“This production quite possibly shows us the path that musical theater will be taking in the future” (Die Zeit). Indeed, the Catalan city of Valencia is setting new accents in 21st-century opera not only with its spectacular, futuristic opera house, the Palau de les Arts “Reina Sofía” designed by Santiago Calatrava, but also with the visually transfixing production of Wagner’s “Ring” staged there by Carlus Padrissa and his theater group La Fura dels Baus. The Barcelona-based Fura became known internationally when it designed and carried out the opening ceremonies of the 1992 Barcelona Olympics, and made its breakthrough in the classical world with its production of Berlioz’s “La damnation de Faust” at the 1999 Salzburg Festival. The Fura’s trademark is its spellbinding fusion of movement, sound, music, dance, acrobatics and technology into unforgettable stage events of sometimes raw but always captivating power. In the world of opera, the ensemble has defined its personal style through its exploitation of large-screen projections, the extraordinary mobility of the performers, and the magical use of human beings to create organic structures that evoke objects such as Valhalla (in this “Ring” production). Indeed, La Fura was predestined for Wagner’s visionary world: his dream of a Gesamtkunstwerk becomes reality as a shape-shifting sequence of tableaux unfolds before our eyes with all the elements that constitute the “lenguaje furero” or “Fura idiom”. Eminent conductor Zubin Mehta leads world-class Wagner singers such as Matti Salminen, Peter Seiffert, Juha Uusitalo, Jennifer Wilson and Lance Ryan.
Der Ring des Nibelungen – Götterdämmerung
“This production quite possibly shows us the path that musical theater will be taking in the future” (Die Zeit). Indeed, the Catalan city of Valencia is setting new accents in 21st-century opera not only with its spectacular, futuristic opera house, the Palau de les Arts “Reina Sofía” designed by Santiago Calatrava, but also with the visually transfixing production of Wagner’s “Ring” staged there by Carlus Padrissa and his theater group La Fura dels Baus. The Barcelona-based Fura became known internationally when it designed and carried out the opening ceremonies of the 1992 Barcelona Olympics, and made its breakthrough in the classical world with its production of Berlioz’s “La damnation de Faust” at the 1999 Salzburg Festival. The Fura’s trademark is its spellbinding fusion of movement, sound, music, dance, acrobatics and technology into unforgettable stage events of sometimes raw but always captivating power. In the world of opera, the ensemble has defined its personal style through its exploitation of large-screen projections, the extraordinary mobility of the performers, and the magical use of human beings to create organic structures that evoke objects such as Valhalla (in this “Ring” production). Indeed, La Fura was predestined for Wagner’s visionary world: his dream of a Gesamtkunstwerk becomes reality as a shape-shifting sequence of tableaux unfolds before our eyes with all the elements that constitute the “lenguaje furero” or “Fura idiom”. Eminent conductor Zubin Mehta leads world-class Wagner singers such as Matti Salminen, Peter Seiffert, Juha Uusitalo, Jennifer Wilson and Lance Ryan.
Der Ring des Nibelungen – Siegfried
“This production quite possibly shows us the path that musical theater will be taking in the future” (Die Zeit). Indeed, the Catalan city of Valencia is setting new accents in 21st-century opera not only with its spectacular, futuristic opera house, the Palau de les Arts “Reina Sofía” designed by Santiago Calatrava, but also with the visually transfixing production of Wagner’s “Ring” staged there by Carlus Padrissa and his theater group La Fura dels Baus. The Barcelona-based Fura became known internationally when it designed and carried out the opening ceremonies of the 1992 Barcelona Olympics, and made its breakthrough in the classical world with its production of Berlioz’s “La damnation de Faust” at the 1999 Salzburg Festival. The Fura’s trademark is its spellbinding fusion of movement, sound, music, dance, acrobatics and technology into unforgettable stage events of sometimes raw but always captivating power. In the world of opera, the ensemble has defined its personal style through its exploitation of large-screen projections, the extraordinary mobility of the performers, and the magical use of human beings to create organic structures that evoke objects such as Valhalla (in this “Ring” production). Indeed, La Fura was predestined for Wagner’s visionary world: his dream of a Gesamtkunstwerk becomes reality as a shape-shifting sequence of tableaux unfolds before our eyes with all the elements that constitute the “lenguaje furero” or “Fura idiom”. Eminent conductor Zubin Mehta leads world-class Wagner singers such as Matti Salminen, Peter Seiffert, Juha Uusitalo, Jennifer Wilson and Lance Ryan.
Danish National Symphony Orchestra Nielsen – Dvorak – Brahms – Sibelius
The opening of Copenhagen’s new concert hall, the spectacular Koncerthuset, was celebrated with a very special project: to present their new home to a broad public the Danish National Symphony Orchestra and its chief conductor Thomas Dausgaard performed four popular works within the classical symphonic tradition, Nielsen’s Symphony No. 3 (Length: 39’), Dvorak’s Symphony No. 9 (Length: 45’), Brahms’ Symphony No. 1 (Length: 49’) and Sibelius’ Symphony No. 5 (Length: 35’). Additionally, the performances were filmed on highest standards and with an extensive setup of cameras.
RCO: Gatti conducts Beethoven & Brahms
Outstanding German violinist Frank Peter Zimmermann, who has been performing regularly with the RCO since 1990, collaborates once more with Daniele Gatti to great acclaim. Within the lush, energetic melodies of Beethoven’s immensely popular Violin Concerto the solo violinist showcases his artistry. Under Gatti’s guidance, “the coordination between orchestra and soloist is especially fine” (Bachtrack). It is followed by Brahms’ First Symphony. It took Brahms at least 14 years to complete it, as he battled self-doubt, when comparing it to Beethoven’s symphonies. The audience, however, gave the work the highest praise by dubbing it “Beethoven’s Tenth”. Gatti gives the score a reading of high drama, leading the RCO to a most convincing finale. “In an onslaught of inspiration, all musicians climbed to a level you rarely hear … An unforgettable evening!” (Het Parool). PROGRAM: Beethoven: Violin Concerto; Brahms: Symphony No. 1
RCO: Gatti conducts Bruch & Mahler
Chief conductor Daniele Gatti and star violinist Janine Jansen unite in Max Bruch’s First Violin Concerto, a warm-blooded work which fits Jansen like a glove. Listening to the concerto, with its sweetly flowing melodies and blazing solo passages, one would never know that it took Bruch four years of frustration to write. Almost immediately after it was premiered, it was considered one of the most popular violin concertos in the repertoire. Daniele Gatti and the Royal Concertgebouw Orchestra are pursuing their Mahler series with the First Symphony. At the premiere in 1889, the audience was ill-prepared for Mahler’s bold orchestration, but the symphony gradually gained in popularity. The Concertgebouw Orchestra, conducted by the composer himself, gave the Dutch premiere in 1903. Mahler was absolutely delighted, exclaiming, ‘The musical culture in this country is stupendous! The way the people can just listen!’ PROGRAM: Bruch: Violin Concerto; Mahler: Symphony No. 1
RCO Opening Night 2018: Thomas Hengelbrock & Evgeny Kissin
RCO Opening Night is the festive opening of the Royal Concertgebouw Orchestra’s new season in the company of loyal audience members and new friends. The fourth RCO Opening Night in the history of the Royal Concertgebouw Orchestra is led by Thomas Hengelbrock. Pianist Evgeny Kissin, without a doubt one of the biggest piano players of our time – some say a living legend – is returning to the Concertgebouw Orchestra for the first time since 1994. He is playing the solo in Liszt’s First Piano Concerto. This concert, suffused with the spirit of Romanticism, opens with Berlioz’s concert overture Le Carnaval Romain with its beautiful English horn solo. Mendelssohn’s passionate ‘Italian’ symphony is flanked by works from beloved Italian operas, with several more musical surprises to follow.
RCO: Haitink conducts Mozart & Bruckner
Conductor laureate Bernard Haitink conducts Bruckner and Mozart. For the first time in almost 35 years he will be leading the Concertgebouw Orchestra in Bruckner’s Sixth Symphony. The composer himself considered this die keckste (the boldest) of all his symphonies. More than his other ones this symphony emphasises the rhythm and dynamics instead of the monumental construction. At the premiere conducted by Gustav Mahler, three years after Bruckner’s death, the Sixth left its audience in a state of confusion, and is still not performed often today. This must be some kind of mistake as it is a brilliant symphony full of insights into the human existence – earning it the nickname The Philosopher – and offers much to enjoy. Pianist Mitsuko Uchida, back since seven years, performs Mozart’s Piano Concerto No. 23. In this work the woodwinds play a significant role and Mozart allows several melodies from the operas he was working on in the same time period to seep in. PROGRAM: Bruckner: Symphony No 6; Mozart: Piano Concerto No. 23
Lahav Shani conducts the Rotterdam Philharmonic Orchestra
In his inaugural performance as the new Music Director of the Rotterdam Philharmonic, Lahav Shani leads the orchestra in Shostakovich’s Fifth Symphony, a work from 1937 that returned the composer into Stalin’s good political graces after being denounced by the Soviet regime. And a renowned Beethoven interpreter with hundreds of recordings of the composer’s music to his name, Daniel Barenboim performs Beethoven’s Third Piano Concerto, a startlingly dramatic work inspired by Mozart’s own in C Minor (K. 491). PROGRAM Shostakovich No. 5; Beethoven: Third Piano Concerto; Orthel, Scherzo No. 2 for Orchestra
RCO Opening Night 2019: Elim Chan & Simone Lamsma
The Royal Concertgebouw Orchestra starts its new season with a festive inauguration dedicated to Pyotr Ilyich Tchaikovsky, illustrating the diversity and richness of his oeuvre. Dutch Violinist Simone Lamsma performs Tchaikovsky’s popular Violin Concerto, a technically extremely challenging piece. Hong Kong-born Elim Chan – one of the most exciting conductors of the younger generation – is on the rostrum. Also on the programme is the Fantasy Overture Romeo and Juliet as well as an orchestral Suite from the ballet Swan Lake that takes listeners deeper into Tchaikovsky’s romantic fairy-tale world.PROGRAM Tchaikovsky: Violin Concerto; Fantasy Overture “Romeo et Juliette”; Suite from Swan Lake