Mozart meets Hitchcock in this spooky interpretation of The Magic Flute in Vienna. With the aid of projections and stage elements by Falko Herold, director Barbora Horáková dreams up a cinematic, eerie setting full of references to famous horror flicks, creating “great suspense” (Kronenzeitung). At the podium, conductor Bertrand de Billy coaxes the most wonderful Mozart sounds from his musicians: “The orchestra manages something with Mozart that actually seems contradictory: the sound is both lush and wonderfully airy, however that works (…). The transparency and compelling tonal beauty alone make the visit worthwhile” (Kurier). The ensemble of singers leaves little to be desired, with Georg Zeppenfeld “reliably great” (Salzburger Nachrichten) as Sarastro, Ludwig Mittelhammer lending Papageno his “lovely baritone voice” (Kronenzeitung), Ilia Staple “witty” and “perfectly cast” as Papagena and Serena Saénz mastering her coloraturas as the Queen of the Night “with bravura” (News). Nevertheless, Slávka Zámecníková manages to excel above all: “The evening’s crowning glory was Slávka Zámecníková, who sang with her heart as she sang her Pamina: her soprano voice is full and refined, her phrasing beautiful and her expression undisguised” (Die Presse).
Fidelio
Since its complete recording of all Beethoven’s symphonies and their performance as a cycle in New York, Paris and at the Salzburg Festival, the Deutsche Kammerphilharmonie Bremen and its principal conductor Paavo Järvi are established as truly ideal interpreters of the music of Beethoven. According to The New York Sun they are “the authoritative Beethoven orchestra of our day”.
Salome
Richard Strauss’s opera at the Salzburg Festival, staged by Romeo Castellucci at the Felsenreitschule, was nothing short of a sensation! Debuting in the title role, Asmik Grigorian propelled herself to international stardom with her mesmerizing singing and acting abilities. The exceptional soprano recently won the International Opera Award as best singer. To witness Maestro Franz Welser-Möst performing together with the Wiener Philharmoniker and an outstanding cast “makes you think you are hearing the piece in its most perfect incarnation yet” (Financial Times). “Asmik Grigorian sweeps all in her wake in the title role of Strauss’s opera. […] Hers is a Salome to end all Salomes. […] In total, it is stunning…” (Financal Times) “thrilling” (Spiegel Online) “A breathtakingly dense, musically epoch-making […] Salome, which brought the house down!” (Neue Zürcher Zeitung)
J.S. Bach: Christmas Oratorio – Ballet by John Neumeier
“Rejoice, exult” – John Neumeier turns Bach’s Christmas Oratorio into an experience that confronts us all with the most basic questions of trust, hope, faith, doubt and self-sacrifice: “My choreography is not a religious undertaking. We perform to Bach’s music, for a few hours unifying individuals of many different cultural and religious backgrounds. For me, the basic human values expressed through the choreography are always the most important thing. Therefore, in my ballet, Mary is known simply as ‘the Mother’ and Joseph as ‘her Husband’.” “Once again it is impossible not to be impressed by the flawless technique of the ensemble … When at the end Lloyd Riggins tap-dances his way across the stage like Fred Astaire, the Christmas Oratorio is complete” (Süddeutsche Zeitung).
Festive Advent Concert at the Frauenkirche Dresden 2019
The Festive Advent Concert has become a much loved tradition in Dresden and one of German TV’s biggest classical music success stories. With the spirited Alondra de la Parra a phenomenal young conductor stands at the rostrum of the Staatskapelle Dresden. She is joined by sopranos Regula Mühlemann and Julia Muzychenko as well as tenor Julian Prégardien, presenting works and arias from Handel to Haydn, Schubert and Tchaikovsky to Reger. “A programme with quiet, contemplative passages and almost breathtaking emotional highlights, as well as dramaturgically coherent: a true gift” (Sächsische Zeitung).
Salzburg Festival 2025: Zaide or The Path of Light
Raphaël Pichon, Pygmalion and an “outstanding” (Kurier) cast of singers pull off “a Mozart miracle” (Kronenzeitung) with their new project at the Salzburg Festival. The unfinished singspiel Zaide, excerpts from Davide penitente and Thamos, and concert arias merge into a semi-staged evening that highlights the themes of humanity and freedom in Mozart’s work: “What Raphaël Pichon conjured up from his two excellent ensembles is almost impossible to describe; you simply have to experience it for yourself” (Die Presse). “One of the most powerful experiences of the past decades” (Kurier) “A magnificent quintet of soloists led by the divine Sabine Devieilhe” (Süddeutsche Zeitung)
Salzburg Festival 2018: Salome
“Salome”, the masterpiece of Richard Strauss, who conducted the very first opera in the history of the Salzburg Festival, finally returns to Salzburg after 25 years. To witness Franz Welser-Möst, a Strauss conductor in a league of his own, at the helm of the Wiener Philharmoniker “makes you think you are hearing the piece in its most perfect incarnation yet.” (Financial Times). The Italian director Romeo Castellucci has the extraordinary gift of creating images pulsating with knowledge of the subconscious, he is responsible for directing and designing stage sets, costumes and lighting. “Asmik Grigorian sweeps all in her wake in the title role of Strauss’s opera. […] Hers is a Salome to end all Salomes. […] In total, it is stunning…” (Financal Times)
J.S. Bach: Christmas Oratorio – Ballet by John Neumeier
“Rejoice, exult” – John Neumeier turns Bach’s Christmas Oratorio into an experience that confronts us all with the most basic questions of trust, hope, faith, doubt and self-sacrifice: “My choreography is not a religious undertaking. We perform to Bach’s music, for a few hours unifying individuals of many different cultural and religious backgrounds. For me, the basic human values expressed through the choreography are always the most important thing. Therefore, in my ballet, Mary is known simply as ‘the Mother’ and Joseph as ‘her Husband’.” “Once again it is impossible not to be impressed by the flawless technique of the ensemble … When at the end Lloyd Riggins tap-dances his way across the stage like Fred Astaire, the Christmas Oratorio is complete” (Süddeutsche Zeitung).
St. John Passion
In 2024, J. S. Bach’s “St John Passion” celebrates 300 years since its creation. To celebrate this milestone, the Thomanerchor and Gewandhausorchester Leipzig under Thomaskantor Andreas Reize present the masterpiece at St. Thomas Church Leipzig in its original version, together with a star cast of soloists and Julian Prégardien as the evangelist.
RCO: Mäkelä conducts Mozart & Sibelius
The Finnish conductor Klaus Mäkelä, who will become the orchestra’s eighth Chief Conductor in 2027, is leading the orchestra in Sibelius’s Fourth Symphony and in Mozart’s emotional Requiem: it’s fascinating music surrounded by speculation. The work thus became a requiem for Mozart himself, as well as a universally loved masterpiece which still serves as a source of comfort, reflection and pure listening pleasure to many. Jean Sibelius’s Fourth Symphony, a work full of menace and darkness – yet the work is not all doom and gloom: Sibelius’s Fourth contains beautiful moments of hope, light and mystery. PROGRAM Sibelius: Symphony No. 4; Mozart: Requiem