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”
Ivor Bolton, who was chief conductor of the Mozarteum Orchestra from 2004 to 2016, returns to Salzburg for a special concert: designed in the style of an 18th-century “academy”, it offers a colourful mix of early and late works, large and small form, instrumental and vocal works. Solo support comes from violinist Clarissa Bevilacqua with Mozart’s Adagio in E major and Rondo in C major. The young Italian won the “Salzburg Mozart Competition” in 2020 in the violin category as well as the prize for the best Mozart interpretation. Austrian baritone Rafael Fingerlos sings selected arias from Bastien und Bastienne and Zaide. “A Mozart cross-section of high sensual appeal” (Kronenzeitung).
The Catalan old master, conductor, gambist and musicologist Jordi Savall, one of the greatest interpreters of historically informed performance practice, joins the Mozart Music Week with his orchestra “Le Concert des Nations” and his “Capella de Catalunya” choir. Playing exclusively on original instruments or instruments built according to historical specifications, Savall juxtaposes two of Mozart’s most famous and popular works: his Serenade No. 13, K. 525, better known by its nickname “Eine kleine Nachtmusik”, and his Requiem, which remained unfinished and has since been the subject of wildest speculation and mysterious conspiracy theories. “The performers succeed in making the well-known piece sound fresh and by no means banal. […] Despite the many excellent perfor mances available on record, Savall’s interpretation sounded unique.” (Das Opernmagazin)
It is hard to believe that piano legend Martha Argerich is really celebrating her 80th birthday this year – her youthful wit and shrewd piano playing certainly still excite. Particularly her concerts with longtime friend and compatriot Daniel Barenboim, whom she knows from early piano lessons in Buenos Aires, are stellar moments not to be missed. A musical star hour with Mozart’s piano sonatas for four hands from the Great Hall in the Mozarteum Salzburg. “A very beautiful and intimate concert together” Deutschlandfunk. PROGRAM Mozart: Sonata in C major for Piano Four Hands, K. 521, Andante with Five Variations in G major for Piano Four Hands, K. 501, Sonata in F major for Piano Four Hands, K. 497,
Sonata in D major for two Pianos, K. 448
Premieres and sensational finds are rare but there are still miracles happening: there is hardly any other composer whose life and work have been better researched and of whose complete works we have such a precise listing. Above all, because his enterprising father Leopold had compiled a catalogue of compositions by his child prodigy already in 1768. Now the almost impossible has occurred: a new, completely unknown work by Mozart has surfaced! The Allegro in D major K 626b/16, a three-part, dance-like piano piece lasts a total of 94 seconds. Examined for authenticity by the best international Mozart scholars, it is being performed for the first time ever in Salzburg, the birthplace of the great genius. But for what occasion was it composed, how was it handed down? Ulrich Leisinger, scientific director of the Mozarteum Foundation, answers these questions in conversation with Rolando Villazón. This lecture is embedded into a concert program starring Korean pianist Seong-Jin Cho and putting the new work into context. PROGRAM Piano Sonata No. 12, Piano Piece “Pimpinella”, K. 33b; Allegro from a Salzburg Music Book; Allegro, K. 626b/16 “World Premiere”. Versions available: Talk in English: 50’/ Sonata K. 332 only: 20′
To let Mozart’s 265th birthday pass uncelebrated just because a pandemic is raging worldwide? That was out of the question for Rolando Villazón, superstar among tenors and artistic director of the Salzburg Mozart Week! To pay tribute to the great composer, he invited the audience to a large, digital celebration concert and did not miss the opportunity to warble a few arias himself. Keri-Lynn Wilson is on the podium of the Mozarteum Orchestra, Luca Pisaroni and Giulia Semenzato bring Italian fire to the stage and sing selected Mozart arias. In addition, the concerto for flute, harp and orchestra resounds in the Mozarteum’s Great Hall. Mathilde Caldérini, principal flute of the Orchestre Philharmonique de Radio France, and Xavier de Maistre on the harp compete in a contest of euphony.
A concert dedicated not only to Mozart as a composer, but to Mozart the universal artist: his letters to his sister Nannerl are an art in themselves and show the wit and humor of this young and lively composer. The letters are read by the famous Austrian actress, Adele Neuhauser and are embedded into the performance of Mozart’s most beautiful sonatas for violin and piano. Played by the young violinist Emmanuel Tjeknavorian on Mozart’s own original violin and at his side playing Mozart’s original piano is Marie Sophie Hauzel. The venue is the Tanzmeistersaal of Mozart’s townhouse in Salzburg. Versions available: Concert & letters only: 68′ / Concert, letters & documentary elements: 77′. PROGRAM Violin Sonata K. 302, Violin Sonata K. 378, Violin Sonata K. 304, Violin Sonata K. 304, Violin Sonata K. 526 + Letters by W. A. Mozart to his sister Maria Anna (read in German)
Mozart’s last symphony, the popular “Jupiter Symphony” K. 551, and Mozart’s first symphony in E flat major K. 16 are on the program of this concert and show the musical development of the “child prodigy” into a genius, who, as he grew older, found his way to an ever more drastic and profound musical language. In between, the Kyrgyzstan-born soprano Katharina Konradi, one of the most exciting young voices causing a sensation in the music world, presents arias from Le nozze di Figaro, Die Zauberflöte and
Don Giovanni, making a convincing Mozart Week debut! A star is born! “Magic moments” Drehpunkt Kultur. Program Mozart: Symphony No. 1, “Giunse alfin il momento…” – “Deh vieni non tardar” from Le nozze di Figaro, “Ach ich fühl’s, es ist verschwunden” from Die Zauberflöte, “Batti, batti, o bel Masetto” from Don Giovanni, Symphony No. 41 “Jupiter”
La Bartoli – wherever she performs, the audience goes wild. Usually. Thanks to Covid-19, this time the Great Hall of the Mozarteum Salzburg is empty when Cecilia Bartoli, accompanied by one of the residence orchestras of the acclaimed Mozartwoche, the Vienna Philharmonic, under the baton of Daniel Barenboim sings “Ch’io mi scordi di te”. Of course always with her own technical perfection, heartfelt warmth and at the same time great gesture. No one masters playing on stage like she does, even if it is a stage in front of an empty hall. Further on the program: Mozart’s famous “Prague Symphony” as well as conductor Daniel Barenboim slipping into the role of the pianist playing the Piano Concerto in C minor K. 491. PROGRAM “Ch’io mi scordi di te?” – “Non temer, amato bene”, K. 505; “Vedrai, carino” from Don Giovanni; Piano Concerto No. 24, Symphony No. 38 “Prague Symphony”
This Mozartiade combines a selection of the most beautiful and touching songs composed by Mozart, including “Abendempfindung an Laura” or “Komm, lieber Mai, und mache” in the intimate atmosphere of the Mozarteum’s Great Hall, led by mezzo-soprano Magdalena Kožena who is always a welcome guest in Salzburg. Among the highlights of the concert is her interpretation of “Die Alte” K. 517, in whose composition all of Mozart’s musical wit becomes obvious. In addition, soprano Sylvia Schwartz and tenor Mauro Peter present their favorite Mozart songs, while Elena Bashkirova enhances the concert with her subtle, transparent accompaniment on the piano.
