Guest in Fulda

Guest in Fulda

The baton is the instrument of the star conductor – and can easily go missing: Be it due to damage, as in Toscanini's infamous tantrums – or simply by mistake. This was the case with Joana Mallwitz, who once hurled her baton into the audience. With a pencil, she then continued happily through the score. Whether with or without a baton, the debut of this sympathetic artist is eagerly awaited. At a young age, the score of Schubert's »Unfinished« was her »favourite book« and the initial spark for her career ambitions. She found her studies »heavenly«, became Europe’s youngest female General Music Director at the age of 27 and is now the new Chief Conductor of the Konzerthausorchester Berlin, succeeding Christoph Eschenbach. She loves to put together programmes based on dramaturgical considerations and gut feeling – and always explores them with her own personal signature. Her typical, cleverly and lovingly composed blend of recipes between the familiar and the new are like exciting expeditions. For Bamberg, her musical menu includes dance pieces: It starts with the lively momentum of the 1985 work »The Chair-man Dances« by John Adams. Pablo Ferrández is the soloist in Dvořák’s cello concerto, which has to do with the composer’s great childhood love – and Rachmaninov wrote a heartbreaking song of tears with his »Symphonic Dances«. We can truly look forward to Joana Mallwitz’s inquisitive gaze: she is known for her combination of glowing passion and technical precision – and for her willingness to take risks, because: »Music always saves you! That’s why it’s the best thing you can do!«

Guest in Erlangen

Love is one of those things: on the one hand, it is the most beautiful thing in the world, heaven on earth, the fulfilment of all our longings. Yet it is also often complicated, sometimes even exhausting – and unfortunately often the cause of great sorrow. Love is also the central theme of our internationally sought-after guest conductor's wonderful wish list for his programme in Bamberg: the native of Colombia, who will be Cologne’s new General Music Director from 2025, brings plenty of South American temperament and charisma to the stage in his performances. Andrés Orozco-Estrada wanted to become a musician from an early age – even though he pursued a second vocation for football for some time, seeing himself as a kind of »conducting goalkeeper«. In any case, »dealing with people« was and remains important to him to this day. In addition to works from his home country, the Viennese classical and modern periods, he is particularly fond of the romantic repertoire. And one hobbyhorse he likes to ride from the conductor's podium is the downright musical frenzy of the »Symphonie fantastique«, which revolves around the love of an artist for an unattainable actress. Debussy’s Faun is not really happy either, as the sensual piece only indulges in memories of beautiful nymphs. Christiane Karg interprets Mahler’s at times world-wearisome »Rückert-Lieder« – where at one point it says: »I live alone in my heaven, in my love, in my song!« Highly emotional pieces full of highs and lows perfectly suited to Andrés Orozco-Estrada – who, together with the orchestra musicians, always wants to »bring out every little detail«, but »ultimately wants to go about his work not only with a lot of intelligence, but also with a lot of heart«.

Guest at Schlosstheater Fulda with Hélène Grimaud

»Two souls dwell, alas! in my heart« – Schumann knew only too well this dilemma described by Goethe in »Faust«: in his life, highs and lows, creative rushes and crises continually alternated. When he composed his piano concerto in 1845, he was living with his family in Dresden – where, however, he hardly played a role next to Wagner. And so the sounds of this touching work tell of his suffering and longings. Immortalised in the notes is his beloved wife Clara, who thought of it: »How rich in invention, how intriguing from the beginning to the end.« We look forward to the interpretations of Lukáš Vondráček and Hélène Grimaud – who is often described as a musical philosopher. The fact that Clara and Brahms were one heart and soul must have been a thorn in Schumann‘s side. Even after his tragic demise, the two of them remained close and consulted each other on artistic matters. After Brahms completed his elaborate third symphony in the summer of 1883 in the Wiesbaden region, Clara raved about its »mysterious spell«: »What poetry, the most harmonious mood throughout it all, the movements all as if from one mould, a heartbeat, each movement a gem!« Two Wagner pieces full of deep psychological tensions will serve as a frame of reference for us: The stage-saga about the swan knight Lohengrin, first performed in 1850, takes us into an environment detached from the hustle and bustle of the world – but into which reality crashes bitterly. The Tannhäuser opera of 1845 revolves around an outsider: he is torn between sinful passion and the desire for godly love – and only finds redemption in death, according to Wagner with the reconciliation of the elements: »Spirit and senses, God and nature embrace in the holy and uniting kiss of love.«

Guest in Dortmund

Recording & Broadcast BR-KLASSIKIt‘s a great mystery what and where the soul is exactly: whether it is immaterial or somehow palpable or a measurable energy – yet researchers have said to have found out that its weight is 21 grams. Opinions differ widely across humanity. However, many agree that this precious essence plays an important role. This season, we want to tie in Anton Bruckner‘s symphonies with other compositions which, in their own way, have a soul-related, and sometimes spiritual, content. In this concert, Lahav Shani, winner of our MAHLER COMPETITION in 2013 and the new principal conductor of the Munich Philharmonic, will conduct the world premiere of a work written by the Baku-born composer Frangis Ali-Sade, who once said: »Every time, music helps me to chase away the problems of life.« Paul Ben-Haim‘s violin concerto is also worth discovering: his scintillating works combine European, Israeli and Arab traditions – because the artist, born as Paul Frankenberger in Munich, fled to Palestine in 1933. The violin concerto from 1960, which at times sounds like film music, turns out to be very stirring, but also exudes a wonderfully soulful tranquillity at times. At the end, Bruckner‘s Seventh Symphony, with which he finally achieved the longed-for breakthrough as a recognised composer in 1884. It captivates with masterly intensifications and heartfelt moments such as in the stirring Adagio – and is one of those confessional works about which it was said that in them there appeared »a changing radiance of a spiritual kind«.

Guest in Weikersheim

»Music should touch the heart!« Giovanni Antonini is a phenomenal artist who succeeds in realising this credo of 18th century composers. The Italian conductor likes to indulge in the emotional worlds that the works tell us about, immersing himself in the effects and emotions. A musician who has his own language in the midst of all the performers, whose signature is unmistakable and who breathes a lot of fresh air. His energy is truly infectious – and when asked where he gets it from, he once replied in an interview: »I get it from the music. Even after a concert, which was exhausting and tiring, I’m always tired in a positive sense, that’s the difference. And so on the day after, I’m ready for a new musical adventure. And of course there is also my great love for music!« However, he is not only a fiery spirit, but also a sharp-witted analyst. He is particularly well-known for his innovative and sophisticated approaches to the baroque and classical repertoire – and we love to regularly and intensively explore this historical approach with him. This time he takes us into Mozart's adventure world: his last two symphonies are on the programme. In between, there is another »musical adventure«, which Giovanni Antonini has rarely done recently, but which he is happy to do with us: as an accomplished recorder player, he himself takes on the solo part in Telemann’s original instrumental concerto. Our audience is in for a wonderful musical stroll through the colours and temperaments of the 18th century – where the point was always to »delight the connoisseurs and lovers of music«.

Guest in Erlangen

»I love conducting so much that I absolutely have to do it.« Ruth Reinhardt realised this when she was 16 and her career today proves her right. Born in Saarbrücken, she completed her studies in Zurich, Leipzig and New York – and is now one of the up-and-coming female conductors who regularly perform with orchestras around the world. The young artist is especially praised for her versatility, her dynamic performances, her musical intelligence and her unorthodox choice of works. Her Bamberg debut is also a proof of this, as she leads us through some exciting repertoire: two pieces by Paul Hindemith – a modern composer who is particularly favoured by our guest conductor – set the scene. His provocative Ragtime from 1921 combines a Bach fugue with jazz elements, while the symphony »Mathis der Maler« portrays the inner and outer struggles of an eminent Renaissance artist in a colourful way. In between, the musical journey goes back 150 years to the Viennese classical period: to the time of Haydn, who liked to combine the highest standards with humour and popular elements in his symphonies. At the request of our solo cellist Marius Urba, a concerto for cello and wind orchestra composed in 1980 will also be performed, a wild ride through various genres: it was written by Friedrich Gulda, who was regarded as an enfant terrible in the classical music business. The audience is in for a colourful concert with a wide variety of ingredients and flavours. But as Ruth Reinhardt once said about her musical experiments, which might just come from a hot and sizzling witch’s kitchen – and have become her trademark: »I always like concert programmes that have contrasts!«

Guest in Erlangen

How is the house built? When are the roof, walls and floors added? And will the structure be able to support itself? These are the questions of an architect – but they can also be the questions of conductors when they approach musical structures with their very own style and passion. It is therefore hardly surprising that Bertrand de Billy, who was already fantasising about becoming a conductor at the age of four, once said: »If it hadn’t worked out with music, I would probably have been an architect.« From an early age, he carefully observed the movements of conductors – whether from the choirboy's perspective or as an orchestral musician. Today, he conducts numerous renowned orchestras himself. His specialities include classics and key works of the 20th century and, as a native of Paris, time and again declarations of love for French music. With us, he combines Gershwin and Ravel, two composers who knew each other well and both absorbed the other’s idiom. Ravel’s dazzling piece »Daphnis et Chloé« is a fairytale story about two foundlings, which premiered in the French metropolis in 1912. Gershwin’s pulsating piano concerto also has something to do with the city of love: although it was composed in 1925 in the jazzy melting pot that is New York, large parts of it were later woven into the film »An American in Paris«. As a congenial sound designer, Bertrand de Billy will work with us and the pianist Kit Armstrong to delicately emphasise the different currents and similarities of the compositions like a musical architect: Because he never wants to be an overbearing chef d'orchestre, but simply to be an artist among artists: »The fulfilment of creating something together is indescribably beautiful.«

Guest in Würzburg

»What comes from the heart goes back to the heart. This is the true theory of music, sought by all true lovers and connoisseurs at all times, and will be sought until the end of the world.« Thus it is written in the »Basic rules of tonal order« from 1755 – and our concert leads us right into the 18th century. For the first time, we welcome Bernard Labadie to the conductor’s podium – one of the world’s leading specialists in the music of that period, loved by audiences and the press for his moving interpretations. The Canadian artist’s chosen programme includes enchanting works: Mozart’s Funeral Music, composed in 1785 to mark the deaths of two Masonic brothers. The »Jupiter« Symphony fascinates with a whole range of emotions as well as the grandiose finale – and was quickly celebrated as the »highest triumph of instrumental composition«. With William Youn as soloist, we play Beethoven’s highly popular first piano concerto from 1795/96, a refreshing piece with festive glamour, passionate lyricism and an high-spirited dance gesture at the end. But rarely heard repertoire is also on the programme this week: one of the rediscovered works by the German-Bohemian composer Antonio Rosetti, who was born 275 years ago. Nils Mönkemeyer has discovered the brilliant viola concerto – a rhythmically captivating and melodically catchy piece. We are looking forward to Bernard Labadie’s individual interpretation, as he is known for his great musical flair, his enjoyment of the works, his energetic conducting and his attention to detail.

Guest in Würzburg

»What comes from the heart goes back to the heart. This is the true theory of music, sought by all true lovers and connoisseurs at all times, and will be sought until the end of the world.« Thus it is written in the »Basic rules of tonal order« from 1755 – and our concert leads us right into the 18th century. For the first time, we welcome Bernard Labadie to the conductor’s podium – one of the world’s leading specialists in the music of that period, loved by audiences and the press for his moving interpretations. The Canadian artist’s chosen programme includes enchanting works: Mozart’s Funeral Music, composed in 1785 to mark the deaths of two Masonic brothers. The »Jupiter« Symphony fascinates with a whole range of emotions as well as the grandiose finale – and was quickly celebrated as the »highest triumph of instrumental composition«. With William Youn as soloist, we play Beethoven’s highly popular first piano concerto from 1795/96, a refreshing piece with festive glamour, passionate lyricism and an high-spirited dance gesture at the end. But rarely heard repertoire is also on the programme this week: one of the rediscovered works by the German-Bohemian composer Antonio Rosetti, who was born 275 years ago. Nils Mönkemeyer has discovered the brilliant viola concerto – a rhythmically captivating and melodically catchy piece. We are looking forward to Bernard Labadie’s individual interpretation, as he is known for his great musical flair, his enjoyment of the works, his energetic conducting and his attention to detail.

Guest in Bayreuth