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Classical concerts featuring
Maria Bengtsson

Overview

Quick overview of musician Maria Bengtsson by associated keywords

Upcoming Concerts

Concerts featuring Maria Bengtsson in season 2024/25 or later

Artistic depiction of the event
This season
In München

Simone Young

Thu, May 15, 2025, 20:00
Simone Young (Conductor), Maria Bengtsson (Soprano), Michael Volle (Bariton), Symphonieorchester des Bayerischen Rundfunks
Sound sorceress Simone Young will be conducting the BRSO for the third time in a program that she herself has chosen. It includes Anton Webern’s Five Pieces for Orchestra, in which Webern condenses the atonal language established by Schönberg into a miniature form (the fourth movement consists of only six measures). This masterful aphorism forms an antipode to the grotesque atmosphere of Alban Berg’s Three Pieces for Orchestra, which the 29-year-old composer wrote as an apprentice piece for the 40th birthday of his teacher, Arnold Schönberg: it arises out of distorted sound masses that gradually coalesce into music. Zemlinsky’s magnificent Lyric Symphony completes the program: eclectic, sophisticated, and one of his most important compositions, in which soloists Maria Bengtsson and Michael Volle will add their own personal touches.
Artistic depiction of the event
This season
In München

Simone Young

Fri, May 16, 2025, 20:00
Simone Young (Conductor), Maria Bengtsson (Soprano), Michael Volle (Bariton), Symphonieorchester des Bayerischen Rundfunks
Sound sorceress Simone Young will be conducting the BRSO for the third time in a program that she herself has chosen. It includes Anton Webern’s Five Pieces for Orchestra, in which Webern condenses the atonal language established by Schönberg into a miniature form (the fourth movement consists of only six measures). This masterful aphorism forms an antipode to the grotesque atmosphere of Alban Berg’s Three Pieces for Orchestra, which the 29-year-old composer wrote as an apprentice piece for the 40th birthday of his teacher, Arnold Schönberg: it arises out of distorted sound masses that gradually coalesce into music. Zemlinsky’s magnificent Lyric Symphony completes the program: eclectic, sophisticated, and one of his most important compositions, in which soloists Maria Bengtsson and Michael Volle will add their own personal touches.
Artistic depiction of the event
This season
In Hamburg

Hamburg Philharmonic State Orchestra / Maria Bengtsson / Bertrand de Billy

Sun, Jun 1, 2025, 11:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, Maria Bengtsson (Soprano), Bertrand de Billy (Conductor)
Richard Strauss – a celebrated composer, a politically controversial cultural figure and unquestionably an artist ahead of his time – is the subject of this concert’s musical portrait. Those who knew him described him as someone with a great sense of humour who never let fame go to his head. He loved music, his family and playing cards (and is even said to have been a good loser). He first began composing at the age of six. His famous tone poem »Ein Heldenleben« marks his first major achievement in the art of orchestration. Critics accused him of shameless self-aggrandizement in this work, but Strauss responded: »I am not a hero. I don’t have the strength for it. I’m not fit for the battle. I prefer to stay in the background, in a quiet place ....«
Artistic depiction of the event
This season
In Hamburg

Hamburg Philharmonic State Orchestra / Maria Bengtsson / Bertrand de Billy

Mon, Jun 2, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, Maria Bengtsson (Soprano), Bertrand de Billy (Conductor)
Richard Strauss – a celebrated composer, a politically controversial cultural figure and unquestionably an artist ahead of his time – is the subject of this concert’s musical portrait. Those who knew him described him as someone with a great sense of humour who never let fame go to his head. He loved music, his family and playing cards (and is even said to have been a good loser). He first began composing at the age of six. His famous tone poem »Ein Heldenleben« marks his first major achievement in the art of orchestration. Critics accused him of shameless self-aggrandizement in this work, but Strauss responded: »I am not a hero. I don’t have the strength for it. I’m not fit for the battle. I prefer to stay in the background, in a quiet place ....«