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Philharmonie Berlin, Main Auditorium (Berlin)
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Begin 2025 in a musical way with us in the Great Hall - with the Konzerthausorchester, our chief conductor Joana Mallwitz, cello soloist Nicoas Altstaedt and festive and cheerful orchestral pieces from Johann Strauss' rousing Fledermaus Overture to Antonín Dvořák's turbulent “Carnival” and Ottorino Respighi's tone poem “Roman Festivals”.
Start your New Year's Eve fireworks in a musical way with us in the Great Hall - with the Konzerthausorchester, our chief conductor Joana Mallwitz, cello soloist Nicolas Altstaedt and festive and cheerful orchestral pieces from Johann Strauss' rousing Fledermaus Overture to Antonín Dvořák's turbulent “Carnival” and Ottorino Respighi's tone poem “Roman Festivals”.
Barefoot or heels? No question for trumpeter Lucienne Renaudin Vary, even in the Berlin winter. With bare feet, she feels the vibrations of the music directly and also feels “much more comfortable on stage, almost like at home.” But there is no trace of eccentricity - the 25-year-old Frenchwoman, who says that the trumpet is her voice, comes across as natural and grounded, whether she is playing jazz or classical repertoire. With the Orchestre de Chambre de Paris, Hummel's radiant trumpet concerto and other works for trumpet and orchestra, she will give you an atmospheric Advent concert evening under the chandeliers in the magnificent Great Hall. And as Christmas approaches, a classic such as Tchaikovsky's “Nutcracker” suite is of course a must!
Behind the partially reconstructed façade of the Berlin Palace, the Humboldt Forum opens up with collections from many cultures around the world. The musicians return to the historic location where the RSB has performed several times in the Palace of the Republic in the past. Inspired by the collections and exhibitions, they will play micro-concerts on the six museum Sundays from November 2024 to April 2025, each at 14:00. Entry is free. The programmes of the concerts will be announced on the websites of the RSB and the Humboldt Forum before the respective dates.
At times melancholic and rugged, at others with a dance-like lightness: Antonín Dvořák’s Seventh Symphony presents a broad spectrum of contrasting moods, infused with the unmistakable colouring of Czech folk music. Kirill Petrenko also conducts Erich Wolfgang Korngold’s Violin Concerto with Vilde Frang as the soloist. Exiled from his native Vienna, Korngold brought his lush late romantic harmonic language to Hollywood; in this piece, his film music can be heard again and again. Sergei Rachmaninov’s mystical tone poem The Isle of the Dead takes us into yet another hypnotic sound world.
At times melancholic and rugged, at others with a dance-like lightness: Antonín Dvořák’s Seventh Symphony presents a broad spectrum of contrasting moods, infused with the unmistakable colouring of Czech folk music. Kirill Petrenko also conducts Erich Wolfgang Korngold’s Violin Concerto with Vilde Frang as the soloist. Exiled from his native Vienna, Korngold brought his lush late romantic harmonic language to Hollywood; in this piece, his film music can be heard again and again. Sergei Rachmaninov’s mystical tone poem The Isle of the Dead takes us into yet another hypnotic sound world.
At times melancholic and rugged, at others with a dance-like lightness: Antonín Dvořák’s Seventh Symphony presents a broad spectrum of contrasting moods, infused with the unmistakable colouring of Czech folk music. Kirill Petrenko also conducts Erich Wolfgang Korngold’s Violin Concerto with Vilde Frang as the soloist. Exiled from his native Vienna, Korngold brought his lush late romantic harmonic language to Hollywood; in this piece, his film music can be heard again and again. Sergei Rachmaninov’s mystical tone poem The Isle of the Dead takes us into yet another hypnotic sound world.
Zur neuen Spielzeit bringt James Gaffigan ein Stück seiner Heimat New York mit an die Komische Oper Berlin! Während unser Generalmusikdirektor hier eine Wahlheimat gefunden hat, steuerte im 20. Jahrhundert so manch prominenter europäischer Komponist den sicheren Hafen Amerika an. Für Antonín Dvořák und Gustav Mahler eröffnete New York einflussreiche berufliche Möglichkeiten. Kurt Weill befasste sich am Broadway mit dem aufstrebenden Musical. Erich Wolfgang Korngold setzte in Hollywood wiederum den Grundstein für das Filmmusikgenre und inspirierte durch seine Soundtracks nicht zuletzt Filmmusiklegende John Williams. Auf den amerikanischen Erfolg hatten zweifelsohne nicht nur die Komponisten, sondern auch ihre Begleiterinnen einen Einfluss. Ensemblesängerin Susan Zarrabi verleiht den Frauen in Kurt-Weill-Songs aus One Touch of Venus und Lost in the stars eine unvergleichliche Stimme. Schauspielerin Evamaria Salcher gibt zudem amüsante Einblicke in das Leben von Lotte Lenya bis hin zu Alma Mahler. Von Dvořáks schwelgerischer »American Suite« bis zum Weltschmerz in Mahlers 10. Sinfonie ist am Abend somit für alle etwas dabei – eine spannende Zeitreise in das »Land der unbegrenzten Möglichkeiten«! Weiterlesen Weniger anzeigen
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.
The Jerusalem Quartet, founded in 1996, dedicates the first concert in this season's “String Quartet International” series to Haydn's first “Prussian Quartet”, which the composer wrote for the cello-playing King Frederick William II of Prussia, and Mozart's “Dissonance Quartet”, whose unusual harmonies shocked contemporary audiences. After the intermission, the Jerusalem Quartet proves that there is more than just Dvořák's famous melodious “American” String Quartet No. 12: after his second return from the New World, the composer initially had a kind of composer's block and was unable to continue what he had begun. He overcame it working on String Quartet No. 13.
Does the cello have so many fans because it is most similar to the human voice? At least that's what cellists like to say about their instrument, which became the new star in string heaven during the Romantic period. Since the Baroque era, the violin had been the undisputed queen, with the cello relegated to the continuo with the double bass. Antonín Dvořák also had to make friends with the cello, which was sometimes derided as a “sorrow box” due to its pronounced melancholic qualities. As a guest in the USA, he finally wrote a great dance-like concerto for the instrument, which became a favorite piece from his pen around the world, rich in melody and virtuoso. The family concert title “Hello Cello!” is a greeting with which we and our audience aged 8 and over welcome artist in residence Sheku Kanneh-Mason, his wonderful instrument and the Dvořák concert. And an exclamation of surprised admiration: Hello - what this cello can do!
Joana Mallwitz leads the Konzerthausorchester Berlin into her second season as Chief Conductor with a programme of dance music, which for her is ‘perfect’ for the opening of the season. What's more, our new Artist in Residence Sheku Kanneh-Mason is making his first appearance - with Antonín Dvorak's Cello Concerto, which ‘adds a particularly festive element thanks to its familiarity and elegance,’ says our chief conductor. ‘Apart from that, it goes very well with John Adams’ ‘The Chairman Dances’ and Sergei Rachmaninov's Symphonic Dances: We have three composers from three eras who went to America and dealt with issues of exile, flight and home. While abroad, they incorporated musical elements from their homeland into their works.’ We are very much looking forward to starting a 2024/25 season with you that is as full of musical energy and excitement as this opening!
Joana Mallwitz leads the Konzerthausorchester Berlin into her second season as Chief Conductor with a programme of dance music, which for her is ‘perfect’ for the opening of the season. What's more, our new Artist in Residence Sheku Kanneh-Mason is making his first appearance - with Antonín Dvorak's Cello Concerto, which ‘adds a particularly festive element thanks to its familiarity and elegance,’ says our chief conductor. ‘Apart from that, it goes very well with John Adams’ ‘The Chairman Dances’ and Sergei Rachmaninov's Symphonic Dances: We have three composers from three eras who went to America and dealt with issues of exile, flight and home. While abroad, they incorporated musical elements from their homeland into their works.’ We are very much looking forward to starting a 2024/25 season with you that is as full of musical energy and excitement as this opening!
Antonello Manacorda and the Mahler Chamber Orchestra open our International Chamber Orchestra series with music from the “New World”. Anton Dvorak’s Ninth Symphony, written in New York, clearly expresses the influences of both indigenous and African American melodies – although the work is also unmistakably Bohemian in colour. 2024 marks the 150th birthday of the brilliant Charles Ives, the first American composer to gain truly global recognition. Anna Prohaska sings selected songs by Ives, juxtaposed with songs by Gustav Mahler, his European contemporary.
