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Classical concerts featuring
Robert Murray

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Concerts featuring Robert Murray in season 2024/25 or later

February 23, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Sun, Feb 23, 2025, 18:00
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
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
February 27, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Thu, Feb 27, 2025, 19:30
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
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
March 2, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Sun, Mar 2, 2025, 17:00
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
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
March 7, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Fri, Mar 7, 2025, 19:30
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
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
April 18, 2025
Artistic depiction of the event

Konzert zum Karfreitag

Fri, Apr 18, 2025, 19:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, RIAS Kammerchor Berlin, Justin Doyle (Conductor), Navid Kermani (Narrator), Kateryna Kasper (Soprano), Katie Bray (Alto), Robert Murray (Tenor), Hanno Müller-Brachmann (Bass)
Haydn's composition is characterised by a dramatic, extremely moving emotionality that is hard to resist. It was initially conceived as a purely instrumental composition - meditation music in seven slow movements with a prelude and final movement („Il Terremoto“ - the earthquake) for a Passion service. However, when Haydn heard an arrangement of his work with a German text in Passau in 1794, he was inspired to write his own vocal version. The premiere took place in Vienna in 1796. With the flourishing of choral societies in the 19th century, this vocal version of the Seven Words became one of the most frequently performed pieces of Passion music ever.