Plácido Domingo und die Bremer Philharmoniker – My Life for Music

Ultraschall – Festival for new Music

Vladimir Jurowski sees himself as a politically aware artist who intervenes and takes a stand on current events. The RSB’s concert at Ultraschall Berlin is therefore particularly characterised by current affairs.Olga Rayeva: On the seaMany of her compositions deal with the theme of the sea. This is no coincidence: her early childhood is deeply connected with two cities: Moscow, where there is no sea, and Mariupol, where her mother’s parents lived at the time. She was always very happy in Mariupol and dreamed her whole life of being back there one day, near the somewhat murky, green Sea of Azov. She would then walk along an alleyway in this southern city to the small theatre…Now neither the theatre nor the town itself exists.This is a personal tragedy for Olga. The events of the last few years have destroyed her to a large extent internally. And the only way for a composer to deal with trauma is to write music.Elnaz Seyedi: a mark of our breathElnaz Seyedi’s compositions are influenced by literature, architecture and the visual arts as well as her studies in computer science. The sounds often oscillate between rigour and delicacy. Her work “a mark of our breath” was premiered as part of the concert series ‘Miniatures of Time’ – a series of twelve short orchestral pieces commissioned by Westdeutscher Rundfunk from various composers. They all deal with issues of our time, such as sustainability or the coronavirus crisis. Elnaz Seyedi himself writes about a mark of our breath:“The composition was created in 2021 during a stay in Wendland. Inspired by the expansive view with three quarters of the sky, which is different in every weather and every time of day, but actually always spectacular, and a landscape with a rich spectrum of green and later in autumn of yellow. The piece begins in this peaceful landscape, which gradually breaks up from within. The human voices – played and sung simultaneously in the brass instruments – are on the one hand part of this landscape, enriching it with their very special colour. On the other hand, their flipside is the destruction of the seemingly original.”Farzia Fallah “Traces of a Burning Mass” for orchestraLike Seyedi, Farzia Fallah was also born in Iran. Her orchestral work, for which she received the Heidelberg Women Artists’ Prize, was written during the protests against the violent death of Mahsa Amini in police custody in autumn 2022: musical traces of a burning, angry, freedom-loving mass. The concert can be heard on the radio on the following dates:Deutschlandfunk Kultur: 18 January 2024, 8:03 pm rbbKultur: 12 March 2024, 11:03 pm About the festival:The “Ultraschall – Festival for New Music” presents recently created works in a music-historical context that goes back to the beginnings of the post-war avant-garde, a period that now spans more than 70 years.In recent years, more and more premieres and first performances have been presented at the festival, and some of the works are also commissioned by the festival, but the approach remains the same: to give space to current trends in contemporary music and at the same time to categorise these current productions in terms of music history.

Ultraschall – Festival for New Music

The concert will be broadcasted live on Deutschlandfunk Kultur at 8 pm.

Guest performance ‟The Soundtrack of My Lifeˮ

Music for Queen Mary

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!

Das Paradies und die Peri

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

Das Paradies und die Peri

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

Das Paradies und die Peri

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

Das Paradies und die Peri

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

Das Paradies und die Peri

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore