Conducting the Wiener Philharmoniker, Andris Nelsons presents a concert night which concentrates every conceivable passion: Bernd Alois Zimmermann’s Trumpet Concerto “Nobody knows de trouble I see” performed with “technical perfection” (Kronenzeitung) by “the fantastic Håkan Hardenberger” (Salzburger Nachrichten) and Mahler’s Symphony No. 2 in C minor “Resurrection”. “Nelsons proved to be delicate but hearty when interpreting Mahler.” (Wiener Zeitung). The conductor led the Vienna Philharmonic Orchestra to “enticingly beautiful sounds” (Die Presse). “High praise goes to the vocal soloists Ekaterina Gubanova, Lucy Crowe and the Bavarian Broadcasting choir.” (Salzburger Nachrichten) “Standing ovation”! (Kurier)
Gardiner conducts Haydn, Mendelssohn and Bruckner
Sir John Eliot Gardiner is most famous for his interpretations of Baroque music on period instruments, but his repertoire and discography are not limited to early music. In this production he is conducting the BR Symphony Orchestra with a program including Joseph Haydn’s: “Insanae et vanae curae”, Mendelsohn-Bartholdy’s Symphony No. 5 in D major/D minor (“Reformation) and Anton Bruckner’s Mass No. 1 in D minor.
LSO: Nathalie Stutzmann conducts Bruckner’s Symphony No. 9 and Te Deum
The obsessive Anton Bruckner worked on his Ninth Symphony for the last ten years of his life, but the concluding Adagio remained unfinished at his death in 1896. He is said to have suggested that his Te Deum be used in its place – and leaving aside the tonal shift from the D-minor symphony to a C-major hymn, it feels a fitting grand finale for the famously devout composer, who dedicated his last symphony to God. In a concert billed as A Blaze of Glory, the acclaimed Nathalie Stutzmann – who counts Bruckner among her three favorite composers to conduct – leads the London Symphony Orchestra and London Symphony Chorus, joined by soloists Lucy Crowe, Anna Stéphany, Robin Tritschler, and Alexander Tsymbalyuk, in a program that represents no less than the culmination of Bruckner’s life’s work, a mighty and magnificent call to heaven itself.
LSO: Kirill Karabits conducts Mahler No. 4
Mahler isn’t necessarily massive, and his Fourth Symphony begins with sleighbells, birdsong, and a melody straight out of Mozart. It all seems deliciously simple. But this is Mahler, after all, and between that playful opening and the final portrayal of a child’s Heaven, there’s a whole universe of drama, emotion and heart-piercing beauty. With soprano Lucy Crowe bringing all her insight and vocal radiance to that extraordinary finale, it’ll sound lovelier and more blissful than ever.
LSO Opening Night 2021: Rattle conducts 100 years of British music
Tradition is about the present – and the future – as well as the past. Sir Simon Rattle opens the new season with a concert that spans 100 years of British music. When Ralph Vaughan Williams conceived his Pastoral Symphony, it wasn’t the misty fields of an imaginary England that inspired him. He was in France, on the Western Front – where the sound of a distant trumpet unlocked a vision vast enough to transcend the noise (if not the anguish) of the First World War. But then, British music has never conformed to easy stereotypes. In this opening concert of the new season, Judith Weir reads ancient Taoist poetry, and finds ideas of radical simplicity. Peter Maxwell Davies attends an all-night party (and finds a bracing hangover cure) on his adopted home of Orkney. And because music never stands still, Sir Simon Rattle introduces the world premiere of two movements from a new choral work by Julian Anderson, inspired by the poetry of exile. Not what you might expect … PROGRAM Purcell: Remember not, Lord, our offences; Tippett: Praeludium; Julian Anderson: Two movements from ‘Exiles’ (world premiere); Judith Weir: Natural History; Vaughan Williams: A Pastoral Symphony (Symphony No 3); Maxwell Davies: An Orkney Wedding, with Sunrise
LSO: Harry Christophers conducts Haydn’s Creation
Haydn’s The Creation conducted by Harry Christophers with the London Symphony Chorus and Orchestra and an all-star team of soloists in a performance sung in English to mark the 40th anniversary of the Barbican Centre. Out of chaos comes wonder; from darkness, light. Haydn’s oratorio The Creation is more than just a gloriously tuneful retelling of the Book of Genesis. Inspired by Haydn’s visits to London and the optimism of the Enlightenment, it’s a celebration of the act of creativity itself, overflowing with majesty, humour and the joy of life. With its famous depictions of Chaos through the dawning of light to a tawny lion, a flexible tiger and a nimble stag and the great chorus, ‘The Heavens are telling’, the work has been a favourite since its first performance some 224 years ago.