“It’s all there in this Mozart adventure” (Kronenzeitung): Making his debut at the Salzburg Festival, Japanese pianist and conductor Kyohei Sorita (“a breath of fresh air” – Drehpunktkultur) performs two important piano concertos by Wolfgang Amadeus Mozart alongside the Mozarteum Orchestra Salzburg as part of the traditional Mozart
Matinees in the Great Hall of the Mozarteum Foundation. PROGRAM: Symphony in G major K. 318, Piano concerto in E-flat major K. 271 ‘Jeunehomme’, Overture from Le nozze di Figaro K. 492; Piano concerto in D major K. 537 ‘Coronation’; Alla Turca (Allegretto) from the Piano Sonata in A, K. 331 (encore)
Featuring two contrasting pieces that could not be more different, Daniele Gatti leads the Wiener Philharmoniker in one of their exclusive subscription concerts. Stravinsky’s rarely performed ballet suite Apollon Musagète starts off the concert, in which Gatti “carefully and objectively brings out Stravinsky’s neoclassical style as in a copperplate engraving” (Kurier). After, the Wiener Philharmoniker take on the masterpiece that is Shostakovich’s Symphony No. 10 in E minor, “bringing the dystopian crescendos of the first movement to bear just as grippingly as the steamhammer scherzo and the happy ending. The wind solos are inspired across the board, from the clarinet lament to a warm Mahler horn to the final bassoon jubilation: cheers at the Musikverein” (Der Standard). PROGRAM: Stravinsky – Apollon Musagète, ballet suite; Shostakovich – Symphonie Nr. 10, Op. 93
“With great momentum and a sense of drama” (Die Presse), this Mozart Week opening concert leaves nothing to be desired. González-Monjas “coaxed boundless energy out of the orchestra” (SN). Soprano Lauren Snouffer dazzled with Haydn and pianist Gabriela Montero offered a “fiery performance” (Das Opernmagazin) of Mozart’s piano concerto KV 466: “Montero (…) led the audience into romantic sound worlds, while in the encore she improvised on Cherubino’s “Voi sapete” and ended with Bach “à la Stokowski” (Salzburger Nachrichten).
From the Musikverein in Vienna, Renaud Capuçon is joined by the Münchner Philharmoniker and conductor Daniel Harding the first Austrian performance of his compatriot Thierry Escaich’s new Violin Concerto No. 2. A work of great drive and rhythmic vitality, it is coupled here with Bruckner’s Symphony No. 4 “Romantic” whose opening – with its horn theme intoned against shimmering strings – sets the scene for one of the composer’s most popular works, and a familar calling card for Harding, a conductor celebrated in this repertoire. PROGRAM: Escaich – Concerto for violin and orchestra (commissioned work and world premiere); Bruckner – Symphony No. 4 in E flat major
The Salzburg Festival features an extraordinary concert of Nono’s *Il canto sospeso*, which leaves the audience “speechless.” The composition, based on farewell letters from political prisoners, narrates actor Tobias Moretti amidst challenging music executed flawlessly by Maxime Pascal, the RSO, and the Bayerischer Rundfunkchor. The second half showcases Dallapiccola’s *Il prigionero*, with baritone Georg Nigl delivering a powerful performance. The concert concludes with the audience giving both reverent applause and standing ovations. “The burning humanity of Nono’s vision seemed to possess all who listened (and played)”(Seen and Heard)
The rising American soprano Emily Pogorelc is considered one of the most gifted singers of her generation, and is celebrated for her captivating stage presence. Under the baton of the new appointed conductor of the Mozarteum Orchestra Salzburg, Roberto González-Monjas, an entire Mozart program is presented to the audience of Salzburg Festival. Program: W. A. Mozart, Ballet music to the opera Idomeneo K. 367 (extracts); Se il padre perdei, Ilia’s aria from the oprera Idomeneo K. 366; Solitudini amiche — Zeffiretti lusinghieri, Ilia’s recitative and aria from the oprea Idomeneo K. 366;Entr’actes to the drama Thamos, König in Ägypten K. 345 (336a,; Schon lacht der holde Frühling, Aria for soprano and orchestra K. 580; Voi avete un cor fedele, Aria for soprano and orchestra K. 217; Bella mia fiamma, addio — Resta, o cara, Recitative and aria for soprano and orchestra K. 528
The Vienna Prater Picnic offers the perfect opportunity to enjoy a classical concert for free on a warm summer evening. With this open-air concert, the Wiener Symphoniker invite their audience to pack their picnic baskets and relax on the green Kaiserwiese of the Vienna Prater in front of the famous ferris wheel. This edition of the Picnic features Austrian singer Julian le Play as well as soprano Annette Dasch and baritone Georg Nigl. At the podium of the Wiener Symphoniker, Dirk Kaftan entertains with a crowd-pleasing programme featuring Johann Strauss II, Franz Lehár, Arturo Márquez and more.
The charming, elegant music of Joseph Haydn’s London symphonies is repeatedly punctuated by flashes of tragedy. But no sooner has the listener adjusted to a change of mood than it is over again. It’s these rapid changes of colour that are characteristic of Haydn, a composer of great versatility, depth of thought and wit. The Deutsche Kammerphilharmonie Bremen under the direction of its chief conductor Paavo Järvi makes all this audible and tangible. In the second part of their concert series on the London Symphonies at the Vienna Konzerthaus, they perform three more of Haydn’s London Symphonies, the Symphonies No. 93, No. 97 and No. 101 “The Clock”. For the recording of two of the London symphonies, Symphonies Nos. 101 and 103, the orchestra was honoured with the “Orchestra of the year 2023” award from the British classical music
magazine “Grammophone”, one of the most important awards in classical music.
“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)
“Thielemann, Levit and the Wiener Philharmoniker act like a single musical soul” (Kurier) The collaboration between Christian Thielemann and the Wiener Philharmoniker in their Brahms cycle is truly something special. One of the highlights is pianist Igor Levit’s passionate take on Brahms’ Piano Concerto in D minor. Critics have raved about how beautifully he connects with the orchestra, bringing out the nuances in the piece. After that stunning performance, they dive into Brahms’ Symphony No. 2, which impresses with its powerful moments and delicate details. Thielemann’s guidance, combined with the orchestra’s skill, really shines, setting a high bar for concert performances. PROGRAM: Brahms – Piano Concerto No. 1 in D minor, Op. 15; Symphony No. 2 in D major, Op. 73
