Zubin Mehta
Zubin Mehta (born 1936 in Bombay, India) is a conductor of Western classical music and opera, renowned for his expressive podium presence and leadership of major international orchestras.[1] The son of violinist and Bombay Symphony Orchestra founder Mehli Mehta, he received early musical training from his father before studying conducting with Hans Swarowsky at the Vienna Academy of Music.[1] Mehta won the 1958 Liverpool International Conducting Competition, which propelled him to early appointments including music director of the Montreal Symphony Orchestra (1961–1967).[1] His career highlights include extended tenures as music director of the Los Angeles Philharmonic (1962–1978), New York Philharmonic (1978–1991), Israel Philharmonic Orchestra (music director for life from 1981 until emeritus status in 2019), and Bavarian State Opera (1998–2006), during which he conducted thousands of symphonic and operatic performances.[1][2][3] Mehta has earned distinctions such as the 2008 Praemium Imperiale and honorary citizenship in cities like Tel Aviv and Florence, reflecting his global influence and cross-cultural appeal in classical music.[1] While praised for his charismatic and precise gestures that command orchestral sound, his bold, sometimes flamboyant style has occasionally drawn criticism for prioritizing excitement over restraint.[4][5]Early life
Family background and childhood influences
Zubin Mehta was born on April 29, 1936, in Bombay (now Mumbai), India, into a Parsi Zoroastrian family as the elder son of violinist Mehli Mehta (1908–2002) and Tehmina Mehta.[6][4] The Parsi community, descendants of Persian Zoroastrians who migrated to India centuries earlier to escape religious persecution, emphasized education, commerce, and cultural preservation, which shaped the family's affluent and intellectually oriented environment amid British colonial rule.[7][6] His father, a self-taught musician who returned to India in 1935 after studying in Europe, founded the Bombay Symphony Orchestra that year, serving as its concertmaster (1935–1945) and conductor (1945–1963), thereby pioneering Western classical music performance in the region through amateur ensembles and public concerts.[8][9] Mehli Mehta's efforts to import instruments, train local players, and perform repertoire by composers like Beethoven and Tchaikovsky created a household saturated with music, where Western symphonic traditions contrasted with prevailing Indian cultural norms.[8] From childhood, Zubin received violin and piano instruction directly from his father, who enforced rigorous practice and involved him in chamber music sessions with adult musicians by his early teens, instilling discipline and an intuitive grasp of ensemble dynamics.[6] This paternal immersion, rather than formal schooling initially, cultivated his affinity for conducting as a natural extension of familial collaboration, with Mehli's campaigns against musical isolationism in Bombay providing early exposure to professional rehearsals and the logistical challenges of orchestral leadership.[8][6]Initial musical exposure
Zubin Mehta, born on April 29, 1936, in Bombay (now Mumbai), India, received his earliest musical training from his father, Mehli Mehta, a violinist who founded the Bombay Symphony Orchestra in 1935 and served as its concertmaster and later conductor.[10] [2] Mehli introduced Zubin to Western classical music through daily home practices, including string quartet sessions that began around 8 a.m., fostering an environment where music was as essential as daily sustenance.[11] [12] Mehta's father taught him violin and piano from childhood, emphasizing practical immersion over rigorous formal drills, which exposed him to repertoire through live playing and listening rather than theoretical study alone.[6] [13] This hands-on approach, influenced by Mehli's own exposure to violinists like Fritz Kreisler and Jascha Heifetz via recordings, instilled in young Zubin an intuitive grasp of classical works before formal schooling abroad.[9] [14] By his teenage years, Mehta had internalized the sounds of orchestral and chamber music through proximity to his father's professional activities, laying the groundwork for his conducting aptitude without early pressure to specialize.[15]Education and formative experiences
Studies in Vienna and Liverpool
In 1954, at the age of 18, Zubin Mehta left Bombay after a brief period of pre-medical studies to pursue formal musical training in Europe, enrolling in the conducting program at the Academy of Music and Performing Arts in Vienna (now the University of Music and Performing Arts Vienna).[16][2] There, he studied under the renowned pedagogue Hans Swarowsky, whose emphasis on precision, score analysis, and orchestral discipline shaped Mehta's technical foundation.[4] Over three years, Mehta immersed himself in the curriculum, which included intensive work on baton technique, repertoire mastery, and ensemble leadership, culminating in his graduation in 1957 with a diploma in conducting.[16][17] Following his Vienna graduation, Mehta's path intersected with Liverpool through the 1958 International Conducting Competition, where he competed against 100 entrants and claimed first prize.[2][6] The award included a one-year contract as associate conductor of the Royal Liverpool Philharmonic Orchestra, during which he conducted 14 concerts, gaining hands-on experience in professional rehearsals and performances with a major British ensemble.[6][18] This apprenticeship-like role, though not formal academic study, provided practical immersion in symphonic programming and orchestra management, bridging his theoretical training in Vienna with emerging career demands.[4] Mehta later reflected on these experiences as pivotal for developing his interpretive confidence amid diverse repertoires.[4]Early conducting opportunities
In 1958, at the age of 22, Zubin Mehta made his professional conducting debut in Vienna with the Tonkünstler Orchestra, leading an all-Brahms program as one of his initial paid engagements arranged through the Jeunesses Musicales organization.[19][20] That same year, he secured first prize in the Liverpool International Conducting Competition, outperforming 100 contestants, with the award including a one-year contract as assistant conductor of the Royal Liverpool Philharmonic Orchestra, marking his British debut with that ensemble.[21][16] Mehta also won the Tanglewood Summer Academy Award in 1958, further validating his emerging talent through competitive recognition.[17] These achievements opened doors to additional guest conducting roles in Europe and North America during the late 1950s and early 1960s, including early appearances with the Vienna Philharmonic starting in 1961.[22] By 1960, Mehta had been appointed associate conductor of the Los Angeles Philharmonic, providing formative experience with a major American orchestra ahead of his first music directorships.[6] Such opportunities honed his technique under Hans Swarowsky's prior tutelage and positioned him for sustained international engagements, though his rapid ascent drew mixed reactions from established critics who questioned the depth of his preparation relative to his charisma.[4]Conducting career
Breakthrough in the 1960s
Mehta's breakthrough came in 1961 when, at age 25, he was appointed music director of the Montreal Symphony Orchestra, a position he held until 1967, during which he personally conducted eight of the twelve subscription concerts in his debut season alongside soloists like Alfred Wallenstein.[23] That same year, he substituted for an ailing conductor in his first appearance with the Los Angeles Philharmonic in January, impressing audiences and leading to further opportunities.[24] Also in 1961, Mehta debuted with the Israel Philharmonic Orchestra, filling in for Eugene Ormandy, which initiated a long association with the ensemble.[25] In 1962, Mehta achieved a pivotal milestone by becoming music director of the Los Angeles Philharmonic at age 26, the youngest appointee for any major American orchestra, serving in the role through 1978 and overseeing the recruitment of 84 new players to the ensemble of 106.[26][27] This dual leadership of Montreal and Los Angeles orchestras in the early 1960s propelled his international profile, with critics noting his energetic style and ability to command large ensembles despite his youth.[2] Mehta expanded into opera in 1963 with his debut conducting Tosca in Montreal, a "symphonic version" that drew attention from Metropolitan Opera general manager Rudolf Bing and paved the way for future operatic engagements.[1] These appointments and debuts in the early 1960s solidified Mehta's reputation as a versatile conductor capable of bridging orchestral and operatic realms, setting the stage for his subsequent global career.[6]Major appointments in the 1970s and 1980s
Mehta served as music director of the Los Angeles Philharmonic Orchestra from 1962 until 1978, a tenure that spanned the entirety of the 1970s and emphasized expansion of the orchestra's repertoire and international profile.[2] During this period, he oversaw the appointment of 84 new players to the ensemble, contributing to its artistic development amid growing public attendance at venues like the Hollywood Bowl.[24] In 1977, the Israel Philharmonic Orchestra elevated Mehta from music advisor—a role he had held since 1969—to full music director, formalizing his long-term commitment to the ensemble founded by European refugees.[28] In 1978, Mehta succeeded Pierre Boulez as music director of the New York Philharmonic, initiating a 13-year leadership that marked the longest continuous tenure in the orchestra's history up to that point.[29] This appointment followed his departure from the Los Angeles Philharmonic and reflected the board's preference for a charismatic figure capable of broadening audience appeal after Boulez's more analytical approach.[30] Concurrently, Mehta maintained his role with the Israel Philharmonic, which in 1981 designated him music director for life in recognition of over a decade of collaboration, including regular subscription concerts and international tours.[31] Throughout the 1980s, Mehta's primary focus remained the New York Philharmonic, where he conducted thousands of performances emphasizing Romantic-era works while integrating contemporary commissions.[13] His dual commitments to major American and Israeli orchestras underscored a career pattern of overlapping directorships, enabling cross-pollination of programming ideas but also drawing occasional criticism for divided attention among ensemble members seeking more localized leadership.[1]International roles from the 1990s onward
Following the conclusion of his music directorship at the New York Philharmonic in 1991, Zubin Mehta sustained his enduring commitment to the Israel Philharmonic Orchestra as Music Director for Life, a role established in 1981, until transitioning to Music Director Emeritus in October 2019 after five decades of leadership.[32][1] Concurrently, he upheld his position as chief conductor of the Orchestra del Maggio Musicale Fiorentino in Florence from 1985 through 2017, subsequently honored as Honorary Life Conductor.[1] In 1998, Mehta assumed the music directorship of the Bavarian State Opera in Munich, serving until 2006 and earning recognition as an honorary member of the company.[1] He also took on the presidency of the Festival del Mediterrani in Valencia, Spain, inaugurating the Palau de les Arts Reina Sofía on October 13, 2006, with a performance of Mahler's Symphony No. 2, and conducting significant productions including the Ring cycle until June 2014.[1][33] Mehta received the honorary music directorship of the Teatro di San Carlo in Naples in 2016.[1] Over this era, he accumulated prestigious honorary conductor titles from ensembles such as the Vienna Philharmonic Orchestra in 2001, Munich Philharmonic Orchestra in 2004, Los Angeles Philharmonic in 2006, Staatskapelle Berlin in 2014, and Berlin Philharmonic in 2019.[1] These roles underscored his global influence, complemented by ongoing guest appearances with major orchestras and opera houses worldwide.[1]
Recent engagements and health challenges
In December 2024, Mehta returned to the Los Angeles Philharmonic, where he served as music director from 1962 to 1978, conducting Brahms's Symphony No. 2 and Piano Concerto No. 2 on December 6–8, followed by Schoenberg's Gurrelieder on December 13–15 at Walt Disney Concert Hall.[34][35] These appearances marked some of his most recent podium engagements amid a scaled-back schedule. Earlier in 2024, he led performances including Mozart under the stars at the Hollywood Bowl in July.[13] Mehta's activity diminished further in 2025 due to health constraints. He withdrew from scheduled concerts with the Berlin Philharmonic earlier in the year, citing illness, and was replaced by Sebastian Weigle for March dates.[36] By September 2025, reports indicated he had become homebound in Los Angeles owing to ongoing health problems, prompting the cancellation of his final planned 2025 outings, including a Tanglewood Beethoven Ninth in August and appearances with the Czech Philharmonic in November.[37][38] These developments followed a pattern of health-related withdrawals, such as skipping a 2019 U.S. tour with the Israel Philharmonic, after which he formally retired as its music director emeritus following 50 years of service.[39]Musical style and interpretations
Approach to repertoire and technique
Zubin Mehta employs a conducting technique characterized by simple, precise gestures that enable precise control over orchestral sound, allowing him to elicit immediate responses from musicians.[6] His baton work often features rapid tempos and steady rhythms, supplemented by expressive adjustments such as unwritten ritardandos to heighten emotional impact.[40] In rehearsals, Mehta demonstrates modesty and attentiveness, complemented by a repertoire of facial expressions—including nods, smiles, and frowns—to communicate directly with performers.[8][41] He prepares meticulously by internalizing scores through photographic memory, often memorizing entire symphonies note by note and instrument by instrument, which supports his ability to convey rhythmic vigor and bold attacks in performance.[42] Mehta's approach to repertoire emphasizes a broad scope, with a particular strength in large-scale late Romantic symphonic works by composers such as Wagner, Mahler, and Richard Strauss, alongside a sustained passion for opera and occasional ventures into contemporary music.[43][44] He favors the voluptuous sonorities and dramatic intensity of this era, frequently programming standard Germanic pieces while integrating them with modern commissions to balance tradition and innovation.[6] His interpretations prioritize fidelity to the composer's intentions, surrendering to the emotional demands of the score rather than overlaying personal agendas, which he believes transmits honesty and earnestness to both orchestra and audience.[42] Central to Mehta's technique is an underlying exultation in the music itself, blending technical command with profound delight to foster serene grandeur and audience connection, though this has occasionally been observed to favor theatrical flair over interpretive depth in certain readings.[45][6] He maintains that true mastery arises from live performance experience over theoretical study alone, using his authority on the podium to impart composers' visions while adapting to orchestral capabilities for cohesive results.[43]Signature works and innovations
Mehta's interpretations of Italian opera, particularly Puccini and Verdi, stand as hallmarks of his oeuvre, exemplified by the 1972 Decca recording of Turandot featuring Luciano Pavarotti as Calàf, Joan Sutherland as Turandot, and the London Philharmonic Orchestra, which earned acclaim for its vivid dramatic pacing and vocal splendor, achieving a 9.4/10 rating on AllMusic and marking a commercial and artistic milestone on its 50th anniversary in 2023.[46][47] His Verdi recordings, such as Il Trovatore with Leontyne Price, Plácido Domingo, and the RCA orchestra, further showcased his command of bel canto drama and ensemble cohesion.[48] In symphonic repertoire, Mehta's early traversal of Mahler's Third Symphony drew praise for its emotional depth and structural clarity, while his cycles of Mahler and Bruckner with the Israel Philharmonic and Vienna Philharmonic highlighted expansive sonic palettes suited to large halls.[49][50] A signature innovation in Mehta's career was his orchestration of crossover spectacles that broadened classical music's audience, most notably conducting the debut Three Tenors concert on July 7, 1990, in Rome's Caracalla Stadium with Pavarotti, Domingo, and José Carreras, backed by the Orchestra del Maggio Musicale Fiorentino and Orchestra del Teatro dell'Opera di Roma; this event drew 1.5 million live spectators, sold millions of recordings, and secured a Grammy for Best Classical Crossover Album, redefining opera's popular reach through multimedia broadcasts.[51] His approach to Stravinsky's The Rite of Spring, as in recordings with the Los Angeles Philharmonic, emphasized rhythmic propulsion and textural brilliance, innovating interpretations by prioritizing visceral impact over restraint.[52] Mehta's minimalist podium technique—favoring economical gestures for precise orchestral control—enabled fluid execution of complex Romantic scores like those of Wagner and Richard Strauss, fostering direct musician communication and influencing subsequent conductors in high-stakes international settings.[6] These elements, combined with over 200 recordings spanning Romantic staples to contemporary commissions honored by the 2007 Dan David Prize, underscore his role in sustaining orchestral vitality amid evolving listener demographics.[53][54]Criticisms and controversies in performance
Technical and artistic critiques
Critics have frequently noted that Mehta's conducting emphasizes dramatic flair and bold sonority, which can result in performances perceived as superficial or lacking in interpretive depth. In a 2003 review of a Proms concert with the Israel Philharmonic Orchestra, Andrew Clark of The Guardian observed that while Mehta's approach offers "instantly dramatic" appeal and strong momentum, it quickly reveals limitations, including a deficiency in deeper musicality and sensitivity to space, with careless handling of sonorities and silences in Stravinsky's Symphony in Three Movements. [55] Technical critiques have centered on issues of execution and balance, particularly in his Los Angeles Philharmonic recordings. A 1978 New York Times analysis by Donal Henahan described Mehta's interpretations there as often yielding "sloppy execution and an unnaturally bloated sound," attributing this to an approach that prioritizes surface excitement over precision. [44] Similarly, during a 2009 Carnegie Hall performance, Mehta was faulted for an aversion to subtle dynamics, with true pianissimos being rare and the orchestra's baseline volume hovering at mezzo forte or louder. [56] Artistically, Mehta's style has drawn accusations of vulgarity due to its preference for voluptuous timbre and aggressive attack, especially in opera and large-scale works. Reviews from his New York Philharmonic era highlighted repetitive repertoire choices in recordings that offered no fresh insights, contributing to a perception of stagnation despite earlier successes with labels like Decca. [50] These elements, while effective for theatrical spectacle, have been seen as indulgent, such as conducting complex scores from memory without fully conveying darker or nuanced elements, as in Stravinsky's Petrushka. [55]Public and political backlash
In September 2013, Zubin Mehta conducted a concert titled "Celebrating Kashmir—Serenade to the City of Sun" in Srinagar, organized by the German embassy as a gesture toward peace amid regional tensions.[57] The event drew sharp political backlash from Kashmiri separatist leaders, the local Grand Mufti, and human rights activists, who condemned it as an attempt to legitimize Indian administration in the disputed territory and distract from ongoing grievances including heavy military presence and human rights concerns.[58] Protests erupted, including planned marches on September 7, with demonstrators accusing the concert of serving propaganda purposes rather than fostering genuine reconciliation; security was heightened, and the performance proceeded under tight protection but ended amid sour notes of rejection from local civil society.[59] Mehta defended the initiative on Indian television, emphasizing music's universal language beyond politics, though critics maintained it ignored the elite nature of the event and failed to engage broader Kashmiri participation.[60] Mehta's long tenure with the Israel Philharmonic Orchestra (IPO), spanning over five decades since 1969, has provoked public protests primarily from pro-Palestinian activists opposing cultural engagements with Israel.[61] During the IPO's 2011 European tour, including a BBC Proms performance in London on September 1, demonstrators disrupted the concert by shouting accusations of complicity in Israeli policies toward Palestinians as Mehta began conducting Bruch's Violin Concerto; audience members countered with boos, and enhanced security measures like bag checks had been implemented in anticipation.[62] Similar interruptions occurred at other venues, framing the orchestra's appearances as endorsements of state actions amid the Israeli-Palestinian conflict, though Mehta and supporters argued such events promote artistic dialogue over political endorsement.[63] In a 2012 interview, Mehta criticized artistic boycotts of Israel as counterproductive while acknowledging flaws in Israel's handling of Palestinian issues, positions that intensified activist scrutiny but aligned with his view that music transcends ideological divides.[64] These incidents reflect broader tensions where Mehta's international collaborations intersect with geopolitical disputes, yet empirical accounts indicate the protests often targeted the hosting entities (India or Israel) more than Mehta's personal artistry, with disruptions remaining limited in scale compared to the events' attendance.[65] No widespread cancellations resulted directly from the backlash, and Mehta continued leading the IPO until his retirement announcement in 2019.[61]Political and social engagements
Association with Israel Philharmonic
Zubin Mehta's association with the Israel Philharmonic Orchestra (IPO) began informally during the Six-Day War in June 1967, when he rushed to Israel to conduct the orchestra amid the conflict.[61] In 1969, he was formally appointed Music Adviser to the IPO, ascending to Music Director in 1977 and receiving the title of Music Director for Life in 1981.[3] His leadership continued until his retirement from the music directorship in October 2019, encompassing a 50-year partnership during which he conducted more than 2,000 performances with the ensemble.[18] [66] Under Mehta's direction, the IPO expanded its international presence through extensive tours, functioning as a cultural ambassador for Israel, including performances for Arab audiences in Nazareth and southern Lebanon.[67] [68] He prioritized artistic integrity over political sensitivities, notably conducting Richard Wagner's music in 1981, which ended a decades-long informal boycott in Israel linked to the composer's Nazi-era associations and provoked audience disturbances during the performance.[69] Mehta has consistently opposed cultural boycotts targeting Israeli institutions, arguing they undermine artistic freedom.[64] Following his retirement, Mehta was honored as Music Director Emeritus and maintained active involvement, returning for eight concerts with the IPO in early 2024.[2] [70] In October 2025, however, he informed the orchestra that health issues would prevent fulfillment of scheduled November and December engagements.[71] His enduring loyalty has been described by observers as a profound personal and professional bond with Israel and its premier orchestra.[72]Views on cultural boycotts and media
Mehta has consistently opposed cultural boycotts targeting Israeli artistic institutions, describing disruptions of performances by the Israel Philharmonic Orchestra as "cultural hooliganism."[73] In response to protests during the orchestra's 2011 BBC Proms concert in London, where activists interrupted the performance to denounce Israel's policies, Mehta emphasized resilience, stating that the ensemble did not "stoop to the protesters' level" and continued playing despite the interference.[74] He has slammed broader artistic boycotts as counterproductive, even while critiquing aspects of Israeli policy such as settlement expansion, which he linked to global anti-Israel sentiment but did not endorse as justification for isolating cultural figures.[64][75] In a 2012 interview ahead of the Israel Philharmonic's Carnegie Hall appearances, Mehta rejected boycott calls amid debates over Israel's treatment of Palestinians, arguing that such measures unfairly penalize art and diplomacy through music, which he has used to bridge divides, as in his 1978 advocacy for the orchestra's tour to Egypt following the Camp David Accords.[64][76] He has similarly defended against selective boycotts of peers, protesting a 2001 Israeli Knesset committee's backlash against conductor Daniel Barenboim for programming Wagner, calling it an infringement on artistic freedom.[77] Regarding media, Mehta has criticized American outlets for what he termed "puritanism" in handling allegations against conductors, asserting in 2020 that James Levine was "ruined by US media" through blacklisting despite evidence nuances, and that Plácido Domingo faced undue pressure leading to his Los Angeles Opera resignation.[78] He contrasted this with European approaches, implying a cultural overreach in U.S. coverage that prioritizes sensationalism over due process.[78] Mehta has also experienced direct media manipulation, as in a 2023 Times of India interview where editors initially excised his statement hoping "my Muslim friends can live in peace forever in India," which he highlighted as an unauthorized alteration distorting his pro-tolerance message.[79][80] These incidents underscore his wariness of media's potential to amplify biases or suppress context in favor of narratives.Personal life
Marriages and family
Mehta's first marriage was to Canadian soprano Carmen Lasky in January 1958, ending in divorce in 1964.[81] The union produced two children: a son, Mervon Mehta (born circa 1959), and a daughter, Zarina Mehta (born circa 1958).[82] Mervon later pursued a career in arts administration, while Zarina maintained a lower public profile.[83] Prior to his second marriage, Mehta fathered a daughter, Alexandra, in 1967 from an extramarital relationship; she resides in Los Angeles and has three children—Alec, Kevin, and Emma.[83] On July 19, 1969, he married American actress Nancy Kovack, a former Miss Michigan and television performer known for roles in films like Jason and the Argonauts (1963); the couple remains married as of 2021, with no children from this partnership.[81] [84] In 1999, Mehta publicly acknowledged an illegitimate son born in Israel circa 1991 during his marriage to Kovack, though details on the child's identity remain private.[85] Mehta, a Parsi of Zoroastrian heritage from a musical family in Bombay (now Mumbai), has described his children from these relationships as central to his personal life amid his global conducting career.[83]Health and residence
Zubin Mehta maintains his primary residence in Los Angeles, California, where he lives with his wife, former actress Nancy Kovack, in a villa previously owned by Jack Benny.[86][18] As a permanent resident of the United States, he retains Indian citizenship despite his extensive international career.[22] In 2025, at age 89, Mehta has become homebound in Los Angeles due to unspecified health problems, prompting him to cancel all remaining concert engagements for the year, including appearances with the Israel Philharmonic Orchestra in November and December.[37][38] Earlier that year, he withdrew from performances with the Berlin Philharmonic in March and the Tanglewood Festival's Beethoven Ninth Symphony in August, citing ill health.[36][87] These cancellations follow a pattern of health-related withdrawals, such as those in late 2024 with the Israel Philharmonic, limiting his ability to travel or conduct.[88]Awards and honors
Principal accolades
Zubin Mehta received the Padma Bhushan, India's third-highest civilian award, from the Government of India in 1966 for his contributions to music.[89] In 2001, he was elevated to the Padma Vibhushan, the second-highest civilian honor, recognizing his sustained international prominence as a conductor.[89] In 1995–1996, Mehta was awarded the Wolf Prize in Music by the Wolf Foundation, acknowledging his exceptional achievements in orchestral and operatic conducting over decades.[90] The Kennedy Center Honors followed in December 2006, presented by the John F. Kennedy Center for the Performing Arts to salute his lifetime artistic impact, particularly through leadership of major orchestras like the Los Angeles Philharmonic and Israel Philharmonic.[91] Mehta earned the Praemium Imperiale in 2008 from the Japan Art Association, a lifetime achievement award in music equivalent in prestige to the Nobel Prize for its fields, honoring his broad repertoire and global performances.[43] [92] He has accumulated 18 Grammy Award nominations across categories such as Best Opera Recording and Best Classical Album, though without a win, reflecting consistent critical recognition in recordings.[93]| Year | Award | Issuing Body/Authority |
|---|---|---|
| 1966 | Padma Bhushan | Government of India |
| 2001 | Padma Vibhushan | Government of India |
| 1995–1996 | Wolf Prize in Music | Wolf Foundation |
| 2006 | Kennedy Center Honors | John F. Kennedy Center for the Performing Arts |
| 2008 | Praemium Imperiale | Japan Art Association |