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"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Dramaturgy: Angela Beuerle, Michael Sangkuhl
"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Dramaturgy: Angela Beuerle, Michael Sangkuhl
Richard Strauss's "Also sprach Zarathustra" impressed even Nietzsche. Arnold Böcklin's paintings were highly regarded in the late 19th century, inspiring artists like Klinger, Hofmannsthal, Brahms, and Busoni. Reger's Böcklin Suite includes pieces inspired by "The Isle of the Dead", "Bacchanal", "The Hermit Fiddler", and "Play of the Waves". Cellist Julius Klengel premiered both Strauss's and Reger's works at the Gewandhaus. Klengel's student, Rudolf Metzmacher, father of conductor Ingo Metzmacher, created an edition of Schumann's Cello Concerto that's still used today.
Till Eulenspiegel, first mentioned in 1510, is one of the world's most famous pranksters. Strauss composed a symphonic poem capturing Eulenspiegel's mischievous nature. Stravinsky's "Petrushka" immerses us in a vibrant fairground atmosphere where the puppet, Petrushka, comes alive. Baudelaire's poetry inspired Dutilleux's cello concerto "Tout un monde lointain," a work full of color, melancholy, and sensuality, transporting us to a mysterious world.
Richard Strauss's "Also sprach Zarathustra" impressed even Nietzsche. Arnold Böcklin's paintings were highly regarded in the late 19th century, inspiring artists like Klinger, Hofmannsthal, Brahms, and Busoni. Reger's Böcklin Suite includes pieces inspired by "The Isle of the Dead", "Bacchanal", "The Hermit Fiddler", and "Play of the Waves". Cellist Julius Klengel premiered both Strauss's and Reger's works at the Gewandhaus. Klengel's student, Rudolf Metzmacher, father of conductor Ingo Metzmacher, created an edition of Schumann's Cello Concerto that's still used today.
Till Eulenspiegel, first mentioned in 1510, is one of the world's most famous pranksters. Strauss composed a symphonic poem capturing Eulenspiegel's mischievous nature. Stravinsky's "Petrushka" immerses us in a vibrant fairground atmosphere where the puppet, Petrushka, comes alive. Baudelaire's poetry inspired Dutilleux's cello concerto "Tout un monde lointain," a work full of color, melancholy, and sensuality, transporting us to a mysterious world.
Under the motto »Orchestra for Democracy«, the DSO invites the audience to two concerts that combine music and speech to make a powerful plea for human rights and the value of our democracy. Central works of classical modernism and late romanticism meet contemporary reflections and create a format that places the demands and reality of our society at the centre.
Under the motto »Orchestra for Democracy«, the DSO invites the audience to two concerts that combine music and speech to make a powerful plea for human rights and the value of our democracy. Central works of classical modernism and late romanticism meet contemporary reflections and create a format that places the demands and reality of our society at the centre.
"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Dramaturgy: Angela Beuerle, Michael Sangkuhl
Most recently heard at the Pierre Boulez Saal during the Mendelssohn Festival in December 2023, Clara-Jumi Kang and Sunwook Kim return as a duo to perform four works exploring the full range of the violin sonata repertoire. Bookending their program with a Beethoven classic and an early masterpiece by 23-year-old Richard Strauss, they also present Ottorino Respighi’s 1917 Sonata and the idiosyncratic Fourth Sonata by Mieczysław Weinberg, written in 1947.
"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Dramaturgy: Angela Beuerle, Michael Sangkuhl
The nervous virtuosity of Burleske places Richard Strauss firmly among the masters of concertante works for piano. In counterpoint, his autobiographical A Hero’s Life, full of twists and turns, stands out as one of his orchestral triumphs.
"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Dramaturgy: Angela Beuerle, Michael Sangkuhl
From a recital by an Aphrodite on the eve of Valentine’s Day, one might expect a classic ode to romantic love, but singer Aphrodite Patoulidou has something else in mind.
"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Dramaturgy: Angela Beuerle, Michael Sangkuhl
“No other composer has had a more profound influence on me and taught me more than Gustav Mahler,” says Thomas Hampson. Having won universal acclaim for his performances of Mahler’s songs, the baritone has also immersed himself in the composer’s life more thoroughly than almost any other singer. Joined by his longtime piano partner Wolfram Rieger, he takes the audience on a musical journey to Mahler’s eventful times that also includes works by his contemporaries Alban Berg, Arnold Schoenberg, Alexander Zemlinsky, Anton Webern, and Richard Strauss, as well as his personal companion and wife Alma Mahler.
The renowned Venetian »Orchestra di Padova e del Veneto«, conducted by Marco Angius, and pianist Tamara Stefanovich present an extremely varied programme from three eras in the Elbphilharmonie’s Great Hall: In addition to Bartók’s Divertimento for Strings and Haydn’s popular symphony »mit dem Paukenwirbel«, Strauss’ »Burleske für Klavier und Orchester« will be performed – a work that is considered an enormous pianistic challenge: it was only five years after its composition that the work was premiered in 1890 by Liszt student Eugen d’Albert.
Waterfalls, glaciers, an ear-splitting storm – spectacular isn’t the word for Strauss’s Alpine Symphony. No composer tells a story quite like Richard Strauss – or paints a picture in more fabulous sounds. So when he set out to depict the majesty of the Bavarian Alps, the results are … well, hear for yourself as Edward Gardner and a specially-enlarged LPO conquer the summit of Strauss’s mighty Alpine Symphony. Waterfalls, glaciers, an ear-splitting storm – spectacular isn’t the word. But first, enjoy the fresh Nordic melodies of Grieg’s famous Piano Concerto, played by a true rising star, and hear Pasajes by LPO Composer-in-Residence Tania León, which evokes memories of her youth, blending Latin American melodies, Caribbean rhythms and vibrant Carnaval dances.
When memories turn into music, the personal becomes universal.Richard Strauss’s Metamorphosen rose from the ashes of wartime Germany, asking difficult questions even as it lays bare its heart. Brahms, meanwhile, wrote his Second Symphony on the sunlit slopes of the Austrian Alps – but happy memories have their own truth, and conductor Edward Gardner will bring the same insight and commitment to every note, whether tragic, troubled or glowing with joy.
At the end of his long career, Richard Strauss composed the Vier letzte Lieder, a musical embrace in which calm and acceptance prevail. And what better interpreter of such calm after the storm than Renée Fleming, whose warm voice and vocal mastery every listener should be lucky enough to hear live?Over twenty years since his Concertgebouw Orchestra debut, Manfred Honeck has long enjoyed a reputation as one of the world’s leading conductors. In addition to Strauss’s Vier letzte Lieder, the Austrian conductor leads the orchestra in a self-arranged suite of highlights from Puccini’s last opera, Turandot. The music enveloping this cruel tale, sometimes highly lyrical, then exciting and exuberant, is beautifully expressed in an instrumental suite. The concert opens with Franz von Suppé’s Overture 'Dichter und Bauer', and after the interval the orchestra will perform the Scottish composer James MacMillan’s moving Larghetto.
At the end of his long career, Richard Strauss composed the Vier letzte Lieder, a musical embrace in which calm and acceptance prevail. And what better interpreter of such calm after the storm than Renée Fleming, whose warm voice and vocal mastery every listener should be lucky enough to hear live?Over twenty years since his Concertgebouw Orchestra debut, Manfred Honeck has long enjoyed a reputation as one of the world’s leading conductors. In addition to Strauss’s Vier letzte Lieder, the Austrian conductor leads the orchestra in a self-arranged suite of highlights from Puccini’s last opera, Turandot. The music enveloping this cruel tale, sometimes highly lyrical, then exciting and exuberant, is beautifully expressed in an instrumental suite. The concert opens with Franz von Suppé’s Overture 'Dichter und Bauer', and after the interval the orchestra will perform the Scottish composer James MacMillan’s moving Larghetto.
The Netherlands Philharmonic is one of the most versatile cultural organisations in The Netherlands. The orchestra organises a diverse concert program in The Royal Concertgebouw Amsterdam and is a welcome guest on foreign stages and festivals. The Netherlands Philharmonic brings classical music to life at the highest level and collaborates closely with international guest soloists and conductors. It takes great pleasure in welcoming and developing new musical talent. Lorenzo Viotti is the principal conductor of Dutch National Opera and the Netherlands Philharmonic.
At the end of his long career, Richard Strauss composed the Vier letzte Lieder, a musical embrace in which calm and acceptance prevail. And what better interpreter of such calm after the storm than Renée Fleming, whose warm voice and vocal mastery every listener should be lucky enough to hear live?Over twenty years since his Concertgebouw Orchestra debut, Manfred Honeck has long enjoyed a reputation as one of the world’s leading conductors. In addition to Strauss’s Vier letzte Lieder, the Austrian conductor leads the orchestra in a self-arranged suite of highlights from Puccini’s last opera, Turandot. The music enveloping this cruel tale, sometimes highly lyrical, then exciting and exuberant, is beautifully expressed in an instrumental suite. The concert opens with Franz von Suppé’s Overture 'Dichter und Bauer', and after the interval the orchestra will perform the Scottish composer James MacMillan’s moving Larghetto.