PROGRAM: Wagner: Ouvertüre zu »Der fliegende Holländer«, »Eine Faust-Ouvertüre« d-Moll (Fassung 1855), Gebet des Rienzi »Allmächt´ger Vater«, Ouvertüre zu »Rienzi«, Vorspiel zu »Lohengrin«, »Gralserzählung« des Lohengrin »In fernem Land«; Henze: “Fraternité”. Air pour Orchestre (1999); Wagner: »Rom-Erzählung« des Tannhäuser »Inbrunst im Herzen«, Ouvertüre zu »Tannhäuser«
Notte Italiana
Since its première in the year 2000, “Classics on Odeonsplatz” has been a highlight of the Munich cultural season. Flanked by stylishly illuminated historical edifices, such as the Theatiner Church and the Residence, some 16,000 people each year thrill to music in this unique atmosphere. The Feldherrnhalle as orchestral platform and the adjoining historical buildings make Odeonsplatz into an open-air arena with magnificent acoustics. On the program arias by Giuseppe VERDI (“Nabucco”, “Aida”, “La Traviata”), Giacomo PUCCINI (“Tosca”, Gianni Schicchi”, “La Bohème”) and Ruggero LEONCAVALLO “I Pagliacci”, amongst others.
Stuttgart Ballet Talks
A conversation about the origins and history of the ballet “The Taming of the Shrew”
with Tamas Detrich, Wolfgang Heinz and Reid Anderson
Anne-Sophie Mutter & Mutter’s Virtuosi
For years, Anne-Sophie Mutter has been performing together with various scholarship students of her foundation – in order to familiarize them with the life of a professional musician and to introduce them to a broader audience. In spring 2011 she also launched the project Mutter’s Virtuosi: This ensemble under the musical direction of the violinist consists of current and former scholarship holders of the of the Anne-Sophie Mutter Foundation as well as several other young musicians. This concert at Vienna’s Musikverein includes works by J. S. Bach, his Violin Concerto No. 1 and the Brandenburg Concerto No. 3, Vivaldi’s concert for three violins in F major, the Violin Concerto in A major by Joseph Bologne as well as the Nonet by André Previn, a commission for Mutter’s Virtuosi.
Salzburg Festival 2016: Yuja Wang and the Camerata Salzburg
The Camerata Salzburg, a musical mainstay in the city of Mozart’s birth, joins forces with French conductor Lionel Bringuier, one of the most promising young conductors of his generation, and Yuja Wang, who has established herself as an international sensation and a fixture among the world’s leading orchestras since her debut in 2007, for a concert featuring music of the early 20th century at Salzburg’s Haus für Mozart. PROGRAM: Ravel: Piano Concerto in G major; Gershwin: “Rhapsody in Blue”; Zoltan Kodaly: “Dances of Galanta”; Ravel: “Ma Mere l’oye”
“La Chasse – The Hunt” – Music from Paris and Vienna
The Bläserphilharmonie Mozarteum is one of the leading wind ensembles in the world. The musicians are members from the great symphony orchestras from all over the world. Once a year they come together for a special concert at the Großes Festspielhaus in Salzburg, which is always dedicated to a specific theme. “La chasse – The Hunt” builds a bridge from Vienna to Paris; hunting music of the 17th and 18th century from France and Austria is performed – on historical Parforce horns – as well as great entertaining music of the 19th and early 20th century, from Jaques Offenbach’s Cancan to Johann Strauss’s Radetzky March – original works as well as sensitively balanced stylistic arrangements for symphonic winds. It’s all about the hunt – in terms of content and music and with all its diversity and tradition. After all, people have always been hunting – deer, hares, but also happiness, success and love… . Also available is the documentary Huntsman’s Sound by Chris Kurt Weisz (A04550007 – 25′ min).
Salzburg Festival 2012: Ouverture Spirituelle – Claudio Abbado
After a gap of ten years, Claudio Abbado takes to the rostrum again to conduct a new special facet of the Salzburg Festival of Sacred Music, the Ouverture Spirituelle. The Italian maestro conducts the Orchestra Mozart of Bologna, an ensemble specially dedicated to performing the work of Mozart.
Rossini, Stabat Mater
Four superb soloists – Anna Netrebko, Marianna Pizzolato, Matthew Polenzani and Ildebrando d’Arcangelo – transform Rossini’s ‘Stabat mater’ into a feast of ‘italianità’, uniting their voices in a warm, mellow whole. After several successful performances of this rarely played sacred work in various cities, the Chorus and Orchestra of the Accademia di Santa Cecilia of Rome wind up their Rossini project with a performance at the Salzburg Festival, their first-ever guest appearance there. Anna Netrebko, whose aria ‘Inflammatus’ was for many the concert’s ‘unspoken high point’ (Die Presse), succeeded in ‘blending her voice beautifully into the soloist ensemble – one voice among equals in an excellent, well-balanced quartet’ (Salzburger Nachrichten).
Thielemann conducts Strauss
A magical evening at the Salzburg Festival: soprano Renée Fleming, conductor Christian Thielemann and the Wiener Philharmoniker perform works by Richard Strauss – ‘one of those musical events that prove that excellence truly is possible’ (El País). In her interpretation of four songs for voice and orchestra by Richard Strauss, along with a scene from ‘Arabella’, Fleming wanders along the summits of vocal artistry as a diva who dares to project the innermost emotions of the music she sings. Without a trace of bombast or heaviness, Thielemann and the Philharmoniker elaborate, as Der Standard writes, ‘a new vision of the Alpine Symphony’ that is characterized by a ‘chamber-musiclike transparency’.
Salzburg Festival: Opening Concert 2011
In the Mahler year 2011, the eminent Pierre Boulez conducted the traditional opening concert of the Wiener Philharmoniker at the Salzburg Festival. The concert begins with the “Lulu Suite” by Mahler’s pupil Alban Berg. The music for the tragic temptress is sung here by the “dazzling” (Der Standard) young soprano Anna Prohaska. In Berg’s concert aria “Der Wein”, Dorothea Röschmann delivers a “masterful interpretation” (Die Presse). The main work of the concert is Gustav Mahler’s large-scale cantata “Das klagende Lied” of 1898/99 – a “great spectral opera for the mind’s eye” (Wiener Zeitung). Scored for massive orchestral and choral forces, the work also calls for three soloists, who are sung here with power and intensity by Dorothea Röschmann, Elisabeth Kulman and Johan Botha.