ConcertPulse
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Philharmonie Berlin, Main Auditorium (Berlin)
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The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
Italy in May is always a good idea. The 22-year-old Strauss concurred: following Brahms’ advice, he travelled to Italy in April and May 1886, visiting Florence, Rome, Bologna, Naples and Capri. The four movements of his symphonic fantasy transport the listener to the “Campagna,” “Rome’s Ruins,” and the “Beaches of Sorrento,” before finally plunging into the lively “Neapolitan Folk Life” – a showpiece for the Neapolitan conductor Riccardo Muti, who has frequently performed it during the course of his career, including a performance with the BRSO forty years ago in 1984. With the inclusion of works by Haydn and Schubert as well as the participation of the Chor des Bayerischen Rundfunks, the maestro presents a programme that also features other companions with whom he has long cultivated a close relationship.
Italy in May is always a good idea. The 22-year-old Strauss concurred: following Brahms’ advice, he travelled to Italy in April and May 1886, visiting Florence, Rome, Bologna, Naples and Capri. The four movements of his symphonic fantasy transport the listener to the “Campagna,” “Rome’s Ruins,” and the “Beaches of Sorrento,” before finally plunging into the lively “Neapolitan Folk Life” – a showpiece for the Neapolitan conductor Riccardo Muti, who has frequently performed it during the course of his career, including a performance with the BRSO forty years ago in 1984. With the inclusion of works by Haydn and Schubert as well as the participation of the Chor des Bayerischen Rundfunks, the maestro presents a programme that also features other companions with whom he has long cultivated a close relationship.
Italy in May is always a good idea. The 22-year-old Strauss concurred: following Brahms’ advice, he travelled to Italy in April and May 1886, visiting Florence, Rome, Bologna, Naples and Capri. The four movements of his symphonic fantasy transport the listener to the “Campagna,” “Rome’s Ruins,” and the “Beaches of Sorrento,” before finally plunging into the lively “Neapolitan Folk Life” – a showpiece for the Neapolitan conductor Riccardo Muti, who has frequently performed it during the course of his career, including a performance with the BRSO forty years ago in 1984. With the inclusion of works by Haydn and Schubert as well as the participation of the Chor des Bayerischen Rundfunks, the maestro presents a programme that also features other companions with whom he has long cultivated a close relationship.
Luigi Nono always saw himself as a political person and composer. But rather than composing musical manifestos against social injustice, he believed in the power of music to educate and enlighten. As in 1956, when he – in his large-scale cantata »Il canto sospeso« – translated farewell letters by members of the resistance that had been sentenced to death into a stirring and highly poetic tonal language. The German-American conductor and Nono specialist Jonathan Stockhammer now presents this »suspended song« in the Grand Hall. Luigi Nono’s musical credo was to »awaken the ear, the eyes, human thought« with his works. This aspiration is reflected in the »Canto sospeso«, which was premiered in Cologne in 1956 and which – with its orchestra parts, a-cappella chorales and arias – also underlines Nono’s affinity for Italian madrigal and operatic art. Yet in its musical recollection, this »song« exudes a blazing presence.
Tugan Sokhiev, who recently stepped down from his post at Moscow’s Bolshoi Theatre, will make his BRSO début in a programme of impressionist music ranging from sensual eroticism and exotic landscapes to a kaleidoscope of visual imagery. Debussy, in Prélude à l’après-midi d’un faune, depicts the fantasies of a faun poised between languid daydreams and lustful desire on a sultry afternoon. Ravel invokes the sensuality of the Orient in his three-piece song cycle Shéhérazade: the tales told by this female storyteller from Arabian Nights are musically brought to life in a strange, beautiful, eerie world full of fascination and terrors in equal measure. Finally, in Pictures at an Exhibition, Mussorgsky produced a work that not only recreates visual impressions in sound, but expands each picture into a unique musical cosmos.
Tugan Sokhiev, who recently stepped down from his post at Moscow’s Bolshoi Theatre, will make his BRSO début in a programme of impressionist music ranging from sensual eroticism and exotic landscapes to a kaleidoscope of visual imagery. Debussy, in Prélude à l’après-midi d’un faune, depicts the fantasies of a faun poised between languid daydreams and lustful desire on a sultry afternoon. Ravel invokes the sensuality of the Orient in his three-piece song cycle Shéhérazade: the tales told by this female storyteller from Arabian Nights are musically brought to life in a strange, beautiful, eerie world full of fascination and terrors in equal measure. Finally, in Pictures at an Exhibition, Mussorgsky produced a work that not only recreates visual impressions in sound, but expands each picture into a unique musical cosmos.
Tugan Sokhiev, who recently stepped down from his post at Moscow’s Bolshoi Theatre, will make his BRSO début in a programme of impressionist music ranging from sensual eroticism and exotic landscapes to a kaleidoscope of visual imagery. Debussy, in Prélude à l’après-midi d’un faune, depicts the fantasies of a faun poised between languid daydreams and lustful desire on a sultry afternoon. Ravel invokes the sensuality of the Orient in his three-piece song cycle Shéhérazade: the tales told by this female storyteller from Arabian Nights are musically brought to life in a strange, beautiful, eerie world full of fascination and terrors in equal measure. Finally, in Pictures at an Exhibition, Mussorgsky produced a work that not only recreates visual impressions in sound, but expands each picture into a unique musical cosmos.