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Musik der Hoch- und Spätromantik, dazu ein Werk der Gegenwart. Christian Thielemann spannt in seinem ersten Konzert als neuer Generalmusikdirektor den Bogen von Mendelssohn über Schönberg bis zu dem jungen kanadischen Komponisten Samy Moussa, dessen farbenreiches Orchesterstück Elysium unter seiner Leitung 2021 in der Sagrada Familia in Barcelona zur Uraufführung gebracht worden ist. Igor Levit ist der Solist von Mendelssohns 1837 komponiertem 2. Klavierkonzert mit seinen ernsten wie lyrischen Tönen, während Schönbergs zu Beginn des 20. Jahrhunderts nach dem Drama von Maurice Maeterlinck entstandene, opulent besetzte Tondichtung Pelleas und Melisande seine Verwurzelung in der spätromantischen Klang- und Ausdruckswelt demonstriert.
Bruckner would not write the Fifth Symphony again “even for one thousand guilders”. He had struggled with the work for two and a half years, improving it in small details and revising large sections, such as in the Finale, multiple times. Compared to some of his other symphonies, there is only one version of the Fifth authorized by Bruckner himself. And although he desperately wanted to hear this work in the grand setting of a concert hall, his wish was never fulfilled. Christian Thielemann, an internationally recognized specialist for the German Romantic repertoire, will emphasize the work’s monumental character.
Giuseppe Verdi is the only composer featured on the program of this year’s Open Air at Odeonsplatz with the BRSO conducted by Christian Thielemann – and yet, this is a program rich in contrasts. First, there is ballet music that Verdi added in some of his operas in order to please the dance-obsessed Parisian audience: the Witches’ Dance from Macbeth, a dance interlude during the coronation festivities in Don Carlo, and the ballet music in Otello. The orchestra will then join forces with the BR-Choir and perform Verdi’s musical testament: the Quattro pezzi sacri. The four movements comprising the work are Verdi’s last sacred compositions. While Verdi was not religious, he nevertheless wanted to take this work with him in afterlife: “With this hymn of praise I will go before God and beg him for mercy.”
The Symphonieorchester des Bayerischen Rundfunks (BRSO) as a guest in the subscription
Bruckner would not write the Fifth Symphony again “even for one thousand guilders”. He had struggled with the work for two and a half years, improving it in small details and revising large sections, such as in the Finale, multiple times. Compared to some of his other symphonies, there is only one version of the Fifth authorized by Bruckner himself. And although he desperately wanted to hear this work in the grand setting of a concert hall, his wish was never fulfilled. Christian Thielemann, an internationally recognized specialist for the German Romantic repertoire, will emphasize the work’s monumental character.
Bruckner would not write the Fifth Symphony again “even for one thousand guilders”. He had struggled with the work for two and a half years, improving it in small details and revising large sections, such as in the Finale, multiple times. Compared to some of his other symphonies, there is only one version of the Fifth authorized by Bruckner himself. And although he desperately wanted to hear this work in the grand setting of a concert hall, his wish was never fulfilled. Christian Thielemann, an internationally recognized specialist for the German Romantic repertoire, will emphasize the work’s monumental character.
Bruckner would not write the Fifth Symphony again “even for one thousand guilders”. He had struggled with the work for two and a half years, improving it in small details and revising large sections, such as in the Finale, multiple times. Compared to some of his other symphonies, there is only one version of the Fifth authorized by Bruckner himself. And although he desperately wanted to hear this work in the grand setting of a concert hall, his wish was never fulfilled. Christian Thielemann, an internationally recognized specialist for the German Romantic repertoire, will emphasize the work’s monumental character.