You can find concerts here.

Lunch concert

You can simply go to a concert at the Philharmonie, spontaneously, during your lunch break – and with free admission: every Wednesday at 13:00 between September and June. The programme lasts 40 to 50 minutes: chamber music, piano works or a percussion duo – everything from Tchaikovsky to tango. Members of the Berliner Philharmoniker and the Karajan Academy regularly perform, as well as guests from the Deutsches Symphonie-Orchester, the Staatskapelle Berlin and the Berlin music conservatories. As can be expected at a lunch concert, catering is available from 12 noon until shortly before the concert begins.

Atelier en famille - Boléro - En rythme

Musik am Mittag

Midday music with the WDR Rundfunkchor: Switch off from everyday life, whether during your lunch break or as an island of peace while strolling through the city, and enjoy blissful choral music!

Espresso-Konzert mit dem Konzerthausorchester Berlin

At our espresso concerts in the early afternoon, we serve two kinds of caffeine - in cups and, of course, musically: outstanding young musicians present surprise programs that really wake you up - in this case on the podium of the Konzerthausorchester Berlin and as a violin soloist.

Konzertexamen

Johann Sebastian Bach's French Suite No. 5 in G major and Prelude in E major, Beethoven's Piano Sonata No. 30 in E major, Ravel's Jeux d'eau and La Valse, Yeonjoon Yoon's Um, and Brahms's Variations on a Theme of Paganini are mentioned.

Boléro - En rythme

Everyone is invited to keep up the tempo with this concert that's as rich as it is unbridled! A joyful introduction to rhythm and movement thanks to musicians from the Orchestre de Paris, the Youth Choir and body percussion.

Goldscheider. Guarrera. Festivalcampus-Ensemble Horn-Metamorphosen

Ben Goldscheider returns to Heidelberg with a program featuring Brahms, Ligeti, Widmann, Mozart, Schumann, and Simpson. His selection explores the horn's timbral and symbolic versatility. Widmann's "Air" creates illusions of near and far using natural harmonics. Mozart's Horn Quintet and concerto showcase the horn's solo potential. From Schumann's romanticism, the program shifts to Widmann's sadistic hunt and Simpson's nocturnal thrill. A public rehearsal will take place at 11 am.

LPO Showcase: Crisis Creates

Members of Crisis UK – all adults who have experienced homelessness – perform original music they have devised with LPO musicians and a workshop leader during a week-long creative project.Crisis Creates aims to improve participants’ wellbeing and confidence through self-expression, collaboration and developing creative skills. The project offers a channel for participants to express themselves and to combat the isolation that comes hand-in-hand with precarious living situations. Using the music of the Orchestra as their starting point, the group creates new and powerful work which they bring to the Royal Festival Hall stage.This event is free to attend, with no booking required.

Drama, Dreams and Charm

The American composer Amy Beach (1867–1944) was a trailblazer and the first woman in the United States to compose a symphony. Her Piano Quintet in F-sharp minor, written in 1907, is an emotionally charged and dramatic work with influences from Brahms.We also hear Amfortas’ Dream for winds and piano, composed by Johan Ullén, who himself takes part as pianist. The music is inspired by the character Amfortas from Wagner’s Parsifal – an opera with deeply religious and philosophical themes.Francis Poulenc was a member of the French group Les Six, and his Sextet for winds and piano is a true burst of joy. Here, elegance, humour, and captivating melodies come together. It showcases Poulenc’s typically neoclassical style, infused with unmistakable French charm.Since 2016, the Royal Stockholm Philharmonic Orchestra has hosted an ”Orchestra Academy”. The international RSPO Orchestra Academy is a one-year, advanced academic programme for young musicians. Under the guidance of the section leaders from the Royal Stockholm Philharmonic Orchestra and the Piteå School of Music, the musicians receive intensive training individually, in chamber music, and orchestral playing. They also showcase their talents through a series of public chamber music concerts – such as this one featuring this year’s academy musicians.

Fantastische Sinfonie

Berlioz's "Symphonie Fantastique" depicts a man's descent into madness due to unrequited love. The symphony features grotesque dreams, death knells, a guillotine, and a witches' sabbath. Berlioz called this masterpiece "Episode in the Life of an Artist," a truly bizarre trip with visions of waltzes, murder, execution, and ultimately, a wild, orgiastic climax. This dark, chilling Romantic symphony, full of extreme sound effects, truly deserves its name.

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Video: Severin Renke Dramaturgy: Rita Thiele

Janine Jansen spielt Brahms

Award-winning pianist Denis Kozhukhin and Dutch violinist Janine Jansen team up to perform Romantic works. Jansen, praised by The Times for her ability to revitalize repertoire pieces, feels connected to every piece she plays. The successful Jansen-Kozhukhin duo creates music with existential depth and emotional tension, making their performances unforgettable.

War and Peace

Vladimir Jurowski presents a programme of uncompromising emotional power.‘Peace Shall Defeat War’ wrote Boris Lyatoshynsky on the score of his Third Symphony, and the message of this great 20th-century Ukrainian composer has never felt more urgent or compelling. LPO Conductor Emeritus Vladimir Jurowski believes passionately that it needs to be heard, and you’ll be gripped by its epic sweep and uncompromising emotional power. Jurowski has paired it with music from Prokofiev’s operatic tale of Ukrainian struggle, and Mussorgsky’s pitch-black, darkly comic songs – perfect for a singer as dramatic, and as characterful, as the British bass Matthew Rose.

William Forsythe

Forsythe is a legendary choreographer, revered worldwide as one of the most creative innovators of the ballet tradition. Since the 1970s, he has revolutionised dance by intelligently developing academic ballet in a way that frees the human body from its predetermined corset and broadens choreographic expression in unprecedented ways. Many of William Forsythe’s virtuoso compositions have long become modern classics. In this homage, the Staatsballett will perform three groundbreaking pieces by the American choreographer. Approximate Sonata 2016 is a series of pas de deux, offering the performers the opportunity to mutually craft finely differentiated nuances within a choreographic structure whose forms are frequently difficult to sustain. The performers have a balanced agency in determining the dynamic outcome of these forms, striving to accommodate the choices the other is making in order to advance each other’s intentions. For all the hazardous torrent of dancers moving relentlessly around metal tables, One Flat Thing, reproduced (2000) is actually a purposeful chapter in ongoing research into the visual distribution of contrapuntal balletic structure. The work is set up as a linked ‹machinery› that is created through the interaction of three systems of organization: numerous individual movement themes, a dense system of distributed cueing and complex alignments of forms and/or movement flow. Although the dancer’s field of action is seriously delimited, the unyielding maze of tables also offers the unusual possibility of composing interrelated action on three levels. Blake Works I , staged for the Paris Opera Ballet in 2016, was the first work created in the classical idiom after a hiatus from ballet of more than 17 years. The work deploys a distinctly historical approach to the genre, versus the analytical approach used in a majority of the previous ballet oriented works. Blake Works I radiates an affection for the language of ballet, and even revives several iconic ...

William Forsythe

Forsythe is a legendary choreographer, revered worldwide as one of the most creative innovators of the ballet tradition. Since the 1970s, he has revolutionised dance by intelligently developing academic ballet in a way that frees the human body from its predetermined corset and broadens choreographic expression in unprecedented ways. Many of William Forsythe’s virtuoso compositions have long become modern classics. In this homage, the Staatsballett will perform three groundbreaking pieces by the American choreographer. Approximate Sonata 2016 is a series of pas de deux, offering the performers the opportunity to mutually craft finely differentiated nuances within a choreographic structure whose forms are frequently difficult to sustain. The performers have a balanced agency in determining the dynamic outcome of these forms, striving to accommodate the choices the other is making in order to advance each other’s intentions. For all the hazardous torrent of dancers moving relentlessly around metal tables, One Flat Thing, reproduced (2000) is actually a purposeful chapter in ongoing research into the visual distribution of contrapuntal balletic structure. The work is set up as a linked ‹machinery› that is created through the interaction of three systems of organization: numerous individual movement themes, a dense system of distributed cueing and complex alignments of forms and/or movement flow. Although the dancer’s field of action is seriously delimited, the unyielding maze of tables also offers the unusual possibility of composing interrelated action on three levels. Blake Works I , staged for the Paris Opera Ballet in 2016, was the first work created in the classical idiom after a hiatus from ballet of more than 17 years. The work deploys a distinctly historical approach to the genre, versus the analytical approach used in a majority of the previous ballet oriented works. Blake Works I radiates an affection for the language of ballet, and even revives several iconic ...

Jurowski conducts Lyatoshynsky

Vladimir Jurowski presents a programme of uncompromising emotional power.‘Peace Shall Defeat War’ wrote Boris Lyatoshynsky on the score of his Third Symphony, and the message of this great 20th-century Ukrainian composer has never felt more urgent or compelling. LPO Conductor Emeritus Vladimir Jurowski believes passionately that it needs to be heard, and you’ll be gripped by its epic sweep and uncompromising emotional power. Jurowski has paired it with music from Prokofiev’s operatic tale of Ukrainian struggle, and Mussorgsky’s pitch-black, darkly comic songs – perfect for a singer as dramatic, and as characterful, as the British bass Matthew Rose.

William Forsythe

Forsythe is a legendary choreographer, revered worldwide as one of the most creative innovators of the ballet tradition. Since the 1970s, he has revolutionised dance by intelligently developing academic ballet in a way that frees the human body from its predetermined corset and broadens choreographic expression in unprecedented ways. Many of William Forsythe’s virtuoso compositions have long become modern classics. In this homage, the Staatsballett will perform three groundbreaking pieces by the American choreographer.Approximate Sonata 2016 is a series of pas de deux, offering the performers the opportunity to mutually craft finely differentiated nuances within a choreographic structure whose forms are frequently difficult to sustain. The performers have a balanced agency in determining the dynamic outcome of these forms, striving to accommodate the choices the other is making in order to advance each other’s intentions.For all the hazardous torrent of dancers moving relentlessly around metal tables, One Flat Thing, reproduced (2000) is actually a purposeful chapter in ongoing research into the visual distribution of contrapuntal balletic structure. The work is set up as a linked ‹machinery› that is created through the interaction of three systems of organization: numerous individual movement themes, a dense system of distributed cueing and complex alignments of forms and/or movement flow. Although the dancer’s field of action is seriously delimited, the unyielding maze of tables also offers the unusual possibility of composing interrelated action on three levels.Blake Works I, staged for the Paris Opera Ballet in 2016, was the first work created in the classical idiom after a hiatus from ballet of more than 17 years. The work deploys a distinctly historical approach to the genre, versus the analytical approach used in a majority of the previous ballet oriented works. Blake Works I radiates an affection for the language of ballet, and even revives several iconic fragments ...

Emden

On tour with Petr Popelka

Khatia and Gvantsa Buniatishvili

Our current Artist Spotlight, Khatia Buniatishvili, joins forces with her sister Gvantsa for an exhilarating evening of piano duo music from Mozart to Gershwin via Ravel.

The Naghash Ensemble Songs of Exile

In the 15th century, Armenian priest and poet Mkrtich Naghash wrote about his exile experiences. Armenian-American John Hodian set these poems to music and founded the Naghash Ensemble. The ensemble includes three singers, a duduk, an oud player, and a percussionist. Inspired by old Armenian church and folk music, minimal music, and jazz, Hodian leads the ensemble from the piano.

Royal Concertgebouw Orchestra / Klaus Mäkelä

There are few orchestras that can boast as long a Mahler tradition as the Royal Concertgebouw Orchestra from Amsterdam. Even during Gustav Mahler’s lifetime, the orchestra regularly performed his symphonies and helped the composer achieve the fame he enjoys to this day. Klaus Mäkelä, who takes over as the orchestra’s chief conductor in 2027, continues this tradition with a performance of Mahler’s First Symphony. The composer wrote about his work: »It has become so overpowering – it flowed out of me like a mountain stream!« Also on the programme is Arnold Schönberg’s early work »Verklärte Nacht« for string orchestra, based on Richard Dehmel’s poem of the same name. Before Schönberg climbed to the top of the avant-garde and shocked the music world with his twelve-tone music, he wrote deeply Romantic pieces in his younger years, in which he endeavoured to unite the styles of Wagner and Brahms.

Jakub Hrůša, Konstantin Krimmel

»Mahler is a must!« That was absolutely clear to Jakub Hrůša when our journey together began in 2016 – as his late Romantic music is »genetically very close« to both him and ourselves. We have already performed five of his symphonies together in recent years. This programme includes the enchanting »Blumine« movement, which Mahler erased from his autobiographical first symphony and described himself as a »blissful infatuation«: he wrote it in 1884 as a young conductor when he had a crush on a soprano. However, his affection was not returned – and a year later, the »Lieder eines fahrenden Gesellen« (»Songs of a Travelling Companion«) emerged from his emotional misery. Together with Konstantin Krimmel, we embark on the restless wanderings of the lovesick artist. After that we say: Not only Mahler is a must. For some time now, Jakub Hrůša has also been working more intensively on Bruckner, as he has recognised that only an orchestra that »really loves this music enough« will be able to make it work. He described the phase in which we immersed ourselves in the Symphony No. 4 in the 2018/2019 season as a »blissful experience with Bruckner« – and it was deepened even further: In the 2020 pandemic, we recorded our Chief Conductor’s personal take on all three versions of the work for a phenomenal and award-winning recording. In this programme, the »Romantic« is performed in the 1878/1880 version – first in Bamberg, as is traditional, of course. Then we will once again become »travelling companions« ourselves and present the works in two of the best halls in Europe: in the Concertgebouw in Amsterdam and (for the 10th time already!) in Hamburg’s Elbphilharmonie – where we have come to love and appreciate the inspiring acoustics.

Orchestre de l’Opéra de Rouen Normandie / Sora Elisabeth Lee

Three consummate performers deliver a programme of gems from the Romance-speaking world: a four hands piece by two Brazilian guitar icons and a work by Italian composer Castelnuovo-Tedesco, followed by the emblematic Concerto d’Aranjuez.

Die Königsklasse der Kammermusik

Guest performance

Chopin pur

Be enchanted by Frédéric Chopin's piano music with a touch of melancholy, which has thrilled music lovers worldwide for almost 200 years. The young pianist Burak Çebi plays a colorful Chopin repertoire with waltzes, nocturnes, and mazurkas.

The Junge Deutsche Philharmonie turns 50!

Happy Birthday, Junge Deutsche Philharmonie! Germany’s best music students have been playing together in this orchestra for 50 years – in preparation for a career in a professional orchestra. What characterises its members? A high level of technical proficiency, an irrepressible desire to make music together, and a passion for the music of our time. These qualities are also reflected in this programme – with the spherical tones of Missy Mazzoli’s Sinfonia (for Orbiting Spheres), the labyrinthine sound structures of Luciano Berio's Sinfonia for eight voices and orchestra and the rhythmic energy of Igor Stravinsky’s Le Sacre du printemps. Roderick Cox conducts.

Shirley Brill. Philharmonisches Orchester Heidelberg. Mino Marani Appassionato

The 6th Philharmonic Concert of the Theater und Orchester Heidelberg featured Israeli clarinetist Shirley Brill and new General Music Director Mino Marani. The program included Brahms' clarinet sonatas, written shortly before his death, and orchestrated by Luciano Berio. Shostakovich's 10th Symphony, composed after Stalin's death, was also performed. Tickets are available via phone.