Vienna: Window to Modernity

Diese Veranstaltung fand in der Vergangenheit statt

Carnegie Hall: Stern Auditorium/Perelman Stage57th Street and, 7th Ave, New York City, New York, 10019, Vereinigte Staaten

Datum/Zeit in New York Zeitzone

Programm

Strauss, Richard (1864-1949)	Drei Lieder der Ophelia, Op.67
Brahms, Johannes (1833-1897)	Ophelia Lieder (Ophelia Songs)
Schönberg, Arnold (1874-1951)	Verklärte Nacht, Op.4
Wagner, Richard (1813-1883)	Wesendonck Lieder: Im Treibhaus
Wagner, Richard (1813-1883)	Wesendonck Lieder: Träume
Brahms, Johannes (1833-1897)	6 Stücke für Klavier: Intermezzo in a-Moll, Op.118 Nr.1
Brahms, Johannes (1833-1897)	6 Stücke für Klavier: Intermezzo in A-Dur, Op.118 Nr.2
Weigl, Karl (1881-1949)	5 Songs for soprano and string quartet, Op.40 ("Trost" and "Regenlied")
Wellesz, Egon (1885-1974)	Sonnette der Elisabeth Barrett-Browning, Op.52b (no.5, "Mir scheint, das Angesicht der Welt verging")
Webern, Anton (1883-1945)	3 Pieces for string quartet (and soprano)
Zeisl, Erich (1905-1959)	Mondbild: no. 1, Der Mond steht da
Zeisl, Erich (1905-1959)	Komm süsser Tod
Schönberg, Arnold (1874-1951)	Brettl-Lieder (Cabaret Songs) ("Galathea" and "Gigerlette")

Darsteller

Renée Fleming	Sopran, Moderation
Jeremy Denk	Klavier
Emerson String Quartet
Eugene Drucker	Violine
Philip Setzer	Violine
Lawrence Dutton	Viola
David Finckel	Cello
Paul Neubauer	Viola
Colin Carr	Cello

The finale of Renée Fleming's Perspectives series, Vienna: Window to Modernity is a thoughtful tribute to the time and place where the European musical tradition, under the influence of literary and visual arts, gave way to the 20th century.

Plan

An einen Freund senden

"I'm in love with Vienna": Renée Fleming and friends at Carnegie Hall

David Allen, 4th May

For the last concert of her Perspectives series at Carnegie Hall, Renée Fleming assembled one of the least coherent concept programmes imaginable. Billed as “Vienna: Window to Modernity”, it was never clear what was specifically Viennese about the music on show, nor what was particularly modern, nor what windows had to do with anything.

***11