A concert celebrating youth, in both its performers and composers. Finnish conductor Tarmo Peltokoski, not yet 25, has already won the hearts of the Orchestre National du Capitole de Toulouse, which appointed him as its music director last September.
»I wouldn’t have become a conductor if I hadn’t discovered the music of Wagner,« admits Tarmo Peltokoski, the 24-year-old rising star who will be Music Director of the Orchestre national du Capitole de Toulouse from September 2024. At his ProArte debut, the Finn, who has been hailed as the »talent of the century«, also conducts a programme that certainly has something to do with Wagner – without a single one of his works being performed. Whether Claude Debussy’s shimmering »Prélude à l’après-midi d’un faune«, Ernest Bloch’s oriental-influenced cello rhapsody »Schelomo« – a feast for star cellist Sol Gabetta – or the powerful First Symphony by Wagner fan Gustav Mahler: each of these works deals with Richard Wagner in its own way. A home game »around the corner« for Tarmo Peltokoski.
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.
Avi Avital, the only mandolinist to win the Aviv Competition and be nominated for a Grammy, will perform on April 11, 2025. His virtuosity and wide-ranging repertoire will showcase the mandolin's versatility. The program includes Ukrainian and Jewish composers, Spanish works, and arrangements of pieces originally written for violin. Experience the brilliant sound and be enchanted by the mandolin's silver tones.
For the third and final time, artist in residence Sheku Kanneh-Mason will be a guest soloist with the Konzerthausorchester. With his cello, he lends his voice to King Solomon, as Ernest Bloch's ‘Schelomo’, first performed in New York in 1917, is a dialogue between the biblical ruler and his people. This in turn speaks from the orchestra. In terms of its musical structure, the short 20-minute, late-romatic neoclassical rhapsody could easily pass for film music: It illustrates the world view and character of the king, who, like other people, knows happy and darker phases of life. The composer's desire to create vital Jewish music is expressed in numerous sound quotations. Conductor Michael Sanderling's biography is linked to both pieces of this evening: The son of conductor Kurt Sanderling, a friend of Dmitri Shostakovich, was himself a cellist before deciding to pursue a career as a conductor. Shostakovich uses folk and workers' songs in many passages of his 11th Symphony “The Year 1905”. The charged atmosphere of an icy January day on which the Tsar's soldiers fired on a peaceful demonstration march of striking workers on their way to the Winter Palace, the massacre, the grief and the hope for a better future can be heard impressively in the four movements.
For the third and final time, artist in residence Sheku Kanneh-Mason will be a guest soloist with the Konzerthausorchester. With his cello, he lends his voice to King Solomon, as Ernest Bloch's ‘Schelomo’, first performed in New York in 1917, is a dialogue between the biblical ruler and his people. This in turn speaks from the orchestra. In terms of its musical structure, the short 20-minute, late-romatic neoclassical rhapsody could easily pass for film music: It illustrates the world view and character of the king, who, like other people, knows happy and darker phases of life. The composer's desire to create vital Jewish music is expressed in numerous sound quotations. Conductor Michael Sanderling's biography is linked to both pieces of this evening: The son of conductor Kurt Sanderling, a friend of Dmitri Shostakovich, was himself a cellist before deciding to pursue a career as a conductor. Shostakovich uses folk and workers' songs in many passages of his 11th Symphony “The Year 1905”. The charged atmosphere of an icy January day on which the Tsar's soldiers fired on a peaceful demonstration march of striking workers on their way to the Winter Palace, the massacre, the grief and the hope for a better future can be heard impressively in the four movements.
For the third and final time, artist in residence Sheku Kanneh-Mason will be a guest soloist with the Konzerthausorchester. With his cello, he lends his voice to King Solomon, as Ernest Bloch's ‘Schelomo’, first performed in New York in 1917, is a dialogue between the biblical ruler and his people. This in turn speaks from the orchestra. In terms of its musical structure, the short 20-minute, late-romatic neoclassical rhapsody could easily pass for film music: It illustrates the world view and character of the king, who, like other people, knows happy and darker phases of life. The composer's desire to create vital Jewish music is expressed in numerous sound quotations. Conductor Michael Sanderling's biography is linked to both pieces of this evening: The son of conductor Kurt Sanderling, a friend of Dmitri Shostakovich, was himself a cellist before deciding to pursue a career as a conductor. Shostakovich uses folk and workers' songs in many passages of his 11th Symphony “The Year 1905”. The charged atmosphere of an icy January day on which the Tsar's soldiers fired on a peaceful demonstration march of striking workers on their way to the Winter Palace, the massacre, the grief and the hope for a better future can be heard impressively in the four movements.
ConcertPulse