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

Royal Philharmonic Orchestra / Julia Fischer / Vasily Petrenko

Date & Time
Fri, Jan 31, 2025, 20:00
»Julia Fischer plays the violin concerto in a fresh, captivating and energetic manner, with a broad palette of tonal colours and a fantastic technique. Her Tchaikovsky sounds soulful and romantic without becoming sentimental.« Julia Fischer’s fantastic recording of the Tchaikovsky Violin Concerto, which is so enthusiastically reviewed here by BR, dates back to 2006. Almost 20 years later, the consistently excellent violinist is still one of the best interpreters of this work, which places the highest demands on the soloist... Read full text
Artistic depiction of the event

Musicians

Royal Philharmonic Orchestra
Julia FischerViolin
Vasily PetrenkoConductor

Program

Carnival / concert overture, Op. 92Antonín Dvořák
Concerto for Violin and Orchestra in D major, Op. 35Piotr Tchaikovsky
Concerto for Orchestra, Sz 116Béla Bartók
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

Royal Philharmonic Orchestra

Sat, Feb 8, 2025, 20:00
Julia Fischer, acclaimed violinist and professor, joins conductor Vasily Petrenko and the Royal Philharmonic Orchestra for a concert featuring Dvořák's "Carnival Overture," Tchaikovsky's Violin Concerto, and Bartók's Concerto for Orchestra. Fischer's performance of the Tchaikovsky concerto has been praised for its freshness and emotional depth. The Bartók piece, written during his exile in New York, is a unique work showcasing the entire orchestra.
Artistic depiction of the event

Royal Philharmonic Orchestra

Sun, Feb 2, 2025, 20:00
Julia Fischer (Violin), Royal Philharmonic Orchestra (Ensemble), Vasily Petrenko (Conductor)
Sibelius' Violin Concerto and Bartók's Concerto for Orchestra, featuring soloist Julia Fischer and the Royal Philharmonic Orchestra, promise an intense and highly virtuosic performance. Fischer emphasizes the natural element in Sibelius' concerto, which is among her favorites. Bartók's concerto, known for its strong strings and daring wind passages, also stands out for its intense sound.
Artistic depiction of the event

Hamburg Philharmonic State Orchestra / Julia Lezhneva / Adam Fischer

Sun, Jul 7, 2024, 11:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, Julia Lezhneva (Soprano), Adam Fischer (Conductor)
»Scena di Berenice«, which is rarely performed nowadays, was composed by Joseph Haydn during his second visit to London. The content is quintessential for a classical aria: a woman in love has been abandoned by her partner and now laments sonorously. 130 years later, a work by Béla Bartók caused a far-reaching scandal: the fiery dance pantomime called »The Miraculous Mandarin« was banned in Cologne in 1926 by the then Lord Mayor Konrad Adenauer. This is how barbaric the music seemed to the listeners. And it is indeed true: Bartók was not interested in music as edification. He wanted to depict reality. And reality in the early 20th century was often a long way from harmonious. In the second half of the concert, Gustav Mahler’s fourth and arguably most light-filled symphony takes us back to the beginning of the century. But beware: the light in the symphony is tempered with some dark shallow waters. At a children’s concert at New York’s Carnegie Hall back in 1960, the great rediscoverer of Mahler, Leonard Bernstein, said: »Well, you might not believe it, but the man who wrote all that jolly stuff was one of the most unhappy people in history!«
Artistic depiction of the event

Hamburg Philharmonic State Orchestra / Julia Lezhneva / Adam Fischer

Mon, Jul 8, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, Julia Lezhneva (Soprano), Adam Fischer (Conductor)
»Scena di Berenice«, which is rarely performed nowadays, was composed by Joseph Haydn during his second visit to London. The content is quintessential for a classical aria: a woman in love has been abandoned by her partner and now laments sonorously. 130 years later, a work by Béla Bartók caused a far-reaching scandal: the fiery dance pantomime called »The Miraculous Mandarin« was banned in Cologne in 1926 by the then Lord Mayor Konrad Adenauer. This is how barbaric the music seemed to the listeners. And it is indeed true: Bartók was not interested in music as edification. He wanted to depict reality. And reality in the early 20th century was often a long way from harmonious. In the second half of the concert, Gustav Mahler’s fourth and arguably most light-filled symphony takes us back to the beginning of the century. But beware: the light in the symphony is tempered with some dark shallow waters. At a children’s concert at New York’s Carnegie Hall back in 1960, the great rediscoverer of Mahler, Leonard Bernstein, said: »Well, you might not believe it, but the man who wrote all that jolly stuff was one of the most unhappy people in history!«
Artistic depiction of the event

NDR Elbphilharmonie Orchestra / Anaëlle Tourret / Vasily Petrenko

Sun, Mar 10, 2024, 18:30
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Anaëlle Tourret (Harp), Vasily Petrenko (Conductor)
The NDR Elbphilharmonie Orchestra, conducted by Vasily Petrenko, turns its attention to some enduring melodies from the Russian late-Romantic period. The soloist is the harpist Anaëlle Tourret – making it a rare opportunity to experience this enchantingly beautiful instrument in such a prominent role. »One of the finest harpists I have ever heard. She is very special,« is the verdict from the star violinist and Artist in Residence Joshua Bell, about Anaëlle Tourret. In 2018, at the age of just 25, the French musician was appointed as principal harpist of the NDR Elbphilharmonie Orchestra, and she now performs regularly with renowned ensembles all over the world. High time, then, for her solo debut at the Elbphilharmonie as well. Anaëlle Tourret performs Reinhold Glière’s virtuoso harp concerto, which is filled with late-Romantic timbres and Russian folk melodies. After that, for the first time ever in the Grand Hall, there is a chance to hear Prokofiev’s astonishingly rarely performed Seventh Symphony – a transparently composed work inspired by fairy-tale, oriental influences and an enchanting richness of melody.
Artistic depiction of the event

Easter Concert Vasily Petrenko Oslo Philharmonic Choir Richard Wagner

Fri, Apr 11, 2025, 19:00
Vasily Petrenko (Conductor), Toby Spence (Parsifal), Yngve Søberg (Amfortas), Franz-Josef Selig (Gurnemanz)
Richard Wagner (1813–1883) first encountered the story of the knight Parsifal in 1845. In the spring of 1857, he sketched an opera based on the tale, and 25 years later, on 26 July 1882, Parsifal premiered in Wagner’s own opera house in Bayreuth. The composer himself did not call Parsifal an opera, but a Bühnenweihfestspiel, a “stage-festival-play” which was exclusively performed at Bayreuth. The work has a strong spiritual dimension characterized by Wagner’s interest in Christianity, Buddhism and philosophy. Parsifal is one of the Grail brothers, the knights who protected the Holy Grail, the cup from which, according to legend, Jesus drank from at the Last Supper, and in which his blood is collected. Richard Wagner wrote the lyrics himself, loosely based on medieval verse novels. Wagner describes Parsifal’s development and spiritual growth from being an inexperienced knight to, through learning suffering and compassion, understanding the Holy Grails deeper meaning and becoming its guardian.In the third act, Parsifal becomes a redeemer for the Grail community and heals King Amfortas. The action takes place on Good Friday, which emphasizes central themes – spiritual renewal and redemption. The music is played in a concert version, i.e. without scenery or costumes.
Artistic depiction of the event

Philharmonic Day – Concert featuring Royal Stockholm Philharmonic Orchestra

Sat, Jan 11, 2025, 15:30
Royal Stockholm Philharmonic Orchestra, Andreas van Tol (Conductor), Susanne Rydén (Presenter)
Philharmonic Day concludes with a varied concert program. First, drama and beauty in the music from Ethel Smyth’s On the Cliffs of Cornwall, taken from her opera The Wreckers. Then … well, what exactly is this so-called “Ambulance Music”? You’ll find out, but we can tell you it’s not about blaring siren, quite the opposite. Finally, it’s time for film music, as the master John Williams takes us to the Wild West. The music was written for the 1972 film The Cowboys. The Royal Stockholm Philharmonic Orchestra is conducted by Andreas van Tol, with Konserthuset Stockholm’s CEO Susanne Rydén as host.Strollers and prams cannot be brought into Konserthuset Stockholm and are best left at home. A designated stroller tent is set up outside the entrance, where prams can be left, subject to space availability.
Artistic depiction of the event

Philharmonic Day – Sing-along with the Royal Stockholm Philharmonic Orchestra

Sat, Jan 11, 2025, 13:30
Royal Stockholm Philharmonic Orchestra, Andreas van Tol (Conductor), Emelie Power (Sing-a-long leader)
Have you always dreamt of singing in some of the greatest hits of classical music? This is your chance! With the help of our luxurious ”backing band”, the Royal Stockholm Philharmonic Orchestra, it’s time for you to participate and sing along in well-known music pieces. We dare to promise you a powerful experience.The sing-along is led by Emilie Power, organist and choir leader of the Katarina parish. Lyrics will be handed out ahead of the concert.Strollers and prams cannot be brought into Konserthuset Stockholm and are best left at home. A designated stroller tent is set up outside the entrance, where prams can be left, subject to space availability.
Artistic depiction of the event

Royal Stockholm Philharmonic Orchestra / Nina Stemme / Ryan Bancroft

Tue, Mar 25, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Royal Stockholm Philharmonic Orchestra, Nina Stemme (Soprano), Ryan Bancroft (Conductor)
The British Telegraph described Nina Stemme as undoubtedly »the greatest dramatic soprano of our time«, while German daily Die Welt recently paid tribute to her voice as »a soprano with a dark chestnut shimmer whose soft power is a true event«.The Swedish soprano can now be heard in Gustav Mahler’s highly emotional »Kindertotenlieder« at the Elbphilharmonie, accompanied by the Royal Stockholm Philharmonic Orchestra under the baton of its new chief conductor, young high-flyer Ryan Bancroft. The poet Friedrich Rückert dealt with the death of two of his children in over 400 poems, five of which Mahler set to music. And they have it all: in highly expressive, almost operatic style, Mahler uses all the timbres of the orchestra to illustrate the texts. Tragic, dark and beautiful at the same time – as if made for Nina Stemme. Ryan Bancroft is one of the most exciting young conductors of our time: orchestras and audiences alike are thrilled by his presence: »Even the little finger of his right hand is expressive,« the Times wrote about him. For the first time, he is a guest on the Elbe with »his« Stockholm orchestra, and dedicates the second half of the concert to Tchaikovsky’s Fifth Symphony, which deals in powerful music with the unpredictability of fate.