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

Orchestra Leonore / Philharmonischer Chor München / Daniele Giorgi

Date & Time
Sun, Oct 27, 2024, 20:00
Top musicians from the most important European orchestras and outstanding chamber ensembles united in an elite orchestra: Orchestra Leonore, founded and conducted by Daniele Giorgi. In cooperation with the Philharmonischer Chor München and with renowned vocal soloists, Orchestra Leonore will present Beethoven’s monumental Symphony No. 9 on this evening.

Keywords: Symphony Concert, Vocal Music

Artistic depiction of the event

Musicians

Orchestra Leonore
Philharmonischer Chor München
Nika GoričSoprano
Natalya BoevaMezzo-Soprano
Matthew SwensenTenor
Roberto LorenziBass
Daniele GiorgiConductor

Program

Luigi CherubiniKonzertouvertüre G-Dur
Ludwig van BeethovenSymphony No. 9 in D minor, Op. 125
Give feedback
Last update: Thu, Nov 21, 2024, 15:06

Similar events

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

Artistic depiction of the event
This season
In Köln

Philharmonischer Chor Köln

Sun, Mar 22, 2026, 11:00
Theresa Klose (Soprano), Bettina Schaeffer (Alto), Maximilian Fieth (Tenor), Philharmonischer Chor Köln (Ensemble), Neues Rheinisches Kammerorchester Köln (Ensemble), Nico Köhs (Director)
Trauer und Trost vereint der Philharmonische Chor Köln in seinem Programm, in dem Robert Schumanns Totenmesse auf die Schmerzen Marias bei der Kreuzigung Jesu trifft. Voller Lebensfreude war dagegen Felix Mendelssohn Bartholdy, als er auf seiner Hochzeitsreise den Psalm »Wie der Hirsch schreit« vertonte.Für Robert Schumann war das Werk seines Komponisten-Kollegen schlicht die »höchste Stufe, die (…) die neuere Kirchenmusik überhaupt erreicht hat«. In seinem eigenen »Requiem« verzichtet Schumann selbst auf allzu große Schrecken und stellt den tröstenden Charakter und die Aussicht auf ewigen Frieden im himmlischen Paradies ins Zentrum seiner Vertonung. Und auch Josef Gabriel Rheinberger mildert in seinem »Stabat mater« die Leiden der Gottesmutter Maria immer wieder mit einer ganz persönlichen Musiksprache, die Hoffnung spendet und Erlösung verspricht.
Artistic depiction of the event
Finished

Orchestra Leonore / Natalie Clein / Daniele Giorgi

Sat, Apr 27, 2024, 11:00
Elbphilharmonie, Großer Saal (Hamburg)
Orchestra Leonore, Natalie Clein (Cello), Daniele Giorgi (Conductor)
Top musicians from the most important European orchestras and outstanding chamber ensembles united in an elite orchestra: Orchestra Leonore, founded and directed by Daniele Giorgi. The programme includes Brahms and Mendelssohn as well as the First Cello Concerto by Camille Saint-Saëns, with international soloist Natalie Clein.
Artistic depiction of the event
This season
In Köln

Kartäuserkantorei Köln | Philharmonischer Chor Bonn

Sun, Jul 12, 2026, 16:00
Ulrike Malotta (Alto), Patrick Grahl (Tenor), Daniel Ochoa (Bass), Kartäuserkantorei Köln (Ensemble), Philharmonischer Chor der Stadt Bonn (Ensemble), Philharmonisches Orchester Hagen (Ensemble), Paul Krämer (Conductor)
Schaurig-schöne Geschichten erzählen die Kartäuserkantorei Köln, der Philharmonische Chor Bonn und das Philharmonische Orchester Hagen in diesem Konzert.Von Druiden, die heidnische Bräuche praktizieren, und Hexen, die zum »Höllenlärm« des Orchesters durch die Nacht reiten, handelt Felix Mendelssohn Bartholdys »Die erste Walpurgisnacht«. Camille Saint-Saëns’ makabrer Totentanz ist die Begleitmusik zu einem geheimen Treffen eines Liebespaares, das sich nicht lieben darf – gespielt vom Tod höchstselbst um Mitternacht auf einem Friedhof. Hugo Wolf vertonte ein schauriges Gedicht von Edurard Mörike, in dem am Ende das Gerippe eines Feuerreiters gefunden wird, und bei Franz Liszt schlagen zunächst die feierlichen »Glocken des Straßburger Münsters«, bevor es zu einer dramatischen Auseinandersetzung des Teufels mit einem Engel kommt.
Artistic depiction of the event
Next month
In Hamburg

Budapest Festival Orchestra / Carl-Philipp-Emanuel-Bach-Chor / Iván Fischer

Tue, May 27, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Budapest Festival Orchestra, Carl-Philipp-Emanuel-Bach-Chor Hamburg, Christiane Karg (Soprano), Anna Lucia Richter (Mezzo-Soprano), Iván Fischer (Conductor)
They are a well-rehearsed team: 40 years ago, Hungarian conductor Iván Fischer founded the Budapest Festival Orchestra in his home city and led it to world fame over the years. These very welcome Elbphilharmonie guests are celebrating their big anniversary at the Hamburg International Music Festival (the motto is »Future«) with the visionary music of Gustav Mahler. The star line-up continues with Christiane Karg and Anna Lucia Richter in the vocal solos. »Resurrect, yes resurrect, you will!« It is at the end of Mahler’s Second Symphony that the choir vocalises the religiously and philosophically motivated central message of the work with poignant optimism. Performances of the monumental »Resurrection Symphony« remain an impressive event to this day – not only in Hamburg of course, where the composer once had the inspiration for the choral finale in the »Michel« church. How fitting that the Carl Philipp Emanuel Bach Choir, a Hamburg-based orchestra, should now be performing the finale. The manuscript of the work, which lasts around one and a half hours, was auctioned off several years ago for 5.3 million euros. Fortunately, the live experience of hearing the work is a little more affordable – and priceless at the same time.
Artistic depiction of the event
Finished

Symphonischer Chor Hamburg / Neue Philharmonie Hamburg / Matthias Janz

Sun, Apr 21, 2024, 19:30
Laeiszhalle, Großer Saal (Hamburg)
Symphonischer Chor Hamburg, Neue Philharmonie Hamburg, Jasmin Delfs (Soprano), Bogna Bernagiewicz (Soprano), Ilker Arcayürek (Tenor), Matthias Janz (Director)
Francis Poulenc had a mischievous streak in his neck. Contemporaries accused him of lacking seriousness in his Gloria – and indeed, movements two and four are quite jokey. He was called a »monk and rascal« because he was also capable of serious inner reflection. He considered his music to be as cheerful and pious as monks playing soccer, which he had once observed. The other movements of the Gloria show other typical characteristics of Francis Poulenc’s music: heroic sound with timpani and trumpets at the beginning, intimate sounds with woodwinds, solo singing and choir in the third movement and a large, softer sound in the finale. Poulenc himself said: »I believe I have brought the best and most credible aspect of myself into my choral music.«
Artistic depiction of the event
Finished

Symphoniker Hamburg / Carl-Philipp-Emanuel-Bach-Chor Hamburg / Pablo González

Wed, Jan 1, 2025, 19:00
Laeiszhalle, Großer Saal (Hamburg)
Symphoniker Hamburg, Carl-Philipp-Emanuel-Bach-Chor Hamburg, Mitglieder der EuropaChorAkademie, Jacquelyn Wagner (Soprano), Sophie Harmsen (Mezzo-Soprano), AJ Glueckert (Tenor), Markus Eiche (Bass), Pablo González (Conductor)
Performances of Beethoven’s Ninth Symphony at the Laeiszhalle at the turn of the year have long since become a popular tradition. The composer made music history with the fourth movement of the work, which was premiered around 200 years ago, as he introduced the use of vocal soloists and choir in a symphony that was unusually large in scope and was to change the genre forever. Schiller’s »Ode to Joy«, set to music in this work, conveys a vision of universal brotherhood and unity among all people that transcends national and cultural boundaries. Beethoven set the words to emotionally powerful music, which Berlioz praised as »unsurpassably great«, Mendelssohn complimented as »the highest a human being can achieve«, Wagner hailed as the »human gospel of the art of the future« and Tchaikovsky elicited the poignant judgement: »Beethoven’s Ninth is not only the greatest, but also the most human of all symphonies.«
Artistic depiction of the event
Finished

Carl-Philipp-Emanuel-Bach-Chor Hamburg / Symphoniker Hamburg / Hansjörg Albrecht

Sat, Jun 8, 2024, 19:30
Laeiszhalle, Großer Saal (Hamburg)
Carl-Philipp-Emanuel-Bach-Chor Hamburg, Neuer Knabenchor Hamburg, Symphoniker Hamburg, Elise van Es (Soprano), Wolfram Lattke (Tenor), Daniel Ochoa (Bass), Hansjörg Albrecht (Director)
»Could you give your orchestra a little longing for spring when you play it, because I had that with me when I wrote it. I would like the very first trumpet blast to sound as if from on high, like a call to awakening,« wrote Robert Schumann to the conductor Wilhelm Taubert about his First Symphony in B flat major, of which he once proudly proclaimed: »It was born in a fiery hour.« It was written in a true creative frenzy: the 31-year-old composer sketched it in just four days at the end of January 1841 and finished the entire score a good three weeks later, on 20 February. This early spring symphony by Robert Schumann forms the opening of this intoxicating evening, the second half of which features the famous Carmina Burana. Carl Orff became famous overnight in 1937 with the large-scale Carmina Burana. Contemporary harmonies and expressive melodies are combined here with elements of medieval music, powerful rhythms and an artful simplicity. Orff composed this work to Latin, Middle and Old High German songs that were found in 1803 in the Benediktbeuren monastery in Bavaria and are today among the most important literary testimonies of the Middle Ages. In three parts, the songs of Carmina Burana tell of love and courtship, of romance and mysticism, but above all of the cycle of life. To this day, the work is one of the most popular pieces of serious music of the 20th century.
Artistic depiction of the event
Finished

Symphoniker Hamburg / Carl-Philipp-Emanuel-Bach-Chor Hamburg / Pablo González

Tue, Dec 31, 2024, 16:00
Laeiszhalle, Großer Saal (Hamburg)
Symphoniker Hamburg, Carl-Philipp-Emanuel-Bach-Chor Hamburg, Mitglieder der EuropaChorAkademie, Jacquelyn Wagner (Soprano), Sophie Harmsen (Mezzo-Soprano), AJ Glueckert (Tenor), Markus Eiche (Bass), Pablo González (Conductor)
Performances of Beethoven’s Ninth Symphony at the Laeiszhalle at the turn of the year have long since become a popular tradition. The composer made music history with the fourth movement of the work, which was premiered around 200 years ago, as he introduced the use of vocal soloists and choir in a symphony that was unusually large in scope and was to change the genre forever. Schiller’s »Ode to Joy«, set to music in this work, conveys a vision of universal brotherhood and unity among all people that transcends national and cultural boundaries. Beethoven set the words to emotionally powerful music, which Berlioz praised as »unsurpassably great«, Mendelssohn complimented as »the highest a human being can achieve«, Wagner hailed as the »human gospel of the art of the future« and Tchaikovsky elicited the poignant judgement: »Beethoven’s Ninth is not only the greatest, but also the most human of all symphonies.«
Artistic depiction of the event
Finished

Abel Selaocoe & Aurora Orchestra

Wed, Mar 5, 2025, 19:00
Abel Selaocoe (Cello), Abel Selaocoe (Vocals), Bernhard Schimpelsberger (Percussion), Aurora Orchestra (Ensemble), Nicholas Collon (Conductor)
Abel Selaocoe returns to showcase his versatility as a composer and cellist, performing his "Four Spirits" and Beethoven's 7th Symphony. "Four Spirits" is a tribute to his South African roots, featuring his cello playing and overtone singing. The Aurora Orchestra, conducted by Nicholas Collon, performs Beethoven's symphony from memory.
Artistic depiction of the event
Finished

NDR Elbphilharmonie Orchestra / Alan Gilbert

Fri, May 3, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Rundfunkchor Berlin, Susanna Phillips (Soprano), Gerhild Romberger (Alto), Maximilian Schmitt (Tenor), Michael Nagy (Bariton), Dominique Horwitz (Narrator), Alan Gilbert (Conductor)
It only lasts seven minutes, but it is nonetheless monumental: Arnold Schoenberg’s melodrama »Ein Überlebender aus Warschau« (A Survivor from Warsaw). Schoenberg had readopted the Jewish faith, and he wrote the piece, which opens with a fierce trumpet signal, in 1947 to commemorate the uprising in the Warsaw Ghetto. The score mixes the narrative of a man hiding in the sewers with German commands, martial rhythms – and finally the hopeful Hebrew words »Schma Yisrael«, which the Jews use to prepare for death. The part of the narrator is taken by Dominique Horwitz, himself the son of Jewish parents. The French-German actor and chansonnier is in great demand for performances of literary works of music, from Tom Waits’s »Black Rider« to Stravinsky’s »Histoire du soldat«. And the soloists in the second part of the programme likewise have resounding names: among them are the American soprano Susanna Phillips, alto Gerhild Romberger and baritone Michael Nagy. »War and Peace« is the motto of the Hamburg International Music Festival, and chief conductor Alan Gilbert and his NDR Elbphilharmonie Orchestra place the emphasis on a work of hope and brotherly love: Beethoven’s world-famous Ninth Symphony. The overwhelming finale culminates in Friedrich Schiller’s lines »All men shall be brothers«, which win the day against all the powers of destruction. Beethoven not only touched a nerve in his own time by ending the symphony with a large-scale chorus of rejoicing: nowadays, everyone is familiar with the melody in the guise of the European anthem. Even the playing time of a compact disc, when the CD format was introduced, was geared to enable Beethoven’s oversized Ninth to be played without a break.