Close to the start of this summer’s Lucerne Festival, Bernard Haitink conducted an outstanding performance of Mozart and Mahler works that span the centuries.
As part of the Konzerthaus’ Mittagsmusik (Midday Music) series, young soprano Anna Lucia Richter teamed up this week with one of the greatest living song accompanists, Gerold Huber, to present an extraordinarily varied matinée of songs in the Schubertsaal.
Bach’s Magnificat featured superlative solos from both singers and musicians, but the RCO and Iván Fischer reached a higher plane in a beautifully crafted and optimistic Brahms’ First Symphony.
Bernard Haitink presides over a performance of Mahler’s Fourth Symphony with the London Symphony Orchestra which was “Just So” – everything in its place.
“Denmark is not all Lego and pastries!” quipped Nikolaj Znaider to the Albert Hall audience. Indeed not. It is the land of Carl Nielsen, whose 150th birthday was celebrated in a packed Prom given by the Danish National Symphony Orchestra.
Iván Fischer has distinguished himself as a conductor with inimitable listening skills; he truly has an ear for which sounds should be coming from where and how the sounds of each member of the Budapest Festival Orchestra should be arranged in space.
Sasha Waltz’s new production of Monteverdi’s Orfeo saw a fusion of sound and movement at the Muziektheater Amsterdam, with dancers and singers twining together almost indistinguishably.
Sometimes the remedy for an extremely fast-paced life is a mellow afternoon in a fabulous concert hall. So it was that on Sunday, the Orchestra of the Berlin Konzerthaus put on a program featuring Dvořák at his most pastoral.Led by Iván Fischer and featuring soprano Anna Lucia Richter and mezzo Olivia Vermeulen, the program was devoted entirely to Dvořák.
Nicht alles passte in dieser La clemenza di Tito im Konzerthaus Dortmund; unbestritten anregend aber waren die dramatischen Effekte, vor allem das Auskosten des Leisen, der Milde, der Stille.
In einer rundum gelungene Aufführung der Teile I-III und VI wurden der RIAS Kammerchor und das Freiburger Barockorchester durch vier feinsinnge Solisten ergänzt.
Chanter parce qu’on croit à la liberté et qu’on veut affirmer sa valeur : le lendemain de l’attentat sur un marché de Noël à Berlin, le RIAS Kammerchor et le Freiburger Barockorchester souls la direction de Hans-Christoph Rademann ont dédié un magnifique concert à la mémoire des victimes.
Zur Eröffnung des diesjährigen Festivals gab der neue Leiter des Lucerne Festival Orchestra Riccardo Chailly seinen bejubelten Einstand mit einer grandiosen Aufführung von Mahlers Achter Symphonie.
Außergewöhnlich beredt brachte das Lucerne Festival Orchestra unter der Leitung von Bernard Haitink im Eröffnungsprogramm unterschiedliche Spielarten musikalischen Humors zum Klingen.
