Pianist Bruce Liu is the winner of the prestigious 2021 Chopin Competition and has been on the path of a stellar career ever since. Influenced by different cultures, he developed into one of the most musically expressive and technically gifted pianists of his generation. Bruce Liu made his grand debut in his native Paris with a Chopin program at the Théâtre des Champs-Élysées.
Masaaki Suzuki plays Arp Schnitger Organs – Bach and Buxtehude
Arp Schnitger (1648-1719) was one of the most influential among the Northern European organ builders. Of his more than 150 organs built or rebuilt especially in the Netherlands and Northern Germany, a number of these instruments still survive and are being played to the day. Conductor, cembalist and organist Masaaki Suzuki, internationally known as a profound expert of J.S. Bach’s works as well as for his historical performance practice, travels to three churches in Northern Germany and the Netherlands to play on their historical Arp Schnitger-organs: The Martinikerk in Groningen, the Ludgeri Church in the German city of Norden as well as to the St. Jacobi Church in Hamburg, to perform organ master pieces of J. S. Bach and Dieterich Buxtehude.
Lucerne Festival 2022: Chailly conducts Rachmaninov
For Riccardo Chailly, celebrating Rachmaninov in Lucerne is something dear to his heart. This summer, he is devoting himself to the Symphony No. 2 in E Minor – the composer’s richest and densest contribution to the genre, evoking Tchaikovsky in form, as well as Borodin and Sibelius in the epic, almost Nordic spirit of its music.
Lucerne Festival 2022: Riccardo Chailly & Mao Fujita
Sergei Rachmaninov is perhaps most remembered—and beloved—for his piano concertos, which still stand as pillars of Romanticism, though mostly written in the 20th century. At the 2022 Lucerne Festival, virtuoso pianist Mao Fujita performs the composer’s celebrated Piano Concerto No. 2—absolutely brimming with memorable melody and poignant harmony—alongside maestro Riccardo Chailly at the head of the Lucerne Festival Orchestra!
Christmas Oratorio
Bach’s timeless, irresistible Christmas Oratorio returns to Leipzig – and to St. Thomas’s Church, where several of its six gorgeous cantatas were heard for the very first time in 1734-35! Adding to the historical import of this unmissable event are the Gewandhausorchester, one of the world’s oldest and most venerated orchestras founded in 1781, and the Thomanerchor (St. Thomas Choir of Leipzig), a legendary ensemble formed over eight hundred years ago in 1212 and directed by Bach himself between 1723 and 1750. The eighteenth person to hold the post of Thomaskantor since Bach, Andreas Reize leads the impeccable orchestra and choir – joined by soloists Christina Landshamer, Benedikt Kristjánsson, and Konstantin Krimmel – in a festive and delightful performance of one of those cherished works from which the holiday spirit flows unfettered and ebullient.
Leif Ove Andsnes plays Mozart
Norwegian pianist Leif Ove Andsnes and the Mahler Chamber Orchestra continue their collaborative exploration of Mozart’s great piano concertos and their surroundings. This large-scale project is receiving acclaim in the most prestigious concert halls as well as award-winning results in the recording studio. In the Great Hall of the Mozarteum, attention is now focused on works composed in 1785/86 that are characterized by ambiguous twilight and expressive instability: It begins with the great Piano Concerto KV 482 with its heartbreaking Andante in C minor, a set of variations that had to be repeated at the premiere; carries over to the “Prague Symphony,” and concludes with the singularly plaintive chromaticism of the C minor Piano Concerto, KV 491 – all testaments to Mozart as arguably the first Romantic composer. PROGRAM Mozart: Piano Concertos KV 482 & 491, KV 504 “Prague Symphony”
Mitten Wir Im Leben Sind/Bach6Cellosuiten
J.S. Bach’s Cello Suites are considered a milestone in the history of Western music. The title, Mitten Wir Im Leben Sind/Bach6Cellosuiten, (In the Midst of Life/Bach’s Cello Suites), comes from the opening words of a Martin Luther chorale: “In the midst of life, we are in death.” Placing the acclaimed cellist Jean-Guihen Queyras at the center of the piece, contemporary dance luminary Anne Teresa De Keersmaeker builds on her choreographic language, developed in tune with Bach’s musical one, to capture an affinity between the music and five dancers, of which De Keersmaeker herself is one. In a feat of physical endurance, the suites are played in their entirety, making this a rare chance to hear all six together.
Herbert Blomstedt – When Music Resounds, the Soul Is Spoken
The feature-length film portrait When Music Resounds, the Soul Is Spoken To was created between his 90th and 95th birthdays. It accompanies Herbert Blomstedt in his work with selected orchestras, which are representative of the many international ensembles he has either led or with which he still works regularly, and observes the gifted communicator during rehearsals and concerts. Blomstedt vividly conveys his clear interpretive ideas, turning every orchestra rehearsal into an experience. As an exciting discourse on life philosophies, musical life and experiences as a musician, the film is a portrait of an unpretentious artist who has decisively shaped the classical music world for decades and continues to do so to this day.
Sleeping Beauty – A ballet by Christian Spuck
In 1890, Sleeping Beauty, choreographed by Marius Petipa, was premiered in St. Petersburg with Pyotr Tchaikovsky’s immortal music. In his version for Ballett Zürich, Christian Spuck revives the ballet classic in his own personal artistic style. He takes the old Sleeping Beauty story and scrutinizes every aspect of it. With a great deal of humor, Christian Spuck addresses the complex process of growing up, relating themes such as generational conflicts with one’s parents, the difficulties of becoming a mature adult, and, last but not least, love and sexuality. Whenever possible, he frees the characters from their traditional role clichés. Petipa’s version becomes a model that Christian Spuck occasionally cites yet repeatedly questions and counteracts with irony and occasionally irritating moments.
Rock Chicks – I am not female to you
The world out there on stages is a man’s world. Or is that just what they want us to believe? What if the true King of Rock and Roll is a Queen? Listen closely and you hear Memphis Minnie’s guitar in Chuck Berry and Eric Clapton, Sister Rosetta’s unbridled spirit in Jerry Lee Lewis, Big Mama Thornton’s growl in Elvis. Still the fact that women rocked the stages from the1950s on has been successfully pushed out of the collective memory. Time to pull out the roots and tell the other side of the story. The women we meet on our journey devote their lifes to rock music, each of them is an icebreaker and they are as inspiring as different. ‘You have to be like a man. But I can do it, I am a woman with balls’, is Linda Gail Lewis’ Credo, while Kathy Valentine of The Go-Go’s considers herself a ‘rare bird’. Suzi Quatro proclaims that she doesn’t do gender at all, while Rosie Flores emphasizes her female qualities when playing the guitar. And Kristin Hersh of Throwing Muses decided to leave the sexist music business to be listener-supported, because: ‘What would my kids think if I looked at every camera like I wanted to fuck it – as they tell you to do?’ Rock Chicks – I am not female to you is a film about music as an inner need, about fighting for your dreams and daring to be yourself.