Season 2025/26: What's coming up?

Date & Time

Mon, May 19, 2025, 18:00

Venue

On 13 September 2025, our 2025/26 season will begin, for which our current opera director Christoph Seuferle will be responsible as acting artistic director. To give you a taste of our repertoire highlights and our seven new productions on the day of the publication of our annual programme, 19 May 2025, we warmly invite you to this musical presentation of our programme. What's coming? ... This is coming: Experience scenic and musical excerpts from works such as Umberto Giordano's ANDREA... Read full text

Info & Ticket (deutscheoperberlin.de)

Musicians

Information not provided

Program

Information not provided

Give feedback

Last update: Sun, Jan 26, 2025, 23:24

Similar events

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

Closing Concert in the 2024/2025 Season

Fri, Jun 13, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Krzysztof Urbański (Conductor), Sophia Brommer (Soprano), Sophie Harmsen (Mezzo-Soprano), Martin Platz (Tenor), Andrew Moore (Bass-Bariton), Bartosz Michałowski (Chorus Director)

Krzysztof Urbański, photo: Grzesiek Mart Ludwig van Beethoven was regarded as a revolutionary (but also an eccentric) in his time, while for subsequent generations he became the epitome of the Classical (and, for many, of what was finest in music). The turbulent reception history of his monumental Symphony No. 9 in D minor proves that the significance of a work is never defined once and for all. It has fascinated not only musicians and listeners with different tastes, but also representatives of different political options and adherents of extreme ideologies. Along the way, it has encountered both nationalism and hope-giving universalism. Today, one of the themes of the Symphony’s finale, considered by some of Beethoven’s contemporaries to be a sign of extravagance, is one of the most recognisable melodies in Western musical culture and is known as the anthem of the European Union.

Info & Ticket (filharmonia.pl)

Closing Concert in the 2024/2025 Season

Sat, Jun 14, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Krzysztof Urbański, photo: Grzesiek Mart Ludwig van Beethoven was regarded as a revolutionary (but also an eccentric) in his time, while for subsequent generations he became the epitome of the Classical (and, for many, of what was finest in music). The turbulent reception history of his monumental Symphony No. 9 in D minor proves that the significance of a work is never defined once and for all. It has fascinated not only musicians and listeners with different tastes, but also representatives of different political options and adherents of extreme ideologies. Along the way, it has encountered both nationalism and hope-giving universalism. Today, one of the themes of the Symphony’s finale, considered by some of Beethoven’s contemporaries to be a sign of extravagance, is one of the most recognisable melodies in Western musical culture and is known as the anthem of the European Union.

Info & Ticket (filharmonia.pl)

NOSPR / Alsop / Sumino / Inauguration of the season 2024/2025

Fri, Oct 4, 2024, 19:30

Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)

Marin Alsop (Conductor), NOSPR, Hayato Sumino (Piano)

We invite you to a live broadcast of the concert on Polish Radio 2.Samuel Barber began composing the Symphony No. 1 in1935, at the age of twenty-five. At the end of 1942 and at the beginning of 1943, he made significant amendments to the score, eventually to dedicate it to Gian Carlo Menotti – his university friend and later life partner. Commenting on this symphonic debut, he admitted that the intention behind it was a polemical dialogue with the classical tradition: „The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character.”The concept of the Concertino by the twenty-nine-year-old Władysław Szpilman– that of a single-movement “small concerto” – is similarly untypical. His first and only composition for piano with orchestra was created in the Warsaw ghetto in 1940. Hence the “compactness” of the form. The graceful character, references to jazz and subtle allusions to Chopin permeate the melodies and harmonic language of the Concertino, showing Szpilman as akin to Prometheus, one who brings light into the darkest places of human despair and sorrow.In the case of the forty-year-old Johannes Brahms, one could call his Variations on a Theme by Haydn, Op. 56a, a “protodebut”. The story of how long Brahms, filled with doubt, was preparing for his Symphony No. 1 (1876), is one of the most frequently discussed aspects of his biography. The 1873 Variations are a significant step in this process. They constitute a prototype of the symphonic idea and texture, and simultaneously a tribute and a token of admiration for the author of TheCreation of the World. „He was quite someone!” was how Brahms wrote about Haydn a year before his own death. “Oh, how pitiful are we against someone like him!”With his Rhapsody in Blue (1924), today, Gershwin is an iconic figure, standing like the Colossus of Rhodes, towering over the borderline between two orders – those of classical music and jazz. However, when the twenty-six-year-old was entering the conservative realm of American concert halls with his slightly nonchalant Broadway gait, he was crossing a line no one had ignored in such an ostentatious manner before. Paul Whiteman organised the Experiment in Modern Music concert in order to prove that the relatively new form of music called jazz deserved being recognised as a serious and sophisticated form of art. The Rhapsody proved that being first and brave is worth the risk!Andrzej SułekConcert duration (intermission included): approximately 90 minutes

Info (nospr.org.pl)

KdK Stand Up

Wed, Oct 23, 2024, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Fabi Rommel, Quichotte, Ana Lucia, Osan Yaran, Maria Clara Groppler, Jan van Weyde, Sebastian 23 (Moderator)

Stand-up comedy is booming and we’re celebrating. A fearless band of young comedians is conquering live stages and the Internet – Kampf der Künste brings the most explosive to the stage of the Elbphilharmonie, where virtuoso humour artists offer bizarre perspectives on the completely normal, completely crazy world. Bitterly beautiful punchlines about small happiness, great misery and infinite inadequacy. Or simply wonderfully honest voices that you should have heard. KDK Stand Up delivers an evening that is curated to the point and really enjoyable. Or to put it another way: finally an evening event where you can have a good laugh even with your least funny friends. The stand-up scene is fresher and livelier than it has been for a long time. A high-intensity workout for the diaphragm – witty and crazy, laconic and escalating.

Info (www.elbphilharmonie.de)

Close-up: Metamorphosen

Sun, May 4, 2025, 12:00

Het Concertgebouw, Recital Hall (Amsterdam)

Caroline Strumphler (Violin), Coraline Groen (Violin), Vilém Kijonka (Viola), Guus Jeukendrup (Viola), Benedikt Enzler (Cello), Izak Hudnik (Cello), Théotime Voisin (Double bass), Rolf Somann (Netherlandist), Rolf Somann (Germanist)

Musicians of the Concertgebouw Orchestra perform their own programmes in the Recital Hall as part of the Close-up chamber music series. Each of these concerts is unique and performed only once as part of the series. It’s the very best way to experience the individual qualities of the orchestral musicians! These intimate concerts are organised by the Friends of the Concertgebouw and the Royal Concertgebouw Orchestra.

Info & Ticket (www.concertgebouw.nl)

S.O.S. .... up your power

Wed, Sep 11, 2024, 20:00

Kölner Philharmonie (Köln)

Sandra Schwarzhaupt Calderón (Soprano), Lazaro Calderón (Tenor), Johanna Stein (Cello), Nicole Besse (Violin), Tobias Schmitz (Piano), Gerd Köster, Wilfried Schmickler, Christoph Broll (Violin), Richard Bargel (Guitar), Soufian Zoghlami (Vocals), Soufian Zoghlami (Guitar), Max von Einem (Trombone), Druckluft, SZENARIO, Butch Williams (Vocals), Lina Bó, Kozmic Blue, Bläck Fööss (Ensemble), Chöre, Michael Kokott (Director), Ingrid Hack (Interlocutor), Pia Klemp (Interlocutor), Hans Mörtter (Presentation)

Take action instead of resigning yourself to powerlessness! Make a difference and alleviate child poverty!

Info (www.koelner-philharmonie.de)

Close-up: Early birds

Tue, May 27, 2025, 20:15

Het Concertgebouw, Recital Hall (Amsterdam)

Julie Moulin (Flute), Jae-Won Lee (Violin), Clément Peigné (Cello), Maarten den Hengst (Piano), Patricia Robaina (Harpsichord), Alexander Reeuwijk (Narrator)

Musicians of the Concertgebouw Orchestra perform their own programmes in the Recital Hall as part of the Close-up chamber music series. Each of these concerts is unique and performed only once as part of the series. It’s the very best way to experience the individual qualities of the orchestral musicians! These intimate concerts are organised by the Friends of the Concertgebouw and the Royal Concertgebouw Orchestra.

Info & Ticket (www.concertgebouw.nl)

Season Opening with Blomstedt

Wed, Sep 11, 2024, 19:00

Konserthuset Stockholm, The Main Hall (Stockholm)

Royal Stockholm Philharmonic Orchestra, Herbert Blomstedt (Conductor), Susanne Rydén (Presenter)

Herbert Blomstedt is Sweden's internationally most recognized conductor – ever. Among the orchestras he has worked with are the Gewandhaus Orchestra in Leipzig, the Berlin Philharmonic, the Orchestre de Paris, and notably the San Francisco Symphony, where Blomstedt was chief conductor for ten years. Blomstedt has also conducted the Royal Stockholm Philharmonic Orchestra on well over 200 occasions, and on the occasion of his 90th birthday in 2017, Konserthuset named its grand conductor's dressing room after him.It has been 70 years since Herbert Blomstedt first conducted the Royal Stockholm Philharmonic Orchestra at a public concert, and already two years before that, in 1952, he conducted the orchestra during a radio broadcast.As he makes another cherished visit to the Royal Stockholm Philharmonic Orchestra, it is with two favorites, Franz Berwald and Brahms. Memories from the Norwegian mountains came to him after a visit to Norway, and Berwald described the Nordic-sounding music as orchestral tonal painting. The restlessly bustling Sinfonie capricieuse is surrounded by mystique, for shortly after Berwald's death, the score disappeared under mysterious circumstances. The music was later reconstructed by Nils Castegren based on Berwald's remaining sketches.Johannes Brahms's first symphony is undoubtedly a masterpiece. The symphony was crafted over many years, with Brahms at times almost paralyzed by the performance demands of his idol Beethoven. However, the end result is magnificent and shaped with precision, intense emotion, and great beauty.

Info (www.konserthuset.se)

Season opening in Bamberg

Sat, Sep 21, 2024, 20:00

Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)

Jakub Hrůša (Conductor), Isabelle Faust (Violin)

»This must be love!« These words were heard at the joyous announcement that the journey with Jakub Hrůša will continue for several more wonderful years. And he sums it up perfectly, because our Chief Conductor is completely happy with his »friendly and harmonious home«: he loves the city Bamberg, the amicable atmosphere in the orchestra and the whole team behind the scenes, the magnificent hall and the enthusiastic audiences – who return his love in such a way that the concerts with him have been constantly sold out for years. And since fate has been particularly kind to this close relationship since 2016, Jakub Hrůša has fittingly included the Beethoven symphony on the programme for our season opener, with its world-famous tones revolving around the much-invoked Fatum – and about which it was said early on that it is a »living image of great passion«. This symphonic blockbuster is combined with favourites from the heart of our Chief Conductor: With compositions from his and our Bohemian homeland, which he regularly familiarises us with on our journey together. And in doing so, we are always moving on to lesser-known repertoire. Dvořák's Violin Concerto, for example, is not heard very often, even though it is in no way inferior in quality to the great Romantic concertos of his colleagues: it is »original, full of cantilenas and written for accomplished violinists« – including Isabelle Faust, whose wish it was to play the solo part with us one day. However, before that, we should first congratulate this year's birthday boy, Smetana: With his fascinating tone poem »Wallenstein's Camp«, which for Jakub Hrůša is a »fantastic opener« for concerts – which makes the piece a perfect opening for the new season themed »What we love«.

Info (www.bamberger-symphoniker.de)

Season concert ›DSO Schulmusiken‹

Sun, Jan 12, 2025, 16:00

Heimathafen Neukölln (Berlin)

Ensembles aus Berliner Schüler:innen (Ensemble), Mitglieder des DSO (Ensemble)

With ›Klassik’s Not Dead‹ the DSO provides music education directly at Berlin schools, including the Beethoven-Gymnasium, the Canisius-Kolleg, the Droste-Hülshoff-Gymnasium, the Heinz-Berggruen-Gymnasium, and the Salvator Catholic School. In weekly lessons, members of the orchestra coach chamber music ensembles of all ages. By now, more than a dozen DSO musicians are involved. Some of them mentor the pupils for several years, supporting the musical process from the rehearsal of the works to technical questions and how to play together in a chamber music setting. The results of the collaboration are presented in a public chamber concert every school year.

Info (www.dso-berlin.de)