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Gustav Mahler

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May 10, 2025

Mahler Festival: Budapest Festival Orchestra and Iván Fischer - Mahler's Symphony No. 2

Sat, May 10, 2025, 20:15

Het Concertgebouw, Main Hall (Amsterdam)

Budapest Festival Orchestra, National Radio Choir, Iván Fischer (Conductor), Christiane Karg (Soprano), Anna Lucia Richter (Mezzo-Soprano)

'Mahler's beauty always hurts', conductor Iván Fischer said recently. Tonight he conducts his own Budapest Festival Orchestra in Mahler's Symphony No. 2, full of passion, lyricism and brightly shining melodies. Mahler is in good hands with Fischer and the Budapest Festival Orchestra. Fischer knows like no other how to get Mahler's music flowing, there is no composer he understands better. As early as 2006, Fischer and the orchestra recorded Mahler's Symphony No. 2. 'Impressive', wrote Gramophone.He who calls us gives us eternal life - sings the choir towards the end of Mahler's Symphony No. 2. In this emotionally charged work, Mahler expresses his ideas about life after death. Bliss and melancholy are both given space. Pure, insinuatingly and moving.

Info & Ticket (www.concertgebouw.nl)

May 11, 2025

Mahler Festival: Budapest Festival Orchestra and Iván Fischer - Mahler's Symphony No. 2

Sun, May 11, 2025, 11:00

Het Concertgebouw, Main Hall (Amsterdam)

Budapest Festival Orchestra, National Radio Choir, Iván Fischer (Conductor), Christiane Karg (Soprano), Anna Lucia Richter (Mezzo-Soprano)

'Mahler's beauty always hurts', conductor Iván Fischer said recently. Tonight he conducts his own Budapest Festival Orchestra in Mahler's Symphony No. 2, full of passion, lyricism and brightly shining melodies. Mahler is in good hands with Fischer and the Budapest Festival Orchestra. Fischer knows like no other how to get Mahler's music flowing, there is no composer he understands better. As early as 2006, Fischer and the orchestra recorded Mahler's Symphony No. 2. 'Impressive', wrote Gramophone.He who calls us gives us eternal life - sings the choir towards the end of Mahler's Symphony No. 2. In this emotionally charged work, Mahler expresses his ideas about life after death. Bliss and melancholy are both given space. Pure, insinuatingly and moving.

Info & Ticket (www.concertgebouw.nl)

May 13, 2025

Mahler Festival: Budapest Festival Orchestra and Iván Fischer - Mahler's Symphony No. 5

Tue, May 13, 2025, 20:15

Het Concertgebouw, Main Hall (Amsterdam)

Budapest Festival Orchestra, Iván Fischer (Conductor), Anna Lucia Richter (Mezzo-Soprano)

'The beauty of Mahler always hurts,' conductor Iván Fischer once said. At the Mahler Festival, he conducts both the Second Symphony and, today, the Fifth. A powerful work from a heyday in Mahler's life. Turbulent, full of life and passion. Mahler, having just met his great love Alma, seems to express his feelings in the beloved Adagietto.'Each part has its friends and its enemies', Mahler wrote of his Fifth Symphony. He was thrilled that this work raised such extremes of emotions. After three partly vocal symphonies, the Fifth is a purely instrumental. But therefore no less intense: sometimes jubilant, sometimes gloomy, always fiery. 'The work has come to represent the total of all the suffering that life brought to me.'

Info & Ticket (www.concertgebouw.nl)

May 27, 2025

Budapest Festival Orchestra / Carl-Philipp-Emanuel-Bach-Chor / Iván Fischer

Tue, May 27, 2025, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Budapest Festival Orchestra, Carl-Philipp-Emanuel-Bach-Chor Hamburg, Christiane Karg (Soprano), Anna Lucia Richter (Mezzo-Soprano), Iván Fischer (Conductor)

They are a well-rehearsed team: 40 years ago, Hungarian conductor Iván Fischer founded the Budapest Festival Orchestra in his home city and led it to world fame over the years. These very welcome Elbphilharmonie guests are celebrating their big anniversary at the Hamburg International Music Festival (the motto is »Future«) with the visionary music of Gustav Mahler. The star line-up continues with Christiane Karg and Anna Lucia Richter in the vocal solos. »Resurrect, yes resurrect, you will!« It is at the end of Mahler’s Second Symphony that the choir vocalises the religiously and philosophically motivated central message of the work with poignant optimism. Performances of the monumental »Resurrection Symphony« remain an impressive event to this day – not only in Hamburg of course, where the composer once had the inspiration for the choral finale in the »Michel« church. How fitting that the Carl Philipp Emanuel Bach Choir, a Hamburg-based orchestra, should now be performing the finale. The manuscript of the work, which lasts around one and a half hours, was auctioned off several years ago for 5.3 million euros. Fortunately, the live experience of hearing the work is a little more affordable – and priceless at the same time.

Info & Ticket (www.elbphilharmonie.de)

June 29, 2025

Fabulous

Sun, Jun 29, 2025, 11:00

Kölner Philharmonie (Köln)

Anna Lucia Richter (Mezzo Soprano), Gürzenich-Orchester Köln, Thomas Guggeis (Conductor)

Werner is head over heels in love with Margareta. And since he is The Trumpeter of Säkkingen, it makes sense to serenade his sweetheart on said instrument: The perfect trigger for Gustav Mahler to become creative and start composing. In 1884, a stage production of the novel about Werner and Margareta is put on at the Hoftheater Kassel, and Gustav Mahler writes the music for it. Out of that, Blumine is the only remaining piece. The rest was destroyed by 24-year-old Mahler who was second Kapellmeister at the time – quality control at its most radical. Since this highly romantic but isolated movement wouldn’t really fit into Mahler’s next major project either, his first symphony, seven decades went by before Blumine was rediscovered: Pure, nearly unclouded beauty by Mahler, and with a trumpet solo to melt your heart. Des Knaben Wunderhorn (The Boy’s Magic Horn) is a collection of texts that always remained a source of inspiration for Gustav Mahler, and a point of focus in his musical thinking. The joy and suffering of love, life as a soldier, death and its gruesomeness: The Gürzenich Orchestra is once more looking forward to welcoming renowned mezzo soprano Anna Lucia Richter from Cologne who will perform songs from Des Knaben Wunderhorn. Surely, what is nowadays referred to as Franz Schubert’s »small« C Major symphony must have felt quite »great« to the barely 21-year-old composer: The orchestra is generously staffed for the time (1818), and the wind section finds itself on the strong side of an emancipatory boost, having rarely been this prominently featured in a symphony. The young gentleman skillfully puts to use the achievements made by his Viennese role models Haydn and Beethoven – he even composes a bold scherzo which would certainly have pleased the great Ludwig. Still, Schubert tells his very own symphonic story which is far from being laden with pathos but instead defies gravity in a unique, somnambulistic way. Simply fabulous!

Info & Ticket (www.guerzenich-orchester.de)

June 30, 2025

Bock auf Klassik?!

Mon, Jun 30, 2025, 20:00

Kölner Philharmonie (Köln)

Anna Lucia Richter (Mezzo-Soprano), Gürzenich-Orchester Köln, Thomas Guggeis (Conductor)

Info & Ticket (www.guerzenich-orchester.de)

July 1, 2025

Fabulous

Tue, Jul 1, 2025, 20:00

Kölner Philharmonie (Köln)

Anna Lucia Richter (Mezzo Soprano), Gürzenich-Orchester Köln, Thomas Guggeis (Conductor)

Werner is head over heels in love with Margareta. And since he is The Trumpeter of Säkkingen, it makes sense to serenade his sweetheart on said instrument: The perfect trigger for Gustav Mahler to become creative and start composing. In 1884, a stage production of the novel about Werner and Margareta is put on at the Hoftheater Kassel, and Gustav Mahler writes the music for it. Out of that, Blumine is the only remaining piece. The rest was destroyed by 24-year-old Mahler who was second Kapellmeister at the time – quality control at its most radical. Since this highly romantic but isolated movement wouldn’t really fit into Mahler’s next major project either, his first symphony, seven decades went by before Blumine was rediscovered: Pure, nearly unclouded beauty by Mahler, and with a trumpet solo to melt your heart. Des Knaben Wunderhorn (The Boy’s Magic Horn) is a collection of texts that always remained a source of inspiration for Gustav Mahler, and a point of focus in his musical thinking. The joy and suffering of love, life as a soldier, death and its gruesomeness: The Gürzenich Orchestra is once more looking forward to welcoming renowned mezzo soprano Anna Lucia Richter from Cologne who will perform songs from Des Knaben Wunderhorn. Surely, what is nowadays referred to as Franz Schubert’s »small« C Major symphony must have felt quite »great« to the barely 21-year-old composer: The orchestra is generously staffed for the time (1818), and the wind section finds itself on the strong side of an emancipatory boost, having rarely been this prominently featured in a symphony. The young gentleman skillfully puts to use the achievements made by his Viennese role models Haydn and Beethoven – he even composes a bold scherzo which would certainly have pleased the great Ludwig. Still, Schubert tells his very own symphonic story which is far from being laden with pathos but instead defies gravity in a unique, somnambulistic way. Simply fabulous!

Info & Ticket (www.guerzenich-orchester.de)

Mahler Festival: Budapest Festival Orchestra and Iván Fischer - Mahler's Symphony No. 2

'Mahler's beauty always hurts', conductor Iván Fischer said recently. Tonight he conducts his own Budapest Festival Orchestra in Mahler's Symphony No. 2, full of passion, lyricism and brightly shining melodies. Mahler is in good hands with Fischer and the Budapest Festival Orchestra. Fischer knows like no other how to get Mahler's music flowing, there is no composer he understands better. As early as 2006, Fischer and the orchestra recorded Mahler's Symphony No. 2. 'Impressive', wrote Gramophone.He who calls us gives us eternal life - sings the choir towards the end of Mahler's Symphony No. 2. In this emotionally charged work, Mahler expresses his ideas about life after death. Bliss and melancholy are both given space. Pure, insinuatingly and moving.

Mahler Festival: Budapest Festival Orchestra and Iván Fischer - Mahler's Symphony No. 2

Mahler Festival: Budapest Festival Orchestra and Iván Fischer - Mahler's Symphony No. 5

'The beauty of Mahler always hurts,' conductor Iván Fischer once said. At the Mahler Festival, he conducts both the Second Symphony and, today, the Fifth. A powerful work from a heyday in Mahler's life. Turbulent, full of life and passion. Mahler, having just met his great love Alma, seems to express his feelings in the beloved Adagietto.'Each part has its friends and its enemies', Mahler wrote of his Fifth Symphony. He was thrilled that this work raised such extremes of emotions. After three partly vocal symphonies, the Fifth is a purely instrumental. But therefore no less intense: sometimes jubilant, sometimes gloomy, always fiery. 'The work has come to represent the total of all the suffering that life brought to me.'

Budapest Festival Orchestra / Carl-Philipp-Emanuel-Bach-Chor / Iván Fischer

Tue, May 27, 2025, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

They are a well-rehearsed team: 40 years ago, Hungarian conductor Iván Fischer founded the Budapest Festival Orchestra in his home city and led it to world fame over the years. These very welcome Elbphilharmonie guests are celebrating their big anniversary at the Hamburg International Music Festival (the motto is »Future«) with the visionary music of Gustav Mahler. The star line-up continues with Christiane Karg and Anna Lucia Richter in the vocal solos. »Resurrect, yes resurrect, you will!« It is at the end of Mahler’s Second Symphony that the choir vocalises the religiously and philosophically motivated central message of the work with poignant optimism. Performances of the monumental »Resurrection Symphony« remain an impressive event to this day – not only in Hamburg of course, where the composer once had the inspiration for the choral finale in the »Michel« church. How fitting that the Carl Philipp Emanuel Bach Choir, a Hamburg-based orchestra, should now be performing the finale. The manuscript of the work, which lasts around one and a half hours, was auctioned off several years ago for 5.3 million euros. Fortunately, the live experience of hearing the work is a little more affordable – and priceless at the same time.

Fabulous

Werner is head over heels in love with Margareta. And since he is The Trumpeter of Säkkingen, it makes sense to serenade his sweetheart on said instrument: The perfect trigger for Gustav Mahler to become creative and start composing. In 1884, a stage production of the novel about Werner and Margareta is put on at the Hoftheater Kassel, and Gustav Mahler writes the music for it. Out of that, Blumine is the only remaining piece. The rest was destroyed by 24-year-old Mahler who was second Kapellmeister at the time – quality control at its most radical. Since this highly romantic but isolated movement wouldn’t really fit into Mahler’s next major project either, his first symphony, seven decades went by before Blumine was rediscovered: Pure, nearly unclouded beauty by Mahler, and with a trumpet solo to melt your heart. Des Knaben Wunderhorn (The Boy’s Magic Horn) is a collection of texts that always remained a source of inspiration for Gustav Mahler, and a point of focus in his musical thinking. The joy and suffering of love, life as a soldier, death and its gruesomeness: The Gürzenich Orchestra is once more looking forward to welcoming renowned mezzo soprano Anna Lucia Richter from Cologne who will perform songs from Des Knaben Wunderhorn. Surely, what is nowadays referred to as Franz Schubert’s »small« C Major symphony must have felt quite »great« to the barely 21-year-old composer: The orchestra is generously staffed for the time (1818), and the wind section finds itself on the strong side of an emancipatory boost, having rarely been this prominently featured in a symphony. The young gentleman skillfully puts to use the achievements made by his Viennese role models Haydn and Beethoven – he even composes a bold scherzo which would certainly have pleased the great Ludwig. Still, Schubert tells his very own symphonic story which is far from being laden with pathos but instead defies gravity in a unique, somnambulistic way. Simply fabulous!

Fabulous