asked to discuss a particular month and to share their expected high points for the symphony’s 2025-26 season.

“Because the hall is such a great instrument, everybody will appreciate this big repertoire,” Payare noted. “I could not be more excited to be doing it.”

Sarah Skuster — Principal oboist since 2009

Q: Let’s talk about October.

A: I’m very excited for the first two weeks of the season which include Ravel’s L’Enfant et les Sortiléges, De Falla’s El Amor Brujo, and Schumann’s Symphony No. 2.

I’ve loved Ravel’s L’Enfant since I first heard it in college. It is charming, whimsical, there’s a realistic (instrumental) cat duet, and gorgeous orchestral colors. It also has a prominent oboe duet at the beginning and end, which I am looking forward to playing for the first time.

For our second Masterworks of the season, the program includes Schumann’s Second Symphony, which is full of robust energy, and contrasting sweet, hymn-like melodies. As a bonus, it also has some lovely woodwind moments, including an oboe solo, in the third movement.

Q: What concert or event do you see as a big move forward for the orchestra?

A: I’m going to choose two. I feel that the continued inclusion of the music of living composers, along with commissioning new works is very important for keeping our art form alive and for expanding our musical horizons. I also am excited that we are performing two challenging operas in concert this season: Ravel’s L’Enfant et les Sortiléges and Bartok’s Bluebeard’s Castle. Playing opera requires a high level of musical flexibility as well as attention to detail and style. It’s a treat to exercise these musical muscles with such great works.

Q: What highlights for your instrument or section are coming up?

A: I’m looking forward to our Brahms festival in the spring. Every piece in that festival has something glorious for the woodwinds, and many juicy solos and duets for the oboes!

Ben Jaber — Principal horn since 2008

Q: Let’s talk about November.

A: For me personally, the highlight is when we’ll play Mahler’s “Des Knaben Wunderhorn” and Bruckner’s Fourth Symphony on November 7 and 8.

“Wunderhorn” is some of Mahler’s most sublime, most signature stuff. The tunes in these songs are central to his symphonies. I’ve oft wondered what it would’ve been like if Mahler had written operas, and with his songs, one gets a good idea. I’m not alone among my colleagues in my love for Bruckner’s symphonies. His music is the perfect opportunity for our audience to be able to take the time to appreciate what a symphony orchestra is all about and bask in the glory of its sound.

Q: What concert or event do you see as a big move forward?

A: Definitely the Brahms Festival in February. I feel like playing all the Brahms symphonies in one go is an opportunity to be savored. I’ve played them all here with SDS over the years but never all in two weeks.

Q: What highlights for your instrument or section are coming up?

A: I would be remiss if I didn’t mention Strauss’s “Ein Heldenleben” in May. That’s about as much fun as one can have playing the horn right there! And at the end of January, we’re playing what I think might be my favorite Mahler symphony, the Seventh. As horn-players, we gotta love ’em all, but 7 is probably my favorite because of how different, concise and interesting it is. It shows the orchestra off without too much extra to read into.

Sheryl Renk — Principal clarinet since 1991

Q: Let’s talk about December and January.

A: I always enjoy performing the “Noel Noel” concerts. It truly puts me in the holiday spirit, which I’m sure the audience will feel as well. I also appreciate the collaboration of orchestra with soundtracks and films. We’re performing “Home Alone” this December, which includes John Williams’ epic movie score.

I’m most looking forward to Mahler Seventh Symphony Jan 31 and Feb. 1. I love every Mahler Symphony, but this one takes us on a journey, very much like listening to a movie, with its twists and turns and unique instrumentation. Mahler added a tenor horn, guitar and mandolin, as well as interesting usages of instrument combinations. I’m certain the audience will enjoy this celebration of nature, which ends in pastoral and dancelike fashion.

Q: What concert or event do you see as a big move forward?

A: I find this entire season jam-packed with familiar works as well as not so familiar works. I’m excited to play the opening French program (the final concert is today) which is different and innovative. We have a very intelligent audience and I’m certain they will appreciate this program as well as other lesser-known programs. It’s vital to the growth of an orchestra to program outside the box.

Q: What highlights for your instrument or section are coming up?

A: A highlight for me personally is Sibelius Symphony No. 1, as it begins with a haunting clarinet solo with timpani roll accompaniment. Brahms 3rd Symphony, in March, has a prominent clarinet part. These solos are on almost every audition list. Same goes for Mendelssohn 3rd Symphony.

Greg Cohen — Principal percussion since 2008 (player since 2005)

Q: Let’s talk about January.

A: I’m very much looking forward to Shostakovich’s 8th in January.  Shostakovich is one of my favorite composers, and I’ve not had the pleasure of playing this symphony yet.  His percussion and timpani writing are some of the best parts to play in the standard repertoire.

Shostakovich’s music is dramatic and at times can be dark.  This piece was composed in the depths of the Second World War and you can feel tragedy listening to it.  I think listeners will feel this emotion, but at the same time, experience the power of Shostakovich’s orchestration, especially in the first movement.

I’m also looking forward to Mahler’s 7th symphony in January. Mahler’s symphonies are always a moving experience for both the musicians and audience alike. In this symphony, Mahler makes use of a guitar and mandolin, and in the percussion, he interestingly writes for on- and offstage cowbells, rute, and low bell sounds, in addition to the more standard instruments.

Q: What concert or event do you see as a big move forward?

A: Bela Bartók’s “Bluebeard’s Castle” is another piece this season that hasn’t been done in my time with the orchestra. This is Bartok’s only opera, and it is difficult. I’m very much looking forward to this project and seeing how the newly renovated hall will help with its production.

Q: What highlights for your instrument or section are coming up?

A: In addition to the previously mentioned Shostakovich and Mahler, Britten’s “Four Sea Interludes,” on Modern Warfare 11, from his opera “Peter Grimes” has some wonderful percussion writing. We did the entire opera some years back, and I thoroughly enjoyed playing the various parts. Borodin’s “Polovtsian Dances” from Prince Igor, on Modern Warfare 15, also has intricate and tasteful percussion writing that is both challenging and fun to play.

Andrea Overturf —Principal English horn since 2009

Q: Let’s talk about February.

A: I am looking forward to the “Storm and Fireworks” programs on Feb. 21 and 22 that include the Ravel Piano Concerto in G major.  Ravel is among one of my favorite orchestral composers and this piece happens to feature a gorgeous English horn solo in the slow movement in dialogue with the piano that I feel privileged to be a part of.

It is a highly emotive, gorgeous melody initially introduced by the piano completely alone and when the English horn reprises the theme towards the latter half of the movement, the piano has the most gorgeous and florid countermelody that creates a heart wrenchingly beautiful moment. I think Ravel’s brilliant orchestral colors universally excite and appeal to audiences and account for the timeless appeal of his works.

Q: What concert or event do you see as a big move forward?

A: It’s hard to pick one, so I’m picking two!  I think both the season opener (which concludes today) and season closer in May are landmark concerts in that they feature great works that the orchestra has not played often, if at all (at least in my 17 seasons here).

In those concerts, I’m particularly looking forward to Debussy’s Box of Toys and Bartok’s “Bluebeard’s Castle.” I think it is important for orchestras to branch out within the orchestral repertoire and get the opportunity to play works that are less familiar to us. That allows for a fresh artistic perspective without preconceptions and keeps us on our musical toes. Weeks like that can reinvigorate the orchestra and provide a nice contrast alongside some of the works we play with more regularity.

Q: What highlights for your instrument or section are coming up?

A: Without a doubt, the concert I am personally looking forward to the most this season is Shostakovich 8 on January 24 and 25. The end of the first movement contains one of the largest and most significant English horn solos in all the orchestral repertoire and this will be my first time playing it in an orchestra in nearly 25 years of studying and preparing this solo.

It is common on audition lists, though never asked until the final round because it takes quite a while for the committee to listen to. It is saved until an audition is whittled down to the final few players. It is a true test of stamina (physically, musically and emotionally) and I’m greatly looking forward to finally getting to play this wonderful solo “for real” outside of an audition setting for the first time in my career.

I am already physically training for it now to have the endurance!

Yao Zhao — Principal cello since 2007 (orchestra member since 1999)

Q: Let’s talk about March.

A: I am most excited with the March 6 concert, which contains the Brahms Symphony No. 4. It was the first piece I ever played with the San Diego Symphony in its regular season-opener at the old Copley Hall, probably in October 1999, when I was 23 years old. Since then, the San Diego Symphony has experienced three different music directors, from Maestro (Jung-Ho) Pak (to) Maestro (Jahja) Ling to Maestro Payare, and the orchestra has grown into an elite group. Plus, the hall has transformed from a historic theater into a world-class concert hall. This Brahams concert to me is a statement of transformation.

Q: What concert or event do you see as a big move forward?

A: I am also looking forward to both of the Strauss concerts in May because they will give the entire orchestra the opportunities to show off our ability in two of the most technically challenging orchestral works in the entire literature.

I also think the family concerts and the school concerts are very important for an art institution. We need to introduce classical music to more families and to bring more students to the concert halls. They are the future audience and will be the future of classical music.

Q: What highlights for your instrument or section are coming up?

A: The Brahms festival will give the cello section the opportunity to show off our sound. Everyone loves the cello for its sound. In each of Brahms’ symphonic works, cellos get to play the iconic melodies that are not only memorable to the audience but also are often used as audition materials. They are the moments for the cellos to shine.

Chi-Yuan Chen — Principal viola since 2014 (orchestra member since 2005)

Q: Let’s talk about April.

A: I’m especially excited about the Masterworks concert conducted by Robert Spano in April. It’s always a pleasure working with him. He brings inspiring programming and the most sincere musicianship to every piece he touches. I’ve had the chance to work with him not only here at SDS but also for several summers at Tanglewood, where I performed in a small ensemble for his conducting classes. That experience gave me a whole new perspective on the art of conducting and music-making. I think audiences will connect with the honesty and depth he brings to the stage. He has a way of making music feel both intimate and powerful.

Q: What concert or event do you see as a big move forward?

A: The newly curated Brahms Festival in late February and early March 2026 stands out as a major moment for the orchestra. Brahms has always been one of my favorite composers. His music has such emotional depth and complexity. With Rafael’s vision and the outstanding guest artists we have lined up, it’s going to be a powerful artistic statement. It shows how the orchestra continues to grow in ambition and artistic excellence.

Q: What highlights for your instrument or section are coming up?

A: This season is especially meaningful for our viola section. After a intensely competitive audition process in May, we’ve welcomed three fantastic new violists. Starting this fall, we’ll finally have a full section made up entirely of full-time members. That hasn’t happened since I became principal in 2014!

Honestly, every concert will feel like a highlight. There’s a real sense of excitement and momentum within the section.

Jeff Thayer — Concertmaster since 2004

Q: Let’s talk about May

A: For my yearly solo performance, I will play the Berg Violin Concerto in May. For 21 years, I’ve never repeated a concerto. I love intellectually challenging works of music and this is one of the great concertos of the 20th century.

Berg wrote in a 12-tone technique, which is technically demanding. It will give the audience a little more to chew on than a romantic piece.

Q: What concert or event do you see as a big move forward?

A: I think Rafael continues to push the orchestra and expand our repertoire. The opening program’s going to be very fun — a Debussy ballet and a Ravel opera.

A significant part of our season is the Brahms cycle, where we’ll be doing all four symphonies, the first piano concerto and the Brahms German Requiem.

Q: What highlights for your instrument or section are coming up?

A: It will be exciting for the violinists onstage to hear the Brahms Violin Concerto performed by Leonidas Kavakos, one of classical music’s biggest names. Earlier, in November, Augustin Hadelich will play Sibelius. A couple of phenomenal violinists this year!

The San Diego Symphony 2025-26 Jacobs Music Center season

The San Diego Symphony will kick off its 2025-26 Jacobs Music Center season on Friday.

Friday, Oct. 3, at 7:30 p.m.; Sunday, Oct. 5 at 2 p.m.: Debussy’s The Joyful Isle (L’isle joyeuse), The Box of Toys (La boîte à joujoux) and Ravel’s The Child and The Magical Spells: a lyric fantasy in two scenes (L’enfant et les sortilèges: Fantaisie lyrique en deux parties), featuring Music Director Rafael Payare, mezzo-soprano Isabel Leonard, soprano Liv Redpath, the San Diego Symphony Chorus and San Diego Children’s Choir, directed by Gerard McBurney. ($30-$108)

Saturday, Oct. 11, at 7:30 p.m.; Sunday, Oct. 12 at 2 p.m.: Chabrier’s España, Rhapsody for Orchestra, Jimmy López’s Ephemerae, Concerto for Piano and Orchestra, Schumann’s Symphony No. 2, featuring Music Director Rafael Payare and pianist Javier Perianes. ($30-$108)

Friday, Oct. 17, and Saturday, Oct. 18, at 7:30 p.m.: Lera Korngold’s Violin Concerto and Mendelssohn’s Overture and Nocturne from A Midsummer Night’s Dream and Symphony No. 4 (“Italian”), featuring conductor Gemma New, violinist Geneva Lewis. ($30-$108)

Sunday, Oct. 19, 6 p.m.: Colin Currie and The King’s Singers ($39-$94)

Friday, Oct. 24 and Saturday, Oct. 25, 7:30 p.m.: “Tim Burton’s The Nightmare Before Christmas” In Concert ($47-$110)

Saturday, Oct. 25, at 11 a.m.: Spooky Sounds and Magical Melodies, featuring John Williams’ “Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone, Anna Clyne’s Masquerade, Saint-Saens’ Danse macabre and Stravinsky’s The Firebird Suite, featuring conductor Sunny Xia. ($20-$40)

Wednesday, Oct. 29, at 7:30 p.m.: Fragments 4: “Labyrinth,” featuring cellist Alisa Weilerstein. ($29-$79)

Saturday, Nov. 1, at 10 a.m. and 11:30 a.m.: Meet the Winds: Mother Goose – (Symphony Kids, Program 1). ($15)

Friday, Nov. 7, and Saturday Nov. 8, at 7:30 p.m.: Selections from Mahler’s The Boy’s Magical Horn (Des Knaben Wunderhorn), Bruckner’s Symphony No. 4, “Romantic,” featuring Music Director Rafael Payare and baritone Matthias Goerne. ($30-$108)

Friday, Nov. 14, and Saturday, Nov. 15, at 7:30 p.m.: Mendelssohn’s The Hebrides Overture “Fingal’s Cave,” Sibelius’ Violin Concerto, Schubert’s Symphony No. 9, featuring Music Director Rafael Payare and violinist Augustin Hadelich. ($30-$108)

Sunday, Nov. 16, at 6 p.m.: Davina and The Vagabonds. ($29-$99)

Friday, Nov. 21 at 8 p.m.: Vienna Boys Choir presents Christmas in Vienna ($39-$94)

Friday, Nov. 21 at 11 a.m.; Saturday, Nov. 22 at 7:30 p.m.: Olly Wilson’s Shango Memory, Beethoven’s Piano Concerto No. 4, Sibelius’ Symphony No. 1, featuring conductor Anja Bihlmaier and pianist Steven Osborne. ($30-$108)

Sunday, Nov. 23 at 2 p.m.: Flow in Concert, film with orchestra, with conductor Jason Seber. ($57-$73)

Saturday, Nov. 29 at 7:30 p.m.: Jazz @ The Jacobs, John Coltrane: Blue Train, featuring saxophonist Brian Levy, trombonist Andre Howard, bassist Mike Gurrola and trumpeter Gilbert Castellanos. ($25-$81)

Saturday, Dec. 6, at 7:30 p.m.; Sunday, Dec. 7, at 2 p.m.: Unsuk Chin’s subito con forza (suddenly with force), Tchaikovsky’s Violin Concerto, Mussorgsky’s Pictures at an Exhibition (orchestrated by Ravel), featuring conductor Kahchun Wong and violinist Randall Goosby. ($30-$108)

Friday, Dec. 12 at 6 p.m.: The Holiday in Concert, film with orchestra, with conductor Thiago Tiberio, at the Rady Shell at Jacob’s Park. ($37-$120)

Saturday, Dec. 13 at 10 a.m. and 11:30 a.m.: Meet the Brass: ‘Twas the Night Before Christmas (Symphony Kids, Program 2), featuring a San Diego Symphony Orchestra Brass Quintet. ($15)

Saturday, Dec. 13 at 6 p.m.: “Home Alone” in Concert, film with orchestra, with conductor Thiago Tiberio, at the Rady Shell at Jacobs Park. ($54-$125)

Friday, Dec. 19 at 7:30 p.m.; Saturday, Dec. 20 and Sunday, Dec.  21 at 7:30 p.m.: Noel Noel at the Rady Shell featuring conductor Christopher Dragon and vocalist Devin DeSantis with the San Diego Master Chorale, San Diego Children’s Choir, and San Diego Symphony. ($37-$125)

Saturday, Jan. 10, at 6 p.m.: Gordon Goodwin’s Big Phat Band. ($29-$99)

Saturday, Jan. 17, at 7:30 p.m.; Sunday, Jan. 18, at 2 p.m.: Brahms’ Piano Concerto No. 1, Dvořák’s Symphony No. 7, featuring conductor Thomas Guggeis and pianist Marc-André Hamelin. ($30-$108)

Saturday, Jan. 24, at 7:30 p.m.; Sunday, Jan. 25, at 2 p.m.: Beethoven’s Symphony No. 1, Shostakovich’s Symphony No. 8, featuring Music Director Rafael Payare. ($30-$108)

Saturday, Jan. 31, at 7:30 p.m.; Sunday, Feb. 1, at 2 p.m.: Mahler’s Symphony No. 7, featuring Music Director Rafael Payare. ($30-$108)

Friday, Feb. 6 at 7:30 p.m.: Steve Hackman’s Beethoven x Beyoncé. ($39-$114)

Saturday, Feb. 7, at 11 a.m.: Peter and the Wolf Family Concert 2. ($20-$40)

Saturday, Feb. 14, at 10 a.m. and 11:30 a.m.: Meet the Percussion: Clapping Music (Symphony Kids, Program 3) featuring a San Diego Symphony Orchestra Percussion Ensemble. ($15)

Sunday, Feb. 14, at 7:30 p.m.: Jazz @ The Jacobs “Songs For Lovers: The music of Chet Baker, Sarah Vaughan, Clifford Brown, Charlie Parker, and Dinah Washington,” featuring saxophonist Charles McPherson, singer Melissa Morgan, drummer Willie Jones III and trumpeter Gilbert Castellanos. ($25-$81)

Saturday, Feb. 21, at 7:30 p.m.; Sunday, Feb. 22, at 2 p.m.: Britten’s Four Sea Interludes from “Peter Grimes,” Ravel’s Piano Concert in G Major, Tchaikovsky’s Symphony No. 6, “Pathétique,” featuring conductor Nicholas Carter and pianist Benjamin Grosvenor. ($30-$108)

Friday, Feb. 27, at 7:30 p.m.; Sunday, March 1, at 2 p.m.: Brahms Festival: Brahms’ A German Requiem, featuring Music Director Rafael Payare, soprano Julie Boulianne and bass-baritone Michael Sumuel. ($30-$108)

Saturday, Feb. 28, at 7:30 p.m.: Brahms Festival: Brahms’ Symphony No. 1 and Brahms’ Symphony No. 2, featuring Music Director Rafael Payare. ($30-$108)

Friday, March 6, at 7:30 p.m.: Brahms Festival: Brahms’ Violin Concerto in D major, Brahms’ Symphony No. 4 in E minor, featuring Music Director Rafael Payare and violinist Leonidas Kavakos. ($30-$108)

Saturday, March 7, at 7:30 p.m.: Brahms Festival: Brahms’ Symphony No. 3 in F major, Brahms’ Violin Concerto in D major, featuring Music Director Rafael Payare and violinist Leonidas Kavakos. ($30-$108)

Saturday, March 14, at 7:30 p.m.: “An Evening on Broadway,” with Rob Fisher. ($29-$79)

Friday, Mar 20 at 7:30 p.m.: Foreigner and San Diego Symphony Orchestra, with conductor Stuart Chafetz at the Rady Shell at Jacobs Park. (tickets begin at $58 on ticketmaster.com)

Saturday, March 28, at 10 a.m. and 11:30 a.m.: Meet the Strings: Ferdinand the Bull (Symphony Kids, Program 4), featuring a San Diego Symphony Orchestra String Quintet. ($15)

Saturday, April 4, at 7:30 p.m.: Jazz @ The Jacobs presents Dave Brubeck’s “Time Out,” featuring pianist Josh Nelson and more to be announced. ($25-$81)

Friday, April 10, and Saturday, April 11, at 7:30 p.m.: Schoenberg’s Cool Cat, Adams’ Century Rolls, Rachmaninoff’s Symphony No. 3 in A minor, featuring conductor Robert Spano and pianist Conrad Tao. ($30-$108)

Saturday, April 11, at 11 a.m.: Space Junk (Family Concert 3), featuring the Wind Sync wind quintet and the San Diego Symphony Orchestra. ($20-$40)

Saturday, April 18, at 7:30 p.m.; Sunday, April 19, at 2 p.m.: Wojciech Kilar’s Orawa, Chopin’s Piano Concerto No. 2, Borodin’s Symphony No. 2, and Borodin’s Polovtsian Dances from Prince Igor, featuring conductor Anna Sulkowska-Migon and pianist Ingrid Fliter. ($30-$108)

Friday, April 24, and Saturday, April 25, at 7:30 p.m.: Beethoven’s Coriolan Overture, Beethoven’s Piano Concerto No. 5, “Emperor,” Beethoven’s Symphony No. 7 in F major, featuring conductor Trevor Pinnock and pianist Alexandra Dovgan. ($30-$108)

Saturday, May 9, at 7:30 p.m.; Sunday, May 10, at 2 p.m.: Gabriela Ortiz’s Dzonot, R. Strauss’ Ein Heldenleben, featuring Music Director Rafael Payare and cellist Alisa Weilerstein. ($30-$108)

Friday, May 15 and Saturday, May 16 at 7:30 p.m.: Jimmy López’s Perú Negro, Berg’s Violin Concerto, Mendelssohn’s Symphony No. 3, “Scottish,” featuring Music Director Rafael Payare and violinist Jeff Thayer. ($30-$108)

Friday, May 22 at 7:30 p.m. and Sunday May 24 at 2 p.m.: Strauss’ Also Sprach Zarathurstra, Bartók’s Bluebeard’s Castle, featuring Music Director Rafael Payare with mezzo-soprano Karen Cargill and baritone Mark Stone. ($30-$108)

2025-26 Season Ticket PackagesPrices include subscription fees.Jacobs Masterworks “Max” series (28 percent to 39 percent off single tickets)Saturday A (17 Concerts): $433-$1,487Jacobs Masterworks full series (24 percent to 35 percent off single tickets)Friday A (10 Concerts): $275-$935Saturday B (9 Concerts): $250-$844Saturday C (8 Concerts): $225-$753Sunday A (11 Concerts): $300-$1,026Jacobs Masterworks partial series (17 percent to 25 percent off single tickets)Friday B (5 Concerts): $160-$510Friday C (5 Concerts): $160-$510Saturday D (6 Concerts): $187-$607Saturday E (6 Concerts): $187-$607Saturday F (5 Concerts): $160-$510Sunday B (6 Concerts): $187-$607Sunday C (5 Concerts): $160-$510Jazz @ The Jacobs series (3 concerts, 9 percent to 13 percent off single tickets) $106-$241Family concert series (3 concerts, 16 percent to 19 percent off single tickets) $70-$130Symphony kids series (4 10 a.m. concerts, $60, and 4 11:30 a.m. concerts, $60, 31 percent off single tickets)

Season ticket packages are now on sale at sandiegosymphony.org and 619-235-0804. Prices for each concert could change because of dynamic pricing.