n the middle of the historic baroque garden in Ceský Krumlov, a UNESCO World Heritage Site located in the South Bohemian Region of the Czech Republic, Messiah comes alive in a magical atmosphere of light and dark. The production, which subtly links the biblical story of Jesus Christ with the life of Josef Adam, born in 1722, Duke of Krumlov and Prince of Schwarzenberg, is effec-tively staged as a baroque feast, with top-class early music soloists and one hundred and fifty choristers performing in replicas of baroque costumes. The performances take place at a unique spot: The theatre with revolving auditorium in Ceský Krumlov is one of only two theatres of this type in Europe. Located in front of the
rococo Bellarie Palace in the Baroque garden of the chateau, it was first put into operation in 1958 and, after several reconstructions, currently holds almost 650 spectators. With 56,000 tickets sold, the performances are the most attended summer cultural event in the entire Czech Republic and are thus the focus of interest among domestic and foreign spectators.
For one last time, Mariss Jansons – who will bear the title of conductor emeritus as of now – descends down the red carpeted stairs of the Great Hall as Principal Conductor of the Royal Concertgebouw Orchestra. After his resignation, this concert turnes out to be his last in this capacity. The final performance assisted by Thomas Hampson is part of the AAA Festival based on the theme “Origins – Folk Art as Inspiration”, an adventurous series exploring composers inspired by folk music. PROGRAM Mahler: “Des Knaben Wunderhorn”; Copland: “Old American Songs”; Bartók: Concerto for Orchestra; Padding: Ick seg adieu (World premiere)
Il trittico was premiered in New York on 14 December 1918, composed while the First World War was still raging in Europe. At first glance, the three one-act operas Gianni Schicchi, Il tabarro and Suor Angelica seem to have no connection with each other; their common denominator is solely the entanglement of man in a fateful destiny that only exceptionally, for a moment, seems to promise a happy outcome to the “adventure of life” — a set of themes that in its complexity seems to be in such good hands with few directors as with Christof Loy. The main female roles in the three opera acts are performed by the Lithuanian soprano Asmik Grigorian, a very rare and tremendous feat, but once again connects the works to each other. “Grigorian is […] a wonderful, intense performer: a gracefully graceful Donna fragile as Lauretta, a feverishly longing for love while tormented by guilt Giorgetta, and a desperately lost Angelica rebelling with defiance.” (Frankfurter Allgemeine Zeitung)
Experience an extraordinary evening of piano artistry as acclaimed pianist Kirill Gerstein appears with his brilliant protégé Mao Fujita at the Ark Hall, Tokorozawa Civic Cultural Centre. This special concert offers a rare glimpse into the powerful artistic bond between master and student. A recipient of the Gilmore Artist Award and professor at Berlin’s Hanns Eisler Hochschule, Gerstein is internationally celebrated for his imaginative interpretations and distinctive blend of classical and jazz influences. Mao Fujita, silver medalist at the 2019 Tchaikovsky Competition, has rapidly emerged as one of the most compelling pianists of his generation. Schubert: Variations Op. 46; Schumann: Andante and Variations Op. 46; Ravel: La Valse; Busoni: Duettino concertante based on Mozart’s Piano Concerto No. 19; Rachmaninoff: Symphonic Dances Op. 45; Debussy: Lindaraja; Rachmaninoff: Waltz for 4 Hands Op.11, No.4
Experience the enchanting fusion of classical music and traditional Japanese culture as acclaimed Italian pianist Filippo Gorini performs a captivating recital featuring works by Franz Schubert at the serene Hokokuji Temple. Filippo Gorini, a rising star in the classical music world, has been captivating audiences worldwide since winning the First Prize and Audience Prize at the Telekom-Beethoven Competition in Bonn in 2015. PROGRAM Kurtag: A Ligatura for Màrta; Schubert: Sonata No. 21; Bach/Petri: Schafe können sicher weiden, BWV 208, No. 9
This concert shows the magic that happens when a master of his craft meets the most masterfully crafted instrument: On the occasion of his 80th birthday, world-famous organist Ton Koopman plays the pipe organ at the Salamanca Hall in Gifu, Japan for an exclusive recording. The largest work of Tsuji Hiroshi, a pioneering organ builder in Japan, the instrument incorporates the features of the organ at the Salamanca Cathedral in Spain and is unique for its blend of Spanish and German styles. Giving thought to the unending flow of time, Koopman draws out the appeal of the organ to its fullest, playing Spanish Batalha, Frescobaldi, Buxtehude, and Bach.
Handel’s opera Silla is probably the most enigmatic and unknown of all his operas. The production at the Kanagawa Prefectural Music Hall, however, is not only a rare occasion, but also the world premiere of the full-stage version. Tadashi Miroku’s production is inspired by traditional Kabuki theatre, known for its highly stylised performances and often glamorous costumes and make-up. Fabio Biondi conducts “his” Europa Galante, an internationally renowned and award-winning ensemble for baroque music, performing together with a magnificent cast of singers representing the world of early music, such as Vivica Genaux and Roberta Invernizzi. “More than a common orchestra, Europa Galante looks like a guitar or multi-register harp struck by Biondi’s master hand”. (Amadeus)
Die schweigsame Frau (The Silent Woman), the first and only joint work by Richard Strauss and Stefan Zweig, was performed for the first time at the Staatsoper Unter den Linden. The opera embodies comic opera in a new and unexpected way, starting with the genre name, which Strauss used here for the first and only time in his career. Compositionally, it is his most progressive work. With his new production of Richard Strauss’ opera, director Jan Philipp Gloger places social issues such as loneliness and housing shortages at the centre of the opera. The superb cast brings his ideas to life with “energetic performance and balanced vocal power” (Süddeutsche Zeitung). “What Thielemann conjures up from the orchestra pit is classical cinema at its finest.” (BZ)
John Cranko’s The Taming of the Shrew is one of the greatest ballet comedies of the 20th century. Inspired by William Shakespeare’s world-famous play, Cranko brings to vivid life the story of the shrewish Katherina whom no one wants to marry and the dashing and clever Petruchio who makes her his wife and “tames” her. Set to cheerful and boisterous music by Kurt-Heinz Stolze after Domenico Scarlatti and with colourful costumes and a charming set by Elisabeth Dalton, The Taming of the Shrew evokes the sunlit streets and gardens of Italy. The perfect ballet for the whole family, danced by the Stuttgart Ballet. “This company is world class.” (Tanznetz) / “Cranko’s adaption of Shakespeare’s comedy is an artistic gem.” (FAZ)
“It’s all there in this Mozart adventure” (Kronenzeitung): Making his debut at the Salzburg Festival, Japanese pianist and conductor Kyohei Sorita (“a breath of fresh air” – Drehpunktkultur) performs two important piano concertos by Wolfgang Amadeus Mozart alongside the Mozarteum Orchestra Salzburg as part of the traditional Mozart
Matinees in the Great Hall of the Mozarteum Foundation. PROGRAM: Symphony in G major K. 318, Piano concerto in E-flat major K. 271 ‘Jeunehomme’, Overture from Le nozze di Figaro K. 492; Piano concerto in D major K. 537 ‘Coronation’; Alla Turca (Allegretto) from the Piano Sonata in A, K. 331 (encore)
