The Los Angeles Philharmonic announced earlier this week that outgoing Music & Artistic Director Gustavo Dudamel will be given two new (and rather long) titles when his tenure ends this summer: the Diane and M. David Paul Artistic and Cultural Laureate of the LA Phil and the Jane and Michael Eisner Founding Director and Conductor Laureate of Youth Orchestra Los Angeles (YOLA).

At the same time, LA Phil Conductor Laureate Esa-Pekka Salonen adds the new title of Creative Director — not to be confused with either Conductor Emeritus Zubin Mehta or Creative Chair John Adams, both of whom keep their respective titles. And don’t forget that Anna Handler becomes Conductor-in-Residence as well.

What titled conductor has the orchestra not named yet? A new Music Director. So let’s talk about that. Strap in, because we’re taking a deep dive . . .

Things have been evolving ever since February 2023 when Mr. Dudamel announced that he’d be departing for the New York Philharmonic. When in July 2024 we last visited the topic of possible successors, there were zero obvious candidates, and I expressed hope that LA Phil CEO Kim Noltemy would name Mr. Salonen as Principal Conductor while she searched for a strong replacement; 14 months later, she basically did just that when she announced him as Creative Director, a post which had him leading the orchestra for 6 weeks per season.

Since then, there still has not been the kind of lightning bolt appearance that has people screaming, “Sign him/her now!” But there has been increased clarity about many candidates, with multiple guest conductors moving up and down the probability ladder over the past two years. On top of it, San Francisco just picked Elim Chan to be their next podium queen, firmly stamping out chances she’ll land the job in LA, while other big US orchestras in Cleveland and Boston are still in the hunt.

With that, and inspired by being in the heart of horse racing’s Triple Crown season, let’s handicap the current field of thoroughbreds as if — IF — the LA Phil were to name a new Music Director soon, before the end of Mr. Dudamel’s tenure.

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First, let’s restate the criteria against which we should weigh each candidate. I described most in detail in 2024; I have added two more (see ‘*’ below), both of which I originally thought went without saying, but as you’ll see, they’re worth addressing outright:

• Need to have
  • Conducting chops with core rep
  • Not do or have done something worthy of being cancelled
  • A willingness to do at least some fundraising
  • Management skills
• Prefer to have
  • Artistic vision
  • Leadership skills
  • An established relationship with the orchestra
  • PR appeal
  • * Not be an asshole
  • * Be available sooner rather than later
• Other considerations
  • Connection to the community
  • Checking a diversity box

I won’t address every variable for each candidate line-by-line, but rest assured, all are part of the math.

Second, let me make clear that these are my predictions alone — I have no knowledge of any negotiating position or intent anyone in the LA Phil does or doesn’t have.

So let’s start naming names, along with the odds I’m giving. Place your bets accordingly.

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The Establishment

Daniel Harding

• Current jobs:
  • Music Director, Orchestra dell’Accademia Nazionale di Santa Cecilia, Rome: 2024 – present
  • Conductor Laureate for Life, Mahler Chamber Orchestra: 2011 – present (previously Music Director 2003 – 2008 and Principal Conductor 2008–2011)
• Noteworthy prior jobs:
  • Principal Conductor, Swedish Radio Symphony: 2007 – 2025
  • Principal Conductor, Orchestre de Paris: 2016 – 2019
  • Principal Guest Conductor, London Symphony: 2007 – 2017
  • Artistic Director, Deutsche Kammerphilharmonie Bremen: 1999 – 2003

Mr. Harding is the Lexus of music director candidates: even though there are trendier, more iconic, and sexier “brands” out there, his brand is undeniably excellent, reliable, even luxurious — one with which many people and organizations are, and would be, proud to be associated.

Proof? Among US orchestras, only Chicago and Cleveland are in the same frequent-visitor ballpark as the LA Phil has been over the past decade. He’s a regular guest with the Vienna Philharmonic, Bavarian Radio Symphony, Concertgebouw, the London Symphony, and especially the Berlin Philharmonic, whom he first conducted at the ripe ol’ age of 21 as a protege of both Simon Rattle and Claudio Abbado. More recently, he took over at the last minute for an injured Kirill Petrenko right as the orchestra was about to embark on their 2022 Summer Festival tour.

His history with the LA Phil goes back to his wunderkind days as well. He made his American debut with the orchestra at the 1997 Ojai Festival, also when he was 21. His regular season debut came the following February at the Dorothy Chandler Pavilion. The late great Daniel Cariaga’s review of that concert opened by calling him “hyperkinetic and proactive on the podium” before giving a decidedly mixed review to the performance of the “oddball program” consisting of an orchestration for chamber ensemble of the 50-minute Bruckner String Quartet in F, followed by the Mozart Piano Concerto No. 27 with Robert Levin, and closing with the Bartok Miraculous Mandarin suite. Internal buzz was more unflattering, though musicians were more critical of his conceited demeanor and general immaturity than his conducting talent or musical acumen.

Mr. Harding would admit as much when he was much older. As The New York Times noted in a 2025 interview, “He struggled to find a music directorship in the United States, after some tense appearances there early in his career. Some musicians found him arrogant and aloof, and they were irked by his habit of speaking at length from the podium. (‘I come and just talk, talk, talk,’ Harding later said, ‘and that’s just not how it works here.’)”  The title of a 2013 interview in The Spectator, ” ‘I was an arrogant 18-year old’: Daniel Harding on growing up,” was particularly on the nose — though to be fair, talented 18-year olds are usually arrogant.

Unsurprisingly, subsequent visits to LA during the late 1990s and early 2000s were sporadic. That seemed to turn a corner with a 2012 program featuring a balanced and thoughtful Mahler 5th Symphony that began to change minds within the local band [BTW if you’re curious, the archived SymphonyCast recordings from that performance are HERE]. Since then, he’s been an increasingly frequent guest in LA, to the point where his US appearances here are rivaled only by Cleveland. In the 2026-27 Walt Disney Concert Hall season, he’ll appear in two weeks, one of the few non-titled conductors to be given that many. That those two weeks are non-contiguous seems even more indicative of a strong desire to work together and making time for each other whenever possible.

His repertoire is broad. He has noteworthy affinity for and strength across more of the core 19th- and early 20th-century Germanic composers than either Mr. Salonen or Mr. Dudamel have, and for my money, the orchestra could/should spend a bit more time on them. At the same time, he doesn’t shy away from new music or living composers, with his track record with Thomas Adès being a particularly good fit with the LA Phil.

He has a history of orchestra building, given long-term leadership positions with the Swedish Radio Symphony and Mahler Chamber Orchestra. And while his tenure at the Orchestre de Paris was short, his reasons for an early departure — not wanting to change the sonic and culture identity of the orchestra — are much less applicable for the LA Phil, more known for extreme flexibility and the get-along reputation of its musicians than an established trademark sound.

He’s not as obviously marketable as, say, the exuberant and younger Mr. Dudamel has been (or certain Swiss conductors who like showing off their chiseled physique). But if the LA Phil marketing folks 30+ years ago could turn an initially wooden and over-intellectual unknown Finn with a weird-looking name into a media darling and heartthrob (admit it, ladies, many of you swooned over the famous bicep-flexing poster), a reasonably handsome Englishman with an established conducting pedigree shouldn’t be hard at all.

Besides, Mr. Harding famously has an alter ego as a professional pilot, and if that isn’t marketable, what is??!! Imagine, if you will, Tom Cruise — another famous pilot (both on screen and IRL) — and Mr. Harding discussing the finer points of aileron rolls, comparing and contrasting Airbus sticks vs Boeing yokes, and bonding over their respective need for speed. John Travolta, Morgan Freeman, Angelina Jolie, Harrison Ford, and Kurt Russell also have pilot’s licenses to name more actors. How about musicians? Dexter Holland (The Offspring’s lead singer and USC PhD in molecular biology who put an anarchy symbol on the vertical stabilizer of his Cessna Citation), James Hatfield (Metallica lead singer who grew up in Downey with a mom who sang light opera), and David Lee Roth (bet you didn’t know the former Van Halen lead singer had a helicopter pilot’s license) could all share stories of slipping the surly bonds of Earth with the conductor-cum-Air France pilot.

Perhaps most importantly, Mr. Harding seems to be available and open to the move. It’s easy to infer from The New York Times quote from last year that he “struggled to find a music directorship in the United States” that he’s looking for a music directorship in the United States. Neither his current obligations in Rome nor his fancy guest conducting gigs seem taxing enough to preclude him taking an LA job, and he is clearly comfortable jet-setting back and forth to make it happen.

So what’s the risk? Two things.

First, he hasn’t been Music Director of an American Orchestra yet, and the job has more off-podium responsibilities and nuances than a typical chief conductor in Europe has. It’d be nicer if he had a track-record of success and enjoyment with all the glad-handing and donor politics involved. That said, it isn’t a dealbreaker. Carlo Maria Giulini wasn’t an American MD before his tenure in LA, and mentioning his name still invokes reverence and genuflection among the LA Phil faithful. More recently, Messers. Salonen and Dudamel were both U.S. Music Director virgins, and both of their tenures turned out just fine, thank you very much.

Second, to bring it back to the Lexus analogy: he’s admired and even well-liked, even if without passion or adoration. That’s not a bad thing, just less exciting. Whether that is a feature or bug depends on your point of view and your priorities from a Music Director. And the fact is that while none of the insiders with whom I’ve spoken are jumping up and down about him, none of them would object and most would be open to having him as the next LA Phil MD.

Odds: 75% and climbing — the frontrunner today, with the most upside and least downside

Next LA Phil appearances (all at Walt Disney Concert Hall):

• November 6-8, 2026: Jolas – Latest; Brahms – Piano Concerto No. 2 (Leif Ove Andsnes, soloist)
• January 8-10, 2027: Adès – The Exterminating Angel Symphony; Strauss – Horn Concerto No. 2 (Andrew Bain, soloist); Strauss – Also sprach Zarathustra

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Paavo Järvi

• Current and future jobs:
  • Music Director, Tonhalle-Orchester Zürich: 2019 – present (stepping down 2029)
  • Artistic Director, Deutsche Kammerphilharmonie Bremen: 2004 – present
  • Chief Conductor and Artistic Advisor, London Philharmonic: beginning Fall 2028
  • Honorary Conductor, Cincinnati Symphony (former Music Director, 2001 – 2011)
• Noteworthy prior jobs:
  • Chief Conductor, NHK Symphony: 2016 – 2022
  • Principal Conductor, Orchestre de Paris: 2010 – 2016
  • Principal Conductor, Frankfurt Radio Symphony: 2006 – 2014

Here’s what I’ve previously said about Paavo Järvi’s background:

• The Estonian-American was a conducting fellow of Leonard Bernstein at the much-admired and too-short-lived Los Angeles Philharmonic Institute, after which he held a couple of European positions before having solid tenure at the helm of the Cincinnati Symphony between 2001 and 2011. During most of that time, he was a regular guest conductor in Los Angeles, receiving reviews that leaned positive if not overwhelming so. Since then, he’s focused his career in Europe, holding important posts in Paris and Tokyo among other cities, and is currently Chief Conductor at the Tonhalle Orchestra of Zurich. He was named “Artist of the Year” by both Gramophone and Diaposon magazines in 2016 as his tenure atop the Orchestre de Paris was ending.

After an April 2006 appearance with the orchestra, he was absent from the LA Phil podium until 2022, then returned in February 2025 and again this past March. That most recent concert was quite impressive. I had multiple insiders and knowledgeable patrons pro-actively express their absolute glee after that weekend. One pointedly said, “Just hire him, already. He’s gotta be the one!”

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Yet as much positive passion Mr. Järvi has elicited, some strongly dissenting voices also reached out, with one using the word, “annoying.” Passion works both ways, after all. A December 2025 interview in VAN Magazine online where he is quoted making rather unflattering comments about Americans doesn’t help. [Side note: VAN later said it was a misquote due to a translation error, but it took them 3 months to make the correction, and I can’t find anything indicating Mr. Järvi himself clarified anything about it . . . draw your own conclusions accordingly.]

Much more of an impediment to him wanting/taking the Music Director job here in LA is his rather full slate. It’s extremely unlikely he’d take over any American orchestra until at least 2029 when his Tonhalle contract ends. Even if Ms. Noltemy et al were willing to wait that long, he still would have to squeeze 14-16 weeks in Southern California in between his obligations in London and Bremen. Seems less than ideal.

Bottomline: if Mr. Harding is a Lexus, Mr. Järvi is a Porsche, or maybe even a Lotus — more history, more extroverted, a wilder ride, a much wider gulf between lovers and detractors, and a lot less available.

Odds: 45% — I could see it happening for lots of good reasons, but it’s not likely

Next LA Phil appearances

• Tulve – Wand’ring Bark; Bartok – Violin Concerto No. 2 (Vilde Frang, soloist); Schumann – Symphony No. 3, “Rhenish”
  • April 29 and May 1, 2027: Walt Disney Concert Hall
  • April 30, 2027: Granada Theatre, Santa Barbara

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Manfred Honeck

• Current job:
  • Music Director, Pittsburgh Symphony: 2008 – present
• Noteworthy prior jobs:
  • Generalmusikdirektor, Staatsoper Stuttgart: 2007 – 2011
  • Principal Conductor, Swedish Radio Symphony: 2000 – 2006

As I mentioned in reviewing his appearance last month, Manfred Honeck seems like a viable candidate in the same mold as Messers. Harding and Järvi. His concert certainly was in their league, perhaps higher, and that’s despite a healthy portion of the orchestra being absent.

Yet this was the first time he’s been guest conductor in LA since 2013; before that, his visits went back to the Dorothy Chandler Pavilion days. And he’s absent from the calendar through June 2027. Moreover, the breadth of reactions, pro and con, was even wider than Mr. Järvi’s recent appearances. None of this makes for a serious Music Director candidate, at least for now.

Car analogy: Volvo

Odds: 4% — For now, unlikely; if he shows up on the podium in the next two years and the chair is still empty, we’ll talk

Next LA Phil appearances: none announced

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The Next Generation

Anna Handler

• Current and future jobs:
  • Kappelmeister, Deutsche Oper Berlin: 2025 – present
  • Assistant Conductor, Boston Symphony: 2024 – present (term ends Summer 2026)
  • Conductor-in-Residence, Los Angeles Philharmonic: beginning Fall 2026
  • Chief Conductor, Ulster Orchestra: beginning Fall 2026
• Noteworthy prior jobs:
  • Conducting Fellow, Los Angeles Philharmonic: 2023 – 2024

Anna Handler is obviously a rising star in general and especially within LA Phil circles. Her lift-off has been faster than Ms. Chan, the newly-anointed SFS MD-designate, if you compare them at similar points in their career after having completed their respective Dudamel Conducting Fellowships. Among titled junior conductors that have come through Walt Disney Concert Hall, only Mirga Gražinytė-Tyla surpasses her in ascendancy.

I had the chance to watch her rehearse the orchestra in the recent March 2026 concerts of works by John Williams and Rachmaninoff. Her rehearsal style is clear, efficient, and collegial, and her rapport with the orchestra is genuine and unforced. Her conducting technique is easy to follow, and the musical results are compelling. It’s easy to see why the the powers-that-be wanted to lock down a more defined relationship, and I wasn’t surprised that they invented a job for her soon after.

All that said, is she ready to be LA’s Music Director? Not yet. While she’s clearly talented, there’s been no buzz of the kind when Mr. Dudamel made his debut and fireworks figuratively burst in everyone’s imagination, making up for a the relative dearth of experience or lack of repertoire.

That said, it’s gonna be fun watching and listening to her develop. Moreover, the variety of work she’ll do as Conductor-in-Residence — subscription concerts at the Bowl and WDCH, YOLA and other community interactions, leading chamber music — will provide worthwhile training for what is sure to be a music directorship somewhere. And with movie star good looks, she’ll undoubtedly be easy for marketers to put on posters and splash across social media.

Her time isn’t now, but it’s coming. Perhaps soon.

Car analogy: Audi Concept C (aka an electric TT)

Odds: 10% and rising — revisit in 5 or 10 years

Next LA Phil appearances

• August 25, 2026 (Hollywood Bowl): Mason – ABLAZE THE MOON; Beethoven – Concerto for Violin, Cello and Piano (Bing Wang, violin; Robert deMaine, cello; Joanne Pearce Martin, piano); Beethoven – Symphony No. 5
• March 12, 2027 (Walt Disney Concert Hall): Glass – Violin Concerto No. 1 (Anne Akiko Meyers, soloist); Glass – Symphony No. 15, “Lincoln” (Davóne Tines, baritone)
• March 13, 2027 (Walt Disney Concert Hall): Glass – Mad Rush (Olivier Latry, organ); Glass – Violin Concerto No. 1 (Anne Akiko Meyers, soloist); Glass – Symphony No. 15, “Lincoln” (Davóne Tines, baritone)
• May 27-30, 2027: John Williams – Concerto for Piano and Orchestra (Emanuel Ax, soloist); Mahler – Symphony No. 1, “Titan”
  • May 29, 2027 performance: Segerstrom Concert Hall, Costa Mesa
  • All others: Walt Disney Concert Hall

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Lorenzo Viotti

• Current and future jobs:
  • Principal Guest Conductor, Netherlands Philharmonic: 2025 – present (Chief Conductor 2021 – 2025)
  • Music Director, Tokyo Symphony Orchestra: starting Fall 2026
  • General Music Director, Zurich Opera: starting Fall 2028
• Noteworthy prior jobs:
  • Chief Conductor, Dutch National Opera: 2021 – 2025
  • Chief Conductor, Netherlands Chamber Orchestra: 2021 – 2025

If the LA Phil really wants to hire a conductor on the rise, with literal model-level good-looks, and an impressive local debut, look no further than Lorenzo Viotti.

Everyone to whom I’ve spoken who heard his interpretation of the Rachmaninoff Symphony No. 2 at Walt Disney Concert Hall earlier this month absolutely raved about it. Multiple people said it was the best version of that piece they’d heard in decades. Some said it was the best concert of the year, period. Harlow Robinson of San Francisco Classical Voice called it, “Triumphant.”

Oh, what could’ve been. Mr. Viotti’s LA Phil debut was supposed to be in January 2021, but the COVID-19 pandemic waylaid those plans. If his first LA Phil appearance had been then instead of two weeks ago and of the same quality, and five years had passed since, there’s a non-trivial chance that he’d be much higher on this list — maybe even the leader or already holding an offer.

Then again, maybe not. He had to apologize in 2023 for posting a nude photo on Instagram where some well-positioned hands were the only thing that kept the picture from violating community standards. Less than a year later, he caused quite a stir with another social media post, this time after weighing in on a divisive political issue with inflammatory comments that were at best controversial and at worst defamatory. The LA Phil management or musicians were willing to ignore or forgive these things enough to invite him as a guest conductor — or at least not cancel him if they had scheduled him before the controversies. Standards of forgiveness and/or length of time passing would undoubtedly be higher and longer, respectively, for a Music Director to be. TBD if Mr. Viotti meets those hurdles.

Car analogy: Alfa Romeo

Odds: 9% — see if/when he gets invited back, then revisit in 5 or 10 years

Next LA Phil appearances: none announced

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Ryan Bancroft

• Current jobs:
  • Principal Conductor, BBC National Orchestra of Wales: 2021 – present
  • Chief Conductor, Royal Stockholm Philharmonic: 2023 – present

Whenever I bring up Ryan Bancroft to LA Phil aficionados and insiders alike, never a bad or even sideways thing is said. Many are rooting for him, and given that he’s a Lakewood native and a generally likable guy, why wouldn’t they? I sat in on his rehearsal of works by Shostakovich and Sibelius, and his comments where insightful, meaningful, and impactful. The subsequent concert was rousing, perhaps the best one I’ve heard him conduct with the orchestra, noteworthy for being more spirited and gutsy than the rehearsal.

Yet his appearances with the orchestra have been uneven. After a promising orchestral debut at the Bowl featuring Elgar’s Enigma Variations, the next concert featured a micro-managed verging on turgid Shostakovich Symphony No. 10. Even with this most recent concert which I thoroughly enjoyed, you could sense that the musicians were caught a little off guard by how much different his rehearsal approach was to the actual performance. I bet they weren’t warned. Some conductors can get away with such spontaneity, even thrive on them. I’m unsure if he’s achieved that level of trust with these musicians. At least not yet.

Mr. Bancroft is not on either the 2026 Hollywood Bowl or 2026-27 Walt Disney Concert Hall schedule. I’d expect he’ll return eventually, but his forthcoming absence does not bode well for his chances to be Music Director.

Car analogy: Nissan

Odds: 5% — see if/when he gets invited back, then revisit in 5 or 10 years

Next LA Phil appearances: none announced

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Teddy Abrams

• Music Director, Louisville Orchestra: 2014 – present

Like Mr. Bancroft, Edward “Teddy” Abrams seems like a great candidate on paper, albeit for slightly different reasons: he’s a native Californian whose done well as Music Director of the Louisville Orchestra, winning Grammy Awards, Musical America’s 2022 Conductor of the Year, and other kudos.

Beyond that, the biggest thing he has going for him: as champion of American music, old and new, he fills a specific niche within the LA Phil guest conductor line-up that no regular visitor matches. His repertoire is certainly broader than Americana, but it’s his sweet spot, at least for this orchestra. On top of that, the orchestra trusts him enough to conduct their October 2026 season opening gala, with the inimitable Yuja Wang as headline soloist.

The downside: his concerts, IMHO, have always topped out at merely okay. A 2024 Rite of Spring at the Bowl was particularly disappointing, especially given that, like ice cream, I generally find that even mediocre versions are enjoyable. As one knowledgeable and trusted observer has said, the assignment for conductors at the Bowl is first and foremost, “Do no harm.” The second thing, given the limited rehearsal time, is pick one or two things to address in rehearsal, then get out of the way of the musicians. It was clear Mr. Abrams did neither thing. The result was a technically competent yet thoroughly unexciting Rite, something I didn’t think was possible.

But wait, some people say: he has two different programs scheduled in the coming season. Sure, but look closer — the one-off Gala counts as one program , and the second program only has two performances. That’s 3 total concerts;12 of the other non-titled guest conductors this coming season have at least as many scheduled, and 4 have more.

Bottomline: he’ll keep getting invited back, though I’d be shocked if the orchestra gives him the big job and 15+ weeks.

Car analogy: Jeep

Odds: 3% — firmly in the friendzone

Next LA Phil appearances (all in Walt Disney Concert Hall)

• October 1, 2026: season opening Gala (program TBD)
• October 29 and November 1, 2026: Perry – A Short Piece for Orchestra; Abrams – Seasons of America (Ray world premiere, LA Phil commission); Ives – Three Places in New England; Gershwin – An American in Paris

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The Absentees

Jakub Hrůša

• Current and future jobs
  • Music Director, Royal Opera House, Covent Garden: 2025 – present
  • Chief Conductor, Bamberg Symphony: 2016 – present
  • Music Director, Czech Philharmonic: beginning 2028
• Noteworthy prior jobs
  • Chief Conductor, Prague Philharmonia: 2008 – 2015

Jakub Hrůša made his Los Angeles Philharmonic debut in 2013 at the Hollywood Bowl. He made his Walt Disney Concert Hall debut in 2016. He hasn’t been seen around these parts since, and there has been much lamentation.

When it comes to Millennials waving batons in front of the world’s top orchestras, he is firmly ensconced in the Top 3, sharing space with Mr. Dudamel and Klaus Mäkelä. Mr. Hrůša is the only one of them not already in charge of a US orchestra.

Yet he already has two big jobs in Europe, with one more on the way in 2028 with the most storied orchestra in his native Czechia. Even in a world where having three big gigs is no big deal if you’re popular enough (looking at you, Mr. Mäkelä), having four seems like a heavy lift. Maybe he’d be willing to give up Bamberg after a decade there to make time and space. Maybe not.

And even if he were to do it, Cleveland or Boston seem like more likely picks given that he’s actually conducted there in the past decade. Of the two, Cleveland is the better fit methinks, both because their aesthetic seems to match his better and because they are notably lacking in drama. That said, he doesn’t have ties to Chad Smith (as evidenced by his absence from the LA Phil during Mr. Smith’s tenure with the local orchestra), so he could be the kind of candidate the Bostonians would accept once Andris Nelsons sails off into the sunset.

Car analogy: BMW X6

Odds: 0.01% — having him in the friendzone is aspirational

Next LA Phil appearances: none announced

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Andris Nelsons

Current jobs:

• Music Director, Boston Symphony: 2014 – present
• Kapellmeister, Leipzig Gewandhaus Orchestra: 2017 – present

Speaking of Andris Nelsons . . . When he and the Boston Symphony announced in January 2024 that they’d agreed to an evergreen contract, it seemed like a perfect opportunity for the LA Phil to pursue him as a guest conductor, if not more.

I was surprised and disappointed to not see his name on the schedule for the 2026-27 WDCH season. Combined with the fact that the last (and only?) time he’s conducted the LA Phil was July 13, 2008 at the Hollywood Bowl, there’s almost no way he’d be chosen as Music Director if one were named this summer.

Car analogy: Land Rover

Odds: 0.01% — you never know, maybe he’d wanna switch coasts and stick it to Chad out of spite

Next LA Phil appearances: none announced

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Simon Rattle

• Current job
  • Chief Conductor, Bavarian Radio Symphony: 2023 – present
• Noteworthy prior jobs
  • Music Director, London Symphony: 2018 – 2023
  • Principal Conductor, Berlin Philharmonic: 2002 – 2018
  • Music Director, City of Birmingham Symphony: 1980 – 1998
  • Principal Guest Conductor, Los Angeles Philharmonic: 1981 – 1994

Um, yeeeaaaaaahhhh . . . A guy can dream. Don’t @ me.

Mr. Rattle has been in town more recently than Mr. Nelsons. And if the Latvian who only showed up once in his entire career is on this list, then the guy who was Principal Guest Conductor with the local band for a dozen-plus years is also gonna be on this list. My list.

Mr. Rattle is also an unquestionable bad-ass. The loudest ovation I’ve heard on Walt Disney Concert Hall’s stage from the musicians was Esa-Pekka Salonen’s final concert as Music Director; second loudest was in 2012 when Sir Simon made his last guest conducting stint there.

Car analogy: Bentley Flying Spur

Odds: a Planck% — “So you’re telling me there’s a chance . . . “

Next LA Phil appearances: whenever Kim Noltemy can back a Brink’s truck up to Mr. Rattle’s house big enough to tempt him back to WDCH

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Wrapping Up

So, whatcha think of these 10 names and the respective odds?

Brilliant? Did I forgot someone? Do I have my head up my keester, with conductors, car analogies, or everything in general?

Let me know.

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Photo credits:

• Daniel Harding: courtesy of Askonas Holt
• Paavo Järvi
  • portrait: photo by Kaupo Kikas
  • conducting: photo by Elizabeth Asher, courtesy of the Los Angeles Philharmonic
• Anna Handler: photo by Peter Rigaud
• Lorenzo Viotti: photo by Jan Willem Kaldenbach
• Ryan Bancroft: photo by Benjamin Ealovega
• Teddy Abrams: photo by Lauren Densberg
• Jakub Hrůša: photo by Ian Ehm
• Andris Nelsons: photo by Marco Borggreve
• Simon Rattle
  • close up in black shirt: courtesy of Askonas Holt
  • standing in front of red and black background: photo by Sheila Rock