There’s something nervous-making about the career of Yannick Nézet-Séguin, an artist of unquestioned talent. Juggling leadership commitments to the Metropolitan Opera, the Philadelphia Orchestra, and Montreal’s community-focused Orchestre Métropolitain seems like more than plenty—even before loading on intensive guest stints with the Vienna Philharmonic, the Chamber Orchestra of Europe, and the Rotterdam Philharmonic. It’s been said that Yannick sleeps when he cancels, which does happen from time to time, often conspicuously. Shouldn’t our spirit guide to the symphonies of Gustav Mahler, who conceived each of them as a universe unto itself, be less of a butterfly? This season, Carnegie Hall audiences will find out as Yannick goes the distance with three of the world’s élite ensembles. The Philadelphia Orchestra is Nézet-Séguin’s instrument for Symphonies No. 5 (October 13), No. 7 (nicknamed the “Tragic,” April 2, 2027), No. 3 (May 18), and No. 1 (popularly “The Titan,” June 4). The Vienna Philharmonic takes his cues in Symphonies No. 9 (February 26, 2027), No. 4 (February 27), and No. 2 (“Resurrection,” February 28). The Met Opera Orchestra joins him in Symphony No. 8 (unofficially the “Symphony of a Thousand,” calling for an army of soloists and choristers, June 10), and finally, No. 6 (“Song of the Night,” June 18). For the record, the Mahler Cycle at Amsterdam’s Concertgebouw in 2025—only the third in the history of that hallowed hall—presented the nine symphonies plus Das Lied von der Erde in order over the course of just 11 days, showcasing six top-ranking orchestras under as many top maestros. And what’s your idea of a cycle? —Matthew Gurewitsch