Quick overview of orchestra Philharmonisches Staatsorchester Hamburg by associated keywords
These concerts featuring Philharmonisches Staatsorchester Hamburg became visible lately at ConcertPulse.
Nothing found for now.
Concerts featuring Philharmonisches Staatsorchester Hamburg in season 2024/25 or later
Bernhard Lang's Playing Trump 2021, a contemporary composer, traces the words of a despot, collected in peacetime and set to music during wartime. The rhetoric of power shamelessly inverts murderous plans, elevating hypocrisy and blatant lies to principles. The libretto by Dieter Sperl exposes the contradictions and justifications for war.
"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
Bernhard Lang's Playing Trump 2021, a contemporary composer, traces the words of a despot, collected in peacetime and set to music during wartime. The rhetoric of power shamelessly inverts murderous plans, elevating hypocrisy and blatant lies to principles. The libretto by Dieter Sperl exposes the contradictions and justifications for war.
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
"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
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
Bernhard Lang's Playing Trump 2021, a contemporary composer, traces the words of a despot, collected in peacetime and set to music during wartime. The rhetoric of power shamelessly inverts murderous plans, elevating hypocrisy and blatant lies to principles. The libretto by Dieter Sperl exposes the contradictions and justifications for war.
Bernhard Lang's Playing Trump 2021, a contemporary composer, traces the words of a despot, collected in peacetime and set to music during wartime. The rhetoric of power shamelessly inverts murderous plans, elevating hypocrisy and blatant lies to principles. The libretto by Dieter Sperl exposes the contradictions and justifications for war.
The programme for the 6th Philharmonic Concert includes a world premiere that reflects our times. Jörg Widmann, who has been in close artistic contact with Kent Nagano, particularly since the great success of his ARCHE for the opening of the Elbphilharmonie, has recently written a decidedly peaceful work in view of the global wars: »Cantata in tempore belli«. Jens Harzer takes on the role of narrator. Ida Aldrian sings the alto part.
Bernhard Lang's Playing Trump 2021, a contemporary composer, traces the words of a despot, collected in peacetime and set to music during wartime. The rhetoric of power shamelessly inverts murderous plans, elevating hypocrisy and blatant lies to principles. The libretto by Dieter Sperl exposes the contradictions and justifications for war.
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
The programme for the 6th Philharmonic Concert includes a world premiere that reflects our times. Jörg Widmann, who has been in close artistic contact with Kent Nagano, particularly since the great success of his ARCHE for the opening of the Elbphilharmonie, has recently written a decidedly peaceful work in view of the global wars: »Cantata in tempore belli«. Jens Harzer takes on the role of narrator. Ida Aldrian sings the alto part.
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
"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
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
"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
Opéra Fantastique in five acts Libretto by Jules Barbier Based on the play by Jules Barbier and Michel Carré Edited by Michael Kaye and Jean-Christophe Keck The poet E. T. A. Hoffmann as the protagonist of his own fantastic tales: In his encounter with three women - Olympia, Antonia, and Giulietta - he searches in vain for love for love and for himself. Will he draw the strength for art from his failure in life? art from his failures in life? Or will he fail in himself, even in alcohol? Like in a kaleidoscope, ever new constellations and shimmering colors constellations and shimmering colors German romanticism and French esprit. The composer died over the work without the first performance, which took place in a greatly greatly abridged form. Since then the performance history itself has been an exciting crime play, surprising discoveries have made Hoffmann's tales appear again and again in a new in a new and fascinating light. Musical direction: Kent Nagano Direction: Daniele Finzi Pasca Co-direction: Mellissa Vettore Stage design: Hugo Gargiulo Associate Set design: Matteo Verlicchi Costumes: Giovanna Buzzi Associate Costumes: Ambra Schumacher Lighting: Daniele Finzi Pasca, Marzio Picchetti Video: Roberto Vitalini Choreography: Maria Bonzanigo Dramaturgy: Savina Kationi, Ralf Waldschmidt Choire: Eberhard Friedrich
"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
Opéra Fantastique in five acts Libretto by Jules Barbier Based on the play by Jules Barbier and Michel Carré Edited by Michael Kaye and Jean-Christophe Keck The poet E. T. A. Hoffmann as the protagonist of his own fantastic tales: In his encounter with three women - Olympia, Antonia, and Giulietta - he searches in vain for love for love and for himself. Will he draw the strength for art from his failure in life? art from his failures in life? Or will he fail in himself, even in alcohol? Like in a kaleidoscope, ever new constellations and shimmering colors constellations and shimmering colors German romanticism and French esprit. The composer died over the work without the first performance, which took place in a greatly greatly abridged form. Since then the performance history itself has been an exciting crime play, surprising discoveries have made Hoffmann's tales appear again and again in a new in a new and fascinating light. Musical direction: Kent Nagano Direction: Daniele Finzi Pasca Co-direction: Mellissa Vettore Stage design: Hugo Gargiulo Associate Set design: Matteo Verlicchi Costumes: Giovanna Buzzi Associate Costumes: Ambra Schumacher Lighting: Daniele Finzi Pasca, Marzio Picchetti Video: Roberto Vitalini Choreography: Maria Bonzanigo Dramaturgy: Savina Kationi, Ralf Waldschmidt Choire: Eberhard Friedrich
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together. Director: Adolf Dresen Set Design: Karl-Ernst Herrmann Costume Design: Margit Bárdy Choreography: Rolf Warter Premiere: 11.02.1979
Opéra Fantastique in five acts Libretto by Jules Barbier Based on the play by Jules Barbier and Michel Carré Edited by Michael Kaye and Jean-Christophe Keck The poet E. T. A. Hoffmann as the protagonist of his own fantastic tales: In his encounter with three women - Olympia, Antonia, and Giulietta - he searches in vain for love for love and for himself. Will he draw the strength for art from his failure in life? art from his failures in life? Or will he fail in himself, even in alcohol? Like in a kaleidoscope, ever new constellations and shimmering colors constellations and shimmering colors German romanticism and French esprit. The composer died over the work without the first performance, which took place in a greatly greatly abridged form. Since then the performance history itself has been an exciting crime play, surprising discoveries have made Hoffmann's tales appear again and again in a new in a new and fascinating light. Musical direction: Kent Nagano Direction: Daniele Finzi Pasca Co-direction: Mellissa Vettore Stage design: Hugo Gargiulo Associate Set design: Matteo Verlicchi Costumes: Giovanna Buzzi Associate Costumes: Ambra Schumacher Lighting: Daniele Finzi Pasca, Marzio Picchetti Video: Roberto Vitalini Choreography: Maria Bonzanigo Dramaturgy: Savina Kationi, Ralf Waldschmidt Choire: Eberhard Friedrich
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together. Director: Adolf Dresen Set Design: Karl-Ernst Herrmann Costume Design: Margit Bárdy Choreography: Rolf Warter Premiere: 11.02.1979
Opéra Fantastique in five acts Libretto by Jules Barbier Based on the play by Jules Barbier and Michel Carré Edited by Michael Kaye and Jean-Christophe Keck The poet E. T. A. Hoffmann as the protagonist of his own fantastic tales: In his encounter with three women - Olympia, Antonia, and Giulietta - he searches in vain for love for love and for himself. Will he draw the strength for art from his failure in life? art from his failures in life? Or will he fail in himself, even in alcohol? Like in a kaleidoscope, ever new constellations and shimmering colors constellations and shimmering colors German romanticism and French esprit. The composer died over the work without the first performance, which took place in a greatly greatly abridged form. Since then the performance history itself has been an exciting crime play, surprising discoveries have made Hoffmann's tales appear again and again in a new in a new and fascinating light. Musical direction: Kent Nagano Direction: Daniele Finzi Pasca Co-direction: Mellissa Vettore Stage design: Hugo Gargiulo Associate Set design: Matteo Verlicchi Costumes: Giovanna Buzzi Associate Costumes: Ambra Schumacher Lighting: Daniele Finzi Pasca, Marzio Picchetti Video: Roberto Vitalini Choreography: Maria Bonzanigo Dramaturgy: Savina Kationi, Ralf Waldschmidt Choire: Eberhard Friedrich
Dance, language and fantastic images: the three orchestral works on this concert programme by the Hamburg Philharmonic State Orchestra are bursting with creative energy. Ravel wrote »Daphnis et Chloé« as ballet music for Diaghilev’s famous »Ballets russes«. In fact, the composition first celebrated its great success as suites on the concert stage, where its genius is revealed to its full advantage. Ravel had a »great musical fresco painting« in mind for the ancient love story between the two outcast infants, »less concerned with the ancient than with remaining true to the Greece of my dreams«. He pours the rising sun, the song of the nymph and an ecstatic final frenzy into an early 20th century painting in a brilliant blaze of colour.
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Dance, language and fantastic images: the three orchestral works on this concert programme by the Hamburg Philharmonic State Orchestra are bursting with creative energy. Ravel wrote »Daphnis et Chloé« as ballet music for Diaghilev’s famous »Ballets russes«. In fact, the composition first celebrated its great success as suites on the concert stage, where its genius is revealed to its full advantage. Ravel had a »great musical fresco painting« in mind for the ancient love story between the two outcast infants, »less concerned with the ancient than with remaining true to the Greece of my dreams«. He pours the rising sun, the song of the nymph and an ecstatic final frenzy into an early 20th century painting in a brilliant blaze of colour.
Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together. Director: Adolf Dresen Set Design: Karl-Ernst Herrmann Costume Design: Margit Bárdy Choreography: Rolf Warter Premiere: 11.02.1979
ConcertPulse