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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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BerlinPierrot LunaireNew production

Pierrot Lunaire: Dagmar Manzel © Monika Rittershaus
Schoenberg: Pierrot Lunaire
Christoph Breidler; Barrie Kosky; Komische Oper Berlin; Valentin Mattka; Katrin Kath; Dagmar Manzel; Ulrich Lenz

BambergChamber Concert with Patricia Kopatchinskaja

© Julia Wesely
Enescu, Schoenberg, Strauss II
Patricia Kopatchinskaja; Meesun Hong; Thomas Kaufmann; Julia Gallego

AmsterdamClose-up: Pierrot lunaire

Het Concertgebouw
Webern, Bach, Zemlinsky, Schoenberg
Julie Moulin; Davide Lattuada; Jaewon Lee; Martina Forni

LondonPatricia Kopatchinskaja Is Pierrot Lunaire

© Marco Borggreve
Bach C.P.E., Schoenberg, Stravinsky, Berio, Bartók
Patricia Kopatchinskaja; Meesun Hong; Thomas Kaufmann
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Tunes for the Moon at Vermont's Yellow Barn

Lucy Shelton © Michael Hanish
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. 
****1
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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.
****1
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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.  
****1
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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.
****1
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A moving vision of the end of time with Birmingham Contemporary Music Group

The works featured in this concert, composed in 1912 and 1941, might be considered rather old fare for Birmingham Contemporary Music Group, but they remain as startlingly original today as they must have seemed back then. It was a pleasure to hear them in the brand new Elgar Concert Hall at the University of Birmingham in all its shiny, wooden splendour.
****1
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