Set your preferred locations for a better search. You can sign up here.

Autumn Concert

Date & Time
Tue, Oct 22, 2024, 19:30
At last, Stockholms Musikgymnasium gets to present the wonderful annual Autumn Concert! This substantial programme is performed by 300 young vocalists, led by Maria Goundorina, Elias Aaron Johansson and Sofia Ågren. The guest ensembles are Classes 9C and 9D from Adolf Fredrik’s Music School, Norrmalm, led by Natalia Edvall.Stockholms Musikgymnasium was founded in 1959 as a natural continuation of Adolf Fredrik’s Music School, and has been housed since 1984 in Kungsholmens Gymnasium’s historic building near Fridhemsplan. The school’s choirs have... Read full text

Keywords: Vocal Music

Artistic depiction of the event
Give feedback
Last update: Fri, Nov 22, 2024, 12:15

Similar events

These events are similar in terms of concept, place, musicians or the program.

Artistic depiction of the event

Lunch concert

Wed, Nov 27, 2024, 13:00
Philharmonie Berlin, Foyer Main Auditorium (Berlin)
Juliana Zara (Soprano), Marlene Heiß (Piano)
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.
Artistic depiction of the event

ELTERNZEIT CONCERT

Mon, May 5, 2025, 10:30
Lahiry Kunal (Piano), Barron Fleur (Mezzo-Soprano)
“Parental Leave” concerts are aimed at all new mothers and fathers (as well as uncles, aunts, grand­ parents…) who would like to experience music together with their babies in a relaxed setting. The number of seats is limited, and all amenities to make your visit as pleasant as possible are provided in the lobby. These concerts, featuring Pierre Boulez Saal artists performing excerpts from their programs, are approximately 45 minutes long and intended exclusively for visitors with babies aged 12 months and younger.
Artistic depiction of the event

Chamber Concert

Sat, Mar 19, 2022, 20:00
Julie Catherine Eggli (Mezzo-Soprano), Münchner Streichquartett, Stephan Hoever (Violin), Korbinian Altenberger (Violin), Mathias Schessl (Viola), Jan Mischlich (Cello)
“Sorrow always – upward glance – celestial dew – recollection”: thus the words that Anton Webern set in his aphoristically short work for soprano and string quartet. They also stand as a motto for this unusual and cleverly assembled programme. The works in the first section come from completely different eras and interlock like meditations – devout, contemplative, ravishingly beautiful, yet pervaded by a “sweet” tone of sorrow. Schubert’s G major Quartet also directs its gaze into unknown dimensions. Few works of chamber music sustain the combination of sorrow and supplication with such existential force and urgency as this unique visionary creation from the year 1826.
Artistic depiction of the event

Chamber Concert

Sun, Mar 20, 2022, 18:00
Julie Catherine Eggli (Mezzo-Soprano), Münchner Streichquartett, Stephan Hoever (Violin), Korbinian Altenberger (Violin), Mathias Schessl (Viola), Jan Mischlich (Cello)
“Sorrow always – upward glance – celestial dew – recollection”: thus the words that Anton Webern set in his aphoristically short work for soprano and string quartet. They also stand as a motto for this unusual and cleverly assembled programme. The works in the first section come from completely different eras and interlock like meditations – devout, contemplative, ravishingly beautiful, yet pervaded by a “sweet” tone of sorrow. Schubert’s G major Quartet also directs its gaze into unknown dimensions. Few works of chamber music sustain the combination of sorrow and supplication with such existential force and urgency as this unique visionary creation from the year 1826.
Artistic depiction of the event

Chamber Concert

Sat, May 11, 2024, 20:00
Serafina Starke (Soprano), Korbinian Altenberger (Violin), Lorenz Chen (Violin), Benedict Hames (Viola), Jaka Stadler (Cello)
For a musician, the fugue is inextricably linked with Bach, who raised the fugue to dizzying stylistic heights. The Latin fuga means “flight” – in other words, a theme “flees” from one voice to another and is repeated at different pitches. One of the most vital, long-lasting, and eternally modern musical forms of the past and present can be experienced in this chamber concert: starting with Mozart, who savored all the techniques he discovered in Bach, continuing with Beethoven, who replaced what contemporary critics considered the incomprehensible fugue of the last movement of his Quartet op. 130 with a more accessible finale, and finally ending with Widmann, in whose work soprano Serafina Starke runs away from the fugue – or is it the other way around?
Artistic depiction of the event

Chamber Concert

Sun, May 12, 2024, 18:00
Serafina Starke (Soprano), Korbinian Altenberger (Violin), Lorenz Chen (Violin), Benedict Hames (Viola), Jaka Stadler (Cello)
For a musician, the fugue is inextricably linked with Bach, who raised the fugue to dizzying stylistic heights. The Latin fuga means “flight” – in other words, a theme “flees” from one voice to another and is repeated at different pitches. One of the most vital, long-lasting, and eternally modern musical forms of the past and present can be experienced in this chamber concert: starting with Mozart, who savored all the techniques he discovered in Bach, continuing with Beethoven, who replaced what contemporary critics considered the incomprehensible fugue of the last movement of his Quartet op. 130 with a more accessible finale, and finally ending with Widmann, in whose work soprano Serafina Starke runs away from the fugue – or is it the other way around?
Artistic depiction of the event

Chamber Concert

Sat, Jun 29, 2024, 20:00
Lydia Teuscher (Soprano), Lukas Maria Kuen (Piano), Korbinian Altenberger (Violin), Lorenz Chen (Violin), Giovanni Menna (Viola), Samuel Lutzker (Cello)
It is a popular romantic theme: the fine line between genius and madness. In Beethoven’s case, all one needs to do is look at the portrait of the agitated artist with tangled hair and crazy eyes, who jots his notes down on paper in a manic creative frenzy and in the face of impending deafness. Wolf was hospitalized twice – and died in the clinic. When Schumann was admitted to Endenich, “melancholy with delusion” was noted as a diagnosis in the admission book. And the Italian Renaissance prince Carlo Gesualdo was not only a gifted composer, but very probably also a murderer. In the chromatic descent at the end of his madrigal, we seem to hear the agony of a guilty man tormented by remorse. The result? Insanely brilliant music!
Artistic depiction of the event

Chamber Concert

Sun, Jun 30, 2024, 18:00
Lydia Teuscher (Soprano), Lukas Maria Kuen (Piano), Korbinian Altenberger (Violin), Lorenz Chen (Violin), Giovanni Menna (Viola), Samuel Lutzker (Cello)
It is a popular romantic theme: the fine line between genius and madness. In Beethoven’s case, all one needs to do is look at the portrait of the agitated artist with tangled hair and crazy eyes, who jots his notes down on paper in a manic creative frenzy and in the face of impending deafness. Wolf was hospitalized twice – and died in the clinic. When Schumann was admitted to Endenich, “melancholy with delusion” was noted as a diagnosis in the admission book. And the Italian Renaissance prince Carlo Gesualdo was not only a gifted composer, but very probably also a murderer. In the chromatic descent at the end of his madrigal, we seem to hear the agony of a guilty man tormented by remorse. The result? Insanely brilliant music!
Artistic depiction of the event

Symphonic Concert

Fri, Nov 29, 2024, 19:30
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Władysław Skoraczewski Artos Choir at the Teatr Wielki – Polish National Opera, Maxime Pascal (Conductor), Andrew Staples (Tenor), Judith Chemla (Reciting voice), Bartosz Michałowski (Director of the Warsaw Philharmonic Choir), Danuta Chmurska (Director of the Artos Choir)
Maxime Pascal, photo: Nieto ‘Awakening of cheerful feelings on arrival in the countryside’ – that is the title of the first movement (Allegro non troppo) of Ludwig van Beethoven’s Sixth Symphony. As we learn from letters he sent to the publisher Breitkopf & Härtel in 1808, the composer had serious doubts about whether the individual movements of the work should be given names containing such unambiguous pictorial suggestions. In the end, he not only retained them, but found it necessary to include next to the work’s title Pastoral Symphony, or Recollection of Life in the Countryside a caveat in brackets: An expression of feelings rather than painting. The composer’s joy and affirmative attitude to nature – the rustling of leaves, the murmur of streams, the singing of birds, the thunder, lightning and rain all translated into sound in this programmatic work – still leave no one indifferent today, delighting listeners with the deep connection to nature. André Gide’s poetic play Perséphone, written in the spirit of French Parnassianism, is based on a theme taken from Homer’s Hymn to Demeter. The Nobel Prize-winning text caught the attention of the famous dancer Ida Rubinstein, who asked Igor Stravinsky to write music to it. Out of the planned ‘symphonic ballet’ arose a genre combining dance, mime, singing and recitation in an orchestral setting. It was premiered without much fanfare on the stage of the Paris Opera on 30 April 1934. Many years later, Stravinsky's melodrama attracted the interest of many choreographers, including Frederick Ashton, George Balanchine, Janine Charrat, Martha Graham, and in 2012 Peter Sellars directed this production at the Teatro Real in Madrid. Today, this work is not infrequently performed in a concert version, which the Warsaw Philharmonic ensembles, with renowned artists and the Artos children’s choir, will present on our stage for the first time. Judith Chemla will perform the part of Persephone in Stravinsky's piece, replacing Marina Hands.
Artistic depiction of the event

Symphonic Concert

Sat, Nov 30, 2024, 18:00
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Władysław Skoraczewski Artos Choir at the Teatr Wielki – Polish National Opera, Maxime Pascal (Conductor), Andrew Staples (Tenor), Judith Chemla (Reciting voice), Bartosz Michałowski (Director of the Warsaw Philharmonic Choir), Danuta Chmurska (Director of the Artos Choir)
Maxime Pascal, photo: Nieto ‘Awakening of cheerful feelings on arrival in the countryside’ – that is the title of the first movement (Allegro non troppo) of Ludwig van Beethoven’s Sixth Symphony. As we learn from letters he sent to the publisher Breitkopf & Härtel in 1808, the composer had serious doubts about whether the individual movements of the work should be given names containing such unambiguous pictorial suggestions. In the end, he not only retained them, but found it necessary to include next to the work’s title Pastoral Symphony, or Recollection of Life in the Countryside a caveat in brackets: An expression of feelings rather than painting. The composer’s joy and affirmative attitude to nature – the rustling of leaves, the murmur of streams, the singing of birds, the thunder, lightning and rain all translated into sound in this programmatic work – still leave no one indifferent today, delighting listeners with the deep connection to nature. André Gide’s poetic play Perséphone, written in the spirit of French Parnassianism, is based on a theme taken from Homer’s Hymn to Demeter. The Nobel Prize-winning text caught the attention of the famous dancer Ida Rubinstein, who asked Igor Stravinsky to write music to it. Out of the planned ‘symphonic ballet’ arose a genre combining dance, mime, singing and recitation in an orchestral setting. It was premiered without much fanfare on the stage of the Paris Opera on 30 April 1934. Many years later, Stravinsky's melodrama attracted the interest of many choreographers, including Frederick Ashton, George Balanchine, Janine Charrat, Martha Graham, and in 2012 Peter Sellars directed this production at the Teatro Real in Madrid. Today, this work is not infrequently performed in a concert version, which the Warsaw Philharmonic ensembles, with renowned artists and the Artos children’s choir, will present on our stage for the first time. Judith Chemla will perform the part of Persephone in Stravinsky's piece, replacing Marina Hands.