With Carl Orff’s Carmina Burana, one of the most popular pieces in music history and the most performed choral/orchestral work of the 20th century, Teatro La Fenice returns to the Piazza San Marco in Venice, in front of the magnificent façade of the Basilica di San Marco. Conducted by the great master Fabio Luisi, featuring the word-class singers Regula Mühlemann, Michael Schade and Markus Werba it was a magnificent event. “La Fenice’s orchestra and choir, in this case with the addition of the Piccoli cantori veneziani in the final part, have hit the mark“ (Il Gazzettino) with this concert and “it is noticeable overall the work made by the conductor Fabio Luisi, who managed to maintain the tension of the various historical pages with determination and energy.” (Il Gazzettino)
Klassik unterm Hakenkreuz / Music under the Swastika
“Music? You can’t destroy that…” Anita Lasker-Wallfisch Why was classical music so important to Hitler and Goebbels? The film centers around two people who represent musical culture during the Third Reich – albeit in very different ways. Wilhelm Furtwängler was a star conductor; Anita Lasker-Wallfisch, the cellist of the infamous Women’s Orchestra of Auschwitz. Both shared a love for the classical German music. The world-famous conductor made a pact with Hitler and his henchmen. The young woman, brought to Auschwitz for being Jewish, was spared death for her musical talent. German music was used to justify the powerful position the Third Reich claimed in the world, and to distract listeners from Nazi crimes. This music documentary by Christian Berger features interviews with musicians like Daniel Barenboim and Christian Thielemann; the children of Wilhelm Furtwängler; and of course 97-year-old survivor Anita Lasker-Wallfisch. Her memories are chilling. Archive film footage, restored and colorized, brings the story to life, and bears witness to an agonizing chapter in history.
We are Musical – Musical Highlights from Vienna
As part of the big musical concert, musical stars Carin Filipcic, Maya Hakvoort, Vanessa Heinz, Wietske van Tongeren, Gino Emnes, Oedo Kuipers, Lukas Perman and Mark Seibert perform the most beautiful melodies from the famous musicals Tanz der Vampire (Dance of the Vampires), Mozart!, I am from Austria, Don Camillo & Peppone, Rebecca, Elisabeth, Der Besuch der alten Dame (The Visit) and Schikaneder in the amazing atmosphere of the Vienna Ronacher. The Gala is hosted by VBW’s Artistic Director Christian Struppeck.
Three Tenors – Voices for Eternity
The documentary Three Tenors – Voices for Eternity, tells the story of the most successful concert in the history of classical music, featuring recent interviews with José Carreras, Plácido Domingo, Zubin Mehta, Pavarotti‘s widow Nicoletta Mantovani, Lalo Schifrin, Brian Large, Mario Dradi, Paul Potts, Sir Bryn Terfel, Norman Lebrecht, Didier de Cottignies and many more. Behind-the-scenes-footage, showing the emotional highlights of the first concert and the sequel in Los Angeles offers a fascinating insight into what takes place beyond the spotlight and it includes excerpts from the legendary concert of the Original Three Tenors – José Carreras, Plácido Domingo and Luciano Pavarotti, conducted by Zubin Mehta at the Terme di Caracalla, Rome 1990 on the eve of the Football World Cup..
Plácido Domingo at the Arena di Verona
Opera legend Plácido Domingo returns to the spectacular Arena di Verona, where he more than 50 years ago made his debut. Plácido Domingo and Saioa Hernández perform a programme dedicated to the great Italian composers Giuseppe Verdi and Umberto Giordano. Jordi Bernàcer conducts the Orchestra of the Arena di Verona from the center of the Arena, which creates an incredible surround sound, embedded in a perfectly staged light show. It had been an extraordinary evening, where “the duets saw the artists perfectly in harmony” (OperaClick) and “Domingo performed with bravura, alternating with the spectacular Saioa Hernández” (operaactual.com).
Lisa Batiashvili, Gautier Capuçon & Christian Thielemann
Violinist Lisa Batiashvili, cellist Gautier Capuçon, Christian Thielemann and the Staatskapelle Dresden present a sophisticated concert programme of three great composers: Johannes Brahms, Pyotr I. Tchaikovsky and Franz Liszt. In Brahms´ Double Concerto Lisa Bathiashvili is playing her Guarneri “with tenderness and devotion” (Der Neue Merker). Her lyrical, velevety performance is contrasted by Capuçon’s more throaty and vibrating tone: “The two ways of playing seem to collide sometimes but to match brilliantly at the same time”. Christian Thielemann and his Staatskapelle “are mixing different colours as if they were putting emeralds and rubies on precious metal, creating huge sonority but always retaining clarity in it” (Dresdner Neueste Nachrichten).
Juan Diego Flórez sings Mozart
Acclaimed across the globe for the beauty of his voice and the emotional power of his performances, Peruvian tenor Juan Diego Flórez, famous for his bel canto repertoire by Rossini, Donizetti and Bellini, shows in this concert another fascinating side to his vocal personality. The concert program includes many of the most popular Mozart arias – all of them magnificently performed by the Orchestra La Scintilla, an ensemble with outstanding reputation for their historical performance practice, led by Riccardo Minasi. This all-Mozart recital takes place at the Cuvilliés Theatre of Munich, one of the most beautiful Bavarian Rococo theatres. “Beautiful lyrical and elegant, Flórez shows all the emotions that Mozart captured in his scores – and the tenor’s multi-coloured spectrum of expression is impressive.” (Musik Heute)
Beyond Perfection – The pianist Arturo Benedetti Michelangeli
Arturo Benedetti Michelangeli – a name that provokes almost a sense of awe and intimidation, even among his piano-playing peers. It is a name that represents the highest degree of perfection, a quest for beauty that surpasses that of any other piano virtuoso. However Michelangeli also had a reputation for cancelling concerts at short notice and was consequently portrayed in the media as a somewhat neurotic artist. “Beyond Perfection – Arturo Benedetti Michelangeli“ is the result of a 30-year search that has resulted in unusual interviews with those who knew him, and has also uncovered a wealth of new archive material: We get to experience Arturo Benedetti Michelangeli as he has never been seen before – and more importantly, as he has never been heard before. We also witness the maestro’s struggle back to his former perfection after suffering a devastating heart attack. This homage to Michelangeli provides the first comprehensive and in-depth portrait of a brilliant pianist who achieved mythical status.
A Musical Journey Across Austria
The Vienna Johann Strauss Orchestra can rightly claim to be one of the most authentic ensembles for interpreting the music of the Strauss dynasty. Founded in 1966 in Vienna, the aim of the new orchestra was to cultivate both the music of the Strauss dynasty, as well as so-called ‘light’ Viennese music. This festive concert from the Golden Hall of the Musikverein Vienna is a musical journey across Austria and includes beautiful footage of the Austrian landscape and famous historical monuments, as well as short introductions by the conductor Johannes Wildner. Enjoy the magic of the music of the Strauss family and the accompanying impressions of Austria.
Ein deutsches Requiem
“A powerful moment of musical history recreated” says Classic FM about the Brahms Requiem interpretation by Paavo Järvi, the Grammy Award-winning Estonian-American conductor, and his orchestra, Deutsche Kammerphilharmonie Bremen. The performance corresponds with Brahms’ final version including all seven movements and using the same number of musicians as the composer himself. The premiere of the German Requiem took place on April 10, 1868, in Bremen Cathedral under the direction of the composer himself, although the fifth movement, which was created later, was still missing. On April 10, 2018, for its 150th anniversary, the work is back to the exact place of its premiere in Bremen Cathedral. “Valentina Farcas was the perfect female counterpart to Goerne, which was not easy. She convinced with impeccable phrasing, diction, and legato, she never got shrill and she was not afraid to take risks in the high notes.” (El Pais), “rarely you hear such an insightful performance!” (FAZ)