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Classical Concerts at
Konzerthaus Berlin

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The Konzerthaus Berlin, an iconic neoclassical edifice on Gendarmenmarkt, epitomizes cultural elegance. Designed by Karl Friedrich Schinkel and inaugurated in 1821, this illustrious concert hall is a beacon of Berlin's rich musical heritage, hosting world-renowned orchestras and artists, and continues to enchant audiences with its architectural splendor and acoustical excellence.

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musica reanimata – Gesprächskonzert

Thu, Jan 23, 2025, 20:00
Stefan Wolpe was forced to flee Berlin after the National Socialists came to power, as he had publicly positioned himself against the Nazis as a convinced communist and artistic director of the agitprop theater “Truppe 31”. After an odyssey via Prague, Zurich and Vienna, where he took composition lessons with Anton Webern, he emigrated to Palestine with his partner, the Romanian pianist Irma Schoenberg. In Jerusalem, Irma was able to teach piano at the newly founded conservatory and Stefan also received a position as a composition teacher in 1935. His students there included Herbert Brün, Chaim Alexander and Wolf Rosenberg, who had emigrated to Palestine with his family in 1936. We will hear works by Wolpe from the Jerusalem period as well as early piano works by Wolf Rosenberg and the 2nd String Quartet, played by pianist Angelika Nebel and the Seneca Quartet. Pamela Rosenberg, the composer's widow, will be the guest of the evening.In cooperation with musica reanimata – Förderverein zur Wiederentdeckung NS-verfolgter Komponisten und ihrer Werke e.V.
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Akademie für Alte Musik Berlin

Thu, Jan 23, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Akademie für Alte Musik Berlin, Voces Suaves, Georg Kallweit (Violin)
In their first joint programme, Akamus and the award-winning Basel vocal ensemble Voces Suaves present musical highlights from the generation of German composers before Johann Sebastian Bach and thus the impressive musical world into which he was born. The programme includes works by the extended Bach family as well as by composers who are largely unknown today and who preceded the later Thomaskantor in his important positions in Mühlhausen, Weimar and Leipzig. From the oeuvre of Johann Sebastian Bach, the double-choir motet ‘Der Geist hilft unser Schwachheit auf’ will be performed..
January 24, 2025
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Kammermusik des Konzerthausorchesters

Fri, Jan 24, 2025, 20:00
Konzerthaus Berlin, Kleiner Saal (Berlin)
Konzerthaus Quartett Berlin, Sayako Kusaka (Violin), Johannes Jahnel (Violin), Amalia Aubert (Viola), Felix Nickel (Cello)
Mozart's Hoffmeister Quartet was written a year after he began composing „Figaro“ and was published by Hoffmeister in 1786. A strange mixture of cheerfulness and melancholy connects the great quartet with the opera. Alfred Einstein said of the Adagio that it „speaks of suffering never before heard in such depth“. Schubert's Quartet in G major D 887 from 1826 was ahead of its time - it took almost half a century for this „uncompromising exploration of the themes of major and minor, life and death, hope and despair“ to find an appropriate response from critics and audiences.
January 25, 2025
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Orgelstunde

Sat, Jan 25, 2025, 15:30
Konzerthaus Berlin, Großer Saal (Berlin)
Jeremy Joseph (Organ)
Jeremy Joseph, who took over this organ lesson at short notice for his teacher Martin Haselböck, who was ill, is no stranger to Berlin audiences: six years ago, he was already a duo partner for Gottlieb Wallisch in the Great Hall of the Konzerthaus Berlin, with whom he performed a brilliant program Organ & Piano. In this solo program, he spans an arc from Johann Sebastian Bach and Max Reger - each represented with major works - to Arnold Schoenberg as a “modern classic”, whose variations on a theme by Johann Sebastian Bach are now also part of the standard repertoire.
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Vogler Quartett

Sat, Jan 25, 2025, 18:00
Konzerthaus Berlin, Kleiner Saal (Berlin)
Vogler Quartett
Individuality finding harmonious expression in an ensemble – this is the quintessence of the Vogler Quartet, which has been pursuing a unique global career with an unchanged line-up since its formation in 1985. With an intelligent approach to chamber music, outstanding playing technique and interpretive sensitivity, Tim Vogler, Frank Reinecke, Stefan Fehlandt and Stephan Forck have created an unmistakable string quartet sound which consistently offers new insights into the genre. The group has had a concert series at the Konzerthaus Berlin since 1993.
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Konzerthausorchester Berlin, Jan Willem de Vriend

Sat, Jan 25, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Jan Willem de Vriend (Conductor), Sebastian Knauer (Piano)
Good news for all fans of Sebastian Knauer - the pianist is back at the Konzerthaus with Mozart's Concerto in D minor, premiered in 1785. Compared to earlier works in this genre, the orchestra is increasingly taking on the role of piano partner, which is of course good news for the Konzerthausorchester.Under the Dutch conductor Jan Willem de Vriend, however, our musicians will first play the inter-act music to a drama about the Egyptian King Thamos, which is set in the sun city of Heliopolis and was first performed in 1774. There is little to say about the plot - apart from the fact that the right people get each other and the schemers die by their own daggers or by being struck by lightning. Finally, Haydn's No. 99 from 1793, one of the „London“ symphonies, is played. In it, he used clarinets for the first time and (whether because of this or anyway is not known) had considerable success with the public.
January 26, 2025
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Mozart-Matinee

Sun, Jan 26, 2025, 11:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Jan Willem de Vriend (Conductor), Ulrike Petersen (Violin)
The Konzerthausorchester invites families to the Great Hall on Sundays at 11.00 - croissants and hot chocolate included! A musician always leads through the program. They reveal secrets from everyday life in the orchestra and invite you to join in. Meanwhile, younger siblings between the ages of 3 and 6 are very welcome at the “Musical childcare”.
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Konzerthausorchester Berlin, Jan Willem de Vriend

Sun, Jan 26, 2025, 16:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Jan Willem de Vriend (Conductor), Sebastian Knauer (Piano)
Good news for all fans of Sebastian Knauer - the pianist is back at the Konzerthaus with Mozart's Concerto in D minor, premiered in 1785. Compared to earlier works in this genre, the orchestra is increasingly taking on the role of piano partner, which is of course good news for the Konzerthausorchester. Under the Dutch conductor Jan Willem de Vriend, however, our musicians will first play the inter-act music to a drama about the Egyptian King Thamos, which is set in the sun city of Heliopolis and was first performed in 1774. There is little to say about the plot - apart from the fact that the right people get each other and the schemers die by their own daggers or by being struck by lightning. Finally, Haydn's No. 99 from 1793, one of the „London“ symphonies, is played. In it, he used clarinets for the first time and (whether because of this or anyway is not known) had considerable success with the public.
January 28, 2025
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Academy of St Martin in the Fields

Tue, Jan 28, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Academy of St Martin in the Fields, Tomo Keller (Violin), Daniel Müller-Schott (Cello), Jan Lisiecki (Piano)
Jan Lisiecki and the Academy of St Martin in the Fields radiate pure joy of playing. This was already evident in 2018, when the young pianist saved a concert tour of the traditional British ensemble and stood in for Murray Perahia, who was ill, with all five Beethoven concertos - including at the Konzerthaus Berlin. The applause was enormous and the album with the live recording was a great success. Since then, this connection has been a very special one. Experience the Academy and the Canadian-Polish pianist once again with Beethoven: the fifth and final piano concerto and the triple concerto, in which concertmaster Tomo Keller and cello star Daniel Müller-Schott join Jan Lisiecki.
January 29, 2025
January 30, 2025
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Sheku Kanneh-Mason & Cellist*innen des Konzerthausorchesters

Thu, Jan 30, 2025, 20:00
Konzerthaus Berlin, Kleiner Saal (Berlin)
Sheku Kanneh-Mason (Cello), Friedemann Ludwig (Cello), Andreas Timm (Cello), Taneli Turunen (Cello), Viola Bayer (Cello), Alexander Kahl (Cello), Nerina Mancini (Cello), Jae Won Song (Cello), Hyejin Kim (Cello), Fabian Sturm (Cello)
What's even more beautiful than a cello? Ten cellos! Chamber music is one of the great joys of life for our orchestra musicians. Here, seven members of our cello group and our orchestra academy come together with their colleague Sheku Kanneh-Mason, who is our current artist in residence, for a musically diverse programme.
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Hope@9pm – Musik und Talk

Thu, Jan 30, 2025, 21:00
Konzerthaus Berlin, Werner-Otto-Saal (Berlin)
Daniel Hope (Gastgeber), Jacques Ammon (Piano), Zu Gast: Mezzosopranistin Anne Sofie von Otter
The twilight hour has dissolved into a pleasant memory, the pulse of the city drops noticeably, one begins to breathe deeply: at precisely 9pm, violinist Daniel Hope opens his salon for music and conversation in the Werner Otto Hall. Hope@9pm is a contemporary descendant of Berlin’s 18th century salon culture with its cultural and political debates and discussions, its esprit and its music. Always at the side of the well-travelled host: piano accompanist Jacques Ammon.
January 31, 2025
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Konzerthausorchester Berlin, Joana Mallwitz

Fri, Jan 31, 2025, 19:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
February 1, 2025
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Konzerthausorchester Berlin, Joana Mallwitz

Sat, Feb 1, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
February 2, 2025
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Konzerthausorchester Berlin, Joana Mallwitz

Sun, Feb 2, 2025, 16:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
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ensemble unitedberlin, Vladimir Jurowski

Sun, Feb 2, 2025, 20:00
Konzerthaus Berlin, Werner-Otto-Saal (Berlin)
ensemble unitedberlin, Vladimir Jurowski (Conductor), Juris Azers (Percussion), Guntars Freibergs (Percussion)
Agata Zubel's “Mother Lode III” (Hauptader 3), which explores the effects of spatial sound, is followed by the world premiere of a concerto for two percussionists and ensemble by Latvian composer Jānis Petraškevičs. Composer Anna Korsuns compares her work “Plexus” (network mesh) to “a complex network of sounds that is constantly in motion and forms an organic structure.” The final piece is Georg Katzer's “Godot kommt doch, geht aber wieder”, a musical game with expectations and surprises.
February 4, 2025
February 7, 2025
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VISUAL MUSIC NIGHT I

Fri, Feb 7, 2025, 21:00
Konzerthaus Berlin, Werner-Otto-Saal (Berlin)
Simon Höfele (Trumpet), Thomas Pfaffinger (Composition), Thomas Pfaffinger (Stage), Kaan Bulak (Composition), Kaan Bulak (Stage), Lucas Gutierrez (Visuals), Istanbul Ghetto Club (Audiovisual Live-Set), Lucilla Schmidinger (Dramaturgy)
Three sets, ranging from experimental soundscapes and electronic compositions to hypnotizing beats, each in combination with visual forms of expression - a broad spectrum of audiovisual performance art and artistic reflection await you on the opening evening of our festival! “mirror//flesh” for trumpet and electronics questions the relationship between artist and audience and addresses self-reflection in the performing arts. The interplay of sound, space, light and choreographic elements dissolves the boundaries between listening and watching. “Resonance of Berlin”, an audiovisual homage to Berlin, uses AI-supported sound and image compositions to present an artistic ‘city map’ that captures personal and collective perceptions of the metropolis. The performance allows the audience to experience its complexity in a new way and invites them to reflect on the influence of perception on artistic creation.Istanbul Ghetto Club, a multidisciplinary Berlin music collective with a sense of humor and an erotic touch, combines Anatolian, Greek and Mesopotamian melodies with modular synthesizers, visuals and performing arts. They hide behind masks and veils, but have nothing to hide. Anatolian Acid” emerges from tradition and zeitgeist, sweeping the audience away in a live performance and inviting them to dance. Translated with DeepL.com (free version)
February 8, 2025
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Jorinde Voigt & Beethoven: Sonaten-Marathon

Sat, Feb 8, 2025, 11:00
Konzerthaus Berlin, Großer Saal (Berlin)
Mariam Batsashvili (Piano), Mihály Béresz (Piano), Mario Häring (Piano), Anton Gerzenberg (Piano), Onutė Gražinytė (Piano), Lilit Grigoryan (Piano), Cathy Krier (Piano), Kunal Lahiry (Piano), Hanni Liang (Piano), Matan Porat (Piano), Mishka Rushdie Momen (Piano), Dorothee Kalbhenn (Concept), Dorothee Kalbhenn (Idee)
Music and image in close connection: In her cycle, the internationally acclaimed Berlin artist Jorinde Voigt captures each Beethoven sonata bar by bar and transforms the music into aesthetically expressive drawings using an algorithm. The sonata marathon presents everything together for the first time: Each Beethoven sonata played is accompanied by the corresponding score-like drawing. At the same time, a solo exhibition of Voigt's 32 originals will take place in the Beethoven Hall.
February 10, 2025
February 12, 2025
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Anna Meredith & B'Rock Orchestra

Wed, Feb 12, 2025, 21:00
Konzerthaus Berlin, Großer Saal (Berlin)
B'Rock Orchestra, Anna Meredith (Sound), Nadja Zwiener (Baroque violin), Simon Hendry (Sound)
From the awakening of spring to the intensity of summer and the darkness of winter - ‘ANNO’ evokes the course of a year with Vivaldi's ‘Four Seasons’ and turns this extremely well-known music into something new once again. Combined with electro-acoustic compositions by Anna Meredith and a light show, the result is a one-hour concert performance that brings together electronic and baroque, complex and catchy. Anna Meredith is a composer, performer and producer. Her music moves between contemporary music, pop, electro and experimental rock. The B'Rock Orchestra from Ghent describes itself as a ‘forward-thinking period orchestra’ - an unusual baroque ensemble that performs on historical instruments with a view to the present and future. They characterise their style as ‘intuitive, ambitious and accessible’ and are always on the lookout for artists with whom they can realise visionary projects. Perfect for our festival and as a partner for Anna Meredith!
February 13, 2025
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Dichterliebe recomposed

Thu, Feb 13, 2025, 20:00
Konzerthaus Berlin, Werner-Otto-Saal (Berlin)
Horenstein Ensemble, Edgaras Montvidas (Tenor), Yuan Yu (Flute), Johanna Pichlmair (Violin), Jana Krämer-Forster (Violin), Matthias Benker (Viola), Andreas Timm (Cello), Ralf Forster (Clarinet), Ronith Mues (Harp), Jan Westermann (Percussion), Michal Friedlander (Piano), Katrin Bethge (Projections), Christian Jost (Conductor)
Love, loneliness and human finiteness: eternal themes run through the 16 songs of Robert Schumann's famous ‘Dichterliebe’ (Poet's Love) on poems by Heinrich Heine in a seemingly harmless folk song tone. In a double sense, everything is in flux here: the inner life of the protagonist, who vacillates between pain, doubt and happiness, and the mythical world of the past - symbolised by the Rhine, which winds its way through several verses. Composer Christian Jost took a close look at the work and embedded it in a completely newly composed soundscape. The harmonies and the spirit of Schumann are preserved, space and time are dissolved: ‘With Schumann and Heine, each individual song is self-contained. Each one is a frozen memory, the atmospheric condensation of a journey into the inner life of its protagonist, whose spiritual landscape unfolds before us piece by piece. In my work, the 16 songs of the cycle appear like islands, surrounded by the sounds and harmonies of which they are the nucleus and inspiration.’ Christian Jost does not tell a chronological story in his work. Supported by the projections of Katrin Bethge, individual windows into the human soul open up again and again in surprising ways. The Horenstein Ensemble already performed the world premiere in 2017.
February 14, 2025
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Konzerthausorchester Berlin, Joana Mallwitz

Fri, Feb 14, 2025, 19:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor)
Under the direction of Joana Mallwitz, the Konzerthausorchester will perform the world premiere of the orchestral version of a work by Lera Auerbach, to whom the Konzerthaus is dedicating a “Creative Portrait” this season. The composer was inspired by Modest Mussorgsky's “Pictures at an Exhibition” and texts by Jorge Luis Borges for “Labyrinth” (2018). In it, she sends listeners on a mysterious journey with a dream wanderer, during which they encounter a series of mythical creatures.
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VISUAL MUSIC NIGHT II

Fri, Feb 14, 2025, 21:00
Konzerthaus Berlin, Werner-Otto-Saal (Berlin)
REICH / BAUMGÄRTNER / PRINGLE, Maria Reich (Violin), Moritz Baumgärtner (Drums), Mark Pringle (Piano), ChunLi Wang (Visuals), Rachel Fenlon (Piano), Rachel Fenlon (Voice), Rachel Fenlon (Electronic), Jamie A. MacMillan (Video), Wolfgang Voigt (Sound), Ali M. Demirel (Visuals), Lucilla Schmidinger (Dramaturgy)
Our second Visual Music Night Werner-Otto-Saal offers you a poetic-synaesthetic experience in three sets. “Poème” is the debut album (2022) of the Berlin trio Reich / Baumgärtner / Pringle, who create a sound network of dense, playful communication in the rare combination of piano, violin & drums/percussion. Their unmistakable joint sound entices you to pause and listen, is multi-layered, delicate, irrepressible and concise. ChunLi Wang's visuals add another playful layer to this set, creating fluid transitions between technology and anthropology, opening up a poetic immersive world. The novel song cycle “Sing Nature Alive” composed by McIntire is based on poetic lyrics about the love of nature and the urgency of the climate crisis. Rachel Fenlon interprets it with voice, piano and live electronics, complemented by Macmillan's nature videos. Voice and piano combine with field recordings of water, nature and breathing to create a continuous dream-like texture. Moving, haunting and thought-provoking, the “songs” emerge in full form or rise up as traces, only to sink back into the blur. The second Visual Music Night ends with “Rückverzauberung”, an almost hour-long ambient trip through more than three centuries of music history: medieval lute and flute sounds interweave with baroque falsetto song fragments, bells and horns to create amorphous, abstract soundscapes. Small spinet and harp loops tumble intoxicatedly over feverishly beautiful violin surfaces. Atonality and euphony flow effortlessly into and out of each other. Voigt's principles of loops and deconstruction redefine old sound worlds. Ali M. Demirel enriches the set with his live visuals, in which the wonders of nature with their sometimes microscopic patterns are revived into abstract images.
February 15, 2025
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FamilienKonzert mit dem Konzerthausorchester

Sat, Feb 15, 2025, 15:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Linda Fichtner (Violin)
This exhibition promises a diverse experience, blending visual art with music by Modest Mussorgsky, orchestrated by Maurice Ravel. The music transports us to France, Poland, and Ukraine, introducing characters like playing children, a dwarf, a witch, and intriguing locations such as an old castle and a hut on chicken legs. Even unhatched chicks make an appearance, creating a feast for the senses.