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Mozart's Idomeneo

Date & Time
Sat, Nov 16, 2024, 13:00
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall... Read full text

Keywords: Vocal Music

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Last update: Fri, Nov 22, 2024, 12:40

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Idomeneo

Tue, Oct 22, 2024, 19:00
Michael Höppner (Director), Deborah Koppehl (Bühne), Leonie Schöning (Kostüm), Markus Stenz (Musical Director), Tobias Walenciak (Choreinstudierung), Chaeseon Kwak, Hannah Schmidt-Ott (Ilia), Noëlle Drost, Anastasiia Ranchynska (Idamante), Michaella Cipriani, Xiaoyu Li (Elettra), Han Zicong, Weicheng Li (Idomeneo), Gordon Jan Plank, Ravi Sund Rojo (Gran sacerdote), Darius Herrmann, Siguang Yang (Voce)
Belagerung, Eroberung und Rückkehr von Troja haben zwei Generationen das Lebensglück gekostet; auch die Heimkehr Idomeneos, des Königs von Kreta, ist teuer erkauft: Dem zornigen Poseidon soll zum Opfer gebracht werden, wen der ehemalige Krieger als erstes auf heimatlichem Boden antrifft. Als er schließlich seine Insel betritt, auf der die kriegsgeschädigten Nachfahren der Troja-Helden inzwischen zaghaft begonnen haben, die Belastungen durch die kampfeslüsterne Väterwelt abzuschütteln, begegnet ihm ausgerechnet sein eigener Sohn…In seiner Opera Seria »Idomeneo«, in der Mozart die erstarrten Konventionen dieses Genres zugunsten eines neuen wahrhaftigen Musiktheaters aufzulösen beginnt, erscheinen die sich gerade erst als denkende, fühlende und handelnde Subjekte aus göttlichen Verhängnissen lösenden Menschen bereits als zutiefst verunsicherte und gestörte Individuen.Unter der musikalischen Leitung des international renommierten Dirigenten und Professors unserer Hochschule Markus Stenz zeigt Regisseur Michael Höppner Mozarts Meisterwerk als Auseinandersetzung zwischen einer unzufriedenen jungen Generation und alter patriarchaler Herrschaft im Spannungsfeld von emanzipatorischer Selbstermächtigung und identitärem Narzissmus.
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Finished

Idomeneo

Thu, Oct 24, 2024, 19:00
Michael Höppner (Director), Deborah Koppehl (Bühne), Leonie Schöning (Kostüm), Markus Stenz (Musical Director), Tobias Walenciak (Choreinstudierung), Chaeseon Kwak, Hannah Schmidt-Ott (Ilia), Noëlle Drost, Anastasiia Ranchynska (Idamante), Michaella Cipriani, Xiaoyu Li (Elettra), Han Zicong, Weicheng Li (Idomeneo), Gordon Jan Plank, Ravi Sund Rojo (Gran sacerdote), Darius Herrmann, Siguang Yang (Voce)
Belagerung, Eroberung und Rückkehr von Troja haben zwei Generationen das Lebensglück gekostet; auch die Heimkehr Idomeneos, des Königs von Kreta, ist teuer erkauft: Dem zornigen Poseidon soll zum Opfer gebracht werden, wen der ehemalige Krieger als erstes auf heimatlichem Boden antrifft. Als er schließlich seine Insel betritt, auf der die kriegsgeschädigten Nachfahren der Troja-Helden inzwischen zaghaft begonnen haben, die Belastungen durch die kampfeslüsterne Väterwelt abzuschütteln, begegnet ihm ausgerechnet sein eigener Sohn…In seiner Opera Seria »Idomeneo«, in der Mozart die erstarrten Konventionen dieses Genres zugunsten eines neuen wahrhaftigen Musiktheaters aufzulösen beginnt, erscheinen die sich gerade erst als denkende, fühlende und handelnde Subjekte aus göttlichen Verhängnissen lösenden Menschen bereits als zutiefst verunsicherte und gestörte Individuen.Unter der musikalischen Leitung des international renommierten Dirigenten und Professors unserer Hochschule Markus Stenz zeigt Regisseur Michael Höppner Mozarts Meisterwerk als Auseinandersetzung zwischen einer unzufriedenen jungen Generation und alter patriarchaler Herrschaft im Spannungsfeld von emanzipatorischer Selbstermächtigung und identitärem Narzissmus.
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Idomeneo

Fri, Oct 25, 2024, 19:00
Michael Höppner (Director), Deborah Koppehl (Bühne), Leonie Schöning (Kostüm), Markus Stenz (Musical Director), Tobias Walenciak (Choreinstudierung), Chaeseon Kwak, Hannah Schmidt-Ott (Ilia), Noëlle Drost, Anastasiia Ranchynska (Idamante), Michaella Cipriani, Xiaoyu Li (Elettra), Han Zicong, Weicheng Li (Idomeneo), Gordon Jan Plank, Ravi Sund Rojo (Gran sacerdote), Darius Herrmann, Siguang Yang (Voce)
Belagerung, Eroberung und Rückkehr von Troja haben zwei Generationen das Lebensglück gekostet; auch die Heimkehr Idomeneos, des Königs von Kreta, ist teuer erkauft: Dem zornigen Poseidon soll zum Opfer gebracht werden, wen der ehemalige Krieger als erstes auf heimatlichem Boden antrifft. Als er schließlich seine Insel betritt, auf der die kriegsgeschädigten Nachfahren der Troja-Helden inzwischen zaghaft begonnen haben, die Belastungen durch die kampfeslüsterne Väterwelt abzuschütteln, begegnet ihm ausgerechnet sein eigener Sohn…In seiner Opera Seria »Idomeneo«, in der Mozart die erstarrten Konventionen dieses Genres zugunsten eines neuen wahrhaftigen Musiktheaters aufzulösen beginnt, erscheinen die sich gerade erst als denkende, fühlende und handelnde Subjekte aus göttlichen Verhängnissen lösenden Menschen bereits als zutiefst verunsicherte und gestörte Individuen.Unter der musikalischen Leitung des international renommierten Dirigenten und Professors unserer Hochschule Markus Stenz zeigt Regisseur Michael Höppner Mozarts Meisterwerk als Auseinandersetzung zwischen einer unzufriedenen jungen Generation und alter patriarchaler Herrschaft im Spannungsfeld von emanzipatorischer Selbstermächtigung und identitärem Narzissmus.
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Mozart: Idomeneo / René Jacobs

Sun, Feb 2, 2025, 19:00
Elbphilharmonie, Großer Saal (Hamburg)
Freiburger Barockorchester, Zürcher Sing-Akademie, Ian Koziara (Tenor), Kateryna Kasper (Elettra), Olivia Vermeulen (Idamante), Polina Pastirchak (Ilia), Mark Milhofer (Arbace), Kresimir Spicer (Gran sacerdote di nettuno), René Jacobs (Director)
Conductor René Jacobs revolutionised the sound of this opera with his recording of Mozart’s »Idomeneo«. In so doing, he says very modestly: »The only thing I want to do with Mozart’s works is to read them as if they were new.« The Freiburger Barockorchester was also involved at that time, likewise an eminent authority in historical performance practice, which enthrallingly illustrates the story about the power of love, destiny and ancient gods in this concert performance as well. The opera characters do not accept their fate and wrestle with their feelings: the king and father Idomeneo, who in accordance with God’s will is supposed to sacrifice his son Idamante. This very son, who is in love with Ilia, the daughter of his enemy. And Ilia, who is also in love, but believes Idamante already in the clutches of her jealous rival Elettra. Mozart and his librettist take the ancient material into their time of enlightenment and, in the end, let love, humanity and reason prevail. »Idomeneo« is an excellent opera – musically modern and full of arias, which sensitively interpret the emotions of the characters. The choir, which as the people of Crete gives lively commentary on the action, sung here by the Zürcher Singakademie, is weightier than in other Mozart operas. Only created in 2011, it has become a reliable partner for René Jacobs. The line-up of soloists completes the evening with great voices, all of them experienced Mozart interpreters.
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Freiburger Barockorchester: Idomeneo

Tue, Feb 4, 2025, 19:00
Wolfgang Amadeus Mozart's opera Idomeneo, commissioned by Elector Karl Theodor, showcases Mozart's joy and access to a superb orchestra and singers. Created with librettist Giambattista Varesco, it blends traditional opera seria with extensive choral numbers. Conductor René Jacobs, known for his meticulous research, leads a top-tier orchestra and soloists, promising an exceptional experience. A free introductory lecture by Mozart specialist Silke Leopold will precede the performance.
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Cappella Amsterdam: Mozart's Requiem

Thu, Oct 24, 2024, 20:15
Orkest van de Achttiende Eeuw, Cappella Amsterdam, Daniel Reuss (Conductor), Alexander Janiczek (Musical Director), Mhairi Lawson (Soprano), Esther Kuiper (Mezzo-Soprano), Guy Cutting (Tenor), Peter Harvey (Bariton)
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
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Sat, Nov 23, 2024, 20:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Manfred Honeck (Conductor), Christina Landshamer (Soprano), Anna Lucia Richter (Mezzo Soprano), Martin Mitterrutzner (Tenor), Krešimir Stražanac (Bariton), Heikko Deutschmann (Narrator), Tschechischer Philharmonischer Chor Brno, Schola der Kirchenmusikhochschule Bayreuth (Chorus)
Mozart wrote in a letter to his father that death is »the true, best friend of man« – which for Manfred Honeck is a »profound and significant statement«. The internationally sought-after conductor is known for his unmistakable and trend-setting style – and is also a charismatic and passionate artist who loves emotional depth: »If I had the choice between technical precision and emotional music, I would always choose the music.« The former violist of the Vienna Philharmonic Orchestra, who once began his conducting career as Claudio Abbado’s assistant, has been a regular guest of ours for more than 30 years. This led to an intimate friendship – and as a result, he is now officially performing his first concert as our new honorary conductor. We are delighted to be performing one of his favourite programmes with him on Eternity Sunday, which is very moving and will certainly give food for thought: The equally »mysterious and divine moments« in Mozart's last work – the otherworldly beautiful requiem from 1791, which the composer worked on until his early death at the age of just 35 and was unable to complete. Manfred Honeck breaks the ritualistic confessional music abruptly at precisely that point after eight bars in the »Lacrimosa« – and complements and combines it in an incredibly comforting way with other poignant sound creations, texts from powerful biblical passages, letters by Mozart, poems, Gregorian chorales and the urging ringing of bells.
Artistic depiction of the event
Finished

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Sun, Nov 24, 2024, 17:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Manfred Honeck (Conductor), Christina Landshamer (Soprano), Anna Lucia Richter (Mezzo Soprano), Martin Mitterrutzner (Tenor), Krešimir Stražanac (Bariton), Heikko Deutschmann (Narrator), Tschechischer Philharmonischer Chor Brno, Schola der Kirchenmusikhochschule Bayreuth (Chorus)
Mozart wrote in a letter to his father that death is »the true, best friend of man« – which for Manfred Honeck is a »profound and significant statement«. The internationally sought-after conductor is known for his unmistakable and trend-setting style – and is also a charismatic and passionate artist who loves emotional depth: »If I had the choice between technical precision and emotional music, I would always choose the music.« The former violist of the Vienna Philharmonic Orchestra, who once began his conducting career as Claudio Abbado’s assistant, has been a regular guest of ours for more than 30 years. This led to an intimate friendship – and as a result, he is now officially performing his first concert as our new honorary conductor. We are delighted to be performing one of his favourite programmes with him on Eternity Sunday, which is very moving and will certainly give food for thought: The equally »mysterious and divine moments« in Mozart's last work – the otherworldly beautiful requiem from 1791, which the composer worked on until his early death at the age of just 35 and was unable to complete. Manfred Honeck breaks the ritualistic confessional music abruptly at precisely that point after eight bars in the »Lacrimosa« – and complements and combines it in an incredibly comforting way with other poignant sound creations, texts from powerful biblical passages, letters by Mozart, poems, Gregorian chorales and the urging ringing of bells.
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Artistic depiction of the event
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