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Gürzenich-Orchester Köln, Lorenzo Viotti (Conductor)

Who's up for classical music? For the third time, the Philharmonie opens its doors to young people when the Gürzenich Orchestra invites them to »Concert & Kölsch«. Two symphonies, one spectacle: Prokofiev and Glazunov, two Russian masters, meet: Prokofiev's 5th Symphony, composed in 1944 in the midst of the chaos of war, sounds heroic, emotional and full of energy. He paints impressive orchestral pictures - sometimes lyrical, sometimes gloomy, sometimes overwhelming. You are in for a real goosebump moment! Glazunov's Symphony No. 5 begins mysteriously, unfolds into a playful scherzo and culminates in a radiant finale that simply sounds monumental. A real highlight of Romantic music! No wonder this piece is celebrated as a masterpiece. This time, Lorenzo Viotti is on the podium - a young, charismatic conductor who turns late Romantic music into pure sound magic. A concert for everyone who loves epic music and is in the mood for an unforgettable live experience! After the concert, you can round off the evening with DJ sounds by Loush and relaxed conversation in the foyer. Free drink included!

January 26, 2025

Awakening

Sun, Jan 26, 2025, 11:00

Gürzenich-Orchester Köln, Lorenzo Viotti (Conductor)

Two fifth symphonies from Russia: In 1944, Sergei Prokofiev spent some time in the countryside where he had all the peace and calm he needed in order to compose, while back home in Moscow, people were suffering from hunger and homelessness. What Prokofiev brought to paper is lushly orchestrated, patriotic, and deliberately Russian in its rhythm and melodies. Not to mention a tremendous amount of heroic pathos, in light of the global war against Nazi Germany. In his op. 100, we see the composer as a mature, experienced symphonist, and as grand master of instrumentation. He creates veritable »orchestral paintings« – some lyrical and sumptuous, some dark and warlike. Alexander Glasunow’s fifth symphony, too, has a heroic flavor to it. After a passage of dark fog in the brass section, and an elf-like Scherzo à la Mendelssohn, the symphony grows and eventually culminates in a grand, radiant finale of such majestic splendour that this has become Glasunow’s masterpiece. Both composers personally wielded the baton at the premieres of their fifth symphonies. Unfortunately, we can’t arrange for that to happen this time around. However, the Gürzenich Orchestra is looking forward to continuing its exhilarating collaboration with one of the foremost conductors of the young generation, Swiss-born Lorenzo Viotti. An exceptional talent and magician in the field of late Romantic sound, he most certainly would have appealed to the two Russian symphonists.

January 31, 2025

Klangwucht – Rachmaninow & Marsalis

Fri, Jan 31, 2025, 20:00

Yunchan Lim (Piano), WDR Sinfonieorchester (Ensemble), Cristian Măcelaru (Conductor)

Rachmaninoff's second piano concerto, known for its emotional depth and technical demands, is tackled by the award-winning 20-year-old pianist Yunchan Lim. Following this, jazz star Wynton Marsalis demonstrates his creative power as a composer within a classical music setting.

February 2, 2025

One and only

Sun, Feb 2, 2025, 11:00

Mao Fujita (Piano), Gürzenich-Orchester Köln, Sakari Oramo (Conductor)

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

Olga Pashchenko | Concerto Köln | Harry Ogg

Sun, Feb 2, 2025, 16:00

Olga Pashchenko (Piano), Concerto Köln (Ensemble), Harry Ogg (Conductor)

Leipzig was a musical hotspot in the 19th century, attracting prominent composers like Felix Mendelssohn Bartholdy. Pianist Olga Pashchenko and Concerto Köln explore the city's musical past, tracing connections between Mendelssohn, Robert Schumann, and Clara Wieck. Chopin also visited, praising Clara's piano playing and enjoying Schumann's hospitality.

February 3, 2025

One and only

Mon, Feb 3, 2025, 20:00

Mao Fujita (Piano), Gürzenich-Orchester Köln, Sakari Oramo (Conductor)

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

February 4, 2025

One and only

Tue, Feb 4, 2025, 20:00

Mao Fujita (Piano), Gürzenich-Orchester Köln, Sakari Oramo (Conductor)

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

February 7, 2025

Bamberger Symphoniker

Fri, Feb 7, 2025, 20:00

Ray Chen (Violin), Bamberger Symphoniker (Ensemble), Jakub Hrůša (Conductor)

Experience a guaranteed sound rush when the Bamberg Symphony Orchestra and Ray Chen tackle Tchaikovsky's luscious Violin Concerto. The top violinist presents himself as always both virtuosic and approachable. Ray Chen, also a social media star, believes musicians should be ambassadors for their art, making classical music accessible through entertaining videos and flawless performances.

February 9, 2025

Igor Levit

Sun, Feb 9, 2025, 20:00

Igor Levit (Piano)

In the 19th century, piano arrangements played a crucial role in disseminating symphonic works, with Franz Liszt's arrangements of Ludwig van Beethoven's symphonies considered the pinnacle. Igor Levit takes on this challenge. He performs Liszt's piano version, a feat that demands everything from a pianist. Levit also presents music by Johann Sebastian Bach and late piano pieces by Johannes Brahms.

February 11, 2025

Hongni Wu | Ensemble Resonanz | Riccardo Minasi

Tue, Feb 11, 2025, 20:00

Hongni Wu (Mezzo-Soprano), Ensemble Resonanz (Ensemble), Riccardo Minasi (Conductor)

Beethoven, though never in Italy, had connections. His 3rd Symphony, "Eroica", was dedicated to Napoleon, exiled to Elba. Riccardo Minasi conducts Ensemble Resonanz. The program also features works by Locatelli (concerti grossi), Handel (operatic pieces), and Cherubini (aria from "Medea"), whom Beethoven admired.

February 13, 2025

Mozarts Klavierkonzert Nr. 21 | Schuberts Große C-Dur-Sinfonie

Thu, Feb 13, 2025, 20:00

Angela Hewitt (Piano), Brussels Philharmonic (Ensemble), Kazushi Ono (Conductor)

Schubert's Great C Major Symphony, unearthed by Robert Schumann, premiered posthumously in 1839 at Leipzig's Gewandhaus, conducted by Felix Mendelssohn Bartholdy. Mozart's Piano Concerto KV 467, featuring Angela Hewitt, also celebrates C major, "our harmonic home."

February 16, 2025

Anna Vinnitskaya | MCO Academy | Mahler Chamber Orchestra | Elim Chan

Sun, Feb 16, 2025, 18:00

Anna Vinnitskaya (Piano), MCO Academy (Ensemble), Mahler Chamber Orchestra (Ensemble), Elim Chan (Conductor)

Shostakovich and Prokofiev were repeatedly targeted by Soviet art critics. Prokofiev appeased them with his heroic Fifth Symphony, while Shostakovich did so with his highly virtuosic 2nd Piano Concerto, brilliantly performed by Russian pianist Anna Vinnitskaya. Vinnitskaya, who won the ECHO Klassik award in 2014 for her recording of the concerto, is now accompanied by the Mahler Chamber Orchestra, conducted by Elim Chan. Prokofiev's 5th Symphony, written in 1944 during the Soviet victory over Nazi troops, also displays combative traits.

February 21, 2025

Schicksal – Tschaikowskys Fünfte

Fri, Feb 21, 2025, 20:00

Pablo Ferrández (Cello), WDR Sinfonieorchester (Ensemble), Andrés Orozco-Estrada (Conductor)

The theme "Man and Fate" has fascinated many composers. Beethoven, for example, in his music for Goethe's drama "Egmont", in which a hero tries to achieve his country's freedom but tragically fails. In his fifth symphony, Tchaikovsky illuminates the tragedy of his emotional distress: A dark, murmuring motif runs through the work, for the composer an expression of "complete submission to fate." In between, a pearl of romantic concert literature yet to be discovered by many: Immediately after taking up his post as Düsseldorf music director, Schumann euphorically wrote his Cello Concerto - today a far too rarely performed work.

February 23, 2025

Intoxicating sounds

Sun, Feb 23, 2025, 11:00

Frank Peter Zimmermann (Violin), Gürzenich-Orchester Köln, Ariane Matiakh (Conductor)

Anyone who has ever danced the Viennese Waltz will know that an air of royal-imperial grandeur and stylistic elegance is not the only sensation that overcomes you. A profound sense of dizziness and centrifugal force are part of the deal. What in the beginning seems cheerful and buoyant quickly turns into sensual frenzy, much like a spinning top gone crazy. There is no piece that shows these two aspects of waltzing in such a poignant and Viennese way as Ravel’s La Valse, so much so that even the famous impresario Sergei Diaghilev, who had commissioned the work, felt it was a bit over the top for his ballet company. But Ravel’s orchestral dance is so mesmerizing, so colourful and rhythmically bizarre that it is easy to visualize the frenzy on an imaginary dancefloor: »You can see a huge hall with countless people spinning in circles,« said the composer about La Valse. In less than 14 minutes, the illusive bliss of waltzing turns into apocalyptic ecstasy. A piece that eventually did fulfill its purpose as ballet music is Albert Roussel’s Bacchus et Ariadne, music to the ancient Greek myth – beautiful, almost fragrant sounds which the Frenchman and Ravel-contemporary later distilled into two suites for orchestra. Seduction, enchantment, orgiastic celebrations intoxicated with love, these substances are better enjoyed on a purely musical level. Bacchus, whose full-time occupation as God of wine-making rarely leaves him without a motley entourage of party guests, snatches the mortal Ariadne who was stood up by her ex-lover Theseus on the island of Naxos. Bacchus, aka Dionysus, and his Ariadne celebrate a triumphant Bacchanal together which Albert Roussel sets as sweeping, dazzling party for orchestra. From Ariadne to Alice: Edward Elgar was in need of a muse when he started to work on his violin concerto. Conveniently, she had the same name as the wife. »My work has me burning & I am composing like mad. You should come & see it (& hear it).« Having started out as a violinist, Elgar knew the instrument like the back of his hand. Surely, that is one reason why his opus 43 shows the perfect balance between the soloist and the orchestra. Star violinist Fritz Kreisler had commissioned this luscious, opulent work: a mosaic of countless ideas and melodies, a stream of yearning thoughts, led by the violin and painted in a variety of nuanced colours by the orchestra. Together, they indulge in an ecstatic final movement, including what might be the most touching solo cadenza ever. Thanks to our soloist, the world-famous violinist Frank Peter Zimmermann, the enormous technical difficulties fade away in the light of the musical rush of emotions. »Herein is enshrined the soul of..…,« Edward Elgar, prone to the enigma, wrote in the score. Five dots – perhaps they stand for the name Alice. But if yes, then which?

February 24, 2025

Intoxicating sounds

Mon, Feb 24, 2025, 20:00

Frank Peter Zimmermann (Violin), Gürzenich-Orchester Köln, Ariane Matiakh (Conductor)

Anyone who has ever danced the Viennese Waltz will know that an air of royal-imperial grandeur and stylistic elegance is not the only sensation that overcomes you. A profound sense of dizziness and centrifugal force are part of the deal. What in the beginning seems cheerful and buoyant quickly turns into sensual frenzy, much like a spinning top gone crazy. There is no piece that shows these two aspects of waltzing in such a poignant and Viennese way as Ravel’s La Valse, so much so that even the famous impresario Sergei Diaghilev, who had commissioned the work, felt it was a bit over the top for his ballet company. But Ravel’s orchestral dance is so mesmerizing, so colourful and rhythmically bizarre that it is easy to visualize the frenzy on an imaginary dancefloor: »You can see a huge hall with countless people spinning in circles,« said the composer about La Valse. In less than 14 minutes, the illusive bliss of waltzing turns into apocalyptic ecstasy. A piece that eventually did fulfill its purpose as ballet music is Albert Roussel’s Bacchus et Ariadne, music to the ancient Greek myth – beautiful, almost fragrant sounds which the Frenchman and Ravel-contemporary later distilled into two suites for orchestra. Seduction, enchantment, orgiastic celebrations intoxicated with love, these substances are better enjoyed on a purely musical level. Bacchus, whose full-time occupation as God of wine-making rarely leaves him without a motley entourage of party guests, snatches the mortal Ariadne who was stood up by her ex-lover Theseus on the island of Naxos. Bacchus, aka Dionysus, and his Ariadne celebrate a triumphant Bacchanal together which Albert Roussel sets as sweeping, dazzling party for orchestra. From Ariadne to Alice: Edward Elgar was in need of a muse when he started to work on his violin concerto. Conveniently, she had the same name as the wife. »My work has me burning & I am composing like mad. You should come & see it (& hear it).« Having started out as a violinist, Elgar knew the instrument like the back of his hand. Surely, that is one reason why his opus 43 shows the perfect balance between the soloist and the orchestra. Star violinist Fritz Kreisler had commissioned this luscious, opulent work: a mosaic of countless ideas and melodies, a stream of yearning thoughts, led by the violin and painted in a variety of nuanced colours by the orchestra. Together, they indulge in an ecstatic final movement, including what might be the most touching solo cadenza ever. Thanks to our soloist, the world-famous violinist Frank Peter Zimmermann, the enormous technical difficulties fade away in the light of the musical rush of emotions. »Herein is enshrined the soul of..…,« Edward Elgar, prone to the enigma, wrote in the score. Five dots – perhaps they stand for the name Alice. But if yes, then which?

February 25, 2025

Intoxicating sounds

Tue, Feb 25, 2025, 20:00

Frank Peter Zimmermann (Violin), Gürzenich-Orchester Köln, Ariane Matiakh (Conductor)

Anyone who has ever danced the Viennese Waltz will know that an air of royal-imperial grandeur and stylistic elegance is not the only sensation that overcomes you. A profound sense of dizziness and centrifugal force are part of the deal. What in the beginning seems cheerful and buoyant quickly turns into sensual frenzy, much like a spinning top gone crazy. There is no piece that shows these two aspects of waltzing in such a poignant and Viennese way as Ravel’s La Valse, so much so that even the famous impresario Sergei Diaghilev, who had commissioned the work, felt it was a bit over the top for his ballet company. But Ravel’s orchestral dance is so mesmerizing, so colourful and rhythmically bizarre that it is easy to visualize the frenzy on an imaginary dancefloor: »You can see a huge hall with countless people spinning in circles,« said the composer about La Valse. In less than 14 minutes, the illusive bliss of waltzing turns into apocalyptic ecstasy. A piece that eventually did fulfill its purpose as ballet music is Albert Roussel’s Bacchus et Ariadne, music to the ancient Greek myth – beautiful, almost fragrant sounds which the Frenchman and Ravel-contemporary later distilled into two suites for orchestra. Seduction, enchantment, orgiastic celebrations intoxicated with love, these substances are better enjoyed on a purely musical level. Bacchus, whose full-time occupation as God of wine-making rarely leaves him without a motley entourage of party guests, snatches the mortal Ariadne who was stood up by her ex-lover Theseus on the island of Naxos. Bacchus, aka Dionysus, and his Ariadne celebrate a triumphant Bacchanal together which Albert Roussel sets as sweeping, dazzling party for orchestra. From Ariadne to Alice: Edward Elgar was in need of a muse when he started to work on his violin concerto. Conveniently, she had the same name as the wife. »My work has me burning & I am composing like mad. You should come & see it (& hear it).« Having started out as a violinist, Elgar knew the instrument like the back of his hand. Surely, that is one reason why his opus 43 shows the perfect balance between the soloist and the orchestra. Star violinist Fritz Kreisler had commissioned this luscious, opulent work: a mosaic of countless ideas and melodies, a stream of yearning thoughts, led by the violin and painted in a variety of nuanced colours by the orchestra. Together, they indulge in an ecstatic final movement, including what might be the most touching solo cadenza ever. Thanks to our soloist, the world-famous violinist Frank Peter Zimmermann, the enormous technical difficulties fade away in the light of the musical rush of emotions. »Herein is enshrined the soul of..…,« Edward Elgar, prone to the enigma, wrote in the score. Five dots – perhaps they stand for the name Alice. But if yes, then which?

March 5, 2025

Abel Selaocoe & Aurora Orchestra

Wed, Mar 5, 2025, 19:00

Abel Selaocoe (Cello), Abel Selaocoe (Vocals), Aurora Orchestra (Ensemble), Nicholas Collon (Conductor)

Cellist and composer Abel Selaocoe returns, showcasing his genre-bending talent with his composition "Four Spirits," a tribute to his South African roots featuring unique overtone singing. The performance also includes Beethoven's 7th Symphony, performed from memory by the Aurora Orchestra.

March 8, 2025

Magical

Sat, Mar 8, 2025, 20:00

Emanuel Ax (Piano), Gürzenich-Orchester Köln, Sakari Oramo (Conductor)

1–2–3, 1–2–3, round and round in circles, usually clockwise but not necessarily: experts, and the Viennese, are capable of going counter-clockwise, too – the waltz is more than just a dance. It embodies euphoria, elegance, and pure energy. Plus, its momentum makes for a great flirting method. Spinning around in triple time gets people closer together, and they can test for future compatibility: The less they step on each other’s feet, the better the prospects. In 1911, Maurice Ravel composed a cycle of »noble and sentimental« waltzes for piano, paying homage to Franz Schubert, Frédéric Chopin, and Robert Schumann. The pieces are witty, creative, and full of surprise effects. Still, the premiere ended in disaster, entailing a shower of mockery and incomprehension. Yet Ravel saw no reason to give up: The following year, he wrote a version for orchestra, serving the ballet music genre. This time, things went a bit better, maybe because the music now had an accessible (and quite perfumed) plot, illustrating the story of a young Parisian woman who is wooed by different men. Where? On the shining dance floor, of course, under sparkling chandeliers. Reverie, passion, play, and insanity: The magic of love is what carries us through life, and famously, it is not always a bed of roses. Hector Berlioz knew what he was talking about: His (at the time) unrequited passion for a capricious Irish actress inspired him to write his Symphonie fantastique. Yet this is no tale of dalliance and seduction. Instead it tells of what might follow if things go south: Agony, jealousy, fury, frenzy, in all shapes and forms, and a wide range of nightmares. The dramatic love story centres around an elegant waltz: At a glamorous ball, the lovestruck protagonist meets the prim object of all his pain. But sadly, the triple time fails to do its magic and his beloved doesn’t even take notice of her admirer – she jokes around with others and eventually sets off a psycho-catastrophe. Swedish composer Anders Hillborg dedicated his second piano concerto to the phenomenal American pianist Emanuel Ax. This piece, too, is a dance, a virtuosic sprint across the keys, on the brink of being technically unplayable, and introducing us to unheard-of realms of sound. Sakari Oramo, the Finnish star conductor, returns to the Gürzenich Orchestra.

March 9, 2025

Magical

Sun, Mar 9, 2025, 11:00

Emanuel Ax (Piano), Gürzenich-Orchester Köln, Sakari Oramo (Conductor)

1–2–3, 1–2–3, round and round in circles, usually clockwise but not necessarily: experts, and the Viennese, are capable of going counter-clockwise, too – the waltz is more than just a dance. It embodies euphoria, elegance, and pure energy. Plus, its momentum makes for a great flirting method. Spinning around in triple time gets people closer together, and they can test for future compatibility: The less they step on each other’s feet, the better the prospects. In 1911, Maurice Ravel composed a cycle of »noble and sentimental« waltzes for piano, paying homage to Franz Schubert, Frédéric Chopin, and Robert Schumann. The pieces are witty, creative, and full of surprise effects. Still, the premiere ended in disaster, entailing a shower of mockery and incomprehension. Yet Ravel saw no reason to give up: The following year, he wrote a version for orchestra, serving the ballet music genre. This time, things went a bit better, maybe because the music now had an accessible (and quite perfumed) plot, illustrating the story of a young Parisian woman who is wooed by different men. Where? On the shining dance floor, of course, under sparkling chandeliers. Reverie, passion, play, and insanity: The magic of love is what carries us through life, and famously, it is not always a bed of roses. Hector Berlioz knew what he was talking about: His (at the time) unrequited passion for a capricious Irish actress inspired him to write his Symphonie fantastique. Yet this is no tale of dalliance and seduction. Instead it tells of what might follow if things go south: Agony, jealousy, fury, frenzy, in all shapes and forms, and a wide range of nightmares. The dramatic love story centres around an elegant waltz: At a glamorous ball, the lovestruck protagonist meets the prim object of all his pain. But sadly, the triple time fails to do its magic and his beloved doesn’t even take notice of her admirer – she jokes around with others and eventually sets off a psycho-catastrophe. Swedish composer Anders Hillborg dedicated his second piano concerto to the phenomenal American pianist Emanuel Ax. This piece, too, is a dance, a virtuosic sprint across the keys, on the brink of being technically unplayable, and introducing us to unheard-of realms of sound. Sakari Oramo, the Finnish star conductor, returns to the Gürzenich Orchestra.

March 10, 2025

Daniel Harding

Mon, Mar 10, 2025, 20:00

Info & Ticket (www.brso.de)

Daniel Harding (Conductor), Fleur Barron (Mezzo-Soprano), Andrew Staples (Tenor), Symphonieorchester des Bayerischen Rundfunks

“I only program music I love, because otherwise what’s the point?” Fleur Barron recently told The Times, which praised the Singaporean-British mezzo-soprano as “a knockout performer.” The young, exciting, and passionate singer (whose mentor, incidentally, is Barbara Hannigan) will make her debut with the BRSO in Mahler’s Lied von der Erde. She will be joined by tenor Andrew Staples, who has performed many times with the BRSO, as well as guest conductor Daniel Harding. Mendelssohn’s Fifth Symphony – written in honor of Martin Luther – has not been performed by the BRSO in a long time. The composer would have actually liked to burn the work, whose first movement he described as a “fat, bristly animal.” Fortunately, his intention was never realized.

March 12, 2025

Orchestre national du Capitole de Toulouse

Wed, Mar 12, 2025, 20:00

Sol Gabetta (Cello), Orchestre national du Capitole de Toulouse (Ensemble), Tarmo Peltokoski (Conductor)

Cellist Sol Gabetta performs with Tarmo Peltokoski, the new principal conductor of the Orchestre national du Capitole de Toulouse. Peltokoski, a rising star conductor, credits Wagner's music for his career choice. The concert with Gabetta will have a connection to Wagner, despite not featuring any of Wagner's compositions.

March 14, 2025

Im Fluss - Liszt & Die Rheinische

Fri, Mar 14, 2025, 20:00

Alexandre Kantorow (Piano), WDR Sinfonieorchester (Ensemble), Petr Popelka (Conductor)

Alexandre Kantorow, winner of the 2019 Tchaikovsky Piano Competition, performs in Cologne with a grand romantic repertoire. Liszt's second piano concerto, a dramatic interplay of poetry and virtuosity, takes center stage. Schumann's "Rhenish Symphony" and Wagner's rarely heard "Faust Overture" complete the program.

March 16, 2025

Eye and ear

Sun, Mar 16, 2025, 11:00

Bertrand Chamayou (Piano), Gürzenich-Orchester Köln, Emmanuel Tjeknavorian (Conductor)

On a single whiplash, the door opens to a world of colours and light: Maurice Ravel’s piano concerto in G Major is fascinating from the very first note. Basque folklore, sounds from Spain and southern France, crystalline sparkle, and elegant jazz – musical notes become images, some tender and fluffy, others rich and bright. Ravel’s compatriot, French pianist Bertrand Chamayou, seems completely in his element in this dazzling bravura piece. The other two works are equally sensual to the eye and the ear: In his Ballet Gayaneh, Armenian composer Aram Khachaturian lets the sparks fly, including a fiery sabre dance. Modest Mussorgsky invites us to a vernissage where he paces from painting to painting, creatively turning each of them into sounds.

Mozarts Zauber

Sun, Mar 16, 2025, 16:00

Joseph Moog (Piano), Kölner Kammerorchester (Ensemble), Christoph Poppen (Conductor)

As a young student, Joseph Moog was offered a contract by a renowned record company but declined. Wanting to take his time, today he is considered one of the most interesting performers of his generation. He impresses not only with his virtuosity but also with his courageous and individual program designs and pianistic rarities. He's known for his passion for classics, like Mozart's popular Piano Concerto in C Major, K. 467, which will be featured with the brilliant Cassation and the g-minor Symphony.

March 17, 2025

Eye and ear

Mon, Mar 17, 2025, 20:00

Bertrand Chamayou (Piano), Gürzenich-Orchester Köln, Emmanuel Tjeknavorian (Conductor)

On a single whiplash, the door opens to a world of colours and light: Maurice Ravel’s piano concerto in G Major is fascinating from the very first note. Basque folklore, sounds from Spain and southern France, crystalline sparkle, and elegant jazz – musical notes become images, some tender and fluffy, others rich and bright. Ravel’s compatriot, French pianist Bertrand Chamayou, seems completely in his element in this dazzling bravura piece. The other two works are equally sensual to the eye and the ear: In his Ballet Gayaneh, Armenian composer Aram Khachaturian lets the sparks fly, including a fiery sabre dance. Modest Mussorgsky invites us to a vernissage where he paces from painting to painting, creatively turning each of them into sounds.

March 18, 2025

Eye and ear

Tue, Mar 18, 2025, 20:00

Bertrand Chamayou (Piano), Gürzenich-Orchester Köln, Emmanuel Tjeknavorian (Conductor)

On a single whiplash, the door opens to a world of colours and light: Maurice Ravel’s piano concerto in G Major is fascinating from the very first note. Basque folklore, sounds from Spain and southern France, crystalline sparkle, and elegant jazz – musical notes become images, some tender and fluffy, others rich and bright. Ravel’s compatriot, French pianist Bertrand Chamayou, seems completely in his element in this dazzling bravura piece. The other two works are equally sensual to the eye and the ear: In his Ballet Gayaneh, Armenian composer Aram Khachaturian lets the sparks fly, including a fiery sabre dance. Modest Mussorgsky invites us to a vernissage where he paces from painting to painting, creatively turning each of them into sounds.

March 21, 2025

Tonhalle-Orchester Zürich

Fri, Mar 21, 2025, 20:00

Víkingur Ólafsson (Piano), Tonhalle-Orchester Zürich (Ensemble), Paavo Järvi (Conductor)

Paradestücke: Mit Brahms' 2. Klavierkonzert zeigt sich Víkingur Ólafsson in dieser Saison als virtuoser Romantiker und Paavo Järvi geleitet sein Tonhalle-Orchester elegant durch die Stromschnellen in Schumanns »Rheinischer Sinfonie«.Inspiriert vom Kölner Dom? Gut vorstellbar, dass der frischgekürte Düsseldorfer Musikdirektor den überwältigenden Eindruck im feierlichen vierten Satz seiner »Rheinischen« Sinfonie verarbeitet hat. In jedem Fall ist in Schumanns ansonsten fröhlich dahinströmender Sinfonie deutlich der Motivationsschub zu spüren, den der Umzug an den Rhein ihm bescherte. Ein Paradestück für einen energiegeladenen Dirigenten wie Paavo Järvi. Und mit Víkingur Ólafsson steht ihm in der ersten Konzerthälfte der perfekte Solist zur Seite.

March 22, 2025

Angel Blue | Rotterdams Philharmonisch Orkest | Yannick Nézet-Séguin

Sat, Mar 22, 2025, 20:00

Angel Blue (Soprano), Rotterdams Philharmonisch Orkest (Ensemble), Yannick Nézet-Séguin (Conductor)

Soprano Angel Blue, known for her clear, warm, and radiant lyrical timbre, has graced opera houses from New York to Vienna and London. In Cologne, she presents Richard Strauss's melancholic and indulgent "Four Last Songs." She's accompanied by the Rotterdam Philharmonic Orchestra, led by Yannick Nézet-Séguin, who combines Strauss's poignant song cycle with Bruckner's yearning Third Symphony.

March 23, 2025

Mendelssohns Violinkonzert | Brahms 4. Sinfonie

Sun, Mar 23, 2025, 20:00

Jerusalem Symphony Orchestra (Ensemble), Julian Rachlin (Violin), Julian Rachlin (Conductor)

Als neuer Chefdirigent des Jerusalem Symphony Orchestra wird Julian Rachlin in der Doppelfunktion als Dirigent und Solist das Violinkonzert von Mendelssohn interpretieren, eine nicht zu unterschätzende Aufgabe; im 2. Teil des Konzerts widmet er sich der letzten Sinfonie von Brahms, der Vierten: Die Tonart e-Moll bestimmt dieses Konzert!

March 24, 2025

Nina Stemme | Königliches Philharmonisches Orchester Stockholm | Ryan Bancroft

Mon, Mar 24, 2025, 20:00

Nina Stemme (Soprano), Royal Stockholm Philharmonic Orchestra (Ensemble), Ryan Bancroft (Conductor)

Die schwedische Mezzosopranistin Nina Stemme zählt seit drei Jahrzehnten zu den weltbesten Stimmen, nicht nur auf der Opernbühne. Die für ihre erfüllende Ausdruckstiefe und ihr balsamisches Melos gerühmte Sängerin ist auch im Liedfach und da speziell bei Gustav Mahler ein Erlebnis.Mit dem Königlichen Philharmonischen Orchester Stockholm, das seit 2023 von Ryan Bancroft geleitet wird, taucht Nina Stemme jetzt in die ergreifenden und ebenfalls empfindsamen Welten der »Kindertotenlieder« ein, die Mahler 1904, ein Jahr vor dem Verlust seines eigenen Kindes, schrieb. Zuvor spielt das Orchester von der schwedischen Komponistin Andrea Tarrodi eine zeitgenössische Hommage an Ligurien. Das Konzertfinale gehört dann Tschaikowskys von wilder Leidenschaft aufgeladene »Schicksalssinfonie« Nr. 5.

Intoxicating sounds

Mon, Feb 24, 2025, 20:00

Frank Peter Zimmermann (Violin), Gürzenich-Orchester Köln, Ariane Matiakh (Conductor)

Anyone who has ever danced the Viennese Waltz will know that an air of royal-imperial grandeur and stylistic elegance is not the only sensation that overcomes you. A profound sense of dizziness and centrifugal force are part of the deal. What in the beginning seems cheerful and buoyant quickly turns into sensual frenzy, much like a spinning top gone crazy. There is no piece that shows these two aspects of waltzing in such a poignant and Viennese way as Ravel’s La Valse, so much so that even the famous impresario Sergei Diaghilev, who had commissioned the work, felt it was a bit over the top for his ballet company. But Ravel’s orchestral dance is so mesmerizing, so colourful and rhythmically bizarre that it is easy to visualize the frenzy on an imaginary dancefloor: »You can see a huge hall with countless people spinning in circles,« said the composer about La Valse. In less than 14 minutes, the illusive bliss of waltzing turns into apocalyptic ecstasy. A piece that eventually did fulfill its purpose as ballet music is Albert Roussel’s Bacchus et Ariadne, music to the ancient Greek myth – beautiful, almost fragrant sounds which the Frenchman and Ravel-contemporary later distilled into two suites for orchestra. Seduction, enchantment, orgiastic celebrations intoxicated with love, these substances are better enjoyed on a purely musical level. Bacchus, whose full-time occupation as God of wine-making rarely leaves him without a motley entourage of party guests, snatches the mortal Ariadne who was stood up by her ex-lover Theseus on the island of Naxos. Bacchus, aka Dionysus, and his Ariadne celebrate a triumphant Bacchanal together which Albert Roussel sets as sweeping, dazzling party for orchestra. From Ariadne to Alice: Edward Elgar was in need of a muse when he started to work on his violin concerto. Conveniently, she had the same name as the wife. »My work has me burning & I am composing like mad. You should come & see it (& hear it).« Having started out as a violinist, Elgar knew the instrument like the back of his hand. Surely, that is one reason why his opus 43 shows the perfect balance between the soloist and the orchestra. Star violinist Fritz Kreisler had commissioned this luscious, opulent work: a mosaic of countless ideas and melodies, a stream of yearning thoughts, led by the violin and painted in a variety of nuanced colours by the orchestra. Together, they indulge in an ecstatic final movement, including what might be the most touching solo cadenza ever. Thanks to our soloist, the world-famous violinist Frank Peter Zimmermann, the enormous technical difficulties fade away in the light of the musical rush of emotions. »Herein is enshrined the soul of..…,« Edward Elgar, prone to the enigma, wrote in the score. Five dots – perhaps they stand for the name Alice. But if yes, then which?