“An insane program … A fascinating and crazy border crossing, never in danger of falling. And the audience is cheering” Die Welt. PROGRAM Ligeti: Concerto for Violin and Orchestra, Ligatura-Message to Frances-Marie (The Answered Unanswered Question), Op. 31b, “Ruhelos” from Kafka-Fragmente, Op. 24; Nörmiger: Toden Tanz from Tabulaturbuch auff dem Instrumente; Anonym: Byzantine Chant on Psalm 140; Schubert: String Quartet No. 14, D. 810 “Der Tod und das Mädchen”; Dowland: Pavane “Lachrimæ Antiquæ Novæ” for String Quintet from Lachrimæ, or Seaven Teares
Salzburg Festival 2017: Lorenzo Viotti conducts Beethoven and Schumann
Hailed as one of the most talented conductors of his generation, Lorenzo Viotti returns to the Salzburg Festival, which proved to be a stepping stone for the young Swiss: After he won the festival’s “Young Conductors Award”, leading the renowned Camerata Salzburg, he took the classical world by storm. Reunited with the Camerata, Viotti is joined by Sergey Khachatryan in the picturesque Großer Saal of the Stiftung Mozarteum. In their “debut of the young and wild” (ARD), they rise to the challenge that is Beethoven’s Violin Concerto: After all, Beethoven’s work was deemed too difficult whilst not being virtuosic enough when it premiered in 1806. Khachatryan demonstrates his extensive skills, producing “celestially delicate sounds” (drehpunktkultur.at). Viotti’s treatment of the “Renish”, Robert Schumann’s Third Symphony, is “youthful and brisk” (Kronenzeitung). PROGRAM Beethoven: Violin Concerto; Schumann: Symphony No. 3
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”
T.H.A.M.O.S.
Wherever they are, that’s where the action is. The Catalan theatre group La Fura dels Baus is staging T.H.A.M.O.S at the Felsenreitschule Salzburg. The performance is based on Thamos, King in Egypt, with interlude music by Mozart for the heroic drama written by Tobias Philipp Freiherr von Gebler, supplemented by other compositions by Mozart and texts by Nikolaus Tesla, Antonin Artaud and Alicia Aza. Mexican conductor Alondra della Parra conducts the Camerata Salzburg and a singer ensemble starring René Pape and Fatma Said.
W.A. Mozart: Concerto For Two Pianos
Mozart’s Concert for two pianos belongs to the most artful and ambitious works of this genre. Pierre-Laurent Aimard and Tamara Stefanovich, these days two of the leading interpreter’s of Mozart’s Music, performed this work at the “Mozartwoche 2008” in Salzburg. Jonathan Nott conducts the Camerata Salzburg. Also on the programme: Mozart’s Serenade D Major KV 185 „Antretter-Serenade“. At the age of 16, Pierre-Laurent Aimard was awarded the chamber music prize of the Paris Conservatoire. In the same year he won the first prize at the international Olivier Messiaen Competition. In 1977, at the invitation of Pierre Boulez, he became a founding member of the Ensemble InterContemporain. In addition to his work with contemporary music, Aimard has recorded the five Beethoven piano concertos with Nikolaus Harnoncourt and the Chamber Orchestra of Europe, at the invitation of Harnoncourt. Tamara Stefanovich enjoys a busy performance schedule which includes recitals, music festivals and concert performances with some of the world’s leading symphonic and chamber orchestras.
Hélène Grimaud plays Mozart and Schumann at Elbphilharmonie Hamburg
Mozart did not write many works in minor tonalities, but those that he did were particularly impactful. They are also the ones that French pianist Hélène Grimaud most enjoys spending time with because they “provide a glimpse behind the mask of jollity that surrounds many of his famous works.” Selecting pieces that are all in minor keys yet composed during intensely creative periods in both Mozart’s and Schumann’s careers, Grimaud takes an insightful look at the composers and their popularity at the time. Grimaud’s performance in the beautiful hall of Hamburg’s Elbphilharmonie is a symbolic representation of an encounter with fate, where drama and tragedy meet, and an apt reminder that not all is as it seems. PROGRAM Mozart: Piano Concerto No. 20, K. 466; Symphony No. 40, K. 550; Schumann: Piano Concerto, Op. 54; Silvestrov: The Messenger (For Piano solo)