Classical concerts featuring
Warsaw Philharmonic Choir

Overview

Quick overview of musician Warsaw Philharmonic Choir by associated keywords

Upcoming Concerts

Concerts featuring Warsaw Philharmonic Choir in season 2024/25 or later

Next week

In Warszawa

A Clay Vase

Sun, Mar 16, 2025, 11:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Choir, Bartosz Michałowski (Conductor), Bartosz Michałowski (Chorus Director), Trio Legend, Agnieszka Zahaczewska-Książek (Piano), Krzysztof Katana (Violin), Monika Krasicka-Gajownik (Cello), Agata Kawełczyk-Starosta (Presenter)

Among FeNek’s clutter, there’s an old clay vase. Just an ordinary vase, slightly dusty, a family heirloom... but don’t let that fool you! It’s not ordinary at all. Whenever music is played in the Concert Hall, wavy patterns always appear on it. A long line flashes when violinists draw their bows, tiny dots appear when a pianist’s fingers make a tinkling sound, or a little mouse flits by as a choir sings about it. The patterns and shapes change as quickly as the colourful sounds in the music. If you’re curious to find out what other secrets the clay vase holds, come to the concert at the Philharmonic, and don’t forget to bring a sheet of paper and a colourful marker. Bring to the concert… a sheet of paper and a colourful marker

Info & Ticket (filharmonia.pl)

Next week

In Warszawa

A Clay Vase

Sun, Mar 16, 2025, 14:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Among FeNek’s clutter, there’s an old clay vase. Just an ordinary vase, slightly dusty, a family heirloom... but don’t let that fool you! It’s not ordinary at all. Whenever music is played in the Concert Hall, wavy patterns always appear on it. A long line flashes when violinists draw their bows, tiny dots appear when a pianist’s fingers make a tinkling sound, or a little mouse flits by as a choir sings about it. The patterns and shapes change as quickly as the colourful sounds in the music. If you’re curious to find out what other secrets the clay vase holds, come to the concert at the Philharmonic, and don’t forget to bring a sheet of paper and a colourful marker. Bring to the concert… a sheet of paper and a colourful marker

Info & Ticket (filharmonia.pl)

This month

In Warszawa

Oratorio Music Concert

Sat, Mar 29, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Władysław Skoraczewski Artos Choir at the Teatr Wielki – Polish National Opera, Jan Willem de Vriend (Conductor), Dorota Szczepańska (Soprano), Jess Dandy (Contralto), Laurence Kilsby (Tenor), Halvor Festervoll Melien (Bariton), Karol Kozłowski (Tenor), Karol Kozłowski (Ewangelista), Lars Johansson Brissman (Bariton), Lars Johansson Brissman (Jezus), Bartosz Michałowski (Director of the Warsaw Philharmonic Choir), Danuta Chmurska (Director of the Artos Choir)

Jan Willem de Vriend, photo: Emelie Schäfer In the midst of the inevitable disputes over the most important achievement in Johann Sebastian Bach’s oeuvre, the St Matthew Passion keeps cropping up. As English musician and scholar John Butt has noted, it is curious that a masterpiece whose emotional charge reaches the limit of human endurance was written in a secondary German centre as Leipzig was in the eighteenth century. Not all those attending the Good Friday Lutheran services during which the Passions were performed in the Saxon city necessarily appreciated the massive scale of Bach’s work, together with its subtle drama. Today’s reception of the Passion would probably infuriate both the Leipzig townspeople and the composer himself. It is difficult to count all its contemporary performances and recordings, let alone the attempts at scientific interpretations of the symbols hidden on various levels of the score. Numerous statements from present-day listeners echo the conviction of the timelessness of the arias, recitatives and choruses from the St Matthew Passion, which, as it turns out, appeal not only to believers, since Bach employed almost every available means of sound painting to tell a profoundly human story about the fragility of life, love, betrayal, violence and loss.

Info & Ticket (filharmonia.pl)

This month

In Warszawa

Oratorio Music Concert

Sun, Mar 30, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Jan Willem de Vriend, photo: Emelie Schäfer In the midst of the inevitable disputes over the most important achievement in Johann Sebastian Bach’s oeuvre, the St Matthew Passion keeps cropping up. As English musician and scholar John Butt has noted, it is curious that a masterpiece whose emotional charge reaches the limit of human endurance was written in a secondary German centre as Leipzig was in the eighteenth century. Not all those attending the Good Friday Lutheran services during which the Passions were performed in the Saxon city necessarily appreciated the massive scale of Bach’s work, together with its subtle drama. Today’s reception of the Passion would probably infuriate both the Leipzig townspeople and the composer himself. It is difficult to count all its contemporary performances and recordings, let alone the attempts at scientific interpretations of the symbols hidden on various levels of the score. Numerous statements from present-day listeners echo the conviction of the timelessness of the arias, recitatives and choruses from the St Matthew Passion, which, as it turns out, appeal not only to believers, since Bach employed almost every available means of sound painting to tell a profoundly human story about the fragility of life, love, betrayal, violence and loss.

Info & Ticket (filharmonia.pl)

Next month

In Warszawa

Symphonic Concert

Fri, Apr 25, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Anna Sułkowska-Migoń (Conductor), Andrzej Ciepliński (Clarinet), Bartosz Michałowski (Chorus Director)

Anna Sułkowska-Migoń, photo: Joanna Gałuszka The contemplative nature of much of Ralph Vaughan Williams’s work is said to stem from his love of poetry. After his teacher introduced him to the visionary work of Walt Whitman, the collection Leaves of Grass became the composer’s ‘constant companion’ and the inspiration for Toward the Unknown Region, a song for choir and orchestra first performed in Leeds in 1907. One critic at the time hailed Williams as the leading British composer of the new generation. Futurist poetry, meanwhile, would suit the character of Carl Nielsen’s Clarinet Concerto. This work reveals the complex nature of the instrument, which, according to the composer, ‘can be at the same time warm-hearted and completely hysterical, as mild as balsam, and screaming like a tram-car on poorly-greased rails’. Having befriended the members of the Copenhagen Brass Quintet, he wished to compose a musical portrait for each of them, in the form of a solo concerto. Perhaps it was the broad phrases of Felix Mendelssohn-Bartholdy’s symphonic writing that led observers to associate many of his works with the landscapes of the countries he visited. His Symphony No. 3 in A minor, for example, supposedly evokes the dense fog-shrouded mountain landscapes of Scotland, which the composer visited in 1829. Yet the composer himself did not refer to such inspirations after completing the long journey of several years to completing this work, which received its Scottish nickname from well-meaning listeners.

Info & Ticket (filharmonia.pl)

Next month

In Warszawa

Symphonic Concert

Sat, Apr 26, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Anna Sułkowska-Migoń (Conductor), Andrzej Ciepliński (Clarinet), Bartosz Michałowski (Chorus Director)

Anna Sułkowska-Migoń, photo: Joanna Gałuszka The contemplative nature of much of Ralph Vaughan Williams’s work is said to stem from his love of poetry. After his teacher introduced him to the visionary work of Walt Whitman, the collection Leaves of Grass became the composer’s ‘constant companion’ and the inspiration for Toward the Unknown Region, a song for choir and orchestra first performed in Leeds in 1907. One critic at the time hailed Williams as the leading British composer of the new generation. Futurist poetry, meanwhile, would suit the character of Carl Nielsen’s Clarinet Concerto. This work reveals the complex nature of the instrument, which, according to the composer, ‘can be at the same time warm-hearted and completely hysterical, as mild as balsam, and screaming like a tram-car on poorly-greased rails’. Having befriended the members of the Copenhagen Brass Quintet, he wished to compose a musical portrait for each of them, in the form of a solo concerto. Perhaps it was the broad phrases of Felix Mendelssohn-Bartholdy’s symphonic writing that led observers to associate many of his works with the landscapes of the countries he visited. His Symphony No. 3 in A minor, for example, supposedly evokes the dense fog-shrouded mountain landscapes of Scotland, which the composer visited in 1829. Yet the composer himself did not refer to such inspirations after completing the long journey of several years to completing this work, which received its Scottish nickname from well-meaning listeners.

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Symphonic Concert

Fri, May 30, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Juanjo Mena (Conductor), Piotr Anderszewski (Piano), Bartosz Michałowski (Chorus Director)

Piotr Anderszewski, photo: Simon Fowler / Warner Classics 150th Anniversary of the Birth of Maurice Ravel Maurice Ravel’s ballet Daphnis et Chloé was already hailed as a masterpiece on the day of its premiere. Commissioned by the famous Ballets Russes, it gained popularity mainly in the form of two orchestral suites. In this Suite, the references to ancient Greece, from which the ballet’s libretto derives, are subtle and impressionistic, thanks principally to the composer’s masterful handling of the orchestra. Ravel brings out the gamut of colouristic possibilities in Daphnis et Chloé, enriching the orchestra with the most beautiful and natural sound of the human voice. Łukasz Kaczmarowski

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Symphonic Concert

Sat, May 31, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Juanjo Mena (Conductor), Piotr Anderszewski (Piano), Bartosz Michałowski (Chorus Director)

Piotr Anderszewski, photo: Simon Fowler / Warner Classics 150th Anniversary of the Birth of Maurice Ravel Maurice Ravel’s ballet Daphnis et Chloé was already hailed as a masterpiece on the day of its premiere. Commissioned by the famous Ballets Russes, it gained popularity mainly in the form of two orchestral suites. In this Suite, the references to ancient Greece, from which the ballet’s libretto derives, are subtle and impressionistic, thanks principally to the composer’s masterful handling of the orchestra. Ravel brings out the gamut of colouristic possibilities in Daphnis et Chloé, enriching the orchestra with the most beautiful and natural sound of the human voice. Łukasz Kaczmarowski

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Closing Concert in the 2024/2025 Season

Fri, Jun 13, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Krzysztof Urbański (Conductor), Sophia Brommer (Soprano), Sophie Harmsen (Mezzo-Soprano), Martin Platz (Tenor), Andrew Moore (Bass-Bariton), Bartosz Michałowski (Chorus Director)

Krzysztof Urbański, photo: Grzesiek Mart Ludwig van Beethoven was regarded as a revolutionary (but also an eccentric) in his time, while for subsequent generations he became the epitome of the Classical (and, for many, of what was finest in music). The turbulent reception history of his monumental Symphony No. 9 in D minor proves that the significance of a work is never defined once and for all. It has fascinated not only musicians and listeners with different tastes, but also representatives of different political options and adherents of extreme ideologies. Along the way, it has encountered both nationalism and hope-giving universalism. Today, one of the themes of the Symphony’s finale, considered by some of Beethoven’s contemporaries to be a sign of extravagance, is one of the most recognisable melodies in Western musical culture and is known as the anthem of the European Union.

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Closing Concert in the 2024/2025 Season

Sat, Jun 14, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Krzysztof Urbański, photo: Grzesiek Mart Ludwig van Beethoven was regarded as a revolutionary (but also an eccentric) in his time, while for subsequent generations he became the epitome of the Classical (and, for many, of what was finest in music). The turbulent reception history of his monumental Symphony No. 9 in D minor proves that the significance of a work is never defined once and for all. It has fascinated not only musicians and listeners with different tastes, but also representatives of different political options and adherents of extreme ideologies. Along the way, it has encountered both nationalism and hope-giving universalism. Today, one of the themes of the Symphony’s finale, considered by some of Beethoven’s contemporaries to be a sign of extravagance, is one of the most recognisable melodies in Western musical culture and is known as the anthem of the European Union.

Info & Ticket (filharmonia.pl)

Classical concerts featuringWarsaw Philharmonic Choir

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Upcoming Concerts

Classical concerts featuring
Warsaw Philharmonic Choir