Canadian maestro Yannick Nézet-Séguin, a regular collaborator with the esteemed Vienna Philharmonic since 2010, is making a comeback to the world-famous Salzburg Festival in 2024 to conduct a spectacular performance of Berlioz’s Symphonie fantastique with them! This symphony, composed by a 26-year-old Berlioz who was captivated by actress Harriet Smithson, his future wife, depicts an artist haunted by an all-consuming love that evolves from innocence to horror, including opium-induced dreams and a sinister witches’ sabbath.
Vienna Prater Picnic Concert 2024
The Vienna Prater Picnic offers the perfect opportunity to enjoy a classical concert for free on a warm summer evening. With this open-air concert, the Wiener Symphoniker invite their audience to pack their picnic baskets and relax on the green Kaiserwiese of the Vienna Prater in front of the famous ferris wheel. This edition of the Picnic features Austrian singer Julian le Play as well as soprano Annette Dasch and baritone Georg Nigl. At the podium of the Wiener Symphoniker, Dirk Kaftan entertains with a crowd-pleasing programme featuring Johann Strauss II, Franz Lehár, Arturo Márquez and more.
Gonzales-Monjas, Villazon & Mozarteum Orchestra
New Mozarteumorchester Salzburg chief conductor Roberto González-Monjas and his orchestra are a pair that has “sought and found” (APA) each other, perform Salieri’s rarely heard Sinfonia “Il giorno onomastico”. The concert is bookended by Mozart’s first and last symphonies, for which González-Monjas “presented a striking interpretative calling card” (Salzburger Nachrichten). Rolando Villazón completes the evening with three of Mozart’s arias, utilizing his full range as a performer: “The arch-comedian […] plays all his trump cards of dramatic and gestural, but also vocal expressiveness” (Salzburger Nachrichten). Mozart: Symphony in E flat major, K. 16; “Va’ dal furor portata”, K. 21, Aria for tenor and orchestra; From La clemenza di Tito, K. 621: Aria of Tito “Se all’impero, amici dèi”; “Con ossequio, con rispetto”, K. 210, Aria for tenor and orchestra; Symphony in C major, K. 551 “Jupiter”; Salieri: Symphony in D major “Il giorno onomastico” (arr. Pietro Spada)
Yuja Wang & Mahler Chamber Orchestra
“Virtuosic sparks” (klassik.com) As Artistic Partner of the Mahler Chamber Orchestra, piano virtuoso Yuja Wang not only dazzles at the grand piano, but also gives her conducting debut. After an amuse-bouche of Mozart’s “precisely articulated and dynamically shaded” Serenade in E flat major, Wang takes the stage with Stravinsky’s Concerto for piano and wind orchestra and concludes the concert with a striking rendition of Gershwin’s Rhapsody in Blue: “With dreamlike chord accuracy and flawlessly rapid repetitions, she presents the rhythmic finesse of Gershwin’s music and demonstrates an unerring sense of jazzy impetus” (klassik.com). Mozart: Serenade for wind instruments, K. 375; Stravinsky: Concerto for piano and wind instruments; Dvorak: Serenade for wind instruments, cello and double bass in D minor, Op. 44; Gershwin: Rhapsody in Blue (arr. Ferde Grofé); Marquez: Danzón No. 2 (arr. Gómez-Tagle)
Philippe Jordan conducts Britten and Debussy
The Australian soprano Nicole Car was most recently seen in Francis Poulenc’s dark opera “Dialogues des Carmélites” at the Vienna State Opera. Now she makes her Konzerthaus debut with Philippe Jordan and sings in Ernest Chausson’s orchestral song cycle “Poème de l’amour et de la mer”. Everything revolves around “la mer”, the sea: Felix Mendelssohn Bartholdy’s overture “Meeresstille und glückliche Fahrt” ís on the program with Benjamin Britten’s “Four sea interludes” and Claude Debussy’s three symphonic sketches “La mer”.
Franz Welser-Möst conducts Schönberg, Strauss and Ravel
In this subscription concert, Franz Welser-Möst and the Wiener Philharmoniker whisk the audience away to the early 20th century and its variety of styles, from preserving tradition to embracing modernity. Starting with Hindemith’s Konzertmusik for wind orchestra, the superb wind section shows what they are made of: “From the very first fanfare sounds of the opening movement you could feel the fun they had” (Die Presse). With the rarely performed Strauss fantasy on Die Frau ohne Schatten, Ravel’s La Valse and Schönberg’s Variations for orchestra, Welser-Möst shows top form at the podium: “It’s impressive how Welser-Möst gives each piece its own aura. How he leads the perfectly studied musicians to snappy steps and artfully stylised dance forms, or how he revels in the splendour of sound in Strauss and Ravel” (Kronenzeitung).
Lorenzo Viotti conducts the Wiener Philharmoniker
“The Wiener Philharmoniker are phenomenal anyway. Under Lorenzo Viotti they were intoxicating: the strings sizzled, the audience raved” (Hamburger Abendblatt) Lorenzo Viotti makes a striking debut with the Wiener Philharmoniker, starting with Rimsky-Korsakov’s Capriccio espagnol, which captivates the audience with its dynamic contrasts. He then shifts to Rachmaninoff’s Isle of the Dead, transforming it into a “theater of sound.” Finally, with Dvorák’s Symphony No. 7, Viotti showcases his temperament, balancing powerful fortissimo and soft, clear accents. PROGRAM: Rimsky-Korsakov – Capriccio espagnol; Rachmaninoff – Isle of the Dead; Dvorak – Symphony No. 7 in D minor, Op. 70
Thielemann & Levit – Wiener Philharmoniker Brahms Cycle
“Thielemann, Levit and the Wiener Philharmoniker act like a single musical soul” (Kurier) The collaboration between Christian Thielemann and the Wiener Philharmoniker in their Brahms cycle is truly something special. One of the highlights is pianist Igor Levit’s passionate take on Brahms’ Piano Concerto in D minor. Critics have raved about how beautifully he connects with the orchestra, bringing out the nuances in the piece. After that stunning performance, they dive into Brahms’ Symphony No. 2, which impresses with its powerful moments and delicate details. Thielemann’s guidance, combined with the orchestra’s skill, really shines, setting a high bar for concert performances. PROGRAM: Brahms – Piano Concerto No. 1 in D minor, Op. 15; Symphony No. 2 in D major, Op. 73
Springtime in Vienna 2024
Say goodbye to winter blues with this musical bouquet of wonderful melodies. Every year, the Wiener Symphoniker ring in the spring season with their Easter Concert, which has been a major highlight of Vienna’s musical calendar for more than 40 years. This edition features conductor Manfred Honeck, the Singverein der Gesellschaft der Musikfreunde in Wien and world-class soprano Diana Damrau, who dazzles the audience with Puccini’s “O mio babbino caro”, Lehár’s “Meine Lippen, sie küssen so heiß” and Poulenc’s “Gloria” among others. PROGRAM: Music by Bruckner, Brahms, Puccini, Lehar, Orff, Poulenc.
Salzburg Festival 2024: The Idiot
Weinberg’s final opera, based on Dostoevsky’s novel, condenses the plot without losing its psychological depth. Prince Myshkin, mentally ill yet believing in goodness, meets merchant Rogózhin on a train, sparking a tale of dependence, madness, and murder. The opera, rediscovered in the last decade, presents the composer Weinberg as Shostakovich’s equal. The Idiot, composed in 1986-1989, now staged in Salzburg, directed by Krzysztof Warlikowski and conducted by Mirga Gražinyte-Tyla, brings the world of literature to the opera stage. The excellent cast of singers contributes to make the production a great success. Bogdan Volkov “expressive lyrical tenor touches intimately in the piano and yet remains able to cope with all orchestral storms” (BR Klassik).