Leading German composer Hans Werner Henze’s early experiences of Nazism and wartime conscription left him with a passionate belief in music as a means of political resistance and as a healing force. Filmed while on a rare visit to his home town in Westphalia, Henze talks candidly about his youth, the development of his revolutionary aesthetic and his nomadic musical life. He is seen at work on the score for his opera, The Treacherous Sea.
Ingo Metzmacher conducts Hans Werner Henze’s Requiem
Few modern composers had a more meaningful relationship with both past and (very real) present than Hans Werner Henze – or a more acute ear for beauty. His Requiem of 1993 is simultaneously typical and utterly original: nine wordless concertos for trumpet, piano and a shimmering chamber orchestra, each charged (in Henze’s own words) “with the human fears and problems of our time, with illness and death, love and loneliness”. This film captures the world premiere performance in Frankfurt in February 1993, with Ueli Wiget on piano and the incomparable Håkan Hardenberger on trumpet – a landmark in postwar musical history.
Concierto Barroco
Der junge Lord
“The Young Lord” is a true ensemble opera, with impressive songs and an orchestra hardly larger than that of a Mozart opera, the characters being accompanied by respective leitmotifs or instruments. Henze frequently uses purely tonal structures. Yet this does not mean that Henze returns to the past, or that he betrays his avantgarde achievements. His style reveals a kind of highly ‘artificial’ and witty handling of tradition. The connoisseur recognizes many subtle allusions to tradition, while the ordinary listener enjoys everything he expects from a comic opera: lightness, tempo, wit, warmth and a touch of dream-world. “The Young Lord” was commissioned by the Deutsche Oper Berlin. Although Henze knew what artistic talent and possibilities were to be expected there, his justifiably high expectations were probably surpassed when he saw the first performance on 7 April 1965. Filippo Sanjust conjured up a most imaginative and accurate picture of the Biedermeier world upon the stage, which contains just enough fantastic exaggeration to fit the work. The producer, Gustav Rudolf Sellner, has put life into all those details in a manner that particularly benefits the film. Finally, Christoph von Dohnányi has proved to be the ideal Henze conductor.
Salzburg Festival 2025: The Raft of the Medusa
Henze’s Das Floß der Medusa is one of the most significant political works of 20th-century music. Inspired by Géricault’s painting, it recounts the true story of the 1816 shipwreck of the French frigate Méduse, in which 154 people were abandoned on a raft while those in power saved themselves. Since its premiere, it has stood as a powerful symbol of artistic resistance and remains strikingly relevant today. Henze’s haunting music, which gives voice to the victims of the shipwreck, is performed in Salzburg to perfection: “The ORF RSO Vienna and the choirs perform the piece brilliantly, as does the solo trio, through all the extremes of expression, which, after a sombre woodwind elegy, reach their climax in the finale. Pure horror takes orchestral form” (Der Standard). “Outstanding choirs” (Salzburger Nachrichten)
Salzburg Festival 2018: The Bassarids
“A completely gripping new production” (FAZ): 52 years after their premiere, Hans Werner Henze’s “The Bassarids” return, with Kent Nagano at the helm, to the Salzburg Festival for a rare revival of this modern classic in a highly dramatic psychological staging by Krzysztof Warlikowski. When Dionysus bursts into the intact world of ancient Thebes, he plunges it into chaos. In the gigantic three-part set of Malgorzata Szczesniak the captivating tale unfolds like a film using split-screen techniques. With “an ensemble that without exception has an outstanding cast”, the musical realization is “simply sublime” (Der Standard).
Salzburg Festival: L’Upupa – The Hoopoe and the Triumph of Filial Love
The world premiere of Hans Werner Henze’s opera, recorded live at the Salzburg Festival in 2003. The libretto is based on an old Syrian fairy tale concerning three rulers, three sons and three treasures. Matthias Goerne leads an international cast including Laura Aikin, John Mark Ainsley, Alfred Muff and Hanna Schwarz. Markus Stenz conducts the Wiener Philharmoniker.