Abon­ne­ment­kon­zert VI

Abon­ne­ment­kon­zert VI

The collaboration between Christian Thielemann and the Staatskapelle Berlin began in June 2022 with the performance of a Bruckner symphony (No. 7) and continued with another (No. 5) in November 2023. Now the next Bruckner symphony follows with the Sixth, a work that often stands somewhat in the shadow of its neighbors, but has its own individual qualities and a certain “individuality”. The symphony is preceded by Sebastian im Traum by Hans Werner Henze, a composition written in 2004 for large orchestra based on the poem of the same name by Georg Trakl. The music follows the text closely and attempts to visualize its meaning and mood in sound.

Mu­se­ums­kon­zert VI

Since 2010, ensembles of the Staatskapelle have been performing in the Bode Museum. The concerts, lasting just over an hour, take place in the Gobelin Hall and feature music from past centuries. Visitors can combine the concerts with other museum activities, such as an exhibition visit or a meal at the museum café.

Kam­mer­kon­zert VI

For more than six decades, the chamber concerts by musicians from the Staatskapelle have been a constant feature of the Staatsoper programme. This season, ensembles have come together to select music from different periods, styles and cultures under the theme of ‘playing together’. On eleven dates in the Apollosaal, which with its special atmosphere is an ideal venue for chamber music and communicative interaction between players and listeners, works from the Baroque to the present day will be performed in constellations that are both exciting and harmonious, in which tangible contrasts play just as important a role as a common resonance and the balancing of opposites.

Kinderkonzert VI

Kinderkonzert VI

Kinderkonzert VI

Kinderkonzert VI

Abon­ne­ment­kon­zert II

Musik der Hoch- und Spätromantik, dazu ein Werk der Gegenwart. Christian Thielemann spannt in seinem ersten Konzert als neuer Generalmusikdirektor den Bogen von Mendelssohn über Schönberg bis zu dem jungen kanadischen Komponisten Samy Moussa, dessen farbenreiches Orchesterstück Elysium unter seiner Leitung 2021 in der Sagrada Familia in Barcelona zur Uraufführung gebracht worden ist. Igor Levit ist der Solist von Mendelssohns 1837 komponiertem 2. Klavierkonzert mit seinen ernsten wie lyrischen Tönen, während Schönbergs zu Beginn des 20. Jahrhunderts nach dem Drama von Maurice Maeterlinck entstandene, opulent besetzte Tondichtung Pelleas und Melisande seine Verwurzelung in der spätromantischen Klang- und Ausdruckswelt demonstriert.

Abon­ne­ment­kon­zert IV

One work for wind instruments, one for strings alone, then in the second part one for the full orchestra and two voices, as well as a journey through the musical history of the first half of the 20th century. After the First World War, Igor Stravinsky created a composition which he called Symphonies for Wind Instruments and which contains characteristic intonations such as bell sounds, chorale and folk song melodies as well as dance rhythms in a small space. Richard Strauss described his Metamorphosen as a “study for 23 solo strings”, his last orchestral work, which took shape in 1944/45 under the impact of the destruction of the Second World War, as a harrowing document of the times. At the beginning of the 1920s, Alexander Zemlinsky, biographically positioned between Strauss and Stravinsky, composed the Lyric Symphony, a series of orchestral songs based on texts by the Indian poet (and Nobel Prize winner for literature) Rabindranath Tagore, as a deliberate counterpart to Mahler's Song of the Earth, a work of great expressiveness and urgency.

Abon­ne­ment­kon­zert IV

One work for wind instruments, one for strings alone, then in the second part one for the full orchestra and two voices, as well as a journey through the musical history of the first half of the 20th century. After the First World War, Igor Stravinsky created a composition which he called Symphonies for Wind Instruments and which contains characteristic intonations such as bell sounds, chorale and folk song melodies as well as dance rhythms in a small space. Richard Strauss described his Metamorphosen as a “study for 23 solo strings”, his last orchestral work, which took shape in 1944/45 under the impact of the destruction of the Second World War, as a harrowing document of the times. At the beginning of the 1920s, Alexander Zemlinsky, biographically positioned between Strauss and Stravinsky, composed the Lyric Symphony, a series of orchestral songs based on texts by the Indian poet (and Nobel Prize winner for literature) Rabindranath Tagore, as a deliberate counterpart to Mahler's Song of the Earth, a work of great expressiveness and urgency.