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Work: Pierrot lunaire

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Fact file
ComposerSchoenberg, Arnold (1874-1951)
Period20th century
Work typeOpera / Oratorio
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AmsterdamClose-up: Patricia Kopatchinskaja's Vienna

Het Concertgebouw
Schoenberg, Strauss II
Patricia Kopatchinskaja; Jaewon Lee; Martina Forni; Jerome Fruchart

BucharestCamerata Bern / Patricia Kopatchinskaja

Artexim - George Enescu International Competition
Schoenberg, Strauss II, Webern
Camerata Bern; Patricia Kopatchinskaja

ParisSaburo Teshigawara / Rihoko Sato / Pierrot lunaire

Berg, Schoenberg
Saburo Teshigawara; Soloists from the Ensemble Intercontemporain
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Pierrot Lunaire: sex and madness at the Adelaide Festival

This electic performance of Pierrot Lunaire was preceded by a clutch of contemporary Australian works (and a poem), which served to demonstrate that Schoenberg's modernity is still way ahead of the times.
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Tunes for the Moon at Vermont's Yellow Barn

On the 50th anniversary of the first lunar landing, the musicians of Yellow Barn played a wide-ranging program of works inspired by the night sky. 
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Pierrot Lunaire in Vienna

Mezzo-soprano and new music specialist, Katharina Rikus shuffled onto an elevated stage behind the ensemble in Pierrot make-up and costume to perform Schoenberg's masterpiece.
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Occupy the Pianos: Pierrot Lunaire

  Celebration of 20th century and contemporary piano music ends with a focus on team spirit as Hind is joined by friends for Pierrot Lunaire.  
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An unsettling Pierrot lunaire at the Munch Museum

Arnold Schoenberg’s 1912 melodrama Pierrot lunaire is a work of many paradoxes. The main character, Pierrot, is a man usually sung by a woman; the instrumentalists serve both as soloists and as an accompanying orchestra; it is performed using a style of singing more akin to stylised speech than actual singing; and it straddles the divide between high art and cabaret.
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