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

Portrait Pascal Dusapin

Date & Time
Fri, Apr 25, 2025, 20:00
Adventurous, inquisitive, independent, and principled in his approach – Pascal Dusapin has retained these qualities to this day, which explains why he is one of the most important composers of his generation. For his artfully crafted cycle of seven “orchestral solos,” he pondered for almost two decades the “question of the pure line” – which, according to the composer, is attained only in the sixth solo, entitled Reverso. Uncut concludes the collection of seven solos, and, with its iridescent prisms... Read full text

Keywords: Contemporary, Vocal Music

Info & Ticket (www.brso.de)
Artistic depiction of the event

Musicians

Ariane MatiakhConductor
Christel LoetzschSoprano
Renaud CapuçonViolin
Symphonieorchester des Bayerischen Rundfunks

Program

“Reverso Solo Nr. 6” for big orchestra [2005-06]Pascal Dusapin
“Wenn du den Wind”-Drei Szenen aus der Oper Penthesilea nach Heinrich von Kleist für Sopran und Orchester [2014]Pascal Dusapin
“Uncut Solo Nr. 7” für OrchesterPascal Dusapin
“Aufgang” concert for violine and orchestra[2011]Pascal Dusapin
Give feedback
Last update: Mon, Dec 30, 2024, 17:01

Similar events

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

Artistic depiction of the event

Portrait Sofia Gubaidulina

Thu, May 30, 2024, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
David Spranger (Bassoon), Christopher Franzius (Cello), Andreas Grünkorn (Cello), Yuri Christiansen (Cello), Christoph Rocholl (Cello), Valentin Priebus (Cello), Phillip Wentrup (Cello), Filip Mikulski (Cello), Fabian Diederichs (Cello), Fabian Diederichs (Aquaphone), Katharina Kühl (Cello), Katharina Kühl (Aquaphone), Ekkehard Beringer (Double bass), Jens Bomhardt (Double bass), Benedikt Kany (Double bass), Marin Alsop (Conductor)
Many phases in her extensive oeuvre betray Sofia Gubaidulina’s fascination with the sound of a large string section playing the low registers. She has written several pieces for cello ensemble, and the double bass also plays a prominent role in a number of her works. So the idea seemed to suggest itself of devoting a concert to this special preference of the now 92-year-old composer, who lives near Hamburg, thus producing a special »Portrait of Sofia Gubaidulina«. The centrepiece of the evening’s programme is the five-movement Concerto for Bassoon and low strings, written in Russia in 1975, the year of Shostakovich’s death. The rarely-heard work is one of the compositions that display the influence of this towering figure of Soviet music on Gubaidulina’s »middle style«. It is also well-known that Shostakovich encouraged and sponsored her as a young composer. The concerto’s fascination lies in the exceptionally varied and virtuoso sounds of by the low register, as well as the direct appeal of the solo part, taken here by the NDR’s solo bassoonist David Spranger. The concerto is flanked by two pieces scored for a larger cello ensemble. 2002’s »Mirage« with its light fantasies is a fine example of the nature mysticism to be found in Gubaidulina’s late works. »Am Rande des Abgrunds«, written at about the same time, is one of her most frequently-performed compositions, and surprises the listener with its use of two rich-sounding waterphones. Sofia Gubaidulina has a long-standing connection with the NDR. Among the memorable products of their cooperation are many performances put on by the NDR Chor (now known as the NDR Vokalensemble) – particularly the big first performances of the St John’s Passion and the Easter Oratorio in St. Michael’s Church, Hamburg, in March 2002.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

Portrait Concert Sir András Schiff

Wed, Jun 26, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Sir András Schiff (Piano), Ema Nikolovska (Mezzo-Soprano), Julian Prégardien (Tenor), Marie-Luise Neunecker (French horn), Stephen Waarts (Violin), Timothy Ridout (Viola), Julia Hagen (Cello)
One of András Schiff’s maxims is: »It’s important to be able to listen.« This principle applies especially to chamber music, which has always been a matter close to his heart. Because it is precisely this togetherness, and this listening and responding to each other, that are for him the most beautiful form of making music. Schiff now delivers precisely those kinds of moments of musical bliss with close musical friends such as the tenor Julian Prégardien and the cellist Julia Hagen. For the programme, Schiff has selected Romantic works by his favourite composers. These include Franz Schubert the prince of song and Robert Schumann, whose 1840 »Eichendorff« lieder cycle is on the programme. The programme also features Schumann’s Violin Sonata No. 2, which was premiered in Leipzig in 1852, and the Piano Quartet No. 1 by Schumann’s friend Brahms, which was premiered in Hamburg in 1861.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

NDR Elbphilharmonie Orchestra / Ingo Metzmacher

Sat, Nov 9, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Ingo Metzmacher (Conductor), Solist:innen in »Messe Nr. 1«, Claire de Sévigné (Soprano), Avery Amereau (Alto), Toby Spence (Tenor), Michael Nagy (Bariton), Solist:innen in »Die Jakobsleiter«, Brenden Gunnell (Tenor), Bernard Richter (Tenor), Jens Persson Hertzman (Bariton), Sean Michael Plumb (Bariton), Anne Schwanewilms (Soprano), Miriam Kutrowatz (Soprano), Marie Maidowski (Soprano), Solist:innen des NDR Vokalensembles, Lucy De Butts (Soprano), Sophia Körber (Soprano), Alexandra Hebart (Mezzo-Soprano), Solist:innen des MDR-Rundfunkchors, Ramona Laxy (Soprano), Lisa Germeshausen (Soprano), Falk Hoffmann (Tenor), Oliver Kaden (Tenor)
Ingo Metzmacher is one of the great explorers among conductors. He tirelessly explores new and little-known areas of the repertoire. His curiosity already characterised him during his time as General Music Director in Hamburg between 1997 and 2005. And this also characterises the vocal symphonic programme with which he returns to the podium of the NDR Elbphilharmonie Orchestra in November. One day before his 67th birthday, Metzmacher conducts two rarely performed works by two jubilarians from the Romantic and modern eras with a round birthday in 2024 – and fills the stage in the Grand Hall with an opulent line-up that, alongside the NDR Elbphilharmonie Orchestra, includes the MDR-Rundfunkchor and nine vocal soloists.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

NDR Radiophilharmonie Hannover / Anja Petersen / Pierre Bleuse

Fri, Feb 14, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Radiophilharmonie, Anja Petersen (Soprano), Pierre Bleuse (Conductor)
As part of the »Elbphilharmonie Visions« festival, the NDR Radiophilharmonie and conductor Pierre Bleuse present a work by Italian composer Clara Iannotta, who continues to explore the boundaries between noise and composition, as well as Arnulf Herrmann’s »Tour de Trance« for soprano and orchestra. As at the latter’s world premiere, the solo part will be performed by opera singer Anja Petersen.
Info & Ticket (www.elbphilharmonie.de)
Artistic depiction of the event

Bang on a Can All-Stars / Trio Mediaeval

Mon, Feb 17, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Vicky Chow (Piano), Vicky Chow (Melodica), David Cossin (Drums), David Cossin (Percussion), Arlen Hlusko (Cello), Mark Stewart (Electric Guitar), Mark Stewart (Banjo), Mark Stewart (Mountain dulcimer), Mark Stewart (Jaw harp), Mark Stewart (Harmonica), Ken Thomson (Clarinet), Ken Thomson (Harmonica), Kebra-Seyoun Charles (Double bass), Linn Andrea Fuglseth (Soprano), Anna Maria Friman (Soprano), Jorunn Lovise Husan (Alto)
Even for the state of the art, there are legends – such as the Bang on a Can All-Stars, who are always in search of very up-to-date, exciting music, regardless of genre categories. Steve Reich, Philip Glass, Meredith Monk and Ornette Coleman are just a few of the artists who have already collaborated with the New York collective. For their Elbphilharmonie debut, the musicians have chosen a work by founding member and Pulitzer prizewinner Julia Wolfe, which traces the myth surrounding the American folk hero John Henry as an oratorio between minimal music and country. There are hundreds of versions of this story, passed down by word of mouth and already cast in music many times whether by Johnny Cash, Van Morrison or Bruce Springsteen: at the end of the 19th century, a worker is supposed to have competed against a new kind of steam-driven hammer in railway construction with his muscle strength and won – to pay with his life as a result. Julia Wolfe has composed a meta myth with »Steel Hammer«: »The work is inspired by my love of legends and the music of the Appalachian Mountains. I fragmented the many different and somewhat contradictory versions of the ballad and wove it into a completely new format. The music often circles around individual words or phrases to tell the ultimate story and its different paths.« The Appalachian dulcimer (a kind of zither) joins the usual line-up of Bang on a Can with clarinet, a lot of percussion, guitars, piano, cello and double bass and provides for the American country sound. Trio Mediæval, a top-class a-cappella ensemble from Norway, completes the overall sound with its clear soprano and alto voices, which Julia Wolfe particularly appreciates for their great wealth of experience in the vocal tradition of their homeland.
Info & Ticket (www.elbphilharmonie.de)
Artistic depiction of the event

Good Friday Concert: tenebrae

Fri, Mar 29, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Tenebrae, Nigel Short (Conductor)
On Good Friday, the acclaimed British vocal ensemble Tenebrae and its founder Nigel Short are heading on a musical pilgrimage to Santiago de Compostela. In his full-length a-cappella work »Path of Miracles«, Joby Talbot – who was born in Wimbledon in 1971 – has captured the special atmosphere of four spiritual sites along the Camino de Santiago. Based on Bible quotations and medieval sources, 17 independent vocal parts in seven languages and great stylistic diversity depict the legends of saints and miracles associated with this pilgrimage route. The English composer found his inspiration for the 2005 work – a commissioned piece written specially for Tenebrae – »on location«: »Over the course of ten days I watched little clouds of Pyrenean mist wafting through the medieval streets of Roncesvalles, marvelled at the gruesome reliquaries in austere Burgos, saw storks on church spires in León as the evening sun poured through acres of stained glass, and witnessed traditionally clad Galician villagers harvesting their fields with hand scythes in a manner unchanged for a millennium.« Having reached Santiago and touched the hollow in the pillar at the cathedral, he felt a special closeness to the many generations of pilgrims who had followed the same tradition. »The connection to the past seemed palpable, and it was the feeling I experienced at that moment that I resolved to try to express in the music.«
Info (www.elbphilharmonie.de)
Artistic depiction of the event

NDR Elbphilharmonie Orchestra / NDR Vokalensemble / Matthias Brandt / Jonathan Stockhammer

Fri, Mar 15, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, NDR Vokalensemble, Siobhan Stagg (Soprano), Noa Frenkel (Alto), Simon Bode (Tenor), Jonathan Stockhammer (Conductor), Matthias Brandt (Narrator)
Luigi Nono always saw himself as a political person and composer. But rather than composing musical manifestos against social injustice, he believed in the power of music to educate and enlighten. As in 1956, when he – in his large-scale cantata »Il canto sospeso« – translated farewell letters by members of the resistance that had been sentenced to death into a stirring and highly poetic tonal language. The German-American conductor and Nono specialist Jonathan Stockhammer now presents this »suspended song« in the Grand Hall. Luigi Nono’s musical credo was to »awaken the ear, the eyes, human thought« with his works. This aspiration is reflected in the »Canto sospeso«, which was premiered in Cologne in 1956 and which – with its orchestra parts, a-cappella chorales and arias – also underlines Nono’s affinity for Italian madrigal and operatic art. Yet in its musical recollection, this »song« exudes a blazing presence.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

Kirill Petrenko with Rachmaninov’s “Francesca da Rimini”

Sat, Jan 18, 2025, 19:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Kirill Petrenko (Conductor), Galina Cheplakova (Soprano), Dmytro Popov (Tenor), Dmitry Golovnin (Tenor), Vladislav Sulimsky (Bariton), Ilia Kazakov (Bass), Rundfunkchor Berlin (Choir), Gijs Leenaars (Chorus Master)
Hatred, jealousy and loss: Sergei Rachmaninov creates a dark world with powerful colours in his one-act opera Francesca da Rimini. Against this backdrop, the heroine’s brief happiness in love shines all the more brightly. Kirill Petrenko presents the impassioned score with acclaimed soloists in a concert performance. Sofia Gubaidulina’s work The Wrath of God is almost apocalyptically dramatic. And here, too, it is about the hatred that – says the composer – “grows in this world with such force and intensity that it inevitably touches me.”
Info (www.berliner-philharmoniker.de)
Artistic depiction of the event

Kirill Petrenko with Rachmaninov’s “Francesca da Rimini”

Fri, Jan 17, 2025, 20:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Kirill Petrenko (Conductor), Galina Cheplakova (Soprano), Dmytro Popov (Tenor), Dmitry Golovnin (Tenor), Vladislav Sulimsky (Bariton), Ilia Kazakov (Bass), Rundfunkchor Berlin (Choir), Gijs Leenaars (Chorus Master)
Hatred, jealousy and loss: Sergei Rachmaninov creates a dark world with powerful colours in his one-act opera Francesca da Rimini. Against this backdrop, the heroine’s brief happiness in love shines all the more brightly. Kirill Petrenko presents the impassioned score with acclaimed soloists in a concert performance. Sofia Gubaidulina’s work The Wrath of God is almost apocalyptically dramatic. And here, too, it is about the hatred that – says the composer – “grows in this world with such force and intensity that it inevitably touches me.”
Info (www.berliner-philharmoniker.de)