On April 29, 2016, Zubin Mehta will celebrate his 80th birthday. On April 17, however, he will offer himself a birthday present of his own, together with the Israel Philharmonic Orchestra, which has appointed him Musical Director for Life. The event will take place in the new National Centre for the Performing Arts in Mehta’s birthplace, Mumbai, in India.
It will be a celebratory concert with works by three of Mehta’s favorite composers: The program will include Dvoráks “Carnival Overture”, Beethoven’s Concerto for Violin in D major, Op. 61 as well as Ravels’ “La Valse” and the second suite of “Daphnis & Chloé”. Pinchas Zukerman, one of Mehta’s closest colleagues – who has also always had a close connection to the Israel Philharmonic Orchestra – will be the soloist.
Surrounded by ruins in Syria’s capital Damascus, Ayham Ahmad sings accompanied by an out-of-tune piano about migration, hunger, and death. Threatened by Assad’s regime and ISIS, the Piano Man is silenced and must flee – to Germany. The documentary film The Pianist from Yarmouk tells the story of this Syrian refugee musician. After his arrival in Munich, we follow the life of a man who sang out against the suffering in his country until his instrument was destroyed. His fate stands for that of thousands – robbed of their hopes and dreams and forced to build a new existence.
Every year in summer some of the best musicians worldwide meet in Israel for The Jerusalem International Chamber Music Festival founded by Elena Bashkirova. In 2016, the 19th Festival is dedicated to interrelated composers like Brahms/Schumann, Bartók/Kodály or Schubert/Beethoven and many more – played by artists like Sir András Schiff, Baiba Skride or Emmanuel Pahud.
Midori’s recent interpretation of Johann Sebastian Bach’s Sonatas and Partitas for violin solo has earned her many accolades by audiences and the media worldwide. In August 2016, Midori performed these pieces, known as one of the most challenging for any violinist, for an audio-visual recording at the Castle of Köthen (Schloss Köthen), where Bach served as Court Chapel Master between 1717 an 1723. There, the precise, light but nevertheless emphatic playing by Midori unfurled a unique world of sound that maybe Bach himself had imagined while composing these polyphonic masterpieces. PROGRAM: J.S. Bach: Partitas and Sonatas for Solo Violin BWV 1001 – 1006
Music, especially Bach’s music, gave this artist the strength to survive unimaginable challenges. Zhu Xiao-Mei belongs to the “Lost Generation” that endured the worst excesses of Mao’s regime: several years of “re-education”, five years in a work camp, her family destroyed, endless deprivation and political intrigue… “Zhu Xiao-Mei: How Bach defeated Mao” is a portrait of an artist whose life is inextricably tied to Mao’s disastrous Cultural Revolution. In 1980 Zhu Xia-Mei emigrated to the United States, then decided to settle in Paris in 1984. In this film for the first time after 35 years she returns as a celebrated concert pianist to her roots with a triumphal tour to modern China.
When Andris Nelsons made his debut with the Gewandhausorchester Leipzig in 2011, the conductor and the orchestra are said to have felt a magical connection, which only a few years later resulted in his appointment as the 21st principal conductor of the world-renowned orchestra, beginning in 2018. In 2016, one of his concerts with the Gewandhausorchester featured three works by three composers, each of whom revolutionized the musical traditions of their times. Anton Webern, Richard Wagner and Igor Stravinsky. PROGRAM: Webern: Six Pieces for Orchestra; Wagner: Wesendonck Lieder; Stravinsky: Le Sacre du Printemps
Max Reger’s Piano Concerto was created in the summer of 1910 in Leipzig and was there brought into the world by pianist Frieda Kwast-Hodapp and the Gewandhausorchester under Arthur Nikisch. To date, few other artists have dared to undertake this pianistic challenge: The American Peter Serkin, however, is one of those few whose repertoire includes this rare piece. In the second part of the concert, Herbert Blomstedt approached Beethoven’s evocative impressions of nature in the Symphony No 6, the “Pastoral”. PROGRAM: Reger: Piano Concerto in F minor; Beethoven: Symphony No. 6
Berg’s “Wozzeck” is an indispensable work in the repertoire of any opera house. In Zurich, critics and audience celebrated director Andreas Homoki, General Music Director Fabio Luisi and baritone Christian Gerhaher for their intriguing interpretation of this masterpiece of operatic history. “It is an astonishing debut…: For the first time, Christian Gerhaher sings one of the most important operatic roles of the 20th century. That in itself is a great experience. But this evening is fantastic even beyond Gerhaher’s brilliant performance as a singer and actor thanks to the striking and truly exceptional interacting of music, scene, and singing. This Zurich ‘Wozzeck’ is phenomenal.” Süddeutsche Zeitung
A Romeo and Juliet opera without the poetic balcony scene and with a woman singing the role of Romeo: Vincenzo Bellini’s reworking of Shakespeare’s romantic tragedy is in many respects remarkable. Not least because the young composer presents in his opera “I Capuleti e i Montecchi” perhaps the most moving final scene of opera repertoire to date: Romeo and Juliet are both alive and conscious, allowing them to sing a duet before dying together. The Zurich Opera House has enlisted extraordinary and vivacious voices for the world’s most famous lovers: In the new Bellini production, American mezzo-soprano Joyce DiDonato – in a class of her own – performs the role of Romeo. At her side as Romeo’s beloved Giulietta is the young Ukrainian soprano Olga Kulchynska with an incredible acting and singing performance, making the audience hold ist breath during her subtle arias. Musical Director Fabio Luisi with the Philharmonia Zurich and Stage Director Christof Loy brought this poignant bel canto opera to stage in Zurich resulting in an utmost impressive TV experience.
Almost no other orchestra has been so involved with Gustav Mahler and established such an outstanding Mahler sound as the Lucerne Festival Orchestra. This tradition was continued in the summer of 2015. In his concerts with the Lucerne Festival Orchestra, the renowned 37-year-old Andris Nelsons conducted Mahler’s Fifth Symphony, a work whose emotional spectrum ranges from the opening movement’s funeral march, through the declaration of love in the famous Adagietto – which Nelsons interpreted as an “intense chamber music love song in the passionate dimensions of Tristan” (Neue Zürcher Zeitung) – to the jubilant hymn of the finale.
