ConcertPulse
Mandelring Quartett / Roland Glassl
Laeiszhalle, Kleiner Saal (Hamburg)
Mandelring Quartet
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Mandelring Quartet
Mitsuko Uchida is one of the greatest Mozart interpreters of our time. The Classical composer’s piano concertos form the centrepiece of her collaboration with the Mahler Chamber Orchestra, with which the Japanese pianist has been closely associated as an »Artistic Partner« since 2016. In their joint programmes, two of Mozart’s 27 piano concertos each frame the work of a different composer. In the Elbphilharmonie Grand Hall, the rhythmic 18th and the colourful 21st frame Leoš Janáček’s wind sextet Mládí (»Youth«). Mozart wrote these two piano concertos in the space of just one year. In 1784/1785, the composer in his late 20s was riding a wave of success as one of Vienna’s leading pianists, offering his public ample opportunity to marvel at his skills as a virtuoso and composer. The wind sextet by Czech composer Janáček, on the other hand, can be seen as »a kind of reminiscence of youth«. It was composed in 1924 during a three-week stay in his birthplace Hukvaldy, and looks back on his »youth» on the occasion of his 70th birthday.
It is considered one of the great unfinished works in the history of music: Wolfgang Amadeus Mozart’s »Great Mass« in C minor. He probably composed it following his wedding to singer Constanze Weber; unlike with his Requiem, at least Mozart’s death did not prevent the completion of the mass. Although remaining fragmentary, this outstanding mass setting is touching to this day due to its direct expressive power. With his Le Concert des Nations established in 1989, Catalan gambist, music researcher and conductor Jordi Savall had already often been a guest in Hamburg. As an expert in early music and historical performance practice, he consistently gives the audience new listening experiences – in particular with frequently played works. Because Savall is not only interested in music from the Middle Ages and the Renaissance, but he also elicits new aspects from the seemingly well-known classics. The ensemble and its conductor recently demonstrated this in 2021, for instance, with their Beethoven cycle; now, they tackle Mozart’s »Great Mass«.
»The Chamber Orchestra of Europe is all about the music. In concert, this magical group unleashes an unbridled, emotional fervour, underpinned by profound wisdom. It is a privilege to work with this orchestra,« conductor Robin Ticciati raves about the democratically organised orchestra, with which he has been a regular guest at the Elbphilharmonie for almost ten years now. This orchestra-conductor dream team is now building on its celebrated 2019 Mozart project, and has invited Grammy Award-winning countertenor Iestyn Davies to conjure up magical moments in the Elbphilharmonie Grand Hall with arias by Wolfgang Amadeus Mozart and George Frideric Handel. The concert comes to an end with Mozart’s »Haffner« Symphony, whose lively finale includes melodies from the opera »Die Entführung aus dem Serail«, composed in the same year.
Mozart premiered his first minor-key piano concerto in Vienna on February 11, 1785. This concerto in D minor marks a departure from his usual pleasing style. Shostakovich's Tenth Symphony's scherzo reflects Stalin's terrifying image, while the Allegretto and finale assert the composer's presence through his musical initials (D-Es-C-H).
Mozart, Mozart, Mozart! Pianist and passionate chamber musician Kit Armstrong has invited an illustrious group of musical friends, such as the concertmaster of the Berlin Philharmonic Noah Bendix-Balgley and three renowned string quartets, to take part in the Elbphilharmonie Mozart Festival. On their »Expedition Mozart« they revel in the composer’s classics, but also explore rarely performed chamber music. Kit Armstrong himself is represented with two piano concertos, one of which is chamber music through and through, while the other is a large-scale symphonic work. In the Sinfonia Concertante, Noah Bendix-Balgley and Amihai Grosz vie with one another. The composer himself would certainly have appreciated a musical evening of this kind with friends! If you still haven’t had enough of the great Viennese composer after an entire evening of him, why not stay for the late-night concert to round off the evening? You can hear »Eine kleine Nachtmusik« (what else?!), framing rare chamber music gems.
Michelangelo String Quartet
The programme for the 6th Philharmonic Concert includes a world premiere that reflects our times. Jörg Widmann, who has been in close artistic contact with Kent Nagano, particularly since the great success of his ARCHE for the opening of the Elbphilharmonie, has recently written a decidedly peaceful work in view of the global wars: »Cantata in tempore belli«. Jens Harzer takes on the role of narrator. Ida Aldrian sings the alto part.
Conductor René Jacobs revolutionised the sound of this opera with his recording of Mozart’s »Idomeneo«. In so doing, he says very modestly: »The only thing I want to do with Mozart’s works is to read them as if they were new.« The Freiburger Barockorchester was also involved at that time, likewise an eminent authority in historical performance practice, which enthrallingly illustrates the story about the power of love, destiny and ancient gods in this concert performance as well. The opera characters do not accept their fate and wrestle with their feelings: the king and father Idomeneo, who in accordance with God’s will is supposed to sacrifice his son Idamante. This very son, who is in love with Ilia, the daughter of his enemy. And Ilia, who is also in love, but believes Idamante already in the clutches of her jealous rival Elettra. Mozart and his librettist take the ancient material into their time of enlightenment and, in the end, let love, humanity and reason prevail. »Idomeneo« is an excellent opera – musically modern and full of arias, which sensitively interpret the emotions of the characters. The choir, which as the people of Crete gives lively commentary on the action, sung here by the Zürcher Singakademie, is weightier than in other Mozart operas. Only created in 2011, it has become a reliable partner for René Jacobs. The line-up of soloists completes the evening with great voices, all of them experienced Mozart interpreters.
The programme for the 6th Philharmonic Concert includes a world premiere that reflects our times. Jörg Widmann, who has been in close artistic contact with Kent Nagano, particularly since the great success of his ARCHE for the opening of the Elbphilharmonie, has recently written a decidedly peaceful work in view of the global wars: »Cantata in tempore belli«. Jens Harzer takes on the role of narrator. Ida Aldrian sings the alto part.
The Hamburg Symphony Orchestra, also known as the Symphoniker Hamburg, is a German orchestra based in Hamburg. It was founded in 1957.
The name Roman Fediurko is one to remember: at the beginning of 2023, the then 18-year-old won first prize and the audience prize at the Düsseldorf Robert Schumann Competition – by no means his first victory at a prestigious competition. His nuanced playing and interpretative maturity, which is far ahead of his age, were particularly impressive. The young Ukrainian has been studying with Milana Chernyavska in Graz since 2021 – as has his younger brother Oleksandr, with whom he presents captivating four-hand arrangements of works that are not typical for the piano, such as Astor Piazzolla’s Libertango, on a CD and in concert. This stylistic diversity and chamber music flair also characterise Roman Fediurko’s performance in »Discover Talent«: alongside piano classics such as works by Mozart, Rachmaninov, Chopin and Beethoven, he presents preludes by his compatriot Lewko Rewutzkyi – a tribute to the rich culture of his war-torn homeland.
The famous English Chamber Orchestra, which celebrates its 65th anniversary in 2025, can look back on historically unique musical encounters, including with Pinchas Zukerman, Daniel Barenboim, Isaac Stern, Itzhak Perlman, Luciano Pavarotti, Hilary Hahn, Jacqueline du Pré, Mstislav Rostropovich and Sir Colin Davis, who conducted the orchestra until the end of his life. The collaboration with the composer Benjamin Britten shaped the English Chamber Orchestra in a special way. The top London orchestra will return to the Elbphilharmonie in 2025. The solo highlight of the concert will be the outstanding pianist Melvyn Tan. Born in Singapore in 1956, he went to England at the age of 12 to study piano at the Yehudi Menuhin School and later at the Royal College of Music. Since then, Melvyn Tan has performed internationally with renowned orchestras such as the London Philharmonic Orchestra, the Melbourne Symphony Orchestra and the Academy of St Martin in the Fields.
Braunschweig State Orchestra
Commissioned by Vienna’s »Tonkünstler-Societät« (»Society of Musicians«), Mozart wrote the cantata »Davide penitente« (»David repents«) for Lent, using parts of his large-scale Mass in C minor. He follows in the footsteps of composers including Johann Sebastian Bach with this cantata, written for a benefit concert in aid of widows and orphans of professional musicians. In Bach’s Christmas Oratorio and Mass in B minor, he presented top-class music that had already been composed in a new form.
The American star baritone Thomas Hampson is regarded as one of the best opera singers in the world. His operatic repertoire comprises more than 80 roles and his discography includes more than 170 albums. He has been honoured countless times with prestigious awards for his outstanding artistic work, including the Met Mastersinger Award, the Concertgebouw Prize and the Grammy Award. In the Elbphilharmonie, opera star Thomas Hampson presents an exciting programme of works by Mozart, Schubert and Beethoven together with conductor Martin Haselböck and the Wiener Akademie orchestra.
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
This concert evening offers a unique opportunity to experience the depth and variety of Beethoven and Mozart’s music in C minor. Each work reveals positive approaches and perspectives that the audience will listen to with joy and admiration. The Kammersinfonie Hamburg invites you to enjoy this musical journey and presents the masterpieces of these two musical giants.
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Accompanied by delicate harp sounds and soft strings, this evening is a feast for the senses: in an intimate atmosphere, floating light accents conjure up points of inspiration on the stage. The light from the lanterns creates a warmth that creates a connection between the artists and the audience. The music of great composers tells stories that touch the heart and soul. With its lively and clear melodies, Wolfgang Amadeus Mozart’s serenade »Eine kleine Nachtmusik« is one of the most famous compositions in classical music. George Frideric Handel’s Harp Concerto in B flat major enchants with its elegant lightness and subtle nuances that make the harp shine as a solo instrument. Gustav Mahler’s Adagietto from the Fifth Symphony is a deeply emotional piece that is considered a musical love poem and makes time stand still with its tenderness. Finally, Antonín Dvořák’s String Serenade in E major exudes a touch of romanticism, full of Bohemian folk melodies and swinging elegance.
Since Alan Gilbert has been chief conductor of the NDR Elbphilharmonie Orchestra, the American grand seigneur of the keyboard Emanuel Ax has returned to Hamburg with regularity. Together, the two take on one of Wolfgang Amadeus Mozart’s most famous piano concertos: the one in D minor, K. 466. Its dark key and correspondingly dramatic gesture alone make it stand out from the composer’s piano concertos, which are usually in major keys – this is the Mozart of »Don Giovanni« and the Requiem! But the central island of tranquillity of the »Romance« with its catchy melody also enjoyed great popularity early on.
Two highlights of classical music, W.A. Mozart’s Requiem in D minor and the mighty »German Mass« No. 2 by Franz Schubert - two of the most moving masterpieces for orchestra and choir on one concert evening! The Czech Symphony Orchestra Prague takes up the great challenge of presenting these two works in one event.They will be masterfully and vocally supported by four excellent soloists and the Coro di Praga.
Since Alan Gilbert has been chief conductor of the NDR Elbphilharmonie Orchestra, the American grand seigneur of the keyboard Emanuel Ax has returned to Hamburg with regularity. Together, the two take on one of Wolfgang Amadeus Mozart’s most famous piano concertos: the one in D minor, K. 466. Its dark key and correspondingly dramatic gesture alone make it stand out from the composer’s piano concertos, which are usually in major keys – this is the Mozart of »Don Giovanni« and the Requiem! But the central island of tranquillity of the »Romance« with its catchy melody also enjoyed great popularity early on.
Simply Quartet
A servant tricks a nobleman: even in the arts, such a thing was practically a call for revolution in 1786. And yet the title character of Mozart’s opera »Le nozze di Figaro« was allowed to take his employer Count Almaviva for a full ride on the stage of the Vienna Court Opera that very year and end up making a real fool of himself. The Emperor himself had authorised the performance after Mozart had played him a few pieces from the new opera: he was evidently just as unable to resist the pull of the wonderful music as the audience, who still celebrate the opera as one of Mozart’s absolute masterpieces to this day. At the Elbphilharmonie, the performance of this brilliant work by Mozart specialist Giovanni Antonini with his Basel Chamber Orchestra and a top-class line-up of soloists promises nothing less than a masterly performance.
Christoph Willibald Gluck's opera "Alceste" deeply impressed the young Wolfgang Amadeus Mozart. Years later, Mozart completed a symphonic trio. Franz Liszt, inspired by a drawing, revisited his symphonic poem form two decades later. Richard Wagner's "Tristan" prelude encapsulates the struggle of hopeless love.
Since Alan Gilbert has been chief conductor of the NDR Elbphilharmonie Orchestra, the American grand seigneur of the keyboard Emanuel Ax has returned to Hamburg with regularity. Together, the two take on one of Wolfgang Amadeus Mozart’s most famous piano concertos: the one in D minor, K. 466. Its dark key and correspondingly dramatic gesture alone make it stand out from the composer’s piano concertos, which are usually in major keys – this is the Mozart of »Don Giovanni« and the Requiem! But the central island of tranquillity of the »Romance« with its catchy melody also enjoyed great popularity early on.
Belcea Quartet