With this majestic performance of Beethoven‘s Missa solemnis, Nikolaus Harnoncourt once again demonstrates why he is to be ranked as one of the very few truly significant musicians of our time. Created between 1819 and 1823, the Missa solemnis is the most extensive non-stage work that Beethoven wrote. This magnificent choral piece represented a great personal struggle for the composer, who famously inscribed the top of the score with the words “From the heart – may it return to the heart.” Tim Ashley, reviewing a repeat concert at London’s Barbican, wrote in The Guardian: “This shattering performance ranked among the greatest I have heard.”
Beethoven, Missa Solemnis
With this performance of the Missa solemnis Nikolaus Harnoncourt, Honorary Guest Conductor of the Royal Concertgebouw Orchestra, once more attained the status of a living legend, due mostly to his wide-ranging expertise of music from the Baroque and Classical era. The highly acclaimed soloists are Marlis Petersen (Soprano), twice the singer of the year by the renowned Opernwelt magazine, Elisabeth Kulman (Alto), Werner Güra (Tenor), winner of the BBC Music Magazine Award for the best vocal performance, and Gerald Finley (Bass), Grammy-Awardwinner for the best opera recording. They are accompanied by the famous Netherlands Radio Choir.
Salzburg Festival 2023: Falstaff
Falstaff is Giuseppe Verdi’s third opera based on a Shakespeare play and the last opera he composed. Designed as a comedy of errors, it illustrates the abysses of human inadequacies. Christoph Marthaler, “that wondrous theatre magician” (Tiroler Tageszeitung), stages the comedy as a tongue-in-cheek Orson Welles homage, who himself
impersonated and filmed “Falstaff” in 1965, and moves the action from Windsor around 1400 to a chaotic film set of the 1960s: a confusion of identities and genres. “Avantgardiste conductor and Falstaff debutant Ingo Metzmacher gave his Falstaff orchestra the ride of its life. It was mighty and infectious.” (operatoday.com) The Canadian bass-baritone Gerald Finley in the title role is convincing with his “magnificent playing marked by precise laconism” (Frankfurter Allgemeine Zeitung), Russian soprano Elena Stikhinas in the role of Alice “enchants with heavenly heights” (Südwest Presse). “Creative and innovative” Kurier
Mariss Jansons conducts Brahms’ Requiem
‘Ich will euch trösten’ (I will comfort you), sings the soprano in Brahms’s Ein deutsches Requiem. Indeed, this is music of comfort, not of lamentation. With this work, Mariss Jansons is continuing the Requiem ritual started in 2011 to allow listeners to contemplate the transience of life at the beginning of autumn. Rather than using the standard Latin mass text, however, Brahms selected his own text from the Bible. He completed the work after the death of his mother. Following the premiere, the music critic Hanslick wrote, ‘Since Bach’s Mass in B minor and Beethoven’s Missa solemnis, nothing in this vein has been written which is comparable to Brahms’s Ein deutsches Requiem.’ It was this work, which became immensely popular, that truly established Brahms as a composer.