What all the works in this concert have in common is an unmistakable French freedom of form and sound, whether in Poulenc’s twelve-part vocal work or the large-scale but always transparent, almost pointillist orchestral compositions. There are no rules to be followed, but rather a freedom of expression that only results from the “uncertainty of the moment”. The critics are delighted: “an arresting evening” (Financal Times) PROGRAM Francis Poulenc: Figure humaine; Charles Koechlin: Les Bandar-log; György Kurtág: Petite Musique solennelle en hommage à Pierre Boulez 90; Maurice Ravel: Daphnis et Chloé
BPO: Rattle conducts John Adams: The Gospel According to the Other Mary
Sir Simon Rattle, the Berliner Philharmoniker and the Rundfunkchor Berlin give an impeccable performance of the powerful biblical oratorio “The Gospel According to the Other Mary” by John Adams, one of the most renowned contemporary composers. The sophisticated score with a libretto by acclaimed theatre director Peter Sellars comes to life thanks to the Berliner Philharmoniker, whose intimate knowledge of Adams’s music stems from the composer himself: He attended the orchestra’s rehearsals. In the role of the Evangelist, the “flawless” (Bachtrack) Bubeck, Cummings and Medley lead through the narrative. A stunning highlight is Lazarus’s aria, sung by tenor Peter Hoare – “grand!” (Berliner Zeitung). But at the heart of the piece are Mary Magdalene and her sister Martha during the last days before Jesus’s death, impressively performed by mezzo-sopranos Kelley O’Connor and Tamara Mumford.
Der Freischütz
The Catalan theatre company La Fura dels Baus is acclaimed worldwide for its avant-garde opera productions. In their production of “Der Freischütz,” created to celebrate the 200th anniversary of the opera’s premiere at the Konzerthaus Berlin as well as the 200th anniversary of the concert hall itself, La Fura dels Baus created a virtual forest in which the cast of amazing soloists as well as the choir performed with the Konzerthausorchester under music director Christoph Eschenbach. Without any audience present, the Great Hall of the Konzerthaus was thus transformed into a myth-filled installation – a 360-degree experience for all the senses.