Program: Dmitri Shostakovich: Festive Overture / Gaetano Donizetti: “Prendi, per me sei libero” from L’elisir d’amore / Carl Maria von Weber: Concertino for Clarinet and Orchestra in E flat major / Alexander Glazunov: Chant du ménestrel for Cello and Orchestra / Johann Sebastian Bach: Cello Suite No. 1 in G major – Sarabande: Irving Berlin Puttin’ on the Ritz / Giacomo Puccini “O mio babbino caro” from Gianni Schicchi / Igor Stravinsky: Three pieces for Clarinet solo / Jules Massenet: Elégie / Pyotr Ilyich Tchaikovsky: Overture to The Nutcracker
Salzburg Festival 2025: Oedipus Rex
Under Esa-Pekka Salonen, the Wiener Philharmoniker perform Stravinsky’s Oedipus Rex with explosive power. The stellar cast includes Allan Clayton, Marina Viotti, Michael Volle and Academy Award winner Christoph Waltz, who “performs this speaking role with subtle restraint” (BR Klassik). The concert also features Berlioz’s Symphonie fantastique “in a performance where everything is just right” (Der Standard). PROGRAM Stravinsky: Oedipus Rex; Berlioz: Symphonie fantastique
Wiener Philharmoniker: Tugan Sokhiev & Martha Argerich
“Glaring drama and bizarre comedy, lyrical poetry and gripping, vivid theatricality: Argerich demonstrated this par excellence in Prokofiev” (Der Standard). Under Tugan Sokhiev, the Wiener Philharmoniker presents two masterpieces of the early 20th century: Classical icon Martha Argerich interprets Sergei Prokofiev’s Third Piano Concerto with “great dexterity and fire” (Die Presse), “Thunderous cheers and bravos!” (Kronenzeitung). Igor Stravinsky’s ballet music “Petrushka” (1911 version) was transformed by Sokhiev “into a furious sound theatre” (Kurier). PROGRAM Prokofiev: Piano Concerto No. 3; Scarlatti: Sonata, K.141; Stravinsky: Petrushka – Suite
Yuja Wang & Mahler Chamber Orchestra
“Virtuosic sparks” (klassik.com) As Artistic Partner of the Mahler Chamber Orchestra, piano virtuoso Yuja Wang not only dazzles at the grand piano, but also gives her conducting debut. After an amuse-bouche of Mozart’s “precisely articulated and dynamically shaded” Serenade in E flat major, Wang takes the stage with Stravinsky’s Concerto for piano and wind orchestra and concludes the concert with a striking rendition of Gershwin’s Rhapsody in Blue: “With dreamlike chord accuracy and flawlessly rapid repetitions, she presents the rhythmic finesse of Gershwin’s music and demonstrates an unerring sense of jazzy impetus” (klassik.com). Mozart: Serenade for wind instruments, K. 375; Stravinsky: Concerto for piano and wind instruments; Dvorak: Serenade for wind instruments, cello and double bass in D minor, Op. 44; Gershwin: Rhapsody in Blue (arr. Ferde Grofé); Marquez: Danzón No. 2 (arr. Gómez-Tagle)
Grafenegg: Midsummer Night’s Gala 2021
Every year some of the world’s finest soloists meet at the Wolkenturm in Grafenegg. The Tonkünstler Orchestra, under the baton of Yutaka Sado, rolls out a scintillating carpet of sound in the Schlosspark. In 2021, soprano Rachel Willis-Sorensen, one of the most exsiting contemporary vocalists, takes charge of the Wolkenturm. Together with tenor Benjamin Bruns and the pianist and artistic director of Grafenegg, Rudolf Buchbinder, they delight the audience with masterpieces from Schumann to Lehár. The wonderful open-air setting is illuminated by a “light score” by light artist Marcus Neustetter.
Quinte & Sens: Symphony of the Elements
This film by François-René Martin & Gordon combines breathtakingly beautiful images with the magnificent sound of the Orchestre de Paris. It creates a new Symphony representing the four Classical Elements: Fire (Stravinsky’s “Firebird”), Earth (Adoration of the Earth in Stravinsky’s “Rite of Spring”), Water (Debussy’s “La Mer”), Air (Dialogue of the Wind and the Sea in “La Mer”). As a fifth element it adds Olivier Messiaen’s “L’Appel interstellaire” (Interstellar call) from “Des Canyons aux Étoiles” (From the canyons to the stars). The word Quintessence was originally the Latin expression for the fifth element (quinta essentia, literally “fifth being”). According to Aristoteles, there was aether as massless, unchangeable, eternal substance beyond the lunar sphere. This “fifth element” thus had completely different properties than the earthly ones. Filmed inside and outside the stunning Philharmonie de Paris in true Hollywood style this is a new milestone in the creative visualization of music. A fascinating feast for the eyes and ears.
La Casa Dei Suoni – The House of Magical Sounds
This film is both a memoir of the Berliner Philharmoniker director Claudio Abbado´s early years, and a personal introduction to the orchestra. It culminates in a deeply felt introduction to the sections of the orchestra with Abbado leading the Youth Orchestra of a United Europe.
LSO: Gianandrea Noseda & Seong-Jin Cho
Korean pianist Seong-Jin Cho and the music of Frederic Chopin – could there be a more instinctive pairing? Well, Cho has developed a special rapport with the London Symphony Orchestra, and his previous performances with the LSO’s principal guest conductor Gianandrea Noseda have been received with little short of rapture. Tonight, they rekindle the flame in Chopin’s impassioned Second Concerto; the luminous centrepiece of a concert that opens with Stravinsky’s colourful tribute to Tchaikovsky and ends with the high romance and epic adventure of Borodin’s Second Symphony – music close to the heart of the St Petersburg-trained Noseda. PROGRAM Stravinsky: Divertimento from ‘The Fairy’s Kiss’; Chopin: Piano Concerto No 2; Borodin: Symphony No 2
LSO: Rattle conducts Folk Roots, Urban Roots
Jubilent Eastern European folk music, swinging Latin American rhythms and toe-tapping jazz are brought together in an ambitious programme featuring the legendary Labeque Sisters under the baton of Sir Simon Rattle. PROGRAM Bartok: Hungarian Peasant Songs; Szymanowski: Harnasie; Stravinsky: Ebony Concerto; Golijov: Nazareno; Bernstein: Prelude, Fugue and Riff
LSO: Rattle conducts Stravinsky Ballet Music
An authority on Stravinsky, Sir Simon Rattle celebrates three of the composer’s revolutionary ballets. Stravinsky sent shockwaves through classical music in the 20th century. His first three ballets – The Firebird, Petrushka and The Rite of Spring, all composed between 1911 and 1913 – brought a new and frenzied sense of rhythm, so distressing to audiences that it caused uproar; The Rite of Spring even caused a riot. And it’s not hard to see why. Is there any moment in music more demonic than the opening to The Firebird, a terrifying rumble of strings that would make Jaws tremble? There are few pieces more unsettling than The Rite of Spring with ist carnal, tribal rhythms; or Petrushka with ist impish Punch and Judy puppets. Sir Simon Rattle brings these three creations to life in this dramatic programme. PROGRAM STRAVINSKY The Firebird (original ballet), Petrushka (1947 version), The Rite of Spring