The singular pianist Fazil Say centers this recital during Salzburg’s Mozart Week around Bach’s monumental Goldberg Variations. Although the late Bach is cornerstone of piano music and a milestone for many pianists, Say’s unique performance manages to make even this well-known and often played work a journey of discovery for the audience: “Time and again, the listener has the sudden impression that Fazil Say has just joyfully discovered something completely new in the piece and is letting everyone share in it
with his smiling gaze” (Opera Online). Say follows up the Goldberg Variations wit Mozart’s Fantasy No. 3 and his own piano sonata “Yeni hayat” (New Life), which he composed in 2021 during the pandemic. PROGRAM Bach: Goldberg Variations; Mozart: Fantasy No. 3, K. 397, Piano Sonata No. 11; Say: Piano Sonata “Yeni hayat”
French violinist Renaud Capuçon and French pianist Alexandre Kantorow, each of them a star in his own right and winners of many international awards, teamed up to play all three sonatas of Johannes Brahms for violin and piano. In the Great Hall of the Mozarteum Foundation, ideally suited for the performance of chamber music, “Kantorow and Capuçon unfold this music in a joyful and in every moment attentive liveliness, finding a symbiosis of listening and playing individuals, each with the peculiarity of his instrument.” (Salzburger Nachrichten). With this concert, Alexandre Kantorow is giving his debut at the Salzburg Festival.
To end his active conducting career after 65 years, maestro Bernard Haitink together with the Wiener Philharmoniker gives a farewell concert at the Grosses Festspielhaus, leaving no doubt of being one of the best Bruckner interpreters ever. The Dutch conductor, who was appointed honorary member of the Wiener Philharmoniker shortly before the concert, is joined by star pianist Emanuel Ax in Beethoven’s Piano Concerto No. 4. The concert ends with Bruckner’s monumental Symphony No. 7: “No more Bruckner under Haitink, that’s a cut in the history of interpretation” (Wiener Zeitung). PROGRAM Bruckner: Symphony No 7; Beethoven: Piano Concerto No 4
“A stroke of genius” (FAZ): The Salzburg Festival has pulled off a sensational coup with The Soldier’s Tale at the Salzburg Marionette Theatre, founded in 1913 and a World Heritage Site. World-renowned painter and sculptor Georg Baselitz designed the puppets for Stravinsky’s fairy tale about a poor soldier who makes a pact with the devil. Dominique Horwitz as narrator, the magnificent chamber ensemble led by violin luminary Isabelle Faust, and the expressiveness of the marionettes make this a “musical and theatrical masterpiece” (Süddeutsche Zeitung).
At the Salzburg Festival, director Ulrich Rasche shapes Donizetti’s Maria Stuarda into “a Sisyphean image and a powerful metaphor for the mechanics of power in which everyone here is trapped” (NZZ), by moving the action onto enormous discs, “with people who must relentlessly march towards their fate on them” (Kurier). This striking interpretation is perfectly completed by the outstanding performances of the two women at the centre of the story. “Kate Lindsey (Elisabetta) was able to clothe the character’s brokenness, her remorse and indignation, in a flowing song, with an almost theatrical clarity of articulation, on the one hand, and a passionate, full-bodied sound on the other” (WDR). Lisette Oropesa, as her opponent Maria Stuarda, “stands opposite her in gleaming white, but her voice sounds wonderfully warm and full-bodied. She has a
sure command of the high notes and coloratura. But even more impressive than her acrobatics is her expressiveness: when she loves and suffers, she is completely herself, and we are completely with her” (BR).
Based on a short novel by Dostoyevsky, Prokofiev’s The Gambler unfolds in the fictional casino town of Roulettenburg, where a variety of characters converge and clash. These characters include a General indebted to a covetous Marquis, the General’s resentful stepdaughter Polina, and Alexey, who harbors feelings for her. Director Peter Sellars, known for his insightful interpretations of overlooked masterpieces, challenges us to mirror the bravery of Dostoyevsky and Prokofiev – the courage to confront our inner darkness. The musical direction of Russian conductor Timur Zangiev shines together with the vocal performances of the exceptional cast:”Asmik Grigorian portraying a passionate Polina, and Sean Panikkar delivering a powerful performance as Alexei” (Financial Times).
A “small theatre miracle” unfolds at the Bregenz Festival under Philipp Stölzl’s direction, featuring a visually stunning production of Der Freischütz with elements like a dilapidated village and water zombies. Conducted by Enrique Mazzola, the Wiener Symphoniker performs Weber’s music beautifully, while the ensemble shines, particularly Nikola Hillebrand as Agathe and Mauro Peter as Max. Moritz von Treuenfels adds flair as the devil Samiel, guiding the audience through the action with agility and charm, resulting in a captivating two-hour performance.
With his Macbeth, Giuseppe Verdi broke with the operatic conventions of the time and created one of his darkest and most abysmal works. Directed by Krzysztof Warlikowski, the timeless drama unfolds in a new interpretation that takes the audience on an intense journey into human abysses. An opera of this kind demands not only outstanding voices but also outstanding actors. “Vladislav Sulimsky is forceful and brutish in the title role, at times truly frightening, always utterly assured.” (Financial Times) Asmik Grigorian is giving her debut as Lady Macbeth and performs “with an urgency of expression that needs no further explanation.” (Salzburger Nachrichten) “Her singing becomes a victory over expressive resistance.” (Frankfurter Allgemeine) “Philippe Jordan celebrated a triumph on the podium of the Wiener Philharmoniker” (Kurier), his “Macbeth crackles with power and electricity, propelled by its own velocity. The orchestra attacks the score with relish.” (Financial Times)
In Suor Angelica the perspective has narrowed to the tragic fate of a single figure, the young nun Angelica. Banished to the convent for an indiscretion, she leads a joyless existence and waits for news of her son, whom she has been forbidden to see since his birth. When she learns that he has died, she resolves to put an end to her life. The climax of the opera is an extended monologue lasting 20 minutes in which Angelica works through her doubts as a devout Catholic and frees herself from her feelings of guilt and remorse. In a redemptive ending she finally transcends all her pain and escapes her agony. With a radiant finale Puccini opens up a path for her into the spheres of celestial paradise. “Overwhelming” Opernwelt
In Il tabarro (‘The Cloak’), surrounded by the decaying miasma of the river Seine, we have arrived in purgatory on earth. Puccini sets the piece in the present day, in Paris, in a realistic, Simenon-like milieu of stevedores, drinkers, and whores. In an oppressive atmosphere of hopelessness a love triangle arises between Giorgetta, her husband – the barge owner Michele – and his stevedore Luigi. Giorgetta is a woman with a history: she’s a mother who has lost a child and whose marriage is on the verge of breakdown. She starts an affair with Luigi, which gives her a momentary escape from the bleakness of her everyday life… Il tabarro fathoms the entire unremitting darkness of human existence. “Grigorian’s final scene, which milks the unexpected poignancy of her simply changing in front of us from her habit into a sleek black cocktail dress and letting down her hair, is just as wrenching.” The New York Times
