Sir Simon Rattle

Sir Simon Rattle

“Thus might we die, that together / ever one, without end / never waking, never fearing / namelessly enveloped in love / given up to each other / to live only for love!” In Act 2 of the music drama, Tristan and Isolde assure each other of their boundless love, which outlasts even death. “And regardless of how often you perform it, it continues to be shocking,” says Sir Simon Rattle. For the BRSO Chief Conductor, this music by Wagner, in which every bar trembles and sways until everything finally dissolves, is a narcotic, an addictive drug. Rattle continues his series of Wagner operas in concert performances with the brilliant Lise Davidsen as Isolde, who is singing this role for the first time. This will undoubtedly be an eagerly awaited highlight of the early part of the concert season.

Sir Simon Rattle: Gurre-Lieder

Is it an oratorio? Or perhaps a song cycle? A symphony? An opera? Schönberg’s Gurre-Lieder does not fit into any category – it barely even fits on a stage: over three hundred performers are required, including the largest orchestra a composer had ever required. In this case, “enormous” does not just denote the size of the performing forces. With its immense sound, Schönberg’s setting of a wild, romantic fairytale poem by Jens Peter Jacobsen can only be described as gigantic, exuberant, and overwhelming, and represents the final peak of late Romanticism (or its glowing swan song). This monumental work has only been performed three times in the history of the BRSO: in 1965 with Rafael Kubelík conducting, in 1988 with Zubin Mehta, and in 2009 with Mariss Jansons (which, incidentally, was the year of the BRSO’s 60th anniversary). Sir Simon Rattle has adored Gurre-Lieder from an early age, and describes it as “sexy, elegant, sensual.” A more fitting work for this gala would be impossible to find. The BRSO is turning 75, Schönberg 150 – and in this case, more is more!

Sir Simon Rattle: Gurre-Lieder

Is it an oratorio? Or perhaps a song cycle? A symphony? An opera? Schönberg’s Gurre-Lieder does not fit into any category – it barely even fits on a stage: over three hundred performers are required, including the largest orchestra a composer had ever required. In this case, “enormous” does not just denote the size of the performing forces. With its immense sound, Schönberg’s setting of a wild, romantic fairytale poem by Jens Peter Jacobsen can only be described as gigantic, exuberant, and overwhelming, and represents the final peak of late Romanticism (or its glowing swan song). This monumental work has only been performed three times in the history of the BRSO: in 1965 with Rafael Kubelík conducting, in 1988 with Zubin Mehta, and in 2009 with Mariss Jansons (which, incidentally, was the year of the BRSO’s 60th anniversary). Sir Simon Rattle has adored Gurre-Lieder from an early age, and describes it as “sexy, elegant, sensual.” A more fitting work for this gala would be impossible to find. The BRSO is turning 75, Schönberg 150 – and in this case, more is more!

Sir Simon Rattle

“The Mount Everest of music”: that’s what American stage director Peter Sellar’s once called Bach’s St Matthew Passion. Now Simon Rattle will scale this summit of western music with his future Munich ensembles, the BRSO and the Bavarian Radio Chorus. The choice team of vocal soloists likewise raises expectations. A key role is conferred upon the Evangelist, who not only relates the story of the Passion, but participates in and responds to it inwardly as a witness. With British tenor Mark Padmore this part will be taken by one of the most charismatic Evangelists of our time. For the BRSO it marks a happy reunion with a longstanding artistic friend – and a former artist-in-residence.

Sir Simon Rattle

Sir Simon Rattle

Sir Simon Rattle

“I have an indescribable desire to write an opera once again.” Mozart’s wish, expressed in 1777, was finally fulfilled in the fall of 1780, when he received a commission from Munich to write a grand opera seria for the upcoming carnival season. The excellence of the Munich (formerly Mannheim) orchestra, and the subject matter involving the conflict between divine law and human passion, between duty and love, inspired Mozart to write one of his most elaborate and innovative stage works. Idomeneo has long been one of Rattle’s favorite pieces. As with Haydn’s Creation, Mozart’s first operatic masterpiece will give Rattle the opportunity to work intensively with the chorus and to further deepen his involvement with historical performance practice in Munich. He will be joined by a superb cast of singers: Andrew Staples in the demanding title role, Sabine Devieilhe and Magdalena Kožená as the touching passionate lovers Ilia and Idamante, and Elsa Dreisig as the jealous, desperate Elettra.

Sir Simon Rattle

“I have an indescribable desire to write an opera once again.” Mozart’s wish, expressed in 1777, was finally fulfilled in the fall of 1780, when he received a commission from Munich to write a grand opera seria for the upcoming carnival season. The excellence of the Munich (formerly Mannheim) orchestra, and the subject matter involving the conflict between divine law and human passion, between duty and love, inspired Mozart to write one of his most elaborate and innovative stage works. Idomeneo has long been one of Rattle’s favorite pieces. As with Haydn’s Creation, Mozart’s first operatic masterpiece will give Rattle the opportunity to work intensively with the chorus and to further deepen his involvement with historical performance practice in Munich. He will be joined by a superb cast of singers: Andrew Staples in the demanding title role, Sabine Devieilhe and Magdalena Kožená as the touching passionate lovers Ilia and Idamante, and Elsa Dreisig as the jealous, desperate Elettra.

Sir Simon Rattle

“I have an indescribable desire to write an opera once again.” Mozart’s wish, expressed in 1777, was finally fulfilled in the fall of 1780, when he received a commission from Munich to write a grand opera seria for the upcoming carnival season. The excellence of the Munich (formerly Mannheim) orchestra, and the subject matter involving the conflict between divine law and human passion, between duty and love, inspired Mozart to write one of his most elaborate and innovative stage works. Idomeneo has long been one of Rattle’s favorite pieces. As with Haydn’s Creation, Mozart’s first operatic masterpiece will give Rattle the opportunity to work intensively with the chorus and to further deepen his involvement with historical performance practice in Munich. He will be joined by a superb cast of singers: Andrew Staples in the demanding title role, Sabine Devieilhe and Magdalena Kožená as the touching passionate lovers Ilia and Idamante, and Elsa Dreisig as the jealous, desperate Elettra.

Sir Simon Rattle

Simon Rattle felt no hesitation in commencing his tenure as Chief Conductor of the Chor and Symphonieorchester des BR with Haydn’s Creation. “It contains everything. The whole world. It looks both towards the past and far into the future of everything music can be. It is balance and revolution at the same time, a true work of the Enlightenment.” Magnificent choruses, graceful melodies, the finest polyphony, all firmly anchored in an optimistic view of humanity: “Anyone who doesn’t automatically feel better after hearing it really needs help,“ Simon Rattle says with a wink.” The Creation is healthy in a very honest way.” But health also includes a good dose of humor, and Haydn provides it, even in a setting as sacred as the Creation story. At the same time, a work radiating light also casts some shadows on our own present. What has remained of the spirit of the Enlightenment? And what have we done with the “world, so great, so wonderful”?