| Pierre Hantaï | Clavecin |
| Partitas n°1 | Johann Sebastian Bach |
| Partitas n°2 | Johann Sebastian Bach |
| Partitas n°6 | Johann Sebastian Bach |
These events are similar in terms of concept, place, musicians or the program.
harles Ives occasionally wrote songs that manage without a human voice – singers made such a fuss, he felt, he would replace them with a solo instrument. However, in the pieces chosen by Anna Prohaska and pianist Pierre-Laurent Aimard, the voice will take the leading role. Ives’s songs work with a broad palette of themes, wandering from childhood dreams to industrialisation, from criticism of society to autumn moods. They are contrasted with songs by Debussy and Strawinsky.
Seit mehr als sechs Jahrzehnten gehören die Kammerkonzerte von Musiker:innen der Staatskapelle zu den Konstanten des Staatsopernprogramms. In dieser Spielzeit haben sich Ensembles zusammengefunden, die unter dem Thema „Zusammen-Spiel“ Musik verschiedener Zeiten, Stile und Kulturen ausgewählt haben. An elf Terminen im Apollosaal, der mit seiner besonderen Atmosphäre ein idealer Ort für Kammermusik und ein kommunikatives Miteinander von Spielenden und Hörenden ist, werden Werke vom Barock bis zur Gegenwart erklingen, in zugleich spannungsvollen wie harmonischen Konstellationen, bei denen spürbare Kontraste ebenso eine Rolle spielen wie ein gemeinsames Schwingen und der Ausgleich von Gegensätzen.
Handel's baroque magic opera "Rinaldo" and Verdi's opera comedy "Falstaff" are the experimental fields for directing students. In their productions, directing and singing students regularly dedicate themselves to both great traditional works of the opera world and lesser-known music theatre, showing the audience their perspectives on this repertoire.
Handel's baroque magic opera "Rinaldo" and Verdi's opera comedy "Falstaff" are the experimental fields for directing students. In their productions, directing and singing students regularly dedicate themselves to both great traditional works of the opera world and lesser-known music theatre, showing the audience their perspectives on this repertoire.
Hall 1 transforms into an interactive concert venue, guiding audiences through unique sonic experiences. Soloists and chamber ensembles scatter throughout the space, leading listeners on a sonic journey. The experience culminates in the grand orchestral hall, where audience and musicians swap places. The audience relaxes on stage while musicians perform from the stands. Conceived and directed by violinist Lenamaria Kühner and director Vivien Hohnholtz.
musica viva is celebrating Wolfgang Rihm’s 70th birthday with a week of concerts. Since the 1970s, when he burst upon Germany’s music scene as an enfant terrible, Rihm has embodied the unconditionality of the creative act. It is thus no accident that his 1978 essay on pain and pleasure bore the title Ins eigene Fleisch (“mortifying the flesh”) and dealt with the close bond between mind and body. The same applies to the quintet studies he wrote for composer-clarinettist Jörg Widmann, his former student and perhaps even his soul-mate, who will present them with soloists from the BRSO in Munich’s recital hall.
“We tell ourselves stories through good music,” our chief conductor Joana Mallwitz is convinced. And that's why this season there will once again be two Night Sessions, which she has developed with and for the Konzerthaus Berlin. The concerts with the Konzerthausorchester Berlin, which begin at 9.30 pm on Saturdays, always revolve around a theme that she presents in an unusual stage setting and to which a guest contributes a different perspective on the topic. In this series, the unifying element is the right feeling for the right moment - without perfect timing, there can be no perfect interplay to captivate the audience. This is just as true for a symphony orchestra as it is for an actor: our guest is the well-known theater, film and television actor Matthias Brandt, who played the Munich detective Hanns von Meuffels in the ARD crime series “Polizeiruf 110”. Born in 1961 and the youngest son of the German Chancellor from 1969 to 1974, Willy Brandt, and his wife Rut, the artist grew up in Bonn right in the political centre of old Western Germany. A few years ago, he published a collection of prose miniatures about his childhood under the title “Raumpatrouille” (Space Patrol).
Three sets, ranging from experimental soundscapes and electronic compositions to hypnotizing beats, each in combination with visual forms of expression - a broad spectrum of audiovisual performance art and artistic reflection await you on the opening evening of our festival! “mirror//flesh” for trumpet and electronics questions the relationship between artist and audience and addresses self-reflection in the performing arts. The interplay of sound, space, light and choreographic elements dissolves the boundaries between listening and watching. “Resonance of Berlin”, an audiovisual homage to Berlin, uses AI-supported sound and image compositions to present an artistic ‘city map’ that captures personal and collective perceptions of the metropolis. The performance allows the audience to experience its complexity in a new way and invites them to reflect on the influence of perception on artistic creation.Istanbul Ghetto Club, a multidisciplinary Berlin music collective with a sense of humor and an erotic touch, combines Anatolian, Greek and Mesopotamian melodies with modular synthesizers, visuals and performing arts. They hide behind masks and veils, but have nothing to hide. Anatolian Acid” emerges from tradition and zeitgeist, sweeping the audience away in a live performance and inviting them to dance. Translated with DeepL.com (free version)
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