Beethoven’s moving Ninth Symphony is being performed on the 2019 Christmas Matinee (“Kerstmatinee“) under the direction of Franz Welser-Möst with a superb singer quartet. Many generations of listeners have attended the Concertgebouw Orchestra’s festive Christmas matinees since the tradition was founded. Beethoven’s Ninth Symphony is an appeal for universal brotherhood – indeed it contains some of the most moving music Beethoven ever composed. A large chorus and four vocal soloists share the stage with the orchestra to get this key message across and the work continues to enchant young and old alike.
Salzburg Festival 2022: Il trittico
Il trittico was premiered in New York on 14 December 1918, composed while the First World War was still raging in Europe. At first glance, the three one-act operas Gianni Schicchi, Il tabarro and Suor Angelica seem to have no connection with each other; their common denominator is solely the entanglement of man in a fateful destiny that only exceptionally, for a moment, seems to promise a happy outcome to the “adventure of life” — a set of themes that in its complexity seems to be in such good hands with few directors as with Christof Loy. The main female roles in the three opera acts are performed by the Lithuanian soprano Asmik Grigorian, a very rare and tremendous feat, but once again connects the works to each other. “Grigorian is […] a wonderful, intense performer: a gracefully graceful Donna fragile as Lauretta, a feverishly longing for love while tormented by guilt Giorgetta, and a desperately lost Angelica rebelling with defiance.” (Frankfurter Allgemeine Zeitung)
Odeonsplatz Concert 2025: Franz-Welser Möst & Daniil Trifonov
For 25 years, the Odeonsplatz Concert has been an open-air highlight of the classical music summer, attracting over 16,000 viewers each year. Star pianist Daniil Trifonov opened the evening with a thrilling performance of Prokofievís Third Piano Concerto, accompanied by the Bavarian Radio Symphony Orchestra under Franz Welser-Möst. In the second half, Welser-Möst delighted the audience with the irresistible melodies from Richard Strauss’s Rosenkalavier. “Trifonov remains the ideal choice for Prokofiev” (Süddeutsche Zeitung). PROGRAM Prokofiev: Piano Concerto, No. 3; R. Strauss: Suite from Der Rosenkavalier (arranged by Franz Welser-Möst); J. Strauss: Unter Donner und Blitz
Festive Gala from the Semperoper Dresden 2018 – J. Strauss: The Bat
In this gala evening from the Semperoper Dresden Franz Welser-Möst brings his incomparable musicianship to the most Viennese of all operettas, Johann Strauss Jr.’s “Die Fledermaus”. The concert version shines with a distinguished cast headed by star tenor Jonas Kaufmann as Eisenstein, Rachel Willis-Sørensen as Rosalinde and Elisabeth Kulman as Prince Orlofsky. A sparkling production full of fizz and subtle humor.
Franz Welser-Möst conducts Schönberg, Strauss and Ravel
In this subscription concert, Franz Welser-Möst and the Wiener Philharmoniker whisk the audience away to the early 20th century and its variety of styles, from preserving tradition to embracing modernity. Starting with Hindemith’s Konzertmusik for wind orchestra, the superb wind section shows what they are made of: “From the very first fanfare sounds of the opening movement you could feel the fun they had” (Die Presse). With the rarely performed Strauss fantasy on Die Frau ohne Schatten, Ravel’s La Valse and Schönberg’s Variations for orchestra, Welser-Möst shows top form at the podium: “It’s impressive how Welser-Möst gives each piece its own aura. How he leads the perfectly studied musicians to snappy steps and artfully stylised dance forms, or how he revels in the splendour of sound in Strauss and Ravel” (Kronenzeitung).
Vienna Boys’ Choir – The Augarten Concert
One of the best known boys’ choirs in the world, the Vienna Boys’ Choir, celebrating the opening of their new concert hall with choral pieces from Praetorius to Verdi.
Salzburg Festival 2022: Suor Angelica
In Suor Angelica the perspective has narrowed to the tragic fate of a single figure, the young nun Angelica. Banished to the convent for an indiscretion, she leads a joyless existence and waits for news of her son, whom she has been forbidden to see since his birth. When she learns that he has died, she resolves to put an end to her life. The climax of the opera is an extended monologue lasting 20 minutes in which Angelica works through her doubts as a devout Catholic and frees herself from her feelings of guilt and remorse. In a redemptive ending she finally transcends all her pain and escapes her agony. With a radiant finale Puccini opens up a path for her into the spheres of celestial paradise. “Overwhelming” Opernwelt
Salzburg Festival 2022: Il Tabarro
In Il tabarro (‘The Cloak’), surrounded by the decaying miasma of the river Seine, we have arrived in purgatory on earth. Puccini sets the piece in the present day, in Paris, in a realistic, Simenon-like milieu of stevedores, drinkers, and whores. In an oppressive atmosphere of hopelessness a love triangle arises between Giorgetta, her husband – the barge owner Michele – and his stevedore Luigi. Giorgetta is a woman with a history: she’s a mother who has lost a child and whose marriage is on the verge of breakdown. She starts an affair with Luigi, which gives her a momentary escape from the bleakness of her everyday life… Il tabarro fathoms the entire unremitting darkness of human existence. “Grigorian’s final scene, which milks the unexpected poignancy of her simply changing in front of us from her habit into a sleek black cocktail dress and letting down her hair, is just as wrenching.” The New York Times
Salzburg Festival 2022: Gianni Schicchi
In Gianni Schicchi, with its playful levity, peals of unbounded, strident laughter ring out – albeit of the kind that can only be heard in hell. We are in Florence, in the house of Buoso Donati, who has just died. Once the will has been found, his assembled kinsfolk – degenerate aristocrats – discover they have been deprived of their inheritance. After initial reluctance they bring themselves to seek assistance from an unpopular newcomer, the cunning Gianni Schicchi. He sets to work, ruthlessly turning the situation to his own advantage – not for nothing does he rage through Dante’s Inferno as a kind of sinister poltergeist. “Great opera cinema!”
Kronenzeitung
Wiener Philharmoniker & Welser-Möst: Mahler 9
An event – and not only for the listeners, but also for the orchestra as Philharmonic board member Daniel Froschauer emphasizes “This is an incredible work – really written for us. Mahler really pushes the limits in this piece!” Gustav Mahler and the Wiener Philharmoniker have indeed a very special relationship. Not only did the great composer, who was conductor and head of the Vienna State Opera, conduct the Wiener Philharmoniker regularly and – from 1898 to 1901 – even the famed Subscription Concert Series. The orchestra also premiered Mahler’s 9th Symphony in June 1912 – one year after the composer’s death. Bruno Walter conducted the world premiere, for this concert it is Austrian conductor Franz Welser-Möst, someone whom knows the orchestra better than most other conductors.