A newlywed bride is brought home to find her husband’s castle plunged in darkness and persuades him to open seven doors to let the light flood in. Blood-red light streams across the stage as the first door is unlocked to reveal a torture chamber. This scene has to be from Bartók’s one-act opera, Bluebeard’s Castle, and as each successive door is opened, the surprises continue. The opera is rarely staged but – with effective lighting – can make a huge psychological impact in the concert hall. It is possibly the pick of The Royal Philharmonic Orchestra’s new season, when it is performed at the Royal Festival Hall under its Principal Conductor Charles Dutoit.
It will undoubtedly benefit from being performed by two native Hungarians. Mezzo-soprano Andrea Maláth has been a permanent guest artist at the Hungarian State Opera House in Budapest since 1998 and has been singing the role of Judit, Bluebeard’s fourth wife, since 2001. Bass Bálint Szabó is an experienced of the role of Bluebeard, having performed it around the world. To complete an all-Hungarian programme, the RPO plays the “Rákóczy March” from Berlioz’s The Damnation of Faust and Marc-André Hamelin joins the orchestra for Liszt’s dazzling Piano Concerto no. 2 in A major. There’s sure to be plenty of paprika in the air for this concert in which Dutoit is leading his orchestra at the Festival Hall.
Some distinguished conductors join the RPO next season. Pinchas Zukerman, more usually known for his peerless playing of the violin and viola, is the orchestra’s Principal Guest Conductor. He appears in both guises next season; Beethoven’s Ninth Symphony is the highlight of his October concert at the Festival Hall, which also includes Malcolm Forsyth’s final work, The Ballad of Canada, which Zukerman premièred in 2011. Elgar’s sublime Violin Concerto allows Zukerman to appear as soloist with the RPO in April. "It's good! awfully emotional! too emotional, but I love it," wrote Elgar. The work was very dear to him, not least because of the infamous “Windflower” theme which alludes to his close friendship with Alice Stuart-Wortley.